December 16, 2013

Digital Tutors Clear Things Up About Being Jack Of All Trades

My blog entry titled Digital Tutors Talks About Being Jack Of All Trades got some twitter response from the famous training center. And then today by the e-mail I get notification about their new article with the exact same statement I've used for the VFX slavery. Here you can read their new article clearly as a response to my previous blog entry.

There are many valid points of course because they have an insight about the industry however this new article of Digital Tutors even more discouraging for new coming artists. Here's a quote from their new article: 
Studios don’t want decent artists. They want amazing artists.
Trying to be perfect instead of being %100 yourself is a straight path to depression. Especially if you are a creative person and your art means something to you. Julia Cameron's top selling book The Artist's Way filled with great examples about how strong and vulnerable that creative people can be. That famous expression you can find in almost every CGI article "...not for the fainthearted..." is another way of saying that you have to work till death in almost slavery conditions.

What I'm trying to say and what advocates of being-jack-of-all-trades-to-be-successful don't understand is; with this mentality working environments will get worse and worse. And I am not the only one who states that. Here's a quote from an article published in LA Times written by Richard Verrier.
But the artists who create the effects, crouched over computers using software to create digital images, complain they're often employed in electronic sweatshops, work inhuman schedules and without health insurance or pensions.
Here is another article about vicious work environment which leads the artists to loose their health - which is the greatest treasure we have. And the following example is a bitter one...

The matte painter, who asked not to be identified for fear of damaging his career, said he nearly died when he fell asleep at the wheel after working 75 consecutive days, up to 17 hours a day, doing visual effects work on National Treasure: Book of Secrets. The money was good – $1,000 a day – but the long hours were taking a toll. Three months after his car accident, he began experiencing chest pains and was rushed to the hospital. He said emergency room nurses initially didn’t believe he was having a heart attack because he was only 37. As a freelancer, he didn’t qualify for the company insurance plan to cover his $100,000 in medical bills. His employer, the now-defunct Asylum Visual Effects, refused to hire him back.
Again the article published in LA Times filled with great examples about the vicious work environment. 
They called it the zombie walk. After midnight, when the coffee and Red Bull had worn off, Sari Gennis and her co-workers would take a brisk stroll to make it through their graveyard shift. For four months straight, often seven days a week, a team of visual effects artists worked 12-hour shifts to complete the 3-D conversion of movie blockbuster "Titanic." Gennis said the long hours aggravated a severe arthritis condition. She'd already had both knees replaced, and needed a third surgery, but couldn't afford to take time off for the operation. "If I continue these kind of hours, it could kill me," the visual effects veteran said.
I'm not against Digital Tutors or something. Just like the other artists on the industry I'm desiring the conditions change in a better way. I'm hoping the training centers like Digital Tutors also start caring about the health and quality of the lives and work environments of the artists - as they care about producing and selling fine training material.


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