tag:blogger.com,1999:blog-27501132.post177243226031236339..comments2024-03-24T16:25:05.751-04:00Comments on Mayerson on Animation: The Benefits of OwnershipMark Mayersonhttp://www.blogger.com/profile/00065971589878678848noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-27501132.post-49378422969066984492011-09-12T14:57:46.512-04:002011-09-12T14:57:46.512-04:00Rodney, Kirby was not compensated for non-comics u...Rodney, Kirby was not compensated for non-comics use of his work or reprints of his work. That is not an exaggeration, it is a fact. The page rate he received was his final payment for his work and if the work was later used as the basis for animation, live action or toys, he received no additional money whatsoever. If his artwork was used on packaging, he received no additional money.<br /><br />Until such time as a court decides that Kirby is entitled to a share of the copyright for his work at Marvel, Marvel is legally free to do exactly what it did during Kirby's lifetime: continue to use Kirby's artwork and ideas in any way they choose without paying compensation.<br /><br />Which is why ownership is so important.Mark Mayersonhttps://www.blogger.com/profile/00065971589878678848noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-88583330512434945852011-09-12T08:40:20.379-04:002011-09-12T08:40:20.379-04:00Mark,
You stated, 'Kirby was not compensated f...Mark,<br />You stated, 'Kirby was not compensated for any of this.' and I'd have to quibble with this. <br /><br />If you had written "Kirby was not properly compensated." I doubt anyone could argue against that assertion successfully. The entire case appears to be framed by what constitutes being properly compensated or attributed for a creative work. <br /><br />The fact is that Kirby was compensated and to say otherwise is an error that invites the law to favor the companies Kirby worked for at the time the properties where created.<br /><br />A small quibble perhaps but I believe it to be an important distinction.<br /><br />- Wishing you all the best in your efforts, RodneyRodney Bakerhttps://www.blogger.com/profile/17953461648033310302noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-75648889429591532872011-03-30T13:49:36.492-04:002011-03-30T13:49:36.492-04:00@ Steve
If you make something that people HAVE to...@ Steve<br /><br />If you make something that people HAVE to see, then those people will pass it around for you. The crap is crap because nobody cares to share it. <br />Nobody needs corporate money any more.<br /><br />I understand that it is in fact easier said than done though. Thanks for the reply.Coreyhttps://www.blogger.com/profile/07760537763098373025noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-20092803078469448802011-03-29T07:03:52.821-04:002011-03-29T07:03:52.821-04:00@ Corey:
Easier said than done. Much easier. Cre...@ Corey:<br />Easier said than done. Much easier. Creating something is easy. Ideas are cheap. Getting it out there, promotion, distribution, etc., cost money. <br /><br />Even in todays digital age where online distribution is available at the click of a button, creators still have to fight the tidal wave of material (mostly crap) which is uploaded every second. <br /><br />Getting your work noticed is only the first step.Steve Schnierhttps://www.blogger.com/profile/01766696319640794064noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-36051075470362798322011-03-19T20:38:24.183-04:002011-03-19T20:38:24.183-04:00Make something everyone will want, without someone...Make something everyone will want, without someone else's money. If you get a large enough fanbase / audience, you will have more sway over your property once the big wigs approach you wanting a slice.Coreyhttps://www.blogger.com/profile/07760537763098373025noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-70258623399948353922011-03-15T14:15:15.308-04:002011-03-15T14:15:15.308-04:00Hi Mark,
Excellent article as usual.
While your o...Hi Mark,<br />Excellent article as usual.<br /><br />While your observations are correct, the costs and difficulty of launching a creator controlled intellectual property, whether it be comic book, film/TV or online can be staggering.<br /><br />Assuming that a creator has more than one idea in his/her head, it might be worth sacrificing a few in order to build a name and following for the creator controlled IPs.Steve Schnierhttps://www.blogger.com/profile/01766696319640794064noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-16183401517141755442011-03-14T00:08:05.958-04:002011-03-14T00:08:05.958-04:00amen, Mark. Creator rights are very important.
I w...amen, Mark. Creator rights are very important.<br />I worry about this generation because of software and plug-in installs, they are used to scrolling through a lot of legal jargon and clicking "I agree."<br /><br />here's a great bit on animation contracts by gene dietch no way you'd get a deal this straight forward nowadays, but it's worth a shot:<br />http://www.awn.com/genedeitch/gene-deitch-how-succeed-animation/part-one-how-you-should-do-it/chapter-9-we-hereby-agree<br /><br />there is also the other side, getting on too high of a rights horse, a 100% of nothin' is nothin'. If the network puts up all the dough, you get a small piece on the other side (15% in L.A. tops!), and a high end job on the production if your capable.<br />It's better as a young creator to tough it out and make a graphic novel or webcomic the way YOU want, and get it optioned because it's a hit with an audience, than to go through the hellish pitch process and development deal.<br />also waving to your imaginary fans in the mirror before you make frame one of the soon to be classic masterpiece is also a common delusion.<br /><br />how many animators in canada can actually say they "created" a hit show?<br />Sean Scott and Jon Izen come to mind of RECENT people. but it's a bit like the animation equivalent of a michael jordan. Not everyone can be the captain.<br /><br />Most shows are the product of deeper pockets- rights distributors who subcontract development, then schmooze them into fruition by jet setting to trade shows like Mipcom in the south of france to get co-pro deals in place. Creator driven? more like deal driven.<br />this biz is way to complex for a series sequential doodles by a bunch of frazzled artists.And it's very easy to confuse the "how" with the "why".<br /><br />Joe Murray has an excellent book:<br />http://www.amazon.com/Creating-Animated-Cartoons-Character-Developing/dp/0823033074Murray Bainhttp://www.copernicus.canoreply@blogger.comtag:blogger.com,1999:blog-27501132.post-40913952649194428122011-03-13T21:07:35.074-04:002011-03-13T21:07:35.074-04:00I'm thinking of how in Japan the copyrights fo...I'm thinking of how in Japan the copyrights for comics is commonly a dual-ownership between the creator and the publisher. When such works becomes animated for TV the copyright is shared between the studio that made it, the network that paid for it, plus the creator and the publisher.<br /><br />If the creator is successful enough they can just own it outright (and there are a few who are)<br /><br />I'm not entirely too sure how the copyright law in Japan differs from the America's, but I think this setup is more fair.Brubakerhttps://www.blogger.com/profile/10741995395720022279noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-61813576659657390832011-03-13T14:47:13.485-04:002011-03-13T14:47:13.485-04:00Thank you Mark. That's really helps me!Thank you Mark. That's really helps me!Martin Juneauhttps://www.blogger.com/profile/00193943985570930659noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-22086880571280196882011-03-13T13:03:18.606-04:002011-03-13T13:03:18.606-04:00Martin, if you search online for copyright registr...Martin, if you search online for copyright registration for whatever country you are in you will find out the fees. In Canada, the fee is $50 for submitting online and $65 for submitting by mail. In the U.S, the fee ranges between $35 and $65.<br /><br />I'm sure that the fee is similar in most countries.Mark Mayersonhttps://www.blogger.com/profile/00065971589878678848noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-20380399210680806522011-03-13T12:21:44.783-04:002011-03-13T12:21:44.783-04:00Without been a Bone fan, i can understand the Jeff...Without been a Bone fan, i can understand the Jeff Smith's success he accomplish since he can use his creations himself tough i didn't notice it before. Even the French-Belgium comics-artists of before and today don't touch a large part of solds albums and characters' rights because i think the Europpean copyrights laws is totally the opposite to the ours in a matters of ownerships. Nevermind, the situation stays the same today. Do owenrship ourself is often better and less risky than encourage corporations and profiteers to steal our works and rights. I thinkin to registered my first comic to copyrights but which option you can give me without feel to spend a thousand of dollars for just registered my comic album?Martin Juneauhttps://www.blogger.com/profile/00193943985570930659noreply@blogger.com