This is EXACTLY the way we decided to go about developing our beer company, by integrating our careers in animation. Our mascots are going to be 'stand alone' IP, that just so happen to drink our products and wear out swag during the sequences. No one else has done this, and we are creating a group of artists animators directors and editors to get this built, via short Instagram blast campaigns, and
This video was music to my ears. You had me holding my breath at first, thinking the answer was going to be that the only way to get to do what we love is to surrender and do a remake or something..then viola! You gave me so much hope. And I loved hearing the breakdowns of how everything works inside the big networks too and why they are the way they are. Thank you!
Few questions - Where is the info coming from? A selection of statistics or articles would be useful. How do you advise against theft? Most creators cannot afford lawyers nor do they have the time to chase after thieves. Does a guide exist for safety measures and marketing tips for creators?
Thanks for your questions! Most of my information comes from the trades. My main reads are Variety, Cartoon Brew, IMDB Pro, Hollywood Reporter, Licensing Magazine, and Animation magazine. But sometimes I'll pull from more mainstream media outlets when animation news gets more culturally relevant. In terms of theft, are you talking about infringement on copyright or registered Trademark? Unfortunately, that does take a lawyer to properly serve cease-and-desists at the very least. Just remember though - ideas are free. It's specific execution in a fixed format that's copyright protectable. In other words, I can make a movie about a robot that comes from the future to the present to kill a future leader. That's just an idea. But if I copy an exact scene or sequence of events or literally call it Terminator - then I'm infringing on a copyright and that's when I get in trouble. I don't think anyone's made a guide for safety. But you can ask me specific questions. Same for marketing (which is also highly contextually specific since, for example, marketing Deadpool Wolverine is much different than marketing The Paw Patrol movie).
Thanks for your question! You can look up the more comprehensive answer. But the short answer is 'the universal method of play that kids can quickly do given their specific age and cognitive and coordination level.' For example, collecting, spinning tops, pushing a toy car, role-playing, etc.
Another great video! I have a question: In your last video you talked about San Diego Comic Con and all their great educational and informative panels. Does the New York Comic Con also have the same kind of informative panels?
I think you're correct to say that. But it's also not new. Broadcast and expensive mass media hasn't usually been the place where new ideas are vetted. That's the role of quicker, lower cost mediums like publishing, comics, short films, etc. It just might have felt more experimental during the peak of Streamer spending, which is now long gone!
@@SurvivingAnimation Absolutely. But I remember a development executive at MTV who gave approval to an original animation project called "Downtown", which at the time was one of my favourites... hey, it was you, sir, and thank you for that. All jokes apart, different historical period, different everything, so a situation like that doesn't apply anymore. Seriously speaking though, developing an IP directly in animation is really not cost-effective for someone who has to make a living off their creativity, so probably going the comicbook/GN way makes more sense financially (you have a "finished" product" even if you invested time and effort into it), while animation is really... well, capital-intensive (or labor-intensive if you go the DYI way) by definition. Side thought: the risk is that with this system proposing new IPs becomes an elitist game reserved to people who can put in the hours of work without the need of a ROI.
@@AdrianoBarone971976 Haha thanks and yes! You actually nicely summarize my video too! Also check-out my 'What does Netflix want' video from 6 years ago! The message is still the same, which is partly what you said. It really IS an elitist game. But in Hollywood, that's called 'packaging.'
@@mrb6913 If you’ve never had a senior position in the animation pipeline and/or if you’re presenting a brand new idea with no prior commercial success… Then this video explains what you should probably do!
This is EXACTLY the way we decided to go about developing our beer company, by integrating our careers in animation. Our mascots are going to be 'stand alone' IP, that just so happen to drink our products and wear out swag during the sequences. No one else has done this, and we are creating a group of artists animators directors and editors to get this built, via short Instagram blast campaigns, and
Nice! I hope to drink one of those beers one day!
Great video Eric - informative as always.
Great to see you again! Great video!
This video was music to my ears. You had me holding my breath at first, thinking the answer was going to be that the only way to get to do what we love is to surrender and do a remake or something..then viola! You gave me so much hope. And I loved hearing the breakdowns of how everything works inside the big networks too and why they are the way they are. Thank you!
A really great breakdown of things. I miss when we had a steady flow of work.
thanx
Few questions - Where is the info coming from? A selection of statistics or articles would be useful. How do you advise against theft? Most creators cannot afford lawyers nor do they have the time to chase after thieves. Does a guide exist for safety measures and marketing tips for creators?
Thanks for your questions! Most of my information comes from the trades. My main reads are Variety, Cartoon Brew, IMDB Pro, Hollywood Reporter, Licensing Magazine, and Animation magazine. But sometimes I'll pull from more mainstream media outlets when animation news gets more culturally relevant. In terms of theft, are you talking about infringement on copyright or registered Trademark? Unfortunately, that does take a lawyer to properly serve cease-and-desists at the very least. Just remember though - ideas are free. It's specific execution in a fixed format that's copyright protectable. In other words, I can make a movie about a robot that comes from the future to the present to kill a future leader. That's just an idea. But if I copy an exact scene or sequence of events or literally call it Terminator - then I'm infringing on a copyright and that's when I get in trouble. I don't think anyone's made a guide for safety. But you can ask me specific questions. Same for marketing (which is also highly contextually specific since, for example, marketing Deadpool Wolverine is much different than marketing The Paw Patrol movie).
@survivinganimation can you define what a "play pattern" is that you mentioned during the toy segment please?
Thanks for your question! You can look up the more comprehensive answer. But the short answer is 'the universal method of play that kids can quickly do given their specific age and cognitive and coordination level.' For example, collecting, spinning tops, pushing a toy car, role-playing, etc.
@@SurvivingAnimation thank you for explaining Eric, I'd never heard the term before. 🙏 Are you currently open for the consultations?
@@dtomos You're welcome! And yes - HMU captaincalderon@gmail.com and please check captaincalderon.com/faq for the basics on booking my consults!
@@SurvivingAnimation 🤞🙏 TYSM!
Another great video! I have a question: In your last video you talked about San Diego Comic Con and all their great educational and informative panels. Does the New York Comic Con also have the same kind of informative panels?
I've attended much fewer NYCC's than SDCC's, but to my knowledge, NYCC has a robust selection of informative panels as well!
So the streaming model transfers the risk on the authors. Not a criticism, but we have to say things as they are. :-)
I think you're correct to say that. But it's also not new. Broadcast and expensive mass media hasn't usually been the place where new ideas are vetted. That's the role of quicker, lower cost mediums like publishing, comics, short films, etc. It just might have felt more experimental during the peak of Streamer spending, which is now long gone!
@@SurvivingAnimation Absolutely. But I remember a development executive at MTV who gave approval to an original animation project called "Downtown", which at the time was one of my favourites... hey, it was you, sir, and thank you for that. All jokes apart, different historical period, different everything, so a situation like that doesn't apply anymore.
Seriously speaking though, developing an IP directly in animation is really not cost-effective for someone who has to make a living off their creativity, so probably going the comicbook/GN way makes more sense financially (you have a "finished" product" even if you invested time and effort into it), while animation is really... well, capital-intensive (or labor-intensive if you go the DYI way) by definition.
Side thought: the risk is that with this system proposing new IPs becomes an elitist game reserved to people who can put in the hours of work without the need of a ROI.
@@AdrianoBarone971976 Haha thanks and yes! You actually nicely summarize my video too! Also check-out my 'What does Netflix want' video from 6 years ago! The message is still the same, which is partly what you said. It really IS an elitist game. But in Hollywood, that's called 'packaging.'
are creating pitches and trying to sell them to otts and other platforms still relevant in this day and age?
@@mrb6913 If you’ve never had a senior position in the animation pipeline and/or if you’re presenting a brand new idea with no prior commercial success… Then this video explains what you should probably do!