I hope there are ways to make these kinds of shows going forward. Just having anime doesn't really do "western" animated ideas justice. I get we went through a bad period but it'd be nice to see the next generation of TMNTs, Ren & Stimpy's, SpongeBob's, Adventure Time's, etc. These are true creator driven shows and I feel like we are missing something without them.
I’m certainly still seeing “auteurist” cartoons and animated films coming out now, they’re just fewer and further between, and they skewer a lot more niche. I think there’s also a bit of a “too many rats, not enough cheese” situation: there aren’t any new platforms like cable in the 90s or streaming a decade ago where investors just threw everything at the wall and saw what stuck, they know what makes the steadiest income now and so their focus is just on making enough profit to stay afloat, and right now that looks like anime, anime-style and franchises, but even those are taking some creative risks. Still, it doesn’t leave much for the rest of us who don’t like anime or franchises.
Thank you for another jewel. So many moving pieces however the information and wisdom shared is helping to narrow in on the important ingredients to deliver something delicious.
Great video! I would also say that the success of some anime series are also directly tied to manga and/or manhwa (Korean comics) like Dragon Ball as an example. Also, some anime series have been tied to video games as well. They kind of go hand and hand.
It's comforting to hear someone who knows what they're talking about say, in a way that the rest of us can understand, that as much as we don't like thinking about money when it comes to the arts and entertainment, it DOES matter in the grand scheme of things.
Hi, Eric! Great content, as usual. My grasp of the business was structured similarly, in three similarly named categories (creation, distribution, and advertising), but I understood them differently. I always understood Creation to include both the individuals who came up with the original idea/concept, *and* those who own the IP and create/make the animated content. That way, I had the Studios and even the toy companies in the "Creators" group. (Perhaps it's a language barrier thing and I was understanding the word too broadly) Then, in Distribution, I had two types of companies: The distribution companies and the broadcasters (i.e. TV Networks & Streamers). By distribution companies I mean the ones managing broadcasting licences as a middleman between Licensors and Licensees, earning a % from every deal they close (e.g. Ireland's Monster Entertainment) Lastly, I understood the Advertising bit as the endgame for the previous two groups. Creators would benefit from merchandising licensees, and Distributors (particularly broadcasters) would benefit from advertising slots driven by popular shows. I think I wasn't too far off, but we certainly grouped the actors differently. 😅
Brilliant breakdown. Understanding where the money for productions comes from helps when in development. If you know the target then you have something to aim at. It's great developing something that you have a passions for, but passion projects are hard to sell and finance. There was no mention of Adult Animated series? There are a few examples of these really doing amazing things (Helluva Boss, the Amazing Digital Circus, Arcane) but I guess you could slide them into Streaming.
Thank you so much for this amazing video! I have a quick question: I have a SafePal wallet with USDT, and I have the seed phrase. (alarm fetch churn bridge exercise tape speak race clerk couch crater letter). How can I transfer them to Binance?
I'm surprised that Joss Whedon didn't revisit his planned Buffy The Vampire Slayer animated series given the popularity and strong demand for Buffy content by old and new fans.
I remember seeing the Buffy animated development going around the town in the early 2000s. Yeah it's unfortunate that it never found a home before the fandom died out. Going along with the themes of my video, it would have been best served on a broadcast or cable network that could have reaped ad revenue benefits if the show found an audience.
One other model for animation production, that was not discussed in this excellent video, is the subsidized model used in a lot of animation produced outside of the United States, namely Europe and Canada.
Thanks for adding that point! I specifically did not include because government tax subsidies for animation are not a revenue-generating source. They're a cost-reduction source meant to support industry.
@@SurvivingAnimation I'm not sure subsidies are any less of a revenue generating source for a producer than getting money from a broadcaster to pay for production, but I understand your logic. On a side note, from the creator's side, that back-end share of L&M may look like a small percentage, but it can certainly add up to real money if the show is a hit. One producer said to me that L&M tends to be either virtually nothing in sales, or a jackpot, and so that 2%-5% of L&M revenues can become a winner for a creator.
Also important to remember: the labor cost for anime is dismal, so it’s possible to make a lot of it really inexpensively, which allows for a lot more creative freedom but terrible wages.
You're definitely correct that the pay is dismal. But they don't actually have the creative freedom you mention. 99% of the work is an adaptation of a successful manga. So, although the director will have some leeway on how the adaptation is done, the rest of the staff have to just follow along. And since the pay is so dismal, the pressure is to complete work, so they can get paid what little they do get paid as soon as possible.
I don't believe the conditions of the long form animated series are correlated with any culture wars issues. To me, it's more about the changing and collapsing business structures due to the advent of streaming technologies.
@@jessegartung294 Unfortunately, I'm not buying shows at the moment and I don't review unsolicited original ideas unless it's part of a formal consultation. If you're interested in that, check the FAQ of my website: captaincalderon.com/faq
I remember when my daughter was younger she loved She-Ra and The Princess of Power on Netflix. I'm pretty sure there were T-shirts, toys and lots of merch. Of course that was 2018. 🫤
![ค้าง (STILL) - GEMINI [ OFFICIAL MV ]](http://i.ytimg.com/vi/Ftxx3hk5vkU/mqdefault.jpg)
I hope there are ways to make these kinds of shows going forward. Just having anime doesn't really do "western" animated ideas justice. I get we went through a bad period but it'd be nice to see the next generation of TMNTs, Ren & Stimpy's, SpongeBob's, Adventure Time's, etc. These are true creator driven shows and I feel like we are missing something without them.
I’m certainly still seeing “auteurist” cartoons and animated films coming out now, they’re just fewer and further between, and they skewer a lot more niche. I think there’s also a bit of a “too many rats, not enough cheese” situation: there aren’t any new platforms like cable in the 90s or streaming a decade ago where investors just threw everything at the wall and saw what stuck, they know what makes the steadiest income now and so their focus is just on making enough profit to stay afloat, and right now that looks like anime, anime-style and franchises, but even those are taking some creative risks. Still, it doesn’t leave much for the rest of us who don’t like anime or franchises.
Thank you for another jewel. So many moving pieces however the information and wisdom shared is helping to narrow in on the important ingredients to deliver something delicious.
Great video! I would also say that the success of some anime series are also directly tied to manga and/or manhwa (Korean comics) like Dragon Ball as an example. Also, some anime series have been tied to video games as well. They kind of go hand and hand.
It's comforting to hear someone who knows what they're talking about say, in a way that the rest of us can understand, that as much as we don't like thinking about money when it comes to the arts and entertainment, it DOES matter in the grand scheme of things.
Hi, Eric!
Great content, as usual.
My grasp of the business was structured similarly, in three similarly named categories (creation, distribution, and advertising), but I understood them differently.
I always understood Creation to include both the individuals who came up with the original idea/concept, *and* those who own the IP and create/make the animated content. That way, I had the Studios and even the toy companies in the "Creators" group. (Perhaps it's a language barrier thing and I was understanding the word too broadly)
Then, in Distribution, I had two types of companies: The distribution companies and the broadcasters (i.e. TV Networks & Streamers). By distribution companies I mean the ones managing broadcasting licences as a middleman between Licensors and Licensees, earning a % from every deal they close (e.g. Ireland's Monster Entertainment)
Lastly, I understood the Advertising bit as the endgame for the previous two groups. Creators would benefit from merchandising licensees, and Distributors (particularly broadcasters) would benefit from advertising slots driven by popular shows.
I think I wasn't too far off, but we certainly grouped the actors differently. 😅
Informative
Brilliant breakdown. Understanding where the money for productions comes from helps when in development. If you know the target then you have something to aim at. It's great developing something that you have a passions for, but passion projects are hard to sell and finance.
There was no mention of Adult Animated series? There are a few examples of these really doing amazing things (Helluva Boss, the Amazing Digital Circus, Arcane) but I guess you could slide them into Streaming.
Thank you so much for this amazing video! I have a quick question: I have a SafePal wallet with USDT, and I have the seed phrase. (alarm fetch churn bridge exercise tape speak race clerk couch crater letter). How can I transfer them to Binance?
Thanks for watching and I can honestly tell you that I have no idea what you're talking about! Haha. Sorry!
Will/can you make a video on the new Animation Guild agreement?
✅️ Kapow! Good stuff ✨️
I'm surprised that Joss Whedon didn't revisit his planned Buffy The Vampire Slayer animated series given the popularity and strong demand for Buffy content by old and new fans.
OH do you not know about his metoo situation.
I remember seeing the Buffy animated development going around the town in the early 2000s. Yeah it's unfortunate that it never found a home before the fandom died out. Going along with the themes of my video, it would have been best served on a broadcast or cable network that could have reaped ad revenue benefits if the show found an audience.
One other model for animation production, that was not discussed in this excellent video, is the subsidized model used in a lot of animation produced outside of the United States, namely Europe and Canada.
Thanks for adding that point! I specifically did not include because government tax subsidies for animation are not a revenue-generating source. They're a cost-reduction source meant to support industry.
@@SurvivingAnimation I'm not sure subsidies are any less of a revenue generating source for a producer than getting money from a broadcaster to pay for production, but I understand your logic. On a side note, from the creator's side, that back-end share of L&M may look like a small percentage, but it can certainly add up to real money if the show is a hit. One producer said to me that L&M tends to be either virtually nothing in sales, or a jackpot, and so that 2%-5% of L&M revenues can become a winner for a creator.
Also important to remember: the labor cost for anime is dismal, so it’s possible to make a lot of it really inexpensively, which allows for a lot more creative freedom but terrible wages.
You're definitely correct that the pay is dismal. But they don't actually have the creative freedom you mention. 99% of the work is an adaptation of a successful manga. So, although the director will have some leeway on how the adaptation is done, the rest of the staff have to just follow along. And since the pay is so dismal, the pressure is to complete work, so they can get paid what little they do get paid as soon as possible.
@ thanks for clearing that up!
Well people who are against something that is anti woke tend to not like animation they seem to want more shows that is teen sitcoms
I don't believe the conditions of the long form animated series are correlated with any culture wars issues. To me, it's more about the changing and collapsing business structures due to the advent of streaming technologies.
@@SurvivingAnimation Because I got this cartoon idea for disney if you want to hear it. I can show you on discord.
@@jessegartung294 Unfortunately, I'm not buying shows at the moment and I don't review unsolicited original ideas unless it's part of a formal consultation. If you're interested in that, check the FAQ of my website: captaincalderon.com/faq
I remember when my daughter was younger she loved She-Ra and The Princess of Power on Netflix. I'm pretty sure there were T-shirts, toys and lots of merch. Of course that was 2018. 🫤
@@FrankJamesBailey availability of merch doesn’t mean success. But good to know there was some!