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Features
  Globalizing Production for the Future
by Troy Dunniway
11 comments
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September 23, 2009 Article Start Page 1 of 6 Next
 

It's time for game developers to reassess their outdated production processes, grow up, and mature their business models. It is time for us to admit that most companies' current production models are not sustainable or are completely and totally broken.

Making games is getting harder and harder each year -- as well as exponentially more expensive. For most teams, the old production models aren't working, and most teams and companies are struggling to figure out how to re-invent themselves and stay in business. The days of needing 50 to 200+ developers working for two to three years on a game must change in order for us to find a way to become more profitable.

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Like many other technology and manufacturing industries have done over the last century, game developers must learn to change and adapt their business and production models in order to survive. Over the last few years there have been a lot of companies turning toward outsourcing as a way to save money.

However, most teams just see outsourcing as a way to make cheap art. Production Globalization is about taking outsourcing to a much deeper level. It includes being able to work with teams across the world in much better ways than you ever have before. It is about minimizing risks in production and not creating more.

Production Globalization isn't just about making games cheaper, but about restructuring your companies, teams, and methodologies to be more flexible as needed and to allow you to use the best possible talent for the job when you need them and to not have to continue to pay them when they aren't needed. It is about making your teams much more scalable and adaptable to the projects needs from day to day and month to month, and not having to keep a large internal team around which is only productive part of the year.

This article will show you how to build your team, your infrastructure, culture, production processes and technologies to maximize its global production capabilities. You will also learn how to deal with cultural issues, time differences, differences in process, technology issues, approvals and other issues which plague globalized teams.

Production Globalization Defined

Production Globalization is the process of adapting your production processes to allow you to work with teams from around the world. This means that you are in essence creating a "virtual team" of people who aren't located in the same facility, but who must work together daily (or at least very regularly) to be successful.

This not only includes being able to work with teams in China, but also teams down the street. Production Globalization is the process of adapting your game development tools and pipelines to allow your team to hire other teams and individuals to help you develop your games. Production Globalization is not new, and many teams use it to some degree, but very few have effectively formalized it and optimized their teams and cultures for it.

Production Globalization is not just "outsourcing" parts of your game. Outsourcing is generally thought of as having another team help you with the artwork for your project, but is rarely applied to other disciplines. The term "outsourcing" could be the same as Production Globalization, but it has many negative connotations already, as most stereotype it as referring to just creating artwork on the cheap.

Production Globalization is most relevant to larger teams and projects, but most of the same principles will apply whether you have five, 50, or 500 people on your team.

"Work for Hire" is generally hiring another team to help you with some aspect of your project. This could be with porting some version of your project to another platform, or doing some aspect of the project which your team is unable to do, like the multi-player.

"Contractors" are generally individuals or companies who come in to do one thing on a project, like create storyboards, write dialog, or create some rendered cutscenes.

For many teams, however, the thought of using another team to do anything but create some art or do a port is a scary thought and often not even something they would ever consider. So, when evaluating whether your team could benefit from changing your development process to a more diversified model, you really have to approach it with an open mind, and realize that it will take a little time, technology, and training to get right, as well as probably a major cultural shift at your company.

It is important to realize that Production Globalization can take place on a variety of different scales. It should allow you to utilize virtual teams or consultants from around the entire world or from down the street just as easily. It should allow larger publishers and companies to have flexible resources across many studios, groups and teams which can also learn to share resources in new and much more beneficial ways.

 
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Comments

Nathan Mates
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In a movie, each frame is a single, discrete piece of celluloid. (Or bits & bytes on a HD these days, but the principle is the same.) If a frame (or even a scene) in a movie is bad, then it affects only that one piece. You can redo it, excise it, or ship it (and take the hit from reviewers). But, the rest of the movie still stands; the rest of the frames on your rolls of celluloid don't get touched.

Software, so far, is nowhere near that. Everything affects everything else. It's one large interconnected ball of wax. (Or spaghetti). Artist A in country B modifies something and tests it -- it works. Artist C in country D modifies something and tests it -- it works. But when both changes are used, then the game's out of memory and crashes hard. Or some code change affects gameplay elsewhere. Videogames -- especially those focusing on consoles, the lion's share of the market -- are all about squeezing things in to the limits of the system, and it's really easy for the system to win. Movies don't have any such constraints.

The list on page 3 is quite true, and fixing those would go a long way towards making all production better -- globalized or not. But, to pretend that that list is the sole barrier towards more globalization ignores the very real technical issues of software interconnectedness and constrained resources that wouldn't be helped by globalization one iota.

Mickey Mullasan
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Whenever comparing industries, one must take into account the amount of consolidation inbreeding that has led to sculpting of industry structure. In Hollywood, there are six major studios and six major agents that own most of the rights to distribution and entertainment properties, (yes suprise, Actors are their property, how lovely are contracts). Yet the production demands that many projects require force them to keep a revolving door of smaller studios which do most of the work. Their spending power is immense compared to these smaller studios, as they have the ability to take out very large hundred million dollar loans to spend on a project. Then they split this up and distribute it to many smaller studios who piecewise do the work for them. As long as these smaller studios live hand to mouth, the major 6 can retain control of the industry. Simple divide and conquer.

Without this inbred consolidation, it is very difficult to amass the spending power needed for globalizing production costs without losing your business to global competition.

It may be cheap in China right now to outsource production, but when all your production is outsourced to China, they will drive up the price and start competing against your business with the talent that you didn't retain. In a globalized economy, talent is more powerful than property rights, because talent has the ability for dominating the entire market through creativity. This will become apparent in the next business cycle since the American economy has collapsed and does not have consumer spending power it needs to sustain itself. In this next business cycle, we will see the rise of the Chinese Consumer as the driving force of many industries, powered by the outsourced firms setting up their own properties with the talent we will no longer have.

Rajesh Rao
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Great article Troy, and timely. There are many out there looking at fixing unsustainable models, and this article is food for thought.

As a leading outsourcing company, we have been doing our bit in proving how larger, deeper engagements are possible. In the last 3 years alone we have seen a significant change in acceptance of 'distributed development', evidenced by the size of our role within a game. Our biggest engagement on a single game last year was close to 350 mmonths delivered over 8 months. We are routinely seeing most engagements now in the 100 ~ 300 mmonth range. Most involve us delivering game ready assets, some projects have involved piecing together levels. Some of our newer discussions have us taking responsibility to deliver ALL content in a game....

Rajesh Rao
Dhruva Interactive
www.dhruva.com

Victor Perez
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Ehh... no I dont buy it, sorry. Videogame is not Movies, as much as both are entertainment. It is closer to IT products BUT with the big difference in the Spec Doc (we call it Design Doc), that will be closer to a movie script… You can subcontract some products (globally is now happening… we have Castlevania with Konami and Mercury..), you can subcontract some parts (Engine, Sound, Graphics..) But for new IPs is not convenient to do that, even dangerous.
As creative product it needs strong control of the end result, and it is insane to introduce pure “production” tools. If you save half of the production cost but you don’t sell the product, what has been the margin? Anything divided by zero is infinite…

shawna olwen
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Great Article, I am banking on virtual production with global artists as the way studios will expand and contract based on their workload. Taking work that is cyclical by nature out of the central focus and allow core creative teams to do just that ... create... iterate, and turn out better products for their company's core IP. Be it games, TV, or films. I have a lot of first hand knowledge on how artists and pipelines in both areas (Games, TV, And Film) and the key is flexibility, and having enough artists for each discipline, as they are all very different stylistically with slightly overlapping but distinct skill sets. As far as I am concerned the best thing a about artists from around the world, is they all have a common language and passion for their work, and with better communication tools and processes.... on can build... pun intended world class talent.
:-)

Shawna Olwen
Hubnutz

Tim Carter
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@Nathan Mates: Yeah, that's right. Because the film industry decided it needed standards. Otherwise, one company might have been shooting 18 frames-per-second using a 1:3 aspect ration with film of a certain sprocket size which, when run through the project of a client in a different country would jam and shred and be totally useless.

Looking at the game industry continually as "software development" instead of entertainment creation is why we never standardize the tools so we can get down to developing inventive gameplay without having to reinvent the wheel so often. To globalize there need to be standards.

Robert Allen
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I've seen "globalization" from it's start in the computer industry: Ireland, then India, then China. It is, in my opinion, a fundamentally dishonest approach to solving the problem of cutting costs. Little different from laying people off to make the quarterly numbers (another trend in the computer industry.) Reducing costs usually means simplification. It does NOT mean shopping at Wal Mart instead of Macys, or K Mart.

Globalization often results in increase communication costs (or lack of effective communication), loss of tax base in the higher priced world, and what is basically an averaging function between salaries in the countries involved.

J F
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As usual Mr Dunniway, You have unmatched insight into game production for developers. I found it a fascinating article, having had experience with global production from both sides of the pacific. Thank you and please write more....

Vincent Morrison
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Currently working for a company that is outsourcing two tv shows production to both India and Canada, Ihave to say that the list on Page 3 is an exact list of the things we are having trouble with O_O. Especially the unrealistic Timeline coupled with too many revisions. On the Floor we hear a lot about how much they feel overworked, but no matter how much they raise concerns, more revisions keep coming down the pipe.

John Petersen
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Ah man, you guys are so screwed... The economy can not keep up with the continuing changes going on. In order for things to level out, the hardware requirements need to sit still for awhile to let things catch up... There isn't even enough time for folks to decide on what game they wanna play before System specs go up.

Yeah GL with all that

Sundar Pandian
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I have worked both in outsourced model and currently working in canada, onsite. The difference in productivity level while working onsite is huge. from what i have observed outsourcing is really just waste of time except for any repeat work. for outsourcing to work better it needs pre planning of each & every little details and document them. And that is lots of work for the source company. And even after all the documentation there is always a scope of misunderstanding resulting in lots of reworks, missed estimates, hurried approvals and all these accumulates into compromise of quality. But i think, still companies here try to outsource work because of available workforce or lack of it. studios here cant ramp up big for a single big project, may be because of strict labor rules here i guess.


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