CMC Report: How Has Covid-19 Changed Animation in Children’s Media?
Similar to four years ago, when the uncertainty of Brexit dominated discussions at events such as CMC, the animation industry is now dealing with the aftermath of the coronavirus and lockdown. However, the disruption caused by Covid-19 isn’t all doom and gloom for the industry, as was demonstrated during the CMC event ‘Animation Assemble!’; with questions including:
- What are the opportunities in the animation industry today?
- Will we see more animation commissions?
- How will we compete in the newly competitive global market?
- Can animation commissions reflect the lives of young people today?
Chaired by Beth Parker, the panel was comprised of: Kate O’Connor (Animation UK), Chris Rose (Nickelodeon), Sarah Muller (BBC Children’s), Alister Morgan (Acamar Films), and Camilla Deakin (Lupus Films). Here are some of the key takeaway points that were discussed.
Animation Assemble! Panel (clockwise): Beth Parker, Kate O’Connor (Animation UK), Chris Rose (Nickelodeon), Sarah Muller (BBC Children’s), Alister Morgan (Acamar Films), Camilla Deakin (Lupus Films)
Working Practices: Studio v WFH
Something that has been apparent since the beginning of lockdown is that animation has had an easier time transferring to a Work From Home (WFH) system than some industries. Generally speaking, creatives with a reliable home set up have been able to carry on with the jobs; resulting in the ‘business as usual’ message that UK animation has been sending out.
Some studios have accepted that we will never go back to what we did before; and are keen to introduce more flexibility to their productions. Although there is a general sentiment that you can’t beat the studio environment for ‘knocking around ideas’ and the social aspect, the argument for working from home include: less commuting, flexibility for those juggling childcare, and being able to access talent that otherwise would not have the opportunity. This can only positively impact inclusivity, as not everyone will feel they HAVE to work in London anymore for those big jobs; people can live in Bristol, Brighton, Barcelona… and still be working in these teams.
However, the downside of all this is the impact that WFH isolation (especially those living alone) can have on one’s mental health. Studios and production staff say it is becoming increasingly important to communicate regularly, and not just on Zoom calls. Even unscheduled phone calls, to check in with your team, have been muted as possible solutions. Of course, this is easier to do within a smaller company, but it is good to see such things being considered.
There was the suggestion that companies need to try to keep doing the ‘normal’ studio things, even if remotely, such as: Friday drinks, birthday celebrations on Zoom, sending flowers, and so on.
Opportunities
The last few months have forced commissioners to look at how audiences have been consuming content during lockdown. There is no doubt that interest from the streaming companies has increased.
Digital platforms have opened up a new market for companies during this time. With this increased demand, it is a good time for producers and broadcasters to take risks and try new ways of storytelling: non-linear, new lengths, new formats.
During lockdown, Children have had a lot of time to think about subjects important to them; Black Lives Matter, climate change, mental health. The generally consensus was that we need to be creating content that is uplifting and reassuring without glossing over things. Also, it is not just young audience that we need to be thinking about, but content for older children, too.
From the BBC’s perspective, children’s animation seems to have got through generally unscathed compared to other departments; with productions being delivered on time and on budget. Because of this, animation will be the sole deliveries within the next year, and the animation industry will really shine because of this.
However, Sarah Muller did issue one stark warning: not every child in the UK has access even to broadband, let alone paid services. Please don’t forget about those children that rely on the free content out there; don’t assume everyone has the same access.
Opportunities for writers:
It was commented on that we are lucky in the UK to not rely on writer’s rooms, like the US does, to write our shows. The fact that we have been able to carry on as normal – remotely – has helped UK writers. We can now, of course, gather in writer’s rooms remotely via Zoom on a global scale; which can only be a good thing for the writing sector and opportunities. As mentioned above, this will also impact on inclusivity as writers will not need to live in the big cities for the big jobs.
Opportunities for voice work:
Generally, the lockdown has seen adult voiceover work booming; those with home recording studios have been in high demand. However, due to a lack of home setups, it has been a lot more difficult for productions that use a children’s voice cast to get quality recordings here in the UK. (However, US voice talent has remained easier to access.)
Diversity
Today’s children are the most diverse ever, and they need representation on screen. Authenticity is not just about the stories being told, but in the voices, too. This is a global issue that needs to be addressed; it will take some planning, but that’s what animation does best. We should be using this time and opportunity to access new talent and allow them to tell their stories.
Nickelodeon are currently putting a scheme in place to support new writers from all backgrounds and get them in writer’s rooms, as well as looking into ways to nurture talent in all departments.
Investment and Funding
With Brexit still looming, there is still uncertainty about what funding is going to be available post-2020. Globally, we have undeniably hit a choppy time in regards to financing, but animation is seen as an industry that has growth potential, and there are some schemes to keep your eye on:
- Before Brexit, the animation industry relied heavily on the Creative Europe fund. In January it was announced that the UK would be withdrawing from this fund, leaving many outraged at this black hole in funding. Although not official yet, following meaningful talks between Animation UK and MPs about a replacement funding scheme, a “global screen fund” looks like it may be announced this summer. Watch this space.
- The BFI Animated Shorts fund looks set to continue, although no details have been released yet about 2020 applications.
- The Young Audiences Content Fund (YACF) – also BFI – is set to continue