Which is why I said they need to unionize, like Hollywood.
Notice, though, good teams in Hollywood stay together, they keep the brain trust intact. The other people, those that do what anyone can, have steady work because the union finds it. They don't go terribly long unemployed because someone is always looking for work, and contract issues are standard via the union, so it's all easy.
While this is quite true of the traditional arenas of film production (grips, gaffers, etc.), the increasingly large visual FX industry is not unionized, and several efforts to do so have failed utterly. It seems to be very difficult to unionize the 'newer' industries.
At this point in VFX, most of the larger studios only hire on short term contracts, and typically once the film is done, out the door they go. Smaller studios do hang on to the good talent they get, but since places such as ILM, PDI, Pixar, etc. have such a high profile 'glitz' factor associated with them, keeping good talent can be tough. When ILM calls and asks if you want to work on Episode 3, it's hard to resist (no matter what you think of the films, for vfx, having that on your resume gives you a free ticket to go nearly anywhere you want.) I have quite a few friends who have sort of evolved a lifestyle around this way of doing things. Since vfx often involves insane crunch periods, people work a job til it delivers, take a month (or 3) off, then decide what film they want to work on next.
In some ways it's affords a fair amount of freedom, but the crunch periods do wear on you after a while. After 7 years in that business I finally burned out and moved on to other things.
This comment was edited on May 28, 17:26.