Editor's Note: Animation World Network is proud to host the Website for Catherine Winder and Zahra Dowlatabadi's long awaited, and much needed, book, Producing Animation. We feel this book will soon become one of the must have bibles of the animation industry. Over the course of the next year, Animation World Magazine will feature selected excerpts. The following is the introduction to the book and also to our special issue, which highlights producing animation.

Cover design by Wilbert Plijnaar.

What exactly does an animation producer do? What is a creative executive? How much does it cost to produce one minute of animation? How do you put a production plan together for animation? Are there significant differences between producing a feature, d-t-v (direct to video) and television series?

This is just a tiny sampling of the many questions that we are asked as soon as we reveal our profession as animation producers. We tried looking for books to recommend to people interested in the topic, but realized there wasn't a suitable title out there. Although there are many well-written and useful books that discuss the technical process and art of animation, there is nothing available that outlines the actual nuts and bolts of producing for major animation studios and distributors. Since this is a significant missing piece of the picture, we decided to use our combined knowledge and experience and take on the challenge.

Producing animation is based on the ability to think logically, proactively and creatively. It is a cerebral act that combines a technical knowledge of the animation process with individual style, experience and gut instinct. Part of the problem of defining what an animation producer does is that the job function is truly amorphous. Throughout the animation industry, there is no single definition of what a producer does. And the role animation producers play on each project changes constantly. A producer's domain varies from production to production, as well as from studio to studio. The positive side of this variability is that producers are often able to shape the production to fit their own experience and expertise. On the flip side, it can lead to untested modes of production that can result in costly overages and frustrations for all involved.

Catherine Winder.

In our opinion, the producer is the one person with the full overview and responsibility for a project from a creative, financial and scheduling perspective. Based on the creative expectations and fiscal parameters of the project, the producer pulls together an animation team. The producer sets up and manages both a production schedule and a budget, aiming to deliver the product at the agreed-upon level of quality. The producer is also in charge of keeping both the executives (or buyers) and the production team enthused and motivated. As this role is all encompassing, the knowledge base required to become a producer is quite extensive.

Zahra Dowlatabadi.

Our combined experience in the animation industry has been quite varied. Both of us progressed up through the ranks, and between the two of us, we have worked in almost all production capacities. Our job titles have included coordinator, production manager, overseas production manager, associate producer, line producer, co-producer, producer, executive producer, production executive and vice president, production. Zahra got her start in television production, but her career has been primarily focused on feature film and direct-to-video projects. Zahra's experience has been very hands on, working directly on the production lines. Catherine has worked in the areas of production and development for both television and feature films. Although she has rolled up her sleeves and produced several television series, the majority of her experience has been as an executive. She has overseen production facilities and projects in all formats, both domestically and internationally. She has also set up and run a studio from scratch. Combined, we have been involved in many different kinds of projects, including feature films, direct-to-video releases, television series, television specials and short films.