Yep, I'm still alive. :) I just noticed this article in this week's AM newsletter, which has some stories from animators who for one reason or another settled into a freelance lifestyle. They're all quite different stories from when I freelanced, I didn't seek out clients to create work myself out of my home, (I sought out work at studios), but the mindset about permanent vs temporary work was the same. Permanent work is hard to come by, and while I lucked out with my current position, I still think many animators and artists just don't know about opportunities outside of film or vfx, or think that's the only venue to produce high quality, gratifying work. I also didn't find working job to job so bad when I didn't have to move to another city for each one, and was plugged into a good network of friends. Anyway, it's always good to learn a bit more about the scope of our industry, if you find yourself looking for work. The article has stories from Avner Engel, Martin Bell, Kenny Roy, and Chad Stewart.
Oh, and sorry that my blog update is half done, and that "test page" is still there ;) At some point I will get the full revamp up and running with links to my work, etc!
Showing posts with label Freelancer's Guide. Show all posts
Showing posts with label Freelancer's Guide. Show all posts
Tuesday, May 15, 2012
Wednesday, April 13, 2011
Bulletpoints
Hey all, just thought I'd post a few interesting things and combine new post ideas into ONE ULTIMATE NEW POST. Ok that may be overstating it, but here we go:
David B. Levy's blog "Animondays" is a great source of advice for animation students, industry newcomers, and I assume, anyone else too. He's a well known New York animator in the 2D-preschool tv-indie animation circles, and is (I think) currently president of ASIFA-East. He recently posted a couple great articles (for lack of a better term) about tips to finding work and networking in animation, in the genuine, natural, non-brown nosing way. They're directly related to being freelance, but obviously in the state of the industry today, good advice for anyone who finds themselves looking for the next job. When I get asked about how to live the freelance life, these are generally the types of things I usually say, and guided by a similar philosophy. Check out these two posts:
David B. Levy's blog "Animondays" is a great source of advice for animation students, industry newcomers, and I assume, anyone else too. He's a well known New York animator in the 2D-preschool tv-indie animation circles, and is (I think) currently president of ASIFA-East. He recently posted a couple great articles (for lack of a better term) about tips to finding work and networking in animation, in the genuine, natural, non-brown nosing way. They're directly related to being freelance, but obviously in the state of the industry today, good advice for anyone who finds themselves looking for the next job. When I get asked about how to live the freelance life, these are generally the types of things I usually say, and guided by a similar philosophy. Check out these two posts:
Checkin' In: One of the Secrets to Getting Work in Animation
Make mine MoCCA
Check out his book "Your Career in Animation: How to Survive and Thrive" for more great advice.
Next up, check out who's on the install screen of Maya 2012! (Not my image)
Nathan Love is all over Maya 2012 promotional materials and apparently the installation screen as well! So far I've seen images from one of the Pop Secret ads from last year, as well as Polly the Porcupine and Barry the Sheep from the Baskin Robbins spots. Of course I now work somewhere that doesn't use Maya for animation, but perhaps I should download the free trial, haha.
As far as me and my life now, I'm still settling into Vancouver and slowly seeing the rainy winter season turn to spring! Pixar Canada is off to a great start, and for anyone who's curious, I can say with confidence that they have the same expectations for us and follow the same philosophies as they do in Emeryville. While I don't have personal experience at the main studio, I can tell it is extremely important to them to maintain the same values up here. It's been quite a life-change for me moving here, adjusting to this new position, company, and phase of life, and I'm thankful that I get the opportunity to do it in a close personal environment. I can't really say exactly what we've been working on, other than the announcement video for Pixar Canada basically tells what we are doing up here. The team is super talented, the studio is beautiful and being renovated to be even more so, and I'm excited to see how we grow and what sort of identity we develop up here in the Great White North...(wait...I'm not sure those words fit Vancouver!)
Saturday, February 13, 2010
Freelancer's Guide: Goodbye 1099
So, if you're a freelancer chances are you've been talking with your friends, coworkers, and clients about the IRS crackdown on "misclassification" of freelancers. Since I started this blog, one of my main reasons for posting was to create a sort of freelance guide for animators, since it's somewhat of a mysterious lifestyle to anyone who's not a part of it. Therefore I've been meaning to post about this, since these recent changes pretty much leave a lot of my old posts about paying your taxes, dealing with 1099 forms, etc, outdated. However, since I'm still learning about this myself, I thought it might be better to just present some links to recent articles and discussions on the matter. My point in posting about this is just to spread the word to people who may be looking for freelance work about what is going on these days so they can further educate themselves, not to tell people what to do. Like I said, I'm guessing if you're freelance you know about this already, but there are many people either just getting out of school, or who are in staff positions, that may not be aware.
DISCLAIMER: I'm linking to outside sources purely for informational purposes, not as legal advice.
AWN article:
http://www.awn.com/articles/motion-graphics/irs-and-freelance-dilemma/page/1,1
Motionographer article (includes good resource links at the end):
http://motionographer.com/2010/02/10/questioning-the-freelance-dilemma/
The IRS rules of classification for independent contracter vs employee.
http://www.irs.gov/businesses/small/article/0,,id=99921,00.html
Keep in mind, many of the discussions in the comments of these articles are heated, and sometimes not always written with accurate knowledge. Your best bet is to do your own research. That's my only advice ;)
DISCLAIMER: I'm linking to outside sources purely for informational purposes, not as legal advice.
AWN article:
http://www.awn.com/articles/motion-graphics/irs-and-freelance-dilemma/page/1,1
Motionographer article (includes good resource links at the end):
http://motionographer.com/2010/02/10/questioning-the-freelance-dilemma/
The IRS rules of classification for independent contracter vs employee.
http://www.irs.gov/businesses/small/article/0,,id=99921,00.html
Keep in mind, many of the discussions in the comments of these articles are heated, and sometimes not always written with accurate knowledge. Your best bet is to do your own research. That's my only advice ;)
Tuesday, April 07, 2009
Freelancer's Guide: "Working Remotely" by Dana Boadway
http://www.animationmentor.com/newsletter/0409/feature_geek.html#tipTrick
My friend Dana Boadway has written an awesome article on freelancing for Animation Mentor's newsletter. I worked with Dana at Framestore when she was in New York, she is one of the many people I've worked with in this city who I really learned a lot from. I think I'd been in New York for maybe a year at the time, so I was even greener than I am now, heh. During my first jobs, I was fortunate to work with some people who were more experienced than me, and who approached working in animation from a much more mature, life-oriented standpoint. Your perspective changes and matures after working a few jobs, but it really helps to have a few people around who've already made that transition to learn from. They are the people who know that life is more than work, and have made it through a lot of the headaches and challenges of working in this industry. I will be forever grateful that I learned some of those important lessons early on, and that I learned them before working in the very challenging realm of feature animation.
Lately Dana has found success working remote freelance jobs from home, so it's really great to hear her perspective on it in this article. I've been pretty comfortable with freelancing, but when it came to remote freelance jobs I've been a little more timid. Part of the reason I love working in animation is the people that I work with, and learn from on the job. But having already gotten past the fears of working freelance in general, if I ever need to take the next step to working remotely I think I could do it. It would be a challenge, but one I feel like I could take if the work has dried up and the opportunity arises. I think she makes a good point in the article--studios who do remote freelancing on a larger scale need to have someone in charge that is very organized about it.
Here's the reason to stay open to remote freelancing. If you're still a student or are just starting out, you may feel like working in features is what you want to do the rest of your life. Here's the thing though--you haven't done it yet, haha. It may be, you may love it and do it for years as some people do. But I think even the ones that do have found some way to draw their personal line that balances work and life, and maybe have found the right studio for themselves to be comfortable in. It's harder than it sounds. If working remote freelance helps you to find your balanced life, then I think it is well worth your time to pursue it. You won't know what works for you until you gather many more experiences at many places. Right now you may only want to work on something that's on the big screen, no matter how many hours you have to work and how many months you have to work them. For now, that might work for you, but eventually you might want sleep too.
Another person I've been fortunate to work with, Jason Taylor, has found his own success working remotely from home, and occasionally working on site somewhere. I have a lot of respect for both Dana and Jason...for knowing what they want in their life, and blazing their own career path into the unknown.
My friend Dana Boadway has written an awesome article on freelancing for Animation Mentor's newsletter. I worked with Dana at Framestore when she was in New York, she is one of the many people I've worked with in this city who I really learned a lot from. I think I'd been in New York for maybe a year at the time, so I was even greener than I am now, heh. During my first jobs, I was fortunate to work with some people who were more experienced than me, and who approached working in animation from a much more mature, life-oriented standpoint. Your perspective changes and matures after working a few jobs, but it really helps to have a few people around who've already made that transition to learn from. They are the people who know that life is more than work, and have made it through a lot of the headaches and challenges of working in this industry. I will be forever grateful that I learned some of those important lessons early on, and that I learned them before working in the very challenging realm of feature animation.
Lately Dana has found success working remote freelance jobs from home, so it's really great to hear her perspective on it in this article. I've been pretty comfortable with freelancing, but when it came to remote freelance jobs I've been a little more timid. Part of the reason I love working in animation is the people that I work with, and learn from on the job. But having already gotten past the fears of working freelance in general, if I ever need to take the next step to working remotely I think I could do it. It would be a challenge, but one I feel like I could take if the work has dried up and the opportunity arises. I think she makes a good point in the article--studios who do remote freelancing on a larger scale need to have someone in charge that is very organized about it.
Here's the reason to stay open to remote freelancing. If you're still a student or are just starting out, you may feel like working in features is what you want to do the rest of your life. Here's the thing though--you haven't done it yet, haha. It may be, you may love it and do it for years as some people do. But I think even the ones that do have found some way to draw their personal line that balances work and life, and maybe have found the right studio for themselves to be comfortable in. It's harder than it sounds. If working remote freelance helps you to find your balanced life, then I think it is well worth your time to pursue it. You won't know what works for you until you gather many more experiences at many places. Right now you may only want to work on something that's on the big screen, no matter how many hours you have to work and how many months you have to work them. For now, that might work for you, but eventually you might want sleep too.
Another person I've been fortunate to work with, Jason Taylor, has found his own success working remotely from home, and occasionally working on site somewhere. I have a lot of respect for both Dana and Jason...for knowing what they want in their life, and blazing their own career path into the unknown.
Wednesday, December 03, 2008
Freelancer's Guide #11: Temping at Blue Sky, Bruno's Tips
For those of you who don't subscribe to the Animation Mentor newsletter, check out Nick Bruno's latest Tips and Tricks article. He pretty much covers the bases on conducting yourself professionally as a newbie animator. Most people really don't have big issues with these points, some do, and all of us need reminded of a few of them and can get better at them, myself included. Since Blue Sky is one of the rare places that young animators actually have a chance at getting hired onto a feature film and animating actual shots from the movie, these tips are very valuable to those who may be applying for a temp position there now or in the future. Many points surely apply to anywhere that you may work, but every one of them does apply to Blue Sky, and if you ever work there you will see how.
I temped on Horton, and am doing it again on Ice Age 3. So, from a temp's perspective, I have a couple bits of advice about temping at Blue Sky that I hope helps others. These are things that I constantly have to remind myself of too.
#1. Don't go into the job with the only goal being to land a full-time staff position. Think of yourself as a freelancer, and as this job as being the temporary position that it is, and you will stress much less over things such as "Is my work good enough to be full-time?" You'll stress enough as it is over whether or not your work is up to par, you don't need the added pressure of getting a full-time job on top of it. I can understand if you have a family and other responsibilities and need the salary + benefits to survive, but if you're young, single, and just starting out, then you've got plenty of other places to apply after the job is over! You can pick up and move just about anywhere! We are extremely lucky to be working at a time when animation is a hugely successful industry in many different formats. Don't worry, if your work is good enough to get into Blue Sky once, chances are you'll be able to get a job somewhere else. Also, it's a good way to get used to the fact that many jobs in our industry are temporary, and it won't be the last time you'll be on the job hunt again.
#2. Have confidence in your work!
It is very intimidating to join a team of extremely talented animators, and be asked to produce better animation than you ever have before, faster than you ever have before. Perhaps that's why a few young animators appear cocky, in order to hide their own fears of failure. We are all very self-critical of our own work, but be confident (not cocky) that you are up to the challenge, and capable of succeeding. The more challenging animation you successfully overcome, the easier it will be to have confidence that you will meet the next challenge, even if you have absolutely no idea how you are going to do it!
On a related note, have confidence in your work based on where you are in your learning process. When you work at a place like Blue Sky, not only can you feel like you aren't nearly as good as everyone around you, but sometimes you can feel like you're constantly being judged as to if you belong there. After all, you're an unproven, unknown element. No matter how good your demo reel is, it means nothing if your shots don't meet standards. All of this pressure to prove to yourself and others that you do belong there can really bog you down, especially if you are constantly comparing yourself to other people. Try to remind yourself of your own progress as an individual, how far *you* have come, how much *you* have learned. Improvement does get noticed by supervisors and co-workers, and quite possibly could give you a good reputation as hard worker who wants to learn, as opposed to a talented but stubborn young temp. This still may not land you the full-time job, or the "cool" shots, but at least you have the respect of the people you work with.
It is a tough line to walk between being confident in your work, yet open to criticism of not only your animation but your performance on the job. Of course by being cofident I don't mean to resist making changes to your shots. Just remember, your worth as an animator and as a person, is not dependant on what shots you get, how many "ooh's" and "aah's" you get at sweatbox, or how many times the director has patted you on the back for a job well done. Those times are awesome, and really put the energy back in you, but you have to also be able to get through the times when you're struggling with a shot, because no matter how good you are, it will happen.
I'm going to be honest and say that temping at Blue Sky has to be one of the most challenging ways to start your career in animation, but also a great opportunity for those who are lucky enough to get in. I am very glad that I got great experience at other great places before jumping into the deep end of feature films. I learned so many things about production from other jobs, working with a team, getting notes from directors and clients, and also learned that I enjoy those jobs just as much. Many students have the goal of working in features, a few get their wish granted right out of school, and never try a job in any other section of the industry, be it advertising, games, or preschool/kids television. While this may be fine for them, I feel that it can only help you to get different experiences at various places, to see what actually may make you the happiest, instead of what you think will make you the happiest. Not to mention that the more you learn the job of animation before you get to features, the better off you'll be at handling the new pressures. So if you, like me, don't get the "dream" feature job straight out of school, then cheer up, because you will quite possibly be much better prepared for it later on. Not that I don't still have a ton of things to learn about working in animation...but I can see now how I would never have survived if somehow I had landed a feature job out of school. I have great respect for those of my friends who jump right in, and not only succeed, but excel! You guys really are inspiring.
Saturday, May 17, 2008
Freelancer's Guide #10: AM Newsletter--"Survive as a Contractor"
In the college years of animation, a lot of time is spent learning the art, honing your skills, etc. But not much time is actually spent preparing you for the career part of it all. If you're lucky you get a professor or someone to teach you how to make a good demo reel, resume, portfolio. But what I failed to really think (or worry about) in college, was not the first job, but the second, third, fourth...
Here is possibly the single best article in an Animation Mentor newsletter yet. Shawn Kelly's Tips and Tricks are great, but this month's feature by Jake Friedman on surviving as a freelancer sums up a lot of what I've learned and thought over the past 2 years. The thing about this article is that it talks about things that everybody working in the animation industry should know, but is more obvious and immediate to freelancers. Jake (a fellow New Yorker) talks a lot about the nature of working job to job, how you prepare for it, and how it prepares you for this crazy business. He says:
I never set out to be a freelancer, it just happened out of necessity. More and more jobs, even at the large studios, are contract/per project jobs. And ever since I came to New York I knew one thing: I didn't know where I'd be in 3 months (to throw out a random length of time). Where would I be working, where would I be living, would I move out west? etc. At first that really freaked me out, but eventually I got to a point where I just accepted the element of the unknown that goes with freelancing. 2 years later, I'm doing fine.
When you stop to think about it though, that unknown element is a part of every animator's life, even if they are in a comfy staff position somewhere. And in general it seems that people outside of that lifestyle don't really understand it. But aren't they in a simliar situation? That 3 year contract they signed is temporary, isn't it? What happens after 3 years? What if the industry goes into a slump? What if the company lays people off?
As a freelancer you ask yourself where your next job will be before your current job even ends...heck, maybe even on your first day of your current job! The key is to not get freaked out by that. Some people adapt to that situation more easily than others, and obviously you will be more freaked out if you don't have the finances to help you through the down times. So what do you do?
You prepare!
You update your demo reel frequently. You talk to your friends, you make new connections on Linked In, you keep your ears open, you promote yourself. An updated website is a must. It's not as hard as it sounds, you're really just doing things you should be (and maybe are) doing anyway. I actually feel very fortunate to have started out freelancing, because it has forced me to think of myself in a much different light--I am a business. Of course the IRS tells me that every April 15th, and that's the biggest wake-up call. But thinking of myself as a business has helped me to learn more about self-promotion. But the more I read from sites like Freelance Switch, the more great advice I find that is really just basic business advice. How do you successfully promote yourself? What skills do you have that places need? How do you keep good business relationships with your clients? How do you get job offers to come to you, without you having to search the job boards? How do you network? After all, being a business isn't all that bad even at tax season. Just keep your receipts for all your animation/computer equipment, movies, and business expenses, and you can write that stuff off. All of that, and I still don't have to wear a suit to work! Sweet!
Stability is one of those human desires that everyone strives for in some way or another, in both healthy and unhealthy ways. By being driven into the NY freelance world mostly out of necessity, I've sacrificed one type of stability. But I've gained another, and something I think might be more long term. I've learned how different studios function, what I like or don't like about them, I've had to ask myself the tough questions of what I can do better, what I need to improve upon in order to hopefully increase my job offers, length of employment, etc. But even more important than all that, is that somehow I've gotten (more) comfortable with that unknown element. Some of it is knowing how to prepare, saving money, and just being fortunate that the industry is really healthy and there are a lot of jobs out there. But as I've said before, for me, so much of it just comes down to a simple faith. For a perpetual doubter like myself, it's no easy task, and I really don't mean to make light of the real and founded fear of the unknown. But I said it before, freelancing is like farming, you can prepare the best soil and best seed, but you still can't control the weather. That's why so much of it is up to just getting comfortable with the unknown, and doing the best you can in the here and now. After all, isn't that life?
Here is possibly the single best article in an Animation Mentor newsletter yet. Shawn Kelly's Tips and Tricks are great, but this month's feature by Jake Friedman on surviving as a freelancer sums up a lot of what I've learned and thought over the past 2 years. The thing about this article is that it talks about things that everybody working in the animation industry should know, but is more obvious and immediate to freelancers. Jake (a fellow New Yorker) talks a lot about the nature of working job to job, how you prepare for it, and how it prepares you for this crazy business. He says:
The fact of the matter is there’s very little security in the animation industry, and the independent contractor knows this better than anyone (other fields are beginning to follow suit as well, but that’s another story). The contractor never takes the next paycheck for granted and, Zen-like, understands the impermanence of everything.
I never set out to be a freelancer, it just happened out of necessity. More and more jobs, even at the large studios, are contract/per project jobs. And ever since I came to New York I knew one thing: I didn't know where I'd be in 3 months (to throw out a random length of time). Where would I be working, where would I be living, would I move out west? etc. At first that really freaked me out, but eventually I got to a point where I just accepted the element of the unknown that goes with freelancing. 2 years later, I'm doing fine.
When you stop to think about it though, that unknown element is a part of every animator's life, even if they are in a comfy staff position somewhere. And in general it seems that people outside of that lifestyle don't really understand it. But aren't they in a simliar situation? That 3 year contract they signed is temporary, isn't it? What happens after 3 years? What if the industry goes into a slump? What if the company lays people off?
As a freelancer you ask yourself where your next job will be before your current job even ends...heck, maybe even on your first day of your current job! The key is to not get freaked out by that. Some people adapt to that situation more easily than others, and obviously you will be more freaked out if you don't have the finances to help you through the down times. So what do you do?
You prepare!
You update your demo reel frequently. You talk to your friends, you make new connections on Linked In, you keep your ears open, you promote yourself. An updated website is a must. It's not as hard as it sounds, you're really just doing things you should be (and maybe are) doing anyway. I actually feel very fortunate to have started out freelancing, because it has forced me to think of myself in a much different light--I am a business. Of course the IRS tells me that every April 15th, and that's the biggest wake-up call. But thinking of myself as a business has helped me to learn more about self-promotion. But the more I read from sites like Freelance Switch, the more great advice I find that is really just basic business advice. How do you successfully promote yourself? What skills do you have that places need? How do you keep good business relationships with your clients? How do you get job offers to come to you, without you having to search the job boards? How do you network? After all, being a business isn't all that bad even at tax season. Just keep your receipts for all your animation/computer equipment, movies, and business expenses, and you can write that stuff off. All of that, and I still don't have to wear a suit to work! Sweet!
Stability is one of those human desires that everyone strives for in some way or another, in both healthy and unhealthy ways. By being driven into the NY freelance world mostly out of necessity, I've sacrificed one type of stability. But I've gained another, and something I think might be more long term. I've learned how different studios function, what I like or don't like about them, I've had to ask myself the tough questions of what I can do better, what I need to improve upon in order to hopefully increase my job offers, length of employment, etc. But even more important than all that, is that somehow I've gotten (more) comfortable with that unknown element. Some of it is knowing how to prepare, saving money, and just being fortunate that the industry is really healthy and there are a lot of jobs out there. But as I've said before, for me, so much of it just comes down to a simple faith. For a perpetual doubter like myself, it's no easy task, and I really don't mean to make light of the real and founded fear of the unknown. But I said it before, freelancing is like farming, you can prepare the best soil and best seed, but you still can't control the weather. That's why so much of it is up to just getting comfortable with the unknown, and doing the best you can in the here and now. After all, isn't that life?
Tuesday, January 22, 2008
Freelancer's Guide #9: On Hold--Part II: Priorities
There's more to tell about holds, oh yes, there is. If you haven't read the first post about holds, it might be best to go back and refresh your memory.
So, let's pick an alternate story about holds. Say you are talking to Studio-A, and they say "We'd like to put you on first hold for January." They haven't booked you, or given you a start date, they just have you on hold. Then you get a call from Studio-B, who says they'd like to put you on hold for January as well, and want to know your availability. Neither place has said they want to book you, so there is no "challenge" happening. What do you do? If you accept a hold from both places, and both places later call you up to book you for the same time, how is it decided which place gets your services?
The answer lies in what priority that hold has. Studio-A has said they want you on first hold. That means that they have first priority over your services, over any other place for the duration of that hold. So when Studio-B calls and wants you on hold, what you do is tell them you have a first hold (you can decide if you want to tell them it's for Studio-A), but am not booked for anything at this time. You can either tell them you'd be able to agree to a "2nd Hold", or wait for them to ask for a "2nd Hold" when they respond.
A "2nd Hold" does not just mean it's the second one you have. It is the priority which that place has on your services. They have 2nd priority, meaning that if Studio-A (your first hold) wants to book you, Studio-B really has no say in the matter, because they have 2nd priority. So what's the value of a 2nd Hold?
Let's say Studio-A has you on hold for a length of time, but has no work coming in to actually book you for. You're not hearing anything from them either, and the chance of employment is not great. Studio-B on the other hand has work coming in, and wants to book you. Because they have 2nd Hold, that gives them the ability to "challenge" Studio-A's first hold. (If you read the first post on holds, I talked extensively about challenges--if you're confused, just go check it out again). Since Studio-A has no work coming in, they have no choice but to release you from the hold, leaving you free to go work at Studio-B. Alternatively, if Studio-A actually has work and they want to book you, they have the first hold so you work for them. So, no matter if you'd prefer one job over the other, it all comes down to who has priority.
Priorities don't stop with the 2nd hold though. You could have a 3rd Hold, and theoretically even a 4th Hold. So, say your 3rd hold, Studio-C, wants to book you, and neither Studio-A or B has called to book you. Before you can work for Studio-C, you first have to talk to Studio-A and Studio-B because they have priority. If by some chance all 3 studios want to book you, Studio-A wins because they have First Hold, first priority.
Why have all these holds though? I mean, if a place wants to put you on hold doesn't that mean they are going to hire you? Not necessarily. A million things could happen that could keep you from getting booked. The project could fall through at the last second. The studio may have put too many people on hold, the budget may have gotten cut, who knows. Multiple holds, if you're lucky enough to get them, can help you in the event that something falls through. Giving holds priorities is really the only way to be able to handle multiple holds at once.
A couple things to add to this: If you're getting multiple holds from places, this is actually a really good thing because it means that places are busy and you're in demand. On the other hand, if you're struggling to get holds, it could mean any number of things. 1) There's not much work going on in your area at the current time or 2) You need to improve your skills, or networking, or website,etc so that you're more employable. Even if you're doing everything "right", a freelancer's life is a life of faith, because the unemployed times will happen, and there's only so much you can do to promote yourself. No amount of self-promotion or skills will help you if the jobs simply aren't there. Even if the jobs ARE there, it can be easy to get worried that the next one won't come...and the one after that...and the one after that... Just do your best, keep learning and improving, and try to have faith that the unemployment is temporary. Plan for that unemployment time, save up money to get you through it, and if you're in a stable position, try not to freak out. I'm not saying that if you badly need money you shouldn't go find a way to earn some to pay your rent. I'm not saying you shouldn't work hard. Yes, you have to learn and prepare, but patience and faith are as necessary as that demo reel, even when everything is going "right".
My dad is a farmer. Freelancing is kinda like farming. It doesn't matter if you've bought the best seed available, have the richest soil, and the best equipment. When it comes down to it the weather has to be good! And we can't control the weather can we?
So, let's pick an alternate story about holds. Say you are talking to Studio-A, and they say "We'd like to put you on first hold for January." They haven't booked you, or given you a start date, they just have you on hold. Then you get a call from Studio-B, who says they'd like to put you on hold for January as well, and want to know your availability. Neither place has said they want to book you, so there is no "challenge" happening. What do you do? If you accept a hold from both places, and both places later call you up to book you for the same time, how is it decided which place gets your services?
The answer lies in what priority that hold has. Studio-A has said they want you on first hold. That means that they have first priority over your services, over any other place for the duration of that hold. So when Studio-B calls and wants you on hold, what you do is tell them you have a first hold (you can decide if you want to tell them it's for Studio-A), but am not booked for anything at this time. You can either tell them you'd be able to agree to a "2nd Hold", or wait for them to ask for a "2nd Hold" when they respond.
A "2nd Hold" does not just mean it's the second one you have. It is the priority which that place has on your services. They have 2nd priority, meaning that if Studio-A (your first hold) wants to book you, Studio-B really has no say in the matter, because they have 2nd priority. So what's the value of a 2nd Hold?
Let's say Studio-A has you on hold for a length of time, but has no work coming in to actually book you for. You're not hearing anything from them either, and the chance of employment is not great. Studio-B on the other hand has work coming in, and wants to book you. Because they have 2nd Hold, that gives them the ability to "challenge" Studio-A's first hold. (If you read the first post on holds, I talked extensively about challenges--if you're confused, just go check it out again). Since Studio-A has no work coming in, they have no choice but to release you from the hold, leaving you free to go work at Studio-B. Alternatively, if Studio-A actually has work and they want to book you, they have the first hold so you work for them. So, no matter if you'd prefer one job over the other, it all comes down to who has priority.
Priorities don't stop with the 2nd hold though. You could have a 3rd Hold, and theoretically even a 4th Hold. So, say your 3rd hold, Studio-C, wants to book you, and neither Studio-A or B has called to book you. Before you can work for Studio-C, you first have to talk to Studio-A and Studio-B because they have priority. If by some chance all 3 studios want to book you, Studio-A wins because they have First Hold, first priority.
Why have all these holds though? I mean, if a place wants to put you on hold doesn't that mean they are going to hire you? Not necessarily. A million things could happen that could keep you from getting booked. The project could fall through at the last second. The studio may have put too many people on hold, the budget may have gotten cut, who knows. Multiple holds, if you're lucky enough to get them, can help you in the event that something falls through. Giving holds priorities is really the only way to be able to handle multiple holds at once.
A couple things to add to this: If you're getting multiple holds from places, this is actually a really good thing because it means that places are busy and you're in demand. On the other hand, if you're struggling to get holds, it could mean any number of things. 1) There's not much work going on in your area at the current time or 2) You need to improve your skills, or networking, or website,etc so that you're more employable. Even if you're doing everything "right", a freelancer's life is a life of faith, because the unemployed times will happen, and there's only so much you can do to promote yourself. No amount of self-promotion or skills will help you if the jobs simply aren't there. Even if the jobs ARE there, it can be easy to get worried that the next one won't come...and the one after that...and the one after that... Just do your best, keep learning and improving, and try to have faith that the unemployment is temporary. Plan for that unemployment time, save up money to get you through it, and if you're in a stable position, try not to freak out. I'm not saying that if you badly need money you shouldn't go find a way to earn some to pay your rent. I'm not saying you shouldn't work hard. Yes, you have to learn and prepare, but patience and faith are as necessary as that demo reel, even when everything is going "right".
My dad is a farmer. Freelancing is kinda like farming. It doesn't matter if you've bought the best seed available, have the richest soil, and the best equipment. When it comes down to it the weather has to be good! And we can't control the weather can we?
Saturday, January 12, 2008
Freelancer's Guide #8: Freelance Switch
Whether you're thinking of going freelance, or are freelancing already, there is a site that is an awesome resource, FreelanceSwitch.com. It really is a must read! It doesn't matter if you're just a freelancer hopping around to different studios like me, or if you're running your own full business from home, there is so much advice to pick through. I've only recently started reading it, and not only has it opened my eyes to new ideas, but it has also helped me to put words to things I already knew worked, but didn't fully understand why.
Check it out, and subscribe to it in your feed reader! It's the single best resource dedicated to freelancing that I've seen.
(Thanks to Kevin Williams, and his awesome Google Reader shared items, for pointing me to this fantastic website!)
Check it out, and subscribe to it in your feed reader! It's the single best resource dedicated to freelancing that I've seen.
(Thanks to Kevin Williams, and his awesome Google Reader shared items, for pointing me to this fantastic website!)
Thursday, October 18, 2007
Freelancer's Guide #7: NYC Studio Google Map
Hey everyone, I really apologize for the lack of posts. Geez, have I become one of those bloggers? I've been so swamped at work, and probably will be until the gig is up (whenever that will be). But I haven't given up on the blog, posts will pick up again when things settle down.
Good news though! I've got something new to share. Steve Mann at Charlex has started a Google Map of studios in the NYC area, that he's updating when he gets a chance. He's got quite a few on there already, so if you're a freelancer and looking for another gig, it's a good resource to have. Thanks Steve, you rock!
View Larger Map
Good news though! I've got something new to share. Steve Mann at Charlex has started a Google Map of studios in the NYC area, that he's updating when he gets a chance. He's got quite a few on there already, so if you're a freelancer and looking for another gig, it's a good resource to have. Thanks Steve, you rock!
View Larger Map
Sunday, June 10, 2007
Freelancer's Guide #6: NYC Studio List--Applying for Jobs
I've decided to post a list of a few places that I know around NYC who often look for freelancers. I don't personally know all the places around here, the only ones I know are either ones I've worked at, ones who've contacted me, or ones where my friends have worked. So I will try to update this list when I hear of others, but don't take this list as complete or a "ranking" of studios by any means.
At the very least, here's a few places that can be a starting point for those of you looking for places to send demo reels in New York. Also, note that most of my knowledge is about places that do 3D work--I think there are a lot of places that do flash around here as well, so if you're looking for them don't be discouraged that they're not on this list...yet.
PLACES WHERE I'VE WORKED:
Framestore NY (www.framestore.com) Maya, Linux--The U.S. branch of Framestore CFC in London. A talented team that has done great work on the Geico Gecko, Fed Ex "Stick", Dodge "Focus Group". One of the places that does the most 3D character animation in New York. And they have a Simpson's Pinball game upstairs, which is very addictive ;)
Psyop (www.psyop.tv) Maya, Windows--The other place in Manhattan that does the most 3D Character Animation. They've been known for their motion graphics stuff for quite a while, but since Coke "Happiness Factory" came out they've gained quite a reputation among 3D animators as well. They are quickly becoming one of the larger(est?) studios in NYC.
Charlex (www.charlex.com) Maya, Windows--Worked here on "One Rat Short". They do a lot of cell phone commercials and other CG for advertising, not a lot of character animation since One Rat Short finished. If you're into motion capture and use Motion Builder, they are usually looking for people at their sister company "Launch", which does a lot of previs work.
Tronic (www.tronicstudio.com) 3DS Max, Windows--I worked for a little while on some M&M's stuff for the M&M's store in Times Square. Haven't heard if they are thinking of doing more character animation in the future.
WHERE MY FRIENDS HAVE WORKED:
Curious Pictures (www.curiouspictures.com) They write "Codename: Kids Next Door" for Cartoon Network, but do a lot of animation/effects in advertising locally. I believe they also animate "Little Einsteins" here.
Rhino FX (www.rhinofx.com) They do some similar work to Charlex, a lot of misc CG, effects and lighting work, occasionally other things.
PLACES WHO HAVE CONTACTED ME ABOUT GIGS:
The Mill (www.the-mill.com) Also based in London, but have a studio in NYC.
Digital Kitchen (www.d-kitchen.com) Studios in Seattle, Chicago, and NYC.
Hornet, Inc. (www.hornetinc.com) Studios in LA, NYC.
Stardust NY (www.stardust.tv) Studios in LA, NYC.
Eyeball NYC (www.eyeballnyc.com) Contacted me about a character animation gig recently.
Click 3x (www.click3x.com) Interviewed for a gig there once.
GAMES:
Kaos Studios (www.kaosstudios.com) (THQ) If you're looking for a staff position, this is a good place to look. They're currently working on "Frontlines: Fuel of War", an FPS game, keyframe animation. I've heard it's a nice place to work too.
FEATURE ANIMATION:
Blue Sky (www.blueskystudios.com) Located in White Plains, about a half-hour north of Manhattan on the Metro-North train. You all have heard of them I'm sure.
ON APPLYING FOR JOBS:
These places don't often post jobs on the online job boards. They often don't know they need an animator until a job comes in for them, and usually they need someone pretty quickly. That being the case, it may be harder to grab a freelance gig if you're not local. But that doesn't mean it doesn't happen--I was hired by Charlex because I had a recommendation by a friend, and I had a week to move to NYC! More of that story later.
Character Animation gigs are sometimes hard to come by, with exceptions at places like Framestore and Psyop. Other places will have a character animation job every now and then, but lets face it, the bulk of commercials on TV that require animation and effects don't have characters. Don't ask me how I've landed character animation gigs so far, I think it's just been a good year for character animators. Don't let that get ya down, just realize you may have to animate a spinning cell-phone or something else sometimes to keep the income flowing.
Again, check out David B. Levy's "Your Career in Animation: How to Survive and Thrive" for great tips on how to job hunt in New York. Freelance gigs in New York are often filled through recommendation only, but some places do keep reels around to look at when they need to find somebody. Mostly though, they call back freelancers they've worked with in the past. It's not uncommon to see a lot of familiar faces at different studios, as we freelancers hop around a lot.
Lastly, most jobs around here are on a freelance basis. Occasionally you'll hear of a place that's hiring staff, but that is a rare occasion. Some people land staff positions after freelancing at a place for a while, and they usually have proven to be able to lend their talents for more than one aspect of production. For example, animatiors who can also rig, and riggers who can also animate.
So there ya go! I'll try to update this list in the future, I know of others that will be up here too. Anyone who knows of others, go ahead and post in the comments and I'll add them here too.
At the very least, here's a few places that can be a starting point for those of you looking for places to send demo reels in New York. Also, note that most of my knowledge is about places that do 3D work--I think there are a lot of places that do flash around here as well, so if you're looking for them don't be discouraged that they're not on this list...yet.
PLACES WHERE I'VE WORKED:
Framestore NY (www.framestore.com) Maya, Linux--The U.S. branch of Framestore CFC in London. A talented team that has done great work on the Geico Gecko, Fed Ex "Stick", Dodge "Focus Group". One of the places that does the most 3D character animation in New York. And they have a Simpson's Pinball game upstairs, which is very addictive ;)
Psyop (www.psyop.tv) Maya, Windows--The other place in Manhattan that does the most 3D Character Animation. They've been known for their motion graphics stuff for quite a while, but since Coke "Happiness Factory" came out they've gained quite a reputation among 3D animators as well. They are quickly becoming one of the larger(est?) studios in NYC.
Charlex (www.charlex.com) Maya, Windows--Worked here on "One Rat Short". They do a lot of cell phone commercials and other CG for advertising, not a lot of character animation since One Rat Short finished. If you're into motion capture and use Motion Builder, they are usually looking for people at their sister company "Launch", which does a lot of previs work.
Tronic (www.tronicstudio.com) 3DS Max, Windows--I worked for a little while on some M&M's stuff for the M&M's store in Times Square. Haven't heard if they are thinking of doing more character animation in the future.
WHERE MY FRIENDS HAVE WORKED:
Curious Pictures (www.curiouspictures.com) They write "Codename: Kids Next Door" for Cartoon Network, but do a lot of animation/effects in advertising locally. I believe they also animate "Little Einsteins" here.
Rhino FX (www.rhinofx.com) They do some similar work to Charlex, a lot of misc CG, effects and lighting work, occasionally other things.
PLACES WHO HAVE CONTACTED ME ABOUT GIGS:
The Mill (www.the-mill.com) Also based in London, but have a studio in NYC.
Digital Kitchen (www.d-kitchen.com) Studios in Seattle, Chicago, and NYC.
Hornet, Inc. (www.hornetinc.com) Studios in LA, NYC.
Stardust NY (www.stardust.tv) Studios in LA, NYC.
Eyeball NYC (www.eyeballnyc.com) Contacted me about a character animation gig recently.
Click 3x (www.click3x.com) Interviewed for a gig there once.
GAMES:
Kaos Studios (www.kaosstudios.com) (THQ) If you're looking for a staff position, this is a good place to look. They're currently working on "Frontlines: Fuel of War", an FPS game, keyframe animation. I've heard it's a nice place to work too.
FEATURE ANIMATION:
Blue Sky (www.blueskystudios.com) Located in White Plains, about a half-hour north of Manhattan on the Metro-North train. You all have heard of them I'm sure.
ON APPLYING FOR JOBS:
These places don't often post jobs on the online job boards. They often don't know they need an animator until a job comes in for them, and usually they need someone pretty quickly. That being the case, it may be harder to grab a freelance gig if you're not local. But that doesn't mean it doesn't happen--I was hired by Charlex because I had a recommendation by a friend, and I had a week to move to NYC! More of that story later.
Character Animation gigs are sometimes hard to come by, with exceptions at places like Framestore and Psyop. Other places will have a character animation job every now and then, but lets face it, the bulk of commercials on TV that require animation and effects don't have characters. Don't ask me how I've landed character animation gigs so far, I think it's just been a good year for character animators. Don't let that get ya down, just realize you may have to animate a spinning cell-phone or something else sometimes to keep the income flowing.
Again, check out David B. Levy's "Your Career in Animation: How to Survive and Thrive" for great tips on how to job hunt in New York. Freelance gigs in New York are often filled through recommendation only, but some places do keep reels around to look at when they need to find somebody. Mostly though, they call back freelancers they've worked with in the past. It's not uncommon to see a lot of familiar faces at different studios, as we freelancers hop around a lot.
Lastly, most jobs around here are on a freelance basis. Occasionally you'll hear of a place that's hiring staff, but that is a rare occasion. Some people land staff positions after freelancing at a place for a while, and they usually have proven to be able to lend their talents for more than one aspect of production. For example, animatiors who can also rig, and riggers who can also animate.
So there ya go! I'll try to update this list in the future, I know of others that will be up here too. Anyone who knows of others, go ahead and post in the comments and I'll add them here too.
Friday, May 25, 2007
Freelancer's Guide #5: AM, Kenny Roy's Advice on Freelancing
How the heck did I miss this in the May Animation Mentor newsletter? "Freelancing in Today's Animation Industry". A very in-depth article about freelancing, that I think some people will find useful. It covers the side of freelancing that I know next to nothing about: working from home on your own. Kenny talks all about how to manage your own business, get clients, in the situation where you are completely responsible for delivering the entire project to your personal client. (As opposed to short-term contract work for studios, as I've done.)
This stuff is what most people think of when they hear of freelancing, though it's really not in my plans to start my own fully functioning business from home. There's plenty of freelance work for me at studios, where somebody else can take care of client meetings ;) But it's still good stuff to know, and there are some things he mentions that are applicable either way. In my case, my clients are the studios I work for. But if you're the type who really wants to work from home and run your own business, definitely read what he has to say.
This stuff is what most people think of when they hear of freelancing, though it's really not in my plans to start my own fully functioning business from home. There's plenty of freelance work for me at studios, where somebody else can take care of client meetings ;) But it's still good stuff to know, and there are some things he mentions that are applicable either way. In my case, my clients are the studios I work for. But if you're the type who really wants to work from home and run your own business, definitely read what he has to say.
Monday, May 07, 2007
Freelancer's Guide #4: "On Hold"
Shout out to my friend Dana Boadway's Animation Mentor class! I'm staying up to write this just for you guys. Well, and for anyone else who is reading ;)
The Hold System. No one knows how it came to be, or why it exists, but it is very much a common business practice in New York (and seemingly only New York) to hire freelancers. Usually you have to find out for yourself how to handle it, or hope you have a friend to tell you, but never fear! I will explain what I know thus far about it, to hopefully help anyone who is looking to freelance at studios in NYC. Once again, if anyone has any advice to add or correct, please add it to the comments--I am speaking of what I've found to be true in my limited experience, and what I've learned from others. There is always more for me to learn.
The Call:
As I explained in an earlier post, it goes like this: Studio ABC calls you up. They've seen your reel and like it, and ask if you're available for a certain time period. You say with hidden excitement, "Yes, I am!", and they say "Great, I'd like to put you on hold for May through June."
'On hold?' You think to yourself, 'They didn't mention anything about that in my classes. All they did was tell me not to bring up the subject of money in an interview! Is this the interview? What do I say?'
"Uh, sure, that sounds good!" you say. They say great, we'll be in touch. And you hang up the phone, not knowing if you have really gotten a job or not.
On Hold vs. Booked:
A hold, as I understand, is a verbal agreement. You've told a place you are available during a certain period of time, if they call you to work for that time you have agreed to come in and work for them. The problem with this system is that it doesn't guarantee you anything until the studio actually BOOKS you. If you are *booked*, that means you are guaranteed work for the dates that they have booked you for. This is THE difference between a hold and being booked. When you're booked, you have work and you are getting paid for the dates specified. When you're "on hold", you're not working, you're not getting paid--but you may later if they book you.
Now usually a place will tell you what they want you to work on when they call you--they'll tell you what's coming up. If you get the idea or have heard about work coming up at a certain studio you are talking to, chances are they are not just calling you without any intention of hiring you. When someone calls you to put you on hold, there is probably a reason.
Therefore, if possible, you do want to try to ask them for specific dates, and when you start working to specify how long you are actually BOOKED for. This way, both parties know how long the agreed employment is and there are no surprises down the road where you thought you were guaranteed work and it turns out you aren't (though this is rare in my experience). They may not know for sure at that time, because they may still be working out their staff requirements and schedule. So be understanding of that, but still keep in touch and try to get some dates. They will most likely be in touch with you anyway when they know, so don't bug them too much. Studios know how the system works, but be sure to show that you know how it works too. Some people work up their own contracts for their freelance business, which isn't a bad idea, though I do not know much about that yet.
Competition for Hiring Freelancers:
There is competition between studios when finding freelancers. All of these studios hire from the same pool of talent in New York, and it's not as big as in California. Some places do hand out "holds" quickly and easily to a lot of people to guarantee that they will have people to work for them for an upcoming project, they may put more artists on hold than they need so they can be sure they have enough people at hand. If you find that nearly every other animator you know in the city is on hold for the same place at the same time, the studio might not need all those people. Other places only contact the number of people they know they will need. It really just depends on how that producer likes to do it, and how much manpower they need.
If you're lucky, after you finish a gig at a place, they may ask you to stay on hold for them for a few weeks more. They may know of more work coming up, or there may be unexpected changes from the client that they may need to call you back for. This is a good thing. It means that they are happy working with you, and want to continue to do business with you. But again, it doesn't guarantee work. Competition is high for animators in New York, and they don't want people they like to be snatched up by another studio, when for all they know 2 weeks later they may need you. So keep your ears open. If you've been working at a place for a few weeks, chances are you will have an idea if there actually is more work coming to the company soon, or if it's going to be a slower period. If you don't hear of more work coming up, it's not a bad idea to keep your ears open for something else. But do not take anther gig unless the studio has released you from their hold. Which leads me to the next sub-topic...
The Challenge!
To me, this sounds like it originated like one of those playground rules that kids make up when they're losing a game of four-square..."No, if it bounces twice off my foot it doesn't count...yeah-huh it's a rule!" But regardless, it is very real, and what's more, it works.
The Challenge goes like this. You have a hold at Studio-A but are not booked for that time. Studio-B calls you up and asks if you are available to work for them for the same time period. You tell them you are interested in working with them, but you are already on hold for Studio-A. But Studio-B really wants to hire you, and can BOOK you for the dates. So they say they'd like to "challenge" that hold. So you call up Studio-A and say "B wants to challenge your hold and can book me for those dates." This means that if Studio-A cannot book you for any of the dates they have you on hold for, they must release you to the other company. They will probably ask you for a day or two to get back to you. Let them, and tell Studio B that you are waiting for a response from A. If A does not get back to you on the day they said you would, you may want to call them the next day. The Challenge has a way of being drawn out, for understandable reasons. After all, if you were Studio-A you really wouldn't want to lose a freelancer who you may need when a job comes in 2 days later! But they know how the challenge works, and they themselves have likely challenged other studio's holds. I have been told that the "official" rule is that Studio-A would have 24 hours to respond. I think it is more important to stay on good terms with both companies than to hold fast to this 24 hour rule. This will put your diplomacy skills to the test, because you do not want to offend either party--you will hopefully be working for both of them again sometime, you may even have friends at both already, but Studio-B wants an answer as soon as possible and Studio-A may be trying to delay an answer for as long as possible.
If Studio-A really doesn't have any work, they will eventually release you to B, and you will be working at B for the booked dates. If Studio-A ends up having work and can BOOK you, then they "win" the challenge. It actually can be a good thing--either way, you have work. Producers I have worked with have been understanding of that too. If they really don't have any work for you, they know you need to find work for yourself.
The MOST Important Thing:
As you are dealing with such gray areas as holds, remember to treat the people you are doing business with respectfully. Some may call me naive, but I truly believe in treating others as you would like to be treated yourself, or as someone once said as they appreciate being treated. Don't back out on your holds just because you want to, or you soon won't be finding yourself working anywhere. If you run into a complication with a hold, communicate it openly to the producer you talked to. Otherwise if you take another gig somewhere else and then that first producer calls you up, you are going to have some explaining to do and it won't be fun. But honestly, if you treat people respectfully and try to realize the position they are coming from, and let them know that you recognize their position, I think you have a much greater chance of maintaining a good relationship with that producer and that company. Be aware that they know how these things work, and it is true that sometimes you will have to look out for yourself. But the last thing you want to do is offend an employer and ruin your reputation. But for me it goes deeper than saving my reputation. It's about treating others properly and respectfully. If you realize this most important thing, I think you will enhance not only your professional life, but every aspect of your life.
The Hold System. No one knows how it came to be, or why it exists, but it is very much a common business practice in New York (and seemingly only New York) to hire freelancers. Usually you have to find out for yourself how to handle it, or hope you have a friend to tell you, but never fear! I will explain what I know thus far about it, to hopefully help anyone who is looking to freelance at studios in NYC. Once again, if anyone has any advice to add or correct, please add it to the comments--I am speaking of what I've found to be true in my limited experience, and what I've learned from others. There is always more for me to learn.
The Call:
As I explained in an earlier post, it goes like this: Studio ABC calls you up. They've seen your reel and like it, and ask if you're available for a certain time period. You say with hidden excitement, "Yes, I am!", and they say "Great, I'd like to put you on hold for May through June."
'On hold?' You think to yourself, 'They didn't mention anything about that in my classes. All they did was tell me not to bring up the subject of money in an interview! Is this the interview? What do I say?'
"Uh, sure, that sounds good!" you say. They say great, we'll be in touch. And you hang up the phone, not knowing if you have really gotten a job or not.
On Hold vs. Booked:
A hold, as I understand, is a verbal agreement. You've told a place you are available during a certain period of time, if they call you to work for that time you have agreed to come in and work for them. The problem with this system is that it doesn't guarantee you anything until the studio actually BOOKS you. If you are *booked*, that means you are guaranteed work for the dates that they have booked you for. This is THE difference between a hold and being booked. When you're booked, you have work and you are getting paid for the dates specified. When you're "on hold", you're not working, you're not getting paid--but you may later if they book you.
Now usually a place will tell you what they want you to work on when they call you--they'll tell you what's coming up. If you get the idea or have heard about work coming up at a certain studio you are talking to, chances are they are not just calling you without any intention of hiring you. When someone calls you to put you on hold, there is probably a reason.
Therefore, if possible, you do want to try to ask them for specific dates, and when you start working to specify how long you are actually BOOKED for. This way, both parties know how long the agreed employment is and there are no surprises down the road where you thought you were guaranteed work and it turns out you aren't (though this is rare in my experience). They may not know for sure at that time, because they may still be working out their staff requirements and schedule. So be understanding of that, but still keep in touch and try to get some dates. They will most likely be in touch with you anyway when they know, so don't bug them too much. Studios know how the system works, but be sure to show that you know how it works too. Some people work up their own contracts for their freelance business, which isn't a bad idea, though I do not know much about that yet.
Competition for Hiring Freelancers:
There is competition between studios when finding freelancers. All of these studios hire from the same pool of talent in New York, and it's not as big as in California. Some places do hand out "holds" quickly and easily to a lot of people to guarantee that they will have people to work for them for an upcoming project, they may put more artists on hold than they need so they can be sure they have enough people at hand. If you find that nearly every other animator you know in the city is on hold for the same place at the same time, the studio might not need all those people. Other places only contact the number of people they know they will need. It really just depends on how that producer likes to do it, and how much manpower they need.
If you're lucky, after you finish a gig at a place, they may ask you to stay on hold for them for a few weeks more. They may know of more work coming up, or there may be unexpected changes from the client that they may need to call you back for. This is a good thing. It means that they are happy working with you, and want to continue to do business with you. But again, it doesn't guarantee work. Competition is high for animators in New York, and they don't want people they like to be snatched up by another studio, when for all they know 2 weeks later they may need you. So keep your ears open. If you've been working at a place for a few weeks, chances are you will have an idea if there actually is more work coming to the company soon, or if it's going to be a slower period. If you don't hear of more work coming up, it's not a bad idea to keep your ears open for something else. But do not take anther gig unless the studio has released you from their hold. Which leads me to the next sub-topic...
The Challenge!
To me, this sounds like it originated like one of those playground rules that kids make up when they're losing a game of four-square..."No, if it bounces twice off my foot it doesn't count...yeah-huh it's a rule!" But regardless, it is very real, and what's more, it works.
The Challenge goes like this. You have a hold at Studio-A but are not booked for that time. Studio-B calls you up and asks if you are available to work for them for the same time period. You tell them you are interested in working with them, but you are already on hold for Studio-A. But Studio-B really wants to hire you, and can BOOK you for the dates. So they say they'd like to "challenge" that hold. So you call up Studio-A and say "B wants to challenge your hold and can book me for those dates." This means that if Studio-A cannot book you for any of the dates they have you on hold for, they must release you to the other company. They will probably ask you for a day or two to get back to you. Let them, and tell Studio B that you are waiting for a response from A. If A does not get back to you on the day they said you would, you may want to call them the next day. The Challenge has a way of being drawn out, for understandable reasons. After all, if you were Studio-A you really wouldn't want to lose a freelancer who you may need when a job comes in 2 days later! But they know how the challenge works, and they themselves have likely challenged other studio's holds. I have been told that the "official" rule is that Studio-A would have 24 hours to respond. I think it is more important to stay on good terms with both companies than to hold fast to this 24 hour rule. This will put your diplomacy skills to the test, because you do not want to offend either party--you will hopefully be working for both of them again sometime, you may even have friends at both already, but Studio-B wants an answer as soon as possible and Studio-A may be trying to delay an answer for as long as possible.
If Studio-A really doesn't have any work, they will eventually release you to B, and you will be working at B for the booked dates. If Studio-A ends up having work and can BOOK you, then they "win" the challenge. It actually can be a good thing--either way, you have work. Producers I have worked with have been understanding of that too. If they really don't have any work for you, they know you need to find work for yourself.
The MOST Important Thing:
As you are dealing with such gray areas as holds, remember to treat the people you are doing business with respectfully. Some may call me naive, but I truly believe in treating others as you would like to be treated yourself, or as someone once said as they appreciate being treated. Don't back out on your holds just because you want to, or you soon won't be finding yourself working anywhere. If you run into a complication with a hold, communicate it openly to the producer you talked to. Otherwise if you take another gig somewhere else and then that first producer calls you up, you are going to have some explaining to do and it won't be fun. But honestly, if you treat people respectfully and try to realize the position they are coming from, and let them know that you recognize their position, I think you have a much greater chance of maintaining a good relationship with that producer and that company. Be aware that they know how these things work, and it is true that sometimes you will have to look out for yourself. But the last thing you want to do is offend an employer and ruin your reputation. But for me it goes deeper than saving my reputation. It's about treating others properly and respectfully. If you realize this most important thing, I think you will enhance not only your professional life, but every aspect of your life.
Monday, March 26, 2007
Freelancer's Guide #3: Health Insurance wake-up call
So I subscribe to the Freelancer's Union blog in my feed reader, and they posted a link to this article, from the New York magazine, which talks about how many young workers in New York are uninsured, and a few horror stories from people who found out the costs of not having it. It's quite a wake-up call...one of those stomach twisting articles that make ya realize you've been ignoring something important. It's 7 pages long, but if you're uninsured and working like me, you'd better read it. The last page at least offers some further info, places in NYC that offer low-cost help to uninsured, as well as some lower cost insurance options (such as through Freelancer's Union, which I'm going to be checking out).
There's really nothing more I can say--just read it.
Sunday, March 18, 2007
Freelancer's Guide #2: Estimated Tax Payments
*UPDATE 2/14/10** Much of my previous information on freelancer taxes, business tax deductions, and estimated payments are quickly becoming outdated, or may no longer apply to many freelancers in the animation/vfx industry. See this post for more information: http://kylemohr.blogspot.com/2010/02/freelancers-guide-goodbye-1099.html
--------------------------------------------------------
Estimated tax payments were almost a complete mystery to me, until yesterday when I was completing my return on Turbo Tax Online, and their handy help files had some info on it. There's no direct link to those help files, but I found a couple pages online from Turbo Tax's tax tips. They should clear up a lot of your questions (and mine!)
Estimated Taxes FAQ
Determining Estimated Tax Payments
If you'd rather have every possible info on the topic, which is not a bad idea just to be sure, check out what the IRS has to say about it here. That page seriously outlines the whole thing in detail, lucky there's a table of contents that you can sort through to see where the main info is at.
If you are brand new to this whole idea, estimated tax payments are generally required of you if you are freelance, because taxes are not taken out of every paycheck. This means that you estimate the amount of taxes you will owe for the current year, based on the past year's return, and pay quarterly estimated payments. If you don't do that, you get an underpaid taxes fine at the end of the year. That is about all I knew about it until Turbo Tax taught me more! Turbo Tax apparently even has a service dedicated to helping you make your estimated tax payments, which I will probably be using. Note: If you plan on using it to pay your taxes at the end of the year, you need the Home and Business version. It's more expensive, but has everything you need. If you use Turbo Tax Online, you don't have to pay for it until it is complete and you are ready to file and/or print your return. So far, the federal parts of the service seem more helpful than the New York state sections, but it still beats trying to figure out how to read the forms.
A lot of people have an accountant, which is actually not a bad idea, especially when you get to the point of buying a house, etc. But until then, tax software is probably the best bet to help you get them done.
--------------------------------------------------------
Estimated tax payments were almost a complete mystery to me, until yesterday when I was completing my return on Turbo Tax Online, and their handy help files had some info on it. There's no direct link to those help files, but I found a couple pages online from Turbo Tax's tax tips. They should clear up a lot of your questions (and mine!)
Estimated Taxes FAQ
Determining Estimated Tax Payments
If you'd rather have every possible info on the topic, which is not a bad idea just to be sure, check out what the IRS has to say about it here. That page seriously outlines the whole thing in detail, lucky there's a table of contents that you can sort through to see where the main info is at.
If you are brand new to this whole idea, estimated tax payments are generally required of you if you are freelance, because taxes are not taken out of every paycheck. This means that you estimate the amount of taxes you will owe for the current year, based on the past year's return, and pay quarterly estimated payments. If you don't do that, you get an underpaid taxes fine at the end of the year. That is about all I knew about it until Turbo Tax taught me more! Turbo Tax apparently even has a service dedicated to helping you make your estimated tax payments, which I will probably be using. Note: If you plan on using it to pay your taxes at the end of the year, you need the Home and Business version. It's more expensive, but has everything you need. If you use Turbo Tax Online, you don't have to pay for it until it is complete and you are ready to file and/or print your return. So far, the federal parts of the service seem more helpful than the New York state sections, but it still beats trying to figure out how to read the forms.
A lot of people have an accountant, which is actually not a bad idea, especially when you get to the point of buying a house, etc. But until then, tax software is probably the best bet to help you get them done.
Thursday, March 15, 2007
Freelancer's Guide #1: The Good, the Bad, and the Taxable Income
*UPDATE 2/14/10** Much of my previous information on freelancer taxes, business tax deductions, and estimated payments are quickly becoming outdated, or may no longer apply to many freelancers in the animation/vfx industry. See this post for more information: http://kylemohr.blogspot.com/2010/02/freelancers-guide-goodbye-1099.html
---------------------------------------------
Welcome to my first ongoing topic! I've only been freelancing in New York for a little over a year, but I've already been asked a few times about it by people considering it. Seeing that my knowledge of freelancing thus far has come only through the generosity of the friends I've met here, I decided it's time to spread the love and make a resource for anyone considering going freelance (or starting out freelancing) in NYC. Since it's such a huge topic, I'm gonna start out with what I would consider to be the first questions people have, and then continue on in later posts with specific topics.
Knowing how to be smart when freelancing is probably a skill only learned after years of experience, and part of the reason for that is because nobody really openly talks about it! The other reason is that I do think it takes experience to fully understand the complexities, and because of that, I can only offer you what a year's worth of experience can understand. So if you are reading this and think you know more than I do about freelancing, you may be right--so post comments to add your advice!
The Good
People go freelance for various reasons. Some don't want to be tied down to one studio, some like the flexibility of being able to take time off. Others, like me, freelance because that's about the best (and nearly the only) way to stay employed in New York. My perspective on freelancing comes as a newcomer to the industry, gaining experience and exploring this thing called commercial animation.
1. Experience
Probably the thing I like the most about freelancing in NYC is that it has truely shown me how various places function day-to-day. What the work environment is like, how production is managed, scheduling is made, how teams work together. I've come to realize that some people, even those who go to a big LA studio straight out of school may never get to see the industry in a broader scope, and only know what it's like to work in a large feature animation/vsfx house. I've freelanced at 4 studios so far, and every one of them has been very different from the last. Freelancing makes sure that you don't get stuck in a bad working environment, just because you don't know what a good working environment is like.
2. Networking
In NYC, the local industry is even smaller than the animation/vsfx industry as a whole. Meaning that once some of your friends start dropping your name as an available freelancer, your odds of getting a gig are fairly good (if you have patience). Studios will hire you for a gig, and if you don't screw it up, they will probably call you back when they need more manpower later. Of course you still need to have the skills shown on your reel to be hired, but networking is what will get you the initial email. You also need to not be a jerk. Seriously. Also, you have a great opportunity to meet a lot of people at every place you work--an opportunity to make friends, not just expand your business network.
3. Flexibility
It is nice to be able to say to yourself "I wanna go home at Christmas for a week", and be able to do that (providing you are not booked somewhere then). You can take some time off whenever you want to see the family, go on a trip, etc. In the fast paced world of advertising, these breaks allow you to build up your energy again to tackle the next round of stomach-churning client notes. If you'd rather work from home, you have even more flexibility, even so far as working late and sleeping in until 12pm. I have chosen not to do remote work thus far, because it takes a lot more self-discipline, and I would also rather be working with other people than on my own.
4. The Pay
Freelance pays well--if you ask for it. This is a double edged sword, and will also be explained further under "The Bad". But as far as the good, it is possible to make much more by freelancing than by getting a salary as staff. Freelancers in New York usually get paid by the day. This is a whole 'nother topic, and is best saved for a post of its own. Note: This does not mean you will be living in the lap of luxury...in fact, you probably won't.
5. Tax Deductions
Since freelancers are "self-employed", they are their own business. That means that there are plenty of tax deductions you can legally take if they come from expenses due to your career as a freelance artist (your business). Computer equipment, books, demo reel/portfolio materials, etc--if it's honestly related to your career, you can deduct it as a business expense. Save your receipts.
The Bad
1. Downtime
What some call flexibility, others call a lack of job security. If you freelance, there will be chunks of time when you actually would rather not be on break or "between gigs", because moths are slowly setting up home in your wallet. As the industry as a whole becomes more and more based on the "project-hire" plan, most everyone will probably see downtime more than once in their career. The ironic thing is, if you are smart, freelancing can teach you how to anticipate and prepare for that downtime, while other people who suddenly lose their job are freaking out because they haven't put together a demo reel in 2 years, and haven't saved up any money. So while downtime is in my opinion a bad thing, you may benefit from it in the long run (again, if you are smart).
2. Uncertainty
This is the broader picture behind the "downtime" info. The uncertainty of a freelancer's life goes beyond job security (this is probably the umbrella topic where everything under "Bad" can fit. When you are working gig to gig, for a couple months at a time, you really can't know where you're going to be 6 months down the road. You may not know if you can get home for Christmas until a month beforehand. I learned quickly that I could no longer plan my year, trips home, etc, because I had no idea where I'd be a few months down the road. While you may no longer feel you can plan those things, you also need to be able to plan for the short term. You need to save up your money so that when your current gig is up, you have some padding to pay your rent and bills while you find another job.
3. No Benefits
Health insurance is up to you and your pockets. Planning for the long-term is something that has recently become apparent to me, and while I am still learning this myself, I do know that it is very important. When you don't have a company 401k or other retirement plan, it up to you alone to be in charge of your retirement money. While you may make some good money in the present, it will do no good if you have not prepared for that time when the paychecks aren't coming in. Even though I am in no way close to retirement, this is the time when people like me have to be saving the money that is being earned.
4. The Pay, and your taxes
You don't get taxes deducted from your paychecks. This may seem small to you now, but when you are paying your quarterly estimated payments or filing your tax return, you'll realize how much better it would be to have that taken care of automatically. Estimated quarterly payments are made so you don't get hit with a fine at the end of the year for not paying taxes during the year. Amazing how that works isn't it. You will also need to either get an accountant, or figure out how to file your taxes as a business owner and personally. Turbo Tax has a home business version that helps you take deductions that you qualify for, but eventually the time will come when it is better to get an accountant to do it for you. You are smart if you open up a savings account at your bank, and save about 1/3 of each paycheck for New York and federal taxes. If you don't, you run the risk of not having that money when you need it.
Also, you will need to know what to tell studios when they ask what your "day rate" (amount of $ you charge per day) is, as that will be what you are paid for your hard work and sweat. This varies depending on your experience, and on how well you can negotiate. This will be discussed in its own post sometime.
5. The "Hold" System
The hold system is apparently something that was seemingly invented in New York to "hire" freelance artists. It goes like this--you get a call or email from Studio ABC in Manhattan. They've seen your reel and they like it, they say they are in need of an animator, and ask if you are available. If you are, they say "Great, we'd like to put you on hold for April through June".
On hold? What does that mean?? Am I employed or not? Technically no, if you are just on hold, you are not being paid, and not working. A hold is nothing more than a sort of verbal agreement that *if* a studio needs you to come in to work, you have told them you are available to do it, you are sort of "on call" for them. Do not confuse this with being "booked". If a studio gives you a start date and says you are booked from April 2nd through June 15th that means that they are obligated to let you work those dates, you are hired for those dates. This unfortunately is a grey area for some people, and another "Bad" part of freelancing--you may need to make sure that your employer knows the difference between being booked and "on hold". Yeah, I don't like the hold system either. But there are ways of it working in your favor, as will be better explained in a post dedicated to this topic alone.
***
Phew, that's a lot of info, and a big summary in which I'm sure there are numerous holes (and is by no means complete). But I will expand upon these and other topics later. The industry in New York is healthy right now, and the more you know about what it's like to work here, the good and the bad, the better you can prepare yourself and make an educated decision on if it's right for you. I myself am very grateful for starting out my career freelancing, because it has helped me to make new friends quickly, given me experience on some fantastic projects, and taught me that every studio is different.
For more information and great advice on freelancing in New York City you should definitely pick up "Your Career in Animation: How to Survive and Thrive" by David B. Levy. Highly, highly recommended.
Also check out the Freelancer's Union. It is a great resource and advocacy group for freelancers that started in New York, and is now spreading to various cities across the country.
---------------------------------------------
Welcome to my first ongoing topic! I've only been freelancing in New York for a little over a year, but I've already been asked a few times about it by people considering it. Seeing that my knowledge of freelancing thus far has come only through the generosity of the friends I've met here, I decided it's time to spread the love and make a resource for anyone considering going freelance (or starting out freelancing) in NYC. Since it's such a huge topic, I'm gonna start out with what I would consider to be the first questions people have, and then continue on in later posts with specific topics.
Knowing how to be smart when freelancing is probably a skill only learned after years of experience, and part of the reason for that is because nobody really openly talks about it! The other reason is that I do think it takes experience to fully understand the complexities, and because of that, I can only offer you what a year's worth of experience can understand. So if you are reading this and think you know more than I do about freelancing, you may be right--so post comments to add your advice!
The Good
People go freelance for various reasons. Some don't want to be tied down to one studio, some like the flexibility of being able to take time off. Others, like me, freelance because that's about the best (and nearly the only) way to stay employed in New York. My perspective on freelancing comes as a newcomer to the industry, gaining experience and exploring this thing called commercial animation.
1. Experience
Probably the thing I like the most about freelancing in NYC is that it has truely shown me how various places function day-to-day. What the work environment is like, how production is managed, scheduling is made, how teams work together. I've come to realize that some people, even those who go to a big LA studio straight out of school may never get to see the industry in a broader scope, and only know what it's like to work in a large feature animation/vsfx house. I've freelanced at 4 studios so far, and every one of them has been very different from the last. Freelancing makes sure that you don't get stuck in a bad working environment, just because you don't know what a good working environment is like.
2. Networking
In NYC, the local industry is even smaller than the animation/vsfx industry as a whole. Meaning that once some of your friends start dropping your name as an available freelancer, your odds of getting a gig are fairly good (if you have patience). Studios will hire you for a gig, and if you don't screw it up, they will probably call you back when they need more manpower later. Of course you still need to have the skills shown on your reel to be hired, but networking is what will get you the initial email. You also need to not be a jerk. Seriously. Also, you have a great opportunity to meet a lot of people at every place you work--an opportunity to make friends, not just expand your business network.
3. Flexibility
It is nice to be able to say to yourself "I wanna go home at Christmas for a week", and be able to do that (providing you are not booked somewhere then). You can take some time off whenever you want to see the family, go on a trip, etc. In the fast paced world of advertising, these breaks allow you to build up your energy again to tackle the next round of stomach-churning client notes. If you'd rather work from home, you have even more flexibility, even so far as working late and sleeping in until 12pm. I have chosen not to do remote work thus far, because it takes a lot more self-discipline, and I would also rather be working with other people than on my own.
4. The Pay
Freelance pays well--if you ask for it. This is a double edged sword, and will also be explained further under "The Bad". But as far as the good, it is possible to make much more by freelancing than by getting a salary as staff. Freelancers in New York usually get paid by the day. This is a whole 'nother topic, and is best saved for a post of its own. Note: This does not mean you will be living in the lap of luxury...in fact, you probably won't.
5. Tax Deductions
Since freelancers are "self-employed", they are their own business. That means that there are plenty of tax deductions you can legally take if they come from expenses due to your career as a freelance artist (your business). Computer equipment, books, demo reel/portfolio materials, etc--if it's honestly related to your career, you can deduct it as a business expense. Save your receipts.
The Bad
1. Downtime
What some call flexibility, others call a lack of job security. If you freelance, there will be chunks of time when you actually would rather not be on break or "between gigs", because moths are slowly setting up home in your wallet. As the industry as a whole becomes more and more based on the "project-hire" plan, most everyone will probably see downtime more than once in their career. The ironic thing is, if you are smart, freelancing can teach you how to anticipate and prepare for that downtime, while other people who suddenly lose their job are freaking out because they haven't put together a demo reel in 2 years, and haven't saved up any money. So while downtime is in my opinion a bad thing, you may benefit from it in the long run (again, if you are smart).
2. Uncertainty
This is the broader picture behind the "downtime" info. The uncertainty of a freelancer's life goes beyond job security (this is probably the umbrella topic where everything under "Bad" can fit. When you are working gig to gig, for a couple months at a time, you really can't know where you're going to be 6 months down the road. You may not know if you can get home for Christmas until a month beforehand. I learned quickly that I could no longer plan my year, trips home, etc, because I had no idea where I'd be a few months down the road. While you may no longer feel you can plan those things, you also need to be able to plan for the short term. You need to save up your money so that when your current gig is up, you have some padding to pay your rent and bills while you find another job.
3. No Benefits
Health insurance is up to you and your pockets. Planning for the long-term is something that has recently become apparent to me, and while I am still learning this myself, I do know that it is very important. When you don't have a company 401k or other retirement plan, it up to you alone to be in charge of your retirement money. While you may make some good money in the present, it will do no good if you have not prepared for that time when the paychecks aren't coming in. Even though I am in no way close to retirement, this is the time when people like me have to be saving the money that is being earned.
4. The Pay, and your taxes
You don't get taxes deducted from your paychecks. This may seem small to you now, but when you are paying your quarterly estimated payments or filing your tax return, you'll realize how much better it would be to have that taken care of automatically. Estimated quarterly payments are made so you don't get hit with a fine at the end of the year for not paying taxes during the year. Amazing how that works isn't it. You will also need to either get an accountant, or figure out how to file your taxes as a business owner and personally. Turbo Tax has a home business version that helps you take deductions that you qualify for, but eventually the time will come when it is better to get an accountant to do it for you. You are smart if you open up a savings account at your bank, and save about 1/3 of each paycheck for New York and federal taxes. If you don't, you run the risk of not having that money when you need it.
Also, you will need to know what to tell studios when they ask what your "day rate" (amount of $ you charge per day) is, as that will be what you are paid for your hard work and sweat. This varies depending on your experience, and on how well you can negotiate. This will be discussed in its own post sometime.
5. The "Hold" System
The hold system is apparently something that was seemingly invented in New York to "hire" freelance artists. It goes like this--you get a call or email from Studio ABC in Manhattan. They've seen your reel and they like it, they say they are in need of an animator, and ask if you are available. If you are, they say "Great, we'd like to put you on hold for April through June".
On hold? What does that mean?? Am I employed or not? Technically no, if you are just on hold, you are not being paid, and not working. A hold is nothing more than a sort of verbal agreement that *if* a studio needs you to come in to work, you have told them you are available to do it, you are sort of "on call" for them. Do not confuse this with being "booked". If a studio gives you a start date and says you are booked from April 2nd through June 15th that means that they are obligated to let you work those dates, you are hired for those dates. This unfortunately is a grey area for some people, and another "Bad" part of freelancing--you may need to make sure that your employer knows the difference between being booked and "on hold". Yeah, I don't like the hold system either. But there are ways of it working in your favor, as will be better explained in a post dedicated to this topic alone.
***
Phew, that's a lot of info, and a big summary in which I'm sure there are numerous holes (and is by no means complete). But I will expand upon these and other topics later. The industry in New York is healthy right now, and the more you know about what it's like to work here, the good and the bad, the better you can prepare yourself and make an educated decision on if it's right for you. I myself am very grateful for starting out my career freelancing, because it has helped me to make new friends quickly, given me experience on some fantastic projects, and taught me that every studio is different.
For more information and great advice on freelancing in New York City you should definitely pick up "Your Career in Animation: How to Survive and Thrive" by David B. Levy. Highly, highly recommended.
Also check out the Freelancer's Union. It is a great resource and advocacy group for freelancers that started in New York, and is now spreading to various cities across the country.
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