radio发生变化_电影行业的工作方式正在发生变化

In past articles I have used data to measure changes in film production departments over time, observing the rise of departments like visual effects, and noting that relatively few departments have seen decline. A great deal more change must have been happening within these departments though. After some effort, I have figured out a way to measure how specific jobs titles have changed. I took the 15 films with the top budgets on IMDB from each year and used IMDB’s API to get the full credits from the following departments: Animation, Art, Camera, Costume, Sound, Special Effects, and Visual Effects. With that information I was able to graph the rise and fall of the most popular job titles.

在过去的文章中，我使用数据来衡量电影制作部门随时间的变化，观察视觉效果等部门的兴起，并指出相对较少的部门出现了衰落。 但是，这些部门中必须发生许多其他变化。 经过一些努力，我想出了一种方法来衡量特定职位的变化。 我每年都会用IMDB的最高预算拍摄15部电影，并使用IMDB的API从以下部门获得全部学分：动画，艺术，相机，服装，声音，特殊效果和视觉效果。 有了这些信息，我就可以绘制出最受欢迎的职位的兴衰情况。

You can access interactive versions of all the follow graphs can by clicking the link below the image.

您可以通过单击图像下方的链接来访问以下所有图表的交互式版本。

Findings

发现

This is a graph of the top 100 job titles, with a few similar titles grouped together. As you can see, most jobs have risen over time, but certain new ones (most visibly compositor) have far outpaced the others.

这是前100个职位的图表，一些相似的职位组合在一起。 如您所见，大多数工作都随着时间而增长，但是某些新工作(最明显是合成人 )远远超过了其他工作。

Digital Jobs Began to Supersede Traditional Ones After 2000

2000年之后，数字工作开始取代传统工作

Visual effects and animation jobs like animator, compositor, and digital artist were relatively uncommon in the early 1990s but grew extremely rapidly thereafter. Stereoscopic 3D jobs also exploded in popularity in 2009. In an parallel study on animation production I found that these jobs are already in clear decline, but they seem to have had a reprieve in live-action. The line for compositors is removed in the following graphs so that I can zoom in closer.

视觉效果和动画工作(例如动画师 ， 合成人和数字 艺术家)在1990年代初期相对不常见，但此后发展非常Swift。 立体3D职位在2009年也大受欢迎。在对动画制作的平行研究中，我发现这些职位已经明显减少，但似乎在真人秀方面有所缓和。 下图中删除了用于合成器的线，以便我可以放大一点。

Very Few Job Titles Saw Significant Decline After 2000

2000年以后，很少有职称出现大幅下降

A handful of studio jobs that have been around for decades, such as model maker, and sound editor, have seen decline in the past few decades. Editing related jobs are likely victims of software automation while model makers are more likely suffering from the rise of digital alternatives that can be composited in post-production.

在过去的几十年中，数十年的工作室工作(例如模型 制作者和声音 编辑 )都在减少。 与编辑相关的工作可能是软件自动化的受害者，而模型制造商则更可能遭受可以在后期制作中合成的数字替代方案的兴起。

The digital visual effects job matchmove artist grew immensely in the 2000s, peaking in 2012, but has been since shrunk, perhaps due to more sophisticated software automating labour. This is a bad sign for the similar job compositor, which has become the most common title in the database.

数字视觉特效工作的艺术家在2000年代取得了巨大的发展，在2012年达到顶峰，但此后一直萎缩，这可能是由于更复杂的软件使人工自动化所致。 对于类似的作业合成器来说 ，这是一个不好的信号，它已经成为数据库中最常见的标题。

The Majority of Traditional Jobs Grew After 2000

2000年后，传统工作的多数席卷而来

Many positions that have long histories in the industry did not see decline, and in fact grew through the 2000s and after.

在该行业中具有悠久历史的许多职位并没有减少，实际上在2000年代及以后一直在增长。

Towards the end of the 1980s the number of total jobs and the diversity of types of positions both began to rise. In the early 2000s the count of total jobs per film began to grow exponentially, ignoring the effects of the 2008 financial crisis. This explains why most traditional jobs were still growing: there was more work in general.

在1980年代末，总的工作数量和职位类型的多样性都开始增加。 在2000年代初期，忽略了2008年金融危机的影响，每部电影的总工作岗位数量开始呈指数增长。 这就解释了为什么大多数传统工作仍在增长的原因：总体上还有更多工作。

Conclusion

结论

These data show that there have been some profound changes in the types of jobs on the largest film productions. On-set production roles have been eclipsed by work mostly done on computers relating to animation, visual effects, or post-production. This is not to say that those old jobs are all in decline though. The data did reveal certain specific roles that are seeing downward trends, but the majority are stable or growing. This is likely due to the general increase in the number of people employed on a given film. One unexpected finding in these data is that certain visual effects and animation jobs that were growing significantly early on have themselves become victims of automation, likely due to improvements in software. This dataset and the one I studied on animation both show a rise in software and programming titles oriented toward building the tools that automate those jobs.

这些数据表明，最大的电影作品的工作类型已经发生了深刻的变化。 现场制作角色已被大部分在计算机上完成的与动画，视觉效果或后期制作有关的工作所掩盖。 这并不是说那些旧工作都在下降。 数据确实显示出某些特定角色正在下降，但是大多数角色是稳定的或正在增长。 这很可能是由于给定电影雇用的人数普遍增加。 这些数据中的一个意外发现是，某些视觉效果和动画工作在早期就开始显着增长，它们本身可能成为自动化的受害者，这可能是由于软件的改进所致。 该数据集和我研究的动画数据集都显示出软件和编程标题的兴起，这些软件和编程标题旨在构建使这些工作自动化的工具。

I should note that these data do not tell us anything about the nature of employment in this industry. Wages, union membership, and job security may well be down, despite the general increase in the number of jobs.

我应该注意，这些数据并未告诉我们有关该行业就业性质的任何信息。 尽管职位数量普遍增加，但工资，工会会员资格和工作保障可能会下降。

Data Sources and Methods

数据来源和方法

This project used a list of 45,000 movies from movielens.org and sorted live-action from animated films using their genre tags. Rather than showing what percentage of movies credit particular job titles, I wanted to count the absolute number of credits for specific jobs. In order to avoid creating an imbalance between years with more and less movie titles, I limited the number of movies per year to 15. I filtered the movies for English language and chose the top 15 budgets for each year. With this list of movies is used Davide Alberani’s IMDBPy to pull production credits from IMDB’s API. As with the other production studies I have done, I needed to limit my request to 2–3000 a day to avoid getting cut off by IMDB’s server. I removed extra information in the credits that appeared in parenthesis or behind a colon, which usually referred to a specific sequence the worker was credit for, or their alternate name. One of the weaknesses of counting job credits is that the same job is often called different things. Pruning the data in this way helped with this, but I also grouped together related jobs in the graph (which you can see in the key of the interactive graphs).

该项目使用了45,000部电影的列表 movielens.org，并使用其流派标签对动画电影中的真人秀进行分类。 我不想显示电影占特定职位的百分比，而是想计算特定职位的绝对学分数量。 为了避免在电影标题越来越少的年份之间造成不平衡，我将每年的电影数量限制为15。我过滤了英语电影，并选择了每年的前15个预算。 戴维·阿尔贝拉尼(Davide Alberani)的IMDBPy用于此电影列表，以从IMDB的API中提取制作功劳。 与我所做的其他生产研究一样，我需要将请求限制为每天2–3000，以避免被IMDB的服务器中断。 我删除了括号中或冒号后面显示的信用额度中的其他信息，这些信息通常是指该工人信用的特定顺序或其替代名称。 计算工作学分的弱点之一是同一工作通常被称为不同的事物。 以这种方式修剪数据对此有所帮助，但我还将图形中的相关作业分组在一起(可以在交互式图形的键中看到)。

This article is part of a series on the special effects, visual effects, and animation industries. It is based on research supported by:

本文是有关特殊效果，视觉效果和动画行业的系列文章的一部分。 它基于以下研究的支持：

Le Fonds de Recherche Québécois sur la Société et la Culture Postdoctoral Fellowship

法国兴业银行与文化研究博士后奖学金

The University of California, Berkeley’s Department of Film & Media

加州大学伯克利分校电影与媒体系

Title Image by Ahmet Yalçınkaya

标题图片： AhmetYalçınkaya