lørdag den 9. marts 2013

VFX-tema: "Life of Pi" og effektbranchens krise - set indefra

Som de fleste af jer nok har hørt, er visual effects-branchen i dyb krise:

LÆS TEMAARTIKLEN
> Hollywoods visuelle effekter har masser af magi - men ingen penge
(Politiken 7. marts 2013)

De digitale kunstnere, som leverer den visuelle magi til succesfilm som "Life of Pi", er konstant overbebyrdede og underbetalte, fordi de seks store filmselskaber i Hollywood kræver flere og flere effekter, som skal laves hurtigere og billigere. Den usunde forretningsmodel har allerede fået flere velrenommerede effektfirmaer til at dreje nøglen om.

Den 27. februar faldt jeg over den nedenstående fotocollage, som er skabt af den irske VFX-kunstner Martin Moylan. Med flabet humor og visuel gennemslagskraft illustrerer Moylans billede, i hvor høj grad Ang Lees "Life of Pi" står i gæld til sine visuelle effekter (forkortet VFX).

© Martin Moylan/VFXrex
Samme dag delte jeg billedet på Blog-O-Ramas Facebook-side. Her blev det set af hele 2500 brugere i løbet af kun 24 timer.

Siden kontaktede jeg Martin Moylan pr. e-mail for at få hans syn på VFX-branchens krise. Desværre blev der kun plads til nogle få citater i den artikel om visuelle effekter, som jeg skrev til Politikens FILM-tillæg den 7. marts.

Til gengæld har Martin Moylan meget venligt givet tilladelse til, at jeg offentliggør hans uforkortede kommentarer til VFX-krisen her på Bries Blog-o-Rama som eksklusivt ekstramateriale.

> Read Martin Moylan's insider's view on the VFX crisis in English


EKSKLUSIVT FOR BRIES BLOG-O-RAMA:
VFX-branchens krise set indefra
af Martin Moylan

KONFLIKTEN ANSKUELIGGJORT
De fleste VFX-billeder, der cirkulerer på nettet, viser en tom, grøn skærm bag en skuespiller. Tanken bag mit billede var at lave lidt sjov med konceptet og vise kontrasten mellem en nuttet dukke, en levende tigers vildskab og skønheden i de færdige visuelle effekter. Dette illustrerer også, hvad de reelle alternativer til brugen af visuelle effekter er, og hvor værdifulde VFX er.

> Før og efter: Et kig på effekterne i "Life of Pi" (Empire Magazine)
> Bill Westenhofer om effekterne i "Life of Pi" (FX Guide)

DET GRUNDLÆGGENDE PROBLEM
For at forstå hvad den aktuelle krise i VFX-branchen går ud på, kan man forestille sig en gruppe kunstnere og skulptører, som knokler sig selv halvt fordærvet, og med forventet underskud, for at fylde et kunstgalleri, hvor ejerne tjener millarder på udstillingen.

Sådan som jeg ser det, ligger problemets kerne ikke i selve VFX-industrien, men snarere i forholdet mellem VFX-firmaerne og Hollywoods produktionsselskaber. Problemerne begynder allerede, når en fastlagt deadline og ditto betaling går til den lavestbydende leverandør.

Kontrakterne tager ikke højde for overarbejde, ligesom VFX-firmaerne heller ikke modtager yderligere betaling for de ændringer, de bliver bedt om at lave undervejs, eller får nogen andel i overskuddet fra filmens indtjening.

Tigeren i "Life of Pi" uden VFX |  © Fox 2000 Pictures 

Det er værd at nævne, at de fleste tv- og filmmedarbejdere ikke får fast løn, men går fra den ene freelanceopgave til den næste. Dette gælder for  skuespillere, instruktører, lysmænd, tømrere osv.

Et kamerahold, som er medlem af en fagforening, kan stemple ud ved fyraften. Men visuelle effekter kræver, at store hold arbejder i mange timer, ofte til langt ud på natten, for at implementere ændringer og nå deres deadline. Alt dette sker indenfor en fastlagt budgetramme, som ikke giver effektfirmaet procenter af filmens overskud. Derfor ender leverandøren ofte med at tabe penge på opgaven, så de ikke er i stand til at give deres ansatte løn.

Denne model passer Hollywood-selskaberne storartet. De minimerer deres risikoeksponering; de kan forlange så mange ændringer af de aftalte design, som de har lyst til, og de kan beholde hele overskuddet selv.

VFX-industrien besidder utrolige kreative færdigheder og er pionerer inden for tekniske landvindinger. Men de har desperat brug for en stærk, fælles stemme, hvis branchen skal blive stabil og kunne tillade sig at sige "nej" til utilfredsstillende vilkår.



NYE VÆRKTØJER, NYE IDEER
Hvorfor sker alt dette lige nu?

Computere har gjort det umulige muligt, men man bør huske på, at selv den skarpeste mejsel er et stumpt instrument, hvis den ikke svinges af en dygtig skulptør. På samme måde kræver computere fortsat at blive betjent af talentfulde kunstnere for at skabe forbløffende scener.

Forventningerne til visuelle effekter i film har ændret sig meget. Tidligere dækkede deres arbejdsområde laserstråler, eksploderende rumskibe og forlængede horisonter. Men i dag er håndværket så godt og af en så høj teknisk kvalitet, at de færreste bider mærke i, at San Franciscos gader i David Finchers "Zodiac" og de 20 Manhattan-karreer i Marvels "The Avengers" var skabt på computer.

Og selv om Ang Lee antydede noget andet i sin Oscar-takketale, gav valget af VFX åbenlyst en kæmpe besparelse i forhold til, hvad det ville have kostet at optage disse scener på rigtige locations.

David Finchers "Zodiac" (2007) uden VFX | studiodaily.com

DE EGENTLIGE STJERNER
Det virker også rimeligt at udnævne visuelle effekter til at være storfilmenes egentlige trækplaster. Vi stod alle i kø for at se hundredvis af aber gå amok i "Abernes Planet: Oprindelsen", monstrene og Gollum i "Ringenes Herre", de enorme Autobots i "Transformers" for ikke at tale om Hulk og Iron Man. Ingen af disse film ville nogensinde være sat i produktion uden et effekthold.

Og når Tom Cruise får 25 millioner dollars for at medvirke i en film, bør de visuelle effekter, som spiller tilsvarende store roller, også belønnes efter fortjeneste. VFX har samme tiltrækningskraft ved billetlugen, som filmstjerner har - nogle effektfilm indtjener op imod en millard dollars - men de bliver spist af med usle honorarer.

DE LUKKER OG SLUKKER
I øjeblikket falder opmærksomheden på det konkursramte Rhythm & Hues, som vandt en Oscar for at skabe tigeren og mange af de overdådige billeder i "Life of Pi". Det er dog kun et af mange VFX-selskaber, som har det svært for tiden:
  • Dr D Studios ("Babe den kække gris" og "Happy Feet") har drejet nøglen om og afskediget 600 medarbejdere
  • DreamWorks Animation ("Shrek" og "Ice Age") afskediger 350 ansatte
  • Matte World Digital ("Titanic" og "Hugo") nedlægger sin filial i Californien
  • Digital Domain ("Terminator 2" og "Pirates of the Caribbean") har indgivet konkursbegæring og lukket deres filial i Florida
Men hvordan kan branchen komme ud af krisen?

ORGANISATION OG PROCENTER
Det første, der må gøres for at finde en løsning, er at samle alle visual effects-firmaer i en fagforening, som kan give branchen forhandslingsstyrke. Den erfarne VFX-mand Scott Ross, adm. direktør i Digital Domain, foreslog at oprette en brancheorganisation ved navn AVEC (det franske ord for "med"), men på grund af mistillid selskaberne imellem blev det aldrig til noget.  

> VFX Solidarity International på Facebook

En anden løsning vil være at give VFX-firmaer andel i filmenes overskud. George Lucas havde kun held til at få procenter af merchandisesalget fra "Star Wars", fordi ingen forventede, at legetøjet ville sælge godt. Det samme var tilfældet, da Bruce Willis nøjedes med et beskedent honorar og nogle procenter af overskuddet for sin indtaling af babyens stemme i "Det er mig der snakker". Men fordi filmen blev et overraskende hit, tjente Willis stort på den. Imidlertid er procenter en guldgrube for Hollywood-selskaberne, som de kun nødig giver slip på.



VFX-ARBEJDE I EUROPA
I min hverdag som animator og VFX-kunstner i Europa har jeg været meget heldig med de opgaver og kunder, som jeg har haft. I Irland er branchen tæt sammentømret, og de produktionshold, jeg har arbejdet sammen med, har altid udvist forståelse for den kreativitet, der ligger i effekterne, og for at hjælpe hinanden, når vi har haft presserende deadlines.

Mine bekymringer for fremtiden går på, at mange gerne vil arbejde gratis for at komme ind i branchen eller få noget på deres Showreel (cv af filmscener, red.). Jeg frygter, at nogen vil udnytte situationen til at få billig eller gratis arbejdskraft. Selv hvis det lykkes at starte en fagforening, risikerer vi, at filmselskaberne kun vil ansætte VFX-kunstnere, som ikke er medlemmer, for at holde branchens lønniveau nede.

Efter min mening er film en underholdningsindustri, og visual effects-branchen har bidraget til størstedelen af den underholdning. VFX-kunstnerne er tit så dygtige til deres arbejde, at vi som publikum slet ikke bemærker effekterne, fordi vi tror, at det, vi ser på lærredet, eksisterer i virkeligheden. Men uden VFX får vi færre spektakulære oplevelser, færre mindeværdige filmøjeblikke og færre, der vil være interesseret i at gå i biografen.

Det vil være en utrolig dårlig forretning for Hollywood, hvis de overser betydningen af de tusinder af pionerer, kunstere og teknikere, som får så mange til at gå i biografen. Alle bør få ligelig del i successen. Hvis ikke, vil vi allesammen mærke tabet.

Martin Moylan | PR-foto
OM MARTIN MOYLAN OG VFXREX
Martin Moylan er uddannet indenfor animation og grafisk design.
Han har leveret visuelle effekter og titler til science fiction-filmen "Earthbound" med Rafe Spall (fra "Prometheus" og "Life of Pi"). 
Senest har han arbejdet som compositor og VFX-kunstner på "Planet Cosmo", en tegnefilm for børn om astronomi.
Et udvalg af Martin Moylans eksempler kan ses på www.martinmoylan.com eller www.vimeo.com/moylan

MERE OM VISUELLE EFFEKTER:
> Interview: Scott Squires om Hollywoods VFX-krise (Empire Magazine)
> Before VFX (billeder fra optagelserne til diverse effektfilm)
> VFX Soldier (VFX-industriens blog)
> VFXSoldier@Twitter

fredag den 8. marts 2013

Exclusive: An insider's view of the VFX industry crisis (in English)

As all of you have probably heard by now, the visual effects (or VFX) industry is in dire straits.

The digital artists behind the visual effects magic in blockbuster films such as "Life of Pi" are continuously overworked and underpaid, as the six big Hollywood studios want more and more effects done, but cheaper and faster. This unhealthy business model is now threatening to drive the entire VFX industry into the ground.

On February 27th, I came across this cheeky photo collage created by Irish VFX artist Martin Moylan. With great visual flair and wit, Mr Moylan's picture demonstrates just how vital the Oscar-winning visual effects in Ang Lee's "Life of Pi" are to that film's success.

© Martin Moylan/VFXrex
I shared the picture on my Blog-O-Rama Facebook page. In the course of 24 hours, Mr Moylan's striking illustration was viewed an astonishing 2,500 times.

Last week, I contacted Martin Moylan by e-mail to get his comments on the VFX industry's current situation. However, only a few of Mr Moylan's quotes made it into the piece that I wrote for Politiken's FILM section on March 7.

As a very special bonus feature exclusive to Brie's Blog-O-Rama, Mr Moylan has graciously allowed me to publish his thoughts on the VFX crisis in full. You can read Mr Moylan's piece below (Danish translation to follow soon).


EXCLUSIVELY FOR BRIE'S BLOG-O-RAMA:
An insider's view of the VFX crisis
by Martin Moylan

ILLUSTRATING THE PROBLEM
Most of the pictures going around show an empty green screen behind an actor. The idea behind my picture was to have fun with the concept and contrast a cute puppet, the savageness of a live tiger with the beauty of the final Visual Effects. This is also to illustrate what the real alternatives to using visual effects are, and how valuable VFX is.

> Before And After: A Look At Life Of Pi's Visual Effects (Empire Magazine)
> Bill Westenhofer on the VFX in "Life of Pi" (FX Guide)

ROOT PROBLEMS IN BUSINESS RELATIONSHIPS
To understand what the current Visual Effects crisis is about, imagine a community of artist and sculptors who work to exhaustion and at a loss to fill an art gallery, but with the gallery owners making billions out of the exhibition.

How I see it, the root of the problems is not so much in the VFX industry itself, but rather the relationship between them and the Hollywood production companies. This comes down to carving out a business contract regarding production fees and deadlines.

However, the problems have already begun. A set deadline and fee goes to the lowest bidder, with no provision for overtime, or charging for additional VFX changes and no percentage return from the success of the film.

The tiger in "Life of Pi" pre-VFX | © Fox 2000 Pictures 

It is worth noting that most people working in TV and film don't have a wage, but freelance from one contract to the next. This is true of actors, directors, light riggers, carpenters etc.

Union camera crews can 'clock off' at the end of the day, but by contrast visual effects require large production teams working extensive hours, often through the night, to make the changes and deadline. All of this happens in a set budget, no residuals on profits, resulting in a loss making business, with no money left to pay the staff.

For the Hollywood production companies, this is a great deal. They have little exposure to risk, can make as many changes as they like to the originally agreed designs and keep all the profits.

The VFX industry has fantastic creative skills, are pioneers in technical achievements but desperately need a strong business voice to keep the entity stable and have the power to say 'no' when terms aren't honoured.



NEW TOOLS, NEW IDEAS
Why is all of this happening now?

Computers have revolutionized what can be achieved, but remember, the sharpest chisel is a blunt tool, if its not in the hand of a talented sculptor. Likewise, computers still require talented artists behind them to create amazing scenes.

The expectation of visual effects in film has changed a great deal. Before their task was seen as lazer beams, exploding spacecraft and extended landscapes. But these days the craft is so good and so highly technically skilled, you couldn't tell that the San Francisco exteriors in David Fincher's thriller "Zodiac", or the 20 square blocks of mid-town Manhattan in Marvel's "The Avengers", were computer generated art.

In spite of what Ang Lee suggested in his Oscar speech, the choice of VFX plainly provided a huge saving in budget as opposed to actually shooting on location.

David Finchers "Zodiac" (2007) with no VFX | studiodaily.com

THE REAL STAR OF THE SHOW
It is also fair to say the visual effects actually are the real star of the show. We all lined up to see the hundred rampaging apes in "Rise of the Planet of the Apes", the monsters and Gollum in "Lord of the Rings", the giant Autobots in "Transformers", or the Incredible Hulk and Iron Man. These films could never get past the script stage without an effects team.

So in the same way that Tom Cruise gets 25 million dollars to star in each movie, these kind of visual effects playing key roles in a film deserve a better deal. They have the same pulling power as a star at the box office, some up to a billion dollars each movie, but right now are going for a meagre fee.

SHUTTING DOWN AND LETTING GO
At the moment, Rhythm & Hues, who created the tiger and all the glorious visuals in "Life of Pi" are in the focus at the moment due to their bankruptcy and Oscar win. But they are one of many who are suffering right now.
  • Dr D Studios ("Babe" & "Happy Feet") shut down production, loosing 600 workers
  • DreamWorks Animation ("Shrek" & "Ice Age") is laying off 350 employes.
  • Matte World Digital ("Titanic" & "Hugo") is closing its California office.
  • Digital Domain ("Terminator 2" & "Pirates of the Caribbean") filed for bankruptcy & closed their Florida studio.
But what can be done about this?

UNION & SHARES
One of the first steps to try and work out a solution to this is by getting all the Visual Effects houses to become part of a Union who would provide leverage in negotiating a fair deal. CEO of Digital Domain and effects veteran, Scott Ross, had proposed a union called AVEC (french for 'with') but never took off due to distrust between the studios.

> VFX Solidarity International on Facebook

Residuals in profits is another solution. George Lucas only succeeded in acquiring a share of the merchandise of "Star Wars" as they didn't expect the toys would do that well. The same was true with "Look Who's Talking" where Bruce Willis took a small fee and a percentage for his voice work, it became a surprise hit and made Bruce a fortune. But residuals is a precious mine for Hollywood, and they are not known to give that up readily.



WORKING IN EUROPEAN VFX
As an animator and VFX artist in Europe, I am very fortunate with the projects and clients I have had. Ireland is a close community in business and I worked with production teams who understood the value of creativity in the job and I always felt we were in it together when a deadline was pressing.

My future concern is many would work in VFX for free, for 'the honor' or addition to their Showreel and in turn, this could be continually taken advantage of, for free or low rate labour. Even if a union was set up, I would worry that film companies would hire only non-union artists, keeping industry wages and value low.

In my opinion, films core industry is entertainment and the visual effects industry has contributed to the bulk of that entertainment. They are often so good at what they do, we believe what we see is real and shot in camera, but therefore aren't noticed at all. But without VFX, there are fewer spectacles, fewer memorable moments and fewer interested in the movies.

It would be very bad business for Hollywood to overlook the significance of thousands of pioneers, artist and technicians who are attracting so many to the cinema. All should share equally and fairly in their success, otherwise, it's everyone's loss.

Martin Moylan | PR photo
ABOUT MARTIN MOYLAN and VFXREX
Martin Moylan utilises his animation and graphic design background to work in both films and TV. 
He provided Visual Effects and Motion Titles for the science fiction film "Earthbound" starring Rafe Spall (from "Prometheus" & "Life of Pi").
He also has just completed work as Compositor & VFX artist on the cartoon "Planet Cosmo" teaching astronomy to kids. 
You can see a selection of his work and showreel on www.martinmoylan.com or www.vimeo.com/moylan

FURTHER RECOMMENDED READING:
> Interview: Scott Squires on Hollywood's VFX crisis (Empire Magazine)
> Before VFX (assorted behind-the-scenes pictures)
> VFX Soldier (VFX industry blog)
> VFXSoldier@Twitter