How do these things tie together?

Early last week I posted about what was going on in Wisconsin and how that tied into Unions, the Middle Class and Visual Effects.  A couple of posters took issue with my posting so let’s review a few things.

I started this blog and podcast to cover visual effects issues that weren’t covered elsewhere.  I wanted to provide the full spectrum of vfx knowledge based on my experience.  I had no interest in yet another blog about setting key frames in Maya.  To that end I’ve covered budgeting, careers, creative choices, technical concepts, business and other issues.

One of the larger issues that Visual Effects workers have to deal with is quality of life and benefits. I think these are important issues to those involved professionally in visual effects and those planning to get involved in vfx as a career.  Many things have been changing both locally and globally that need to be addressed.  So that’s why I’ve written a number of posts about these issues and will continue to do so if I think there is something new to report or discuss. You may be with a company or in a country such that you’re not directly impacted by any of this and just want to ignore it.  But at the end of the day this is all interconnected, like it or not.  The fact you may not seeing it first hand doesn’t mean it’s not happening.

Visual Effects has always been a field that has had its ups and downs based on the amount of work available.  In the last several years many countries and states have been offering various incentives to productions.  That combined with emerging vfx globalization has caused a number of vfx companies in the U.S. and more specifically California, to close.  Many vfx artists have had to travel to other locations around the world to keep working. The visual effects work done around the world have helped US studios make record profits and yet vfx artists are often considered as secondary to many of the other groups in filmmaking.

VFX are the last link before a film is released and as such most vfx artist put in a lot of hours, especially toward the end of the production.  90+ hrs is fairly common at times. So what happens to those people who put in all that time? Most are laid off at the end of the project unless the company has another film or tv project lined up. And when they are laid off any benefits they had soon go away as well.  VFX is one of the few areas in motion pictures not covered by unions. Many vfx companies are in a race to be the cheapest supplier of vfx so they can compete with 20-40% tax incentives.  One of the ways this is done by forcing artists to be independents contractors with no benefits who then have to pay all taxes and benefits themselves. At the end of the day in many parts of the world, and certainly in the US, it’s the employees that are being squeezed between the studios and vfx companies.

Last year Lee Stranahan wrote an article in the Huffington Post addressed to James Cameron regarding fairness to vfx artists.

This started the ball rolling to finally have vfx artists speaking about some of the issues that they face.

Lucasfilm and Pixar, two of the most successful vfx and animation companies, have been charged with collusion by the Department of Justice in order to avoid competing for animators and to avoid increasing wages for these artists.
Who’s looking after the artists?  Currently only the artists are looking after themselves and most don’t.

One of the problems has been those of us in vfx enjoy the creation process so much and are so focused on the actual work we often lose sight of reality with the rest of our lives. Having a balanced family life and being continually covered for such things as health care and retirement at time seems like a pipedream.  Some of those who worked on Star Wars are now closing in on retirement without a lot to show for it.  Many of the digital age are being burned out or being left behind by productions going elsewhere.

VES
So what can be done to help the state of vfx artists?  How do we help ourselves and the business we love to work in? There is the Visual Effects Society (VES) which provides a worldwide professional organization that helps to raise awareness of VFX, provides education and standardization.  Many in the vfx community have looked to the VES to handle all of these other problems but the VES is not a union or a trade organization.  For it to become either of these would akin to the Academy of Motion Pictures and Television to become a union.  That’s not its role.

There are many in vfx that say the VES should do this or that.  The VES is a non-profit involving primarily volunteers.  (I’m on the board of Directors of the VES and as such volunteer my time as I did with the VES Handbook.) And here is the issue that is repeated here.  If you want something then please step forward and lend a hand.

Union
We are now at a crossroads. This fall 2 unions (IATSE, IBEW) stepped forward and have offered to represent vfx artists.  This is a moment of time that won’t last forever.  In a year or two the window will be closed and that will be that, so it’s important that everyone involved with visual effects get educated about these issues and what it means to their future.  Some of the vfx companies have also been meeting regarding setting up a trade organization.  I think both of these would be beneficial to raise the level of vfx production and balance it for the artists and companies.

There are some people saying a VFX Union will be the nail in the coffin for vfx in the US.  We’ve already been non-union and that hasn’t stopped jobs from going elsewhere for the last 10-15 years.  (The unions can’t stop jobs from going elsewhere either.)  So what do these people propose?  Please, post a working solution.  I don’t think ignoring it is going to help. Just how far do you want your benefits and wages to fall before it’s enough?  If low compensation is the only thing keeping vfx in the US then we’d all better be ready to drop our compensation in half to compete with government incentives elsewhere.

This is a note from the Oscars:

ABC News' Chris Marderosian reports:

At the Academy Awards tonight, best cinematography winner Wally Pfister made a point during his acceptance speech of thanking his union crew on “Inception.”

Backstage he went further, expressing shock at Wisconsin Gov. Scott Walker’s budget proposal, which would limit union’s collective bargaining powers. Opponents of the plan have been protesting at the state capitol for 21 days.

“I think that what is going on in Wisconsin is kind of madness right now,” Pfister says. “I have been a union member for 30 years and what the union has given to me is security for my family. They have given me health care in a country that doesn’t provide health care and I think unions are a very important part of the middle class in America all we are trying to do is get a decent wage and have medical care.”

Shouldn’t vfx artists be able to get the same benefits as everyone else in movie and television production?  Just about everyone on stage giving and receiving awards were in unions.  Directors, writers, cinematographers, actors, etc.  Or should we simply try to ignore the situation and continue to have people working as independent contractors with no benefits since that seems to be working so well.  This is not your father's union.  It is up to those in vfx to step up and help make it what they want.  The Animation Union has a posting with related information.

So what does this have to do with Wisconsin and the middle class?  One of the comments was that I was making a big deal about nothing.  There was a similar comment when I discussed health care where the commenter thought I had been exaggerating the issues and costs.  Yet the costs I quoted for health care are what I had to pay in real life. These are facts.  My daughter is in her mid 20’s.  Her insurance increased 19% last October.  She just received a notice that it will now be increased another 19%.  This goes into effect just 6 months since the last increase.  I wish I was exaggerating but this is happening in real life.  If you’re in a location or situation you don’t have to deal with these issues then consider yourself lucky but don’t dismiss them as exaggerations of others.

Middle class – newsflash: vfx artists are the middle class.  We work for a living.  We work long hours trying to make a reasonable living for ourselves and our families. We’re not kicking back and making multimillion dollars off of investments nor are we on the street (although some are coming close).  In case you hadn’t noticed the world economy tanked a couple of years ago.  This was caused by bankers and those on Wall Street.  The rich.  And who exactly has had to pay the price for that problem?  Us.  The workers.  The middle class.  Higher costs, home foreclosures, less jobs, less benefits.  Many laws were broken and incredibly bad decisions were made but the rich aren’t being fired nor is there even consideration to prosecute any of them.  Many received bonuses for driving the companies into the ground. Do you think you'd get a bonus for doing bad work in vfx? Bonuses were in the billions on Wall Street.  What was your last bonus? (Bernie Madoff was a fluke and the only one to get into trouble.) There is still no form of regulation.  This will happen again.  Even though the pay of CEO’s has skyrocketed in the last 20 years, most working wages have been much slower to rise and in fact most workers compensation hasn’t kept up with the cost of health care and other costs.

The unions have helped to provide some standards for working that has lead to the middle class.  The workweek, vacation, etc can be traced back to many of the issues the unions have fought for.  You’ve already benefited from the unions even if you didn’t know it.  Guess which way things will shift if the unions and any type of worker groups are denied? Do you really think companies are going to be jumping in and adding benefits even after the economy gets back on track?

One of the commenter’s thought I had made this into a us versus them type of argument.  I didn’t create the situation but when you actually take the time to read the facts and figures it’s hard to ignore the reality.  There are people focused on specific agendas and improving the world for everyone is not on their list.

What’s happened in Wisconsin and has been happening in other parts of the world is that at some point those working in the trenches finally say enough is enough.   Will that ever happen to you?   Will people be willing to take a stand for themselves and their future?  Should that be happening in visual effects? Are you willing to step forward if you don’t think something is right? Or will you stand on the sidelines?    Related: VFX Solder posting


Wisconsin – On the surface it sounds simple enough.  To help balance their budget the state is asking the people who work for the state to reduce their wages and their benefits, because after all, we all have to tighten our belts.  In visual effects there’s the term “smoke and mirrors” to create an illusion.  And in this case it’s “smoke and mirrors” to be used for its dirtiest deed: propaganda without any truth.

Here are some of the Wisconsin issues in a nutshell for those that don’t like to follow links. For those interested I have a number of links at the end covering all this and more in great detail. Amazing and appalling.

Historical info:
In 2008 Scott Walker was chief executive of the Milwaukee County Board. He was trying to slash union positions and yet at the same time he was trying to get increases for his aides of 11-26%.  He attempted to bypass the county supervisors and make it so.

In early 2010 he wanted to fire 26 union security guards that worked for the county to ‘save money’.  The county board rejected the idea.  He then ignored the board and fired 26 union security guards.  He claimed it was a budget emergency.  Now instead of hiring a local company to provide security (and jobs) Walker hired the non-US security company Wackenhut, the same company that had major problems with their employees in Kabal. (Drunk and naked among other things).  The person who was put in charge of this security team was an ex-convict.  In January of this year a state arbitrator deemed there was no such budget emergency and that Walker had over stepped his bounds of authority.  The county is required to rehire the guards that had been fired and pay them their back pay.  Cost to the county: over $400,000.  Walker would have been fired at most companies.

So what about the current budget woes and emergency?
From the February 18 New York Times editorial, "Just last month, he [Walker] and the Legislature gave away $117 million in tax breaks, mostly for businesses that expand and for private health savings accounts. That was a choice lawmakers made, and had it not been for those decisions and a few others, according to the state's Legislative Fiscal Bureau, the state would have had a surplus."

Odd, for someone who wants to balance his budget he’s put the state in even more red.  I wonder who he can get to make up for these trumped up budget woes?  Who should he blame as the reason for the budget problems?  Why the state union workers of course.  He’ll blame them for causing the financial troubles in Wisconsin and appeal to non-union workers that these union workers are getting way more benefits and aren’t willing to tighten their belts like everyone else.

Many state workers in Wisconsin are covered by unions. Nurses, teachers, firemen, policemen, etc.  They had worked out contracts with the state to be paid at a lower wage rate than most private workers but with higher benefits.  As the years have progressed wages and benefits for private sector workers slowed and in some cases started going backwards.  So now the state workers, who have been doing their jobs and have contracts, are being asked to make up for the Wall Streets melt down and the politician’s self created financial problems.  Note here that some of the unions are being targeted and others, who supported Walker’s election, are not. And so the unions said they were willing to cut back on both wages and their benefits to help out but the governor has refused. He wants to end any type of collective bargaining.  So the main thing he claims to want to do, balance the budget, is not really want he wants to do.  Eliminating collective bargaining itself doesn’t save the state anything.  The latest information is it will likely cost the state almost $47 million in loss of Federal transit aid.  Wow, he’s saving the taxpayers money right and left.
Workers: -1  Wall Street: Bonuses

Among the gems folded into the current Wisconsin budget proposal:
The ability of the state to sell any power plants without bids and without input.
Full control over Medicare by a small committee with no public input.

Taxes
While the middle class is being shaken down and all public projects are being eliminated it’s mind boggling when you find out that much of this could be eliminated if the government simply closed the tax loopholes for the rich and companies.

One thing that’s currently happening in the UK is some people have realized all of the things that are being slashed to save money (Children’s hospitals, etc) would be fully paid for if companies and the rich were actually taxed.

Warren Buffett discovered he was paying a lower tax rate than his secretary and has spoken about how unbalanced the tax structure is.

“As he [Carl Gibson] says, if you have “one dollar” in your wallet, you’re paying more than the “combined income tax liability of GE, ExxonMobil, Citibank, and the Bank of America“”

Summary
So should workers have any rights?  Should the working middle class shoulder even more? Should VFX artists have rights?  I hope this has provided at least a little more insight to how these issues interconnect.

(I have some specific VFX postings in the works but in the meantime feel free to check out some of these links).


Original links
Wisconsin Power Play

Rachel Maddow

Billionaire Brothers’ Money Plays Role in Wisconsin Dispute

Why am I here?

Scott Walker Padded Salary Increases for Cronies During Budgetary Distress

Money Won’t Buy You Health Insurance

Wisconsin
Top 5: Why Wisconsin Matters To You

Rachel Maddow 1
Rachel Maddow 2

Rachel Maddow 3

Rachel Maddow 4

Are These People Overpaid?

Walker’s Budget Plan

The Last Time Scott Walker Went Union Busting, He Was Overruled And Wasted Taxpayer Dollars

Gov. Walker Informed That Bill Targeting Unions May Cost State $46 Million In Federal Funds

Lessons for Wisconsin from Flint 1936-1937

Who 'Contributes' to Public Workers' Pensions?

Shock Doctrine, U.S.A. 

Scott Walker's Plan To Take Control Of Medicaid Decisions In Wisconsin

Public Unions In Wisconsin, Elsewhere Are Scapegoats

Bigger Picture
Our Economic Pain Is Coming from Big Industry CEOs, Not Public Employees' Unions

Plutocracy Now: What Wisconsin Is Really About

It's the Inequality, Stupid.  How Rich are the SuperRich? Graphics

Gov. Chris Christie: The Biggest Sham In American Politics

Koch funnels money to govenors fighting unions

What the Right-wing Assault on Women, Unions, the Environment, Health Care and PBS Is All About

Unions and the Rich

The Liquidation of Society versus the Global Labor Revival

Union-Busting Is Theft -- a Weapon of Class Warfare from Above

Budget cuts to cost 700,000 jobs

Wall Street
Why isn't Wall Street going to Jail (Excellent article)

Taxes
How to Build a Progressive Tea Party - How people in the UK are fighting back (Excellent article)

You Have More Money In Your Wallet Than Bank Of America Pays In Federal Taxes

Warren Buffett:  Raise My Taxes  (Warren Buffett’s tax rate is 16-18%)

US Uncut

UK Uncut

10 step guide to launching US uncut  

Unions, the Middle class and visual effects

For those of you who may not be aware the American Middle Class is under attack by the rich and the powerful.  The corporations are pushing ahead in the name of greed.  For those of you who don't understand unions or what the have done for you already...


Wisconsin Power Play

Like Weekends? Thank Wisconsin

Added link:
Union busting sponsored by Billionaire Brothers The greed never stops.

What's happening in Wisconsin

The Governor's 'money saving methods'

Just how long can the companies keep fooling people with rhetoric and hypocrisy?

In the world of motion picture production in the U.S. almost all categories of people involved belong to a union of one sort or another.  Directors, writers, actors, camera crew, art department, wardrobe, makeup, grips, etc. with the exception of Visual Effects (VFX).   Why are they all union?  Because then they have health insurance and pension.  Critical for anyone involved in the freelance world of motion pictures (including television and commercials).  In this country health insurance is out of control.  Yearly increases of of over 20-30% are happening every year now.  Soon the only people who will have health care will be those in congress.

Getting Health Care Insurance

The other thing a union provides is a method of collective bargaining.  A person of one has very little
input and is very easy to dismiss and ignore.

I'm not here to say all unions are perfect. The thing though to understand you typically have one group (such as a company) who wants to pay the least possible it can in wages and benefits.
In the motion picture industry many new comers would be more than happy to work for minimum wage or to pay to work on a project.  Most company's don't care except for their top tier of people.
On the other side of the spectrum you have unions who try to keep up wages and benefits as much as reasonable.  It can be a tug of war which would be lost immediately if there were no balance.

Just a quick recap for newcomers:
VFX artists work around the world.  Typical work week is 50hrs minimum but 90 hr+ weeks and 7 days a week are not that uncommon.  Given those hours they typically give up much social and family life.

These are hard working people working on very complex images under incredible time limits. They've developed very specialized high technology skill sets and artistic ability learned through years of experience.

Work is on a project by project basis so after a few months the worker may have finished on one film project and now have to search for work all over again.  Any health care that they might get will be gone as they have to work for another company.

In the topsy turvy world of vfx, the top 20 money making films of all time are vfx films.  The top vfx films every year create billions of dollars of gross.  And yet profits for those involved in vfx is minimal.  The various tax incentives around the world have made it impossible to compete on a level playing field.

Those interested in VFX Union can get basic questions answered here.

Those who are involved with visual effects but don't have an interest in some type of representation fall in a few groups it seems to me.

1. Those concerned that all work in the U.S. will instantly vanish should the U word even be uttered.
Here's the reality: the unions are not stupid.  They will have to work with the companies to strike a reasonable balance.  Since most VFX workers currently make reasonable wages the big issue will be benefits.  Those companies that pay no benefits will be the hardest hit. But if they're not providing benefits it seems like they're on thin ice already. If you're working for a company who doesn't provide any benefits and have to pay your own health care and other taxes just how good of spot are you anyway?  How long will the company stay in business if it has to squeeze this much? Are you really making a working wage if you're paying your own health insurance?  (and the punch line is: 'What, and give up show business?')

2. Those who are young and naive to think everything will sort itself out.  You're not sick.  You haven't been to a doctor in 5 years.  La ti da.  And why do you think you have car insurance?
The problem here is time does fly by quickly, more quickly than you think. At some point you may want to marry, have kids and have a house. How are you even going to be able to afford insurance at that point?  You think you're paid well but try paying $12-24,000 after taxes to just cover health insurance?  What happens if the unexpected happens?  You're hosed. A percentage of those people who had their home foreclosed or living on the street? Bankruptcy due to illness and medical
expenses.  The health insurance companies in the U.S. are in it for profit.  They're like the house at a casino.  They always win.  The rates are always in their favor.  Do you want to take the chance?

3. Those who think of themselves as artists.  Too cool for school.  Hmmm, tell me again my directors, writers, camera people and others are covered by unions but you don't want to be?

4. Those that think that all companies are looking after their employees.
Many vfx companies have been started by vfx artists themselves.  But as time goes on mistakes may be made.  Sometimes there are bad decisions, changes in management and other things that change the working conditions.  When that happens you might not be sitting on the top of the pile after all.  More than a few people have had the rug pulled out from under them. If the company goes under any health care you have is instantly gone.

5. You think you can alway negotiate for a great benefits and wage package. The various vfx
schools are churning out more vfx artists than the market can bear every year.  Don't you think
the companies are eyeing the newcomers more the higher your coverage goes up? Many companies see their employees as cogs just as the studios look at vfx as a commodity. At some point your luck will run out. And it's actually very unlikely that great benefits package you got was as
great as you thought.

Follow up:  How these things tie together

VES Handbook for Kindle - Back soon

The Kindle version of the VES Handbook was up for a short time a month or two ago but it was discovered that the Table of Contents was missing (a critical feature).  Focal Press pulled it to fix the problem and I'm told they have submitted an updated version.  It's now up to the Amazon process when it will be re-posted. Hopefully soon.

[update 7-20-2011: Now available]

US Health Care

Health care:
In a recent posting one of the commenters  suggested that I was being a bit over the top regarding issue of health care.  As I noted there all the information I provided was based either on my direct experience with insurance companies or were covered in multiple news sources. Seems to me this was someone who wasn't following the news for the last year or two during the health care debates.

Wendell Potter, previously the chief spokesperson for insurance giant CIGNA, tried to stop the Michael Moore film 'Sicko' from being seen.  The insurance companies set up a phony PR company that sent out incorrect health care information that was never fact checked by journalist among other things. He himself has now turned a new leaf and has written a book about the realities of American Health Insurance companies.  Deadly Spin: An Insurance Company Insider Speaks Out on How Corporate PR is Killing Health Care and Deceiving Americans.

Here's an interesting interview where he says the health insurance was planning to push Michael Moore off a cliff.





For those interested here is some recent health care news:
A Republican was complaining his health care didn't start fast enough:


For those Republican's who said that government health care was socialist, they have been asked to give up their health care, which is government based. Oddly, they all seem to like government healthcare just fine.


I do find it baffling that those who can ill afford health care want to avoid any reduction in costs and in fact want to provide tax cuts for the richest Americans.

IA VFX Union note

I met with Jimmy Goodman of the IA last week.

They are planning to have a blog setup within the next 2 weeks to keep people informed.
This would be one vfx union that covers the U.S. and they are continuing to meet with small groups of those interested.  [Note that the union cards they pass out do not have to have your social security number filled in.]  They'll progress to larger groups.
Their hope of course is to work with both the vfx studios and the major studios to get them aboard.  It will require a number of vfx studios and their employees to sign on to make it happen.

The IA feels they're a better fit for VFX artists given that they cover the majority of artists and crafts people on a stage or set - camera guild, art directors, sound, wardrobe, etc.

Jimmy said they were well aware of the concerns people have about runaway production related to vfx and they will have to work with both the members and the vfx companies to strike a balance that makes sense in terms of the benefits.  Most of the better/larger places already have benefits so this shouldn't be large gap, if any.  If you work at a place that offers no benefits or forces employees to file as contractors then it will have an impact on them.  If that's your situation you should probably consider working elsewhere anyway.

I suggested they needed to have a clear plan that they can articulate if they want to succeed at this and ideally post that information to the web so it could be reviewed by those unable to make a meeting.

If you want information directly: vfx at iatse-intl.org 

IBEW VFX Union meeting

IBEW Announcement
Attention all Visual Effects Artists, Practitioners, Aficionados, & Mavens:

IBEW Local 40 will be hosting its’ 4th Informational Meeting for those working in the Motion Picture FX Industry.
We will be meeting again at the American Legion Post located @ 5309 S. Sepulveda Blvd. Culver City, CA 90230
Sunday December 12th  1pm. has been selected to accommodate most Brothers’ & Sisters’ work and Holiday schedules.
Once again representatives from both the IBEW and Local 40 will be there to answer all of your questions and provide additional information on why the IBEW is …the Right Choice!
Everyone who has already signed cards and all the Brothers & Sisters who have attended past meetings are strongly encouraged to bring along as many co-workers that can fit into your cars.

You can now check out IBEW Local 40 on YouTube




In Solidarity Forever,

Dave Grabowski
IBEW Local 40
Business & Membership Development
dave at ibewlocal40.com
818-762-4239 ext.223

Film incentives

Here are a couple of references to those interested in film incentives.  I included these in response to a comment but thought I should also make it full post.


Report on the impact of incentive programs elsewhere and what that has done to the Calif film industry.

"If the state had maintained its former level of dominance, a total of 36,000 jobs would have been saved. The wages and output associated with these jobs would have totaled $2.4 billion and $4.2 billion, respectively."\
(I think there are many more post-production jobs than this lists)


Full Report


EntertainmentPartners Web site with info on film incentives in different states and the world:

VFX Union - What Next?

Reminder: I’m a member of the Board of Directors of the Visual Effects Society.  What I write here on the blog though is only coming from me as a fellow VFX artist and in no way should be misconstrued as from the VES.  I’m trying to provide information for vfx artists to be able to make their own decisions about these things.  Take anything you hear about unions (good, bad) and other things with a grain of salt, even from me. 

So now that that there seems to be some movement to get a VFX union started, from two different unions no less, what’s next?

As mentioned before there’s an amazing amount of stereotyping and ignorance regarding unions.  This isn’t the auto industry from 60 years ago.  I urge everyone to attend a union meeting if you have the opportunity so you can get direct answers without relying on what someone once told you that heard from his friend’s cousins…   The following are some notes and information to help clarify some things and to help provide fuel for questions for the union.

Both the IA and IBEW will need some VFX people involved on their end if they’re serious about this area to make sure they understand the issues and the job categories.  The IA certainly has an advantage since it has the Animation Guild 839 and Steve Kaplan along with the Vancouver VFX union 891.   The IA covers a wider range of people working in the motion picture industry including the camera union. The IBEW still doesn’t quite know what we do and the range of vfx jobs.

The unions need to be very clear and articulate about what advantages they offer to employees and to employers. This hasn’t always happened and certainly if they are to sway a large portion of vfx artists, it has to happen.

The unions need to present a real plan more than just telling people to fill out their union cards.

VFX artists will have to participate to make sure that if it happens, it’s done right.

The unions also have to give some consideration how this affects the major studios.  There was a time when studios had to subcontract work to union shops.  Obviously anything the unions could do to encourage the use of union companies by the studios would be an advantage.

Jurisdiction area – The unions need to be clear about what type of area they will cover. Is it just L.A? Is it all of the U.S?  Even though it’s unlikely the union could cover people in other parts of the world it could provide a basis of agreement elsewhere.   Case in point is the Writers union (WGA).  Even if a writer sells a screenplay to non-union production company, they usually ask for their deal to be based on the WGA standard agreement.  This provides a clear agreement about rates and payment schedules.  The same thing could happen with vfx if there’s a union in place even if it’s only in L.A.

The cost to be in the union:
There is typically an inition fee to join the union.  Both the IA and IBEW have stated that for vfx people this be waved for this initial setup of the union.

There are dues to be paid quarterly or yearly.  The IBEW has stated that their dues are prorated to some extent if you work fewer hours.  The IA dues are the same regardless of the amount you work.


What are the advantages of a union to VFX artists?
(Here are a few.  I’m sure the lists can be extended)

1. Health and welfare that works across multiple companies.  The days of lifelong employment at one company are gone.  Most vfx positions are project based with work lasting a few months to several months being the norm.  Even if you are on staff somewhere, at some point you will probably move on to another company for any number of reasons.  Even if the next company has health insurance it will require starting over from scratch with a different program and probably a different insurance carrier.  You will likely have to work so many days before you’re covered.  Will it start up before your insurance from your previous employment lapses?  What if it takes 3 months to qualify and you’re only on the project 4 months?

A union health plan allows you to switch companies as projects come and go, and to keep the same health and retirement benefits.  Most people working in film, TV and commercials are project based and their work on a particular project might only be for a day.  That’s one of the reasons the unions exist.

Both the IATSE and the IBEW use the same motion picture health plan. That means the type of coverage and requirements for hours worked are the same.

Side note: I know those of you living in civilized countries that have health care find all of this puzzling.  Here in the U.S. almost all health care is profit based.  The hospitals have whole accounting departments to make sure everything is billed in its entirety.  There are multiple medical insurance companies that exist to make a profit. Their executives fly on private jets with gold plated silverware. The numbers of different plan options are staggering and byzantine.  How much money are you willing to risk being hit up for (deductable) versus how much you have to shell out every month in insurance fees?  If you need to go into the emergency room and spend a week in the hospital, especially if you need a day or two in intensive care, your bill will likely be over $50,000.

The insurance companies have people employed whose sole purpose is to go through claims and see if they can be denied for any reason.  If you failed to remember you had some issue 10 years ago when you filled out your latest forms, they could deny you coverage.  That insurance you had been paying? Gone.  The amount you owe the hospital or doctor? 100%

I had to purchase a prescription when I was in London on a project with no local health insurance.  The cost: $7.    The cost for the same medication in the US with insurance: $30.

People in their early 20’s may be able to get insurance for $200 a month but that rapidly climbs with each passing year. For private insurance it’s not unusual for those with existing conditions, families or middle aged people to have to pay $1500 to $2000 a month for insurance.  That can be $24,000 a year in just health insurance expenses. At least part of that may be deducible from your taxes but that’s still a huge amount, especially when the median pay in the US is approx.  $50,000 before taxes.

Health costs are rising approx. 20% every year currently.  One insurance company tried to increase fees 39% last year until the government stepped in and asked them to recheck their figures.  Oops, they made a mistake.  Now it’s only 20%.

Many employers offer health insurance of some type but the coverage is all over the map.  They aren’t required to provide coverage so it can be none.  Some companies keep many part time employees so they can avoid paying any coverage and related items that may be required by the government.

Bottom line is health coverage is a big deal.

The down sides to union health coverage: 
To initially qualify you need to have worked 600 hrs in 6 months.
After that you need to work 300 hrs every months to qualify.
(Some time next year that increases to 400 hrs every 6 months)
That means you could be in the union and paying dues and still not have insurance if you’re not working enough.

The good news is that you can bank your hours worked so your coverage could last much longer.

The union insurance isn’t immune to rising health care costs so just as with company health insurance it maybe reduced in part by higher deducibles, higher co-pays, etc.


2. Paid overtime.  Note that there are state laws already that dictate how and when overtime is to be paid but companies find various means to avoid it in some cases. Making many people ‘managers’ so they’re salary employees, changing employees to ‘contractors’, etc.  The union overtime rates are laid out in detail.

3. Job titles and credits.
One thing the union would have to do is set specific job titles and specific definitions of each job title.  This has been lacking in vfx. Most unions cover a small range of types of jobs.  In the case of vfx workers there will be a wide range of jobs and how it’s divided up will have to be worked out.  Vfx covers roto artist, physical modelers, cg modelers, lighters, compositors, animators, etc.

The union will be unlikely to be able to dictate that all vfx workers get screen credit but they should be able to make sure key or lead artists receive proper credit. They should also be able to make sure that if you’re working doing a particular job that you get paid for doing that job. That also means having ‘contractors’ and non-paid ‘interns’ working along side employees would fall under review and likely eliminated.

4. Paid vacation. 

5. United workers.  In the last couple of years there were two Montreal vfx companies that failed to pay their employees.  The owners just kept telling people they would be able to pay them soon.  A union offers a united front so if there’s a major issue with a company such as missed payroll, then they can bring pressure to the company that a single individual could not.


Now many of the better vfx companies already do many of these things but none of them can offer continuous health coverage.  And here’s the thing, even at the better, larger companies there are a number of gray areas and things that slip through the cracks.  I’ve seen issues with all of the above at various vfx companies over the years.  The other thing to realize is a company can change drastically.  People who love you in management may be replaced by people who don’t know you from Adam.  The company can be bought out. The company can make mistakes.  The company at this point holds all the power and you may find yourself  taken advantage through no fault of your own.  I’ve seen people with contracts with the company being laid off and the contract being ignored. Any legal battle by an individual against a company is a long and expensive route.



What are the advantages of unions to vfx companies?
 1. Health insurance costs may actually be lower.  Regular health insurance costs to a company are based in part on the number of employees.  The company may need someone on staff to help manage and deal with health insurance and pensions issues if there is any. The motion picture health coverage is funded in part by residuals from films, television and commercials so part of the coverage.  They also handle the management of the health plan.

2. Union people are qualified and at least have a base level to handle their job title.  In vfx currently anyone can call themselves anything whether they actually did that job or knew how to do it.  There are processes in place to make sure people are qualified for their position.

3. A union indicates a mature industry and might also encourage companies to move forward with a trade association.  The vfx industry has become very lopsided and the introduction of a union and trade associate would hopefully help balance out some of volitale shifts taking place.



Myths and other points
The unions dictate what your wages are so your salary could be less and they limit what you can make.

The unions stipulate a minimum rate for each category.  This is the lowest base rate the employer has to pay for someone to do this job at a union company. You may negotiate a higher rate and that’s commonly done in the other IA unions.


The unions are only for lazy people.

Just watch a camera assistant work on a live action shoot to dispel this myth. The slow and lazy are fired, just like any other job.


The union is all based on seniority

There’s no real seniority in the motion picture unions with the exception of what level you are.  (i.e. 2nd camera assistant, 1st camera asst, etc)  A question for the unions however is about the 'roster' for vfx. In other unions if you haven't worked for awhile (2-3 years) you're taken off the roster.  I had thought the IA got rid of this but it still exists.


If you don’t like a place then just change companies.

This statement makes a lot of assumptions.  Obviously if you don’t like a place you would switch to another company if you can.  But are there jobs available for you elsewhere?  If the other companies already have their full team of people required they won’t be hiring you even if you’re great at what you do.
What if there aren’t any vfx company’s nearby?  How far do you move?  Another state? Another country?


There is no need for unions for since vfx companies don’t make much money.

As already noted there are other reasons than salary to have unions.


The unions will cause what little vfx work here to leave.

People always seem to jump to the conclusion that unions will make everything more expensive.  Most vfx artists are already paid reasonable rates so it’s unlikely there will be much of a change to rates. If the company already offers health insurance it’s possible the union health plan may actually be less expensive.  Both the unions and the vfx companies will need to find a balance.

If you work at a company that doesn’t offer health insurance and that doesn’t pay you overtime, then yes, it will cost your company more.  If you don’t have these things already then you should calculate your real hourly rate.  If you live in LA and are making less than living wages then it’s not going to really matter if that project goes elsewhere.  It sounds like you need to consider changing companies anyway or possibly changing jobs.


All hiring has to be done through the union.

A union company would have to hire union people when available.
The IBEW actually has a hall that they receive requests for people from companies but as was discussed with them at one of the meetings this approach wouldn’t work with vfx.  The IA itself can provide a list of available union members in that category but they themselves state they don’t provide a hiring hall.


If you’re in the union you can’t work on at a non-union company.

Both the IA and the IBEW have stated that vfx artists can work at non-union companies. The time you work non-union of course will not be counted toward your health plan.


Being in a union means that I might have to go on strike.

A strike is typically the last thing anyone wants.  It’s almost impossible to make back what you lose during a strike.  One thing the strike does offer any union is a serious power threat to the companies they are negotiating with.
The IA contracts state that an arbitration would be required.  A strike at any union requires some type of majority vote by its members.  It’s not just up to the board of directors.
The writers and SAG are two other unions (not IA).  The writers went on strike because the majority of them thought that was the thing they had to do.  SAG threatened a strike and took months to finally come to terms with the producers.  Note that as union members it would be up to you to vote for the type of people you want to represent you.


Out sourcing.

Unions can’t stop outsourcing from happening.  With some countries and states offering incentives  worth 20-40+ % off, the studios will attempt to leverage that as much as they can.  The IA has unionized many areas in the U.S. so if a production moves to another state to shoot or do post production they’re still covered by the union.


Changing coverage or rates.

If the vfx company you work for suddenly decides to increase benefits or pay rates, be very concerned.  It‘s not unusual for a company to try to dissuade employees from going union and to do so they may offer an attractive package.  In many cases in the past these promises never came to fruition or were short lived.  They only existed long enough to prevent the union from forming.  There’s no restriction on the company to make sure they maintain their promises or benefits and rates so many take advantage of that.

IA Visual Effects Union Announcement

fxguide has posted the official announcement of the IA regarding setting up a VFX union.

VES Handbook up for a Prose award

I've been notified the VES Handbook is up for a Prose award, which is nice recognition for all of those who worked on it.

Richard Kerrigan wrote a review on Animation World Network here.

Oddly on Amazon:
1. The Kindle version isn't listed any more.  I suspect this is because we (and buyers) flagged to Focal Press that the ebook was lacking a Table of Contents so they may want to fix it before selling more copies.

2. There are at least a couple of people selling it for $122 through Amazon.  Not sure why since the book is
still available as far as I know (Amazon lists it as in stock)  

Reminder - VFX Union meeting Nov 7

From the IBEW

Attention All Visual Effects Practitioners in Southern California:

IBEW Local 40 will be holding its’ 3rd  Informational Meeting for those working in the Visual Effects portion of the Motion Picture Industry.
This historic meeting will be held on Sunday November 7th 1pm. at The American Legion Hall located @ 5309 S. Sepulveda Blvd. Culver City CA. 90230.
Representatives from both Local 40 and the IBEW will be there to answer questions and provide additional information on why the IBEW is …the right choice.
Everyone that has attended past meetings are encouraged to bring a co-worker with them to receive this relevant information.

In Solidarity,

Dave Grabowski
IBEW Local 40
Business & Membership Development Rep.
----------


An now here's a video from IA 891 

Do You Like Fighting Robots?

VFX Union IA update

Just a reminder here I'm trying to provide information for VFX artists to make informed decisions.


As noted in an earlier post the IBEW is having a meeting for people interested in a VFX union to be held Nov. 7 In Culver City (LA area)


I recently spoke with the IA and will post more at the appropriate time.  




One of the issues many young people don't consider is the advantage of being able to move from company to company and still keep the same health care and the same retirement fund. 


Here's the thing: It's up to VFX Artists to make an informed decision whether it's of value to you.
A VFX Union can't start unless many artists are willing to sign on.  It's likely to take at least 6 months to a year, maybe longer, to complete the process.   


I urge people not to believe the myths and misrepresentations about unions and to attend one of the meetings if possible to hear directly and to ask questions.


Just as with voting - if you don't participate in making a decision then you can't complain about it afterwards.


UPDATE:  11-11-10
IA Announces intent to unionize VFX artists


Other info:


fxGuide


Animation Guild Blog
Recent post related to VFX Union
Recent post related to VFX Union covering the first IBEW meeting


Vancouver VFX Union
Vancouver VFX Union Blog
Overtime pay rates video by IA 831


VFXSoldier blog

VES Handbook of Visual Effects now available in Kindle

VES Handbook of Visual Effects now available in Kindle electronic form!

VFX union. IBEW Meeting

From the IBEW

Attention All Visual Effects Practitioners in Southern California:
 
IBEW Local 40 will be holding its’ 3rd  Informational Meeting for those working in the Visual Effects portion of the Motion Picture Industry.
This historic meeting will be held on Sunday November 7th 1pm. at The American Legion Hall located @ 5309 S. Sepulveda Blvd. Culver City CA. 90230.
Representatives from both Local 40 and the IBEW will be there to answer questions and provide additional information on why the IBEW is …the right choice.
Everyone that has attended past meetings are encouraged to bring a co-worker with them to receive this relevant information.
 
In Solidarity,
 
Dave Grabowski
IBEW Local 40
Business & Membership Development Rep.
 

VFX Union Info Meeting tonight

IBEW Local 40 Informational Meeting for Visual Effects Industry

It's in Burbank (LA, CA) tonight (Oct 16) at 6pm.

I don't know any of the details except the posting at fxguide which lists the specific time and place.

Tom Cruise and VFX

For those who haven't seen it there's posting on TomCruise.com regarding vfx information.
My Effects Corner blog is listed along with a lot of various blogs, companies, schools, etc.
Worth checking out here.

Rotoscoping hair

I forgot that Focal Press (the publishers of the VES Handbook) asked me to write a short article for them a few months ago.  It's online at one of their sites.

Rotoscoping Hair Article  <- currently invalid link but leaving it for the moment.

[So it seems that Focal Press has dropped the ball and allowed their website to disappear so I'm posting it below]


Rotoscoping Hair

One issue that comes up when people start learning rotoscoping is how to rotoscope hair.

Simple haircut with a few loose strands:
Roto a head of hair just like you do any other shape on a person.  You want to capture the shape of the hair.  If there are a few loose strands of hair don’t worry if these get cutoff.  It’s unlikely the audience will notice as long as you follow the other key rotoscoping rule – make the animation smooth.  To make the animation smooth try to keep the number of key frames and number of spline points to a minimum.  Without a reference to the version before roto, the audience is unlikely to notice the roto unless it jumps around.

Wind blown loose hair:
You don’t roto this type of hair if at all possible. Trying to follow hundreds of hairs moving around and hand cutting them out is a losing task.  The hair will likely be a pixel or two wide with sections appearing and disappearing depending on the lighting and the background.

If it’s at a distance or fast moving you can roto for the shape of the haircut.  If there’s a full sequence of blowing or frizzy hair in close-ups then you should seriously consider the possibility of shooting green or blue screen.  If that’s not possible (or the footage is already shot) then you have a few alternatives.  In any case, roto the main head and hair.

Options:
1. For the strands of hair create a garbage matte that contains them and then try to pull a key off the hair or background.  This is by far the most common method of dealing with hair that has super fine detail or requires strands to show up. If you have blond hair over a dark background or dark hair over a light background try a lumikey (brightness key).  Whatever makes the hair standout against the background is what you want to leverage to form a keyed matte.  You may have to separate the hair with multiple mattes in case the lighting or the background changes radically during the shot or across the frame.

2. If pulling a matte is difficult or there are only some strands (enough to truly be noticed if they were clipped) then it’s possible to create a single spline for each hair.  For traditional roto you’re creating an enclosed shape with the spline to use as a matte.  With this technique you just have individual spleens literally following a single hair.  Once these are in they should be rendered as paint strokes in the alpha channel or whatever other method your composting software provides for turning the splines into straight mattes.  And yes, this takes time.

3. Same as above put paint in the single hair strand mattes using a tiny paintbrush tool in the alpha channel.

4. In some case companies roto the haircut and in order to replace the clipped hair they build a digital double of the actress/actor, match-a-mate (key frame digital double to match the live action images) the digital double, simulate the hair motion and then render the hair.  This can be reasonable if you already have a haired digital double and the hairstyle lends itself to hair simulation.

In all of these cases you don’t need to capture every single strand of hair.  You only need to approximate the feel of the hair enough for the scene so it works when cut with other shots and played back at full speed.  That may mean dozen hairs instead of the hundreds you see in the original.

[Update: I have a Rotoscoping Basics post that links to the various roto posts, covers some basic notes and provides a link to the fxGuide  article on roto that discusses the history of rotoscoping and some of the currently available tools. It also includes an interview with me talking about Commotion, which is the package I did the video demos with.]

VES business for film and VFX artists event

The Visual Effects Society is having an educational business event for artists.

1099 forms, payroll, insurance and other issues will be covered. Open to non members as well (for a fee)

Oct 5, 2010 in Los Angeles, CA

More details

Update:
fxguide did a write up and interview regarding this as a follow up to the event.
Read the article here.

VES Annual Meeting

For those VES Members in Southern Calif. don't forget there's the VES Annual Membership Meeting.

(This is a members only meeting.  Sorry, no guests)

When: Tomorrow, September 23, 2010

Where: Hollywood  (see email or check VES site for details)
Reception: 6pm
Meeting: 7:30

Meetings in Vancouver and San Francisco Bay as well.

There has been remote access for non-local members

Price of VFX Education

VFXSoldier has a good posting about VFX education.

As VFXSoldier points out all of these VFX schools are in it for profit, which is fine, but be aware of what the true costs are, especially to what they're selling and that you actually end up with at the end of the day.  This is like all the books, DVDs, classes and other items related to screenwriting where there are a very limited number of actual script sold.  There's a whole business of selling to those with dreams in a limited market.

It's good to have dreams but don't go into early and costly debt, especially if you don't have to.

I recently replied to a comment in another posting and through email to someone asking about education:

Degree course - I don't know of any vfx company that requires a degree in vfx or a specific software package. I suppose some type of 'degree' shows you've taken a class but the thing that will get you hired is your reel, list of credits and your list of software you know and the level you know it. (be honest on your resume) 

If you want to get a university/college degree then best to check out the colleges near you or well know ones. However very few colleges offer real vfx classes.

You can learn quite a bit of the basics of any software with books, DVDs or online.  Good books and the better online classes cover the material at a professional level.   obviously you have to push yourself because it's self-education but this allows you to learn at your own pace and location without a lot of expense.   I'm self taught in electronics, computer programming, photography, vfx and many other things.

Many in person classes only run through the process of learning the software unless the teacher actually has hands on experience in production and the class is structured to cover those issues as well.

Many of the vendors of software have learning additions and tutorials.  As with most software read the manual first.

Check out the School Post if you haven't already.

http://effectscorner.blogspot.com/2007/06/visual-effects-schools.html

Lynda.com has classes on Maya, Nuke and others. Steve Write does the Nuke tutorial. Relatively cheap.

fxphd.com and escapestudios.co.uk are some of the ones that offer more in-depth online tutorials. Please see the school links for the others.  

The only classes I've actually seen have seen the ones at Lynda.com so I can't provide any pros/cons.

The downside to all/most of the online classes is they are English only. 

Obviously the online classes require a reasonable computer and internet access.

The advantages of an actual course is it's likely to be in your language, hopefully the teacher will offer critiques and have you do various exercises. 

If you do need to take a clas I would recommend trying to find websites/forums that cover those schools to see what other opinions are. You can contact many companies and see if they have recommended schools. (i.e. these would be high on their list of likely candidates)

Nuke and Maya - Those tend to be the most popular for high end work. After Effects is also used extensively.

However you might want to check the local vfx companies to see what their job listings include.  It may be that Max or Lightwave are more popular where you are and that After Effects is the most popular compositing software.  So keep in mind what your marketable skills are.  If you know a software product that's not in use at most of the places that would hire you then it may not be much value so be sure to consider that first.

The other key thing as mentioned in my blog is to make sure you understand the actual process of what's happening.  If you understand the basics concepts of compositing, pulling keys, dealing with color then it's much easier to switch to another software package and learn the specific functions.  It also much easier to problem solve and adapt.  If you only know which button to push then it's going to be difficult to deal with anything out of the ordinary.

Unions and freelancing issues

How Companies Turn People Against Unions 

(org link from the Animation Guild Blog)  

Ugh: the 'free' in freelance

More than 40% of contract workers report trouble getting paid. Average owed: $12K

(link from Tweet by ShannonGans)

VFX artists don't need to be taken advantage of

6-14-2013
I wrote this post nearly 3 years ago yet here's another Montreal studio that has not paid their visual effects workers.

Here's another Variety article just today:  Trouble at Newbreed VFX Cementing Montreal’s Bad Rep

 I think that's at least 4 studios in Montreal that have pulled the same stunt and at least 2 of these companies were management by the same guy.  What is it about Montreal that makes people want to work for free? That people are unwilling to unite? That people would rather work for free for someone making profits than to demand pay and to walk out? I know those of us in visual effects are an optimistic bunch but come on. Either unite or you will repeat history.

----------------------------------------------------------------------------------------
Original post

Variety had an article about another VFX company in Montreal not paying their vfx artists:

“The latest bad news from the vfx biz comes from Montreal's Fake Studio, part of the Camera e-Motion Group. A handful of artists who worked for Fake on the 3D vfx for Dimension's "Piranha 3D" have yet to receive payments due in April.”

Read more: http://www.variety.com/article/VR1118023071.html?categoryid=3691&cs=1#ixzz0x7NCkypA

I know vfx people love what they do but they don’t have to scr*wed in the process. Besides having to deal with art and technology, vfx artists have to know some common business sense.

So let’s review a few things:

1. Get it in writing.  Get it in writing. Get it in writing.           

When you are hired you should have a signed  basic agreement regarding your pay rate and hours. You don’t want to find out that what you thought you were hired for and what the company thought you were hired for are two different things.  Nor do you want to find out they expect an extra 48 hours of overtime for free.

If someone makes a promise to you, get it in writing.  If they don’t want to put it in writing then it’s likely not as valuable as a sheet of paper.

A document won’t prevent a problem but the potential is there for legal follow through (usually you’d pay more for a lawyer so that’s not a great option).  The main advantage is there’s no discussion needed with management if something comes up.  It’s there in black and white.
[Related: VFX Deal Memo post]

2. If you don’t get paid for the previous week you worked, then stop working there.  Here’s the thing, if a business doesn’t have enough money for their employees, especially when they have a project, then they are poor business people and the chances to ever get paid are slim to none.  Someone mentioned getting paid a week in advance. If you don’t trust the company enough to pay you correctly from the start, then why would you want to work there?

When we had Dream Quest, the vfx company I co-founded years ago, there were times when things were tight.  When that was the case, we as the owners would skip our pay in order to pay the workers.  If a company has started a project they should have a startup payment and payments to be made during production. I’ll cover starting a vfx company in a future post but suffice it to say any company has to have at least 6 months of funding with no money coming in.

As pointed out in the article most vfx companies are started by artists who don’t know business. At Dream Quest we didn’t release the final product until we were paid.  Once we had to forced a client to provide a cashiers check because they had made the bad decision to not be paid until the end of their job, which of course was after we finished our portion.

3. If the employees didn’t get paid the previous week then they should consider going to management as a group to politely request payment or the option of all of the group leaving.  That’s when you have leverage to make things happen.  If you go one by one the company can dismiss you.  If you wait until the project is over and wonder why you’re not being paid for the past 3 months, it’s too late.  You have no leverage at that point. This is part of the reason there are unions.  This type of stuff was pulled by companies a fair bit at one time.  Once the workers decided they were tired of working for free they grouped together.  

4. A vfx company can be very pressured by their clients for non-realistic bids.  There's also pressure for not turning in change orders even when it's a clear client change. As a worker there, that's not your fault.

5. Somebody is making money and it’s not you.  Some how the company has money for leasing a building, paying for power, paying management, etc.  Someone is hiring them (i.e paying them) to do the vfx work.

6. Don’t assume the company will do right for you because you put in those extra hours for free and came through and saved their necks on project.  Management changes, business reasons or poor decisions are all likely to cause the poor treatment or payment of workers.  

7. You will need to be paid.  Just because you might not need the money today, you will if you hope to continue to do vfx as more than a hobby. The good companies are looking for professionals, not hobbyists.

8 It’s not the VFX artist responsibility to work for free so others can make money.  Nor is it to work for free to make up for a management mistake.

9. Respect yourself.  Respect your job.  VFX is a demanding art-form requiring gifted and knowledgeable people.

10. Your target should be to get a job at a great company doing great work and getting paid for it.  Even if you're starting out (after learning vfx from where ever or whatever (big school, online school, no school, doesn’t matter)). If it’s a shady company, the work they’re producing is poor, you’re not getting paid for it or you’re not having fun, then it’s time to move on.

Only work for free if:

1. It’s a true cause you wish to donate your time to. (i.e Save the Whales PSA)

2. It’s your own passion project (short film, music video, etc)

3. It’s your best friend’s project and you owe him one. (Even then, keep it short)

If you’re in school, sure, work on other people projects. That’s a way to learn and network.

Craig’s list is full of opportunities for vfx people who want to work for free. They offer credit and something for your reel.  Here’s the thing: No employer will care about a long list of never seen projects directed by someone they’ve never heard of.  So the credit being offered has as much value as the money they’re offering.

The item for the reel is only of value if it’s very good.  The experience is only good if you’re going to actually learn something of value (and I don’t mean learning not to be taken advantage of).

Be aware the client with the least money will be the most demanding.

 Internships are also something to be wary of - link to article

At the end of the day you have to be the one looking after yourself.  Don’t let companies take advantage of you just because you love what you do.

Bonus: Should I work for free chart

Wages In The VFX, Animation, And Games Industry

VFXsoldier has a very interesting read regarding wages and unions among other things.
Click here for the link.

Vfx helps U.K. post-production stay afloat

For those that don't think the incentives have anything to do with VFX:


From Variety article Vfx helps U.K. post-production stay afloat

 "While most entertainment business sectors in the U.K. are undergoing tumultuous budget cuts or worrying about downsizing, the folks running post-production houses are relatively sanguine. Sure, even the post biz stumbled a bit during the economic downturn, but the future now holds plenty of promise, particularly for those who create visual effects.

In fact, thanks to a concentration of talent and tax incentives, Blighty's share of the film visual effects market has nearly doubled from 2005 to some 20% of the worldwide biz."

...

"There was a huge fear in the election that government would change the tax credit, and thank goodness it didn't."

Read more:  http://www.variety.com/article/VR1118022917.html?categoryid=19&cs=1#ixzz0wdXoVFat

Visit Variety.com to become a Variety subscriber. 

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