![]() "As companies began to experience problems in China with inconsistency in quality and delivery times, they found that it wasn't as cost effective as it first appeared, and work has gradually returned to South Korea," she says. Vanzo, however, has seen quality concerns result in work being returned to South Korea. ![]() "Cheaper labor and a huge potential market will combine to make China the ultimate place for animation production and outsourcing in both the international and domestic markets," says Lifeng Wang, founder of Xing Xing, a digital animation company in Beijing. "Still, we are consistently producing the highest-quality animation and on schedule."Īs other countries in Asia continue to make inroads in the outsourcing biz, companies like Rough Draft Korea, which collaborates with Rough Draft Studios, its sister operation in Glendale, Calif., are staying afloat by assuring its clients of topnotch work and adapting to trends in technology.Ĭhina is changing the animation field through its large pool of artists and lower labor costs. dollar during the IMF crisis in 1998," she says, adding that a subsequently depreciating dollar - down 25% over the past five years - has cut into budgets. "Production fees have not increased since they were lowered to compensate for the extremely strong U.S. ![]() ![]() And this week he pulls out his box of crayons and pens a piece on the ever-changing animation outsourcing biz.įor decades it has been a rewarding cycle for both sides of the Pacific: Hollywood studios have sent their animation pre-production work (the storyboards, designs and character and background layouts) to lower-wage nations in Asia for final finishing.īut countries such as South Korea are not relying on lower costs as an advantage anymore, says Nikki Vanzo, prexy of Rough Draft Korea, an animation studio with 400 employees in Seoul that was founded in 1992 and has worked on such toons as "The Simpsons" and "Futurama." Yet even though he keeps the cams of his linotype machine well oiled as a matter of routine, the newsman also realizes that times change. T he old ways, the Captain often says, are usually the best ways. As an animator, Faust worked hard to evolve the "My Little Pony" franchise, transforming what was originally a fluffy show for girls into a non-patronizing, smart, funny and warm show for a wider audience that was more than happy to embrace it.Sake-Drenched Postcards - Asia Shops Juggle U.S. Faust became a hero to Bronies, and she was also a producer on the documentary "Bronies: The Extremely Unexpected Adult Fans of My Little Pony" (2013). Bronies were not the young girls the series had been expected to attract, but teenagers and adults (despite the nickname, both male and female) attracted to the show's unexpectedly clever plots and intelligent humor. Faust is also married to Craig McCracken, who created "The Powerpuff Girls," "Foster's Home for Imaginary Friends," and "Wander Over Yonder.""My Little Pony: Friendship is Magic" became infamous for a certain subset of the show's fans. In the new millennium, Faust went into TV animation with "The Powerpuff Girls" (Cartoon Network 1998-2005), "Foster's Home for Imaginary Friends" (Cartoon Network 2004-09), "Super Best Friends Forever" (Cartoon Network 2012), "Wander Over Yonder" (Disney 2013-16), and the show that earned her a fan following, "My Little Pony: Friendship is Magic" (Hub 2010-). ![]() During this period, Faust also worked on the animated features "Cats Don't Dance" (1997), "Quest For Camelot" (1998), and "The Iron Giant" (1999). Next Faust landed at Cartoon Network in 1999 as a storyboard artist and writer, working for the company for four years, moving up to a supervising producer and story supervisor position. Faust started out as a layout artist at Rough Draft Studios, then went to Turner Feature Animation for two years, then Warner Bros Feature Animation for another two years. Born in Annapolis, Maryland, Faust attended the California Institute of Arts, from 1992 to 1994. ![]()
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