There ’s a joke in the optic effects industriousness that goes like this : Someone hear you act on films , so they ask you , “ What moving-picture show made you cry ? ” The artist will react , “ In dramatics or in the power ? ”
TheVFX industryis deeply broken . It exploits artists using myopic - term contacts , chases tax incentive across the globe , and create an environment where product studios , particularly an diligence giant like Marvel , are cover with a complaisance that comes at the expense of the artists ’ cunning and mental wellness . VFX is a machinedesigned to destroy artists . And it ’s work perfectly .
Across a serial publication of phone interview with sources within the visual essence industry who have worked on multiple Marvel titles , from Phase One up to as - of - yet unaired television shows , io9 get wind a litany of complaint about work out condition thatvisual effect studiosimpose on their staff in rescript to take on the demand of their guest . All the VFX workers in this story are refer to by pseudonyms due to the relatively small-scale sizing of the manufacture , and because they ’re afraid of being blacklisted . io9 also made numerous asking to Marvel for comment , but as of publication sentence , they had not responded . This small-arm will be updated if they decide to reach out .
Photo: Chris Delmas (Getty Images)
The bidding process is broken
In 2013 the ocular effects studio Rhythm and Hues deliver the goods the Academy Award for Best Special Effects for work on Life of Pi . ( The studio was also nominated in the same category forSnow White and the Huntsman . ) But just eleven days before winning the Oscar , the company was draw todeclare bankruptcy .
“ fundamentally , partway through the picture show , the conductor [ Ang Lee ] made a heavy change to the tiger [ inLife of Pi ] , so Rhythm and Hues had to go back and redo almost all their work . And it cost them so much money to do so , and they were already working on such a thin profit margin , that it bankrupted them , ” state David , a VFX creative person . “ So the studio literally went bankrupt just before they get ahead the Oscar for Best VFX . ”
However , another beginning , Jeff , who was take in Life of Pi disagrees . Blaming any single someone or conclusion would be reductive . “ Client - side output ( ie : Ang Lee , Producers , etc ) put the show on hold partway through mail service output … because the third turn of the film was being re - worked , and Toby Maguire ’s role in it was being replaced as part of a series of reshoots . ”
Screenshot: Marvel Studios
In a gamble that did n’t rick out , the father of the studio , John Hughes , attempted to keep his staff and contractors during the pause rather than essay to staff up again when workplace resume . “ I respect them for what they tried to do but , in hindsight , they avoided a small problem only to cause a monolithic one in its stead . All of that being said , [ Rhythm and Hues ] ’s collapse was due to a serial publication of inauspicious lot and decision , and no one show — even one as big and important as Life of Pi — was the single point of nonstarter . ”
Marvel Studios , like just aboutevery other production company , hires studio to bring out VFX . And in Holy Order to act for Marvel , or any of the five or so production companies out there that are offering big - budget VFX workplace that keep VFX studio afloat , studio continuously underbid each other in monastic order to appeal to an progressively - small client base .
It work like this . First , the production company institutionalize out a dossier of shots that needVFX work . studio might get a shot verbal description that simply reads “ an foreign starship seem . ” A bidding producer at a studio apartment will survey those shot descriptions so as to create an estimate for the bid , but this is more of an art grade than a scientific discipline .
“ It ’s a race to the bottom , ” David say . “ Because when the big [ product companies ] say they take study done , [ the VFX studio ] undercut each other so much that by the time they finally get that declaration , they ’ve adjure so low they ’re lucky to break even . And so that forces these VFX studios to lock at very low perimeter . ”
Why are we only hearing about Marvel?
Marvel is so fertile , and has so many projects rifle on , they have to hire dozens of studios at a time , all over the world . So , not only is underbid happening base on domestic competition , but also base on the assumption that other rural area will be exploiting labor loopholes and tax bonus .
“ For example , the UK does n’t have any paid extra time in any industriousness , ” said H , a production coordinator , “ and because they do n’t have to legally pay anyone overtime , when they bid a show that might be them $ 15 million to do the study , a UK studio apartment might say , ‘ Well , we ’ll do it for ten . ’ So if they rack up 200 time of day of overtime a week in London , it does n’t affect the bottom line … It ’s not costing the studio apartment any money to impel you to operate through this crunch delivery . ”
A Senior VFX Artist , Sam , who has work on six Marvel films across their calling , harmonise . “ Those London company are awful . All of the British companies that I ’ve dealt with have been really bestial . ”
localisation - base taxation incentivesalso drive down bids across the industriousness . If Marvel spends $ 10 million in a location with a 30 % tax credit , the government will devote Marvel $ 3 million after the invoice is paid , so it only costs Marvel $ 7 million to buy $ 10 million dollars worth of workplace from a VFX studio . ( This is an oversimplification , but is , loosely speaking , how it work out . ) So , instead of wish $ 10 million for the shots , which is what it in reality cost to grow the work and make a gain , a companionship without access to these credit will bid $ 7 million in parliamentary procedure to underbid a studio located in a place with favorable incentives .
“ I ’ve seen the books , ” said Hector , a VFX Artist . “ Despite working on major movement pictures , the profit margins for these VFX house are in the single digits . ” And then , after all that , the VFX studio will bid for the next project … Probably another one of Marvel ’s .
When Kevin Feige unveiled the monolithic motion picture and television slating that would make upPhase Five , you could almost try the corporate groan coming from VFX creative person .
A VFX creative person , Jason , said that Phase Five was going to dominate a lot of his friend ’s careers for the next decade . “ You see all these timeline for films and just think … It wo n’t ever stop . The work load becomes agonizing at prison term … We’re all just queasy and tired of superheroes . ” But studios , he suppose , swear on superhero piece of work – and Marvel – in purchase order to make ends adjoin . “ These studio keep feeding from the same trough because the work is so abundant , and [ Marvel ] needs so many people , and artists need jobs . Where do you think these studios are run to go ? ”
We ’re hearing about Marvel ’s treatment of VFX studio more than any other yield fellowship because there ’s just so much of it , regardless of specific relationships to vendors . “ Marvel has a dissimilar output squad every unmarried time , ” explained Conrad , a production coordinator who has worked on multiple Marvel projection . “ So sometimes you might have a really , really good working relationship with them , and other times you might not . ”
From a dream job to a working nightmare
At first , working for Marvel was a passion project for a lot of creative person . It was nerveless to get to process on Iron Man or Thor . studio and artists pull ahead a pot of clout with those films . This aid drive down the bidding monetary value , especially during Phase One . David order that when he started working on Marvel projects , it was exciting . “ I was still kind of nerding out a lot of time , getting to see these movies being made and being part of that whole physical process . But yeah , there are definitely quite a few long day ” he chuckles , admitting to something that has become , at this point in almost every VFX creative person ’s career , very normal .
David describes Guardians of the Galaxy as being one of thefavorite projectsthat he ’s ever sour on . But even he agrees that Marvel ’s process is inconsistent . “ The worst was whenAvengers : Infinity War and Endgamewere arrive out . They actually bumped up that loss by a month but they had n’t told us . I call up being on the floor with my squad and one of my artists comes to me and allege , ‘ Hey , you see this ? ’ and he evince me the clause enjoin Marvel bumped the release date up a month . ”
Marvel failed to recount the VFX team working on the film that the release date had changed . David pass to his supervisor , who also had n’t hear anything about it . Marvel eventually got back to the studio apartment and say that they had “ draw a blank ” to tell them . “ So we find oneself out from a press release that we had one less month to work on all these shots . ”
“ [ Marvel ] is the worst example of a good deal of the problems in the industry , ” said Sam . “ It would be one thing if sometimes it was really speculative , sometimes it was n’t … But with Marvel , it seems like every single time it ’s the same matter . So , one , they tend to be as bad as you ’re going to get and they ’re systematically that bad . ”
Hector recalled that during the last Marvel project he worked on , “ from my very first Clarence Shepard Day Jr. on the projection , up until we present the pellet , we were working overtime and weekends . It was just months of literally being nail to my desk . ” He express mirth as he say this , almost like he detest to admit it .
“ Even up until the last week or so they still were n’t certain what they wanted this gigantic circle piece to look like . We were still doing conception art . ” Hector said . Concept art is supposed to be the first affair you nail down before you begin working on the man that will eventually be composited together to make up the shot . “ And various part of this sequence had already gone through the entire pipeline . You ’ve get inflammation renders , effects simulations , matt paintings , and spiritedness . ” All of this , quick to go , and Marvel still has n’t approve construct art .
This is n’t a fluke ; this is part of the operation . Many sources state that Marvel deliberately shoots their film in such a elbow room that they are able to change detail , both big and small , up until the very last minute . Very trivial is dash much , and even the hooey that is practical goes through touch - ups . “ When you get a plate of just someone ’s side against a ill lit covert , there ’s really nothing you may do to make it take care realistic , ” explains H. A collection plate is the untouched shape , exactly what was captured on photographic camera , mocap suit of clothes and all . “ That ’s something that never gets comment on . Everyone just goes , ‘ Oh , the visual effects look shit . ’ And I ’m like , No , you should have seen the plate . You should have see what we were given , because that ’s what was shit . ”
Sometimes changes will occur even up to the final day before the picture show is set to be released . Conrad recalls that when “ the first Doctor Strange picture come out , it did n’t in reality have final VFX on it . They were still working on it after the motion picture had come out in the UK . ” While the film premiered in Hong Kong on October 13 , 2016 , and opened wide in the UK on October 25 , the VFX work was n’t complete until October 28 , when it was secrete in US theaters . With many production company enquire for more and more changes nigher and nigher to the obstetrical delivery deadline , the individual artists at VFX studios are put under vast force per unit area , causing them to work massive amounts of overtime so as to oblige these shifting goalposts .
“ I did n’t have a day off for five weeks . And those were not eight - 60 minutes days . They were ten - positive - hour day , ” recalled Sam , speaking about his experience working on a Marvel show . “ And that was because they did a reshoot a month before the show was due . So we literally got shot in at the goal of December for a show that was due at the end of January . ”
These stories are vulgar when you talk to VFX artists , and usually reach the same conclusion : Marvel suffers from a chronic lack of sight that come from having an integral movie determine by a citizens committee of mass , from producer , to executive and director , to Kevin Feige himself .
Erratic direction leads to erratic results
Feedback on dailies and sequences come from all over the post , include executives and producers that are n’t in explicitly originative office , H said . “ I ’ve had entire sequences get blasted apart by someone who should n’t even be a part of the feedback process . Like , why do you get an opinion on this ? ”
Sam ’s had similar experience . “ You get producers that say , ‘ I require to be imply in the esthetic process , ’ and you ’re like – ” he makes a skeptical noise , “ I do n’t call for to look at your spreadsheet , gentleman . ”
All of this stimulus dilutes the visual sense , muddy the focal point , and ultimately , cracks apart the product line . As more and more people are brought in to provide stimulus across many unlike studios and many dissimilar project , the changes snowball across the entire project , get hundreds , if not K of hour of piece of work to be reconstruct at any numeral of studios . All because someone did n’t care a tint of blue , or they needed to change a cause designing to help toy sales .
Some VFX studios will promote back on these changes more than others , and many sources noted studio culture was the decide factor on whether or not artist had to deal with this variety of nitpicking from producers . “ But in world-wide that power moral force is so skewed towards Marvel that they can demand for whatever they want , ” Sam explain . “ And then the VFX house has to just picture out how to make it happen . ”
The want of direction is the biggest , most coherent pressure point for many of these artists . Sam recalls a logo on a lawsuit that he had to remodel “ almost every workweek . ” Conrad recalls working on a shot for Marvel where they did n’t know what they require , so they ask the studio to make two versions . “ And then we regain out which version they pick when we saw the movie . ”
Hector has seen monolithic sequence scrap within a week of delivering shots that have two or three weeks to build up out . “ The intact visual sense will change entirely , ” he tell . “ And I get that . You desire your directors to have control of the terminal product . But from the artists standpoint , you need a direction to go in . And Marvel has this very rough way of transmit with the vendors where they ’re very misanthropic and very , very rude . As if you should be lucky to be receiving unremitting revisions and notes from them . ”
Sources also submit that this constant visual modality work shift feels ride by the egomaniacal power to require change and see them acquiesced to , rather than considering the sort of change that will actually affect the write up . “ Nobody is harbour Marvel accountable , ” H allege . “ So they do n’t care . They ’re like , ‘ Fuck you hombre . We can make as many changes as we require and you just have to deliver it . ’ ” These change can be major : Sam described an incident where an actor was shoot in a practical suit and the studio decide it was the wrong suit of clothes . “ And you have to supercede their entire body and just leave their head in every shot . ”
All this is done without adjusting the bottom - business of the bid , which means that studios unremarkably ca n’t rent more artists during crunch meter or else risk that single - digit profit percentage going into the red . Continually enquire for adjustment , changes , and edits to the shots is called getting “ pixel - lie with , ” because the edits to stroke become more and more minute until artist are literally edit a single pel in a dead reckoning and sending it off for re - approval . And every time an artist gets pixel fucked , it usually ends up cost the VFX studio apartment money .
The planetary counsel of Marvel moving picture lead to erratic results . That ’s why you see incredibly needlelike and realistic VFX employment in one scene , and then two bit later , the VFX body of work search jerky and rushed . Because in a lot of cause , it is . All the VFX studios that Marvel hire are capable of raise incredible piece of work , but very few are given the opportunity to do so because of the way that Marvel direct the seller . At this pointedness , Marvel utilize so much VFX in their films that all Marvel picture show could be considered animated films .
Disney and its subsidiary company , which include Marvel , belike report for about one-half of the VFX workplace that ’s being commissioned right now , Sam says . So if VFX studios want to stay in business enterprise , they need to keep Marvel happy .
It’s called show business, not show art
It ’s severe to pinpoint when exactly things got really bad for the VFX industriousness . Some sources pronounce it was inevitable . A frog in a lot . Others withdraw specific labor that became flashpoint for the industry . The third Pirates of the Caribbean movie , in 2007 . Game of Thrones , starting in 2011 . And then Life of Pi in 2013 .
For Pirates of the Caribbean : At World ’s End , Sam recalled that Disney made increasingly huge need on the VFX studios , who managed to perpetrate off the project despite the monolithic time crunch . “ A mickle of us in the industry see that as a really bad thing because we recognized that we were never going to get more than this amount of money or this amount of resources because they [ finished Pirates of the Caribbean ] . And then that ’s exactly what happened . ”
“ The output companies are pushing unrealistic deadlines to get the optic effect , ” H say . “ Game of Thrones was one of the concentrated show to go on , because you ’re turning around hour - long , moving picture - tone ocular effects , times ten , in the same amount of time that you would be given to do a individual movie … I ’ve work on maybe two shows where they actually had a realistic budget and timeline . Usually , you know going in that you ’re probably not working with what you need . ”
Conrad remembers working on the last time of year of Game of Thrones , which had six episodes , releasing hebdomadally on Sunday . “ We were work extra time on Friday dark to stop [ each installment ] because they just had n’t made up their thinker on what they want . ”
VFX studios are not suffering from lack of work , but because there is too much being ask of them for no extra recompense . guess you ask for pizza pie , and then just before it ’s delivered you ask for an entirely unlike pizza pie , plus garlic knots , and it needs to get to your mansion 20 minutes quicker . If it was even possible , you ’d be blame more . But when you ’re a VFX studio and Disney ’s ask for more toppings , you shut up and extradite , for no extra heraldic bearing . “ There ’s no such affair as a dependable client , ” Ren , a VFX creative person , said . “ There really is n’t . ”
Sam say that studio who insulate creative person from these demand are few and far between . “ Some VFX studio just act like a strait - through . Their attitude is that whatever the client asks for is [ the artists ’ ] problem to deal with . ” If the VFX studio apartment does n’t moderate the product studio , then the problem that result from poor planning are only exacerbated . “ There ’s some responsibility on the optic effects company . But also , you know , the node should n’t be asking for just batshit crazy stuff . ”
David said that the backing positions at studio apartment tend to be full - prison term staffed employees . “ And for those people , they would see some imperativeness … but they would never really experience it because they would never have to forge the 12- , 16 - time of day day we ’d have to do to get the stuff and nonsense done . They ’d be happy to tell us , Hey , you have to detain [ to finish these shots ] . But they were never the single stay . So , 100 % , the artists on that front credit line are being cauterize out . path more than a good deal of other positions I ’ve seen in the industry . ”
Burnout is n’t just coming from the fact that artists are being asked to bring on the same thing over and over , or coming from the 12 - hour days during crunch fourth dimension , it ’s also descend from the fact that VFX studios are chasing incentives all over the globe , and forcing artists to move in monastic order to keep working .
VFX studios are forcing artist migration
commend those tax subsidies that drive underbidding ? They ’re also help fuel worker using . Most VFX artist are n’t staffed status at VFX studios , they ’re contractile organ , brought on table on a per - project groundwork for six - to - nine month contracts . Which means that when British Columbia begins offer that 30 % tax motivator , VFX studios set about setting up workshop in Vancouver . And if you ’re a VFX creative person who require to run , you have to move to Vancouver .
Ren explains that because of these tax subsidies , “ all of a sudden , Los Angeles is too expensive … So [ the VFX studios ] send away all their employee . They make [ the artists ] move to Vancouver . The artists remote control the same physical computer they had in Los Angeles , but upend their entire life . And now they ’re Canadian occupant . ” As VFX studios chase after these subsidy , artists are forced to follow the money . If there ’s no contract , they lose their visa , and have to upend their whole lives , again . Many are forced to continue taking contracts at subsidy - chasing studios , disregardless of atmospheric condition , work , or kin .
Hector admits to having moved across delimitation four times in the decennium he ’s been working as an artist . A informant told a story of a friend who has their family in Los Angeles and rents apartments in unlike city for the continuance of their contract . To be a VFX creative person in Hollywood is to become a digital nomad , chasing studio across North America because the studios are able to tap tax loopholes in parliamentary law to convince big production companies like Marvel that they can do it better , cheaper , quicker … at the expense of the very artist that they rely on to make their production .
What’s it like in a VFX studio?
Jason admits that the trouble in VFX studios feels incestuous . “ It ’s a wad of the same filth . The same problems are circulating in the same pool of companies . ” You just act upon with the same citizenry over and over , in different studios , on different projects , and the issue keep coming up because regardless of the toll that these films have on the mental and physical wellness of the artist ; the studio keep making money , and the movies keep get along out .
“ Somebody got sick while working on a show , ” recalled Sam ( he did n’t specify for what production companionship ) , “ and they mat up so bad that they were n’t end up their shots that they total in to keep working . ” This is the weekend , mid - afternoon on a Sunday . Someone comes into Sam ’s berth and asks if he knows CPR . “ The artist fall in at their desk … They were breathing , but we had to call an ambulance . ”
“ Almost every studio has some sort of war cry room where people will just go into and shout out for 10 minutes and then they come back out and do their job . ” H explain , “ I have had artists who have had H.R. footstep in and say , ‘ We have to take you off this show because it ’s unhealthful and we ’re implicated for your safety . ’ There ’s been fist competitiveness in the middle of the studio . People just reach a cracking point … I ’ve been on shows that were doing 60 , 70 - hour week for five calendar week square , full of hoi polloi who do n’t see their family anymore . And that ’s standard across the industry . ”
David recalled a moment where he was in the studio apartment working late with another creative person . “ He just impinge on that break point . I could tell because we ’re in the late lab doing renders at two in the aurora and he ’s just sitting there like , ‘ Is this really worth it , man ? ’ He left that nighttime and never came back . No fanfare , no roll in the hay you ’s , no missive to the supervisor . He just left . ”
How long does it take to get the work done ? “ A basic three - sec shot , of Robert Downey Jr. with all the hologram float around ? Probably 50 hours . ” David explained . ” What about a shot in a pic like Endgame , which can feature dozens of character ? He laughs , and ca n’t even come up with a number .. “ Hundreds and century of hours , ” he estimates , “ scores of studios , C of hoi polloi . ” All of them likely working overtime , with move goalposts , being nitpicked by executives and theatre director , and many pressured to work in locations that only benefit the studio apartment ’s bid .
The fault here lies somewhere between both the yield house and the VFX studios . “ I think the saloon is pretty low for how studios treat these VFX creative person that forge under them , ” said Hector . “ I make out a lot of people want to justify major production houses by say , well , you know , they ’re not putting these creative person under duress . They ’re not work for these yield theatre , they ’re process for these VFX vendors . ” But doing so is reductive and ignores the immense insistence that the product houses put on these VFX studios . The trouble is n’t with just one part of the industry , it ’s with the intact moving-picture show - making auto .
Hollywood is a union town… sort of
moving-picture show have been around for over a century . “ But we ’ve only been messing around with picture show and computer for thirty years or so , ” Ren allege . “ So VFX come late to the party and we ’re creative person and we ’re frightened . We conceive if we do one thing wrong , no - one will ever work with us again . ”
“ Unionizing is wholly stacked against us , ” Sam tell . The VFX studio go through so many artists so tight that by the time you get enough multitude to signal cards and hold a voter turnout , there might not be popular supporting , or even the kind of internal voluntary social system needed to shape the uniting .
While many seed expressed a desire to move the diligence to form into a union - base structure , artist are split on how to go about it . A lot of people desire individual shops to unionize , which would put a wad of power into the hands of the artists themselves . Others think that a enceinte , comprehensive trade guild would be a good way to deal with overbearing clients , which would then pave the direction for dear workings conditions in individual studios .
But the risk is high . If a shop is unionized ( mean that artists can demand more money , better working conditions , and limit the amount of dominance clients have to demand alteration ) it think of that freehanded production company like Marvel will be less likely to accept a bid from that VFX studio . And if an artist from a unification store seek to get work somewhere else , there ’s nothing in plaza that would stop VFX studios from seem at their union history and deciding not to lease them , because , again , most artists are digital nomads that motorcycle through multiple studio a twelvemonth chasing work . The terror of being blacklisted , for any rationality , hang over the total industry .
VFX is a team effort . It ’s a specialised trade that need working with passing expensive technology and software in rules of order to produce solvent . You ca n’t sell yourself as a one - person studio apartment ; you’re able to only deal yourself to a studio . So the thought of doing something ill-timed and getting denied debut into any of those studios is unbelievably intimidating . The terror of not being able to make a support make a monolithic major power unbalance .
address to that threat is the fact that none of my sources were willing to apply their existent names in this clause , and every one necessitate Gizmodo to anonymize which send off they work on . to boot , two sources who had in the beginning agreed to be a part of this investigation backed out , citing that studio had crack down on creative person verbalise to the press since initially agreeing to be interviewed for this clause .
The VFX industry is Going to Break
“ It just becomes a blame game , ” allege H. Artists blame coordinators who find fault manufacturer , who blame executives , who blame creative person . “ It all just goes back to the top . Because we do n’t have enough meter or money to actually do the body of work in a mode where you do n’t have masses who are lack their child ’s birthdays . We ’ve had teams catch some Z’s at the office because driving home have too long . ” enthalpy said that it ’s not as well-off as determine a studio with better workings conditions , because eventually all artists will exercise on a project that has these overwhelming demands . The duty , H said , ultimately lie on the production household . “ specially a company as full-grown as Marvel , you know ? Why ca n’t you give citizenry a naturalistic agenda and budget instead of just pull this subspecies to the bottom ? I know we ’re living in late - stage capitalistic hell , but they ’re creating such a toxic environment for hoi polloi . ”
“ It ’s kind of the nature of the manufacture that burnout is inevitable . ” Conrad said . Sam say that the studio know and do n’t care . “ There ’s just forever a raw crop of kid coming out of school who want to ferment in film . ” But mayhap burnout is n’t a strong enough word to describe what happens to some creative person . Ren list out what he ’s seen happen in avail to the studio apartment : “ genial illness , strong-arm illness , self-annihilation . ”
It ’s more than just a few hours of extra time . It ’s constant pressure , unremitting stress , and unceasing demands to do your work better , quicker , cheaper . And while some studios can insulate their artist from this atmospheric pressure , most of them do n’t bother . To those studios , delight the customer is deserving burning out a few creative person .
“ A lot of multitude , they really think we just reach the ‘ make cool ’ clit , ” David explain . “ They do n’t really see the sheer amount of work and hundreds of creative person it takes to make anything happen . ” For every single movie , every unmarried dig , creative person across stacks of VFX studios are creating bespoke , custom graphics and animations . It ’s hands - on work , and it requires patronage training , intimate knowledge of specific computer software , and , without a question , art .
The yield studios benefit from everyone thinking that there ’s a magic button that artists fight and suddenly Tom Holland is in a Spider - Suit . They want you to imagine that the kaleidoscopic cityscapes in Doctor Strange come from a code that ’s plugged into a computer that does all the study . It ’s not a conspiracy , it ’s not a back up , it ’s just that these troupe are capitalizing on the consistent devaluation of their Cartesian product and passing off the work onto the artists who make that ware possible . “ The business is messy , ” Ren said . “ It ’s custom . It ’s like manufacturing something that ’s never been made before every time . ”
So is Marvel doing something wrong ? The reply is , unfortunately , yes and no . They are simply operate the way they always have ; by drive down the bottom line wherever potential and facilitating a working relationship with vendors that allow them to take advantage of the institutional insecurity of the artists under the VFX studio ’s employment .
Marvel may be running the movie magic automobile as it ’s mean to run , but that should n’t shrive them from the punishing working consideration that their pressure imposes on many studios . The machine needs to be remade with a precedence on the welfare and development of the creative person that actually do the custom , proficient , foundational work that attain people laugh , scream , and exclaim in dramatics , rather than espousing a ‘ guest - first ’ mentality that allows for rearing actor exploitation . The blockbuster industry is undeniably built on the backs of VFX creative person , and if it keeps go the agency it is now , it ’s pass to develop . And it ’ll take movies as we lie with them down with it .
Update 2025-03-10 : This clause has been updated with more commentary from sources snug to Rhythm and Hues knead on Life of Pi .
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