As a long-time enthusiast of the animation industry, I have seen its ebbs and flows over the years, from its golden age to its current state of flux. Reading this article about The Animation Guild’s negotiations has me feeling like a nervous parent watching their child navigate through high school.
Jeanette Moreno King’s daughter is 17 years old and aspires to work in the animation field someday. Given that Moreno King serves as president of The Animation Guild, a union representing over 5,000 artists, writers, technicians, and production workers who have worked on productions like “Kung Fu Panda 4” and “Wish,” one might expect her to wholeheartedly support this aspiration. However, at the moment, she’s advocating for caution rather than encouragement. In her words, “I can’t guarantee that it will be possible.”
The animation sector is currently facing turbulence as Moreno King’s union commenced their latest round of contract talks with leading Hollywood studios and streaming platforms on August 12. Amid a significant downsizing in the broader entertainment industry, major companies like Netflix Animation, Dreamworks Animation, and Pixar have experienced layoffs over the past few years. The practice of offshoring work or production to foreign firms, which has long been a concern for the union, continues unabated. For instance, Disney’s newly established animation studio in Vancouver (announced in 2021) is said to be non-union, according to the guild. Reports also suggest that DreamWorks Animation is shifting from in-house production on certain projects and collaborating more with external vendors.
As a passionate enthusiast, I can’t help but ponder about the impending arrival of generative AI on our horizon. It’s been forecasted that this technological leap might significantly impact various roles in animation, particularly my beloved niche. Interestingly, Jeffrey Katzenberg, a renowned figure in the industry as co-founder of DreamWorks and former chairman of Walt Disney Studios, has warned that generative AI could potentially eliminate up to 90% of animation artist jobs.
The word that some negotiators at the union are using to describe this moment is “existential.”
“Madison Bateman, a writer and negotiator, points out that the careers people built around their dreams could be vanishing. During negotiations, they make it a priority to remember this, as they’re essentially battling to safeguard the jobs, professions, and aspirations of their team,” says Madison Bateman from DuckTales.
The Hollywood Reporter contacted the negotiating representatives of the employers, known as the Alliance of Motion Picture and Television Producers, seeking their input.
Prioritizing the establishment of clear contract terms for generative AI is essential. Following the establishment of an AI Task Force in spring 2023, the union conducted a poll among its members to understand the use of generative AI in their workplaces and collaborated with other organizations to survey media leaders on the potential impact of this technology on jobs within their respective industries. It’s anticipated that roles such as sound editors, 3-D modelers, compositors, graphic designers, effects artists, and animators will be significantly affected, according to the survey results. The union estimates that around 29% of animation jobs might face disruption in the next three years, which coincides with the duration of the union’s upcoming contract.
Could it be that generative AI will truly revolutionize things as we know them? As Tom Sito, former president of the Animation Guild and professor at the USC School of Cinematic Arts, points out in an email, since computers became a tool for animation in the 1980s, there have been executives eagerly anticipating the opportunity to reduce the artist workforce. Yet, even with computer-generated animation, human artists and technicians were still required. In a similar vein, today, some assert that AI will do the same. Time will tell.
Regardless of the result of this stage, Sam Tung – a skilled storyboard artist who has worked on ‘X-Men ’97’ and serves on both the AI Task Force and the negotiations committee – emphasizes that when it comes to bargaining, it’s crucial to ensure artists have the ability to select the technology utilized in their workflow, while also preventing this choice from negatively impacting staffing levels or workload.
One of the major concerns for the union is opposing the shifting of L.A. County studio jobs to foreign countries. Previously, this issue was addressed when the union successfully negotiated a clause preventing what’s known as “runaway production” during their strike in 1979. However, this protective language was later abandoned during another work stoppage in 1982. Currently, the main contract for the Animation Guild lacks provisions to prevent outsourcing, according to Moreno King.
The potential challenges regarding AI implementation and cost reduction may stir debates with studios, as they strive for creative freedom using AI while reducing labor expenses. Although The Animation Guild has not revealed detailed plans yet, insiders at THR hint that an agreement previously reached by other IATSE Locals in July could serve as a foundation, but will require modifications to meet their union’s needs. The strategy the union intends to employ to combat outsourcing remains uncertain, but at a rally on August 10 in Burbank, two storyboard artists hinted that the union would focus on “establishing minimum staff levels” to address shrinking teams. In 2023, the Writers Guild of America requested a minimum staff for TV writers’ rooms during negotiations with the AMPTP, which became a contentious issue; however, after a 148-day strike, the guild successfully secured a minimum staffing threshold.
In addition to general concerns, specialized matters will also arise during the discussions. Writers in the Animation Guild are aiming to halt a perceived increase in companies employing them as freelancers instead of staff writers. As Bateman explains, “Freelance writing was once about flexibility or earning some extra cash. Now it’s a struggle to survive that’s becoming the standard.” Timing directors are resisting what they perceive as inadequate rates that pay freelance workers based on their screen time rather than the hours they work. Christine Smith Ishimine, a timing director and member of the negotiations committee (from American Dad!), expresses her concern, saying, “I’m very detail-oriented and do quality work, but I’m not quick. As a result, I can’t earn enough to live on it.”
As a gamer, I can’t help but feel the impact of this year’s negotiations being influenced by the alarmingly high levels of unemployment within our gaming community. On July 31, The Game Workers Alliance shared a sobering statistic: roughly one-third of its active members have been let go in the past year. This could potentially lead to some members being hesitant about pushing for an aggressive stance during negotiations, fearing that it might jeopardize job security or worsen our current financial situation by risking a strike or causing further economic hardship.
Additionally, Tung proposes another scenario: “I believe individuals are alert and motivated because they sense urgency,” he explains. “When everything seems stable, it can be effortless to become complacent and think that all is well. However, in this case, the situation might be stirring up the membership.”
An earlier form of this tale was published in The Hollywood Reporter’s August 14 edition. To keep up with more such stories, consider subscribing by clicking here.
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2024-08-15 22:55