And then we are ultimately going to grow our commercial business in one or two other cities in the future, but our intent is not just to get bigger, but also to better connect the operational efficiencies between the facilities. So a lot of the work that is in London can just as easily be done in Vancouver or India or Los Angeles. And that pipeline -- that infrastructure -- to allow work to go between the facilities has become almost seamless, completely discreet from the rest of the businesses so that we can determine if there is extra need for animators, you don't have to actually stay in that same market to [fulfill that need]. That has been what a lot of our time has been spent on. We're working on a commercial right now that starts in LA and, quite literally, some of the assets are being built in Vancouver and China and India and the primary part of the compositing is done in London and the animation is done in LA. And it's happening all in realtime or close to realtime, depending on the time zone.

I know that it sounds silly because everyone says they're doing it, but this is the first facility that I've worked at that is actually doing it. And, unlike my prior engagement [at Sony Pictures Imageworks], there really isn't a battleship from which we are sending little groups out from. These are substantive facilities that are operating on their own. In this company, it is part of the DNA. This was sort of my awakening when I got here a year ago. I really thought I was playing in a global market when I was sitting in Culver City, but it's a whole different system when you wake up in the morning and talk to London and the last people you talk to are in India before you go to bed. And that's essentially what my day is every day of the week.

Bill Desowitz is senior editor of AWN & VFXWorld.