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What tasks should a producer do for an animator?

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What tasks should a producer do for an animator?

Here's my scenario:

A producer with several short films and some music clips under his belt wants to produce several of my projects (all my own), and wants me to helm one of his own (co-created between him and I).

He has not done any animation production chores beforehand. Leaving that and our friendship aside, I'd like to have no bad blood enter the friendship, so I want to know what I can fairly expect of him, expect him to do for me and any other struggling animators I bring on board, since he once stated “I'll produce you, and we'll split everything 50%/50%”.

Which right off the bat doesn't sound right to me. Maybe I'm wrong, but, even if that split is okay, what would be a FAIR list of tasks/$ he brings to the table to warrant getting 50% of any of my projects should they get funded/off the ground/picked up?

Bear in mind he has a shot at getting my material looked at by a start-up company with decently-deep pockets (by my country's standards).

I'm assuming all the paperwork and funding applications at the very least, and keeping me abreast of such, but it currently feels like he's merely doing as much as a screenwriting agent (which ain't much, if you know the screenwriter agency game), and wanting the same benefit as a producer. It seems to me that if I'm the one contacting potential VO performers and negotiating/sending materials to them, along with other animators I'd like on board, calling TV stations/networks to discover what minimum$ per aired minute will be, finding out what likely sponsorship rates would be, checking the deals like CreateSpace (subsidiary of Amazon.com), trying to set up performers for rotoscoping for certain scenes and negotiating with them, this all feels like stuff HE or any other would-be indie producer should be doing. Not I. Am I incorrect in this?

Is there a link to any page anywhere for any country/region that states (like a line item budget) what a Producer should do, ranging from the minimum to the maximum? So people here don't have to type what I'm needing to know out and waste their time?

And I realize that to some this might seem like my friend is possibly seeking to take advantage, but I personally feel/believe that he's not, that if I had a sample of a standard/boilerplate agreement that's fair, he'd roll with such in a second. I just want to show him such a document before we sign any papers or he introduces me to any potential “heavy hitters”.

Muchas Gracias in advance,

LC.

LoveClassics's picture
[I]I'll work 10 hours a day for $350. Andreas does the photoshop posters for Paramount, gets $700 per day at 7 hours plus an hour off for lunch. You do the math as to which is a better deal.[/I]

[I]I'll work 10 hours a day for $350.

Andreas does the photoshop posters for Paramount, gets $700 per day at 7 hours plus an hour off for lunch.

You do the math as to which is a better deal.[/I]

Look, why make things so darn complicated. You need to know how much you need him before you decide to give things up to him.

Can you do all these things with someone else or on your own for less? if you have created the IP then you should own a chunk of it. However the chances are it will have to be handed over to a bunch of people (production houses, broadcaster, merchandiser) so everyone has a portion of it.

as long as you are not putting up the money or doing the production yourself i reckon you should be happy with a chunk of revenues.

however if you are doing a lot of the production duties and he is only setting up meetings for you then he deserves a share but i dont think its 50%.

you need to bullet down what his exact duties are financially and operationally. its hard to say from your email exactly what he is doing other than setting up meetings where you MAY get production money...