Rating: 
Summary: Great Comprehensive Look at the Animation Process
Review: "Producing Animation" is an excellent book for anyone looking to get involved in the animation industry or fans of the medium who want a better understanding of what's involved in producing an animated film or television show. The writing is accessible and clear, and the authors' personal annecdotes really bring the material to life in a way that's fun and interesting. No aspect of the process is missed in this book - "Producing Animation" will help you get your head around the big picture of a complicated production process.
Rating:
Summary: Great Comprehensive Look at the Animation Process
Review: "Producing Animation" is an excellent book for anyone looking to get involved in the animation industry or fans of the medium who want a better understanding of what's involved in producing an animated film or television show. The writing is accessible and clear, and the authors' personal annecdotes really bring the material to life in a way that's fun and interesting. No aspect of the process is missed in this book - "Producing Animation" will help you get your head around the big picture of a complicated production process.
Rating: 
Summary: Closing the Barn Door...
Review: ...After the livestock has been slaughtered(or laid off due to the over-involvement of "production types" like the authors of this self-serving book), this title arrives after it finally looks as though the greed and stupidity of very uncreative people have killed off the animation golden goose. Such terrific timing hopefully ensures speedy oblivion for a "how to" that nobody needs. In other words-AVOID like the plague. No one is looking around for producers in L.A. or anywhere else, and reading this book will only set you back too many dollars. Its only future is as a textbook for the adult ed classes the authors probably hope to teach somewhere.
Rating: 
Summary: A very helpful bird's-eye view of the process
Review: As a freelancer beginning in the animation industry (I do storyboards and some animation), I found this book to be extremely helpful. It gives a thorough bird's-eye view of the entire process from initial concepts and assembling a team all the way to final delivery of the project. Since animation involves teamwork on so many levels, this book helped me to better understand the various roles as well as the other factors usuallty involved in making or breaking a project (finances, industry politics, etc.). I can therefore adjust my work so that others on the project can most benefit from it.
Rating:
Summary: Practical & Thorough!
Review: Contrary to some of the reviews posted on this book, this book is NOT the death of art NOR is it a book designed to "beget executive monkeys". In fact, at the 2001 World Animation Celebration (sadly, there was no WAC this year!), the book was singled out as THE resource on the topic of producing animated entertainment. Much better and more specific to the field than buying a book on film or TV producing and adapting the concepts. Just because the book is more practical, business-minded and analytical than it is artistically oriented does not mean that it isn't relevant to the field. More to the point, it is ESSENTIAL to the field. THESE PEOPLE KNOW WHAT THEY'RE TALKING ABOUT.To the artistic types who seem to be bashing this book on the basis of it not being written from a creative-end point of view, I'd just like to say that without a producer, your idea is just that, an idea. If you want your property to be seen by someone besides friends, family and the occasional festival judge, grow up and realize that the "business of the business" is inseperable from the art of animation. It's kind of like the old "if a tree falls, in the woods..." cliche. If you want a book that discusses the actual PROCESS of animation, this isn't the book for you. But then again, it doesn't puport to be a book on how to animate.
Rating: 
Summary: Portrays production well, producers not so.
Review: I am an animation artist who has also worked as a producer and production manager. PRODUCING ANIMATION attempts to explain an under-researched topic, but also helps perpetuate the idea that you need to have five managers for every artist on an animated picture. Top heavy management and overproduced films that are in production before their story is set are the true reasons for the skyrocketing costs of animation in the past few years. There are some horror stories here, such as the 'executive' who thought he could rewrite dialogue...after the picture had been animated. The authors also decry an 'artistic supervisor' (could that possibly be a director?) who (oh dear) wanted to make changes. The executive got his changes. The artist, they imply, did not. They also claim that artists have to be told by production people when to give up their artwork so that they can meet the production schedule. So the blame for production delays is invariably placed on the artists, who are a 'rag tag team', not highly trained professionals. Portions of the book are useful: blueprints for schedules (nothing about 'complexity of the film' setting the neat little figures back though.) Anyone who wishes to produce animated films and who does not have any idea what the artists do on the project (and sadly that describes a good many producers) would do well to read the sections on the PRODUCTION PLAN and PRODUCTION CREW. There is one helpful quote at the beginning of this book from Warner Television executive Ken Duer. "...it would only make sense to let the directors direct and be creatively responsible for the project and let the producers manage and create a 'stage' for creative artists so that the artists can do what they do best." They didn't need to write any more about the 'function of the producer' after that. But it was amusing to see the authors attempt to justify the existence of a 'line producer' whose job descriptions are duplicated by the associate producer; and they actually admit that the associate-executive-in-charge-of-assistant-to-the producer titles are more a product of 'what an agent or representative is able to negotiate for their clients, wholly independent of their actual ability.' Artists, buy this book and read it. Know who you are dealing with. Producers, read it and learn, but have some respect for the artists. They are, after all, the ones actually producing something.
Rating:
Summary: Portrays production well, producers not so.
Review: I am an animation artist who has also worked as a producer and production manager. PRODUCING ANIMATION attempts to explain an under-researched topic, but also helps perpetuate the idea that you need to have five managers for every artist on an animated picture. Top heavy management and overproduced films that are in production before their story is set are the true reasons for the skyrocketing costs of animation in the past few years. There are some horror stories here, such as the 'executive' who thought he could rewrite dialogue...after the picture had been animated. The authors also decry an 'artistic supervisor' (could that possibly be a director?) who (oh dear) wanted to make changes. The executive got his changes. The artist, they imply, did not. They also claim that artists have to be told by production people when to give up their artwork so that they can meet the production schedule. So the blame for production delays is invariably placed on the artists, who are a 'rag tag team', not highly trained professionals. Portions of the book are useful: blueprints for schedules (nothing about 'complexity of the film' setting the neat little figures back though.) Anyone who wishes to produce animated films and who does not have any idea what the artists do on the project (and sadly that describes a good many producers) would do well to read the sections on the PRODUCTION PLAN and PRODUCTION CREW. There is one helpful quote at the beginning of this book from Warner Television executive Ken Duer. "...it would only make sense to let the directors direct and be creatively responsible for the project and let the producers manage and create a 'stage' for creative artists so that the artists can do what they do best." They didn't need to write any more about the 'function of the producer' after that. But it was amusing to see the authors attempt to justify the existence of a 'line producer' whose job descriptions are duplicated by the associate producer; and they actually admit that the associate-executive-in-charge-of-assistant-to-the producer titles are more a product of 'what an agent or representative is able to negotiate for their clients, wholly independent of their actual ability.' Artists, buy this book and read it. Know who you are dealing with. Producers, read it and learn, but have some respect for the artists. They are, after all, the ones actually producing something.
Rating:
Summary: Frightening book on so many levels
Review: I have read this book and absolutely CANNOT recommend it on any level. The writers of this book collectively have very little actual experience, and their limited view of the film making process comes across as naive and ignorant. Completely bypassing the creative process with pseudo-pop psychology verging on the arrogant, this book should all but prove why the animation industry is in it's current lull. Barely hiding their contempt for the artists in the industry, they openly lay blame not on their own ineptness in understanding the film making process, but the artists whom they believe do not fully understand "their place" in the business. Mind you, most of the artists in the business have played a part in every aspect of the business and can more than be relied upon to provide elaborate, accurate, and experienced information as to how best to give the best for the most economical. It's a shame the writers don't give credit for their careers to those who made it remotely possible: the ARTISTS.
Rating:
Summary: A GREAT book...........I think
Review: I haven't read this book, but I think it's great anyways!!!!!!!!
Rating:
Summary: A big disappointment
Review: I was so disappointed with this book. As an animator I bought this book hoping that it would give me some idea about how to start producing my own short films and becoming an independant animator, but I soon discovered that the book had nothing to offer and the authors had no clue at all what problems animators faced in producing their own films.
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