Alison Mann

just pushed an update to the Compare Frames node for ComfyUI, Overlay Mode: A new layout with a dedicated alpha transparency slider. It blends the two videos, making it incredibly easy to spot ghosting or subtle texture shifts between generations. Single-Video Support: You don't have to compare two videos. Connect just one sequence, and it acts as a standard, full-width video player with playback and scrubbing. https://lnkd.in/gE73G4jn

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I recently came across a job description for a "Motion & Post-Production Lead" that I feel compelled to discuss. It’s a perfect example of a growing problem that devalues our craft, burns out our talent, and demonstrates a profound misunderstanding of our industry. The role demands a single individual to be, simultaneously: A Hands-On Senior Artist: A hands-on master of Motion Graphics (After Effects), CGI (Cinema4D, Maya, Houdini), high-end VFX/Compositing (Nuke), & Color Grading/Finishing (DaVinci Resolve). A Studio Operations Manager: Responsible for team leadership, mentoring, upskilling, scheduling, capacity management,& even partnering on recruitment. A Technical & Creative Director: Tasked with designing the entire end-to-end pipeline, setting QC standards, defining file management, researching new AI/AR/VR tech, and engaging in new business pitches. The "Great to Have" section then asks for 15+ years of experience across all these fields, plus scripting, pipeline design, and more. Let's be crystal clear: This is not a job description. This is a wish list for an entire post-production studio. A Senior Nuke/Flame Compositor, a Senior Houdini Artist, a Senior Motion Designer, a Senior Colourist, a Pipeline TD, & a Post-Production Head are six distinct, highly specialized, and expert-level careers. Each one requires a decade to master. Expecting one person to have 15+ years of active, hands-on mastery in all of them is not just unrealistic; it's a fundamental failure to understand what we do. A Note to Recruiters, Hiring Managers: This "unicorn hunting" is unprofessional, unethical, & it has to stop. It is critical that you understand the technical and practical realities of these roles before you write a single line. If you don't know the difference between an Artist, a Lead, a TD, or a Post-Production Head, please ask an industry expert. I have worked in this industry for 18 years. I can tell you unequivocally that these are separate disciplines. Speak to people like me. If not me, I can suggest 20-30 other industry veterans who can help you. Please educate yourself first. Crafting JDs like this wastes everyone's time, makes your company look ignorant of the talent it's trying to attract, and ensures that the only people who apply are either unqualified or desperate. To the companies approving these roles: You are not saving money by trying to hire a five-person team for one (unlisted) salary. You are building a system designed for failure and burnout. And, as expected, the salary range was not mentioned. I wonder what the budget is for a supercomputer-level genius who has mastered every piece of creative software made in the last 20 years. Our industry is built on specialized, deeply honed craft. It's time we all started writing job descriptions that reflect that reality. What's the most unrealistic "unicorn" role you've seen lately? Let's discuss. #VFX #PostProduction #MotionGraphics #CGI #Animation #Recruiting #UnicornJobs

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In my journey as an artist manager, I've noticed general traits of successful artists at every level. And having worked on teams of artists at each stage between my agency and management career, I've seen first hand what really works. Here’s my breakdown of the five stages of an artist’s career and the strategies that can help you succeed at each one. https://lnkd.in/g4c86tG5

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David Sheldon-Hicks of Territory Studio Territory Group opens up about why self-awareness and emotional intelligence are essential to leading a successful creative studio. Studio principles! This is for us. Full Episode: https://lnkd.in/gtNTWwQb Joel Pilger Justin Cone Mitch Monson Amanda Russell Ruth Newberry Maxon Adobe ScreenConnect Academy of Television Arts & Sciences

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I don't teach ANIMATION PROJECT FINANCING as everyone else does. Hear it from Rich Magallanes, Executive Producer, Show Runner, and Hollywood industry veteran (Dora, Rainbow Butterfly Unicorn Kitty, Lutunia Petunia).   "LP's Animation Project Financing Workshop was simply engaging, realistic, and must-know for anyone getting into or elevating their knowledge in the animation industry. Understanding how your vision fits into the budget, or how the budget drives your vision are the basic fundamental tools necessary for anyone creating and/or producing an IP. Most creators believe that their idea is the most important piece in selling a show, but it's HOW a show will be made that is the real test. LP clearly lays out the road map and takes you down the highway, learning how to avoid potholes, when to slow down for speed bumps, and how to avoid miscalculated curves so that your project does not go off a cliff! Having this basic understanding not only helps boost confidence, but will help secure your deal from start to finish." A testimonial like this, coming from an industry veteran like Rich, is one of the reasons why I get up to work every morning! But my workshop is not just for Big Shots like Rich! My workshop offers the fundamental knowledge applicable to you if: 🌟 You want to find co-production partners and finance independently 🌟 You seek to attract a buy-out from a major studio 🌟 You want to bypass the gatekeepers and build your own audience Join my ANIMATION PROJECT FINANCING AND MARKETING workshop, and I'll teach you: ✅ How to build value into your project, to make it more attractive for potential buyers. ✅ Understand how to position yourself as the champion that can take your project to the finish line (and avoid getting pushed aside). ✅ Identify who your next ideal partners are. ✅ Learn to cost your project to make sure your budget and creative aspiration match (THIS is critical!) ✅ Confirm if you are on the right path by learning the financing and development cycles in independent productions, major studio projects, and social-first/self-distributed projects. Jump into my profile to learn more and register.

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A good working buddy asked me you wanna be animator making a project or a boss overseeing a project. I remember taking offense until I thought about it. This year has already been a year of delegation. The stress is so much lower and the quality is higher.

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Visual effects artists on Saturday Night Live have unanimously ratified their first-ever union contract under IATSE this July - a landmark moment for the VFX industry. This agreement sets a new standard for fair wages, benefits, and protections, including safeguards around AI and outsourcing - paving the way for stronger labor rights across the creative industry. 👏 Congratulations to everyone who made this milestone possible! #VFX #VisualEffects #IATSE #UnionStrong #LaborRights #VFXCommunity #SaturdayNightLive #FilmIndustry #BehindTheScenes

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There’s been a lot of talk this week about SAG-AFTRA’s new Verticals Agreement, the first contract to officially recognize micro-dramas and mobile-first storytelling. As someone who works directly with talent, producers, and creators in this space, I see both the potential and the growing pains. On one hand, this agreement legitimizes a format that’s been driving engagement and discovery for sometime now, short, serialized stories designed for our phones. It gives actors a pathway to work under union protections in a space that’s been a bit of a gray area. But here’s the catch: this isn’t a “one-size-fits-all” solution. Budgets, distribution models, and creative ownership all look different in vertical content. What works for a traditional shoot might not translate to a 3 minute episodic series built for mobile viewing. For the actors, it’s about understanding what you’re signing. For the producers, it’s about rethinking how we build sustainable ecosystems for this kind of storytelling. And for everyone in between, it’s time we start talking about how to do this right, together. There’s a lot more to unpack from industry folks, talent, and their reps alike, but one thing’s for sure: vertical storytelling is here to stay. 😴 (More thoughts on Monday).

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The company is closing its Los Angeles office. It is expected to open an operation in New York, working with a smaller in-house team and outside producers. #film #filmmaking #TV #movies https://lnkd.in/d8_Y8xnz

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Great audio team at NBC. Have you wondered what it is like mixing broadcast audio from around the world? Audio-Technica Mics and headphone capture the sound of the Games, and mixed 4000 miles away. https://lnkd.in/g42pQCE4

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Through Animation Voices Coaching I’ve had the pleasure of coaching Algernon Bulseco a talented actor with brilliant instincts and a fearless approach to performance. Watching Algie take direction, play with choices, and experiment so freely in sessions has been genuinely exciting. We’re currently developing material for an animation reel together and I’m thoroughly enjoying the collaboration. With 25 years’ experience as a casting and voice director in animation, Animation Voices Coaching offers high-energy IN PERSON workshops and 1-to-1 remote coaching for both children and adults. Algie’s Spotlight link is in the comments below.

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When you're multi-talented, sometimes it can difficult to clearly define yourself to a market. On one hand, if I limit communication purely to past job roles, it's straightforward - there are two main proficiencies I've developed on-job that are often available (well, used to be) and with 18 years of experience under my belt I'm capable of handling contracts in those areas easily enough. Fine. *However*, for many of us there's also an undeniable instinct to evolve, to try focusing new skills and roles we might not be immediately genius at. We think we can do more, better, or differently. Maybe we've sampled something new on the weekend and were surprised to discover talent there, or maybe we completely bombed...but *enjoyed it* enough to keep pushing forward and learn more. For me, frustratingly, it's been practical to mostly keep repeating those primary marketable skills. Back and forth. It's easy to communicate, there's a well-worn path, and project management seems to need those labels written in stone for convenience of staffing. When you want to -and can- do many different jobs, the truth is not so clean. Surely if I call myself an animator-designer-storyboard artist-game designer-supervisor-supervillain, it must be confusing (and maybe seem a little desperate) to employers. If you were hiring, wouldn't you rather hire a specialist who does one thing well than risk accidentally hiring someone for their weakest skill of the four listed? (especially when a post to fill 1 position nets you 300+ applications, yikes) I am actively juggling this dilemma right now; an old safe role for practicality, or new life aspirational venture which has the potential to cost me quite a lot for an indefinite length of time, or lean hard outside of industry to wander the void of ????. ...or all of the above? Multi-talented animation people, send me your insights before I split into twelve different personas trying to make sense of it. For now...I guess I'm making three wildly different websites. #indieanimation #animation #creative #characterdesign #animationdirector #supervillain

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🎧 Sound Designer | Slot Games Here’s my latest sound design reel focused on land-based slot games. This reel showcases: • Win anticipation builds • Big win impact sequences • UI/UX feedback sounds • Bonus transitions • Loop-friendly background sounds/music My approach focuses on reinforcement psychology, mix clarity and impact, and creating reward-driven audio experiences that support player retention. Tools: Audiokinetic Wwise/Cockos Reaper/Avid Pro Tools Currently open to sound design roles in game studios and iGaming companies. I’d love to connect with recruiters or audio leads!

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for my vfx peeps who have an LLC i have a question. When you get hired for a gig, do you just ask to be paid through your LLC? And how receptive are they to that?

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“I love traditional filmmaking—but tight budgets shouldn’t restrict creativity. That’s where AI is stepping in. It’s not a replacement, it’s a tool to keep the story alive."   I merge traditional filmmaking & design expertise with the power of AI to create compelling, scalable content for any project. This approach offers a unique, cost-effective solution that is leading the way for modern visual needs. Connect for a consultation to explore how we can achieve your vision and deliver the results you’re looking for at any level.

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For 16 years Greyscalegorilla has been creating tools, training, and high quality assets with one mission… Help 3D artists create their best work. I love to hear the stories from our members and community over the years about how Greyscalegorilla has played a part in building careers in 3D. But, this industry asks a lot from artists. You are expected to recreate entire worlds, make them look realistic, and get it all done on time and on budget. This industry has come a long way, but there is still SO much more that can be done to make 3D creation process more seamless, more fun, and more intuitive to artists. It’s with all this in mind that we are so excited to make this announcement. Greyscalegorilla is merging together with our longtime friends at KitBash3D to build the future of 3D tools and assets together. We are huge admirers of KitBash3D’s commitment to helping artists create realistic 3D worlds with best in class assets. They have done so much to help bring their mission to many different industries and 3D artists with their incredible Cargo tech. We have been friends and peers with KitBash3D for many years, and have always shared a similar mission and commitment to 3D artists. Together, we know that we can do even more to help artists create their vision without all the complication and mess that 3D can often bring. If you are reading this, then I wanted to thank you for being a part of this journey. We create everything we do for artists just like you. We are excited to continue and grow our mission to create the best tools and assets for 3D artists available anywhere. Two brands. One company. For all 3D Artists. ❤️ Nick Read more about the merger here… https://lnkd.in/gudxrJn9

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Want to help the environment as a sound designer, field recordist, or composer for games but don't know how? Here's part one from a resources page full of ways that folks in game audio can contribute to wildlife conservation. Part two is to come next month and will be focused on game developers/studios. #gamedev #indiedev #gameaudio #sounddesign #gamedev #indiedev #indiegame #wildlifeconservation #environment https://lnkd.in/g8ZfzC3f

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It has been 4 years now since we opened HAA, the first specialty school for animation in the US. 100% animation in person for 8 hours a day with training from experienced Hollywood animators and directors. Students learn with classical animation training and industry geared projects for film, games, and television. It has been a great joy to develop the kind of curriculum I wished I would have gotten from Cal Arts after working in the industry for 30 years. Most colleges leave their students without guidance on what they specifically need for a competitive portfolio today. Students do character designs and student films that are misguided and unpolished. We build projects that are industry relavent and train students 6 semesters deep in order for them to reach pro levels. We even help our students build their portfolio websites and teach them how to be a professional within a studio system. This is a school striving to lead education with cutting edge technology and experience. Learn feature storyboarding from experienced feature story artists. Learn TV production boards from primetime directors or TV board artists. Learn Previs from a top previs lead from Marvel and Universal. Learn game animation and cinematics from an experienced lead and game cinematic director. Learn Unreal Engine for filmmaking from feature and game directors. The animation industry is more challenging than ever and for serious students we offer one of the best solutions. Daily in person professional guidance with a structure that is second to none in practical real world training. In 2026 we launch our next intermediate level program for online students called Creative Edge and grow our 3rd year Mastercraft program with fantastic pro level projects. It's going to be an exciting year and we invite new students to check out our website and contact us if you are interested in learning more. https://lnkd.in/g8E8uFuU #animation

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