Netflix vs production committees: money flows, but not always to the animators

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A new financial report from Netflix and IG Port (parent company of Production I.G and WIT Studio) revealed that the streaming giant disbursed 3.573 billion yen ($24.3 million) during fiscal 2024. This payment reinforces Netflix's influence in the anime industry and opens debate about its role in the traditional system of production committees.


Where did the money come from?


According to the document, $10.4 million came from the copyright business, where licenses such as Kimi ni Todoke Season 3, produced by Production I.G and acquired by Netflix in a single lump sum, stand out. In fact, the platform accounted for nearly 40% of the studio's copyright sales.


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Direct production: another strategy


Another $13.9 million came through the "video production" category. Unlike other streamers such as Crunchyroll or HIDIVE, Netflix does not usually join production committees, but signs direct contracts with studios. This gives it control over distribution and, in some cases, over the full rights to the anime (as happened with Moonrise, produced by WIT Studio and listed as © Netflix).


The opaque side of the system


Experts such as director Terumi Nishii have pointed out that, although Netflix pays up to double what a standard budget would be, that money rarely reaches the animators' pockets. On the other hand, it usually covers deficits of the studios or stays in production margins. Hence the famous phrase: "it is money that rains in the desert, but it is absorbed by the sand".


Advantage or problem?


While traditional production committees divide risks among several investors, Netflix's model bets on individual contracts that may seem more profitable but raise questions about transparency, copyright and real benefits for creators. In 2024, even Japanese reports warned that the platforms are looking to extend licenses from 5 to 10 years, concentrating even more control.


Is it better for Netflix to put in millions and skip the production committees, or is the classic system still fairer for creators? Tell us about it on our Facebook page.

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