Showing posts with label vfxunion. Show all posts
Showing posts with label vfxunion. Show all posts

Tuesday, August 12, 2014

It's NOT just business

It's NOT just business

At last year's VES Production Summit I was approached by the owner of a small vfx shop asking why I didn't cover some of the good or successful stories. He mentioned his company and another company (both in California). I said "Good idea, I'll want to talk to you and the other company to get more specifics". To which he replied he didn't want their company named in the post.

While newspapers and magazine write more and more fact-less articles, I certainly don't want to. Writing about a vague, unspecific company that is doing ok in this industry is of little value unless we can learn some specifics that can be applied elsewhere and hopefully raise the bar for all.

I also talked to this person about several issues, including underbidding. To which he replied, "Well, isn't that just business?"  (shoulder shrug)

NO. NO is the answer, it's not 'just business'.

I talk to others and sometimes the response is "Well, isn't that just globalization?".

NO. NO is the answer, it's not 'just globalization'.

"Well", some have said, "You had to move before so it's no different now"

NO. NO is the answer. It is different than moving to one location at the start of a career.

And I talk to some in this industry and they fear being blacklisted for saying anything about any problems. They fear even doing so anonymously.  (see http://thevfxwatchers.com or http://www.glassdoor.com/  for the lack of vfx company reviews). They fear signing a secret union card or donating anonymously to ADAPT, who is trying to neutralize the politics controlling our industry. Hear no evil, see no evil, speak no evil.

You could just as easily shrug your shoulders at a senseless, horrific death and simply say "Well, every dies." That excuse works very well and enables people to not attempt to do anything. Not my problem - until it is.


Business
Is it really just business to underbid? To bid lower than it actually cost the company? To lose money on every project, year after year? No, no company can run forever losing money. And yet some vfx 'businesses' have tried to do this and are learning the hard way that isn't a good tactic. And in the end it's the employees that end up taking the fall.

Amazon continues to lose money every year with the notion that they're in it for the long haul, yet they've been losing money every year. They're doing so because investors have been optimistic, just as they were before the dot com crash. But now investors are starting to have second thoughts. Amazon's main focus has been to underbid as many companies as they can and to try to crush others, including authors in some cases.

And many businesses these days make it the point they should squeeze out every single dollar because of the shareholders, regardless of moral issues or people issues. They must purely focus on profits regardless of anything else. Even if it's illegal in some cases.

Walmart deals with large volumes so demands the biggest discount from every supplier. And at the same time they try to pay the workers as little as they possibly can (minimum wage for most and then only if it applies).  The US taxpayers spend billions every year paying for Walmarts 'success' by subsidizing Walmart workers so they don't starve. Same with McDonalds and other businesses. This is money that should have gone to education, health or road maintenance. You as a taxpayer are making up the difference because the corporations are not paying fair wages in many case and they're ducking out out of paying corporate tax rates. Walgreens had planned to do a corporate inversion where a company essentially changes their mailing address to another country to avoid paying any US taxes. (Guess who has to make up the difference when that happens?)

There was a US corporation that bribed countries to continue using leaded gas, even though it was proven to deadly to citizens, including children, along with a long list of problems. And yet they did it for profits. After all, it was in another country so no problem for those executives making the decisions and approving the bribes. Of course it's a thin line between bribing and lobbying, something that happens all the time in US.

General Motors knew about a problem that caused a number of crashes and deaths and yet the corporate executives did nothing for years. After all, they have to make a profit.

These types of stories come out almost on a weekly basis and the notion is that everything must be sacrificed for profits. Think of the poor shareholders. Don't bother thinking of peoples lives or the workers.

Even in LA the media companies continue to think short term and will continue to decimate the future for the chance to squeeze a few more pennies out now.  They don't even realize they're hollowing out part of their core business.

You send out enough work overseas and soon you won't have anybody left to do the work locally. This has applied to a number of industries and the US can no longer do much manufacturing of any type simply because the lure of profits was too great. And those experiences and skilled workers left or moved on to other areas to survive.

This has already happened in visual effects. Pacific Title in Burbank (part of Los Angeles) was having a hard time even finding compositors for a project. Few vfx compositors are left in LA to answer the job ads.

Don't be surprised if skilled film crews start becoming much more difficult to find in Los Angeles for those pickup shots or simple inserts. One of the industries that Los Angeles is known for is film making and television. Yes the tourists coming for that are typically seeing something as relevant as a dinosaur in a history museum.

And it's not because filmmaking is going away nor is it because it's cheaper elsewhere- it's been outsourced because other states and countries have paid for it to be outsourced to them (at the encouragement of the media companies).

Because it all comes down to making the world right for the shareholder (and the CEO making 300x the salary of his workers), regardless of anything else. This also provides the CEO and executives the excuse that all their decisions they make are for the good of the shareholders and that they take no responsibility for the ultimate price paid by others.

Does it have to be like this? Are shareholders the only reason for companies? Sixty years ago it wasn't.
An except from an excellent article by Robert reich

“The job of management,” proclaimed Frank Abrams, chairman of Standard Oil of New Jersey, in 1951, “is to maintain an equitable and working balance among the claims of the various directly interested groups … stockholders, employees, customers, and the public at large.”

Johnson & Johnson publicly stated that its “first responsibility” was to patients, doctors, and nurses, and not to investors.

What changed? In the 1980s, corporate raiders began mounting unfriendly takeovers of companies that could deliver higher returns to their shareholders – if they abandoned their other stakeholders.

The raiders figured profits would be higher if the companies fought unions, cut workers’ pay or fired them, automated as many jobs as possible or moved jobs abroad, shuttered factories, abandoned their communities, and squeezed their customers.  


Visual Effects
Frequently there is news of a new visual effects company starting up. They start up because there are unemployed visual effects artists who are optimists. They figure the start up costs are not that high any more and they have a new twist on the business model (typically another broken model). And you hear about the closing of big visual effects companies but there are many more closings of small/midsize companies that you may not hear about and that aren't covered in the news. In many cases those new companies close silently within year or  two. Other times it's a company that's been functioning for years but the cost and impact of foreign subsidies have taken their toll.

Custom Film Effects is one such company and here is the letter they sent out a few weeks ago:
------------------------

Dear Clients, Friends and Associates,

Please excuse the mass mailing.

As of August first Custom Film Effects will suspend operations and join the ranks of VFX companies that have gone out of business. Like the others before us we are not closing because we produced substandard work, or because we treated our clients poorly. We are closing because we are unable to compete in a business environment so affected by tax credits in other countries and states as to make the VFX business here in California impossible. We all work in this town, we all know the environment we are working in. I could give you the stats on how our business has declined over the past 3 years. I could share all the attempts at finding a viable model for continuing operations in our present state. But, this would not change the outcome. Since January this year the fall off in our business is unprecedented and we can no longer sustain. 

I am grateful for the fifteen years of trust and support that our clients have afforded us. I look back at the shows, the relationships formed, the talent that has passed through the studio and I feel so fortunate. CFE had a great fifteen year run.

We will be placing our machinery in a small editorial facility in Culver City. These bays will be offered for rent to freelance VFX artists on a per project basis. We have some great talent showing interest in this business model. This is all very formative at the moment, more info to follow.

Thank you all for a great run……..m.d


Mark Dornfeld | Custom Film Effects | 

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As a follow up note Mark expressed his thoughts (slightly edited by me):


This is such a mess. Our last show through the studio was another rescue job from a house in Canada. The work was so bad and so late that we wound up redoing everything but 8 shots. We delivered 92 shots on an impossible time line and when I was delivering the last of the show at 3am on a Saturday morning, it really occurred to me that I didn’t want to do this anymore. We were able to zero out our debt, pay our employees and move on. I am so sad, I had a core group of artists in this studio that had been with the company for 15 years and one employee that came with me when I left Disney. At one time we had 30 people working here and were able to provide medical and dental insurance we also had several IA union employees. 

Obviously I am closing CFE so I do not see any future in VFX production in LA. Just no reason for it to return.

Just for the record I am not in favor of tax payer dollars filtering into multi national corps on any level. Bad use of tax dollars when you need schools and roads and stuff like that. This is all badly broken. The film industry grossed over 11 billion dollars last year. Why are tax payer dollars  needed and who really reaps the benefits. Our legislators claim to support local economies yet the steel fabrication for the new Oakland Bay Bridge was done in China. Bridge sections were brought over on barges. I can't decide what pisses me off more. Sending tax dollars directly to China or subsidizing multi national corps. We are not the only industry affected by poor legislation and legalized corruption, it’s all over the place.

This is all just so sad. So many people, so many families have had the rug yanked from under them. I feel so powerless. 

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So no, it's not just business.

The reality is the political and business problems of the visual effects industry affect all vfx workers (and their families), regardless of where they are located. Some in the UK are finding their jobs are shifting to Montreal. No place is immune or unaffected by these problems.

I'll cover the other issues noted above in future posts.

I also received correspondence from some individuals (working globally) and plan to fold those notes into a future post.

For those attending SIGGRAPH this year be sure to check out ADAPT talk being held there and check the ADAPT website.

ADAPT at SIGGRAPH talk
WEDNESDAY, 13 AUGUST 3:30 PM – 5:30 PM
Vancouver Convention Centre
East Building, Room 2

There's also vfxunion reps at an IATSE Union Booth at SIGGRAPH #USA829.


Other  references:
Andy Grove, former chairman of Intel, discusses outsourcing issues.
http://www.technologyreview.com/qa/425125/andy-grove/
http://www.businessweek.com/magazine/content/10_28/b4186048358596.htm


China bridge building:
http://www.dailykos.com/story/2014/06/10/1305808/-California-discovers-hidden-price-tag-of-outsourcing-Bay-Bridge-to-China#
http://americanmanufacturing.org/blog/made-china-bay-bridge-continues-cost-california
http://www.sacbee.com/static/sinclair/sinclair.jquery/baybridge/

This echoes issues that Boeing had outsourcing as well:
http://seattletimes.com/html/businesstechnology/2020275838_boeingoutsourcingxml.html
http://www.forbes.com/sites/stevedenning/2013/01/21/what-went-wrong-at-boeing/



Friday, November 30, 2012

DD cutting wages, VFX Union update

Hmm, maybe part of this should be done as a title crawl against a star field.

Digital Domain, one of the largest visual effects companies in the U.S. has been going through some rough times. They were purchased by an investor a few years ago and went public a year ago with the mentality of creating an animation group to make their own movies (the IP that everyone says will save a visual effects company) along with setting up a school for visual effects students in FLorida with students paying tuition to actually work for free on some of the projects Digital Domain Media Group was planning to make there.  They chose Florida because they (John Textor, head of DDMG) was able to talk the state and local governments to pay for much of this. And of course that all fell apart and the company went bankrupt... but not before they were able to sell the core of Digital Domain, it's visual effects company, to Galloping Horse (a media company from China) and Reliance (a huge company in India).

And of course this last week the employees there were given ultimatums to work at reduced salaries or consider themselves resigned. They have to decide by Monday. Evidently this applies to even those with contracts and at all ranges of jobs there. This occurred while they are working on large Hollywood projects.

Why was this done? I'm sure 'business' people in the acquiring companies looked at the numbers and wanted them to be even better. The easiest thing in the world to do for company management is to lower wages. That avoids the time and hassle about thinking about how to cut waste and how to be more efficient. Focus on the short term, ignore the long term issues. Forget the fact that the most important part of a visual effects company are the employees. Otherwise it's just a building with computers which anyone can setup.

I'm sure over a year ago most people working there thought everything was going reasonably. Not great and with need for improvement but at least they had jobs and DD was still in a reasonable place. No one would have predicted what actually happened this last year.

Those who signed on to work on the animation project and the 2D to 3D conversions and moved themselves and their families to Florida had no idea the rug would be pulled out from under them with no notice.

Those working at DD in Venice would have no idea that their company would go into bankruptcy and acquire new owners.

Those working at DD had no idea they'd be asked to reduce their wages out of the blue while working on a project.

I'm sure those working at Sony's New Mexico facility had little notice before that was closed. Or the Sony artists who were told they could work in Vancouver or quit.

And Double Negative recently laid off quite a number of people that didn't expect that to happen.

I think the key lesson here is no matter how safe you think you are, even if you're with a large company, even if you're in an area with plenty of film incentives, you may find the rug pulled from underneath you at anytime. You can't keep your head buried in the sand forever. You can't live in a magic bubble. Your incentives will not protect you forever.

Will you be willing to move to China and work in poor conditions at a fraction of your wages? Because that's where it's all headed at this point. The Chinese company that bought DD will be using it to train people to work in China.

And yet most of this seems to fall on deaf ears. According to many commentors on other forums they have no issue moving every year and dragging their families with them for no logical reason. Good luck with that.

In a short time most visual effects artists will have to make a decision if they haven't already.
Those at DD will have to make this decision by Monday.

1. Suck it up, roll with the punches and let the companies and studios disperse you randomly around the world for whatever wages and working conditions they choose.

2. Quit. Give up what you love. Go into something with more stability and less crazy hours.

3. Stand up and do something. Speak up. Group together. Stand together. Join a union. Think of better solutions.

Starting a visual effects company is not a solution.

Welcome to the new world order.

Site by and for Digitial Domain artists in regard to this issue

From VFXSoldier  Digital Domain pay cuts
From this blog VFX Artists don't need to be taken advantage of


DD Info from VFXSoldier
Digital Domain purchased
DDGM files for bankruptcy
Digital Domain financial problems
 From this blog:
Digital Domain plans to have paying students make up 30% of work force

Visual Effects Industry overview
Pass me the nail
Waiting
What Happened?

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Reminder for those in Southern California tomorrow:

Understanding Unions: The Good, The Bad & Unknown Of Forming A Visual Effects Collective Bargaining Organization


Be sure to RSVP at VES Event page


Saturday, December 1, 2012 from 9:30AM to 12:00PM
Los Angeles Film School Theater
6363 Sunset Blvd., Los Angeles, CA 90028

Hopefully it will be clear and informative and not be rants about the auto industry and other chestnuts.


[Update 12/3/2012  fxGuide has a write up of the meeting. Video should be available at some time in future at the VES website for members. And yes, the auto industry was mentioned.]

Maybe they'll have pins tomorrow


Related:
Visual Effects Guilds
Visual Effects Union, Take 2
Unions, the Middle Class and Visual Effects
Using the nail
Unions, VFX working hours and environments
How do these things tie together?



Sunday, August 12, 2012

Visual Effects Trade Association


At SIGGRAPH John Textor announced he was giving Scott Ross $100,000 to help start a visual effects trade association.

This is probably a good thing.

What is a trade association?
It's a group of companies in a specific industry that organize together to achieve common  goals. The MPAA  is a trade association of motion picture studios that negotiates as a group with the guilds and unions of hollywood. They standardize and provide film ratings. They are also involved in anti-piracy protection.

There's trade associations in quite a few industries. International Dairy Foods Association  covers the nation and Dairy Institute of California is made up of dairy farmers in California.  Because they cover a specific area they then lobby the state or federal government for or  against specific bills that would affect them. Some trade organizations do group advertising as well or set standards for their industry.

TechAmerica is made up of  high tech companies.
Wiki coverage of trade associations 

As you can see these groups are able to leverage their strength in numbers to their advantage. In many ways a trade associate is like a union or guild for companies. The companies pay dues and they are working as an organized group.

Scott Ross originally estimated the association would require $3 million a year to operate. He's since cut that figure in half so the $100,000 he is receiving is seed money. And the company dues will be significant compared to a few hundred dollars most guilds charge their workers. Dues in the trade association could dwarf the cost of a company unionizing.

What could the trade association do?
They could agree on standards and practices such as visual effects bidding forms or even things like model interchange formats. The Association of Independent Commercial producers (AICP)  has standardized bidding forms and bidding processes among other things. Although my understanding now is that this may not have truly benefited the producers in the long run.

They could agree to working conditions for their workers. They could use their strength in numbers to make deals with software or hardware vendors. They could review basic business models and work as an organization with the studios to negotiate common issues.

If there were a visual effects union the trade association could be the ones to negotiate with the union compared to each each company having to do it individually.

What they have to be very careful of
Collusion. This is where companies get together to decide on financial or hiring practices that are illegal. ILM and Pixar colluded to not hire each others animators. That was illegal as per the justice department. They won't be able to set rates or agree to match pricing. Because it's planned as an international association it will have to abide by laws that affect all nations.

What it can't do
The association is currently planned as an international group. You'll notice most trade associations are region based where they can lobby for specific things. With an international group they won't be able to lobby any specific government because that would be detrimental to other members of the association. So that means things like visual effects tax incentives will likely not be addressed or dealt with.

Companies
There will also be a question as to how many companies and what size of companies signup. So far visual effects companies have been reluctant to start a trade association on their own. Will they be willing to join one if someone else starts it? Will it provide a balance for very small companies and the largest visual effects companies? In some ways it can help provide the smaller companies with more leverage but only if that's the leverage the smaller company wants. Will companies who aren't members benefit from the improvements the association makes? Will studios seek out associate member companies or avoid them? Will the the studios take umbrage with companies looking to join the association as some companies do to workers who are looking to join a guild? That all depends on the associations agreed upon agenda. It's also very dependent on which companies and how many are in the association. If all the largest companies are members then there may not be much option for the clients.

Time
It will be interesting to see how long it takes to build a trade association and come to agreement on key issues. This is likely to be a very time consuming process (at least a year or more).

Comparison
As mentioned a trade association in some ways is like a union or guild for the companies. By organizing together they provide a strength in numbers and solidarity that independent companies don't have. Same thing applies to unions and guilds. They provide a strength in numbers and solidarity to individual workers that they don't have by themselves.

The distinction is a trade organization has  different goals than a guild. The trade organization's goal would be actions that are  beneficial to the companies. A guild's goal is actions beneficial to the workers. More profitable and balanced companies would be good for the visual effects industry as a whole but doesn't necessarily result in benefits for the workers. The trickle down effect does not work. A more profitable company will tend to pass the additional profits on to investors, executive management and possible long term investments. None of this may address hiring and layoff practices and it's unlikely to provide things like continuous health care or limited overtime.

In fact a trade association could make decisions on practices that are detrimental to visual effects artists. (Amount of overtime, overtime pay, employment agreements, etc) Only time will tell how this plays out. If that's the case then individuals who quit specific companies because of certain practices may find that most other companies are now doing the same thing. Individuals have very little power when dealing with a single company and will have much less with an organized group of companies. A trade association may be even more of a reason to look at a guild as a way to keep some balance.

Summary
A visual effects trade association could be a good thing for the visual effects industry if it actually materializes and takes the necessary steps. It won't deal with tax incentives and some of the other ills of the industry. It doesn't  and shouldn't preclude a guild for visual effects artists.

[Update: DD closed operations in Florida and the company has been sold. The $100,000 being offered to help start the Trade Association didn't happen. Scott Ross had obtained a number of yeses and at least a couple of Nos. Not sure how likely it will proceed at this point.]

Friday, June 01, 2012

Waiting

Even though there is a real IA visual effects union effort starting up many have decided to continue to sit on the sidelines. They are waiting for the perfect solution for the visual effects industry. They are waiting for a global organization that can guarantee paid hours (including overtime), limit overtime, provide good working conditions, healthcare, end underbidding and provide solutions to other problems that the industry faces (including elimination of tax incentives for some). It's to be a hydrid of a union (but not really) and a trade association (but not really). They want something that all workers and companies immediately sign up for. Some don't want to pay dues so it must be free. 

Unfortunately for those people, it will be a very long wait. No such organization exists and it can't materialize out of thin air. The VFX foundation was started with some of those goals but I'm not sure where it is now. To start up any large organization takes a lot of effort, time and money. To try to do something that meets all the legal requirements in all countries is a monumental task. Even for companies such as Apple they have to have special warranties and other adjustments depending on the country. In the U.S. there are specific laws regarding unions, non-profits and various types of businesses. There's differences even at the state level. And similar issues exist in other countries with specific regulations even in different regions of the same company.

Those of us who work in this industry should be happy when there are improvements to the artistry, technology and business of visual effects no matter where it occurs. If a group of workers and companies in the world make improvements for themselves without causing a reduction elsewhere, good for them. Improvements anywhere will hopefully become a guide and inspiration for others in the global view. 

One does not scale a mountain in one leap, but by taking steps. Rather than waiting endlessly for the ultimate solution (which won't occur), the best approach would be to take the small steps that are possible now. The IA effort isn't worldwide but if it did occur in the U.S. it would likely cause an indirect benefit to other workers who wish to be paid fairly for all the hours they work. The union movement in U.S. and elsewhere elevated many of the working conditions even for non-union workers. (40 hr work, weekends off, vacation, etc) I suspect the same thing would happen in this case.

I urge visual effects workers to do some research, spread the word and discuss with your coworkers. What are the problems you're facing and what are -you- going to do about them? What is the solution? Rather than sit by the sidelines or heckling, how about providing a solution or lending a hand?

There is a meeting June 3 for those in the Los Angeles area. For more info on the meeting or the IA effort: The IA Visual Effects Website

Saturday, April 21, 2012

Visual Effects Union, take 2

(Update 4/23/2012 fixed missing BECTU link)

Yesterday there was an IA Union meeting with a number of visual effects artists. Most were from Sony Imageworks but there were others attending to get information firsthand regarding a possible visual effects union. The visual effects community received a fair bit of press regarding this including the Los Angeles Times articles here and here (retweeted by Roger Ebert), Hollywood Reporter, Deadline Hollywood, Cartoon Brew and VFXSoldier here and here.  The Animation Guild has posts related to this here, here and here.

Well now that the Visual Effects union is ramping up again, what’s next?

It looks like the IA is taking this more seriously now. (And don’t count IBEW out).  Evidently the IA has a website in progress but they will likely setup a temp site/blog regarding the visual effects union in the meantime.  [ IATSE Visual Effect Union website is now up ] They seem to realize the need to get with the new millennium and provide information on a website. They’ll even have a twitter account [ @vfxunion ] and likely do a visual effects podcast interview. [ podcast is here ]  They’ve asked the Animation Guild to help out in this process since they’re the closest specific union to visual effects and understand some of the issues better. The Animation Guild already covers animators at Disney and Dreamworks along with compositors and other artists.

I’ll cover a few things here but none of this is official, which is why a union website straight from the organizers would be a good thing. I had listed suggestions for the union here which they have reviewed along with a number of other blogs and input from artists directly.

A few artists from Sony Imageworks got the ball rolling and created their own website, SpiUnion. They actually have a number of questions and answers there which everyone should read. Sony Imageworks is somewhat unique in they are owned by a studio so indirectly at least they are connected to the decision makers and profit makers. Sony Pictures and Sony Animation are both union based but Imageworks (visual effects) is not. The IA will continue to have meetings with those interested from Imageworks. The notion is to be able to provide information and to help educate visual effects workers regarding what a union is, how it works and what the potential benefits are. This would be Union 101 because most visual effects workers have no direct knowledge or experience with unions.

The IA will likely have meetings around Los Angeles for visual effects workers who want information and have questions. These would cover many of the same issues as above.

I’ve covered much of this already in other posts but suspect I should repeat a few things here. I’m not a union rep so take these with a grain of salt. I urge those in the US to talk to a union rep to get clear answers about these and other questions you might have.

Visual effects was in fact covered by unions once upon a time. 
This simple statement still draws puzzling looks from workers and management. Suffice to say that until digital there was a fair bit of union coverage. Close Encounters and others shows were union. Union camera for models, optical printers, motion control, etc. Matte painters, model builders, animators, etc were all union. ILM was union. The transition of digital effects and the proliferation of companies resulted in non-union as the new normal.

‘This will be the nail in the coffin’ of the US visual effects industry. 
This old chestnut still lingers and is often repeated without considering what’s actually going on. The union knows there’s no point in going through this and burdening the visual effects companies with huge union costs. If added costs were to cause a company to close then it would be of no benefit to the union or workers. The union expects to work with each company and negotiate an arrangement that makes sense. It’s like SAG (actor’s union) which has different actor minimums depending on the type of project. Small, low budget short films have different rates than large studio productions.

There are a number of factors that go into deciding where the work goes including quality, availability, price, artists, and communication among others.

What does a union mean to a US visual effects worker?
The union should be able to provide reasonable health care coverage that is continuous when you move from one union company to another as you work on projects.  You still have to put in so many hours to qualify for health care but you don’t have to start from scratch with each company. In addition you get a pension, vacation and a few other benefits.

The union would enforce some basics such as working conditions and minimum wages for given categories. Misclassifications, payroll scams that charge workers, unpaid interns, uncompensated overtime, missing payroll and other problems would be dealt with.

As a union member you would vote on who represents you just like other unions. This means visual effects people would be involved in overseeing the union.

As an individual you have very little power. If you don’t like something or aren’t paid (such as some in Montreal experienced) there’s not much you can do by yourself. You can talk to management or quit. As a union member you would have collective bargaining. If you’re part of a union there’s strength in numbers to ask for reasonable things. If a shop misses payments then the threat of the entire crew leaving gives the company an incentive to correct their problems.

Standardization of titles would also be likely to happen.  People would be less likely to be given fictional titles (higher or lower than their true involvement).

Visual effects workers would at least achieve some parity with the rest of those working in movies and television. Which may help to gain some respect.

How can the union deal with all the different jobs involved in visual effects?
The current notion is this would be a visual effects union which would cover the entire range of work and which would allow flexibility. Since the guidelines and contracts will be written up with visual effects people, these are areas that would be fleshed out.

How much does it cost to be in the union? 
The IA has stated that if you’re with a company that becomes union then they will wave the initiation fees. Most dues are a few hundred dollars a year. Check the SPiUnion site for some of the specifics. In any case the dues are a very tiny fraction of your pay and the benefit obtained by being in the union vastly outweigh the costs. Compare the cost of individual health care with the cost of union dues and that will become very clear.

What about profit sharing?
The IA already shares some of the profits from the studios. The studios have to put in a percentage of profits into the health and welfare fund. It’s the basis for much of the Hollywood unions health coverage.  And visual effects is one of the few groups working on films and television that get no profit sharing currently.

What about outsourcing?
The union can’t stop outsourcing. Most outsourcing is based on tax incentives of different countries and areas. One of the best things that could happen to the visual effects industry is for all tax incentives to go away so all companies are competing based on quality, efficiencies, cost and other factors they control, not a politician. The union can lobby the US or state government to provide tax incentives or they can lobby the WTO to stop tax incentives but those are difficult battles.  In the end as long as politicians can convince the right people and those being taxed don't complain, incentives will continue.

What about a small company with no benefits and no overtime compensation?
Well there would obviously be some costs involved for the company. Right now you as a worker at this type of company are absorbing all of those costs directly. Anytime you’re misclassified, working free overtime or having to pay all your own health insurance you’re absorbing more than many people are in other jobs. Why should you bear the brunt of poor management? Is there a reason you wish to fund the company by personally paying for what most jobs pay for? It may simply be a matter of balancing the company pay rates and what they contribute.

What does a visual effects union mean to those in other countries?
There’s been some suggestion for a worldwide union for visual effects workers but the complexities and differences in laws and regulation across multiple countries makes a true international union unworkable. The IA does have a presence in Canada and there is a visual effects union there as well. (IA891)  In this case there may be some type of mutual agreements for those who move between areas that some of the coverage might be able to continue. In the UK there is an entertainment union called BECTU. I don’t know anything about it but those interested could investigate.

One impact on even those in another country is a visual effects union here in the US would provide at least a frame of reference in terms of working conditions and other factors. You can always ask for some of these same types of things in your deal memos or at least know where you stand.

What does it mean for the companies?
If a company already has health care for employees this may prove to be less expensive since it’s funded in part by studio profits and the union has thousands of members so the insurance rates are likely less than a medium shop with 100 people. As noted previously the union will want to avoid being a financial burden on companies.

The union would also likely provide some reassurance regarding the ability of the people in the union. The International Cinematographers Guild has classes and certifications as new equipment and positions start up. A visual effects union could do something along the same lines.

Given a choice between working on similar projects at a union company (with continuous benefits and known working conditions) and a nonunion company, most workers would prefer to work at the union company. That’s an incentive to get and keep good people.

What does it mean for the studios?
The majority of people working on movies and television are already union based. From directors and writers to the grips and wardrobe department. So this shouldn’t be out of the ordinary for them. Again if the union adds an unreasonably cost of doing business to the companies or studios then it will be unlikely to be successful. But the studios are used to negotiating and certainly aware of all the various unions and what’s required.

What about a visual effects trade association?
A trade organization is meant for companies, not workers.
The union does nothing to prevent a trade association from forming. In some ways it may encourage the companies to form an association so they can negotiate as a group with the union. Rather than continuing to wait for a visual effects associate to form, visual effects workers can take control over their situation and proceed if they wish to support a union.

What about the VES?
The VES is an honorary society to help educate and honor visual effects. Part of what it’s been attempting to do the last year or so is to make up for the fact there is no union or trade association. If either of these existed then the VES would focus on it’s origin mandate and help as necessary in other areas.

[ More info: IATSE Visual Effect Union website ]


[Update 12/3/2012  There was a VES sponsored event regarding VFX Union with a panel of people both pro/con union, including a representitive from the union.  fxGuide has a write up of the meeting. Video should be available at some time in future at the VES website for members. And yes, the auto industry was mentioned.]

[Update: Film Unions info ]

Related post with more details:
Visual Effects Guilds