Author Archives: Amid Amidi

About Amid Amidi

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How Much Money Animated Shorts Earn on YouTube

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YouTube Partner

Read UPDATES at bottom of the piece.

When I speak to indie filmmakers, there’s always a lot of confusion about the potential money that can be earned by posting shorts on the Internet, especially by posting them onto YouTube. An article in last month’s Wall Street Journal shed some much needed light on the situation. The article said that those who join YouTube’s Partner Program receive between $1,500 and $4,500(US) for every million video views. The wide variance in price is attributed to the country and platform where the video is viewed.

According to YouTube, they had 30,000 partners in 2011, up from 20,000 in 2010. “Several hundred” of those partners made more than $100,000, which is an 80% increase from the “couple of hundred” partners who achieved the six-figure earnings mark in 2010. Using that data, I think it would be fair to guess that they have at least 350 people earning six-figures, or slightly over 1% of their YouTube Partners.

Using the numbers above, I decided to figure out what some of the most successful animators on YouTube are making. I’ve shared the numbers below, which are not yearly earnings, but based on the total number of views the filmmaker has received. Considering how difficult it is to make money with animated shorts, the numbers are fairly impressive, especially if viewed as a single revenue stream as part of a larger plan that includes broadcast sales to foreign TV channels, merchandising, dvd sales, digital downloads, and so forth.

It’s also impressive that many of the most successful animators on YouTube are young filmmakers whose reputations were established exclusively online. Another important point to consider is that all of these animators have dozens of films posted on their channel. There are no examples yet of people earning this kind of money from just a handful of films. Simon’s Cat has the least videos of any of the channels below, with only twenty.

Animation Filmmaker Earnings on YouTube

PES
29.3 million video views (as of Mar. 19, 2012)
Estimated total earnings based on views: $43,950 – $131,850

Lev Yilmaz
36.3 million video views
Estimated total earnings based on views: $54,450 – $163,350

Cyriak
66.7 million video views
Estimated total earnings based on views: $100,050 – $300,150

Harry Partridge
74.4 million video views
Estimated total earnings based on views: $111,600 – $334,800

Egoraptor
102.4 million video views
Estimated total earnings based on views: $153,600 – $460,800

FilmCow (aka Charlie the Unicorn)
227.3 million video views
Estimated total earnings based on views: $340,950 – $1,022,850

Simon’s Cat
232.3 million video views
Estimated total earnings based on views: $348,450 – $1,045,350

Daneboe (aka The Annoying Orange)
628.8 million video views
Estimated total earnings based on views: $943,200 – $2,829,600

UPDATE (9:53pm ET): Since this piece was published, I’ve been in contact with Harry Partridge, one of the filmmakers whose estimated earnings were posted above. He posted a comment on Twitter that said in part, “I don’t make anywhere near half of their lowest ballpark. Crazy.” When he posted that comment on Twitter, he assumed that I was talking about yearly earnings. We cleared up that I was referring to total earnings based on the number of pageviews listed above, NOT yearly earnings.

Harry also provided some ballpark figures for what he’s made from YouTube since 2009. The numbers turned out to be slightly more than half of the lowest estimated earning, which means he has been earning a more modest $750-800 per million pageviews instead of the $1,500-$4,500 claimed in the Wall Street Journal piece. More recently, he has joined with Channelflip, which he says pays him more annually than YouTube, but which is still a relatively modest sum. However, I should point out that I have confirmed with other filmmakers that they have earned the higher figures listed in the WSJ piece so there are apparently wide gaps between what different filmmakers earn. The lack of transparency in YouTube’s payments to its partners is a great reason to be having this discussion and leveling the playing field for filmmakers who are thinking of posting their work on that platform.

UPDATE #2: Harry pointed out that though the videos were posted beginning in 2006, YouTube started paying out in 2009. I’ve updated the above to reflect that the earning period has been the last three years. He also writes, “Overall I’m not bothered by the article now it states that these are total earnings, my concerns about it arose from the fact that I thought it was yearly.”

UPDATE #3: Filmmaker Cyriak wrote a comment below in which he says that he hasn’t monetized most of his video vieww as part of YouTube’s Partner Program. He says that his most recent earnings have been in the range of $600 per million video views.

Doodle for Google

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Google Doodle

If you think Google only hires scientists, engineers and geniuses of the highest order, fear not, they also hire cartoonists. We don’t typically post job listings (maybe we should), but this one is too good to pass up. Google’s Doodle team informs us that they’re currently looking for more in-house Doodlers, particularly those with strong animation experience. The job entails working on the charming and quirky doodles that appear on Google’s front page everyday. The biggest perk, besides working at Google, is that it’s easily the most high-profile animation gig in the world, with a guaranteed audience of hundreds of millions for anything you create.

The Bay Area gig requires a BFA or 4 years of relevant experience. Here’s the link to the job listing, the requirements of which are posted below:

The area: User Experience
One of the many reasons Google consistently brings innovative, world-changing products to market is because of the collaborative work we do in Product Management. With eyes focused squarely on the future, our team works closely with creative and prolific engineers to help design and develop technologies that improve access to the world’s information. We’re responsible for guiding products throughout the execution cycle, focusing specifically on analyzing, positioning, packaging, promoting and tailoring our solutions to all the markets where Google does business.

The role: Doodler
First impressions matter. Every day, hundreds of millions of online users visit the Google homepage. Yes, to search. But also, to be delighted, informed, and surprised (And maybe even to laugh a little). The Google Doodle makes this possible — it’s the change that is constant on Google.com. As a Product Graphic Designer/Illustrator, more commonly known as a “Doodler,” you have the world’s best platform to showcase your stylistic skills — as well as your sense of humor, love of all things historical and imaginative artistry. From Jules Verne to Pac-Man, you have the reins to our brand and iconic logo and can run free with your innovative ideas. Go forth and doodle!

Responsibilities:
* Draw, design, and/or animate the highly visible Google homepage doodles.
* Come up with consistently excellent creative ideas within the constraints of the our logo.
* Manage complex collaborative projects from idea, to executive pitches, to final execution in a fast-paced environment.
* Design illustrations both digitally and traditionally and in a wide range of artistic styles with great attention to detail.

Minimum Qualifications:
* BFA. In lieu of degree, 4 years of relevant experience.

Preferred Qualifications:
* Freehand illustration skills and a wide range of artistic styles.
* Ability to translate conceptual direction into amazing works of art.
* Ability to work collaboratively and apply creative feedback in a team environment.
* Comfort with digital and traditional media.
* Knowledge of animation fundamentals.
* Online portfolio/reel.

BOX OFFICE REPORT: Animators Rule US Box Office

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21 Jump Street

In a rare trifecta, animation artists ruled the top three spots at the box office this weekend. The number one spot, with an estimated $35 million, belonged to the TV adaptation of 21 Jump Street. It heralded the live-action feature directing debut of Phil Lord and Chris Miller, who were the co-creators of MTV/Teletoon’s Clone High and the directors of Sony’s Cloudy with a Chance of Meatballs. Second place went to Illumination Entetainment’s The Lorax which earned an estimated $22.8M in its third weekend, pushing its total to a robust $158.4M. Rounding out the top three was Andrew Stanton’s John Carter, which dropped 55% from its first weekend to an estimated $13.5M. The Disney film’s two-week total stands at $53.2M and is headed to a final domestic tally of $90-100M. More box office numbers can be found at Box Office Mojo.

John Carter Showdown: Ward Kimball vs. Andrew Stanton

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As Ward Kimball‘s biographer, I am obligated to share with you this post on Progress City, U. S. A. that talks about the time Ward oversaw the animation of John Carter of Mars as part of his TV special Mars and Beyond.

It’s a matter of personal taste whether you prefer Ward Kimball’s vision of a thoat:
Ward Kimball Thoat

Or Andrew Stanton’s vision of a thoat:
Andrew Stanton Thoat

BOOK GIVEAWAY: “The Art of Pixar”

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Art of Pixar

THANKS TO ALL WHO ENTERED! We’ll do a random drawing and post the results in the comments section sometime on Saturday afternoon.

I intended to do a giveaway of my latest book last November, but the first printing sold out before we could even consider that. Now with the second printing out, we can finally host a proper giveaway. So today we’re handing out FOUR copies of The Art of Pixar: The Complete Color Scripts and Select Art from 25 Years of Animation:

Over the past 25 years, Pixar’s team of artists, writers, and directors have shaped the world of contemporary animation with their feature films and shorts. From classics such as Toy Story and A Bug’s Life to recent masterpieces such as Up, Toy Story 3, and WALL·E, this comprehensive collection offers a behind-the-scenes tour of every Pixar film to date. Featuring a foreword by Chief Creative Officer John Lasseter, the complete color scripts for every film–published in full for the first time–as well as stunning visual development art, The Art of Pixar is a treasure trove of rare artwork and an essential addition to the library of animation fans and Pixar enthusiasts.

To enter, just post a comment below. Writing “I love Amid” in the body of the comment won’t improve your chances of winning, but it may enhance my sense of self-worth. Contest will close tonight at midnight (ET).

Rules: Contest is open only to residents of the United States. Do not submit multiple entries or you will be disqualified. You must leave your correct email address in the e-mail field of the comment, otherwise you can’t be contacted if you win. (Your email address will not be publicly visible).

PREVIEW: “Super Best Friends Forever” by Lauren Faust

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Super Best Friends Forever

Watch this short clip from Super Best Friends Forever, the new project by Lauren Faust, creator of My Little Pony: Friendship is Magic. Faust’s short series debuts tomorrow morning as part of Cartooon Network’s DC Nation block.

UPDATE: Here’s the whole short:

(via Super Punch)

“The Box” by Dadomani

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The Box: Poltergeist is a delighful throwback to older animated films where personality animation and movement itself were often the source of entertainment. The film, the first in a proposed series by Milan-based Dadomani Studio, barely has a setup. For a three-minute short though, I’m perfectly happy with “a man and his dog watch TV.” What makes The Box special is how the filmmaker and animator present the gags and thoughts of the characters through a purely visual language. They uncover a surprisingly full range of motion (and emotion) for characters that one would expect to have a limited range because of their design. It’s quite an accomplishment, not to mention great fun to watch.

CREDITS
Idea, Production, Animation supervision, Direction: Dadomani Studio
Screenplay: Stefano Armeni
Director of photography: Patrizio Saccò
Animation: Dario Imbrogno
Sound: Enrico Ascoli
Fluid simulation: Dario Cavaliere

TED Launches Animated TED-Ed Channel

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TED, the nonprofit that presents “idea” conferences around the world, announced an intriguing new initiative yesterday: TED-Ed. Its goal, described in the video above, is to pair educators with animators, and create a series of lesson-based animated shorts aimed at teachers and high school students. Here’s an example of one of the lessons:

The Next Web has more info about plans for TED-Ed. The program officially launches next month, and they’re already soliciting reel submissions from animators. No word on what type of budgets they offer to filmmakers, but I’m assuming that filmmakers will be compensated for their labor somehow.

(Thanks, @tkraz)

First Look at Genndy Tartakovsky’s “Hotel Transylvania”

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Hotel Transylvania

“It’s refreshing to go back to the beginning of Dracula – and then have Adam Sandler put his spin on it.” So says Dexter’s Lab and Samurai Jack creator Genndy Tartakovsky of his first theatrical feature Hotel Transylvania. The troubled Sony Pictures Animation film, which has had at least four directors prior to Genndy, is set to open on September 28. USA Today published these images today along with more details about the film’s story.

Hotel Transylvania

(Thanks to all who sent in a link to the images.)

FEATURE TRAILER: “Consuming Spirits”

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Fifteen years in the making, Consuming Spirits is a newly completed mixed-media animation feature by Chicago-based Chris Sullivan. The 130-minute film will screen as part of the Tribeca Film Festival between April 23-25. The haunting Midwestern Gothic mood of the trailer drew me right in, and the story appears to have plenty of twists and turns. The description:

Consuming Spirits chronicles the lives of three characters who live in a rust belt town called Magguson, and work at its local newspaper The Daily Suggester. They are: Gentian Violet, 42, Victor Blue, 38, and Earl Gray 64, first appear to be acquaintances. But as the film unfolds, we find they have a long diabolical history, revolving around social service intervention, and foster care, romance and hatred. Each character has family secrets to hide, and family secrets to discover. An auto accident one dark and inebriated night, causes a crack in the memory vault of these intimate strangers. By films end, all parties walk from the woods, both healed and wounded.

(Thanks, Jacob Angelo)

It’s More Fun Winning An Oscar If You Live in Louisiana

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There’s something to be said for running a cartoon studio in a place where animation production isn’t commonplace. To celebrate the Animated Short Oscar for The Fantastic Flying Books of Mr. Morris Lessmore, the city of Shreveport, Louisiana threw an extravagant parade for Moonbot Studios and the film’s directors Bill Joyce and Brandon Oldenburg. Here’s a few perks you get if you win an Oscar in Louisiana that you probably won’t get in other places:

A free ride in a banana-colored convertible
Moonbot

A marching band
Moonbot

A customized battle tank plus confetti
Moonbot

A decorated street-cleaning machine
Moonbot

Acknowledgment from celebrities like Randal Reeder
Moonbot

Custom-designed moon piesMoonbot

Balloons with flying books
Moonbot

The adulation of children
Moonbot

And, of course, women
Moonbot

If you require more evidence for why it’s better to run an animation studio in a city few people have ever heard of, see the city of Shreveport’s Flickr page or this article in the Shreveport Times.

(via Big Screen Animation)

PES Teams Up With Michael Eisner for “Garbage Pail Kids” Pic

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PES and Garbage Pail Kids

Indie animator PES (pictured above) moved from New York to Los Angeles a couple years back to fulfill his ambition to become a feature film director. It didn’t take long. Deadline Hollywood broke the story this afternoon that PES has been tapped to direct a feature film based on the Eighties fad Garbage Pail Kids.

The news is significant, representing not only a career shift for PES–best known for animated shorts like Roof Sex and Western Spaghetti as well as a slew of award-winning TV commercials–but also because it heralds the return of former Disney CEO Michael Eisner to feature filmmaking (at least on the financing side). Deadline reported that “Michael Eisner’s The Tornante Company will finance and produce the development of a feature film. . .Eisner bought the card company in 2007 and this is his first feature spinoff project.” Michael Vukadinovich will write the script and Toby Ascher will produce.

While neither the name Eisner nor “Garbage Pail Kids” instill much confidence, the real story here is PES’s involvement. He has proven himself time and time again as a force for innovative graphic ideas. A quick browse of Cartoon Brew’s archives will reveal some of his creative storytelling abilities (as well as some of his contributions as a guest blogger). I’ll certainly be looking forward to see what PES does with his first feature film.

PES’s latest short Fresh Guacamole debuted on YouTube last week:

The Failure of “John Carter” and Analyzing Andrew Stanton

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Andrew Stanton

If you still haven’t had your fill of “Why John Carter Failed” articles, then don’t miss New York Magazine‘s lengthy read “The Inside Story of How John Carter Was Doomed by Its First Trailer.” The piece goes to excruciating lengths to absolve Disney marketing of any wrongdoing over the film’s US box office performance, and lays the blame squarely at the feet of Andrew Stanton:

While this kind of implosion usually ends in a director simmering in rage at the studio marketing department that doomed his or her movie, Vulture has learned that it was in fact John Carter director Andrew Stanton – powerful enough from his Pixar hits that he could demand creative control over trailers – who commandeered the early campaign, overriding the Disney marketing execs who begged him to go in a different direction.

The article, juicy as it is, should be taken with a grain of salt. Much of the information in the article appears to be sourced from public statements by Stanton, and only one anonymous “Disney marketing insider” is identified as having been interviewed. There are factual errors too that made me question the piece’s accuracy–the writer claims that Disney marketing approached the New Yorker in September 2011 to profile Stanton, when in fact, if you read the New Yorker piece, the writer of that piece said he’d been working on it since April 2011. At best, NY Mag‘s takedown offers one version of how the film’s marketing plan derailed. The real story is likely far more complex, and won’t be understood until some point in the future.

A more insightful piece is the aforementioned New Yorker profile of Andrew Stanton, which has finally been posted online. Unlike an earlier New Yorker piece about Pixar that left me unimpressed, this profile sheds much light on Stanton’s personality and his collaboration with the lauded Pixar “Braintrust.” In spite of the profile’s positive tone, Stanton comes off as overly self assertive and oblivious to the effect of his comments, like:

“We came on this movie so intimidated: ‘Wow, we’re at the adult table!’ Three months in, I said to my producers, ‘Is it just me, or do we actually know how to do this better than live-action crews do?’ The crew were shocked that they couldn’t overwhelm me, but at Pixar I got used to having to think about everyone else’s problems months before all their pieces would come together, and I learned that I’m just better at communicating and distilling than other people.”

(Illustration by Luis Grañena)

Let’s Cast the Walt Disney Biopic

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Who needs the Disney Company! We’ve already got the movie poster for a biopic about Walt Disney so we may as well go ahead and cast the movie. That’s what Cartoon Brew reader Ron Yavnieli did in the comments section yesterday. Below are his novel casting choices for the likes of Roy Disney, Ub Iwerks, Margaret Winkler, Fred Moore, Bill Tytla, Art Babbitt, Frank Thomas, Ollie Johnston and others. Share your dream cast in the comments.

Roy O. Disney :: Joel David Moore
Disney biopic

Ub Iwerks :: Tarran Killam
Disney biopic

Charles Mintz :: Jeremy Piven
Disney biopic

Margaret Winkler :: Samantha Morton
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