Your Career in Animation: How to Survive and Thrive by David B. Levy
Author:David B. Levy
Language: eng
Format: epub
ISBN: 9781581158397
Publisher: Allworth Press
Xeth Feinberg pioneered Internet animation with his Bulbo cartoons, pictured here. Image courtesy of the artist.
Web toon pioneer Xeth Feinberg explains how he has utilized the Internet to secure distribution and receive income from his shorts: “As an independent animator and cartoonist with a background in CD-ROM animation, at the dawn of the new millennium I had been mastering the potential of Macromedia Flash (the miraculous little computer application that makes Web toons possible) for a bit over a year—which practically made me a wizened old expert in the field.
“In 1999 I was already making my pseudo-silent era black and white Bulbofilms, cutting my teeth on a series of children’s interactive storybook Web toons, and creating the first more or less fully animated Web toon series for Scifi.com, The Existential Adventures of Astro-Chimp.I also did enough other freelance Flash production work to have learned a lot about how not to efficiently produce Web toons. I worked solo and was able to turn out a finished ’Webisode’ in a week or less. All this work was getting seen, and though I was making a living at it, Web animation still seemed more like a fluke than a career.
“At the start of 2000 things started heating up. New Web portals and ’destination sites’ were being touted (and funded) as the ’next television.’ Because Flash animation files (unlike video) were small enough to be easily viewed by the average Web surfer, demand for them exploded.
“Infamous, never-was pop.comwanted to get Bulbocartoons on their site. Luckily, currently existing San Francisco-based Mondomedia.compresented a more intriguing Web toon syndication plan that also preserved all my rights while providing production funds upfront. (I was frankly lucky in signing the Bulbodeal in the summer, when the world of Web toons was still near its peak.) By 2001, the well-documented dotcom meltdown had clobbered Web animation along with many of the entertainment sites that sponsored it.
“In some ways, the Web animation scene has come full circle. Just like in 1999 there’s still work and opportunity out there but the crazy boomtown mentality is gone, at least for now. If you got into Web animation like I did, as a way to make your own stuff cheaply, creatively, with minimal outside interference, taking advantage of the Web’s miraculous worldwide distribution system, then there’s still a lot to be excited about.”
PES’s primary method of distribution is self-distribution via his personal Web site, eatpes.com. PES explains: “An early important decision I made was to create a Web site where my films could have a home. Sarah Phelps, then my girlfriend (now my wife), was key in this process. She learned basic HTML and we put it up ourselves in a couple of weeks. I called it EatPES.com, and I offered my films up for free. The idea was to do something simple, focusing on the work. On my Web site I posted my short animations along with Roof Sex. Roof Sexdrew thousands of people to my site instantly, since it already had a life of its own.
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