[{"data":1,"prerenderedAt":1501},["ShallowReactive",2],{"tag-count-production-management-en":3,"tag-production-management-en":4,"tags-sidebar-en":18,"posts-tag-production-management-en-1":90,"tags-header-en":1443,"tags-footer-en":1472},52,{"id":5,"title":6,"body":7,"description":7,"extension":8,"meta":9,"name":6,"navigation":13,"path":14,"seo":15,"slug":16,"stem":16,"__hash__":17},"tag/production-management.json","Production Management",null,"json",{"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"count":11,"url":12},"public",{"posts":3},"https://blog.cg-wire.com/tag/production-management/",true,"/production-management",{"description":7},"production-management","CK3g20iyLvLAN6TiR91N008bRCUY5R5T0A-dnAm-nfI",[19,30,42,53,64,76,80],{"id":20,"title":21,"body":7,"description":7,"extension":8,"meta":22,"name":21,"navigation":13,"path":26,"seo":27,"slug":28,"stem":28,"__hash__":29},"tag/blender.json","Blender",{"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"count":23,"url":25},{"posts":24},15,"https://blog.cg-wire.com/tag/blender/","/blender",{"description":7},"blender","NGhuNL5GEEpGrAt0Y1hoiAFOBRkB8zKBFq90XcJR47E",{"id":31,"title":32,"body":7,"description":7,"extension":8,"meta":33,"name":37,"navigation":13,"path":38,"seo":39,"slug":40,"stem":40,"__hash__":41},"tag/company.json","Company",{"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"count":34,"url":36},{"posts":35},35,"https://blog.cg-wire.com/tag/company/","Company News","/company",{"description":7},"company","CSg2BLNemwEASf_RYxGHsJOXTxg3xNUldTg2Upc7ZC0",{"id":43,"title":44,"body":7,"description":7,"extension":8,"meta":45,"name":44,"navigation":13,"path":49,"seo":50,"slug":51,"stem":51,"__hash__":52},"tag/customer-stories.json","Customer Stories",{"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"count":46,"url":48},{"posts":47},3,"https://blog.cg-wire.com/tag/customer-stories/","/customer-stories",{"description":7},"customer-stories","vO2w4OuionBXR7-dsFeWvCucjpG7VuCqGV3NZOYyVw0",{"id":54,"title":55,"body":7,"description":7,"extension":8,"meta":56,"name":59,"navigation":13,"path":60,"seo":61,"slug":62,"stem":62,"__hash__":63},"tag/glossary.json","Glossary",{"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"count":57,"url":58},{"posts":24},"https://blog.cg-wire.com/tag/glossary/","Animation Glossary","/glossary",{"description":7},"glossary","ahYw1ulGqHh4X1VqtWmRXHQzLH25NsXPHgKJ8kwOMwA",{"id":65,"title":66,"body":7,"description":7,"extension":8,"meta":67,"name":71,"navigation":13,"path":72,"seo":73,"slug":74,"stem":74,"__hash__":75},"tag/pipeline.json","Pipeline",{"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"count":68,"url":70},{"posts":69},77,"https://blog.cg-wire.com/tag/pipeline/","Pipeline Automation","/pipeline",{"description":7},"pipeline","qa7lmThepbMYAJ--m7WHgcY7p9lpC51BDn7imjnLoHY",{"id":5,"title":6,"body":7,"description":7,"extension":8,"meta":77,"name":6,"navigation":13,"path":14,"seo":79,"slug":16,"stem":16,"__hash__":17},{"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"count":78,"url":12},{"posts":3},{"description":7},{"id":81,"title":82,"body":7,"description":7,"extension":8,"meta":83,"name":82,"navigation":13,"path":86,"seo":87,"slug":88,"stem":88,"__hash__":89},"tag/resources.json","Resources",{"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"count":84,"url":85},{"posts":47},"https://blog.cg-wire.com/tag/resources/","/resources",{"description":7},"resources","uMVK_T3_oD87qJ7NOx5cVBCT5uXC9zFj44ZZatYH5RQ",[91,124,149,174,208,233,258,283,308,333,358,393,417,442,467,492,517,542,568,593,619,644,669,694,717,741,768,792,819,845,871,897,923,948,974,1001,1027,1053,1079,1105,1131,1157,1183,1209,1234,1261,1287,1314,1339,1366,1391,1418],{"id":92,"title":93,"authors":94,"body":7,"description":7,"extension":8,"html":100,"meta":101,"navigation":13,"path":117,"published_at":107,"seo":118,"slug":119,"stem":120,"tags":121,"__hash__":123,"uuid":102,"comment_id":103,"feature_image":104,"featured":105,"visibility":10,"created_at":106,"updated_at":107,"custom_excerpt":108,"codeinjection_head":109,"codeinjection_foot":110,"custom_template":7,"canonical_url":7,"primary_author":111,"primary_tag":112,"url":114,"excerpt":108,"reading_time":115,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":116},"ghost/posts:estimating-render-costs-animation.json","How Animation Studios Estimate Render Farm Capacity",[95],{"id":96,"name":97,"slug":98,"profile_image":7,"cover_image":7,"bio":7,"website":7,"location":7,"facebook":7,"twitter":7,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":99},"630632b2ca5910003d4a70af","Basile Samel","basile","https://blog.cg-wire.com/author/basile/","\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">😀\u003C/div>\u003Cdiv class=\"kg-callout-text\">Rendering costs are not guesswork. With the right framework they become predictable.\u003C/div>\u003C/div>\u003Cp>Everyone has watched a render farm crawl at 4 p.m., staring at a progress bar that hasn't moved in ten minutes, wondering whether the shot will finish before the end of the day. That moment when the queue is full, artists are blocked, and supervisors are asking for an ETA is an estimation problem.\u003C/p>\u003Cp>Rendering often feels impossible to predict. One lighting tweak doubles the frame time. A setting that worked yesterday explodes memory today. Without a cost-estimation framework, you're left with saturated farms, missed deadlines, and eroded trust in the pipeline.\u003C/p>\u003Cp>The good news: render costs are not magic. They are measurable, decomposable, and predictable if you approach estimations with a framework instead of intuition.\u003C/p>\u003Cp>\u003Cstrong>This guide lays out a clear, practical estimation model you can apply immediately.\u003C/strong> It's designed for pipeline developers who need numbers they can defend in a production meeting.\u003C/p>\u003Chr>\u003Ch2 id=\"why-estimating-rendering-costs\">Why Estimating Rendering Costs\u003C/h2>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog/blob/main/drafts/render-cost-estimation/index.md?ref=blog.cg-wire.com#why-estimating-rendering-costs\">\u003C/a>\u003C/p>\u003Cp>\u003Cstrong>Accurate render cost estimation protects the schedule\u003C/strong> before it's at risk. When a sequence estimated at 2 hours per frame quietly renders at 6, farm occupancy triples and downstream departments are left hanging.\u003C/p>\u003Cp>Cost visibility also directly \u003Cstrong>influences creative decisions\u003C/strong>. When artists see that enabling high-quality volumetrics adds 35% render time, they're more likely to explore alternatives. Without that feedback, choices default to visual preference and the farm absorbs the impact later.\u003C/p>\u003Cp>Reliable estimates are \u003Cstrong>essential for infrastructure and budget control\u003C/strong>. Farm capacity, cloud bursting, and delivery planning all depend on predictable numbers. A 120-frame sequence at 3 hours per frame behaves very differently from one at 9, especially across multiple concurrent shows. When estimates consistently land within range, production trusts the pipeline, and that trust buys room for smarter technical decisions.\u003C/p>\u003Chr>\u003Ch2 id=\"1-what-actually-affects-rendering-costs\">1. What Actually Affects Rendering Costs?\u003C/h2>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog/blob/main/drafts/render-cost-estimation/index.md?ref=blog.cg-wire.com#1-what-actually-affects-rendering-costs\">\u003C/a>\u003C/p>\u003Cp>Rendering cost is never about a single push of a button. It's the result of multipliers stacking on top of each other.\u003C/p>\u003Cp>If a frame costs too much, everything downstream becomes painful, so the conversation should always start with what affects cost per frame:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Resolution\u003C/strong> - Moving from 1080p to 4K is not a mild increase. It's four times the pixels. If a frame renders in five minutes at 1080p, it's completely reasonable to see twenty minutes at 4K with identical settings.\u003C/li>\u003Cli>\u003Cstrong>Frame rate\u003C/strong> - Ten seconds at 24fps is 240 frames. The same ten seconds at 60fps is 600 frames. If each frame costs eight minutes, you've just turned 32 render hours into 80 without touching a single shader or light.\u003C/li>\u003Cli>\u003Cstrong>Render engine choice\u003C/strong> - CPU versus GPU rendering is less about speed and more about memory ceilings. GPUs can be dramatically faster per frame, but they are constrained by VRAM. A scene with 12GB of textures and heavy geometry might fit comfortably in system RAM yet exceed a 24GB GPU once acceleration structures and overhead are included.\u003C/li>\u003Cli>\u003Cstrong>Sampling\u003C/strong> - Doubling samples almost doubles render time. If noise clears acceptably at 192 samples but artists push to 512 just to be safe, render time can nearly triple for negligible visual improvement.\u003C/li>\u003Cli>\u003Cstrong>Scene complexity\u003C/strong> - Modern renderers handle millions of polygons, but acceleration structure build times and memory usage still scale. A five-million-poly hero asset is fine in isolation. Fifty duplicates that are not properly instanced can double scene memory and increase render prep time significantly. The same applies to textures, volumetric fog, procedural systems like hair, fur, crowds, and simulations.\u003C/li>\u003Cli>\u003Cstrong>Animation length\u003C/strong> - Total frames equal duration multiplied by frame rate. A 30-second piece at 24fps is 720 frames. If each frame takes twelve minutes, that's 144 render hours.\u003C/li>\u003C/ul>\u003Cp>The parameters to take into account can feel overwhelming, which is why per-frame cost is the only metric that matters. If the target is eight minutes per frame and early lighting tests show fourteen, the project is already heading toward a significant overrun even if only a handful of frames have been rendered.\u003C/p>\u003Chr>\u003Ch2 id=\"2-understanding-the-core-formula\">2. Understanding the Core Formula\u003C/h2>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog/blob/main/drafts/render-cost-estimation/index.md?ref=blog.cg-wire.com#2-understanding-the-core-formula\">\u003C/a>\u003C/p>\u003Cp>Every serious conversation about rendering cost needs to start with the core formula:\u003C/p>\u003Cblockquote>\u003Cstrong>Total Render Cost = ((average render time per frame * total frames) / render speed) * hourly compute cost\u003C/strong>\u003C/blockquote>\u003Cp>If a sequence has 1,200 frames, each averaging 18 minutes on a single GPU, and the farm processes 40 frames in parallel at $2.50 per GPU hour, the math immediately reveals whether the lighting tweak just added thousands to the budget. It puts numbers on every decision.\u003C/p>\u003Cp>Estimating render time per frame must be grounded in production reality, not optimism.\u003C/p>\u003Chr>\u003Ch2 id=\"3-local-rendering-vs-cloud\">3. Local Rendering vs Cloud\u003C/h2>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog/blob/main/drafts/render-cost-estimation/index.md?ref=blog.cg-wire.com#3-local-rendering-vs-cloud\">\u003C/a>\u003C/p>\u003Cp>\u003Cstrong>It can be hard to evaluate total cost of ownership versus total cost of execution\u003C/strong> when choosing between building your own render farm or going for cloud rendering.\u003C/p>\u003Cp>Local workstation rendering looks cheap because the hardware is already sitting there. But that GPU or CPU wasn't free. A $6,000 workstation amortized over three years is roughly $166 per month before a single frame is rendered. Add electricity, say, a 700W machine running 10 hours a day at $0.20 per kWh, and that's roughly $42 per month just to keep it on. Now factor maintenance: failed SSDs, driver conflicts, OS updates breaking plugins. Even a conservative estimate of four hours of IT time per month at $75/hour adds $300. That \"free\" rendering node is suddenly costing over $500 per month before considering production impact. Opportunity cost is another silent budget killer. On a 10-person team billing $600 per artist per day, a single blocked workstation can easily represent thousands in indirect delay over a week of crunch.\u003C/p>\u003Cp>Cloud rendering flips the model from capital expenditure to operational expense. Instead of buying a machine, you rent compute by the GPU-hour. For example, if a frame takes 2 GPU-hours and the provider charges $1.20 per GPU-hour, that's $2.40 per frame. Multiply by 500 frames and the job costs $1,200 in raw compute. That number is transparent and scales linearly with workload, which makes estimates more predictable. Scalability is where cloud becomes strategically powerful. If 500 frames must be delivered in 24 hours and each frame takes 2 hours, locally that's 1,000 GPU-hours. On a single workstation, that's over 40 days of render time. Even with five machines, that's still more than a week. In the cloud, spinning up 100 GPUs finishes the job in roughly 10 hours. That difference can mean landing a client or missing the deadline entirely. But hidden costs in the cloud are where many estimates fall apart.\u003C/p>\u003Cp>\u003Cstrong>The practical approach is hybrid thinking.\u003C/strong> For example, keep a small local farm to render dailies overnight and use cloud rendering for finals, spikes, and simulations that exceed internal capacity. Switch as needed.\u003C/p>\u003Cp>\u003Cstrong>Estimating render cost means modeling behavior, not just machines.\u003C/strong> Once again, it's important to know your average render time per frame and plug it into both local and cloud cost estimators.\u003C/p>\u003Chr>\u003Ch2 id=\"4-hidden-costs-animators-forget\">4. Hidden Costs Animators Forget\u003C/h2>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog/blob/main/drafts/render-cost-estimation/index.md?ref=blog.cg-wire.com#4-hidden-costs-animators-forget\">\u003C/a>\u003C/p>\u003Cp>Everyone budgets for render time but hidden costs compound across shots. If the goal is predictable delivery, those costs need to be visible and actively managed.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Revisions\u003C/strong> are the obvious one, but the real expense isn't just the extra CPU hours. It's the cascade. A late animation tweak on a hero shot forces lighting to re-queue, comp to invalidate caches, and modeling to re-export textures. On a 300-frame 4K shot with heavy volumes, a \"small\" timing change can mean tens of thousands of core-hours plus artist wait time. Clear version approvals can save a lot of money.\u003C/li>\u003Cli>\u003Cstrong>Storage\u003C/strong> is another silent budget killer, especially with EXR sequences. A single 4K 16-bit multi-layer EXR can easily hit 80-150 MB per frame. At 1000 frames, that's 80-150 GB for one version of one shot.\u003C/li>\u003Cli>\u003Cstrong>Bandwidth\u003C/strong> becomes visible the moment artists work remote or across sites. Syncing a 120 GB publish over a 1 Gbps line theoretically takes around 15 minutes, but in practice with contention and overhead, it can take much longer. Now multiply that by ten artists pulling the same plates Monday morning. Suddenly the farm is idle because comp is waiting on transfers. The practical approach is caching and locality, with a NAS and local granular syncs for example.\u003C/li>\u003Cli>\u003Cstrong>Backup and archival policies\u003C/strong> also carry real cost for the same reasons. \u003Cstrong>Software licenses\u003C/strong> are often treated as fixed overhead, but they can also scale unpredictably in the case of render only licenses. \u003Cstrong>IT time and pipeline setup\u003C/strong> rarely make it into show budgets, but they absolutely should. Every new show configuration, custom USD schema, or farm integration is engineering time that competes with support and R&D. Last but not least: when delivery compresses, everything becomes more expensive. Cloud burst rendering costs more per core-hour, vendors charge \u003Cstrong>expedite fees\u003C/strong>, and overtime increases payroll burn.\u003C/li>\u003C/ul>\u003Cp>None of these costs are mysterious. They're just easy to ignore when the focus is on creative output. \u003Cstrong>The role of a strong pipeline is to make these invisible multipliers measurable and manageable.\u003C/strong> When teams see the real cost of a \"small change,\" they make better decisions, and the entire production runs with fewer surprises.\u003C/p>\u003Chr>\u003Ch2 id=\"5-a-simple-estimation-framework\">5. A Simple Estimation Framework\u003C/h2>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog/blob/main/drafts/render-cost-estimation/index.md?ref=blog.cg-wire.com#5-a-simple-estimation-framework\">\u003C/a>\u003C/p>\u003Cp>Estimating render costs needs to be grounded in reality. Now that you have all the elements, here are a few simple steps you can follow to create your estimate, but don't be simplistic and adapt them to your studio workflow:\u003C/p>\u003Col>\u003Cli>The most reliable starting point is \u003Cstrong>the heaviest scene in the current production\u003C/strong>. Pull the most complex shot you can find: highest character count, full FX, volumetrics, motion blur, the works.\u003C/li>\u003Cli>\u003Cstrong>Render 5-10 final-quality frames under real production settings.\u003C/strong> For example, if the hero battle shot has six characters, rain FX, and 4K output, render frames 101-110 exactly as they would ship. Anything less is lying to yourself.\u003C/li>\u003Cli>Once those frames are done, \u003Cstrong>calculate the average render time per frame across the batch.\u003C/strong> If the ten frames range from 18 to 26 minutes and average out at 22 minutes per frame, that 22 minutes is your baseline.\u003C/li>\u003Cli>With that baseline in hand, \u003Cstrong>add a buffer\u003C/strong> before anyone else asks for it. Production reality guarantees noise. A 15-30% buffer is healthy depending on show volatility. If that 22-minute average becomes 28 minutes after a 25% buffer, you've built in space for inevitable look-dev drift. On a stylized commercial with locked lighting, 15% might be enough. On a feature sequence still evolving, 30% is safer and still defensible.\u003C/li>\u003Cli>Now scale it to the show. \u003Cstrong>Multiply the buffered per-frame time by total frame count.\u003C/strong> A 90-second sequence at 24 fps is 2,160 frames. At 28 minutes per frame, that's 60,480 render minutes, or just over 1,008 render hours. On a 200-node farm where each node runs one frame at a time, that's roughly five hours of wall-clock time, assuming perfect distribution and zero contention. That assumption will never be true, but it gives production something concrete to reason about.\u003C/li>\u003Cli>Next comes \u003Cstrong>the revision margin.\u003C/strong> Expect 10-25% additional frames to be re-rendered over the life of the sequence. If history shows that client notes typically trigger two re-renders, lean toward 20-25%. A 20% revision margin adds 432 frames. At 28 minutes per frame, that's another 201 render hours that must be budgeted.\u003C/li>\u003C/ol>\u003Cp>And as we mentionned earlier, \u003Cstrong>don't forget hidden costs like storage and bandwidth costs!\u003C/strong> Calculate them up front and make sure the network and disks can actually handle that sustained throughput.\u003C/p>\u003Cp>When all these pieces are combined, you get a number that can survive scrutiny. \u003Cstrong>That number is both a cost estimate and a production constraint\u003C/strong>: it tells you whether to optimize shaders, reduce volumetrics, increase farm capacity, or renegotiate scope.\u003C/p>\u003Chr>\u003Ch2 id=\"conclusion\">Conclusion\u003C/h2>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog/blob/main/drafts/render-cost-estimation/index.md?ref=blog.cg-wire.com#conclusion\">\u003C/a>\u003C/p>\u003Cp>\u003Cstrong>Rendering cost estimation is ultimately about managing uncertainty.\u003C/strong> No estimate survives contact with late creative changes or unexpected technical constraints. The practical approach is simple: test early with representative frames, base projections on measured data instead of intuition, add realistic buffers for revisions, and continuously recalibrate once real shots hit the farm. Every project will drift: the goal is to detect that drift early and absorb it with planning rather than panic.\u003C/p>\u003Cp>If tighter control over that uncertainty sounds appealing, \u003Ca href=\"https://blog.cg-wire.com/flamenco-without-nas-kitsu/\" rel=\"nofollow\">consider trying self-hosting a render farm\u003C/a>. Running your own infrastructure gives direct access to performance metrics, failure rates, queue behavior, and real per-shot render costs instead of relying on opaque cloud billing summaries. Even a small pilot setup with a few nodes rendering a short internal project can expose bottlenecks, validate benchmarks, and build the historical data needed for future estimates. Owning the feedback loop between scene complexity, hardware performance, and scheduling pressure is often the fastest way to turn render cost estimation from guesswork into an operational advantage.\u003C/p>\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">📽️\u003C/div>\u003Cdiv class=\"kg-callout-text\">To learn more about the animation process \u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" rel=\"noreferrer\">consider joining our Discord community\u003C/a>! We connect with over a thousand experts who share best practices and occasionally organize in-person events. We’d be happy to welcome you! 😊\u003C/div>\u003C/div>\u003Cdiv class=\"kg-card kg-button-card kg-align-center\">\u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" class=\"kg-btn kg-btn-accent\">Join Our Discord Community\u003C/a>\u003C/div>",{"uuid":102,"comment_id":103,"feature_image":104,"featured":105,"visibility":10,"created_at":106,"updated_at":107,"custom_excerpt":108,"codeinjection_head":109,"codeinjection_foot":110,"custom_template":7,"canonical_url":7,"primary_author":111,"primary_tag":112,"url":114,"excerpt":108,"reading_time":115,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":116},"33472886-015c-40af-bab2-a0b2dc33109b","69ae62c891be760001bf7d87","https://images.unsplash.com/photo-1719014745427-663137ae50f6?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDF8fGFuaW1hdGlvbiUyMHJlbmRlcmluZ3xlbnwwfHx8fDE3NzMwMzg3NTR8MA&ixlib=rb-4.1.0&q=80&w=2000",false,"2026-03-09T07:03:52.000+01:00","2026-03-09T07:51:00.000+01:00","Learn how animation studios estimate rendering costs and predict farm capacity. This guide explains the factors that affect render time, the core cost formula, and a practical framework for reliable render estimations.","\u003C!-- Prism.js theme (syntax colors) -->\n\u003Clink rel=\"stylesheet\" href=\"https://cdn.jsdelivr.net/npm/prismjs@1.29.0/themes/prism.min.css\">\n\n\u003C!-- Toolbar plugin styles (for the Copy button) -->\n\u003Clink rel=\"stylesheet\" href=\"https://cdn.jsdelivr.net/npm/prismjs@1.29.0/plugins/toolbar/prism-toolbar.min.css\">\n\n\u003C!-- (Optional) Line-numbers styles -->\n\u003C!-- \u003Clink rel=\"stylesheet\" href=\"https://cdn.jsdelivr.net/npm/prismjs@1.29.0/plugins/line-numbers/prism-line-numbers.min.css\"> -->\n\n\u003Cstyle>\n/* Tweak code block appearance a bit (keeps theme styles intact) */\npre[class*=\"language-\"] {\n  border-radius: 8px;\n  overflow: auto;\n}\n\n/* ✅ Always wrap long lines (no horizontal scroll needed) */\npre[class*=\"language-\"],\npre[class*=\"language-\"] code {\n  white-space: pre-wrap;    /* preserve 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src=\"https://cdn.jsdelivr.net/npm/prismjs@1.29.0/plugins/autoloader/prism-autoloader.min.js\">\u003C/script>\n\n\u003C!-- Toolbar + Copy-to-Clipboard plugins -->\n\u003Cscript defer src=\"https://cdn.jsdelivr.net/npm/prismjs@1.29.0/plugins/toolbar/prism-toolbar.min.js\">\u003C/script>\n\u003Cscript defer src=\"https://cdn.jsdelivr.net/npm/prismjs@1.29.0/plugins/copy-to-clipboard/prism-copy-to-clipboard.min.js\">\u003C/script>\n\n\u003C!-- (Optional) Line-numbers plugin -->\n\u003C!-- \u003Cscript defer src=\"https://cdn.jsdelivr.net/npm/prismjs@1.29.0/plugins/line-numbers/prism-line-numbers.min.js\">\u003C/script> -->\n\n\u003Cscript>\n  // Configure autoloader to fetch language definitions (bash, python, etc.)\n  window.Prism = window.Prism || {};\n  Prism.plugins = Prism.plugins || {};\n  Prism.plugins.autoloader = Prism.plugins.autoloader || {};\n  Prism.plugins.autoloader.languages_path = 'https://cdn.jsdelivr.net/npm/prismjs@1.29.0/components/';\n\n  // OPTIONAL: If you want line numbers on every block automatically, uncomment:\n  /*\n  document.addEventListener('DOMContentLoaded', function () {\n    document.querySelectorAll('pre > code').forEach(function (code) {\n      const pre = code.parentElement;\n      pre.classList.add('line-numbers');\n    });\n  });\n  */\n\u003C/script>",{"id":96,"name":97,"slug":98,"profile_image":7,"cover_image":7,"bio":7,"website":7,"location":7,"facebook":7,"twitter":7,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":99},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"5fff0e4b653a0c003924f7f0","https://blog.cg-wire.com/estimating-render-costs-animation/",8,"\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@buddhaelemental3d?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Buddha Elemental 3D\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/estimating-render-costs-animation",{"title":93},"estimating-render-costs-animation","posts/estimating-render-costs-animation",[122],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"AfO5bQ4BoUaQdumnEGFpE6vmeVhLOofanyDkTeqmITY",{"id":125,"title":126,"authors":127,"body":7,"description":7,"extension":8,"html":129,"meta":130,"navigation":13,"path":142,"published_at":135,"seo":143,"slug":144,"stem":145,"tags":146,"__hash__":148,"uuid":131,"comment_id":132,"feature_image":133,"featured":105,"visibility":10,"created_at":134,"updated_at":135,"custom_excerpt":136,"codeinjection_head":109,"codeinjection_foot":110,"custom_template":7,"canonical_url":7,"primary_author":137,"primary_tag":138,"url":139,"excerpt":136,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":141},"ghost/posts:scaling-animation-studio-systems.json","Scaling an Animation Studio from 5 to 50 Artists",[128],{"id":96,"name":97,"slug":98,"profile_image":7,"cover_image":7,"bio":7,"website":7,"location":7,"facebook":7,"twitter":7,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":99},"\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">📈\u003C/div>\u003Cdiv class=\"kg-callout-text\">Scaling an animation studio is less about hiring more artists and more about building the right systems.\u003C/div>\u003C/div>\u003Cp>In a small team, everyone talks to everyone and problems get solved by turning around in a chair. At fifty people, that same habit creates noise and delays.\u003C/p>\u003Cp>System thinking (designing repeatable processes instead of relying on individual heroics) is hard to learn without having seen it inside a larger studio. Many artists only realize this when a project slips because no one has defined who approves shots, where files live, or how feedback is tracked. Multiply that by ten new hires and a deadline, and chaos follows.\u003C/p>\u003Cp>\u003Cstrong>The challenge is building structures that make good work predictable. And the solution is to deliberately design how information, assets, and decisions flow before growth forces painful lessons.\u003C/strong>\u003C/p>\u003Cp>In this article, we define best practices to help you plan ahead.\u003C/p>\u003Chr>\u003Ch2 id=\"1-layered-team-structure\">1. Layered Team Structure\u003C/h2>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog/blob/main/drafts/scaling-pipeline-from-5-to-50-artists/index.md?ref=blog.cg-wire.com#1-layered-team-structure\">\u003C/a>\u003C/p>\u003Cp>When a studio has five artists, everyone touches everything and decisions happen in the same room. At fifty, that model only leads to confusion.\u003C/p>\u003Cp>It's important to \u003Cstrong>put a layered team structure in place early\u003C/strong> by defining departments like animation, rigging, lighting, or compositing, supervisors who own creative and technical direction, and artists who execute within that scope. The supervisor is the person accountable for final quality and approvals, not just the most senior animator. Once each department has a clear supervisor and a single approval path, feedback flows through one channel and shot turnaround time drops.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/03/image.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1438\" height=\"809\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2026/03/image.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2026/03/image.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/03/image.png 1438w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Cp>Departments should be divided to \u003Cstrong>reduce cross-department dependencies\u003C/strong>, to design pipelines that allow teams to work in parallel instead of waiting on each other. A dependency is any task that blocks another task from starting. You can also standardize rigs, naming conventions, and publish processes so animation does not wait on last-minute rig tweaks.\u003C/p>\u003Cp>A clear team structure also makes it easy to \u003Cstrong>keep your budget under control\u003C/strong> as you scale and track your burn rate (how fast cash is spent each month) to guide staffing decisions. When production sees that adding two mid-level animators keeps the burn rate aligned with delivery milestones, hiring is no longer a gamble.\u003C/p>\u003Chr>\u003Ch2 id=\"2-centralized-asset-management\">2. Centralized Asset Management\u003C/h2>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog/blob/main/drafts/scaling-pipeline-from-5-to-50-artists/index.md?ref=blog.cg-wire.com#2-centralized-asset-management\">\u003C/a>\u003C/p>\u003Cp>You need to centralize asset management early, because five artists can shout across the room for the latest rig, but fifty cannot.\u003C/p>\u003Cp>Asset management originates from a simple need: \u003Cstrong>everyone must always work on the most up-to-date asset.\u003C/strong> There is nothing more frustrating than seeing a lighting artist spend half a day polishing a shot, only to discover the character rig is two versions behind. It's important to quickly replace scattered folders and casual file sharing with a single source of truth where approved files live.\u003C/p>\u003Cp>Spreadsheets may seem enough to track shots and versions, but they collapse the moment three supervisors update them at once or someone forgets to log a change. Google Drive is attractive because you are already familiar with it, but you can't easily version assets and preview renders will eat up your storage quota fast.\u003C/p>\u003Cp>The fix is simple: \u003Cstrong>store all production assets on a secure server with controlled access\u003C/strong>, so files are not passed around manually and permissions prevent accidental overwrites. Lock down DCC tool choices, sharing file formats, and introduce versioning strategies.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/03/image-1.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1438\" height=\"809\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2026/03/image-1.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2026/03/image-1.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/03/image-1.png 1438w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Cp>Versioning means saving incremental, clearly numbered iterations of a file so changes can be tracked and rolled back. Instead of letting artists rename files \"final_v7_reallyFinal,\" you can \u003Cstrong>enforce automatic version publishing through your DCC pipeline\u003C/strong>. A practical example: when a rigger publishes a new character to Kitsu, the system increments the version. Animators open shots and automatically reference the latest approved rig.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/03/image-2.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1438\" height=\"809\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2026/03/image-2.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2026/03/image-2.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/03/image-2.png 1438w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Chr>\u003Ch2 id=\"3-tracking-documentation\">3. Tracking & Documentation\u003C/h2>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog/blob/main/drafts/scaling-pipeline-from-5-to-50-artists/index.md?ref=blog.cg-wire.com#3-tracking--documentation\">\u003C/a>\u003C/p>\u003Cp>In a large studio, accountability no longer lives in casual conversations.\u003C/p>\u003Cp>\u003Cstrong>You need a production tracker as a shared system to assign tasks, deadlines, and owners in one visible place.\u003C/strong>\u003C/p>\u003Cp>In Kitsu for example, you can set up every concept, asset, shot, and scene as a trackable task, and assign one clear owner.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/03/image-3.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1438\" height=\"833\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2026/03/image-3.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2026/03/image-3.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/03/image-3.png 1438w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Cp>In a small team, everyone remembers who is polishing the walk cycle. In a larger team, two animators may assume the other is handling it. A simple tracker prevents that confusion by making responsibility explicit.\u003C/p>\u003Cp>Pair this with defined milestones so progress is measured against concrete checkpoints rather than gut feeling.\u003C/p>\u003Cp>\u003Cstrong>Documentation must also scale with headcount.\u003C/strong> You need a knowledge base to centralize tools, processes, and conventions to make them by everyone. For example, create a studio wiki in tools like Notion or Confluence and require artists to document new tools and fixes as part of their task completion.\u003C/p>\u003Cp>Last but not least, \u003Cstrong>make use of forecasting tools\u003C/strong> to spot delays early. If layout consistently overruns by two days per sequence, adjust bids and staffing before deadlines slip, not after clients complain.\u003C/p>\u003Chr>\u003Ch2 id=\"4-structure-review-loops-team-communication\">4. Structure Review Loops & Team Communication\u003C/h2>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog/blob/main/drafts/scaling-pipeline-from-5-to-50-artists/index.md?ref=blog.cg-wire.com#4-structure-review-loops--team-communication\">\u003C/a>\u003C/p>\u003Cp>Feedback cycles also require structure.\u003C/p>\u003Cp>\u003Cstrong>A review loop should be a scheduled, repeatable process where work is submitted, reviewed, revised, and approved in clear stages.\u003C/strong>\u003C/p>\u003Cp>Written communication is also critical because it creates a record and removes ambiguity. Make submissions happen at fixed times each week and require artists to attach a short written intent note explaining what changed and what feedback is requested, or use asynchronous comments that don't require everyone to be present at the same time to reduce meeting overload.\u003C/p>\u003Cp>\u003Cstrong>A review engine\u003C/strong> like Kitsu's centralizes versions, notes, and approvals, to prevent feedback from getting lost in chat threads:\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/03/image-4.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1122\" height=\"549\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2026/03/image-4.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2026/03/image-4.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/03/image-4.png 1122w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Cp>You can \u003Cstrong>combine it with a messaging platform\u003C/strong> for quick clarifications while keeping final notes inside the review system. Many teams discover that when supervisors stop giving major notes in private messages and instead post them publicly in the review tool, alignment improves and duplicate work drops significantly.\u003C/p>\u003Chr>\u003Ch2 id=\"5-infrastructure-pipeline-management\">5. Infrastructure & Pipeline Management\u003C/h2>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog/blob/main/drafts/scaling-pipeline-from-5-to-50-artists/index.md?ref=blog.cg-wire.com#5-infrastructure--pipeline-management\">\u003C/a>\u003C/p>\u003Cp>Infrastructure stops being a background concern when a studio grows. At fifty artists, fifteen minutes of daily friction per person waiting for files to sync, relinking textures, and re-rendering broken shots, adds up to more than twelve hours of lost production time every day.\u003C/p>\u003Cp>\u003Cstrong>A dedicated pipeline team is important.\u003C/strong> Instead of having everyone patch problems as they appear, you can have one pipeline team owning standards, versioning, and automation so artists can stay focused on shots. Technical artists handle multiple key components of an animation studio:\u003C/p>\u003Cul>\u003Cli>A NAS (Network Attached Storage) ensures everyone works from the same source of truth. Instead of copying files over chat, assets are published to a single location.\u003C/li>\u003Cli>Backup and redundancy protect against disaster. One corrupted drive should not freeze a 50-person studio. Automated nightly backups and mirrored servers prevent panic.\u003C/li>\u003Cli>A scalable render farm keeps lighting from blocking animation.\u003C/li>\u003Cli>Custom automations quickly add up when you're handling hundreds of thousands of frames throughout a production.\u003C/li>\u003C/ul>\u003Chr>\u003Ch2 id=\"conclusion\">Conclusion\u003C/h2>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog/blob/main/drafts/scaling-pipeline-from-5-to-50-artists/index.md?ref=blog.cg-wire.com#conclusion\">\u003C/a>\u003C/p>\u003Cp>Scaling an animation studio isn't just about hiring more artists: \u003Cstrong>you need to design a system that lets more artists succeed\u003C/strong> without stepping on each other.\u003C/p>\u003Cp>Decision-making needs layers. Assets need structure. Tasks need visibility. Feedback needs process. Infrastructure needs ownership. What once lived in conversations and shared intuition must evolve into documented systems and clearly defined responsibilities. Each of these systems reinforces the others, and together they support your studio's growth.\u003C/p>\u003Cp>If you want to scale smoothly without sacrificing quality or culture, you need tools that support this structure. That's where Kitsu comes in. Built specifically for animation and VFX studios, Kitsu helps you centralize tracking, manage assets, structure reviews, and maintain visibility across departments in one place. Scale with confidence with the right systems!\u003C/p>\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">📽️\u003C/div>\u003Cdiv class=\"kg-callout-text\">To learn more about the animation process \u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" rel=\"noreferrer\">consider joining our Discord community\u003C/a>! We connect with over a thousand experts who share best practices and occasionally organize in-person events. We’d be happy to welcome you! 😊\u003C/div>\u003C/div>\u003Cdiv class=\"kg-card kg-button-card kg-align-center\">\u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" class=\"kg-btn kg-btn-accent\">Join Our Discord Community\u003C/a>\u003C/div>\u003Cp>\u003C/p>\u003Cp>\u003C/p>",{"uuid":131,"comment_id":132,"feature_image":133,"featured":105,"visibility":10,"created_at":134,"updated_at":135,"custom_excerpt":136,"codeinjection_head":109,"codeinjection_foot":110,"custom_template":7,"canonical_url":7,"primary_author":137,"primary_tag":138,"url":139,"excerpt":136,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":141},"2dbfc58b-e1fe-4254-9c2f-5d09210ca6dc","69ae62cc91be760001bf7d93","https://images.unsplash.com/photo-1648014613911-e355dc51e2e3?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDR8fGFuaW1hdGlvbiUyMHN0dWRpbyUyMHRlYW18ZW58MHx8fHwxNzczMDM2OTgyfDA&ixlib=rb-4.1.0&q=80&w=2000","2026-03-09T07:03:56.000+01:00","2026-03-09T07:18:45.000+01:00","Learn how to scale an animation studio from a small team to a full production environment. Discover best practices for team structure, asset management, production tracking, review workflows, and pipeline infrastructure.",{"id":96,"name":97,"slug":98,"profile_image":7,"cover_image":7,"bio":7,"website":7,"location":7,"facebook":7,"twitter":7,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":99},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/scaling-animation-studio-systems/",6,"\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@ooneiroslyl?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">ooneiroslyl\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/scaling-animation-studio-systems",{"title":126},"scaling-animation-studio-systems","posts/scaling-animation-studio-systems",[147],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"o41IfFxYbK3eKApyX1aZhkYy2fbfTNBeyfC0vXH1V7s",{"id":150,"title":151,"authors":152,"body":7,"description":7,"extension":8,"html":154,"meta":155,"navigation":13,"path":166,"published_at":167,"seo":168,"slug":169,"stem":170,"tags":171,"__hash__":173,"uuid":156,"comment_id":157,"feature_image":158,"featured":105,"visibility":10,"created_at":159,"updated_at":160,"custom_excerpt":161,"codeinjection_head":109,"codeinjection_foot":110,"custom_template":7,"canonical_url":7,"primary_author":162,"primary_tag":163,"url":164,"excerpt":161,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":165},"ghost/posts:automating-kitsu-production-onboarding.json","Scaling Production Setup in Kitsu with CSV Imports (2026)",[153],{"id":96,"name":97,"slug":98,"profile_image":7,"cover_image":7,"bio":7,"website":7,"location":7,"facebook":7,"twitter":7,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":99},"\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">🚀\u003C/div>\u003Cdiv class=\"kg-callout-text\">Spin up new Kitsu productions in minutes by importing clean studio data automatically.\u003C/div>\u003C/div>\u003Cp>If spinning up a new show or scene in Kitsu means clicking through forms, recreating asset lists, and assigning artists one at a time, \u003Ca href=\"https://blog.cg-wire.com/client-communication-animation/\">your onboarding is lacking\u003C/a>.\u003C/p>\u003Cp>That manual overhead compounds fast. Every new production repeats the same setup ritual, every crew onboarding becomes a copy-paste marathon, and every step adds another chance for something to break. At studio scale, that friction costs real time, real money, and real sanity.\u003C/p>\u003Cp>The fastest studios don't just use Kitsu: they wire it in their pipeline. They treat it like a production database, feeding it clean, structured studio data so new shows, shots, or departments come online in minutes, not days. Pipelines are cloned, teams are attached automatically, and Kitsu becomes an engine instead of a bottleneck.\u003C/p>\u003Cp>In this article, we'll break down a practical, production-tested workflow for doing exactly that, using CSV files and the Kitsu Python API (Gazu) to automate production onboarding and make setup work disappear.\u003C/p>\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-blue\">\u003Cdiv class=\"kg-callout-emoji\">💡\u003C/div>\u003Cdiv class=\"kg-callout-text\">\u003Cb>\u003Cstrong style=\"white-space: pre-wrap;\">Looking for working examples?\u003C/strong>\u003C/b>\u003Cbr>\u003Cbr>You can find the complete source code for the example integration showcased in this guide on our GitHub:\u003Cbr>\u003Cbr>🔗 \u003Ca href=\"https://github.com/cgwire/blog-tutorials/tree/main/import-spreadsheet-to-kitsu?ref=blog.cg-wire.com\">https://github.com/cgwire/blog-tutorials/tree/main/import-spreadsheet-to-kitsu\u003C/a>\u003C/div>\u003C/div>\u003Chr>\u003Ch2 id=\"what-you-can-import\">What You Can Import\u003C/h2>\u003Cp>In a real production, almost all of the data falls into a few repeatable buckets that are perfect for automation:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Artists\u003C/strong> - Your crew already exists somewhere else: an HR sheet, a payroll export, a Notion table. That data usually includes names, emails, and roles like \u003Cem>Animator\u003C/em>, \u003Cem>TD\u003C/em>, or \u003Cem>Supervisor\u003C/em>. Instead of recreating users by hand in Kitsu, you can import that list in one pass and have your team ready to go before day one.\u003C/li>\u003Cli>\u003Cstrong>Assets\u003C/strong> - Characters, props, environments ... anything that follows a naming convention is easy to automate. A CSV with entries like \u003Ccode>CHAR_RobotA\u003C/code>, \u003Ccode>PROP_Sword_01\u003C/code>, or \u003Ccode>ENV_CityBlock\u003C/code> can become a fully populated asset list in Kitsu in seconds, organized exactly the way your pipeline expects.\u003C/li>\u003Cli>\u003Cstrong>Tasks\u003C/strong> - Tasks are also where manual setup really hurts. Modeling, Rigging, Surfacing, Animation... these task types rarely change from show to show. By importing tasks in bulk, you can automatically attach the right task stack to every asset and even pre-assign artists or departments, instead of clicking through hundreds of rows in the UI.\u003C/li>\u003C/ul>\u003Cp>Beyond the basics, you can import \u003Ca href=\"https://gazu.cg-wire.com/data?ref=blog.cg-wire.com\">any production-shaped data Kitsu understands: sequences, shots, episodes, or even entire productions\u003C/a>. This makes it trivial to duplicate a previous show's structure or spin up a new season with the same layout and naming rules.\u003C/p>\u003Cp>Most studios already store all of this in spreadsheets. Treat those spreadsheets as data sources, feed them directly into Kitsu, and let automation do the setup work.\u003C/p>\u003Cp>While Kitsu's UI supports basic spreadsheet imports, scripting takes it much further: with the Kitsu Python API (Gazu), you can chain automations like syncing tasks from Notion, mirror your asset tracker, or regenerate task lists whenever the schedule changes.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/02/data-src-image-82a7e584-d2c0-4457-9ea4-4e97c794b6ff.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"600\" height=\"611\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/02/data-src-image-82a7e584-d2c0-4457-9ea4-4e97c794b6ff.png 600w\">\u003C/figure>\u003Chr>\u003Ch2 id=\"1-csv-parser\">1. CSV Parser\u003C/h2>\u003Cp>The first step is to standardize how you read studio data. CSV is ideal: it is easy for production to edit and easy for scripts to parse.\u003C/p>\u003Cp>In this tutorial, we'll focus on the artist data model for the sake of simplicity, but we could do something similar with assets stored in Google Drive or tasks in Trello.\u003C/p>\u003Cpre>\u003Ccode class=\"language-py\">def load_csv(file_path: Path) -> pd.DataFrame:\n    \"\"\"Load a CSV file into a pandas DataFrame.\"\"\"\n    return pd.read_csv(file_path)\n\n\ndef parse_artists(df: pd.DataFrame) -> List[Dict]:\n    \"\"\"\n    Expected columns:\n        - email\n        - first_name\n        - last_name\n        - role\n    \"\"\"\n    return df.to_dict(orient=\"records\")\n\u003C/code>\u003C/pre>\u003Cp>\u003Ccode>load_csv\u003C/code> is the entry point that turns a raw CSV file into something Python can work with. It reads the file from disk using pandas and returns a DataFrame, giving you a structured, table-like representation of the spreadsheet that can be filtered, validated, or transformed before anything is sent to Kitsu.\u003C/p>\u003Cp>\u003Ccode>parse_artists\u003C/code> takes a DataFrame that represents artist data and converts each row into a dictionary containing an artist's email, name, and role. By returning a list of these dictionaries, it produces API-ready data that can be passed directly to Kitsu or Gazu to create users in bulk instead of adding artists one by one.\u003C/p>\u003Cp>A TV animation studio exporting crew lists from Google Sheets can simply save them as CSV, for example. Production keeps ownership of the data, while TDs automate ingestion without asking for format changes every show.\u003C/p>\u003Chr>\u003Ch2 id=\"2-kitsu-auth\">2. Kitsu Auth\u003C/h2>\u003Cp>Before uploading anything, you need to authenticate against your Kitsu instance:\u003C/p>\u003Cpre>\u003Ccode class=\"language-py\">gazu.set_host(\"http://localhost/api\")\nuser = gazu.log_in(\"admin@example.com\", \"mysecretpassword\")\n\u003C/code>\u003C/pre>\u003Cp>In practice, studios often use a dedicated \u003Cstrong>pipeline or admin account\u003C/strong> for automation. This avoids permission issues and keeps audit logs clean when scripts create or modify data.\u003C/p>\u003Cp>For local testing, it's advised to \u003Ca href=\"https://blog.cg-wire.com/dcc-integration-blender-kitsu/\">use the \u003Ccode>kitsu-docker\u003C/code> install\u003C/a>.\u003C/p>\u003Chr>\u003Ch2 id=\"3-loading-data\">3. Loading Data\u003C/h2>\u003Cp>Artists are usually the first bottleneck during onboarding. You need to gather emails, send invites, assign them to tasks... automating their creation removes hours of manual work for production coordinators.\u003C/p>\u003Cpre>\u003Ccode class=\"language-py\">def upload_artists(artists: List[Dict]):\n    \"\"\"\n    Create artists if they do not already exist.\n    \"\"\"\n    existing_users = {\n        user[\"email\"]: user\n        for user in gazu.person.all_persons()\n    }\n\n    for artist in artists:\n        if artist[\"email\"] in existing_users:\n            print(f\"Artist exists: {artist['email']}\")\n            continue\n\n        gazu.person.new_person(\n            artist[\"first_name\"],\n            artist[\"last_name\"],\n            artist[\"email\"],\n        )\n        print(f\"Created artist: {artist['email']}\")\n\u003C/code>\u003C/pre>\u003Cp>This function takes a list of artist dictionaries and syncs them into Kitsu while avoiding duplicates.\u003C/p>\u003Cp>It starts by querying Kitsu for all existing users and building a lookup table keyed by email, which makes it fast to check whether an artist already exists.\u003C/p>\u003Cp>It then iterates over the incoming artist data and, for each entry, compares the email against that lookup: if a match is found, the script skips creation and logs that the artist already exists. If no match is found, it creates a new user in Kitsu using the artist's name and email via the Gazu API, then prints a confirmation.\u003C/p>\u003Cp>The result is an idempotent import step you can safely re-run—new artists are added, existing ones are left untouched.\u003C/p>\u003Cp>On a feature film ramp-up, a studio could import hundreds of artists from HR data in under a minute. Late hires could be added by simply updating the CSV and rerunning the script without duplicating users or manual checks.\u003C/p>\u003Chr>\u003Ch2 id=\"4-tying-it-all-together\">4. Tying It All Together\u003C/h2>\u003Cp>The main entry point ties everything together:\u003C/p>\u003Cpre>\u003Ccode class=\"language-py\">if __name__ == \"__main__\":\n    gazu.set_host(\"http://localhost/api\")\n    user = gazu.log_in(\"admin@example.com\", \"mysecretpassword\")\n\n    artists_df = load_csv(Path(\"artists.csv\"))\n\n    artists = parse_artists(artists_df)\n\n    upload_artists(artists)\n\u003C/code>\u003C/pre>\u003Cp>This block only runs when the file is executed directly, not when it's imported by another module.\u003C/p>\u003Cp>After authentication, it loads the \u003Ccode>artists.csv\u003C/code> file into a pandas DataFrame, converts those rows into a list of artist dictionaries using parse_artists, and retrieves an existing production in Kitsu by name.\u003C/p>\u003Cp>Finally, it calls upload_artists, which is responsible for iterating over that prepared data and creating the artist accounts in Kitsu, completing the automated onboarding step without any manual UI work.\u003C/p>\u003Cp>In practice, studios version these scripts alongside their pipeline tools. A new show becomes a repeatable command, not a checklist.\u003C/p>\u003Cp>Now, you can log back into your Kitsu dashboard and see the final result:\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/02/data-src-image-9f641c9c-07b5-4154-9c42-45279f6a9d20.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1600\" height=\"900\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2026/02/data-src-image-9f641c9c-07b5-4154-9c42-45279f6a9d20.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2026/02/data-src-image-9f641c9c-07b5-4154-9c42-45279f6a9d20.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2026/02/data-src-image-9f641c9c-07b5-4154-9c42-45279f6a9d20.png 1600w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Cp>\u003Ca href=\"https://github.com/cgwire/blog-tutorials/tree/main/import-spreadsheet-to-kitsu?ref=blog.cg-wire.com\">Have a look at our corresponding Github repository\u003C/a> for a working example you can easily fork to fit your needs!\u003C/p>\u003Chr>\u003Ch2 id=\"conclusion\">Conclusion\u003C/h2>\u003Cp>At its best, Kitsu automation allows technical directors to reclaim control over how productions are born. When your pipeline can create itself from clean data, onboarding stops being a chore. By importing artists, assets, and tasks directly into Kitsu, you eliminate redundant work, reduce human error, and make production onboarding predictable. This approach scales from small teams to multi-show studios.\u003C/p>\u003Cp>Here are some additional features you could add to make your import pipeline more interesting:\u003C/p>\u003Cul>\u003Cli>automatically assign tasks to artists based on their role\u003C/li>\u003Cli>populate departments for production tracking\u003C/li>\u003Cli>generate starting estimates and individual department calendars based on budget constraints\u003C/li>\u003Cli>turn a script into a breakdown list for each shot and use it to pre-generate assets\u003C/li>\u003C/ul>\u003Cp>The list can go on, but you just have to start small!\u003C/p>\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">📽️\u003C/div>\u003Cdiv class=\"kg-callout-text\">To learn more about the animation process \u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" rel=\"noreferrer\">consider joining our Discord community\u003C/a>! We connect with over a thousand experts who share best practices and occasionally organize in-person events. We’d be happy to welcome you! 😊\u003C/div>\u003C/div>\u003Cdiv class=\"kg-card kg-button-card kg-align-center\">\u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" class=\"kg-btn kg-btn-accent\">Join Our Discord Community\u003C/a>\u003C/div>",{"uuid":156,"comment_id":157,"feature_image":158,"featured":105,"visibility":10,"created_at":159,"updated_at":160,"custom_excerpt":161,"codeinjection_head":109,"codeinjection_foot":110,"custom_template":7,"canonical_url":7,"primary_author":162,"primary_tag":163,"url":164,"excerpt":161,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":165},"89dfbefe-bab7-4dbd-a317-2b4f62de9543","6980b6784304f600017051e9","https://images.unsplash.com/photo-1504868584819-f8e8b4b6d7e3?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDN8fHNwcmVhZHNoZWV0fGVufDB8fHx8MTc3MDA0NDU0MXww&ixlib=rb-4.1.0&q=80&w=2000","2026-02-02T15:36:40.000+01:00","2026-02-20T06:03:58.000+01:00","Learn how to automate Kitsu production onboarding using CSV files and the Gazu Python API. Import artists, assets, and tasks in bulk to eliminate manual setup and create repeatable, scalable studio pipelines.",{"id":96,"name":97,"slug":98,"profile_image":7,"cover_image":7,"bio":7,"website":7,"location":7,"facebook":7,"twitter":7,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":99},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/automating-kitsu-production-onboarding/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@goumbik?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Lukas Blazek\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/automating-kitsu-production-onboarding","2026-02-16T10:00:37.000+01:00",{"title":151},"automating-kitsu-production-onboarding","posts/automating-kitsu-production-onboarding",[172],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"mlgaejAh-K47aV92LIYK0qZr62tuRXQbi8CwKSXhGTg",{"id":175,"title":176,"authors":177,"body":7,"description":7,"extension":8,"html":187,"meta":188,"navigation":13,"path":200,"published_at":201,"seo":202,"slug":203,"stem":204,"tags":205,"__hash__":207,"uuid":189,"comment_id":190,"feature_image":191,"featured":105,"visibility":10,"created_at":192,"updated_at":193,"custom_excerpt":194,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":195,"primary_tag":196,"url":197,"excerpt":194,"reading_time":198,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":199},"ghost/posts:western-vs-eastern-animation.json","(2026) Western & Eastern Animation: What Sets Them Apart",[178],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"5fe9b27094f20f00398a1673","Gwénaëlle Dupré","gwen","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2020/12/profile_pics.png","Product Manager at CGWire","Paris, France","@gelnior","https://blog.cg-wire.com/author/gwen/","\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">🌏\u003C/div>\u003Cdiv class=\"kg-callout-text\">Animation isn’t just style—it’s cultural DNA. Western and Eastern traditions reveal different ways of seeing the world.\u003C/div>\u003C/div>\u003Cp>Cartoon or anime? Ask ten people and you’ll get ten answers.\u003C/p>\u003Cp>But this isn’t just a style preference. Western and Eastern animation are built on entirely different cultural DNA, and those differences change how we laugh, cry, and even dream.\u003C/p>\u003Cp>In this article, we try to peel back the layers: the mythologies that shaped each animation tradition, the visual languages that set their rules, and the storytelling that keeps us hooked. The journey starts in the next paragraph!\u003C/p>\u003Chr>\u003Ch2 id=\"what-is-eastern-animation\">\u003Cstrong>What Is Eastern Animation?\u003C/strong>\u003C/h2>\u003Cp>Eastern animation includes the distinctive styles and storytelling \u003Cstrong>traditions of countries like Japan, South Korea, and China\u003C/strong>. \u003Cstrong>Each nation contributes its own unique flavor\u003C/strong> shaped by cultural aesthetics and historical narratives:\u003C/p>\u003Cul>\u003Cli>In Japan, \u003Ca href=\"about:blank\">anime is a globally recognized art form\u003C/a> ($21B in revenue in 2023 according to the Association of Japanese Animation), spanning a wide range of genres from heartfelt coming-of-age tales to futuristic sci-fi epics. Iconic series like Cowboy Bebop and One Piece, but also films like Spirited Away or Paprika showcase the depth and diversity of Japanese animation.\u003C/li>\u003Cli>South Korea emerges as another major player in the animation industry with $767 million in revenue in 2023. Korean animation is noted for its sleek visual style, strong emphasis on \u003Ca href=\"https://blog.cg-wire.com/character-design-animation/\">character design\u003C/a>, and high production quality. With a growing influence in international markets, South Korean studios have produced globally popular series like Lookism, Noblesse, and Tower of God, often combining fantasy, action, and intricate world-building.\u003C/li>\u003Cli>China, too, has a rich tradition of animation dating back decades, with early works like Havoc in Heaven showcasing hand-drawn craftsmanship and mythological storytelling. Today, Chinese animation is experiencing a renaissance with 41.8 billion U.S. dollars in revenue in 2023, driven by increased investment and a growing domestic audience. Modern Chinese animated series often draw from ancient folklore, historical epics, and contemporary social themes, blending traditional art forms with cutting-edge technology. A recent example is Lord of Mysteries.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-a34532d9-4c28-45a8-a09c-77ab49ad37df.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1024\" height=\"549\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2025/09/data-src-image-a34532d9-4c28-45a8-a09c-77ab49ad37df.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2025/09/data-src-image-a34532d9-4c28-45a8-a09c-77ab49ad37df.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-a34532d9-4c28-45a8-a09c-77ab49ad37df.png 1024w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Cp>Together, Eastern animation reflects a deep cultural heritage while embracing innovation, offering a vibrant alternative to the Western animation style. Though each country has its own take on animation, we use Japanese animation as a model in the rest of the article to make comprehension easier.\u003C/p>\u003Chr>\u003Ch2 id=\"what-is-western-animation\">\u003Cstrong>What Is Western Animation?\u003C/strong>\u003C/h2>\u003Cp>Western animation refers to animated productions originating \u003Cstrong>from Western countries, primarily in North America and Europe\u003C/strong>.\u003C/p>\u003Cul>\u003Cli>In the United States, western animation is synonymous with mainstream pop culture, thanks to iconic studios like Walt Disney, Warner Bros, Pixar, and DreamWorks. American animation is known for its emphasis on character-driven narratives, emotional depth, musical elements, and highly polished, often computer-generated visuals. From classic hand-drawn masterpieces like Snow White and the Seven Dwarfs to hits like Frozen and Spider-Man: Into the Spider-Verse, US animation blends technical innovation with strong narrative structures.\u003C/li>\u003Cli>France is another key player in western animation: $16.3B in market value in 2021, according to Data Bridge Market Research. French studios such as Gaumont and StudioCanal have produced critically acclaimed works like The Triplets of Belleville, Arthur and the Minimoys, or more recently, Flow, often characterized by unique visual styles, unique storytelling, and a focus on experimental artistic expression.\u003C/li>\u003Cli>Other European countries like Germany (USD 19.2 billion market size in 2024), Spain or Italy also have a sizeable influence in both 2D and 3D animation.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-4084c28c-81e5-4fa6-95d5-4932635176bf.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1600\" height=\"900\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2025/09/data-src-image-4084c28c-81e5-4fa6-95d5-4932635176bf.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2025/09/data-src-image-4084c28c-81e5-4fa6-95d5-4932635176bf.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-4084c28c-81e5-4fa6-95d5-4932635176bf.png 1600w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Cp>This contrast sets the stage for a deeper exploration of how Eastern animation differs in style, philosophy, and cultural expression.\u003C/p>\u003Chr>\u003Ch2 id=\"1-studio-organization-two-systems\">\u003Cstrong>1. Studio Organization: Two Systems\u003C/strong>\u003C/h2>\u003Cp>Animation doesn’t just look different in the East and West: it’s built differently from the ground up.\u003C/p>\u003Cp>The way studios are organized, how roles are divided, and even how animators are paid all shape the art that reaches the screen.\u003C/p>\u003Cp>A Japanese studio has its own traditional model:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Director as creative architect\u003C/strong> - The \u003Ca href=\"about:blank\">kantoku (director)\u003C/a> sometimes draws the full storyboard themselves to bring their vision into the very fabric of the production. Icons like Hayao Miyazaki and Satoshi Kon exemplify this hands-on leadership.\u003C/li>\u003Cli>\u003Cstrong>Sequence ownership\u003C/strong> - Animators are assigned entire sequences, handling characters, props, effects, and backgrounds together to create a unified, holistic feel.\u003C/li>\u003Cli>\u003Cstrong>Genga vs douga\u003C/strong> - Genga (key frames) artists set the core motion and emotion, while douga artists (in-betweeners) provide fluidity. The sakkan (lead animator or supervisor) oversees both, sometimes wielding more decisional power than the director.\u003C/li>\u003Cli>\u003Cstrong>Compensation by output\u003C/strong> - Key animators are paid by the cut (scene), while inbetweeners are paid per sheet (frame count) to reward detail and precision over sheer volume.\u003C/li>\u003Cli>\u003Cstrong>Artistic unity\u003C/strong> - The result is a deeply integrated visual style where every frame feels intentional and connected to the director’s vision.\u003C/li>\u003C/ul>\u003Cp>Western studios, on the other hand, adopt a more productivist approach:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Hyper-specialization\u003C/strong> - \u003Ca href=\"https://blog.cg-wire.com/cg-production-pre-production-production-and-post-production/\">Production is broken into many micro-roles\u003C/a>: supervising animators, assistants, in-betweeners, effects specialists, clean-up artists, and more.\u003C/li>\u003Cli>\u003Cstrong>Fragmented collaboration\u003C/strong> - A single scene might have characters, effects, and backgrounds drawn by entirely different teams, even when they appear together.\u003C/li>\u003Cli>\u003Cstrong>Consistency through division\u003C/strong> - This system ensures quality control and scalability, but can lead to a disjointed feel if composition is lacking.\u003C/li>\u003Cli>\u003Cstrong>Efficiency & scale\u003C/strong> - Specialization allows Western studios to manage massive productions (like Disney features or DreamWorks films) with thousands of staff.\u003C/li>\u003Cli>\u003Cstrong>Modularity over unity\u003C/strong> - The emphasis is on consistency across characters and effects, rather than a single animator’s holistic vision.\u003C/li>\u003C/ul>\u003Cp>These differences in studio organization are not just logistical: they shape the very soul of the animation that emerges from each tradition. Understanding them is essential to appreciating why Western and Eastern animation feel so distinct, even when they tell similar stories.\u003C/p>\u003Chr>\u003Ch2 id=\"2-aesthetic-visual-language\">\u003Cstrong>2. Aesthetic & Visual Language\u003C/strong>\u003C/h2>\u003Cp>In anime, the dominant aesthetic leans heavily toward \u003Cstrong>minimalist animation\u003C/strong>. This style prioritizes storytelling, emotional depth, and \u003Ca href=\"https://blog.cg-wire.com/character-design-animation/\">\u003Cu>eccentric character design\u003C/u>\u003C/a> over continuous, fluid motion. Minimalist animation achieves its effect through deliberate choices: fewer frames per second (lower FPS), strategic use of static shots, and repeated or simplified animation sequences. Like a moving manga.\u003C/p>\u003Cp>This approach doesn’t imply low quality but rather a calculated artistic decision: by reducing motion, anime can focus on nuanced facial expressions, dramatic composition, and atmospheric background detail, allowing viewers to linger on emotional moments.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card kg-card-hascaption\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-1393b376-c50c-4a6a-a873-2cc883e48d25.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1600\" height=\"800\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2025/09/data-src-image-1393b376-c50c-4a6a-a873-2cc883e48d25.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2025/09/data-src-image-1393b376-c50c-4a6a-a873-2cc883e48d25.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-1393b376-c50c-4a6a-a873-2cc883e48d25.png 1600w\" sizes=\"(min-width: 720px) 720px\">\u003Cfigcaption>\u003Ci>\u003Cem class=\"italic\" style=\"white-space: pre-wrap;\">Source: Samurai Champloo\u003C/em>\u003C/i>\u003C/figcaption>\u003C/figure>\u003Cp>In contrast, Western cartoons emphasize \u003Cstrong>character animation and high-energy movement\u003C/strong>. This style is built on exaggeration and pacing to create dynamic, sometimes comedic, visual experiences: \u003Ca href=\"https://blog.cg-wire.com/exaggeration-animation-principle/\">\u003Cu>characters leap, stretch, and react with exaggerated physicality\u003C/u>\u003C/a> (think of Bugs Bunny’s elastic limbs or SpongeBob SquarePants’ bouncy movements). These animations typically operate at higher frame rates (often 24 FPS or more), resulting in smoother, more fluid motion. Lip syncing is also more precise and consistent to maintain realism and clarity.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-e42c7fae-d6b8-4e0a-bbfb-3aa0e772925f.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1600\" height=\"1168\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2025/09/data-src-image-e42c7fae-d6b8-4e0a-bbfb-3aa0e772925f.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2025/09/data-src-image-e42c7fae-d6b8-4e0a-bbfb-3aa0e772925f.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-e42c7fae-d6b8-4e0a-bbfb-3aa0e772925f.png 1600w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Cp>As a result, anime often feels more introspective, while Western cartoons are more performance-driven. These differences aren’t just technical. They reflect broader cultural values in storytelling. Together, \u003Cstrong>these aesthetic choices define the unique visual identities\u003C/strong> of their respective traditions.\u003C/p>\u003Chr>\u003Ch2 id=\"3-storytelling-the-heart-of-animation\">\u003Cstrong>3. Storytelling: The Heart of Animation\u003C/strong>\u003C/h2>\u003Cp>Every animated story is shaped not only by plot and character but also by deeply rooted cultural values. Western and Eastern animation diverge significantly in their respective approaches, reflecting contrasting worldviews on individualism, community, and the nature of conflict:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Cultural roots\u003C/strong> - Western animation draws on Enlightenment ideals and individualism, emphasizing self-determination and personal triumph. Eastern animation is shaped by Confucianism, Buddhism, Shintoism... highlighting harmony, collective responsibility, and life’s cyclical nature.\u003C/li>\u003Cli>\u003Cstrong>Narrative perspective (I vs we)\u003C/strong> - Western stories follow a central protagonist whose personal journey drives the plot. Eastern stories often take a collective lens, where the hero may appear later and growth is shared among the group (nakama).\u003C/li>\u003Cli>\u003Cstrong>Plot & emotional drive (change vs harmony)\u003C/strong> - Western animation thrives on conflict, disruption, and transformation, culminating in clear victories. Eastern storytelling favors emotional resonance and balance, often ending with acceptance, sacrifice, or quiet closure instead of triumph.\u003C/li>\u003Cli>\u003Cstrong>Characters (hero vs community)\u003C/strong> - Western heroes are individualistic symbols of justice, facing villains defined by power or greed. Eastern characters value group success over individual fame: leadership shifts, villains may be absent, and death reinforces impermanence.\u003C/li>\u003Cli>\u003Cstrong>Conflict (Good vs evil vs search for good)\u003C/strong> - Western animation pits heroes against foreign evil, with resolution through conquest. Eastern animation blurs this binary, focusing on empathy, coexistence, and internal struggles where everyone believes they act rightly.\u003C/li>\u003Cli>\u003Cstrong>Resolution (victory vs harmony)\u003C/strong> - Western stories end with decisive wins and happy closure. Eastern stories aim for balance, even bittersweet or tragic, finding beauty in harmony and connection rather than outright victory.\u003C/li>\u003C/ul>\u003Cp>While both Western and Eastern animation \u003Ca href=\"https://blog.cg-wire.com/animation-scripts/\">\u003Cu>tell compelling stories\u003C/u>\u003C/a>, they do so through fundamentally different lenses: Western animation celebrates the individual’s journey toward change and triumph, while Eastern animation honours the collective’s path toward harmony and understanding.\u003C/p>\u003Cp>Both traditions remind us that stories are not just entertainment: they are mirrors reflecting the values we hold dear.\u003C/p>\u003Chr>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>The clash between Western and Eastern animation is not a battle of superiority. It’s a celebration of diversity in storytelling, artistry, and cultural expression, with both traditions offering unique windows into the human experience.\u003C/p>\u003Cp>The differences run deep: Western animation thrives on individualism, dynamic action, and clear-cut victories, while Eastern animation embraces collective harmony, subtle emotion, and the quiet beauty of impermanence. These distinctions are not just stylistic: they are rooted in centuries of philosophy, history, and creative philosophy, from Confucian values to Enlightenment ideals.\u003C/p>\u003Cp>What unites them, however, is their power to move us. Great animation transcends borders. It speaks to our shared longing for meaning, connection, and growth.\u003C/p>\u003Cp>Of course, \u003Cstrong>modern animation isn't as manichean, and you can find plenty of animation studios whose work perfectly blends different inspirations\u003C/strong>. Many successful Western cartoons have strong anime influence (the Avatar series, Samurai Jack, or more recently Invincible), just like Japanese animation draws ideas from the West (Cowboy Bebop, Trigun, Baccano, etc.).\u003C/p>\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">📽️\u003C/div>\u003Cdiv class=\"kg-callout-text\">To learn more about the animation process \u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" rel=\"noreferrer\">consider joining our Discord community\u003C/a>! We connect with over a thousand experts who share best practices and occasionally organize in-person events. We’d be happy to welcome you! 😊\u003C/div>\u003C/div>\u003Cdiv class=\"kg-card kg-button-card kg-align-center\">\u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" class=\"kg-btn kg-btn-accent\">Join Our Discord Community\u003C/a>\u003C/div>",{"uuid":189,"comment_id":190,"feature_image":191,"featured":105,"visibility":10,"created_at":192,"updated_at":193,"custom_excerpt":194,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":195,"primary_tag":196,"url":197,"excerpt":194,"reading_time":198,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":199},"cbd53d84-225a-47c2-a763-5f885e2938c3","68d08eb1fb49c600015ee424","https://images.unsplash.com/photo-1723618633842-8534abf34894?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDMxfHxhbmltZSUyMHZzJTIwY2FydG9vbnxlbnwwfHx8fDE3NTg0OTkyNjV8MA&ixlib=rb-4.1.0&q=80&w=2000","2025-09-22T01:48:01.000+02:00","2026-02-20T06:05:05.000+01:00","Western and Eastern animation are shaped by cultural values, visual languages, and storytelling philosophies. This article explores how studio structures, aesthetics, and narratives differ between traditions—and how modern animation increasingly blends the two.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/western-vs-eastern-animation/",7,"\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@joebcn?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">JOE Planas\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/western-vs-eastern-animation","2025-09-29T10:30:57.000+02:00",{"title":176},"western-vs-eastern-animation","posts/western-vs-eastern-animation",[206],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"fFd7D9GUMO6UAcEAtko1Ug9aJ7bKW9wMp8ttBgPc7EM",{"id":209,"title":210,"authors":211,"body":7,"description":7,"extension":8,"html":213,"meta":214,"navigation":13,"path":225,"published_at":226,"seo":227,"slug":228,"stem":229,"tags":230,"__hash__":232,"uuid":215,"comment_id":216,"feature_image":217,"featured":105,"visibility":10,"created_at":218,"updated_at":219,"custom_excerpt":220,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":221,"primary_tag":222,"url":223,"excerpt":220,"reading_time":198,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":224},"ghost/posts:animation-production-briefs.json","On Writing Better Animation Briefs (2026)",[212],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">📝\u003C/div>\u003Cdiv class=\"kg-callout-text\">A clear production brief isn’t just paperwork—it’s the blueprint that keeps animation projects aligned, on time, and on budget.\u003C/div>\u003C/div>\u003Cp>All animation client work starts with one deliverable: a production brief. Without a clear roadmap, even the most talented animators are left guessing.\u003C/p>\u003Cp>And the good news is you don’t need 10 years of experience to write a great animation brief.\u003C/p>\u003Cp>Keep reading, because in the next few minutes you’ll learn the exact blueprint to write a production brief that gets your client's vision right, every time.\u003C/p>\u003Chr>\u003Ch2 id=\"what%E2%80%99s-a-brief\">\u003Cstrong>What’s a Brief?\u003C/strong>\u003C/h2>\u003Cp>A production brief is \u003Cstrong>a document that serves as a roadmap for creating animation\u003C/strong>, outlining the objectives and key requirements for a project. This ensures that everyone involved, from animators and directors to clients and stakeholders, shares a clear understanding of the end goal and how to achieve it.\u003C/p>\u003Chr>\u003Ch2 id=\"why-a-brief-matters-in-animation-production\">\u003Cstrong>Why a Brief Matters in Animation Production\u003C/strong>\u003C/h2>\u003Cp>Without a clear brief, teams risk miscommunication, scope creep, wasted resources, and ultimately, a final product that falls short of expectations.\u003C/p>\u003Cp>Think of it as the blueprint \u003Ca href=\"https://blog.cg-wire.com/pre-production-in-animation-definition-process-challenges/\">\u003Cu>before pre-production begins\u003C/u>\u003C/a>.\u003C/p>\u003Cp>It’s not just a list of instructions: it’s \u003Cstrong>a collaborative tool that aligns creative and business goals\u003C/strong>, sets expectations, and streamlines the production process.\u003C/p>\u003Cp>A strong brief also acts as a reference point throughout production. When creative decisions need to be made or changes are proposed, the team can refer back to the original objectives to assess whether the direction still aligns with the project’s core purpose. This consistency helps maintain quality, especially in larger or longer-term animation projects.\u003C/p>\u003Cp>A production brief isn’t just a formality. It’s \u003Cstrong>a strategic tool that transforms ideas into executable plans\u003C/strong>.\u003C/p>\u003Cp>And it doesn't have to be complex. In this article, we use the golden circle methodology to structure a brief.\u003C/p>\u003Cp>The Golden Circle is a framework developed by Simon Sinek that helps explain ideas and processes by starting with purpose before moving to execution. It’s built around three layers: \u003Cstrong>Why (the core motivation or purpose), How (the process or approach), and What (the tangible outcome or product)\u003C/strong>. By framing information in this order, the Golden Circle provides clarity and \u003Ca href=\"https://blog.cg-wire.com/client-communication-animation/\">\u003Cu>ensures that everyone involved understands not just what needs to be done, but also why it matters and how it will be achieved\u003C/u>\u003C/a>. For animation production briefs, this approach is especially useful because it connects the creative vision to the practical steps, helping clients and production teams stay aligned from concept to delivery.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-dcb11ec0-54bf-40b4-be2e-63f293ed3458.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1024\" height=\"768\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2025/09/data-src-image-dcb11ec0-54bf-40b4-be2e-63f293ed3458.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2025/09/data-src-image-dcb11ec0-54bf-40b4-be2e-63f293ed3458.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-dcb11ec0-54bf-40b4-be2e-63f293ed3458.png 1024w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Chr>\u003Ch2 id=\"1-why-laying-the-foundations\">\u003Cstrong>1. Why: Laying the Foundations\u003C/strong>\u003C/h2>\u003Cp>Before diving into the creative process, it’s essential to understand the \"why\" behind your animation project. A well-crafted production brief begins with clarity on purpose:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Context\u003C/strong> - Start by defining the broader context of the project. What is the project’s origin? Is it part of a marketing campaign, an educational initiative, a product launch, or a storytelling endeavor? Understanding the situation sets the tone and scope. This context informs the narrative, style, and overall approach of the animation.\u003C/li>\u003Cli>\u003Cstrong>Objectives & CTA (Call to Action)\u003C/strong> - Clearly state what you aim to achieve. Are you aiming to increase brand awareness, drive website traffic, explain a complex product feature, or inspire emotional engagement? Your objectives should be specific, measurable, and time-bound. Equally important is defining the desired call to action: what should viewers do after watching? Whether it’s visiting a website, signing up for a newsletter, or sharing the video, the CTA must be integrated into the brief to guide the animation’s structure and messaging.\u003C/li>\u003Cli>\u003Cstrong>Audience\u003C/strong> - Know who you’re speaking to. Define your target audience in detail: demographics, psychographics, online behaviors, and pain points. Is the animation aimed at teenagers, professionals, or parents? Understanding your audience ensures the tone, language, visuals, and pacing resonate with them. A brief that reflects audience insights leads to more relatable animations.\u003C/li>\u003C/ul>\u003Cp>Example:\u003C/p>\u003Cp>A tech startup is preparing to launch a new productivity app designed for remote teams. The animation is part of their product launch campaign.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Context\u003C/strong>: The company is entering a competitive market where existing tools already dominate. The animation will be used on the product’s landing page and social media ads to highlight the unique value proposition of the app.\u003C/li>\u003Cli>\u003Cstrong>Objectives & CTA\u003C/strong>: The goal is to drive sign-ups for the free trial within the first month of launch. The animation should encourage viewers to click a “Start Free Trial” button at the end.\u003C/li>\u003Cli>\u003Cstrong>Audience\u003C/strong>: The target audience consists of tech-savvy professionals aged 25 to 40 who work remotely, value efficiency, and actively seek tools that improve team collaboration. They’re familiar with existing solutions but are open to trying new ones that simplify workflows.\u003C/li>\u003C/ul>\u003Chr>\u003Ch2 id=\"2-how-tactics-tools\">\u003Cstrong>2. How: Tactics & Tools\u003C/strong>\u003C/h2>\u003Cp>Once the purpose is clear, you can move on to tactical planning: how things should be done.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Technical requirements\u003C/strong> - Include details like the desired duration of the animation (e.g., 30 seconds, 2 minutes), the required format (e.g., MP4, MOV, GIF), dimensions (e.g., 1920x1080, 1080x1350 for vertical content), and audio specifications (e.g., stereo, 48kHz, voiceover vs. music-only). Clear technical guidelines prevent rework.\u003C/li>\u003Cli>\u003Cstrong>Look and feel\u003C/strong> - Describe the overall aesthetic and emotional tone you want to achieve. Is the animation playful or serious? Retro or futuristic? This section sets the tone and helps artists understand the sensory experience you’re aiming for. Include references to similar works, \u003Ca href=\"https://blog.cg-wire.com/animation-moodboard/\">mood boards\u003C/a>, or style frames to illustrate your vision. Be clear about color palettes, lighting, and character design inspiration.\u003C/li>\u003Cli>\u003Cstrong>Theme\u003C/strong> - State the central idea or message of the animation. Whether it’s promoting a product, conveying a social message, or telling a personal story, the theme should be concise and compelling to help maintain narrative focus throughout production.\u003C/li>\u003Cli>\u003Cstrong>Story\u003C/strong> - Outline the narrative structure, even if it’s simple. Include, for example a beginning (setup), middle (conflict or action), and end (resolution). For non-narrative animations, describe the intended journey or progression of visuals.\u003C/li>\u003Cli>\u003Cstrong>Branding\u003C/strong> - If the animation is part of a larger brand campaign, include guidelines for brand consistency. Specify logo placement, approved colors, typography, tone of voice, and any brand-specific imagery or messaging.\u003C/li>\u003Cli>\u003Cstrong>Other Constraints\u003C/strong> - Clearly communicate any project limitations that impact production: deadline, budget, and any resource restrictions (e.g., limited animation frames, specific software requirements).\u003C/li>\u003C/ul>\u003Cp>Example:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Technical requirements\u003C/strong>: A 60-second explainer video optimized for both web (1920x1080 MP4) and social media (1080x1350 vertical format). Voiceover narration in English, supported by light background music, with subtitles for accessibility.\u003C/li>\u003Cli>\u003Cstrong>Look and feel\u003C/strong>: Clean, modern, and professional, with a sense of energy and optimism. The visual style should use flat design with smooth transitions, paired with a vibrant but minimal color palette (aligned with the brand’s teal, navy, and white). Motion should feel fluid and confident, evoking a sense of productivity and collaboration.\u003C/li>\u003Cli>\u003Cstrong>Theme\u003C/strong>: “Simplify teamwork, wherever you are.” The central message is that this app helps remote teams reduce friction and focus on what matters.\u003C/li>\u003Cli>\u003Cstrong>Story\u003C/strong>:\u003Cul>\u003Cli>\u003Cem>Beginning\u003C/em>: Show the frustration of a remote team juggling multiple tools and miscommunications.\u003C/li>\u003Cli>\u003Cem>Middle\u003C/em>: Introduce the app as a seamless solution that brings tasks, chat, and files into one place. Show how it works with a clear visual metaphor (e.g., scattered puzzle pieces coming together).\u003C/li>\u003Cli>\u003Cem>End\u003C/em>: Highlight the benefit—“More focus. Less hassle. Better teamwork.” Conclude with a strong CTA: “Start your free trial today.”\u003C/li>\u003C/ul>\u003C/li>\u003Cli>\u003Cstrong>Branding\u003C/strong>: Use the company logo in the intro and outro. Stick to brand typography and avoid overly playful fonts. Incorporate the brand’s primary color scheme throughout, ensuring high contrast for readability.\u003C/li>\u003Cli>\u003Cstrong>Other Constraints\u003C/strong>: Delivery deadline in 6 weeks to align with the app launch. Budget capped at $12,000, so animation complexity should stay within 2D motion graphics with minimal 3D elements.\u003C/li>\u003C/ul>\u003Chr>\u003Ch2 id=\"3-what-defining-deliverables\">\u003Cstrong>3. What: Defining Deliverables\u003C/strong>\u003C/h2>\u003Cp>Lastly, you need to agree on what the project entails: the deliverables and milestones to get there.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Milestones\u003C/strong> - Break down the production timeline into well-defined stages. Typically\u003Cstrong>,\u003C/strong> you'll have script development, \u003Ca href=\"https://blog.cg-wire.com/storyboard-animation/\">storyboarding\u003C/a>, animatics, voiceovers, audio editing, final animation, and \u003Ca href=\"https://blog.cg-wire.com/animation-post-production-definition-process-overview/\">post-production\u003C/a>.\u003C/li>\u003Cli>\u003Cstrong>Communication & review\u003C/strong> - Define clear channels and expectations for feedback and collaboration. Define who the primary points of contact are on both client and production sides, how and when review cycles will occur (e.g., weekly check-ins, milestone-based reviews), the process for providing feedback (annotated files, shared platforms, or scheduled calls), and the number of revision rounds allowed at each stage to avoid scope creep.\u003C/li>\u003Cli>\u003Cstrong>Deliverables\u003C/strong> - Specify exactly what will be handed over at each phase and upon project completion: final animated video in specified formats, source files (if applicable), like layered project files, assets, and audio tracks, branding or compliance documentation (e.g., logo placement, accessibility features) and any supporting materials like promotional stills, social media cuts, or subtitles.\u003C/li>\u003C/ul>\u003Cp>Example:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Milestones\u003C/strong>:\u003Cul>\u003Cli>Week 1: Script finalized and approved\u003C/li>\u003Cli>Week 2: Storyboard and initial style frames delivered for review\u003C/li>\u003Cli>Week 3: Animatic (rough timing of visuals + voiceover draft) shared\u003C/li>\u003Cli>Week 4: First animation draft delivered with voiceover and placeholder music\u003C/li>\u003Cli>Week 5: Second draft with refined animation, music, and sound design\u003C/li>\u003Cli>Week 6: Final animation delivered, including minor revisions and polish\u003C/li>\u003C/ul>\u003C/li>\u003Cli>\u003Cstrong>Communication & review\u003C/strong>:\u003Cul>\u003Cli>Weekly check-in calls every Friday with the startup’s marketing lead (client-side) and the animation producer (agency-side).\u003C/li>\u003Cli>Feedback to be provided via a shared project management tool (e.g., Frame.io or Trello), with comments annotated directly on video drafts.\u003C/li>\u003Cli>Two rounds of revisions are allowed per milestone (script, storyboard, and animation phases). Any additional revisions beyond this scope may incur extra costs or extend the timeline.\u003C/li>\u003C/ul>\u003C/li>\u003Cli>\u003Cstrong>Deliverables\u003C/strong>:\u003Cul>\u003Cli>Final animation: 60-second video in MP4 (1920x1080) for web and MP4 (1080x1350) for social media.\u003C/li>\u003Cli>Source files: After Effects project files, layered design assets, and audio tracks.\u003C/li>\u003Cli>Supporting materials: Three promotional stills exported as PNGs, a 15-second social media cut-down, English subtitles in SRT format, and branding documentation confirming logo placement and accessibility compliance.\u003C/li>\u003C/ul>\u003C/li>\u003C/ul>\u003Chr>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>We’ve explored in this article why a brief is a must-have for any production. From defining the \u003Cem>why\u003C/em> (your project’s purpose, audience, and call to action) to detailing the \u003Cem>how\u003C/em> (visual style, tone, technical specs, and creative constraints) and finally outlining the \u003Cem>what\u003C/em> (clear milestones, communication plans, and deliverables), you now have a complete blueprint to eliminate guesswork and prevent costly edits.\u003C/p>\u003Cp>Great animation doesn’t happen by accident; it happens by design. And that design starts with a clear production brief. Don’t let your next project be another story of missed deadlines and misaligned expectations.\u003C/p>\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">📽️\u003C/div>\u003Cdiv class=\"kg-callout-text\">To learn more about the animation process \u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" rel=\"noreferrer\">consider joining our Discord community\u003C/a>! We connect with over a thousand experts who share best practices and occasionally organize in-person events. We’d be happy to welcome you! 😊\u003C/div>\u003C/div>\u003Cdiv class=\"kg-card kg-button-card kg-align-center\">\u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" class=\"kg-btn kg-btn-accent\">Join Our Discord Community\u003C/a>\u003C/div>",{"uuid":215,"comment_id":216,"feature_image":217,"featured":105,"visibility":10,"created_at":218,"updated_at":219,"custom_excerpt":220,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":221,"primary_tag":222,"url":223,"excerpt":220,"reading_time":198,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":224},"85eaf93b-a93a-4942-b5a4-3493fe9015f8","68d08eb5fb49c600015ee42a","https://images.unsplash.com/photo-1569154076682-4c0466623ec2?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDh8fGFuaW1hdGlvbiUyMHBsYW5uaW5nfGVufDB8fHx8MTc1ODQ5ODY4N3ww&ixlib=rb-4.1.0&q=80&w=2000","2025-09-22T01:48:05.000+02:00","2026-02-20T06:03:54.000+01:00","A strong animation production brief prevents scope creep, wasted effort, and misaligned visions. This guide shows you how to write briefs using the Golden Circle method—covering purpose, tactics, and deliverables—to streamline communication and keep teams aligned from concept to final delivery.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/animation-production-briefs/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@m0ther_0f_memes?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Mona Miller\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/animation-production-briefs","2025-09-22T10:00:39.000+02:00",{"title":210},"animation-production-briefs","posts/animation-production-briefs",[231],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"4TEJ8gE_ACrg_ml7hlrr4UKxioEG11HX7dgxXHvzsQE",{"id":234,"title":235,"authors":236,"body":7,"description":7,"extension":8,"html":238,"meta":239,"navigation":13,"path":250,"published_at":251,"seo":252,"slug":253,"stem":254,"tags":255,"__hash__":257,"uuid":240,"comment_id":241,"feature_image":242,"featured":105,"visibility":10,"created_at":243,"updated_at":244,"custom_excerpt":245,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":246,"primary_tag":247,"url":248,"excerpt":245,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":249},"ghost/posts:animation-outsourcing-guide.json","Animation Outsourcing: Best Practices for Studios In 2026",[237],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">🌎\u003C/div>\u003Cdiv class=\"kg-callout-text\">The best animation studios don’t do it all in-house—outsourcing is their secret weapon to save time, cut costs, and scale creatively.\u003C/div>\u003C/div>\u003Cp>You just landed a new client with a great story that deserves to be seen.\u003C/p>\u003Cp>But your budget is tight, deadlines are looming, and your team is drowning in revisions.\u003C/p>\u003Cp>Here’s a simple truth: if you’re still doing it all in-house, you’re leaving money, speed, and your creativity on the table.\u003C/p>\u003Cp>The best studios in the world don’t work their magic alone. They outsource often, yet strategically.\u003C/p>\u003Cp>Want to know how they do it? Keep reading. Because your next breakthrough isn’t always in your studio, it could be in the next time zone!\u003C/p>\u003Chr>\u003Ch2 id=\"what-is-outsourcing\">\u003Cstrong>What Is Outsourcing?\u003C/strong>\u003C/h2>\u003Cp>Outsourcing is \u003Cstrong>the practice of hiring third parties to perform tasks\u003C/strong>, jobs, or entire processes that were previously handled in-house by a company’s own employees.\u003C/p>\u003Cp>For example, a US-based animation studio could outsource the creation of background art or \u003Ca href=\"https://blog.cg-wire.com/character-design-animation/\">\u003Cu>character animation\u003C/u>\u003C/a> to a team of artists in India or the Philippines.\u003C/p>\u003Cp>Outsourcing is a common model across industries, and \u003Ca href=\"https://blog.cg-wire.com/animation-for-beginners/\">\u003Cu>animation is no exception\u003C/u>\u003C/a>.\u003C/p>\u003Chr>\u003Ch2 id=\"why-outsourcing-works\">\u003Cstrong>Why Outsourcing Works\u003C/strong>\u003C/h2>\u003Cp>More studios and companies are turning to outsourcing to streamline their production process without compromising on quality.\u003C/p>\u003Cp>Outsourcing is so popular because \u003Cstrong>it allows businesses to significantly reduce production costs\u003C/strong>, first and foremost. By partnering with studios in regions where labor and operational expenses are lower, companies access skilled animators at a fraction of the price compared to hiring locally. The savings can then be reinvested to scale projects or launch multiple ones simultaneously.\u003C/p>\u003Cp>Sometimes it's not so much about saving money and more about \u003Cstrong>focusing on what you do best\u003C/strong>: animation is a highly specialized field that requires diverse skill sets. Outsourcing opens the door to a global talent pool to fill the gaps.\u003C/p>\u003Cp>Lastly, in-house animation teams often face limitations when it comes to \u003Cstrong>scaling up for large projects or managing seasonal workloads\u003C/strong>: outsourcing provides the flexibility to scale production up or down based on demand, without the long-term commitment of hiring full-time staff.\u003C/p>\u003Chr>\u003Ch2 id=\"1-define-your-outsourcing-needs\">\u003Cstrong>1. Define Your Outsourcing Needs\u003C/strong>\u003C/h2>\u003Cp>Before reaching out to animation studios or individual contractors, it’s important to clearly define what you want to outsource. The more precise you are at this stage, the easier it'll be to find the right partner and the smoother the collaboration will be.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Scope\u003C/strong> - Start by outlining the scope of work. Are you looking for full-scale production support or just specific parts of the pipeline? Clarifying the scope helps understand exactly what’s expected and compare quotes, timelines, and capabilities. Make sure both sides are aligned on deliverables.\u003C/li>\u003Cli>\u003Cstrong>Budget\u003C/strong> - Animation projects vary widely in cost depending on complexity, style (2D, 3D, motion graphics, etc.), and duration. By setting a budget range, you not only avoid wasting time with vendors outside your price bracket but also encourage realistic proposals. If you’re unsure, check our guide on \u003Ca href=\"https://blog.cg-wire.com/how-to-manage-your-animation-production-budget/\">how to manage your animation production budget\u003C/a>.\u003C/li>\u003Cli>\u003Cstrong>Quality expectations\u003C/strong> - Quality can be subjective, so defining it upfront is important: share style guides, \u003Ca href=\"https://blog.cg-wire.com/animation-moodboard/\">animation moodboards\u003C/a>, or examples of past work you’d like to match. This provides a benchmark for the team and prevents costly revisions later on.\u003C/li>\u003Cli>\u003Cstrong>Timeline\u003C/strong> - Deadlines make or break a project. Be specific about overall timelines, as well as milestone check-ins for drafts, revisions, and final delivery. A clear schedule not only keeps the vendor accountable but also gives your in-house team enough time to review and integrate outsourced assets.\u003C/li>\u003Cli>\u003Cstrong>Technical requirements\u003C/strong> - Animation pipelines often rely on specific software and formats. Make sure to outline the technical requirements from the start. Include details like \u003Ca href=\"https://blog.cg-wire.com/working-with-multiple-digital-content-creation-tools/\">DCC tools\u003C/a>, resolution, aspect ratio, frame rate, or file format standards so that the outsourced work is easier to integrate.\u003C/li>\u003Cli>\u003Cstrong>Level of involvement\u003C/strong> - Decide how much creative control you want to retain. Some studios prefer to outsource only execution tasks, providing detailed directions for every shot. Others hand over broader responsibilities and allow vendors to make creative decisions.\u003C/li>\u003Cli>\u003Cstrong>Confidentiality and IP\u003C/strong> - Don’t overlook legal considerations. Clarify ownership of assets, intellectual property rights, and licensing terms. If the project involves sensitive material, make sure NDAs and confidentiality agreements are in place.\u003C/li>\u003C/ul>\u003Chr>\u003Ch2 id=\"2-choosing-between-freelancers-vs-studios\">\u003Cstrong>2. Choosing Between Freelancers Vs Studios\u003C/strong>\u003C/h2>\u003Cp>One of the first decisions you’ll face is whether to \u003Cstrong>work with freelancers or a professional studio\u003C/strong>. Both options have their pros and cons, and the right choice depends on your project's requirements.\u003C/p>\u003Cp>Freelancers are often more affordable than studios, since they don’t carry the overhead costs of a large team. They also offer a higher degree of flexibility, adapting to your workflow. For smaller projects or specific tasks, hiring a freelancer is a great way to get specialized skills on demand. But a single animator may not be able to handle large volumes of work or tight deadlines. Availability can also be a challenge, as freelancers often juggle multiple clients. Scaling a team of contractors with different skillsets is a challenge not every company is equipped for.\u003C/p>\u003Cp>Animation studios provide a ready-made team with diverse skills and a structured production pipeline, making them well-suited for complex projects that require coordination across multiple disciplines. Studios also tend to have quality assurance processes in place. You gain not just talent but also project management support. Studios are generally more expensive. Their processes is also less flexible to fit their established workflows.\u003C/p>\u003Cp>If your project is small, has a limited budget, or requires only specific tasks, freelancers are often the most efficient option. But if you’re producing a large-scale animation with multiple moving parts, strict deadlines, or high production values, a studio is usually the safer choice. In many cases, companies find value in a hybrid approach: using freelancers for specialized tasks while relying on studios for full-scale production.\u003C/p>\u003Chr>\u003Ch2 id=\"3-task-tracking\">\u003Cstrong>3. Task Tracking\u003C/strong>\u003C/h2>\u003Cp>Without proper oversight, even the most talented collaborators can miss deadlines or deliver work that doesn’t fit into your pipeline.\u003C/p>\u003Cul>\u003Cli>As previously mentioned,you need to \u003Cstrong>define responsibilities on both sides at the beginning\u003C/strong> of the collaboration. Documenting these roles prevents overlap and confusion. Assigning a single point of contact like a project manager also streamlines communication.\u003C/li>\u003Cli>Modern animation projects rely on \u003Cstrong>pipeline management tools\u003C/strong> to keep everyone aligned. Solutions like \u003Ca href=\"https://blog.cg-wire.com/collaborative-animation-production/\">Kitsu\u003C/a>, ShotGrid, or ftrack allow teams to track assets, assign tasks, monitor progress, and store version histories in one place. These tools make it easier to manage \u003Ca href=\"https://blog.cg-wire.com/how-remote-animators-work-from-home/\">remote animators\u003C/a> or distributed teams by providing visibility into every step of production.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-6935a6e1-3e74-4566-a43c-0b1ea0f38e59.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1438\" height=\"809\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2025/09/data-src-image-6935a6e1-3e74-4566-a43c-0b1ea0f38e59.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2025/09/data-src-image-6935a6e1-3e74-4566-a43c-0b1ea0f38e59.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-6935a6e1-3e74-4566-a43c-0b1ea0f38e59.png 1438w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Cp>Consider a project that involves a mix of \u003Ca href=\"https://blog.cg-wire.com/3d-modeling-animation/\">\u003Cu>3D modeling\u003C/u>\u003C/a>, \u003Ca href=\"https://blog.cg-wire.com/rigging-in-animation/\">\u003Cu>rigging\u003C/u>\u003C/a>, and animation. Without a tracking system, a rigger might begin working on a character model before the modeling team finishes its work and force revisions. A pipeline tool like Kitsu can tell the rigger the model’s status is “in review” and to wait until it’s officially approved before starting.\u003C/p>\u003Chr>\u003Ch2 id=\"4-asset-management\">\u003Cstrong>4. Asset Management\u003C/strong>\u003C/h2>\u003Cp>Asset management is a critical part of keeping the production organized and secure, from sharing large files across studios to enforcing proper version control.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Cross-studio collaboration\u003C/strong> - Animation projects now often involve multiple studios contributing different assets—models, textures, rigs, or scenes. Without a clear system, files easily get lost or overwritten. Centralized \u003Ca href=\"https://blog.cg-wire.com/animation-asset-storage/\">animation asset storage\u003C/a> solutions ensure everyone works with the latest approved files.\u003C/li>\u003Cli>\u003Cstrong>DCC integrations\u003C/strong> - Digital Content Creation (DCC) tools play a central role in animation pipelines. Many asset management platforms integrate directly with these tools, allowing artists to check files in and out without leaving their worksp          ace. This reduces friction, minimizes human error, and keeps version history intact. By linking task tracking tools with DCC software, studios automate approvals and make collaboration more seamless.\u003C/li>\u003Cli>\u003Cstrong>Security best practices\u003C/strong> - Outsourcing often means sharing sensitive assets, from proprietary character designs to client IP. To protect this material, studios establish strict \u003Ca href=\"https://blog.cg-wire.com/animation-asset-security/\">animation asset security\u003C/a> policies like limiting access permissions, using encrypted file transfers, or requiring two-factor authentication on storage platforms. A strong security framework also builds trust with clients and partners.\u003C/li>\u003C/ul>\u003Chr>\u003Ch2 id=\"5-review-engine\">\u003Cstrong>5. Review Engine\u003C/strong>\u003C/h2>\u003Cp>Without clear communication and feedback loops, projects risk falling into endless revisions or drifting away from the intended vision.\u003C/p>\u003Cul>\u003Cli>Successful outsourcing depends on \u003Cstrong>frequent, structured communication\u003C/strong>. Instead of relying only on emails, use dedicated review tools that allow for visual feedback like Kitsu. These platforms let reviewers leave frame-accurate comments directly on a scene preview. You can then instantly turn comments into actionable tasks for artists to keep revisions organized and prevent notes from being lost in long message threads. Check out our guide on \u003Ca href=\"https://blog.cg-wire.com/how-to-give-efficient-animation-feedback/\">how to give efficient animation feedback\u003C/a>.\u003C/li>\u003Cli>Define \u003Cstrong>a step-by-step review pipeline\u003C/strong> so both your in-house team and outsourcing partners know what to expect. For example, rough passes might be reviewed only for timing and \u003Ca href=\"https://blog.cg-wire.com/staging-animation-principle/\">staging\u003C/a>, while later passes can focus on polish and technical details. Each stage should have clear criteria for approval, along with deadlines for feedback. Documenting decisions helps avoid revisiting old notes.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-1d1e4cdb-2d98-4b42-81a0-ec4b995e2377.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1438\" height=\"809\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2025/09/data-src-image-1d1e4cdb-2d98-4b42-81a0-ec4b995e2377.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2025/09/data-src-image-1d1e4cdb-2d98-4b42-81a0-ec4b995e2377.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2025/09/data-src-image-1d1e4cdb-2d98-4b42-81a0-ec4b995e2377.png 1438w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Chr>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>Outsourcing is a creative accelerator. From defining your needs and choosing between freelancers or studios, to tracking tasks, managing assets, and streamlining reviews, the right systems turn outsourcing from a gamble into a growth strategy.\u003C/p>\u003Cp>The studios that thrive aren’t the ones trying to do everything in-house. They’re the ones that know how to tap into global talent, manage collaboration across time zones, and keep their pipeline airtight with the right tools.\u003C/p>\u003Cp>Your next big animation project doesn’t have to overwhelm your team!\u003C/p>\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">📽️\u003C/div>\u003Cdiv class=\"kg-callout-text\">To learn more about the animation process \u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" rel=\"noreferrer\">consider joining our Discord community\u003C/a>! We connect with over a thousand experts who share best practices and occasionally organize in-person events. We’d be happy to welcome you! 😊\u003C/div>\u003C/div>\u003Cdiv class=\"kg-card kg-button-card kg-align-center\">\u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" class=\"kg-btn kg-btn-accent\">Join Our Discord Community\u003C/a>\u003C/div>",{"uuid":240,"comment_id":241,"feature_image":242,"featured":105,"visibility":10,"created_at":243,"updated_at":244,"custom_excerpt":245,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":246,"primary_tag":247,"url":248,"excerpt":245,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":249},"7692bac3-2003-40c8-9351-36aab2dd3da1","68be7277c104180001847e19","https://images.unsplash.com/photo-1588348442528-85c6fa3b0440?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDE3fHxvdXRzb3VyY2luZyUyMHRlYW13b3JrfGVufDB8fHx8MTc1NzMxMTg0MHww&ixlib=rb-4.1.0&q=80&w=2000","2025-09-08T08:06:47.000+02:00","2026-02-20T06:03:52.000+01:00","Outsourcing in animation helps studios save money, scale faster, and access global talent without compromising quality. Learn how to define your outsourcing needs, choose between freelancers and studios, manage assets, and streamline reviews to keep projects on track.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/animation-outsourcing-guide/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@markusspiske?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Markus Spiske\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/animation-outsourcing-guide","2025-09-08T10:00:55.000+02:00",{"title":235},"animation-outsourcing-guide","posts/animation-outsourcing-guide",[256],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"cTGc9GbDMm4HtB-_RKwd9vs1OAEx939sk43ZHNJ_s6Q",{"id":259,"title":260,"authors":261,"body":7,"description":7,"extension":8,"html":263,"meta":264,"navigation":13,"path":275,"published_at":276,"seo":277,"slug":278,"stem":279,"tags":280,"__hash__":282,"uuid":265,"comment_id":266,"feature_image":267,"featured":105,"visibility":10,"created_at":268,"updated_at":269,"custom_excerpt":270,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":271,"primary_tag":272,"url":273,"excerpt":270,"reading_time":198,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":274},"ghost/posts:how-remote-animators-work-from-home.json","Mastering Remote Animation (2026): Tools, Habits, and Mindset",[262],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">💻\u003C/div>\u003Cdiv class=\"kg-callout-text\">Working remotely as an animator takes more than just a good internet connection — it’s about trust, discipline, and the right tools.\u003C/div>\u003C/div>\u003Cp>So you want to work as a remote animator.\u003C/p>\u003Cp>No more commutes, studio politics, or awkward fridge chats—just you, your tools, and the freedom to animate from literally anywhere. Sounds great, right?\u003C/p>\u003Cp>It can be.\u003C/p>\u003Cp>But working remotely as an animator isn’t just about rolling out of bed and into Blender. It means juggling time zones, staying inspired on your own, and learning how to communicate clearly.\u003C/p>\u003Cp>This article is your no-fluff guide to how remote animators actually work from home, and how to showcase to companies that you are a good fit for remote work. If you're ready to make remote animation more than a daydream, let’s dive in.\u003C/p>\u003Chr>\u003Ch2 id=\"why-remote-animation-is-rising\">\u003Cstrong>Why Remote Animation Is Rising\u003C/strong>\u003C/h2>\u003Cp>Remote animation isn’t just a trend; it’s now part of the norm. \u003Cstrong>A big part of that shift comes down to the tools.\u003C/strong> DCC software now runs smoothly on personal setups. With cloud storage, project management platforms, and real-time feedback tools, animators collaborate and deliver work without ever setting foot in a studio.\u003C/p>\u003Cp>Studios have also adapted. \u003Cstrong>Cross-studio collaboration is on the rise\u003C/strong>, with teams spread across continents working together on the same project. Instead of housing a full-time team under one roof, \u003Cstrong>production companies are assembling talent from all over the world\u003C/strong>. Animators in Argentina, editors in Canada, art directors in Tokyo... It’s all connected through the cloud.\u003C/p>\u003Cp>And then there’s the contractor model. \u003Cstrong>More studios are hiring freelancers and short-term contractors\u003C/strong> to work on specific scenes, episodes, or even just asset creation. That flexibility benefits both sides: studios keep overhead low, and animators get more control over when, how, and with whom they work.\u003C/p>\u003Cp>All of this adds up to one thing: the barriers to working remotely as an animator have never been lower.\u003C/p>\u003Cp>The thing is: it's not for everyone. It takes skills and a shift in mindset.\u003C/p>\u003Chr>\u003Ch2 id=\"how-to-work-remotely\">\u003Cstrong>How to Work Remotely\u003C/strong>\u003C/h2>\u003Cp>Getting into remote animation isn’t just about wanting it. You need to prove you’re built for it. Studios want to know that you can deliver top-quality work without needing constant supervision.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Finding the right studio fit\u003C/strong> - Not every studio works well with remote animators, and not every remote setup suits every artist. It can be helpful to look for studios that openly advertise remote roles and have a history of working with freelancers or distributed teams, preferably in a matching timezone.\u003C/li>\u003Cli>\u003Cstrong>Showing you thrive remotely\u003C/strong> - Studios sometimes have concerns about productivity in remote setups, but there are great ways to gently ease those doubts. You can use tools to organize tasks, hours, and deadlines to demonstrate a thoughtful approach to time management. Regular check-ins, status updates, or brief video summaries help keep communication clear and open. Projects completed ahead of schedule or with minimal supervision speak volumes.\u003C/li>\u003Cli>\u003Cstrong>Building trust\u003C/strong> - More than anything, studios want to know they can count on the people they hire. A portfolio with polished work reflects dedication and professionalism. Including a few kind words from past clients or listing previous studio collaborations builds credibility. For those just starting out, consistency also tells a story: sharing regular animation studies, finishing personal projects, or participating in collaborative shorts can all reflect a strong sense of follow-through. Show that work gets done, communication is clear, and collaboration feels easy.\u003C/li>\u003C/ul>\u003Cp>Even if you're already working in or aiming for an animation studio with strict remote work policies, you can always negotiate more flexible conditions later down the road once you've demonstrated your reliability. Here are a few best practices to help you do just that.\u003C/p>\u003Chr>\u003Ch2 id=\"1-create-an-ergonomic-environment\">\u003Cstrong>1. Create an Ergonomic Environment\u003C/strong>\u003C/h2>\u003Cp>Working remotely as an animator means your home becomes your studio, and how you set it up can make or break your focus, productivity, and even your physical health.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Creating a distraction-free environment\u003C/strong> - It’s easier to concentrate when distractions are kept at bay. That might mean keeping entertainment tabs closed, silencing non-essential notifications, and keeping the desk space clear of clutter. For shared spaces, gently communicating your work hours can go a long way in minimizing interruptions. A workspace that supports focus can make a big difference in getting into the creative flow. Even a small, dedicated corner of a room becomes a powerful signal to the brain that it's time to work.\u003C/li>\u003Cli>\u003Cstrong>Setting up ergonomically\u003C/strong> - Long hours at a desk can take a toll, so comfort and posture really matter. A supportive chair, a desk at the right height, and a monitor or drawing tablet positioned to avoid strain can all contribute to a healthier setup.\u003C/li>\u003Cli>\u003Cstrong>Staying connected\u003C/strong> - A stable internet connection is a must. Wired connections tend to offer more reliability, and having a solid router (or even backup mobile data) offers peace of mind when deadlines are looming.\u003C/li>\u003Cli>\u003Cstrong>Leaning on discipline more than motivation\u003C/strong> - Motivation comes and goes, but gentle structure keeps things moving forward. Having regular work hours, planning the day in manageable blocks, and using tools for tracking provide a steady rhythm.\u003C/li>\u003C/ul>\u003Cp>A smart ergonomic setup does more than keep you comfortable: it helps you stay focused, deliver on time, and enjoy your work without burning out.\u003C/p>\u003Chr>\u003Ch2 id=\"2-collaborative-tooling\">\u003Cstrong>2. Collaborative Tooling\u003C/strong>\u003C/h2>\u003Cp>In remote animation, communication \u003Cem>is\u003C/em> production. You can’t just swivel your chair to ask a teammate a question: you need tools.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Production tracker\u003C/strong> - A production tracker is the command center for your workflow. It helps everyone stay aligned on what’s in progress, what’s approved, and what still needs attention in real time. If a studio doesn’t provide one, creating a personal tracker with task types, due dates, and regular check-ins is a helpful way to stay on track and share progress clearly.\u003C/li>\u003Cli>\u003Cstrong>Digital content creation tools\u003C/strong> - DCC tools are where much of the creative work takes shape. In remote settings, compatibility becomes especially important. When everyone uses the same software versions, settings, and file formats, collaboration tends to flow much more smoothly. Keeping software up to date and matching project versions, along with using shared naming conventions and folder structures, often helps prevent confusion and technical hiccups down the line.\u003C/li>\u003Cli>\u003Cstrong>Asset management\u003C/strong> - In remote pipelines, assets like rigs, backgrounds, and audio are constantly in motion. Without some structure, things quickly become disorganized. Using\u003Ca href=\"https://blog.cg-wire.com/animation-asset-storage/\"> \u003Cu>cloud storage solutions\u003C/u>\u003C/a> with version control can also add a layer of protection, reducing the chances of overwriting someone else’s work and helping the whole team stay in sync.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-rt.googleusercontent.com/docsz/AD_4nXdWMYZ0lidMe0bt8EU_aDn0rRkqri9XgBY7NrjhjhFiK3fHH8hNaURaTCoiTELnJ8he312A03SttaeL8GY7OssS6e5fNuEtz9NHYMuIvFfpls_PJCbgBdLAjml_5mQK8W7onRy2eA?key=rNClMmKK9rahTbrUgczSyA\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"624\" height=\"351\">\u003C/figure>\u003Cp>Mastering collaborative tools builds trust. Studios are far more likely to keep working with animators who are technically fluent and don’t need hand-holding.\u003C/p>\u003Chr>\u003Ch2 id=\"3-security\">\u003Cstrong>3. Security\u003C/strong>\u003C/h2>\u003Cp>Working remotely doesn’t mean working carelessly. Studios entrust you with their files, characters, and sometimes unreleased IP.\u003Ca href=\"https://blog.cg-wire.com/animation-asset-security/\"> \u003Cu>If that data leaks or gets corrupted, it can jeopardize the entire project and your reputation.\u003C/u>\u003C/a>\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Storage\u003C/strong> - Keeping files safe and organized is an essential part of any remote workflow. Relying solely on a desktop or USB stick is risky. Again, you need an asset manager with automatic syncing. For sensitive projects, studios also require encrypted storage or the use of a VPN—something worth checking in advance.\u003C/li>\u003Cli>\u003Cstrong>Best practices\u003C/strong> - A remote setup often functions like a personal mini studio, and a few thoughtful habits can help keep it secure. Password-protecting devices, turning on auto-lock, and avoiding public workspaces help reduce the risk of accidental exposure. It’s also a good practice to share files and links only within approved pipelines, even when working with trusted collaborators.\u003C/li>\u003Cli>\u003Cstrong>IP protection\u003C/strong> - Intellectual property is at the heart of animation work, and studios need to trust that their characters, stories, and assets are being handled with care. Reading and following NDAs closely is one way to show that respect, and if an NDA isn’t provided, asking for one often comes across as a sign of professionalism. Keeping client work and personal projects separate, avoiding asset reuse without permission, and holding off on sharing work-in-progress content (even sketches) until given written approval all help build trust and demonstrate a commitment to creative integrity.\u003C/li>\u003C/ul>\u003Cp>Treat studio assets with care, protect your digital space, and you’ll be trusted with more work—and bigger projects.\u003C/p>\u003Chr>\u003Ch2 id=\"4-review-workflow\">\u003Cstrong>4. Review Workflow\u003C/strong>\u003C/h2>\u003Cp>When you work remotely, your ability to receive and respond to feedback can make or break a project. Since you’re not sitting next to a director or supervisor, you need a streamlined review process and the communication skills to match.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Communication skills\u003C/strong> - In remote work, clear and respectful communication is especially important, since there’s no body language or casual office chatter to rely on. A thoughtful note when submitting work, like mentioning the stage it’s in (like rough animation or final pass), any uncertainties, and what kind of feedback is most helpful, can go a long way.\u003Ca href=\"https://blog.cg-wire.com/how-to-give-efficient-animation-feedback/\"> \u003Cu>Being concise, open to critique, and focused on understanding notes\u003C/u>\u003C/a> rather than defending work during early reviews leads to smoother collaboration. It’s also helpful to summarize the next steps after receiving feedback, just to make sure everyone’s on the same page.\u003C/li>\u003Cli>\u003Cstrong>Review engine\u003C/strong> - Studios and clients often\u003Ca href=\"https://www.cg-wire.com/review-engine?ref=blog.cg-wire.com\"> \u003Cu>use review platforms to leave frame-specific notes\u003C/u>\u003C/a> and comments, so feeling comfortable with those tools makes the process much smoother. Exploring features like annotations, comment threads, version tracking, and note downloads can help keep everything organized and efficient. Hanging onto previous versions is useful if a rollback or comparison is ever needed.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-rt.googleusercontent.com/docsz/AD_4nXeKCP-RlNg76QqbO-p-nfElgHkJYAMW8J66okqgMyOoAGynOz4g_TL7enR8NqAYC1E55lhImNotCXsz3RdpS8rhgR0LPYV3c0LoeIUzyGr03a8HjfqoyDBQs4jzguUvaHtfv_5RkA?key=rNClMmKK9rahTbrUgczSyA\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"624\" height=\"351\">\u003C/figure>\u003Cp>An efficient review workflow makes you a dream to work with. Clear communication and the right tools lead to faster approvals, fewer revisions, and stronger relationships with directors and teams.\u003C/p>\u003Chr>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>Remote animation isn’t just a lifestyle. It’s a test. Of your discipline, your communication, your ability to stay creative in pyjama pants. But if you can handle the time zones, the feedback loops, and the occasional tech hiccup, you'll thrive in a remote work environment.\u003C/p>\u003Cp>We’ve covered the essentials: the tools that keep teams running, the habits that build trust, the setups that protect your spine and your sanity. The opportunities are out there, and the gatekeeping is lower than ever.\u003C/p>\u003Cp>Just show the world you can deliver from anywhere!\u003C/p>\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">📽️\u003C/div>\u003Cdiv class=\"kg-callout-text\">To learn more about the animation process \u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" rel=\"noreferrer\">consider joining our Discord community\u003C/a>! We connect with over a thousand experts who share best practices and occasionally organize in-person events. We’d be happy to welcome you! 😊\u003C/div>\u003C/div>\u003Cdiv class=\"kg-card kg-button-card kg-align-center\">\u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" class=\"kg-btn kg-btn-accent\">Join Our Discord Community\u003C/a>\u003C/div>",{"uuid":265,"comment_id":266,"feature_image":267,"featured":105,"visibility":10,"created_at":268,"updated_at":269,"custom_excerpt":270,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":271,"primary_tag":272,"url":273,"excerpt":270,"reading_time":198,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":274},"2bfa6a62-9c10-4af7-bfb0-2d59b05cbd53","6891b6dace2b0a00014203f9","https://images.unsplash.com/photo-1637250051543-9fca17abf411?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDEzfHxhbmltYXRpb24lMjBzZXR1cHxlbnwwfHx8fDE3NTQ4OTk3MDJ8MA&ixlib=rb-4.1.0&q=80&w=2000","2025-08-05T09:46:34.000+02:00","2026-02-20T06:04:32.000+01:00","Discover how remote animators successfully work from home, from building ergonomic workspaces to mastering collaborative tools, securing assets, and managing feedback like a pro.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-remote-animators-work-from-home/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@jakobowens1?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Jakob Owens\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/how-remote-animators-work-from-home","2025-08-25T10:00:23.000+02:00",{"title":260},"how-remote-animators-work-from-home","posts/how-remote-animators-work-from-home",[281],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"BWZGm9Lk9tPE01PoJiGbgPTq70vwjyDa7KQfX6TQ5lI",{"id":284,"title":285,"authors":286,"body":7,"description":7,"extension":8,"html":288,"meta":289,"navigation":13,"path":300,"published_at":301,"seo":302,"slug":303,"stem":304,"tags":305,"__hash__":307,"uuid":290,"comment_id":291,"feature_image":292,"featured":105,"visibility":10,"created_at":293,"updated_at":294,"custom_excerpt":295,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":296,"primary_tag":297,"url":298,"excerpt":295,"reading_time":198,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":299},"ghost/posts:client-communication-animation.json","The Animator’s Guide to Clear, Productive Client Communication In 2026",[287],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">💬\u003C/div>\u003Cdiv class=\"kg-callout-text\">Miscommunication is the real budget killer in animation—here’s how to stop it before it starts.\u003C/div>\u003C/div>\u003Cp>Ever watched a beautiful animation get shredded by client feedback? Not because it lacked skill, but because somewhere, somehow, wires got crossed. If you've worked in an animation studio for more than five minutes, you know the real monster under the bed isn't bad rendering—it's bad communication.\u003C/p>\u003Cp>Creative chaos is part of the process, sure. But unclear feedback, shifting expectations, and endless revision loops? Those are expensive.\u003C/p>\u003Cp>Fortunately, it’s usually avoidable.\u003C/p>\u003Cp>This article is your crash course in levelling up client communication: not with corporate jargon, but with real strategies that keep projects on track, clients happy, and your team from pulling their hair out.\u003C/p>\u003Chr>\u003Ch2 id=\"why-good-communication-with-clients-is-key\">\u003Cstrong>Why Good Communication with Clients Is Key\u003C/strong>\u003C/h2>\u003Cp>\u003Cstrong>A simple misinterpretation of a client’s vision can lead to days of wasted work.\u003C/strong> A client might say, “Make it more dynamic,” which could mean anything from faster pacing to more visual effects. Without clarifying what they mean, your team could overhaul an entire scene, only to find they were thinking of something much simpler.\u003C/p>\u003Cp>Clear, respectful, and consistent communication shows professionalism. \u003Cstrong>It reassures clients\u003C/strong> that their project is in capable hands and that your team is both creative and reliable. When clients feel heard and respected, \u003Cstrong>they become long-term collaborators instead of one-off transactions\u003C/strong>.\u003C/p>\u003Cp>\u003Cstrong>Without strong communication boundaries, projects spiral out of control\u003C/strong>: clients might begin requesting “just one more tweak,” or rethinking entire concepts midway through production. These changes, while sometimes necessary, can destroy schedules and morale if not managed carefully.\u003C/p>\u003Cp>Let's start from the beginning.\u003C/p>\u003Chr>\u003Ch2 id=\"1-onboarding-laying-the-groundwork\">\u003Cstrong>1. Onboarding: Laying the Groundwork\u003C/strong>\u003C/h2>\u003Cp>The first step in any successful animation project isn’t sketching a storyboard—it’s a conversation. A strong onboarding process lays the foundation for aligning expectations. Get this right, and you'll prevent most miscommunications before they start.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Establish clear communication channels\u003C/strong> - When messages and feedback are scattered across platforms like Slack, email, and Zoom, important details are easily lost. To avoid this, designate a primary communication channel, centralize feedback and files, and establish clear response expectations from the start.\u003C/li>\u003Cli>\u003Cstrong>Define scope with surgical precision\u003C/strong> - Scope creep often happens when expectations aren’t clearly defined, making onboarding the perfect time to document every detail. Be precise about deliverables, clarify the revision process, and outline a timeline with deadlines for client feedback. Always build in a buffer: clients tend to take longer than expected, and production needs room to breathe.\u003C/li>\u003Cli>\u003Cstrong>Build trust, not just transfer info\u003C/strong> - Onboarding is your first opportunity to build trust, show professionalism, and set the tone for a strong client relationship. Start with a kickoff call to introduce the team and align on goals, ask deeper questions to understand the project’s context, and provide a polished onboarding doc with timelines, contact info, and shared resources.\u003C/li>\u003C/ul>\u003Chr>\u003Ch2 id=\"2-progress-tracking-staying-on-the-same-page\">\u003Cstrong>2. Progress Tracking: Staying on the Same Page\u003C/strong>\u003C/h2>\u003Cp>Once the project is underway, keeping the client informed is a core part of project management. Regular, structured updates reduce anxiety, build trust, and minimize surprises on both sides.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Track budgets proactively\u003C/strong> -\u003Ca href=\"https://blog.cg-wire.com/how-to-manage-your-animation-production-budget/\"> \u003Cu>Budget surprises are what often upset clients\u003C/u>\u003C/a>, making proactive tracking essential. Choose a method that fits your pricing model: track hours transparently for hourly projects, or break fixed-price projects into phases. Include mini budget updates in status emails (e.g., “Storyboard: 100% complete — 12 of 15 hours used”) and flag scope changes early to avoid last-minute issues.\u003C/li>\u003Cli>\u003Cstrong>Create milestones that match the client journey\u003C/strong> - Clients crave structure, even in nonlinear creative workflows, which is why clear milestones are key.\u003Ca href=\"https://blog.cg-wire.com/stages-of-an-animation-production-or-how-to-better-anticipate-problems/\"> \u003Cu>Break the project into defined phases\u003C/u>\u003C/a> (e.g., Kickoff, Script, Storyboard, Animatic, Design, Animation, Final Delivery), assign dates to each, and share a timeline early—updating it as needed. Use each milestone review to realign on goals and surface new priorities.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-rt.googleusercontent.com/docsz/AD_4nXcvLxlhHN1zfO7IbJlgbbip2pLkVa6mY3xTX8cQttkYhJdYtLym9oBqdclLwN2gKS0q1jbPh1W0D5X_WKovD4Jk_0zy4CxzrqWisgpDLUiPZ0IB-XKGHe8eA4wfTV5wTaS6bd7x?key=XNbmfWN3DmX1oYDaBe0c2w\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"624\" height=\"351\">\u003C/figure>\u003Cul>\u003Cli>\u003Cstrong>Use status updates to build momentum\u003C/strong> - Regular status updates show your studio is organized and on track. Weekly or biweekly emails (or Loom videos) should highlight what’s done, what’s in progress, what’s needed from the client, and what’s next. Share visual progress like animation tests or before-and-after comparisons to keep clients engaged. A consistent subject line format (e.g., “\\[Project Name] – Weekly Update – July 24”) helps keep communication clear.\u003C/li>\u003C/ul>\u003Chr>\u003Ch2 id=\"3-communication-frequency-finding-the-right-rhythm\">\u003Cstrong>3. Communication Frequency: Finding the Right Rhythm\u003C/strong>\u003C/h2>\u003Cp>Communication needs to be consistent, but not overwhelming. Too many check-ins waste time and frustrate clients. Too few, and they’ll start to wonder if the project is off track. Finding the right communication rhythm is about clarity, confidence, and convenience for both sides.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Match communication type to the message\u003C/strong> - Choosing the right communication format for each type of message helps avoid confusion and keeps projects running smoothly, just like designing a good production pipeline. Use asynchronous tools like email or Kitsu for feedback, updates, logistics, and quick check-ins, while reserving synchronous channels like Zoom, Teams, or Google Meet for onboarding, creative alignment, or sensitive discussions like scope changes.\u003C/li>\u003Cli>\u003Cstrong>Centralize, simplify, standardize\u003C/strong> - Too many tools create confusion and dilute communication, so it's crucial to simplify your workflow. Choose a clear tool stack like\u003Ca href=\"https://blog.cg-wire.com/how-to-give-efficient-animation-feedback/\"> \u003Cu>Kitsu for feedback\u003C/u>\u003C/a> and files, and Slack for communication, and introduce it during onboarding with a walkthrough or guide.\u003C/li>\u003Cli>\u003Cstrong>Set a communication rhythm that works for both sides\u003C/strong> - Set expectations early. For example, “Weekly updates on Wednesdays, with review calls after each milestone”, and adjust based on client input. Some prefer frequent check-ins, others just key milestones. Respect time zones and working hours. A clear, consistent cadence reduces friction.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-rt.googleusercontent.com/docsz/AD_4nXfHpwJXZb-X3CHyxaxnp3Lf6UWdqb2vBEw3RMb9Yl_hyAVUbKJ6kpg4gvK7si3QRyhBfoVF2aHAbfq3MEPQS1elRmdJiU4jzAGH60uL6HNTJnih51hcFuDhpTUWdJ4hQw3ltVj2Lg?key=XNbmfWN3DmX1oYDaBe0c2w\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"624\" height=\"351\">\u003C/figure>\u003Cp>You don’t need to talk more—you need to talk smarter. The best communication systems in animation production are predictable, purposeful, and client-friendly. When you find the right rhythm, your client feels supported, not micromanaged. And your team stays focused on what they do best: creating great work.\u003C/p>\u003Chr>\u003Ch2 id=\"4-review-engine-managing-feedback-without-the-chaos\">\u003Cstrong>4. Review Engine: Managing Feedback Without the Chaos\u003C/strong>\u003C/h2>\u003Cp>The review phase can be a momentum killer or a powerful accelerator. Without structure, feedback spirals into late changes and mounting frustration. But with\u003Ca href=\"https://www.cg-wire.com/review-engine?ref=blog.cg-wire.com\"> \u003Cu>a solid system\u003C/u>\u003C/a>, you channel client input productively, protect timelines, and keep your creative flow intact.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Establish clear, consistent versioning\u003C/strong> - Versioning prevents confusion, rework, and miscommunication. Use a standardized naming format and include a brief changelog with each update to highlight what’s new. To avoid premature sharing, watermark early drafts with “Work in Progress – Not Final.”\u003C/li>\u003Cli>\u003Cstrong>Define the review structure before production begins\u003C/strong> - Without clear guidelines, feedback often arrives too late, lacks focus, or pushes beyond what’s feasible for the current stage. To keep it constructive and timely, set the number of revision rounds in the contract and guide clients with stage-specific prompts, like asking narrative and pacing questions during the storyboard phase. A well-crafted review prompt helps clients give relevant input and prevents your team from chasing shifting targets.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-rt.googleusercontent.com/docsz/AD_4nXeh8XGBxzMX1vVt2GpBnPcKq4hQ5ziQ4uft4ZOe4sRf953vTPET8dvX9mnmkh56FuXkmPluxjqpsdUdbZLab42K3vpGO6xXiD9zQLxfh5mCIFMtswppeJeUYzT7VEktGrl_OCSPeQ?key=XNbmfWN3DmX1oYDaBe0c2w\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"624\" height=\"351\">\u003C/figure>\u003Cp>A good review system doesn’t just make the project better: it makes the relationship better.\u003C/p>\u003Chr>\u003Ch2 id=\"5-offboarding-ending-on-a-high-note\">\u003Cstrong>5. Offboarding: Ending on a High Note\u003C/strong>\u003C/h2>\u003Cp>The project’s done, the files are delivered, but your relationship with the client doesn’t have to end there. Offboarding is a golden opportunity to leave the door wide open for referrals and future collaborations.\u003C/p>\u003Cp>When done well, offboarding becomes the final impression that sticks.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Deliver With care\u003C/strong> - Your final delivery should be as thoughtful as your kickoff—organized, clear, and respectful of the client’s time. Structure files logically, and include a brief README with usage rights, next steps, and contact info. Confirm delivery and request written approval to officially close the project and avoid post-handoff change requests.\u003C/li>\u003Cli>\u003Cstrong>Use offboarding to strengthen the relationship\u003C/strong> - Offboarding is an opportunity to leave a lasting impression and open the door to future work. Send a warm wrap-up email thanking the client, confirming delivery, and offering continued support. Ask for feedback or a short testimonial with an easy prompt, and suggest relevant next steps, like repurposing content for social media or ongoing support packages. For example, a simple follow-up two weeks post-launch can spark new work without a formal pitch.\u003C/li>\u003Cli>\u003Cstrong>Leave the door open\u003C/strong> - Offboarding is the ideal time to transition from a one-time vendor to a long-term creative partner. Offer a retainer or service bundle as a way to provide ongoing, low-friction support. With permission, add the client to a newsletter or updates list to stay on their radar. You can also provide an archive link for easy access to past work.\u003C/li>\u003C/ul>\u003Cp>Don’t let the end of a project be the end of the relationship. Use it as the beginning of the next one.\u003C/p>\u003Chr>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>Effective communication isn’t just a supporting element in animation production. It’s the foundation. As we’ve explored, each phase of a project offers critical opportunities to align expectations, prevent confusion, and foster stronger client relationships.\u003C/p>\u003Cp>From structured onboarding and transparent progress tracking to purposeful feedback systems and thoughtful offboarding, clear communication transforms creative work into a reliable, collaborative process. It reduces revisions, protects timelines, and positions your studio as a trusted partner.\u003C/p>\u003Cp>Identify one area in your current workflow that could benefit from greater clarity, whether it’s standardizing review protocols or refining how you track project milestones. Implementing even one improvement creates a measurable difference in both client satisfaction and team efficiency.\u003C/p>\u003Cp>Strong communication doesn’t stifle creativity; it supports it. Build the systems now that will empower your team to focus on delivering exceptional work.\u003C/p>\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">📽️\u003C/div>\u003Cdiv class=\"kg-callout-text\">To learn more about the animation process \u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" rel=\"noreferrer\">consider joining our Discord community\u003C/a>! We connect with over a thousand experts who share best practices and occasionally organize in-person events. We’d be happy to welcome you! 😊\u003C/div>\u003C/div>\u003Cdiv class=\"kg-card kg-button-card kg-align-center\">\u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" class=\"kg-btn kg-btn-accent\">Join Our Discord Community\u003C/a>\u003C/div>",{"uuid":290,"comment_id":291,"feature_image":292,"featured":105,"visibility":10,"created_at":293,"updated_at":294,"custom_excerpt":295,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":296,"primary_tag":297,"url":298,"excerpt":295,"reading_time":198,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":299},"433f55ca-1bce-487e-ac9a-d01421c49e26","6891b6ddce2b0a00014203ff","https://images.unsplash.com/photo-1752650736067-f063e0af420c?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDE3fHxkZXNpZ24lMjB0ZWFtJTIwb2ZmaWNlfGVufDB8fHx8MTc1NDg5ODg4NHww&ixlib=rb-4.1.0&q=80&w=2000","2025-08-05T09:46:36.000+02:00","2026-02-20T06:04:19.000+01:00","Learn how to streamline client communication in animation production. From onboarding to offboarding, this guide covers strategies to align expectations, manage feedback, and keep projects on time and on budget.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/client-communication-animation/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@silverkblack?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Vitaly Gariev\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/client-communication-animation","2025-08-18T10:00:19.000+02:00",{"title":285},"client-communication-animation","posts/client-communication-animation",[306],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"YCmHYIpZQfbUtVX0Y4r8IVHNYjr2ojS8vOIz77-LuwA",{"id":309,"title":310,"authors":311,"body":7,"description":7,"extension":8,"html":313,"meta":314,"navigation":13,"path":325,"published_at":326,"seo":327,"slug":328,"stem":329,"tags":330,"__hash__":332,"uuid":315,"comment_id":316,"feature_image":317,"featured":105,"visibility":10,"created_at":318,"updated_at":319,"custom_excerpt":320,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":321,"primary_tag":322,"url":323,"excerpt":320,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":324},"ghost/posts:animation-director.json","From Animator to Director (2026): How to Make the Leap",[312],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">🎬\u003C/div>\u003Cdiv class=\"kg-callout-text\">You don’t need permission to become a director—you need a plan.\u003C/div>\u003C/div>\u003Cp>You’ve mastered animation techniques and principles, and you pour your soul into every scene you touch.\u003C/p>\u003Cp>But deep down, you know you want more.\u003C/p>\u003Cp>\u003Cstrong>You don’t just want to animate a story. You want to create it.\u003C/strong>\u003C/p>\u003Cp>Directing isn’t just about calling the shots: it’s about leading a vision, making creative decisions, and bringing an entire team with you!\u003C/p>\u003Cp>The problem? There’s no clear roadmap for animators who want to become directors.\u003C/p>\u003Cp>In this article, we break down what it really takes to make that leap.\u003C/p>\u003Chr>\u003Ch2 id=\"what-does-a-director-do\">\u003Cstrong>What Does a Director Do?\u003C/strong>\u003C/h2>\u003Cp>\u003Cstrong>The animation director is the person who turns storyboards, scripts, and sketches into a unified vision.\u003C/strong>\u003C/p>\u003Cp>They decide how the story should feel, look, and move. From pacing a dramatic scene to shaping character expressions, the director calls the shots.\u003C/p>\u003Cp>But directing animation doesn't follow a strict template. Sometimes, directors are involved in everything from script rewrites to final color grading. In Japanese animation studios, series directors often set the vision, but episode directors and animation supervisors carry it through.\u003C/p>\u003Cp>Directors are often confused with supervisors or technical directors, but supervisors focus on specific areas like animation quality or character consistency while technical directors are more problem solvers—rigs, pipelines, tools.\u003C/p>\u003Chr>\u003Ch2 id=\"why-is-a-director-so-important\">\u003Cstrong>Why Is A Director So Important\u003C/strong>\u003C/h2>\u003Cp>A director defines the vision, unites the team, and makes final calls.\u003C/p>\u003Cp>They set the creative tone and narrative direction, keeping the story, emotion, and visual style aligned across the entire project. Without \u003Cstrong>a clear vision-holder\u003C/strong>, an animated film or series risks becoming a patchwork of mismatched ideas in a big animation studio.\u003C/p>\u003Cp>Animation involves dozens, sometimes hundreds, of artists, animators, writers, designers, and technicians. \u003Cstrong>The director is the unifying voice\u003C/strong> making key decisions and giving feedback to keep everyone moving toward the same goal.\u003C/p>\u003Cp>From camera angles, performances, color palettes, etc., to timing, creative choices are infinite. \u003Cstrong>The director is the one who decides what works and what doesn’t\u003C/strong>: whether it's cutting a scene for emotional clarity or pushing a character's performance to hit harder, their calls directly affect the story's impact.\u003C/p>\u003Cp>Sounds exciting to you? We came up with a clear, realistic roadmap to becoming an animation director. It’s not a one-size-fits-all path, but these steps reflect how many animators rise to the director’s chair.\u003C/p>\u003Chr>\u003Ch2 id=\"1-build-a-strong-foundation-in-animation\">\u003Cstrong>1. Build a Strong Foundation in Animation\u003C/strong>\u003C/h2>\u003Cp>Everybody starts by building a strong foundation in animation.\u003C/p>\u003Cul>\u003Cli>You begin by\u003Ca href=\"https://blog.cg-wire.com/12-principles-animation/\"> \u003Cu>learning the core principles of animation\u003C/u>\u003C/a>, either through a formal animation program or self-directed study to focus on essential skills like drawing, storytelling, timing, and cinematography, all of which are critical for visual storytelling.\u003C/li>\u003Cli>As you progress, you'll gain \u003Cstrong>a clear understanding of how the animation production process works\u003C/strong> from start to finish—pre-production (such as storyboarding and layout), production (where the animation is created), and post-production (including editing and sound design).\u003C/li>\u003Cli>\u003Cstrong>Proficiency with industry-standard software\u003C/strong> is also vital, so you should invest time in mastering DCC tools commonly used in both 2D and 3D animation workflows like After Effects, Maya, or Blender.\u003C/li>\u003C/ul>\u003Cp>For example, Satoshi Kon took a graphic design course at Musashino Art University, then became a manga artist before jumping into animation, background design, layout, storyboarding, and even script writing! It took him 15 years to work on his directorial debut, \"Perfect Blue\" with Madhouse.\u003C/p>\u003Chr>\u003Ch2 id=\"2-specialize-in-a-core-discipline\">\u003Cstrong>2. Specialize in a Core Discipline\u003C/strong>\u003C/h2>\u003Cp>Most animation directors master a specific craft within the production pipeline—whether it's storyboarding, character animation, layout, editing, or even technical direction. Choose a core discipline that genuinely excites you and commit to becoming exceptional at it.\u003C/p>\u003Cul>\u003Cli>You have to \u003Cstrong>build credibility through real work\u003C/strong>, so seek out opportunities to contribute to real projects—whether through internships, freelance gigs, indie productions, or studio work.\u003Ca href=\"https://blog.cg-wire.com/how-to-build-an-animation-portfolio/\"> \u003Cu>A strong, focused portfolio\u003C/u>\u003C/a> that shows your technical skills, storytelling ability, and creative voice is key to establishing yourself in the industry.\u003C/li>\u003Cli>Collaboration is critical. \u003Cstrong>Directors must understand the entire animation pipeline\u003C/strong>, so while you deepen your expertise in one area, make an effort to learn how other departments operate. It'll help you cultivate empathy for the challenges your teammates face. The best directors speak the language of animators, editors, sound designers, and technical artists.\u003C/li>\u003Cli>\u003Cstrong>Be obsessed with the process.\u003C/strong> What separates future directors from skilled technicians is an obsession with how and why things are done, not just what is being done. Develop a curiosity about the decision-making behind every creative and technical choice, and learn to think strategically: how does a scene support the story arc? What mood does this lighting setup evoke?\u003C/li>\u003C/ul>\u003Cp>Walt Disney began his career as a cartoonist in 1919. He then worked for a company producing cutout animations for commercials, before switching to cel animation, convinced of its potential. In 1923, the Disney Brothers Cartoon Studio was formed, and in 1928, Mickey Mouse appeared for the first time on-screen.\u003C/p>\u003Chr>\u003Ch2 id=\"3-build-a-portfolio-and-reputation\">\u003Cstrong>3. Build a Portfolio and Reputation\u003C/strong>\u003C/h2>\u003Cp>As you work in a studio, leverage every project as an opportunity to develop and showcase your unique directing voice.\u003C/p>\u003Cul>\u003Cli>These projects aren’t just jobs: \u003Cstrong>they’re building blocks for your future career\u003C/strong>. Use them as much as possible to experiment, refine your storytelling style, and create a body of work that clearly reflects your artistic identity.\u003C/li>\u003Cli>Submitting your work to animation festivals can lead to awards and recognition that elevate your profile in the industry. \u003Cstrong>This visibility helps attract collaborators, creative partners, or even larger clients\u003C/strong> who will be drawn to your vision.\u003C/li>\u003Cli>Over time, \u003Cstrong>a studio that consistently produces compelling, stylized, or emotionally resonant work can punch well above its weight\u003C/strong>. Examples like Studio Colorido, Spindle, or independent filmmakers who emerged from Gobelins show how a strong reputation opens doors far beyond what budget or size might suggest.\u003C/li>\u003C/ul>\u003Cp>Henry Selick went to work for Walt Disney Studios as an in-betweener and used the opportunity to master his craft and meet the person who would eventually fund his directorial debuts: Tim Burton, for none other than the brilliant \"The Nightmare Before Christmas\" and \"James and the Giant Peach\".\u003C/p>\u003Chr>\u003Ch2 id=\"4-take-on-leadership-roles\">\u003Cstrong>4. Take on Leadership Roles\u003C/strong>\u003C/h2>\u003Cp>As you progress in your animation career, actively seek out leadership opportunities like becoming a lead animator, supervisor, or episode director.\u003C/p>\u003Cul>\u003Cli>These roles are crucial stepping stones toward becoming an animation director because \u003Cstrong>they provide valuable experience in guiding teams\u003C/strong>, managing production workflows, and making key artistic decisions.\u003C/li>\u003Cli>Taking on these positions allows you \u003Cstrong>to develop essential skills\u003C/strong> like\u003Ca href=\"https://blog.cg-wire.com/how-to-give-efficient-animation-feedback/\"> \u003Cu>giving constructive feedback\u003C/u>\u003C/a>, coordinating across departments, and maintaining a consistent creative vision—all while meeting tight deadlines and staying within budget constraints.\u003C/li>\u003Cli>Leadership roles not only \u003Cstrong>build your credibility\u003C/strong> but also give you firsthand insight into the complex balance of creativity and management required to direct an animated production successfully.\u003C/li>\u003C/ul>\u003Cp>Award-winning Jennifer Yuh Nelson started out as a cleanup artist, then moved on to storyboarding. When Kung Fu Panda was being developed, she stepped up to become head of story and director of the opening sequence. The CEO of DreamWorks Animation ended up offering her the direction of Kung Fu Panda 2 and 3.\u003C/p>\u003Chr>\u003Ch2 id=\"5-develop-a-strong-creative-voice\">\u003Cstrong>5. Develop a Strong Creative Voice\u003C/strong>\u003C/h2>\u003Cp>You need to cultivate your own creative identity to stand out as an animation director.\u003C/p>\u003Cul>\u003Cli>One of the best ways to do this is by \u003Cstrong>working on personal projects\u003C/strong> or animated shorts where you have full creative control.\u003C/li>\u003Cli>These passion projects allow you to experiment with storytelling, visual style, pacing... anything you can use \u003Cstrong>to define your unique voice\u003C/strong>.\u003C/li>\u003Cli>Beyond the creative aspects, it's important to build key directing skills like pitching your ideas clearly and confidently.\u003C/li>\u003Cli>Like we previously mentioned, \u003Cstrong>once your work is polished, you have to share it widely\u003C/strong>. Submit your films to festivals, post them online, or participate in anthology projects. These platforms not only showcase your talent but also signal to the industry you're a director with vision and initiative.\u003C/li>\u003C/ul>\u003Cp>If you look at Hayao Miyazaki's directorial debut \"Lupin the Third Part I\", you can already have a feel of what made Studio Ghibli famous: an emphasis on mature, complex characters and storylines, as well as an attention to the details of vehicles.\u003C/p>\u003Chr>\u003Ch2 id=\"6-build-industry-relationships\">\u003Cstrong>6. Build Industry Relationships\u003C/strong>\u003C/h2>\u003Cp>Who you know can be just as important as what you know.\u003C/p>\u003Cul>\u003Cli>Building strong relationships within the industry—especially with producers, fellow directors, and studio leads—can \u003Cstrong>open doors that talent alone might not\u003C/strong>.\u003C/li>\u003Cli>Networking isn't just about attending events or exchanging business cards: it's about cultivating genuine, professional connections over time. \u003Cstrong>Collaborate on projects, support your peers, and stay active in the creative community.\u003C/strong>\u003C/li>\u003Cli>\u003Cstrong>Many directing opportunities aren't publicly advertised\u003C/strong>—they come through word of mouth, referrals, and the trust you build with others in the industry.\u003C/li>\u003C/ul>\u003Cp>Madhouse producer Masao Maruyama invited Satoshi Kon because he was impressed with Kon's work on the 1993 OVA JoJo's Bizarre Adventure.\u003C/p>\u003Chr>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>If you’re waiting for someone to anoint you as a director, stop. No one’s coming. You don’t get invited to direct: you earn it by showing up like one long before the title is on your email signature.\u003C/p>\u003Cp>The road to directing isn’t glamorous. It’s long nights, tough calls, and learning to guide a vision without steamrolling your team.\u003C/p>\u003Cp>But every storyboard you lead, every short you direct, every tiny team you rally around an idea—that’s you stepping into the role.\u003C/p>\u003Cp>Master your craft. Specialize, then zoom out and learn how the whole machine runs. Build a voice people recognize. Lead projects. Lead people. Earn trust. Build something real. And when the time comes, don’t blink.\u003C/p>\u003Cp>There’s no one path to becoming an animation director. But there’s one thing every director has in common: they decided to be one before anyone else did.\u003C/p>\u003Cp>\u003Ca href=\"https://blog.cg-wire.com/how-to-start-an-animation-studio-as-a-freelancer/\">\u003Cu>Running your own studio\u003C/u>\u003C/a> also makes you a director by default, so consider this alternative path as well.\u003C/p>\u003Cdiv class=\"kg-card kg-callout-card kg-callout-card-yellow\">\u003Cdiv class=\"kg-callout-emoji\">📽️\u003C/div>\u003Cdiv class=\"kg-callout-text\">To learn more about the animation process \u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" rel=\"noreferrer\">consider joining our Discord community\u003C/a>! We connect with over a thousand experts who share best practices and occasionally organize in-person events. We’d be happy to welcome you! 😊\u003C/div>\u003C/div>\u003Cdiv class=\"kg-card kg-button-card kg-align-center\">\u003Ca href=\"https://www.cg-wire.com/community?ref=blog.cg-wire.com\" class=\"kg-btn kg-btn-accent\">Join Our Discord Community\u003C/a>\u003C/div>",{"uuid":315,"comment_id":316,"feature_image":317,"featured":105,"visibility":10,"created_at":318,"updated_at":319,"custom_excerpt":320,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":321,"primary_tag":322,"url":323,"excerpt":320,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":324},"d2a7d819-fe5d-4d56-8c9d-8184fe432fe5","6891b6e5ce2b0a000142040b","https://images.unsplash.com/photo-1577190651915-bf62d54d5b36?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDF8fGRpcmVjdG9yfGVufDB8fHx8MTc1NDM4MDE3MXww&ixlib=rb-4.1.0&q=80&w=2000","2025-08-05T09:46:45.000+02:00","2026-03-26T10:13:05.000+01:00","Curious how to go from animator to animation director? This in-depth guide covers the key steps—building your craft, leading teams, and defining your creative voice—so you can direct with purpose and confidence.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/animation-director/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@natalieparham?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Natalie Parham\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/animation-director","2025-08-05T10:18:11.000+02:00",{"title":310},"animation-director","posts/animation-director",[331],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"N4SA0RC6xl90qRB2qEZYNNYT0KIL0N7Ud9BkH-g21qk",{"id":334,"title":335,"authors":336,"body":7,"description":7,"extension":8,"html":338,"meta":339,"navigation":13,"path":350,"published_at":351,"seo":352,"slug":353,"stem":354,"tags":355,"__hash__":357,"uuid":340,"comment_id":341,"feature_image":342,"featured":105,"visibility":10,"created_at":343,"updated_at":344,"custom_excerpt":345,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":346,"primary_tag":347,"url":348,"excerpt":345,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":349},"ghost/posts:how-to-build-an-animation-portfolio.json","How To Build An Animation Portfolio In 2026",[337],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>Looking for a job isn't often a pleasant experience. You get out of your comfort zone, reach out to strangers to ask for livelihood, overcome rejection, and \"sell\" yourself for acceptance.\u003C/p>\u003Cp>It's not easy. Even more so in a competitive industry like animation: the US Bureau of Labor Statistics projects only 9,400 openings for special effects artists and animators each year!\u003C/p>\u003Cp>Landing your dream job pushes you to stand out from the crowd, and it starts with a strong animation portfolio―a chance to showcase your talent, skills, and creative vision to potential employers.\u003C/p>\u003Cp>In this article, you'll find some pointers to consider to optimize your efforts and maximize your chances while building a portfolio.\u003C/p>\u003Ch2 id=\"why-you-need-a-portfolio\">\u003Cstrong>Why you need a portfolio\u003C/strong>\u003C/h2>\u003Cp>Hiring managers sit through countless applications, and your portfolio is their window into your skills and experiences.\u003C/p>\u003Cp>A portfolio packed with impressive work instantly grabs attention and increases your chances of securing a position. Resumes list your skills and experience, but a portfolio brings them to life: it visually demonstrates your abilities through your best animation projects.\u003C/p>\u003Cp>In a field brimming with talented people, a well-designed portfolio sets you apart. It shows initiative, dedication, and a professional approach to your craft. It's your chance to shine brighter. Your portfolio isn't just a collection of images; it's your narrative. Use it to explain the thought process behind your work, the challenges you tackled, and the unique solutions you implemented. This allows you to take control of the story and showcase your creativity.\u003C/p>\u003Cp>But keep in mind that building a portfolio isn't a one-time task. It's a continuous process that encourages you to reflect on your past projects. By revisiting your work, you can identify areas for improvement and track your artistic development. This self-reflection becomes a valuable tool to guide your career path, so even if you feel discouraged, remember that investing time in crafting a stellar portfolio is no wasted effort!\u003C/p>\u003Ch2 id=\"1-breadth-and-depth\">\u003Cstrong>1. Breadth and Depth\u003C/strong>\u003C/h2>\u003Cp>Think of your animation portfolio as a condensed version of your creative skills and experiences. It should demonstrate not only your technical skills in animation itself but also your sense of design and communication abilities:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Animation samples\u003C/strong> - Include projects that explore different animation styles, like 2D, 3D, or even stop-motion. Consider going beyond just the final product and include elements from the animation process like storyboards or character designs to give viewers a glimpse into your thought process. And don't forget to include demo reels of your best animations.\u003C/li>\u003Cli>\u003Cstrong>Visuals & design\u003C/strong> - A strong foundation in drawing is a cornerstone of animation, so include concept art, character sheets, and background design examples to demonstrate your visual storytelling abilities.\u003C/li>\u003Cli>\u003Cstrong>Textual content\u003C/strong> - Don't underestimate the power of clear communication! Briefly explain the concept and thought process behind each project in your portfolio to give context. Mentioning the software you used for each project also showcases your technical proficiency.\u003C/li>\u003C/ul>\u003Cp>The web is full of\u003Ca href=\"https://www.reddit.com/r/animationcareer/comments/vod2jq/great_portfolio_examples/?ref=blog.cg-wire.com\"> \u003Cu>portfolio examples\u003C/u>\u003C/a>, so don't hesitate to do some research and get inspiration from them!\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-us.googleusercontent.com/kV6VUQyCFQ9T1JijQ6Vd9E2Wu-Rnp9pUqGVWB4SHw2IvwTUNgtPQbQbxRZAoridjKhTY-RdF1Qb8O0vPXxrkf4EmH6V7H4YchN0bML1cerBjbvQ0WvgeBZ870EPoWLSHRjy5xGIpFTLQFmblfuOLTUs\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1243\" height=\"857\">\u003C/figure>\u003Cp>\u003Cem>Source: \u003C/em>\u003Ca href=\"https://amyjxu.me/?ref=blog.cg-wire.com\" rel=\"noreferrer\">\u003Cem>amyjxu.me\u003C/em>\u003C/a>\u003C/p>\u003Ch2 id=\"2-dont-neglect-soft-skills\">\u003Cstrong>2. Don't neglect soft skills\u003C/strong>\u003C/h2>\u003Cp>A successful animator also needs a strong foundation in soft skills―interpersonal qualities that allow you to thrive in a collaborative environment:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Collaboration\u003C/strong> - Animation is rarely a one-person show. Studios often rely on teams of animators, directors, and writers to bring a project to life, and highlighting your ability to work effectively with others is key. Include projects where you collaborated with other artists, like group assignments or freelance partnerships. This demonstrates your communication skills and ability to adapt to different working styles.\u003C/li>\u003Cli>\u003Cstrong>Problem-solving\u003C/strong> - Animation is a constant process of refinement and revision. Include projects where you faced challenges, overcame obstacles, or found creative solutions under pressure.\u003C/li>\u003Cli>\u003Cstrong>Time management\u003C/strong> - Deadlines are a crucial part of any animation project so suggest your ability to manage your time effectively and deliver high-quality work on schedule.\u003C/li>\u003Cli>\u003Cstrong>Entrepreneurial skills\u003C/strong> - Aspiring animators often take initiative by creating personal projects or pursuing freelance work to highlight their drive, self-motivation, and business sense. This is especially valuable if you're targeting freelance opportunities or smaller studios.\u003C/li>\u003C/ul>\u003Cp>Technical know-how and creativity aren't everything: show your ability to contribute to a successful animation team!\u003C/p>\u003Cp>An example from Mandy Clotworthy, adding a dedicated page to show her directing skills:\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-us.googleusercontent.com/lGRBd3pQq8vTcrPwv2AnDmtu0m5rG3a7-fYQZY6Cqv4uh6AnujiFXKA7smlJ81-SuvMD-7vE3TFoqr5hwuM6qbi_E-IcpMHmaVryb2fkfHLSBoAI1g9dOTwYh9D364XqbcK4ZTcb3SltH3GcMWEudPA\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1547\" height=\"828\">\u003C/figure>\u003Ch2 id=\"3-presentation-tell-a-story\">\u003Cstrong>3. Presentation: tell a story\u003C/strong>\u003C/h2>\u003Cp>Animation is all about storytelling. Your portfolio needs to reflect that― think of it as a story showcasing your skills and experience:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Start strong, finish stronger\u003C/strong> - Hook viewers from the very beginning. Place your most impressive and polished pieces at the forefront. As they delve deeper, maintain a high standard, concluding with another impactful piece that leaves a lasting impression.\u003C/li>\u003Cli>\u003Cstrong>Thematic grouping\u003C/strong> - Organize your work by project, theme, or style. This creates a sense of connection and progression throughout your portfolio. For example, group together all the animations from a specific project, showcase your character design skills through thematically linked pieces, or highlight your versatility with contrasting styles.\u003C/li>\u003Cli>\u003Cstrong>Visual cohesion\u003C/strong> - Maintain a consistent visual style throughout. This can be achieved through a unifying color palette, a consistent font choice, or a standardized layout for each piece. Visual coherence creates a professional look and strengthens the overall impact of your portfolio.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-us.googleusercontent.com/ueM-dHAVA6XFabNb0hKtYC79v81TNwECEvsjlOFMXOeQi_SyYQTggbFQaVDdEa5ZIzqHZDI3dttYB6ucCh1pnk1D2gLmJeYHayYzj6E0pGhZ7GbidLlstDEzwU391f1chvv7Fmg_tOlD251uBdaZG04\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1600\" height=\"743\">\u003C/figure>\u003Cp>\u003Cem>Source: YukaiDu.com\u003C/em>\u003C/p>\u003Ch2 id=\"4-tailor-your-portfolio\">\u003Cstrong>4. Tailor Your Portfolio\u003C/strong>\u003C/h2>\u003Cp>Your portfolio shouldn't be a one-size-fits-all display of your talents: the key to landing that perfect animation job lies in showcasing the skills most relevant to the specific position!\u003C/p>\u003Cp>Tailor your portfolio to impress potential employers:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Do your research\u003C/strong> - Before diving in, research the company you're applying to. Understand their company culture, values, and the types of animation projects they typically create. This research provides valuable context for highlighting the right aspects of your skillset. Also, take a close look at the job description: it's essentially a roadmap you can reverse-engineer to identify the specific skills and experiences they're seeking.\u003C/li>\u003Cli>\u003Cstrong>Customize your showcase\u003C/strong> - Now that you understand the company's needs, it's time to curate your portfolio accordingly. Don't be afraid to create variations that emphasize the skills most relevant to each job application. For example, if you're applying for a position focused on character animation, prioritize projects that showcase your character design and animation capabilities.\u003C/li>\u003Cli>\u003Cstrong>Clear call-to-action\u003C/strong> - Don't leave potential employers guessing! Make it easy for them to reach out by including a relevant call-to-action on your portfolio website: a prominent email address, a contact form, or even links to your social media profiles.\u003C/li>\u003C/ul>\u003Ch2 id=\"5-share-your-work\">\u003Cstrong>5. Share your work\u003C/strong>\u003C/h2>\u003Cp>Creating an animation portfolio is just half the battle. The next crucial step is getting your work out there for the world to see. After all, what good is a portfolio if you don't share it?\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Embrace the power of social media\u003C/strong> - Platforms like Instagram, ArtStation, or even LinkedIn can be fantastic tools to showcase snippets of your work, character designs, or eye-catching animation loops. Use relevant hashtags to reach a wider audience within the animation community.\u003C/li>\u003Cli>\u003Cstrong>Build your own platform\u003C/strong> - Consider building a professional website dedicated to your animation portfolio to get complete control over the presentation and showcase your work in the best possible light.\u003C/li>\u003Cli>\u003Cstrong>Beyond the final frame\u003C/strong> - Don't just present the finished product! Animation is a journey, and people love to see the process behind the magic: share concept sketches, storyboards, or even short \"making-of\" videos to give viewers a deeper understanding of your creative approach.\u003C/li>\u003Cli>\u003Cstrong>Be prepared to share on the go\u003C/strong> - When attending industry events or networking opportunities, have a link to your online portfolio readily available. This could be a business card with a QR code or a website address you can easily share during conversations.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-us.googleusercontent.com/LnYFWZzNN6c_SpmkO-jPTadhDkYeL9XWSjhBBbIEFNKugOSYYnOIYspitzL2-tWXHn3rYZhQtk5MMEOjUWHJyDe0CcgPiiCuY2Hu2cMos6gd-H4-8ou73DUv0yHd9rZmpetIklkm_Nh3G1Du_4_uQyI\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1204\" height=\"907\">\u003C/figure>\u003Cp>Pro Tip: If you've worked with satisfied clients, consider including testimonials in your portfolio. This social proof builds trust with potential employers.\u003C/p>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>Your animation portfolio is a living document, so don't let it gather dust in a corner! Aim for quality over quantity when adding new projects, research companies you'd love to work for, and tailor your portfolio to showcase the specific skills they value. This targeted approach demonstrates not only your talent but also your understanding of their needs.\u003C/p>\u003Cp>Your portfolio isn't just a one-way street. Regularly revisiting your work is a fantastic way to assess your own growth as an animator: identify areas where you can improve and dedicate time to honing those skills. Your strengths can also be a springboard for carving your own unique path in the animation industry.\u003C/p>\u003Cp>\u003Cem>Finally, don't be shy about sharing your portfolio! \u003C/em>\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\">\u003Cem>\u003Cu>Our Discord community\u003C/u>\u003C/em>\u003C/a>\u003Cem> is a vibrant space filled with aspiring and experienced animation people. Share your work, get feedback, and connect with others on their animation journeys. Remember, we're all in this together!\u003C/em>\u003C/p>",{"uuid":340,"comment_id":341,"feature_image":342,"featured":105,"visibility":10,"created_at":343,"updated_at":344,"custom_excerpt":345,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":346,"primary_tag":347,"url":348,"excerpt":345,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":349},"5ef07ed2-3907-4292-bc5c-d84ee79f1b9b","6641ead75f71d800018c7e82","https://images.unsplash.com/photo-1518516278006-4aca92806257?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDQ2fHxjb2xvcnN8ZW58MHx8fHwxNzE1NTk2MDM2fDA&ixlib=rb-4.0.3&q=80&w=2000","2024-05-13T12:26:31.000+02:00","2026-02-20T06:04:33.000+01:00","Landing your dream job pushes you to stand out from the crowd, and it starts with a strong animation portfolio―a chance to showcase your talent, skills, and creative vision to potential employers.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-build-an-animation-portfolio/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@rgaleriacom?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Ricardo Gomez Angel\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/how-to-build-an-animation-portfolio","2024-05-13T12:32:37.000+02:00",{"title":335},"how-to-build-an-animation-portfolio","posts/how-to-build-an-animation-portfolio",[356],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"u5nmMWdXlIS1-YSC-3MFRgi92uWPqVP4VLHytAKnyhk",{"id":359,"title":360,"authors":361,"body":7,"description":7,"extension":8,"html":371,"meta":372,"navigation":13,"path":384,"published_at":385,"seo":386,"slug":387,"stem":388,"tags":389,"__hash__":392,"uuid":373,"comment_id":374,"feature_image":375,"featured":105,"visibility":10,"created_at":376,"updated_at":377,"custom_excerpt":378,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":379,"primary_tag":380,"url":382,"excerpt":378,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":383},"ghost/posts:animation-asset-security.json","Protecting Your Animation Studio’s Assets (2026): Security and Compliance",[362],{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},"68d2f1e036b5be000835a0db","Frank Rousseau","frankrousseau","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2021/01/photo_identite.png","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2024/05/Annecy-Booth_Linework_004-2-1.jpg","CEO &Founder of CGWire","https://addictedtointer.net","https://blog.cg-wire.com/author/frankrousseau/","\u003Ch2 id=\"introduction\">\u003Cstrong>Introduction\u003C/strong>\u003C/h2>\u003Cp>Animation feels like magic. But behind the scenes, a complex network of people, processes, and software known as the animation pipeline fuels this magic by handling a treasure trove of intellectual property (IP), including original character designs, storyboards, and the intricate animation sequences that form the heart of the final product.\u003C/p>\u003Cp>The very nature of the animation pipeline, with its collaborative workflows and reliance on digital assets, creates a unique set of security challenges: protecting these valuable IP assets from unauthorized access, leaks, or malicious attacks is crucial for studios of all sizes. This article dives into the security landscape of the animation industry―vulnerabilities, best practices, and emerging technologies that animation studios can leverage to secure their work.\u003C/p>\u003Ch2 id=\"why-security\">\u003Cstrong>Why Security\u003C/strong>\u003C/h2>\u003Cp>Clients entrust studios with their creative vision and confidential information. But original animation productions also generate a lot of sensitive data: character designs, storyboards, 3D models, animation sequences, and even sometimes proprietary software. \u003Cstrong>Protecting these assets isn't just about protecting the studio's creative efforts―it's a critical business imperative.\u003C/strong>\u003C/p>\u003Cp>Without robust security measures, animation studios become vulnerable to data breaches: malicious actors can exploit weaknesses in security systems to gain unauthorized access to sensitive information, leading to the theft of intellectual property, financial data, and even personal information of employees and clients. \u003Cstrong>The consequences can be devastating in terms of financial losses, reputational damage, and even legal repercussions.\u003C/strong>\u003C/p>\u003Cp>Fortunately, the technology is already there to drastically reduce risks.\u003C/p>\u003Ch2 id=\"1-access-control\">\u003Cstrong>1. Access Control\u003C/strong>\u003C/h2>\u003Cp>Access control acts as the gatekeeper, regulating who can access what and at what level.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Authentication\u003C/strong> - Just as a physical key unlocks specific doors, user authentication ensures that only authorized individuals can access a system or information. This typically involves verifying a user's identity through credentials like usernames, passwords, or multi-factor authentication.\u003C/li>\u003Cli>\u003Cstrong>Authorization\u003C/strong> - Once a user is authenticated, authorization determines the level of access they have within the system―read access, write access, admin, etc. This is where role-based access control (RBAC) comes into play.\u003C/li>\u003Cli>\u003Cstrong>Role-based access control\u003C/strong> - RBAC assigns different permission levels to individual users based on their roles within the studio. For instance, an animator might have access to their specific animation files and storyboard revisions, while a project manager might have broader access to manage project timelines and resources. This granular control ensures that users only have access to the information and functionalities necessary to perform their duties, effectively minimizing the risk of unauthorized access and data breaches.\u003C/li>\u003C/ul>\u003Ch2 id=\"2-encryption\">\u003Cstrong>2. Encryption\u003C/strong>\u003C/h2>\u003Cp>Data, even when protected by access controls, is still vulnerable during transmission and storage. This is where encryption steps in by transforming sensitive information into an unreadable format. Encryption adds an extra layer of protection, making it significantly more difficult for unauthorized individuals to gain access to sensitive information, even if they manage to bypass other security measures.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Encryption in transit\u003C/strong> - Animation studios often collaborate with remote teams or outsource specific tasks. This necessitates the secure transfer of sensitive data across networks. Encryption in transit scrambles data as it travels between systems, ensuring that even if intercepted by unauthorized individuals, it remains unreadable and unusable. For instance, Kitsu, our production tracker, uses HTTPS to transmit data securely over the internet.\u003C/li>\u003Cli>\u003Cstrong>Encryption at rest\u003C/strong> - Even when data is not actively being transferred, it needs robust protection in the event of a leak. Encryption at rest encrypts data while it's stored on servers, hard drives, or any other storage medium. This ensures that even if an attacker gains access to the storage device, the data itself remains inaccessible without the appropriate decryption key. \u003C/li>\u003C/ul>\u003Cp>The effectiveness of encryption hinges on the strength of the encryption algorithms employed. Studios should opt for industry-standard algorithms that utilize complex mathematical formulas to make data virtually impossible to decipher without the decryption key. Additionally, regular rotation of encryption keys further enhances security by mitigating the risk of compromise even if a key is somehow compromised. \u003C/p>\u003Cp>You can rely on third-party products as we propose at CGWire and ask for media encryption if you don't want to manage that part. Kitsu can encrypt assets using AES-256, a widely recognized encryption standard.\u003C/p>\u003Ch2 id=\"3-audit-trail\">\u003Cstrong>3. Audit Trail\u003C/strong>\u003C/h2>\u003Cp>Access control and encryption form the backbone of a secure environment while audit trails act as the vigilant eyes―monitoring and recording user activities in the form of logs. These detailed logs play a crucial role in enforcing security and fostering accountability.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Logging of user activities\u003C/strong> - Audit trails meticulously record and document all user activities within the production tracker. This includes actions like accessing specific files, modifying project details, or making changes to user permissions. By capturing a comprehensive timeline of user activity, audit trails provide valuable insights into who did what, when, and how. This is useful for post-mortem analysis, compliance, and security investigations, but also for alerting in case of unauthorized access.\u003C/li>\u003Cli>\u003Cstrong>Traceability and accountability\u003C/strong> - In the unfortunate event of a security breach or suspicious activity, audit trails offer a clear trail for investigation. By analyzing the logs, security personnel can identify the source of the activity, trace the sequence of events, and determine the individuals involved. This facilitates accountability by enabling studios to identify and address any unauthorized or malicious actions.\u003C/li>\u003C/ul>\u003Ch2 id=\"4-secure-integration\">\u003Cstrong>4. Secure Integration\u003C/strong>\u003C/h2>\u003Cp>The digital landscape rarely operates in isolation: animation studios often integrate their digital creation tools with various other software applications, such as rendering engines, asset management systems, and collaboration tools. These integrations allow for a seamless flow of data between different systems at the price of introducing new security considerations:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>API security measures\u003C/strong> - APIs (Application Programming Interfaces) act as the bridges that enable communication and data exchange between different software applications. To ensure the security of these connections, API key management is crucial: secure key generation, storage, rotation, authorization, etc.\u003C/li>\u003Cli>\u003Cstrong>Secure data exchange protocols\u003C/strong> - Beyond API security measures, studios should also ensure that the protocols used for data exchange are secure and reliable. For example, HTTPS encrypts communication between applications and SFTP (Secure File Transfer Protocol) for secure file sharing.\u003C/li>\u003C/ul>\u003Ch2 id=\"5-alerting\">\u003Cstrong>5. Alerting\u003C/strong>\u003C/h2>\u003Cp>As we saw in the audit trail section, real-time monitoring of assets, systems, and user activity allow animation studios to proactively identify potential security breaches, technical faults, or unauthorized access attempts. But monitoring alone isn't enough: it's crucial to have a robust alerting system that notifies security teams of any suspicious activities or anomalies in real-time.\u003C/p>\u003Cp>Automated alerts triggered by suspicious events or anomalies give security teams the opportunity to take swift corrective actions, minimizing the impact of a security incident:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Establish Clear Thresholds\u003C/strong> - Define critical thresholds for different performance metrics and security indicators like unusual network traffic, unauthorized login attempts, or changes to essential assets. Alerts should be triggered when these thresholds are crossed.\u003C/li>\u003Cli>\u003Cstrong>Focus on Actionable Alerts\u003C/strong> - Alerting systems should be designed to generate clear, actionable alerts that help security teams prioritize and respond effectively. Avoid excessive alerts that could lead to \"alert fatigue\" by false positives. Prioritize alerts based on severity using a system that distinguishes between critical, high, medium, and low-risk events.\u003C/li>\u003Cli>\u003Cstrong>Test and Refine Regularly\u003C/strong> - Regularly test and refine your alerting system to ensure its effectiveness. Adapt thresholds and configurations as needed to minimize false positives and ensure meaningful alerts.\u003C/li>\u003Cli>\u003Cstrong>Centralize Monitoring and Alerting\u003C/strong> - Instead of scattering your tools everywhere, consider a centralized platform to aggregate data from various systems and provides a consolidated view of alerts and security events.\u003C/li>\u003Cli>\u003Cstrong>Have a Clear Response Plan\u003C/strong> - Develop and document detailed procedures for investigating and responding to various types of alerts, including roles, responsibilities, and escalation processes for effective incident resolution.\u003C/li>\u003C/ul>\u003Ch2 id=\"6-disaster-recovery-and-backup\">\u003Cstrong>6. Disaster Recovery and Backup\u003C/strong>\u003C/h2>\u003Cp>While robust security measures go a long way in safeguarding assets, even the most well-prepared studios need a safety net in the face of unforeseen circumstances. This is where disaster recovery and backup plans become crucial.\u003C/p>\u003Cp>Despite stringent security measures, accidents, technical glitches, or even natural disasters can lead to data loss. \u003Cstrong>Regular backups\u003C/strong> create redundant copies of essential data, including animation assets, project files, and production tracker information. These backups serve as a digital lifeline, allowing studios to recover lost data and resume operations swiftly. At CGWire, all data is backed up daily and stored in multiple locations to ensure its availability in case of a disaster.\u003C/p>\u003Cp>\u003Cstrong>Disaster recovery plans\u003C/strong> encompass a comprehensive strategy outlining the steps to be taken in the event of a major disruption: What are the most crucial data and systems that need immediate recovery in case of a disaster? What steps are involved in restoring data and systems from backups? Which communication channels to use for all stakeholders involved in the recovery process? How to minimize downtime?\u003C/p>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>Behind the vibrant animations lies a crucial foundation – data security. Animation studios handle a wealth of data that needs protection.\u003C/p>\u003Cp>Compliance with industry standards is not just a regulatory requirement; it is a commitment to fostering trust with clients and employees.\u003C/p>\u003Cp>Production trackers equipped with robust security features play a critical role: from access control and encryption to monitoring, alerting, and disaster recovery, they empower studios to create a secure environment where innovation can flourish.\u003C/p>\u003Cp>The animation industry is constantly evolving, and so too should its approach to security: AI poses new security challenges, studios are growing bigger and global, tools are increasingly used in cloud environments, etc. The call to action is clear: prioritize security in your animation studio. Invest in reliable production trackers with built-in security features, implement comprehensive security protocols, and embrace a culture of security awareness within your team! It's your studio's future at stake.\u003C/p>\u003Cp>\u003Cem>If you're looking for security best practices and advice on how to implement them, reach out to our Discord server to get advice from other studios that have already gone through the process!\u003C/em>\u003C/p>",{"uuid":373,"comment_id":374,"feature_image":375,"featured":105,"visibility":10,"created_at":376,"updated_at":377,"custom_excerpt":378,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":379,"primary_tag":380,"url":382,"excerpt":378,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":383},"63161fc4-9689-4946-802a-bc13ea77071d","661e99afce5ed70001ab41bd","https://images.unsplash.com/photo-1584433144859-1fc3ab64a957?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDE4fHxzZWN1cml0eXxlbnwwfHx8fDE3MTMyODE1MDZ8MA&ixlib=rb-4.0.3&q=80&w=2000","2024-04-16T17:30:55.000+02:00","2026-02-20T06:03:45.000+01:00","The very nature of the animation pipeline, with its collaborative workflows and reliance on digital assets, creates a unique set of security challenges: protecting these valuable IP assets from unauthorized access, leaks, or malicious attacks",{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},{"id":381,"name":71,"slug":74,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":70},"5fff0e54653a0c003924f7f2","https://blog.cg-wire.com/animation-asset-security/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@danny144?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Dan Nelson\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/animation-asset-security","2024-04-16T17:38:25.000+02:00",{"title":360},"animation-asset-security","posts/animation-asset-security",[390,391],{"id":381,"name":71,"slug":74,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":70},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"NBJF8ZlDkKVOXw7Q-smgeRQkZJUcqrZUX7C8Nfxg_y0",{"id":394,"title":395,"authors":396,"body":7,"description":7,"extension":8,"html":398,"meta":399,"navigation":13,"path":409,"published_at":410,"seo":411,"slug":412,"stem":413,"tags":414,"__hash__":416,"uuid":400,"comment_id":401,"feature_image":402,"featured":105,"visibility":10,"created_at":403,"updated_at":294,"custom_excerpt":404,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":405,"primary_tag":406,"url":407,"excerpt":404,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":408},"ghost/posts:collaborative-animation-production.json","Collaborative Animation Productions: How Studios Can Join Forces Effectively In 2026",[397],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>The animation industry sees a rise in collaborative productions where multiple studios join forces to tackle a single project. This approach is more and more common for big productions with films like Spider-Man: Across the Spider-Verse (2023 - Columbia Pictures, Sony Pictures Animation, and Marvel Entertainment) or shows like Arcane (2021 - Fortiche, Netflix, Riot Games)―but also with independent animators joining forces on platforms like Youtube, Instagram or TikTok.\u003C/p>\u003Cp>Working with other studios is not without difficulties, however. You'll need to navigate communication breakdowns and cultural differences, balance divergent creative visions while keeping your artistic integrity, and manage diverse workflows and production pipelines, not to mention the complexities of intellectual property rights.\u003C/p>\u003Cp>Despite these hurdles, the potential rewards of collaboration are undeniable in fostering innovation. At Kitsu, we saw animation projects that would have never gotten off the ground without studios joining hands, and we wanted to record in this article the advantages, best practices, and tools to split work between several studios.\u003C/p>\u003Ch2 id=\"why-collaboration\">\u003Cstrong>Why Collaboration\u003C/strong>\u003C/h2>\u003Cp>Collaboration allows studios to share resources, expertise, and talent.\u003C/p>\u003Cp>Each studio brings its unique perspectives and creative styles to the table, transcending the limitations of a single studio's vision to offer something fresh and original.\u003C/p>\u003Cp>Collaborative efforts can also significantly reduce financial risks and production time because studios can pool resources, distribute tasks based on individual strengths, and leverage existing infrastructure to streamline the production process―leading to faster completion and potentially lower overall costs by economy of scale.\u003C/p>\u003Cp>Lastly, collaboration allows studios to tap into new audiences and markets. By partnering with studios in different regions, they gain access to new cultural insights and distribution channels, effectively breaking down geographical barriers and expanding their global footprint. This not only benefits the studios in the short term but also opens doors for new content to reach a wider audience.\u003C/p>\u003Ch2 id=\"1-clear-scope-task-division\">\u003Cstrong>1. Clear scope & task division\u003C/strong>\u003C/h2>\u003Cp>Before embarking on any collaborative venture, all participating studios must have a clear understanding of the project's scope: the overall vision, budget, target audience, and desired outcome.\u003C/p>\u003Cp>Once the bigger picture is established, it's crucial to divide tasks in a way that leverages each studio's strengths. Establishing defined roles and responsibilities for each studio is vital to eliminate confusion and foster accountability: who will oversee which part of the animation process? Who handles marketing and distribution? Defining these roles upfront prevents potential conflicts and redundant tasks, and ensures everyone is on the same page.\u003C/p>\u003Cp>This is where a detailed production schedule comes in, outlining key milestones, deadlines, and dependencies. A production tracker like Kitsu allows teams to define animation tasks so that both animators and supervisors from all studios are on the same page:\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-us.googleusercontent.com/3m4T4LXPUy_VZjM5xWaKFc3f5srgyXM0KX3VEHeew3KwKasLohvz8FMkYKVtggRo8oDVIRvQnOSIcKFSAWaLoTygxSJH1xpbtO-GzaJzdwmnbCnkLqBSK9e3RsjPdNGnjHHgRlSaTebdw9QKw2bpacw\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1438\" height=\"809\">\u003C/figure>\u003Cp>Beyond individual tasks, collaborating studios need to agree on the creative direction, storyboards, and style guides to create a unified aesthetic and ensure all contributions seamlessly blend into the final product.\u003C/p>\u003Cp>Similarly, developing a detailed budget helps maintain smooth workflow and financial transparency. A budget ensures all studios are aware of financial limitations and resource allocation.\u003C/p>\u003Ch2 id=\"2-transparent-communication\">\u003Cstrong>2. Transparent communication\u003C/strong>\u003C/h2>\u003Cp>Clear and open communication is the pillar of any successful collaboration, and it's no different in a multi-studio environment.\u003C/p>\u003Cp>Establishing a shared communication platform between studios is the first step. With Kitsu you can follow the productivity of your artists, anticipate when someone encounters difficulties using productivity goals to make sure no one is blocked, and leave annotations on scenes and assets. This is great for asynchronous communication, combined with a messaging platform like Slack or Discord:\u003C/p>\u003Cp>To bridge the physical and cultural divides, fostering cross-studio teams can be beneficial. Composed of representatives from each participating studio, these teams serve as communication centerpoints to facilitate information exchange and foster a collaborative spirit. For smaller teams, real-time collaboration tools like video conferencing and instant messaging platforms allow for immediate problem-solving, brainstorming sessions, and progress updates. This immediacy fosters a sense of connection and reduces the risk of misunderstandings due to delays in communication.\u003C/p>\u003Cp>While the tools are important, a strong communication plan acts as the foundation. This plan can include communication protocols (async vs sync channels), frequency of meetings, and designated points of contact. Another important element of a communication plan should cover collective reviews.\u003C/p>\u003Ch2 id=\"3-collective-reviews\">\u003Cstrong>3. Collective reviews\u003C/strong>\u003C/h2>\u003Cp>Implementing regular feedback loops between studios is essential―setting up consistent check-ins, sharing progress reports, and actively soliciting feedback throughout the production process. By fostering open dialogue and addressing concerns promptly, studios can prevent issues from snowballing and ensure everyone feels heard and valued.\u003C/p>\u003Cp>Collective reviews offer a platform for feedback sessions, where each studio can provide constructive criticism and insights into the work of others. This exchange of perspectives allows for the identification of potential weaknesses, exploration of alternative approaches, and ultimately, an improvement in the overall quality of the project.\u003C/p>\u003Cp>Once again, Kitsu is a real life saver here thanks to its review engine: you can build playlists to review all your shots and assets sequentially, schedule review sessions to gather your team, and preview historical versions of your deliverables.\u003C/p>\u003Cp>Collaborative work inevitably encounters moments of disagreement, and collective reviews provide an avenue for conflict management. Through open dialogue and respectful exchange of ideas, studios can navigate differences, find common ground, and ultimately reach solutions that benefit the project as a whole. Make sure to \u003Ca href=\"https://blog.cg-wire.com/how-to-give-efficient-animation-feedback/\">\u003Cu>read our blog on effective feedback and conflict resolution\u003C/u>\u003C/a> to get this right―conflicts can also kill a project before it's even finished, after all.\u003C/p>\u003Ch2 id=\"4-pipeline-management\">\u003Cstrong>4. Pipeline management\u003C/strong>\u003C/h2>\u003Cp>Mastering pipeline management is essential to ensure the various studios contributing to the project are in sync, ensuring a smooth flow of information and assets between studios.\u003C/p>\u003Cp>The biggest hurdle in collaborative pipeline management lies in reconciling different digital creation tools: each studio may utilize its own preferred software for animation, modeling, or texturing. This creates a compatibility challenge, making it difficult to seamlessly share and integrate assets between studios.\u003C/p>\u003Cp>To prevent this, an asset manager like Kitsu acts as a central storage hub where all studios can access, collaborate on, and share project assets in a standardized format, making it a single source of truth for all project-related information. This eliminates compatibility issues and ensures everyone is working with the latest version of each asset.\u003C/p>\u003Cp>Asset managers offer features like version control, allowing studios to track changes made to assets and revert to previous versions if necessary. This fosters transparency and accountability, minimizing the risk of confusion and ensuring everyone remains on the same page:\u003C/p>\u003Ch2 id=\"5-data-security-and-privacy\">\u003Cstrong>5. Data security and privacy\u003C/strong>\u003C/h2>\u003Cp>Collaboration raises crucial questions about data security to safeguard sensitive information.\u003C/p>\u003Cp>It's important to define intellectual property ownership rights and usage when dealing with original characters, storylines, and concepts to protect the creative contributions of each studio. To avoid future disputes, studios should establish clear data ownership and usage agreements before embarking on a collaborative project. These agreements clearly define who owns the data generated (e.g., animation assets, storyboards), how it can be used, and under what circumstances. Additionally, they should outline any restrictions on data sharing or redistribution.\u003C/p>\u003Cp>Again, production trackers and asset management tools like Kitsu are key to exchange sensitive information like storyboards, character designs, or 3D assets. This includes implementing encryption to scramble data in transit and at rest, ensuring only authorized users can access it, and planning for data leaks or storage errors. Check out our dedicated article on \u003Ca href=\"https://blog.cg-wire.com/animation-asset-security\">\u003Cu>best practices to secure animation assets for more information\u003C/u>\u003C/a>.\u003C/p>\u003Ch2 id=\"6-coordinated-marketing\">\u003Cstrong>6. Coordinated marketing\u003C/strong>\u003C/h2>\u003Cp>One of the key benefits of collaboration is unlocked by extending it during post-production to marketing and distribution activities:\u003C/p>\u003Cul>\u003Cli>Share marketing and distribution strategies to tap into different audiences and distribution channels.\u003C/li>\u003Cli>Highlight the collaborative effort through joint crediting and promotion with co-branded trailers or joint social media campaigns to pique the audience's curiosity.\u003C/li>\u003Cli>Celebrates the unique collaboration behind it with behind-the-scenes featurettes showcasing the combined creative process.\u003C/li>\u003C/ul>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>Seeing more animators and studios working together instead of competing is exciting to witness: this collaborative approach not only fosters groundbreaking creative endeavors but also allows studios to expand their reach and explore new markets―literally creating new worlds. As the animation industry evolves, collaboration is poised to become an increasingly more common strategy to drive studio profits up.\u003C/p>\u003Cp>By acknowledging the challenges and implementing best practices in areas like communication, pipeline management, and data security, studios can leverage the strengths of this approach. A tool like Kitsu can help you manage the complexity of a multi-studio production, from task division to asset management, and ensure a smooth collaboration.\u003C/p>\u003Cp>\u003Cem>If you're looking to start a collaborative project, don't hesitate to reach out in our \u003C/em>\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\" rel=\"noreferrer\">\u003Cem>Discord server\u003C/em>\u003C/a>\u003Cem> to get advice from other studios who have already gone through the process!\u003C/em>\u003C/p>",{"uuid":400,"comment_id":401,"feature_image":402,"featured":105,"visibility":10,"created_at":403,"updated_at":294,"custom_excerpt":404,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":405,"primary_tag":406,"url":407,"excerpt":404,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":408},"2a38f81b-40da-48ff-a596-5351f7e7b0a3","660c3936beca4f0001879097","https://images.unsplash.com/photo-1516321497487-e288fb19713f?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDV8fGNvbGxhYnxlbnwwfHx8fDE3MTIwNzcyNDR8MA&ixlib=rb-4.0.3&q=80&w=2000","2024-04-02T18:58:30.000+02:00","The animation industry sees a rise in collaborative productions where multiple studios join forces to tackle a single project. This approach is more and more common for big productions but also with independent animators.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/collaborative-animation-production/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@johnishappysometimes?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">John Schnobrich\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/collaborative-animation-production","2024-04-02T19:02:17.000+02:00",{"title":395},"collaborative-animation-production","posts/collaborative-animation-production",[415],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"OqdHQ0KypRzNQjn9ta0qqUICw-I8mYfQFFreH9PEYS4",{"id":418,"title":419,"authors":420,"body":7,"description":7,"extension":8,"html":422,"meta":423,"navigation":13,"path":434,"published_at":435,"seo":436,"slug":437,"stem":438,"tags":439,"__hash__":441,"uuid":424,"comment_id":425,"feature_image":426,"featured":105,"visibility":10,"created_at":427,"updated_at":428,"custom_excerpt":429,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":430,"primary_tag":431,"url":432,"excerpt":429,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":433},"ghost/posts:maximizing-animation-revenue-streams.json","Maximizing Revenue Streams (2026): Diversifying Your Animation Studio’s Offerings",[421],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>slug: \"maximizing-animation-revenue-streams\"\u003C/p>\u003Ch2 id=\"introduction\">\u003Cstrong>Introduction\u003C/strong>\u003C/h2>\u003Cp>The animation industry is experiencing a golden age: from feature films and television shows to video games and streaming services, there's a skyrocketing demand for high-quality animated content. This is a fantastic opportunity for animation studios if you can handle the unique challenge of managing a growing number of projects simultaneously and efficiently.\u003C/p>\u003Cp>This article explores the importance of diversifying revenue streams and provides actionable tips to help studios achieve financial success. We'll dive into various strategies studios can implement to expand their offerings, juggle creative vision, tight deadlines, and resource allocation across diverse projects, and navigate the ever-evolving animation market.\u003C/p>\u003Ch2 id=\"why-work-on-multiple-productions\">\u003Cstrong>Why work on multiple productions\u003C/strong>\u003C/h2>\u003Cp>Maintaining \u003Cstrong>a steady flow of work keeps teams engaged\u003C/strong>. Skills can go underutilized as studios move through different phases of the production pipeline, while working in waves, with smaller projects in different stages keeps everyone involved. While one team finalizes a 3D animated commercial, another one can dedicate time to storyboarding and character design for an upcoming 2D animated series.\u003C/p>\u003Cp>By taking on projects in various genres, \u003Cstrong>studios expand their reach and appeal to a broader audience\u003C/strong>. This not only attracts new clients but also establishes them as versatile players in the industry. A studio known for creating action-adventure films could for example decide to produce a heartwarming children's show, showcasing their ability to cater to different markets while attracting families and young viewers. \u003Cstrong>Diversity fosters innovation\u003C/strong>: working on projects with distinct styles and requirements pushes creative boundaries.\u003C/p>\u003Cp>Working with other studios can also foster a cross-exchange of ideas and resources, \u003Cstrong>paving the way for co-productions\u003C/strong> benefiting everyone involved creatively and financially.\u003C/p>\u003Cp>Inversely, it's worth noting that \u003Cstrong>taking on too much can be detrimental\u003C/strong>: spreading resources too thin can lead to burnout and compromised quality. One must find the right balance between keeping teams engaged and leaving room for down time to foster creativity. To do so, consider the following strategies and tactics.\u003C/p>\u003Ch2 id=\"1-prioritization-based-on-deadlines-and-client-needs\">\u003Cstrong>1. Prioritization based on deadlines and client needs\u003C/strong>\u003C/h2>\u003Cp>Effectively prioritizing tasks is necessary to not drown in multiple projects running concurrently.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Real-time progress tracking\u003C/strong> - Use tools like production trackers to get real-time updates on each project's progress. It'll allow you to keep your communication with clients proactive, keep them informed and foster trust. Studios can identify potential bottlenecks early on and adjust course to prevent delays that could impact deadlines and client satisfaction.\u003C/li>\u003Cli>\u003Cstrong>Creating project pipelines\u003C/strong> - Develop clear project pipelines outlining the specific steps involved in each project's lifecycle. This visual representation helps identify dependencies between tasks and ensure a smooth flow of work with well-defined priorities. Create detailed timelines for each project, factoring in task durations, resource availability, and client expectations. This ensures that deadlines are realistic and achievable, minimizing last-minute scrambling. In Kitsu, for example, you can create custom workflows for each project, ensuring that each task is completed in the right order and on time:\u003C/li>\u003Cli>\u003Cstrong>Monitoring progress across different projects\u003C/strong> - A tool like Kitsu allows studios to centralize information for all ongoing projects to provide a holistic view. By constantly monitoring progress across projects, studios can identify areas needing additional focus or adjustments in resource allocation to move forward efficiently.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2024/03/image.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1860\" height=\"1291\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2024/03/image.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2024/03/image.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1600/2024/03/image.png 1600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2024/03/image.png 1860w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Ch2 id=\"2-resource-management-and-allocation\">\u003Cstrong>2. Resource management and allocation\u003C/strong>\u003C/h2>\u003Cp>Task management is one thing, but you also need to make sure to assign the right people and tools to the right tasks at the right time.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Cross-training and versatility\u003C/strong> - Cross-functional teams represent a powerful approach to break down departmental silos and leverage the diverse expertise of team members across various disciplines. Investing in cross-training enables team members to contribute to a wider range of projects, increasing overall flexibility and adaptability. This allows the studio to strategically allocate resources based on fluctuating project demands.\u003C/li>\u003Cli>\u003Cstrong>Using specialized tools\u003C/strong> - As we previously mentionned, production trackers help visualize resource availability, identify potential conflicts, and ensure optimal utilization of personnel and equipment across projects.\u003C/li>\u003Cli>\u003Cstrong>Agile project management\u003C/strong> - Employing an agile project management approach allows for flexible scheduling and adjustments as needed. By breaking down projects into smaller, manageable tasks that are regularly reviewed, teams can adapt to unforeseen changes or client requests without derailing the entire workflow.\u003C/li>\u003Cli>\u003Cstrong>Continuous communication and collaboration\u003C/strong> - Kitsu allows teams to collaborate together effectively, either through asynchronous communication channels like comments and annotations, or through in-person reviews thanks to the review engine. This ensures that everyone is on the same page while giving more independence to each animator to maximize both individual and team contributions:\u003C/li>\u003C/ul>\u003Cp>One of the most important aspects of working on several projects at once is to empower team members with the autonomy and resources needed to complete their assigned tasks effectively, by setting clear expectations regarding deliverables, deadlines, and communication protocols. \u003Cstrong>If you make it easy for them to do their job, it'll be easier for them to work on multiple projects at once\u003C/strong> because each task will have clear context, input and expected output.\u003C/p>\u003Ch2 id=\"3-reusable-assets\">\u003Cstrong>3. Reusable assets\u003C/strong>\u003C/h2>\u003Cp>Pre-made assets like character rigs, backgrounds, props, or animation sequences can be easily repurposed across multiple projects to save significant time and effort instead of reinventing the wheel with every new production.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Plan for reusability\u003C/strong> - From the outset, design assets with reusability in mind. Consider modularity, generic themes, and adaptability for maximum flexibility across different projects. Create a well-organized and searchable asset library to make it easy for teams to find and reuse existing assets.\u003C/li>\u003Cli>\u003Cstrong>Meticulous documentation\u003C/strong> - Document each asset clearly, including how it was made, intended uses, and any variations available. This information will help teams understand the potential applications of each asset.\u003C/li>\u003Cli>\u003Cstrong>Version control\u003C/strong> - Implement a robust version control system to track changes to assets and ensure that the latest versions are always used. This prevents teams from using outdated or incorrect assets.\u003C/li>\u003Cli>\u003Cstrong>Quality over quantity\u003C/strong> - Focus on creating a core set of high-quality, versatile assets rather than a huge collection of niche pieces. This ensures that the assets have broad use cases and can be adapted to fit a variety of needs.\u003C/li>\u003C/ul>\u003Cp>Kitsu can act as a centralized repository for all your assets, independently of the digital creation tool used to create them.\u003C/p>\u003Ch2 id=\"4-specialization-strategies\">\u003Cstrong>4. Specialization Strategies\u003C/strong>\u003C/h2>\u003Cp>A studio specializing in creating explainer videos can efficiently onboard new animators familiar with the specific software and techniques required. Niching down brings a host of benefits:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Identify your niche\u003C/strong> - Focus on mastering 2D, 3D, stop-motion, or another specific animation style, genre, or target audience. A popular Youtube channel like Kurzgesagt makes huge numbers by focusing on motion graphics and educational content, for example.\u003C/li>\u003Cli>\u003Cstrong>Specialization leads to standardized processes\u003C/strong> specific to your niche, saving time on project setup. Deep expertise translates to quicker turnaround times and to more projects. A studio specializing in 2D character animation can create pre-built templates for character rigs and animation cycles, allowing them to focus on the creative aspects of new projects.\u003C/li>\u003Cli>\u003Cstrong>Attract ideal clients\u003C/strong> - Become known as the \"go-to\" studio for your chosen niche to make finding clients easier. For instance, a studio renowned for its stop-motion animation for children's content can partner with educational channels and toy companies.\u003C/li>\u003Cli>\u003Cstrong>Command premium rates\u003C/strong> - Standing out as a leader in your specialized field allows you to charge higher fees while reducing competition. For example, a studio specializing in complex 3D creature animation will have more leverage for negotiation than a studio without this deep expertise in a bid for a horror movie.\u003C/li>\u003C/ul>\u003Cp>Remember: specialization isn't about limiting options―it's about strategic growth. By focusing your expertise, you make it easier to find clients, hire, and work on multiple projects in parallel.\u003C/p>\u003Ch2 id=\"5-diversification-strategies\">\u003Cstrong>5. Diversification Strategies\u003C/strong>\u003C/h2>\u003Cp>Inversely, diversification allows studios to tap into new markets and experiment. By carefully considering their strengths, new audience opportunities, and strategic partnerships, studios can responsibly broaden their offerings:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Expand within your core competency\u003C/strong> - A 2D animation studio could explore different styles (hand-drawn, vector, or motion graphics alongside their existing skillset), formats (shorts, series, features), or target audiences (from kid animation to young adults).\u003C/li>\u003Cli>\u003Cstrong>Strategic partnerships & acquisitions\u003C/strong> - Collaborate with studios offering skills that enhance your own, or partner on larger or diverse projects to leverage combined expertise and resources. Examples: Studio C, specializing in 2D animation, partners with Studio D, known for 3D animation, to co-produce a hybrid animated film. Studio E acquires a smaller studio with sound design expertise, expanding its service offerings.\u003C/li>\u003Cli>\u003Cstrong>Offer additional services\u003C/strong> - A studio specializing in pre-production could provide concept art, storyboarding, scriptwriting, or animatics. Another studio could expand into post-production, offering editing, sound design, color correction, or VFX. Studios can also leverage original characters or content for merchandise and licensing deals.\u003C/li>\u003Cli>\u003Cstrong>Invest in team development\u003C/strong> - Equip your team with new skills and software capabilities, or undertake small projects in new styles or techniques to build expertise and attract new clients.\u003C/li>\u003C/ul>\u003Cp>Diversification isn't random expansion, it's supposed to empower you to build a more resilient business by creating new revenue streams and expanding your reach.\u003C/p>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>For animation studios, navigating the content boom requires a multi-modal approach. Maximizing revenue streams goes beyond operational efficiency: studios must be proactive and strategic in their approach. Embracing multiple productions allows for exploration, increased productivity, and financial stability. And it doesn't imply taking several projects from A to Z all by yourself―less can be more.\u003C/p>\u003Cp>In any case, a production tracker like Kitsu is key to stay afloat in a sea of projects. It helps you keep track of progress, streamline your production pipeline, manage your assets, and keep your team in sync, no matter how many projects you're working on at once.\u003C/p>\u003Cp>\u003Cem>If you're interested in learning more about how studios work on multiple projects, make sure to \u003C/em>\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\" rel=\"noreferrer\">\u003Cem>join our Discord\u003C/em>\u003C/a>\u003Cem> and ask away! We're more 1000+ experts in the animation industry, and we're always happy to help\u003C/em>.\u003C/p>",{"uuid":424,"comment_id":425,"feature_image":426,"featured":105,"visibility":10,"created_at":427,"updated_at":428,"custom_excerpt":429,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":430,"primary_tag":431,"url":432,"excerpt":429,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":433},"c22092c3-e32c-4167-8981-fd4479e507e2","660168ea754f8d0001ee14e8","https://images.unsplash.com/photo-1579621970795-87facc2f976d?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDR8fGZpbmFuY2V8ZW58MHx8fHwxNzExMzY4NTIxfDA&ixlib=rb-4.0.3&q=80&w=2000","2024-03-25T13:07:06.000+01:00","2026-03-26T10:38:39.000+01:00","This article explores the importance of diversifying revenue streams and provides actionable tips to help studios achieve financial success. ",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/maximizing-animation-revenue-streams/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@micheile?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">micheile henderson\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/maximizing-animation-revenue-streams","2024-03-25T13:27:46.000+01:00",{"title":419},"maximizing-animation-revenue-streams","posts/maximizing-animation-revenue-streams",[440],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"cYdgolEtxbs-9fU1ptzI9yPmQPYMmBdJQdmtAS3V1GA",{"id":443,"title":444,"authors":445,"body":7,"description":7,"extension":8,"html":447,"meta":448,"navigation":13,"path":459,"published_at":460,"seo":461,"slug":462,"stem":463,"tags":464,"__hash__":466,"uuid":449,"comment_id":450,"feature_image":451,"featured":105,"visibility":10,"created_at":452,"updated_at":453,"custom_excerpt":454,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":455,"primary_tag":456,"url":457,"excerpt":454,"reading_time":198,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":458},"ghost/posts:data-analytics-in-animation-studio-management.json","Data Analytics in Animation Studio Management (2026)",[446],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>Data analytics is often overlooked by animation studios. As the animation industry continues to evolve in a digital age, understanding the importance of data analytics becomes increasingly crucial for studios aiming to stay competitive and deliver captivating content to audiences worldwide: behind the scenes lies a treasure trove of production data waiting to be mined for valuable insights.\u003C/p>\u003Cp>This article delves into the significance of data analytics in animation production, shedding light on why its potential is often overlooked and why it should be embraced as a vital tool for success. From performance tracking and cost optimization to audience insights and predictive analytics, the benefits of leveraging production data are deep and far-reaching.\u003C/p>\u003Ch2 id=\"why-data-analytics-for-management\">\u003Cstrong>Why Data Analytics for Management:\u003C/strong>\u003C/h2>\u003Cp>The incorporation of data analytics in animation studio management is a strategic move driven by the need for precision and efficiency. The intricate nature of data collected by production trackers offers a wealth of insights that, when harnessed effectively, can empower studios to make informed decisions, identify cost-saving opportunities, and maximize revenue.\u003C/p>\u003Cp>Animation studios deal with a multitude of data points, ranging from project timelines to resource allocation and rendering processes. The sheer complexity of this data necessitates advanced analytics tools to derive meaningful patterns and trends. \u003C/p>\u003Cp>By leveraging analytics, studios can gain a comprehensive understanding of their production processes, enabling them to optimize workflows, minimize bottlenecks, and enhance overall project management.\u003C/p>\u003Cp>The traditional approach of relying solely on artistic intuition is gradually being replaced by data-driven decision-making, offering a more strategic and efficient path to success. This transition from a subjective decision-making process to an objective, data-driven approach not only improves operational efficiency but also positions studios to thrive in an increasingly competitive industry.\u003C/p>\u003Ch2 id=\"1-what-data-to-measure-and-how\">\u003Cstrong>1. What Data to Measure and How\u003C/strong>\u003C/h2>\u003Cp>Animation studios must first identify key metrics to measure.\u003C/p>\u003Ch3 id=\"time-management\">\u003Cstrong>Time Management\u003C/strong>\u003C/h3>\u003Cul>\u003Cli>\u003Cstrong>Task duration for time estimates\u003C/strong> - Understanding the time required for each task and sprint is essential for accurate project planning. Data analytics can provide valuable insights into the historical performance of animation teams, allowing studios to set realistic deadlines and allocate resources optimally. By analyzing past project data, studios can identify patterns in task completion times, helping them make more informed decisions on project timelines and resource allocation.\u003C/li>\u003Cli>\u003Cstrong>Rendering time \u003C/strong>- Rendering is a resource-intensive process in animation production, often requiring substantial computing power. Data analytics can streamline rendering processes by analyzing rendering times, identifying inefficiencies, and optimizing the allocation of rendering resources. This not only reduces production costs but also enhances overall project efficiency, allowing studios to deliver high-quality animations within tighter deadlines.\u003C/li>\u003C/ul>\u003Ch3 id=\"budget\">\u003Cstrong>Budget\u003C/strong>\u003C/h3>\u003Cul>\u003Cli>\u003Cstrong>Budget and cost data\u003C/strong> - Monitor budget allocations and actual expenditures for each project. Analyzing cost data helps studios identify areas where expenses can be optimized, leading to better financial management.\u003C/li>\u003C/ul>\u003Ch3 id=\"workload-distribution\">\u003Cstrong>Workload distribution\u003C/strong>\u003C/h3>\u003Cul>\u003Cli>\u003Cstrong>Resource utilization\u003C/strong> - Track the utilization of human resources, including artists, animators, and other team members. This can help in identifying underutilized or overburdened resources, allowing for more balanced workloads.\u003C/li>\u003Cli>\u003Cstrong>Task dependencies\u003C/strong> - Understand the dependencies between different tasks in the production pipeline. Identifying task dependencies helps in planning and prioritizing activities to avoid bottlenecks and delays. In the same vein, knowing when assets are ready for a given shot is pretty useful.\u003C/li>\u003C/ul>\u003Ch3 id=\"quality\">\u003Cstrong>Quality\u003C/strong>\u003C/h3>\u003Cul>\u003Cli>\u003Cstrong>Quality metrics\u003C/strong> - Measure and track the quality of the animation output. This can include client satisfaction scores, feedback from stakeholders, and adherence to quality standards. Monitoring quality metrics ensures that the final product meets or exceeds expectations. \u003C/li>\u003Cli>\u003Cstrong>Error rates\u003C/strong> - Keep track of errors or rework required during the production process. High error rates may indicate areas that need process improvement, additional training, or better tools.\u003C/li>\u003C/ul>\u003Ch3 id=\"productivity\">\u003Cstrong>Productivity\u003C/strong>\u003C/h3>\u003Cul>\u003Cli>\u003Cstrong>Workflow efficiency\u003C/strong> - Evaluate the efficiency of the overall workflow, from project initiation to completion. Identify areas where processes can be streamlined or automated to improve overall efficiency and reduce production time. \u003C/li>\u003Cli>\u003Cstrong>Team productivity\u003C/strong> - Measure the productivity of individual team members and the team as a whole. This can include completed tasks per unit of time, meeting deadlines, and overall project throughput. \u003C/li>\u003Cli>\u003Cstrong>Turnaround times\u003C/strong> - Track the time it takes to complete specific milestones or phases of a project. Analyzing turnaround times helps in setting realistic expectations for clients and stakeholders.\u003C/li>\u003C/ul>\u003Ch2 id=\"2-generating-data-with-a-production-tracker\">\u003Cstrong>2. Generating data with a production tracker\u003C/strong>\u003C/h2>\u003Cp>You’ll need metadata from your digital creation tools to compute the aforementioned metrics.\u003C/p>\u003Cp>Metadata is a rich source of information included in digital content creation and monitoring tools providing additional context and insights into various aspects of the production pipeline. The most efficient way to generate and query such metadata is to use a production tracker like Kitsu:\u003C/p>\u003Cul>\u003Cli>Kitsu allows your studio to store your production data in a single place. You can synchronize your data across different digital creation tools and run custom scripts when events occur to automate most actions in your pipeline. \u003C/li>\u003Cli>The ability to collaborate remotely across the globe leads to better decisions and faster deliveries: you get information in real-time so you can assign tasks and send directives accordingly to make your team more productive. The data is stored securely and is always accessible to your team and pipeline so that everyone stays on the same page. \u003C/li>\u003Cli>We provide software integrations with popular tools like Blender, Unreal Engine, or Harmony, as well as developer tooling to facilitate cross-communication between your tools, allowing artists to stick to their favorite workflows. \u003C/li>\u003C/ul>\u003Cp>\u003Ca href=\"https://kitsu.cg-wire.com/?ref=blog.cg-wire.com#getting-started\">\u003Cu>You can start with Kitsu for free\u003C/u>\u003C/a> without the need for a consultant, intensive training, or technical know-how. All you need to start generating data is to start tracking your production assets and tasks using Kitsu, and Kitsu will take care of collecting everything.\u003C/p>\u003Ch2 id=\"3-extracting-data\">\u003Cstrong>3. Extracting data\u003C/strong>\u003C/h2>\u003Cp>There are two ways to extract data from Kitsu.\u003C/p>\u003Cp>The first one is to go to a stats page and export the report as a .csv file. For example, with the asset stats page, you can quickly get an overview of the progress of your production: \u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-us.googleusercontent.com/S2zXPdcXr5QtLdmuDp_MYzmElygyn1Rqe53FtYes3nu5tE972WStxgK-zOIykwUOBzhL6cXu1QCxBxyOFd8rMYFHBDvfn3N_QIBXwJlBjCfj2WXNyPppmvWwCxWqa39loZqKSp6FYmU0Gs5gGieLL-U\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1335\" height=\"448\">\u003C/figure>\u003Cp>Kitsu also exposes an HTTP API that allows you to centralize and access all your production data. This method is preferred for data analytics.\u003C/p>\u003Cp>Building a movie involves a lot of data: assets, shots, casting, task assignments, file locations, etc. All this information is shared among all the departments. This data contains important metadata for analytical processes, for example:\u003C/p>\u003Ch3 id=\"assets\">\u003Cstrong>Assets\u003C/strong>\u003C/h3>\u003Cul>\u003Cli>\u003Cstrong>General Metadata -\u003C/strong> Includes creation dates, descriptions, and information about the artists or teams responsible for each asset. \u003C/li>\u003Cli>\u003Cstrong>Versioning Information -\u003C/strong> Maintain metadata on different versions of a project or asset. Versioning information is crucial for tracking changes, understanding the evolution of a project, and ensuring that the latest versions are used in production. \u003C/li>\u003Cli>\u003Cstrong>Historical Metadata -\u003C/strong> Retain historical metadata for assets and projects. This includes changes made, contributors involved, and any significant events during the production process. Historical metadata provides a comprehensive audit trail for analysis and learning from past experiences.\u003C/li>\u003C/ul>\u003Ch3 id=\"tasks\">\u003Cstrong>Tasks\u003C/strong>\u003C/h3>\u003Cul>\u003Cli>\u003Cstrong>Production metadata -\u003C/strong> Capture metadata related to each production, like start and end dates, project type, genre, and associated clients or stakeholders. This information helps in categorizing and organizing projects for better management and reporting.\u003C/li>\u003Cli>\u003Cstrong>Workflow Stage Metadata -\u003C/strong> Track the current stage of each task or asset in the production workflow. Understanding where each element is in the pipeline helps in managing timelines, identifying bottlenecks, and ensuring a smooth production process.\u003C/li>\u003Cli>\u003Cstrong>Collaboration Metadata -\u003C/strong> Capture metadata related to collaboration like comments, annotations, reviews, and feedback from team members or clients. Collaboration metadata provides insights into communication patterns, issue resolution, and the overall collaboration dynamics within the team.\u003C/li>\u003C/ul>\u003Ch3 id=\"extracting-kitsu-data-with-the-api\">\u003Cstrong>Extracting Kitsu data with the API\u003C/strong>\u003C/h3>\u003Cp>\u003Ca href=\"https://api-docs.kitsu.cloud/?ref=blog.cg-wire.com\">\u003Cu>Kitsu’s REST API\u003C/u>\u003C/a> provides central storage for all your data that can be queried from anywhere using your favorite programming language:\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-us.googleusercontent.com/2AMmijdDeqgeiy10z-LUIZGg_z7yiI8X_R_GqyrzueNoIGz7HCaJPuck6FmYtGn7kTAA0FMcJg4bj7gNpb6Awl6hMeaYI4RLtDpYB16_G9yLjifspoKsGo4sPYmmBKMZ8IOb3LTs7XRQQL_9YDV1Tqg\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1600\" height=\"759\">\u003C/figure>\u003Cp>For example, if you want to measure the turnover time for a given task, you can query the \u003Cem>/actions/tasks/{task_id}/time-spents\u003C/em> endpoint to get the time spent on a given task. You can then aggregate tasks over a given week to get a feel of the workload your team can accomplish in a week worth of sprints.\u003C/p>\u003Ch2 id=\"4-data-visualization\">\u003Cstrong>4. Data visualization\u003C/strong>\u003C/h2>\u003Cp>Kitsu already offers \u003Ca href=\"https://kitsu.cg-wire.com/production-report/?ref=blog.cg-wire.com\" rel=\"noreferrer\">\u003Cu>a wide range of charts, graphs, and tables for visualizing pipeline data\u003C/u>\u003C/a> by default without any extra action required: \u003C/p>\u003Cul>\u003Cli>News feed to see all the task status changes minute by minute\u003C/li>\u003Cli>Sequence stats with pie charts to know exactly the state of the whole production in a single page.\u003C/li>\u003Cli>Gantt charts and calendar views to visualize timelines.\u003C/li>\u003Cli>Daily quota to tell if your animators are productive or not.\u003C/li>\u003Cli>Casting management https://www.cg-wire.com/casting-management\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-us.googleusercontent.com/ETF05VswmaNTKrDd9W09Je8C5rxk30HXbev5yPTNHerSxFTBvpY52I_IKtNzvlcbkYB8DbnjTz0ZW4r_NHfnpJqiQeZnvMOpAzQjEEECA3I2E7zthsTNpEu86B-teCnGguSwcU_aB598uKMhf4oNCq8\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1423\" height=\"886\">\u003C/figure>\u003Cp>However, there are several other options for data visualization when a view isn’t available.\u003C/p>\u003Cp>A simple way to visualize data is to use spreadsheets like Google Sheets or Microsoft Excel. Just export your Kitsu data in CSV via the available export buttons or in JSON via the API and import this data in your spreadsheet.\u003C/p>\u003Cp>You can then clean or transform the data before generating your own reports.\u003C/p>\u003Cp>Feel free to contact us if you need help!\u003C/p>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>In conclusion, the integration of data analytics into animation studio management is a big paradigm shift in the industry: the data complexity of animation productions is transformed into strategic advantages, enabling studios to make informed decisions, streamline processes, and ultimately enhance their competitiveness.\u003C/p>\u003Cp>By focusing on key metrics, animation studios can unlock the full potential of their data and pave the way for a more efficient and prosperous future. Production trackers like Kitsu are instrumental in becoming a data-driven studio. While the change can feel overwhelming, the jump is worth the deal. Having complete control over your data will propel your production to new heights. \u003C/p>\u003Cp>\u003C/p>\u003Cp>\u003Cem>Make sure to \u003C/em>\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\">\u003Cem>join us on Discord\u003C/em>\u003C/a>\u003Cem> if you want to discuss the future of creative pipelines or just want to hang out with 1000+ animation experts from all over the world!\u003C/em>\u003C/p>",{"uuid":449,"comment_id":450,"feature_image":451,"featured":105,"visibility":10,"created_at":452,"updated_at":453,"custom_excerpt":454,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":455,"primary_tag":456,"url":457,"excerpt":454,"reading_time":198,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":458},"dbbd0d70-9ece-4b98-998c-a529930aa640","65f02fcc8ce6770001258c87","https://images.unsplash.com/photo-1483736762161-1d107f3c78e1?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDMyfHxkYXRhfGVufDB8fHx8MTcxMDIzOTk2Nnww&ixlib=rb-4.0.3&q=80&w=2000","2024-03-12T11:34:52.000+01:00","2026-03-26T09:58:58.000+01:00","As the animation industry continues to evolve in a digital age, understanding the importance of data analytics becomes increasingly crucial. Behind the scenes lies a treasure trove of production data waiting to be mined for valuable insights.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/data-analytics-in-animation-studio-management/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@tofi?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Tobias Fischer\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/data-analytics-in-animation-studio-management","2024-03-12T11:38:37.000+01:00",{"title":444},"data-analytics-in-animation-studio-management","posts/data-analytics-in-animation-studio-management",[465],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"Q5rt_BhtCw_CZtX9hvIpaqH09B5ZP0_ia5P-1cRMBJk",{"id":468,"title":469,"authors":470,"body":7,"description":7,"extension":8,"html":472,"meta":473,"navigation":13,"path":484,"published_at":485,"seo":486,"slug":487,"stem":488,"tags":489,"__hash__":491,"uuid":474,"comment_id":475,"feature_image":476,"featured":105,"visibility":10,"created_at":477,"updated_at":478,"custom_excerpt":479,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":480,"primary_tag":481,"url":482,"excerpt":479,"reading_time":115,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":483},"ghost/posts:animation-crunch-time.json","How To Avoid Crunch Time: A Perspective On Animation (2026)",[471],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>It’s 9PM. The cold glow of the computer screen is reflecting off your tired eyes as your stomach is screaming for help. One last edit before you call it a day. When was the last time you had proper, uninterrupted sleep? The animator next to you fell at her desk, using the pile of storyboards as a cushion. The deadline is next week. You’re two-third of the way there. How did you get there in the first place? The exhaustion overwhelms you and you grab a snack and one last cup of coffee. You finally send the edit. Your supervisor is wired and sends some minor edit requests minutes later as you’re about to leave. The cycle will go on tomorrow.\u003C/p>\u003Cp>Crunch time is a necessary reality of the animation industry. During the production of the animated film Legend of the Guardians, \u003Ca href=\"https://brendanbody.blogspot.com/2011/06/week-in-crunch-part-1.html?ref=blog.cg-wire.com\">\u003Cu>Brendan Body describes in his blog\u003C/u>\u003C/a> that crunch time wears you out, but it’s also “an exciting time” where things move fast and you get to see the light at the end of the tunnel. Beyond the cliché of “animation crunch time is bad!”―no amount of prevention is 100% foolproof against the entropy of life―this article aims at highlighting tools and best practices to avoid crunch time \u003Cem>culture\u003C/em>: crunch time as an expected part of work, rather than a happy accident to strive for what’s best.\u003C/p>\u003Cp>But first what’s a crunch time culture, exactly? And how is it different from accidental crunch time? \u003C/p>\u003Ch2 id=\"what-is-animation-crunch-time-culture\">\u003Cstrong>What is Animation Crunch Time Culture?\u003C/strong>\u003C/h2>\u003Cp>Crunch time culture in animation, or simply \"crunch culture,\" refers to a work environment where animators are required to work extended hours, often for weeks or even months, to meet tight deadlines and complete projects. \u003C/p>\u003Cp>While crunch time can be unavoidable due to unforeseen circumstances,  it has unfortunately become somewhat normalized in some studios that perpetuate a culture where working long hours is expected during the final stages of a project.\u003C/p>\u003Cp>In an animation studio facing a looming deadline for a feature film, a regular 9-to-5 schedule can dramatically shift over weeks: what begins as a manageable workload on the first week becomes a cascade of revisions and unexpected changes, pushing the animators into longer hours by the second week. As the release date remains fixed, the studio unofficially normalizes overtime during the third week, and by the fourth week, animators find themselves working 10 to 14-hour days, including weekends, to meet the deadline.\u003C/p>\u003Ch2 id=\"why-is-it-counterproductive\">\u003Cstrong>Why is it Counterproductive?\u003C/strong>\u003C/h2>\u003Cp>Crunch time in animation, marked by high stress levels, burnout, and urgency, is counterproductive due to its adverse impact on both the quality of work and the well-being of the animation team.\u003C/p>\u003Cp>When animators are under intense pressure to meet tight deadlines, \u003Cstrong>the focus often shifts from delivering a polished, high-quality product to simply meeting the project's schedule\u003C/strong>. The toll on mental health during crunch time results in \u003Cstrong>diminished creativity\u003C/strong>, as the team becomes more concerned with completing tasks quickly―that will require none or fewer revision rounds―rather than exploring innovative approaches to animation.\u003C/p>\u003Cp>Extended work hours and relentless pressure not only stifle creativity but also \u003Cstrong>increase the likelihood of errors in the final product\u003C/strong>: rushed production leads to cutting corners by  overlooking details, inconsistencies, and animation glitches that may have been avoided with a more reasonable timeframe. The quality of the work suffers, and the intended impact of the animation may be lost on the audience.\u003C/p>\u003Cp>Continuous exposure to crunch time not only jeopardizes the current project but also contributes to \u003Cstrong>burnout\u003C/strong> among animators―physical and emotional exhaustion with long-term consequences for both individuals and studios. High turnover rates become a common result, disrupting the continuity and efficiency of subsequent projects: it’s a vicious circle. If the individual suffers, the team will as well. If more people quit, hiring might become more arduous for the studio in the future.\u003C/p>\u003Cp>While crunch time may be viewed as a cost-cutting measure, the negative repercussions on the animators' health and the decline in the quality of their work ultimately \u003Cstrong>undermines the sustainability of the studio\u003C/strong>.\u003C/p>\u003Cp>For all these reasons, it’s absolutely essential to leverage crunch time as a last-resort measure, rather than a habit. To guide you on this path, we listed best practices that, from experience as a software production tracker company helping hundreds of studios from all over the world, will help your team to develop a smooth, predictable workflow.\u003C/p>\u003Ch2 id=\"1-effective-planning\">\u003Cstrong>1. Effective Planning\u003C/strong>\u003C/h2>\u003Cp>In an ideal scenario, crunch time would be an anomaly and projects would smoothly progress according to a well-thought-out plan. To achieve this, meticulous planning and strategic execution are imperative.\u003C/p>\u003Cp>All projects start with the creation of a timeline encompassing clear goals and milestones. In an animation project, \u003Ca href=\"https://blog.cg-wire.com/stages-of-an-animation-production-or-how-to-better-anticipate-problems/\">\u003Cu>those are usually straightforward\u003C/u>\u003C/a>: you begin with concept development, then pre-production, production, and post-production. Depending on \u003Ca href=\"https://blog.cg-wire.com/the-main-types-of-animation/\">\u003Cu>the desired type of animation\u003C/u>\u003C/a>, each phase can be broken down in departments with clear deliverables that can be estimated from experience. \u003C/p>\u003Cp>As per Parkinson's Law, work tends to expand to fill the time available―defining realistic deadlines is essential to maintain a consistent pace. But the sheer scope of work, coupled with strict deadlines, often leads to a rushed development process, inevitably culminating in crunch time, so balance is required: avoid over-promising, but also under-delivering\u003C/p>\u003Cp>One of the primary contributors to crunch time is the failure to conduct a thorough analysis of project requirements. Breaking down tasks into manageable units is a fundamental step to mitigate this risk, but estimates are notoriously hard to get right.\u003C/p>\u003Cp>To sidestep this pitfall, developers must prioritize tasks based on dependencies and critical paths. In the digital age, \u003Ca href=\"https://www.cg-wire.com/kitsu?ref=blog.cg-wire.com\">\u003Cu>project management tools like Kitsu\u003C/u>\u003C/a> play a pivotal role in tracking progress and identifying potential bottlenecks. By providing real-time insights into the development process, they empower teams to stay on top of their tasks, ensuring the project remains on course and that deviations are promptly addressed.\u003C/p>\u003Cp>Lastly, crunch time often stems from a lack of managerial oversight over the development timetable. To counteract this, it is important to enlist the expertise of individuals experienced in the animation production process. This is why a production tracker like Kitsu is built for collaboration by design. \u003C/p>\u003Cp>While time management is traditionally seen as the responsibility of supervisors, one must view it as a collective effort: the entire team must be engaged in the process, understanding and adhering to the established timelines. It is essential to acknowledge and work within the team's capabilities by communicating properly to prevent unrealistic expectations.\u003C/p>\u003Ch2 id=\"2-communication-and-transparency\">\u003Cstrong>2. Communication and Transparency\u003C/strong>\u003C/h2>\u003Cp>Open communication and transparency are vital because they foster trust, collaboration, and realistic project planning―key ingredients to avoid crunch time.\u003C/p>\u003Cp>It involves keeping team members informed about project goals, timelines, potential obstacles, and expectations. Not just by holding meetings but also by proactively sharing regular updates on any changes to the project scope with both the team and upper management and encouraging the use of asynchronous communication channels to make progress, like team messaging platforms or specialized tools like Kitsu's review engine―creating an environment where team members feel comfortable sharing concerns or proposing alternative solutions without additional friction. \u003C/p>\u003Cp>Creative and technical challenges are commonplace. Animation films often look different during the early stages of their development process because changes affecting the development timeline are inevitable, although hard to predict precisely. A budget should always account for such changes, regardless of their exact nature. In any case, addressing these challenges as a team is key to overcoming them.\u003C/p>\u003Cp>With Kitsu you can follow the productivity of your artists and anticipate when someone encounters difficulties using productivity goals to make sure no one is blocked:\u003C/p>\u003Cp>The same goes for a delay in the release date. Whether you're talking to a publisher or a fanbase, you're all part of the same team―it's better to face a temporary disappointment than to end up with a half-baked product.\u003C/p>\u003Ch2 id=\"3-investment-in-resources\">\u003Cstrong>3. Investment in Resources\u003C/strong>\u003C/h2>\u003Cp>Providing the necessary tools and resources ensures animators can work efficiently without preventable delays.\u003C/p>\u003Cp>Technological improvements happen every year so it’s important to regularly assess the hardware and software needs of the animation team and invest accordingly to decrease little by little the probability of crunch time. Take render farms for example.\u003C/p>\u003Cp>It can also be valuable to schedule time for training sessions to ensure the team learns new tools or for teammates to explore new opportunities, but it’s more efficient short-term to encourage animators to use their preferred digital creation tools. A tool like Kitsu allows teams to centralize assets across different sources like Blender, Unreal, etc. and automatically keep everyone in sync. \u003C/p>\u003Cp>Finding ways to integrate a variety of tools in your workflow greatly improves how you adapt to change and ultimately protects you from delays.\u003C/p>\u003Ch2 id=\"4-flexibility\">\u003Cstrong>4. Flexibility\u003C/strong>\u003C/h2>\u003Cp>Creating an agile culture to adapt to changes is another way to avoid resorting to a crunch culture.\u003C/p>\u003Cp>Plans are often too rigid. Instead of going through it linearly, agile methodologies embrace flexibility using iterative processes―enabling teams to deliver value incrementally while continuously refining and improving their approach. \u003C/p>\u003Cp>Instead of making a plan once during pre-production and accumulating time debt until it’s too late to avoid crunch time, teams can assess the project's progress on a weekly basis and adjust priorities accordingly. Using a production tracker to estimate efforts based on past iterations, the process can be data-driven to remove any unrealistic guesswork. Kitsu allows you to compare time estimates to actual task durations:\u003C/p>\u003Cp>Embracing risk also implies developing contingency plans to mitigate possible disruptors.\u003C/p>\u003Ch2 id=\"5-employee-well-being-initiatives\">\u003Cstrong>5. Employee Well-being Initiatives\u003C/strong>\u003C/h2>\u003Cp>Last but not least, animation is creative work: rest is key to recovery but also productivity! Prioritizing the well-being of the animation team involves implementing initiatives that support mental and physical health as well as a healthy work-life balance. If there is no recovery period after crunch time, fatigue accumulates and increases the likelihood of another crunch time. Recovery policies include:\u003C/p>\u003Cul>\u003Cli>A flexible working hours policy to accommodate different working preferences\u003C/li>\u003Cli>Encourage the use of vacation days.\u003C/li>\u003Cli>Establish clear boundaries for after-hours communication, ensuring employees can disconnect from work when not at the office. \u003C/li>\u003Cli>If employees are sick, the studio should encourage them to stay at home to reduce productivity loss while they’re at work and avoid spreading the illness to other team members in the office.\u003C/li>\u003Cli>Provide mental health resources and support, such as counseling services or workshops. \u003C/li>\u003Cli>Limit overtime budgets.\u003C/li>\u003Cli>Recognize and reward the team for achieving milestones without resorting to crunch time.\u003C/li>\u003C/ul>\u003Cp>Kitsu generates timesheets for all team members to know how they fill their day, if they took a day off, and more importantly, if they are working over time:\u003C/p>\u003Cp>When bad working conditions become systemic, unions can protect workers from hurting practices. Crunch time is often leveraged as a way to squeeze more costs out of passionate artists―you work more without extra pay, for the sake of the project’s success. Unions can balance labor law exemptions by bringing legal expertise, social awareness, and solidarity. \u003C/p>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>Animation crunch time may have become an unfortunate norm in the industry, but it's essential for studios to recognize the detrimental effects it can have on both the quality of work and the well-being of their team: \u003C/p>\u003Cp>the animation industry is relatively small, and your reputation, both as an animator or a studio, can easily get tarnished by backward practices like crunch time culture.\u003C/p>\u003Cp>Creating a serene work environment not only benefits your animators but also your studio’s profitability―it’s been scientifically proven that \u003Ca href=\"https://fherehab.com/learning/stress-enemy-of-creativity?ref=blog.cg-wire.com\">\u003Cu>stress is the enemy of creativity\u003C/u>\u003C/a>. And fortunately, the tools exist.\u003C/p>\u003Cp>Kitsu is a production tracker that can drastically reduce the mental load of managing schedules and deliveries off your team, without disrupting their favorite workflow. Just add your tasks and link your assets from your favorite digital creation tools and you’re good to go! \u003Ca href=\"https://account.cg-wire.com/signup?ref=blog.cg-wire.com\">\u003Cu>The best part? It’s free to try!\u003C/u>\u003C/a>\u003C/p>\u003Cp>\u003Cem>Make sure to \u003C/em>\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\">\u003Cem>join us on Discord\u003C/em>\u003C/a>\u003Cem> if you need additional resources for your creative projects or want to hang out with 1000+ animation experts from all over the world!\u003C/em>\u003C/p>",{"uuid":474,"comment_id":475,"feature_image":476,"featured":105,"visibility":10,"created_at":477,"updated_at":478,"custom_excerpt":479,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":480,"primary_tag":481,"url":482,"excerpt":479,"reading_time":115,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":483},"e32e0017-6501-4500-a74b-7e3c53921c1c","65c212e793799c000165f6c6","https://images.unsplash.com/photo-1495427513693-3f40da04b3fd?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDV8fHN0cmVzc3xlbnwwfHx8fDE3MDcyMTc3MDN8MA&ixlib=rb-4.0.3&q=80&w=2000","2024-02-06T12:07:19.000+01:00","2026-03-27T10:52:45.000+01:00","This article aims at highlighting tools and best practices to avoid crunch time culture: crunch time as an expected part of work, rather than a happy accident to strive for what’s best.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/animation-crunch-time/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@nikkotations?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">nikko macaspac\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/animation-crunch-time","2024-02-06T12:15:20.000+01:00",{"title":469},"animation-crunch-time","posts/animation-crunch-time",[490],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"90l5pp7vKzEK_ZJuyt_ruqV-az6sHJUX3VUt3iCQWH4",{"id":493,"title":494,"authors":495,"body":7,"description":7,"extension":8,"html":497,"meta":498,"navigation":13,"path":509,"published_at":510,"seo":511,"slug":512,"stem":513,"tags":514,"__hash__":516,"uuid":499,"comment_id":500,"feature_image":501,"featured":105,"visibility":10,"created_at":502,"updated_at":503,"custom_excerpt":504,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":505,"primary_tag":506,"url":507,"excerpt":504,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":508},"ghost/posts:the-top-9-animation-blogs-to-level-up-your-knowledge.json","(2026) Best 9 Animation Blogs To Level Up Your Knowledge",[496],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>Reading blogs on animation might not sit right with you in 2023 when you have a plethora of Instagram, YouTube, and TikTok accounts. But blogs are still a treasure trove of information that can provide both inside knowledge and industry overviews you shouldn't neglect.\u003C/p>\u003Cp>Staying on top of the latest trends and techniques is important to stay relevant and competitive in the job market and keep your animation studio afloat. Unlike social media with a never-ending feed of content, blogs present more curated information by design: the key to success lies in diversifying your knowledge sources.\u003C/p>\u003Cp>In this blog post, we explore nine of the best animation blogs to help you broaden your horizons and become a better animator. Feel free to reach out if you've got good blogs to add to the list!\u003C/p>\u003Ch2 id=\"animation-news\">\u003Cstrong>Animation News\u003C/strong>\u003C/h2>\u003Cp>First, you need a place to get unbiased information on the latest industry developments: box office hits, animation productions in the work, market insights, etc. That's where news websites come in.\u003C/p>\u003Ch3 id=\"1-cartoon-brew\">\u003Cstrong>1. Cartoon Brew\u003C/strong>\u003C/h3>\u003Cp>Cartoon Brew is a platform dedicated to curating the most recent and relevant news in animation. From studio mergers to the latest animation techniques, you'll find it all here.\u003C/p>\u003Cp>\u003Cstrong>Why it's worth a read\u003C/strong> - Cartoon Brew has a team of experienced writers and insiders who offer in-depth analysis and exclusive insights into the animation industry. Their coverage is comprehensive and up-to-date.\u003C/p>\u003Cp>Apart from Cartoon Brew, there are a few other noteworthy animation news sources you should consider:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>CG Channel\u003C/strong> - for 3D animation enthusiasts\u003C/li>\u003Cli>\u003Cstrong>Animated Views\u003C/strong>\u003C/li>\u003Cli>\u003Cstrong>Animation World Network\u003C/strong>\u003C/li>\u003Cli>\u003Cstrong>Animation Magazine\u003C/strong>\u003C/li>\u003C/ul>\u003Ch2 id=\"for-beginners\">\u003Cstrong>For Beginners\u003C/strong>\u003C/h2>\u003Cp>If you're just starting your journey as an animator, there are blogs that cater specifically to your needs and interests: resources for exercises and tips to help you build your skills and monetize them.\u003C/p>\u003Ch3 id=\"2-i-want-to-be-an-animator\">\u003Cstrong>2. I Want To Be An Animator\u003C/strong>\u003C/h3>\u003Cp>This blog is a goldmine for beginners: it provides exercises, tutorials, and insights to help you start your animation journey.\u003C/p>\u003Cp>Though the blog hasn't been updated in 3 years, it still offers timeless advice you'll surely find useful.\u003C/p>\u003Cp>\u003Cstrong>Why it's worth a read\u003C/strong> - Chiara Porri is a professional character animator who shares her knowledge and experience on her blog. The lessons are personal yet anchored in the reality of the industry, making them easy to understand and apply in real-life scenarios.\u003C/p>\u003Cp>Examples of blog posts:\u003C/p>\u003Cul>\u003Cli>\u003Ca href=\"https://iwanttobeananimator.wordpress.com/2020/05/31/tutorial-12-how-to-create-a-walk-cycle-in-15-steps/?ref=blog.cg-wire.com\">\u003Cu>How to Create a Walk Cycle in 15 Steps\u003C/u>\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"https://iwanttobeananimator.wordpress.com/2018/09/09/lesson-13-straight-ahead-and-pose-to-pose/?ref=blog.cg-wire.com\">\u003Cu>Straight-ahead and pose-to-pose animation\u003C/u>\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"https://iwanttobeananimator.wordpress.com/2018/09/12/tips-4/?ref=blog.cg-wire.com\">\u003Cu>Applying for a job\u003C/u>\u003C/a>\u003C/li>\u003C/ul>\u003Ch3 id=\"3-animation-mentor\">\u003Cstrong>3. Animation Mentor\u003C/strong>\u003C/h3>\u003Cp>Animation Mentor is an online animation school offering professional courses in 2D and 3D animation taught by industry experts working at major studios.\u003C/p>\u003Cp>\u003Cstrong>Why it's worth a read\u003C/strong> - The blog offers practical career advice and tips to help you become a better animator. It also features interviews with industry professionals working on big productions and students.\u003C/p>\u003Cp>Examples of blog posts:\u003C/p>\u003Cul>\u003Cli>\u003Ca href=\"https://www.animationmentor.com/blog/qa-with-spider-man-into-the-spiderverse-animator-nick-kondo/?ref=blog.cg-wire.com\">\u003Cu>Q&A with Spider-Man: Into the Spider-Verse Animator Nick Kondo\u003C/u>\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"https://www.animationmentor.com/blog/animation-students-share-workflow-tips-and-career-advice/?ref=blog.cg-wire.com\">\u003Cu>Animation Students Share Workflow Tips and Career Advice\u003C/u>\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"https://www.animationmentor.com/blog/animation-mentor-student-showcase-2023/?ref=blog.cg-wire.com\">\u003Cu>Animation Mentor Student Showcase 2023\u003C/u>\u003C/a>\u003C/li>\u003C/ul>\u003Ch2 id=\"learn-from-the-best\">\u003Cstrong>Learn from the Best\u003C/strong>\u003C/h2>\u003Cp>There are also blogs featuring the best in the industry sharing advice with fellow animators. They are not only a source of inspiration but also a way to learn inside knowledge on how to run animation productions more efficiently―from specific animation techniques to team management.\u003C/p>\u003Ch3 id=\"4-concept-art-empire\">\u003Cstrong>4. Concept Art Empire\u003C/strong>\u003C/h3>\u003Cp>Concept Art Empire features interviews with renowned artists in the animation industry but also more technical and career-oriented articles on concept art, 3D animation, and more.\u003C/p>\u003Cp>\u003Cstrong>Why it's worth a read\u003C/strong> - CAE is a great resource for animators to get inspiration, course reviews, and career advice from other animators.\u003C/p>\u003Cp>Examples of blog posts:\u003C/p>\u003Cul>\u003Cli>\u003Ca href=\"https://conceptartempire.com/become-a-concept-artist/?ref=blog.cg-wire.com\">\u003Cu>How To Become A Professional Concept Artist\u003C/u>\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"https://conceptartempire.com/david-trumble-interview/?ref=blog.cg-wire.com\">\u003Cu>Interview With Animation Story Artist David Trumble\u003C/u>\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"https://conceptartempire.com/make-an-art-portfolio-site/?ref=blog.cg-wire.com\">\u003Cu>How To Make Your Own Art Portfolio Website\u003C/u>\u003C/a>\u003C/li>\u003C/ul>\u003Ch3 id=\"5-tom-sito\">\u003Cstrong>5. Tom Sito\u003C/strong>\u003C/h3>\u003Cp>Tom Sito's blog is a treasure trove of animation history where you can discover the roots and evolution of animation as an art form.\u003C/p>\u003Cp>\u003Cstrong>Why it's worth a read\u003C/strong> - The first issue of Tom Sito's blog dates back to 2006, and he's been posting regularly ever since. A Professor of Cinematic Practice at USC's George Lucas School of Cinematic Arts, Tom Sito is a veteran animator who worked on productions such as \"Who Framed Roger Rabbit,\" \"The Little Mermaid,\" and \"The Lion King.\"\u003C/p>\u003Cp>Tom's blogs follow a format where he lists historical events as he stumbles upon them in his researches, so you'll sometimes find random facts like \u003Cem>\"1931- Happy Birthday Alka Seltzer! The fizzy tablet was invented by chemist Maurice Treener for the Dr. Miles Medicine Company of Indiana.\"\u003C/em>, but also interesting tidbits on animation history like \u003Cem>\"1988- The Walt Disney Company spun off a new production company named Hollywood Pictures. Like its sister Touchstone, it was created so Disney could release films with more mature subject matter like Mr. Holland’s Opus and The Sixth Sense.\"\u003C/em> and \u003Cem>\"1953- Ex- Esquire magazine art director and frustrated cartoonist Hugh Hefner published the first issue of Playboy Magazine.\"\u003C/em>.\u003C/p>\u003Ch3 id=\"6-john-kricfalusi\">\u003Cstrong>6. John Kricfalusi\u003C/strong>\u003C/h3>\u003Cp>John Kricfalusi, known professionally as John K., is a retired Canadian illustrator, animator, and voice actor. He is best known for creating The Ren & Stimpy Show.\u003C/p>\u003Cp>\u003Cstrong>Why it's worth a read\u003C/strong> - John K wrote and curated old school, Western-style animation techniques and tips on his blog. He also shares his thoughts on the animation industry and its evolution.\u003C/p>\u003Cp>Examples of blog posts:\u003C/p>\u003Cul>\u003Cli>\u003Ca href=\"http://johnkstuff.blogspot.com/search/label/animation%20lesson?ref=blog.cg-wire.com\">\u003Cu>Character design: body and head\u003C/u>\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"http://johnkstuff.blogspot.com/search/label/Ren%20and%20Stimpy?ref=blog.cg-wire.com\">\u003Cu>Doodles from the Ren and Stimpy show\u003C/u>\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"http://johnkstuff.blogspot.com/search/label/principles?ref=blog.cg-wire.com\">\u003Cu>Animation principles\u003C/u>\u003C/a>\u003C/li>\u003C/ul>\u003Ch3 id=\"7-allan-mckay\">\u003Cstrong>7. Allan McKay\u003C/strong>\u003C/h3>\u003Cp>Allan McKay is a VFX supervisor and technical director running a podcast interviewing VFX animation experts and leaders. The blog lists the podcast episodes, including transcripts, show notes, and additional resources.\u003C/p>\u003Cp>\u003Cstrong>Why it's worth a read\u003C/strong> - Not only the interviews are highly relevant to 3D animators, but the guests are also next level, including VFX artists and directors on major Hollywood productions.\u003C/p>\u003Cp>Examples of blog posts:\u003C/p>\u003Cul>\u003Cli>\u003Ca href=\"https://www.allanmckay.com/?ref=blog.cg-wire.com\" rel=\"noreferrer\">\u003Cu>Pixar President Jim Morris\u003C/u>\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"https://www.allanmckay.com/?ref=blog.cg-wire.com\" rel=\"noreferrer\">\u003Cu>VFX Legend Richard Edlund — The History of STAR WARS\u003C/u>\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"https://www.allanmckay.com/?ref=blog.cg-wire.com\" rel=\"noreferrer\">\u003Cu>AI YouTube Channel Theoretically Media – Founder Tim Simmons\u003C/u>\u003C/a>\u003C/li>\u003C/ul>\u003Ch2 id=\"friends-of-cgwire\">\u003Cstrong>Friends of CGWire\u003C/strong>\u003C/h2>\u003Cp>Last but not least, we need to mention our friends. We publish ads on a regular basis on these platforms so we didn't dare to mention them first. Still, they are among the best resources for VFX and animation!\u003C/p>\u003Ch3 id=\"8-animation-magazine\">\u003Cstrong>8. Animation Magazine\u003C/strong>\u003C/h3>\u003Cp>Similar to Cartoon Brew, Animation Magazine features the latest news of the animation industry.\u003C/p>\u003Cp>\u003Cstrong>Why it’s worth a read\u003C/strong> - Animation Magazine is available online but also in print, unlike Cartoon Brew so the information is curated. Just read the monthly release and get up to date with everything going on in the industry in one go!\u003C/p>\u003Cp>Examples of blog posts:\u003C/p>\u003Cul>\u003Cli>\u003Ca href=\"https://www.animationmagazine.net/2023/12/poultry-in-motion-a-set-visit-to-chicken-run-dawn-of-the-nugget/?ref=blog.cg-wire.com\">\u003Cu>Behind the scenes of Chicken Run: Dawn of the Nugget\u003C/u>\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"https://www.animationmagazine.net/2023/12/the-ballad-of-songbirds-snakes-vfx-supervisor-takes-us-inside-the-new-hunger-games-prequel/?ref=blog.cg-wire.com\">\u003Cu>Behind the scenes of Hunger Games: The Ballad of Songbirds & Snakes\u003C/u>\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"https://www.animationmagazine.net/2023/11/coming-attractions-30-new-animated-movies-to-track-in-2024/?ref=blog.cg-wire.com\">\u003Cu>30 Upcoming Animated Movies in 2024\u003C/u>\u003C/a>\u003C/li>\u003C/ul>\u003Ch3 id=\"9-before-and-afters\">\u003Cstrong>9. Before and Afters\u003C/strong>\u003C/h3>\u003Cp>Befores & afters is an online magazine for VFX animators publishing case studies, technical insights, and podcast interviews.  \u003C/p>\u003Cp>\u003Cstrong>Why it’s worth a read\u003C/strong> - Ian Failes is a VFX artist with extensive experience writing for publications like fxguide, Cartoon Brew, VFX Voice, 3D Artist, or Rolling Stone. He’s also the author of Masters of FX and a podcast host at The VFX Notes. \u003C/p>\u003Cp>Examples of blog posts:\u003C/p>\u003Cul>\u003Cli>\u003Ca href=\"https://beforesandafters.com/2023/12/15/weve-got-more-with-habib-zargarpour-on-the-vfx-notes-podcast/?ref=blog.cg-wire.com\">\u003Cu>Interview with Habib Zargarpour\u003C/u>\u003C/a> (Star Wars, The Phantom Menace)\u003C/li>\u003Cli>\u003Ca href=\"https://beforesandafters.com/2023/12/22/how-the-biggest-vfx-moments-in-ridley-scotts-napoleon-were-made/?ref=blog.cg-wire.com\">\u003Cu>VFX breakdowns of Napoleon\u003C/u>\u003C/a> by Ridley Scott\u003C/li>\u003Cli>\u003Ca href=\"https://beforesandafters.com/2023/12/21/check-out-savages-vfx-for-the-fight-scene-in-the-killer/?ref=blog.cg-wire.com\">\u003Cu>VFX breakdown of The Killer\u003C/u>\u003C/a> by David Fincher\u003C/li>\u003C/ul>\u003Cp>\u003Ca href=\"https://www.animationmagazine.net/2023/11/coming-attractions-30-new-animated-movies-to-track-in-2024/?ref=blog.cg-wire.com\">\u003C/a>\u003C/p>\u003Ch3 id=\"bonus-benjamin-cerbai\">\u003Cstrong>Bonus. Benjamin  Cerbai\u003C/strong>\u003C/h3>\u003Cp>If you like podcasts, check out \u003Ca href=\"https://www.youtube.com/@BenjaminCerbai?ref=blog.cg-wire.com\">\u003Cu>our friend Benjamin Cerbai’s\u003C/u>\u003C/a>. It's all in French, but if you can translate it in any way, it's an invaluable source of knowledge for anyone doing 2D animation! His YouTube channel is full of videos on any subject related to animation, from tutorials to in-depth artist interviews.\u003C/p>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>And that's a wrap: nine animation blogs we found interesting and worth a read to level up your animation skills and know-how of the industry. Remember that this list is non-exhaustive, and there are countless other valuable animation blogs out there. Feel free to reach out to suggest ideas!\u003C/p>\u003Cp>No matter how experienced you are as an animator, it's essential to develop a set of habits to keep you informed―whether it's books, blogs, or social media channels. Blogs are getting less popular, but they still offer a curated source of information that can help you stay on top of the latest trends and techniques while reminding you of the basics and the rich history of the industry.\u003C/p>\u003Cp>Don't forget to check out CGWire's blog for everything related to animation production: we cover topics like animation production management, CG pipelines, animation software and more. Until next time!\u003C/p>\u003Cp>\u003C/p>\u003Cp>\u003Cem>Make sure to \u003C/em>\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\">\u003Cem>join us on Discord\u003C/em>\u003C/a>\u003Cem> if you need additional resources for your creative projects or want to hang out with 1000+ animation experts from all over the world!\u003C/em>\u003C/p>",{"uuid":499,"comment_id":500,"feature_image":501,"featured":105,"visibility":10,"created_at":502,"updated_at":503,"custom_excerpt":504,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":505,"primary_tag":506,"url":507,"excerpt":504,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":508},"3844b01d-3d59-43e6-935f-3cd2370bf40f","65804928e6322600015741d4","https://images.unsplash.com/photo-1546074177-ffdda98d214f?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDd8fGJsb2d8ZW58MHx8fHwxNzAyOTA2MTc4fDA&ixlib=rb-4.0.3&q=80&w=2000","2023-12-18T14:29:12.000+01:00","2026-03-27T11:09:48.000+01:00","In this blog post, we explore nine of the best animation blogs to help you broaden your horizons and become a better animator!\n",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/the-top-9-animation-blogs-to-level-up-your-knowledge/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@sincerelymedia?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Sincerely Media\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/the-top-9-animation-blogs-to-level-up-your-knowledge","2024-01-11T13:20:48.000+01:00",{"title":494},"the-top-9-animation-blogs-to-level-up-your-knowledge","posts/the-top-9-animation-blogs-to-level-up-your-knowledge",[515],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"tv75BvtmGcThTC3bjcDa_MEP5OnS7wLtiEr1-5m3Pek",{"id":518,"title":519,"authors":520,"body":7,"description":7,"extension":8,"html":522,"meta":523,"navigation":13,"path":534,"published_at":535,"seo":536,"slug":537,"stem":538,"tags":539,"__hash__":541,"uuid":524,"comment_id":525,"feature_image":526,"featured":105,"visibility":10,"created_at":527,"updated_at":528,"custom_excerpt":529,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":530,"primary_tag":531,"url":532,"excerpt":529,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":533},"ghost/posts:how-to-design-animation-exercises-to-level-up-your-skill.json","How To Design Animation Exercises To Level Up Your Skills In 2026",[521],{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},"\u003Cp>Even if you were to \u003Ca href=\"https://blog.cg-wire.com/youtube-animation-channel/\">\u003Cu>watch hundreds of Youtube videos\u003C/u>\u003C/a> on how to create animations, nothing beats hands-on practice: if you want to be an animator, just animate!\u003C/p>\u003Cp>But getting into an exercise routine can be overwhelming. Maybe you don't know where to start or you're just too scattered to keep yourself consistent, or you don't feel very inspired by the exercises you found online. Experienced animators have all been there at some point, so don't sweat it: in this blog post, we give you short mindset tips to build your own exercise routine and help you level up your animation skills.\u003C/p>\u003Cp>By the end of this article, you'll have a solid plan to follow.\u003C/p>\u003Ch2 id=\"learn-by-doing\">\u003Cstrong>Learn by Doing\u003C/strong>\u003C/h2>\u003Cp>Animation is a tacit skill: it can't be easily taught through words, you just have to do it! An exercise routine is particularly interesting to get yourself compounding results over time without feeling overwhelmed. Practice for 30 minutes every day―whether it's during lunch break, before bed time, or after school―and you'll improve by leaps and bounds in no time.\u003C/p>\u003Cp>But mindless repetition won't get you far―you need to ramp up difficulty. This is why instead of giving you homework in the form of a purposeless checklist of exercises, we want to give you a general roadmap to come up with your own workout plan! Understanding the principles of animation and focusing on applying them purposefully in each exercise by setting clear intentions for what you want to achieve is key to make consistent progress.\u003C/p>\u003Cp>Last but not least, exercise routines are not only essential for improving your skills, but also to keep your portfolio fresh and attractive to animation studios.\u003C/p>\u003Cp>Now you get the gig, let's dive straight into it.\u003C/p>\u003Ch2 id=\"1-create-your-own-projects\">\u003Cstrong>1. Create Your Own Projects\u003C/strong>\u003C/h2>\u003Cp>First of all, you need just enough emotional attachment to keep you hooked. While learning how to animate a bouncing ball is important, it can also be pretty boring!\u003C/p>\u003Cp>Go wild instead―by working on your own projects!\u003C/p>\u003Cp>Taking on challenges that align with your interests and long-term goals is much better to apply theoretical knowledge to real-world scenarios and foster a deeper understanding of the animation process. We humans are emotional animals: we learn faster when we enjoy it!\u003C/p>\u003Cp>For instance, you can write a short 5-second script and try to animate it. Use your surroundings to find inspiration, and keep a notebook handy to record your thoughts when it strikes.\u003C/p>\u003Cp>If you find yourself stuck, ask ChatGPT to brainstorm ideas with you: \"Hey, AI overlord. I want to learn to animate foxes. Give me short animation ideas please?\"\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-us.googleusercontent.com/5t2aUIMSBbHYTctdHhpyKpdMYCmwGCDDh8Hxei-Gs42Z5w3XIYdeb2p1-UqL8iIUeM-wVr3GjFFoGXFlNRa5EDLpvGm-62NIK7mUqaADruFc0cWccbtLr3AW7gSJ7XKrEypOX9gxOc9gN5CeXVZ1H68\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"700\" height=\"455\">\u003C/figure>\u003Ch2 id=\"2-work-with-others\">\u003Cstrong>2. Work with Others\u003C/strong>\u003C/h2>\u003Cp>Join forces with fellow animators, artists, or even writers. Working in a team is the heart of all animation studios. It'll expose you to different perspectives, challenge you to adapt to various art styles, and enhance your problem-solving skills.\u003C/p>\u003Cp>Even though collaboration is far from easy―\u003Ca href=\"https://blog.cg-wire.com/how-to-give-efficient-animation-feedback/\">\u003Cu>conflicts are bound to happen one day or another\u003C/u>\u003C/a>―it's absolutely crucial to learn from others too because you can't gauge your progress without feedback!\u003C/p>\u003Cp>And the best part is you don't need be in art school or work in a studio to find collaborators. You can find them all over the Internet: on Discord, Reddit, Instagram, TikTok, Youtube, or even on Twitter / X. Just go out there and ask.\u003C/p>\u003Cp>(we run a Discord server for animation experts by the way,\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\"> \u003Cu>feel free to join us\u003C/u>\u003C/a>!)\u003C/p>\u003Ch2 id=\"3-storyboard\">\u003Cstrong>3. Storyboard\u003C/strong>\u003C/h2>\u003Cp>On particularly-busy days, schedule some time to create short storyboards!\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh7-us.googleusercontent.com/CLPsaCgnSt6ItVZcJEWPIktM7ePeYz3h4MFj01VcrDedcbEUIbGa7XmRj_uDhEZyu3WhlxqxWgqFeV9WR4utnmNUHlPoZKlTgeMDBC23-7lHf8KKWpXJf4zSV5BP1ePCG8cMt_I2NLkMd2bjiFAINRc\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"800\" height=\"800\">\u003C/figure>\u003Cp>\u003Ca href=\"https://blog.cg-wire.com/storyboard-animation/\">\u003Cu>Storyboarding is an essential skill\u003C/u>\u003C/a> for animators to plan and visualize the sequence of images before diving into the detailed work. It's perfect when you don't want to go all the way to render a full blown animation, but it'll help you learn to quickly figure out how to frame, pace, and compose scenes.\u003C/p>\u003Cp>To become a professional implies learning to draw fast while getting the details right: character positions, design, and movement flow. A storyboard allows you to experiment with that, and all you need are a notebook and a pencil.\u003C/p>\u003Ch2 id=\"4-context-matters\">\u003Cstrong>4. Context Matters\u003C/strong>\u003C/h2>\u003Cp>Remember it's not just about what you animate but why: conveying emotions by telling a story. You need to understand and add context to your animation to give it depth.\u003C/p>\u003Cp>Imagine a character sitting alone at a park bench. She starts with a neutral expression, then slowly breaks into a warm, genuine smile. The animation isn't just about the mechanical movement of lips and cheeks to form a smile―it's about conveying the emotion of happiness and contentment.\u003C/p>\u003Cp>Part of your exercise routine could sometimes integrate scene breakdowns including notes on character acting (how the character reacts to various emotional triggers like joy, sadness, anger) and character interactions (movements involving two or more characters) but also more abstract animations to visualize emotions through shapes, colors, materials, and techniques.\u003C/p>\u003Ch2 id=\"5-animation-specific-exercises\">\u003Cstrong>5. Animation-Specific Exercises\u003C/strong>\u003C/h2>\u003Cp>When you try to find animation exercices online, you'll read lists like \"animate a character walking in different styles\", \"animate a swinging pendulum\", or \"create an explosion effect\". But life is made up of hundreds of thousands of micro-interactions and you'll never have enough years to do them all, let alone all the possibilities offered to your imagination.\u003C/p>\u003Cp>Instead, you need to view animations like puzzles to solve in your mind first:\u003C/p>\u003Cul>\u003Cli>Choose your favorite classic animation clips on YouTube, or real-life footages of a movement you want to reproduce, and watch them in slow speed mode.\u003C/li>\u003Cli>Break down each movement, keyframe by keyframe.\u003C/li>\u003Cli>Start with the first keyframe and draw the important parts. If you animate an opening hand for example, you need to get the fingers and the palm right.\u003C/li>\u003Cli>Repeat until completing a basic storyboard.\u003C/li>\u003C/ul>\u003Cp>Getting a sense of the flow and what elements to pay attention to is what matters most in animation-specific exercices, but the learning process is always similar.\u003C/p>\u003Cp>As you gain more experience, breaking down movements will become second nature and you'll be able to animate anything you want.\u003C/p>\u003Ch2 id=\"6-camera-movement\">\u003Cstrong>6. Camera Movement\u003C/strong>\u003C/h2>\u003Cp>In filmmaking, the position and movement of the camera is another important aspect of storytelling. Animations are no different.\u003C/p>\u003Cp>Experiment with camera animations like pans, zooms, tilts... whatever you find interesting while binge-watching Netflix or going to the theater!\u003C/p>\u003Ch2 id=\"7-share-your-art\">\u003Cstrong>7. Share Your Art\u003C/strong>\u003C/h2>\u003Cp>Last but not least, putting yourself out there is a crucial step in your journey as an animator.\u003C/p>\u003Cp>As we previously mentionned, mindless repetition won't get you far: sharing your work not only allows you to showcase your skills but also opens the door to valuable feedback that can propel your growth.\u003C/p>\u003Cp>Consider platforms with existing animation communities: Instagram, Youtube, Tiktok, etc. You can also join CGWire's Discord to meet like-minded animators.\u003C/p>\u003Cp>Then, build a portfolio―a website showcasing your best work, giving potential collaborators and employers a comprehensive view of your skills. It's important you own your own platform as well.\u003C/p>\u003Cp>Don't shy away from seeking feedback on your animations from people who aren't necessarily animation experts. Join online communities, forums, or social media groups dedicated to animation. Channels like Reddit's r/animation are great places to share your work and receive constructive feedback.\u003C/p>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>Animation exercises are great to diversify your skill set and challenge yourself to grow as an animator. But it's essential to keep in mind that the goal is not to complete a checklist of exercises but to learn to apply the principles of animation to real-world scenarios.\u003C/p>\u003Cp>The core principle emphasized throughout is the importance of learning by doing but with intentional progression. 30 minutes of daily practice compound to 15 hours over a month. 180 hours over a year. If you think of creative ways to integrate these exercises into your quotidian rituals, you won’t even feel a thing! The best moment to start is now.\u003C/p>\u003Cp>\u003Cem>Make sure to \u003C/em>\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\">\u003Cem>join us on Discord\u003C/em>\u003C/a>\u003Cem> if you need additional help with exercise routine or just want to hang out with 1000+ animation experts from all over the world!\u003C/em>\u003C/p>",{"uuid":524,"comment_id":525,"feature_image":526,"featured":105,"visibility":10,"created_at":527,"updated_at":528,"custom_excerpt":529,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":530,"primary_tag":531,"url":532,"excerpt":529,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":533},"6aa9c344-310e-45d9-b290-75f02083930a","656dc1792bc5c200019260dc","https://images.unsplash.com/photo-1608804375369-498a4b601e42?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDE1fHxza2V0Y2glMjBhbmltYXRpb258ZW58MHx8fHwxNzAxNjk1NDA0fDA&ixlib=rb-4.0.3&q=80&w=2000","2023-12-04T13:09:29.000+01:00","2026-02-20T06:04:35.000+01:00","Getting into an exercise routine can be overwhelming. Maybe you don't know where to start or you're just too scattered to keep yourself consistent, or you don't feel very inspired by the exercises you found online. ",{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-design-animation-exercises-to-level-up-your-skill/","\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@groove328?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Andrey Novik\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/how-to-design-animation-exercises-to-level-up-your-skill","2023-12-05T09:22:01.000+01:00",{"title":519},"how-to-design-animation-exercises-to-level-up-your-skill","posts/how-to-design-animation-exercises-to-level-up-your-skill",[540],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"9GygL9FRJfkWNZi7DeNyiclCN6trLhGdcjQ9_3QxKIc",{"id":543,"title":544,"authors":545,"body":7,"description":7,"extension":8,"html":547,"meta":548,"navigation":13,"path":560,"published_at":561,"seo":562,"slug":563,"stem":564,"tags":565,"__hash__":567,"uuid":549,"comment_id":550,"feature_image":551,"featured":105,"visibility":10,"created_at":552,"updated_at":553,"custom_excerpt":554,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":555,"primary_tag":556,"url":557,"excerpt":554,"reading_time":558,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":559},"ghost/posts:how-to-give-efficient-animation-feedback.json","How To Give Efficient Animation Feedback (2026)",[546],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>We've all been there. You pour hours of work into completing a task only for your team to give vague, contradictory, or harsh feedback upon sharing your progress. Your day is ruined. You go through it anyway and sleep on it. But the next day\u003Cem>,\u003C/em> your client praises you\u003Cem>,\u003C/em> and it's like the sun shines a little brighter: nobody likes bad feedback, but few animation studios teach the skills to provide it constructively.\u003C/p>\u003Cp>This is a mistake, because feedback is how you go from done to great.\u003C/p>\u003Cp>In this article, we'll explore the importance of feedback in animation and offer valuable insights on how to provide constructive criticism, when to seek input, and how our production tracker tool Kitsu helps brighten the feedback process.\u003C/p>\u003Ch2 id=\"1-why-feedback-is-key-in-animation\">\u003Cstrong>1. Why Feedback is Key in Animation\u003C/strong>\u003C/h2>\u003Cp>Animation is a collaborative effort where animators work together towards a common goal. Without open communication among team members, nothing can get done: everybody has their own roles, with their unique perspectives, and managing to combine these perspectives through continuous feedback is how great animation is born.\u003C/p>\u003Cp>Unresolved issues, miscommunications, or constant revisions can quickly inflate production costs. If a mistake slips up in a 3D character model and you have to re-render the entire episode, you'll feel the pain. Constructive feedback ensures that resources are allocated efficiently, saving time and money in the long run.\u003C/p>\u003Cp>But more importantly, bad feedback also reduces morale: when feedback is delivered in a negative way, we are less likely to go out of our way to improve. Our sense of accomplishment is tarnished, and the loop of bad feedback continues. Feeling part of a team and that our work is valued is how you create loyal, happy employees that will push the quality of your animation to its limits.\u003C/p>\u003Ch2 id=\"2-how-to-give-constructive-feedback-with-non-violent-communication\">\u003Cstrong>2. How to Give Constructive Feedback With Non-Violent Communication\u003C/strong>\u003C/h2>\u003Cp>As we mentionned, there are right ways and wrong ways to give feedback.\u003C/p>\u003Cp>The \"sandwich\" approach (compliment-critique-compliment) is a common method: \"I like what you did, but this needs fixing. I really like what you did, though.\"\u003C/p>\u003Cp>While this comes naturally to some, it can feel forced and insincere. It's easy to make up a \"compliment\" or forget it entirely to focus on the negative. Honesty is the basis of trust, and it requires a little bit more vulnerability to be honest about what you don't like.\u003C/p>\u003Cp>Instead, we recommend using Non-Violent Communication (NVC) to provide more constructive, humane feedback. It is often advised to focus on the work, not the person, to keep your feedback objective and avoid interpersonal conflicts. The problem is, work IS deeply personal. An animator wants to be proud of their work, and it's hard not to take criticism personally. NVC is a method in 4 steps that takes into account this psychological aspect:\u003C/p>\u003Col>\u003Cli>Observations - Explain what I sense that doesn’t contribute to my well-being. Example: \"I see that the character's eyes are not aligned.\"\u003C/li>\u003Cli>Feelings - Explain what feelings these observations causes me. Example: \"I feel frustrated because I put hours into designing this character.\"\u003C/li>\u003Cli>Needs - What I value in my work that causes these feelings in the first place. Example: \"I need to feel like my work is respected.\"\u003C/li>\u003Cli>Requests - What I would like to see happen that would make my job better. Example: \"Please pay closer attention to the design sheets.\"\u003C/li>\u003C/ol>\u003Cp>The exchange goes both ways because it's important to get each other's perspective.\u003C/p>\u003Cp>While you should always strive for positive, constructive suggestions, it doesn’t mean you should be afraid of conflicts. Instead of saying \"This is terrible,\" say \"This could be improved by...\". But encourage open dialogue by listening to the artist's perspective and addressing their concerns. Vague feedback is seldom helpful, so extra patience is required with collaborators who have trouble communicating how they feel.\u003C/p>\u003Cp>When conflict arises, consent is key. If you're not sure how to proceed, ask for permission to take a decision. This ensures that the other person is included and their needs are met. For example, \"I think we should go with Tom's design. What should we add from yours to make it better?\"\u003C/p>\u003Ch2 id=\"3-when-to-seek-feedback\">\u003Cstrong>3. When To Seek Feedback\u003C/strong>\u003C/h2>\u003Cp>While it may be tempting to pat your colleague on the back and seek feedback constantly, excessive interruptions cause frustration: it's crucial to strike a balance between refining your own work and allowing the team to make progress.\u003C/p>\u003Cp>One solution to this dilemma is asynchronous feedback through tools like Kitsu. They offer the convenience of leaving comments and suggestions directly on the animation, allowing team members to review and respond at their own pace. Just leave a comment on the frame you want to discuss about and move on with your work. They'll get a notification and can reply when they're ready.\u003C/p>\u003Cp>With versioning support, colloaboration tools like Kitsu ensure that feedback is tied to the specific iteration of the animation, reducing confusion and streamlining the revision process. You can easily compare versions to see what changed and why. It also allows you to work on something without waiting for feedback on another task.\u003C/p>\u003Ch2 id=\"4-how-to-do-in-person-reviews\">\u003Cstrong>4. How to Do In-Person Reviews\u003C/strong>\u003C/h2>\u003Cp>In-person reviews remain a valuable method for providing feedback. It's a great way to get everyone on the same page and discuss the animation as a team.\u003C/p>\u003Cp>Review the work thoroughly before the meeting so you can provide specific and informed feedback. Take notes and be ready to discuss your observations using the NVC methodology.\u003C/p>\u003Cp>There are various techniques for conducting in-person reviews, like frame-by-frame analysis. Try different methods to see which suits your team's needs and ensure that everyone is on the same page.\u003C/p>\u003Cp>For instance, Kitsu has a sync review feature that makes it easy to watch the animation together and leave comments in real time. This is a great way to get everyone's input, whether some people are working remotely or not.\u003C/p>\u003Ch2 id=\"5-dont-forget-documentation\">\u003Cstrong>5. Don't Forget Documentation\u003C/strong>\u003C/h2>\u003Cp>Documenting feedback is often overlooked but is crucial for reference and future decision-making. It serves as a record of design choices, discussions, and agreements.\u003C/p>\u003Cp>Whether it's a simple spreadsheet, a project management tool, or integrated feedback platforms, having a centralized repository for feedback ensures that valuable information is never lost. You can add notes to frames, but you can also add actionable steps resulting from your feedback process to your task list. Tools like Kitsu are ideal to keep the history of the discussions.\u003C/p>\u003Cp>From experience, similar conflicts tend to arise from one production to the next, and having a record of how you resolved them in the past can save you a lot of time and frustration.\u003C/p>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>Feedback doesn’t have to be tedious. It should be part of an animation studio's work culture to seek excellence; feedback is valuable. The pain points are deeply human, but nothing is impossible to overcome with the right methodology.\u003C/p>\u003Cp>NVC combined with Kitsu features is a great start. NVC allows us to clearly identify the issues or areas that need improvement, considering the emotional aspect of giving and receiving feedback. Kitsu acts as a centralized repository for feedback, ensuring that everyone's contributions are never lost but also acted upon.\u003C/p>\u003Cp>\u003Cem>Make sure to \u003C/em>\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\">\u003Cem>join us on Discord\u003C/em>\u003C/a>\u003Cem> if you need additional help with creative project collaboration or just want to hang out with 1000+ animation experts from all over the world!\u003C/em>\u003C/p>",{"uuid":549,"comment_id":550,"feature_image":551,"featured":105,"visibility":10,"created_at":552,"updated_at":553,"custom_excerpt":554,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":555,"primary_tag":556,"url":557,"excerpt":554,"reading_time":558,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":559},"9d279b25-d0d1-4a65-b16d-2b097c59d5c3","6565afdde00728000153adf7","https://images.unsplash.com/photo-1509909756405-be0199881695?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDExfHxmZWVkYmFja3xlbnwwfHx8fDE3MDExNjMyOTF8MA&ixlib=rb-4.0.3&q=80&w=2000","2023-11-28T10:16:13.000+01:00","2026-03-26T10:37:19.000+01:00","You pour hours of work into completing a task only for your team to give vague, contradictory, or harsh feedback upon sharing your progress. Your day is ruined. You go through it anyway and sleep on it. But the next day, your client praises you, and it's like the sun shines a little brighter.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-give-efficient-animation-feedback/",5,"\u003Cspan style=\"white-space: pre-wrap;\">Photo by \u003C/span>\u003Ca href=\"https://unsplash.com/@artbyhybrid?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Madison Oren\u003C/span>\u003C/a>\u003Cspan style=\"white-space: pre-wrap;\"> / \u003C/span>\u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">\u003Cspan style=\"white-space: pre-wrap;\">Unsplash\u003C/span>\u003C/a>","/posts/how-to-give-efficient-animation-feedback","2023-11-28T10:23:08.000+01:00",{"title":544},"how-to-give-efficient-animation-feedback","posts/how-to-give-efficient-animation-feedback",[566],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"QyrYRuKLvZg50uM6TW5HhfaBMJuGuOYar1SkB7ZFGvI",{"id":569,"title":570,"authors":571,"body":7,"description":7,"extension":8,"html":573,"meta":574,"navigation":13,"path":585,"published_at":586,"seo":587,"slug":588,"stem":589,"tags":590,"__hash__":592,"uuid":575,"comment_id":576,"feature_image":577,"featured":105,"visibility":10,"created_at":578,"updated_at":579,"custom_excerpt":580,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":581,"primary_tag":582,"url":583,"excerpt":580,"reading_time":198,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":584},"ghost/posts:how-to-manage-your-animation-production-budget.json","How To Manage Your Animation Production Budget (2026)",[572],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>Your budget is your animation studio’s lifeline: you need to take care of it because your team’s livelihood depends on it. In this article, we list 9 points to consider to make the most of your animation budget. These best practices originate from our own experience as well as our customers, so we hope you find them useful. In the last section, we also give you tips on how to raise more funds. Without further ado, let’s get straight into it!\u003C/p>\u003Ch2 id=\"1-careful-project-management\">\u003Cstrong>1. Careful project management\u003C/strong>\u003C/h2>\u003Cp>\u003Ca href=\"https://blog.cg-wire.com/how-much-cost-a-cgi-tv-show-52-episodes-of-12-mn/\">Your animation budget is proportional to the time required\u003C/a> to complete the production: careful project management is crucial to staying on time and on budget.\u003C/p>\u003Cp>By defining the project scope, objectives, and timeline in advance, you can accurately estimate costs and prevent unnecessary expenses. \u003Cstrong>Good planning\u003C/strong> also helps avoid scope creep. Regularly tracking the budget against the plan provides early insights into any deviations, allowing for adjustments and successful delivery of the animation project within budget constraints. \u003C/p>\u003Cp>(Of course a production tracker like \u003Ca href=\"https://www.cg-wire.com/production-tracker?ref=blog.cg-wire.com\">Kitsu is ideal to set tasks and manage expectations\u003C/a> :))\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh3.googleusercontent.com/PFQltPYMi0ZEyLVyoxxNA-otLl9CmoPUKBar7YGNNch3YzRqF7FfEz2dJADGoU3YxTZASocUyU4xt6hXLtg5fZQXw-ZChdYOgDq5ILhmRzFGpkBcAY1rb-l4NgSFPv6aCOCx6mGtqTpMDZ8vUVC60ZA\" class=\"kg-image\" alt loading=\"lazy\" width=\"624\" height=\"361\">\u003C/figure>\u003Cp>\u003Cstrong>Proper feedback and communication loops\u003C/strong> are also key to decreasing both stress and costs: when you know exactly what needs to be done and when there is less guessing and overthinking. The artists talk to the supervisor, who talks to the director, generating data and increasing productivity. This allows production managers and accountants to do their jobs better, which in turn enables the artists to work better. As a result, the director can push the boundaries further, ensuring the data is up-to-date and accurate. This virtuous cycle leads to budget optimizations that wouldn’t be possible otherwise. \u003C/p>\u003Cp>Your team’s hourly rate is the main budget cost so it’s crucial to keep things flowing at all times. \u003Cstrong>A culture of transparency\u003C/strong> with all stakeholders can also come in handy to raise more funds as needed, as we’ll see in the last section.\u003C/p>\u003Ch2 id=\"2-include-error-margins\">\u003Cstrong>2. Include error margins\u003C/strong>\u003C/h2>\u003Cp>\u003Cstrong>10% of the budget should be allocated to risk management\u003C/strong>. Identifying potential risks during the planning phase allows for the creation of contingency plans reducing the likelihood of budget overruns due to unexpected challenges.\u003C/p>\u003Cp>Including a margin for error is essential to maintain control over your animation project budget. No matter how well you plan, \u003Cstrong>unforeseen challenges and uncertainties can arise\u003C/strong> during the project's execution― These might include unexpected technical difficulties, long revisions, client feedback, or production delays. Incorporating a margin for error creates a financial cushion.\u003C/p>\u003Cp>\u003Cstrong>It also provides flexibility\u003C/strong> and room for adjustments without compromising the overall project quality or timeline. It allows you to handle unexpected costs or changes without having to scramble for additional funds or sacrifice important aspects of the project.\u003C/p>\u003Ch2 id=\"3-avoid-retakes\">\u003Cstrong>3. Avoid retakes\u003C/strong>\u003C/h2>\u003Cp>Retakes occur when parts of the animation need to be redone due to errors, revisions, or client feedback. Each retake consumes additional resources, including time, labor, and potentially new assets. These extra iterations can significantly increase production costs and cause delays.\u003C/p>\u003Cp>\u003Cstrong>Good planning\u003C/strong> is half the battle. \u003Cstrong>Effective communication\u003C/strong> with clients or stakeholders throughout the project can also minimize the need for retakes. By ensuring alignment on project goals, creative vision, and deliverables, you can avoid misunderstandings that may lead to costly revisions.\u003C/p>\u003Cp>\u003Cstrong>Planning more time for pre-production\u003C/strong> also reduces the likelihood of retakes: thoroughly reviewing storyboards, animatics, and thumbnails can help identify potential issues early on, allowing for corrections before full production begins. Also, make use of adding comments and notes to remove guesswork.\u003C/p>\u003Cp>\u003Cstrong>Begin with the end in mind too\u003C/strong>: if you already know a character will only be shown for a split second with its back facing the viewer, you probably don’t need much details.\u003C/p>\u003Cp>It’s a good idea to \u003Cstrong>include retakes in your planning\u003C/strong> as they help make the production more flexible when a change arises. Just limit the number of retakes to a reasonable amount and price them accordingly to avoid going over budget.\u003C/p>\u003Ch2 id=\"4-work-with-several-studios\">\u003Cstrong>4. Work with several studios\u003C/strong>\u003C/h2>\u003Cp>If you outsource work, sending a request for proposal (RFP) to different animation studios is a strategic approach to gain insights into the different services, pricing structures, and capabilities available in the market. Comparing the proposals allows you to make informed decisions based on budget considerations: You can assess the cost estimates provided by each studio and select the one that aligns best with your financial constraints while meeting your project requirements.\u003C/p>\u003Cp>The competitive nature of the bidding process encourages studios to offer competitive pricing, potentially leading to cost savings for your animation project. The process also helps you gain a clear understanding of the services included in each proposal, preventing any hidden costs or surprises down the line. It ensures transparency and accountability from the selected studio, reducing the risk of unexpected budget overruns.\u003C/p>\u003Cp>You can also work with several studios to leverage their unique strengths. Kitsu made several multi-studio collaboration works in the past by simply allowing directors to keep track of all deliverables in real-time. It doesn’t matter if the animator works in-house or not, as long as you are aligned on what needs to be done.\u003C/p>\u003Ch2 id=\"5-use-a-render-farm\">\u003Cstrong>5. Use a render farm\u003C/strong>\u003C/h2>\u003Cp>If you do 3D animation, \u003Ca href=\"https://blog.cg-wire.com/partnership-with-ranch-computing/\">using a render farm\u003C/a> is a cost-effective strategy. Rendering is a resource-intensive process that can be time-consuming and expensive when done on individual workstations. With a render farm, you can distribute rendering tasks across a network of powerful servers, significantly reducing the time needed to complete the rendering process.\u003C/p>\u003Cp>The accelerated rendering time allows you \u003Cstrong>to meet tight production schedules, avoid delays, and potentially save on labor costs\u003C/strong> associated with extended rendering periods.\u003C/p>\u003Cp>Render farms also provide scalability, enabling you \u003Cstrong>to handle large-scale projects\u003C/strong> without the need to invest in expensive hardware upgrades. This flexibility ensures you can efficiently allocate resources as needed, avoiding under or overprovisioning.\u003C/p>\u003Ch2 id=\"6-don%E2%80%99t-throw-more-people-at-a-problem\">\u003Cstrong>6. Don’t throw more people at a problem\u003C/strong>\u003C/h2>\u003Cp>More isn’t always better: adding more human power to a late project isn’t going to help if you run over budget and people delay each other’s work:\u003C/p>\u003Cul>\u003Cli>Adding more team members can require time and resources for training and onboarding, which can initially slow down the production process.\u003C/li>\u003Cli>Larger teams lead to communication challenges and coordination issues, resulting in inefficiencies and reduced productivity.\u003C/li>\u003Cli>Increasing the workforce without proper planning can result in a lack of clear roles and responsibilities, leading to duplication of efforts or gaps in production.\u003C/li>\u003Cli>A larger team requires increased managerial oversight, which can divert attention from the creative aspects of the project and impact its overall quality.\u003C/li>\u003Cli>More people means increased overhead costs like office space, equipment, and benefits, which can strain the project's budget.\u003C/li>\u003C/ul>\u003Cp>Before hiring more people, \u003Cstrong>focus on effective team management, streamlined workflows, and optimal resource allocation\u003C/strong>. Once you get those right, hire more people if needed.\u003C/p>\u003Ch2 id=\"7-use-stock-models\">\u003Cstrong>7. Use stock models\u003C/strong>\u003C/h2>\u003Cp>A large portion of an animation budget goes toward modeling and rigging so using stock models can significantly reduce animation costs with pre-made, ready-to-use 3D models or character rigs that can be incorporated into your animation projects.\u003C/p>\u003Cp>Stock models save time and resources that would otherwise be spent on creating custom models from scratch or hiring artists to design them. \u003Cstrong>They are typically more affordable\u003C/strong> compared to commissioning custom models, which helps keep the budget under control, but \u003Cstrong>they are also often high-quality\u003C/strong> and professionally designed, ensuring a polished look for your animation without compromising on the final output.\u003C/p>\u003Cp>\u003Cstrong>Animators can then focus more on the creative aspects\u003C/strong> of the project rather than spending excessive time on repetitive modeling tasks, using stock models as a base. This efficiency leads to faster production times and enables quicker project turnaround.\u003C/p>\u003Ch2 id=\"8-keep-it-simple\">\u003Cstrong>8. Keep it simple\u003C/strong>\u003C/h2>\u003Cp>Complexity in character and location design requires more time and resources to create, animate, and render: highly detailed and realistic elements demand more intricate modeling, texturing, and lighting, leading to extended production periods and increased costs.\u003C/p>\u003Cp>By \u003Cstrong>adhering to the 80/20 rule\u003C/strong>―focusing on the essential details that contribute to the narrative or visual appeal and avoiding unnecessary intricacies―you can allocate resources more efficiently.\u003C/p>\u003Cp>Creating more characters will result in more models and more budget spending, so you also need to watch out for those. Prioritize what needs to be done to push the story forward, then work on nice-to-have details depending on the remaining budget. For an animated series, you can alternate between complex and simpler-to-make episodes to stretch your team workload over a longer period to avoid burnout.\u003C/p>\u003Ch2 id=\"9-choose-the-appropriate-animation-style\">\u003Cstrong>9. Choose the appropriate animation style\u003C/strong>\u003C/h2>\u003Cp>Using the right animation type is crucial for keeping your budget under control because different animation techniques have varying levels of complexity, time requirements, and costs associated with them with specific skill sets, tools, and resources needed.\u003C/p>\u003Cp>\u003Cstrong>\u003Ca href=\"https://blog.cg-wire.com/the-main-types-of-animation/\">Choosing an animation type\u003C/a> that aligns with your project's scope and budget\u003C/strong> constraints is essential. For example, 2D animation might be more cost-effective and faster to produce for certain projects compared to 3D animation, which typically demands more people with specialized skills.\u003C/p>\u003Ch2 id=\"bonus-increase-the-budgethow-to-raise-more-funds-or-request-additional-funding\">\u003Cstrong>Bonus: Increase the budget -  How to raise more funds or request additional funding\u003C/strong>\u003C/h2>\u003Cp>There are often alternative income sources you can leverage to avoid running out of budget:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Crowdfunding\u003C/strong> through platforms like Kickstarter or Indiegogo can attract support from a broad audience.\u003C/li>\u003Cli>Seeking \u003Cstrong>additional investors\u003C/strong> like individual backers, production companies, or studios, is another option.\u003C/li>\u003Cli>Researching and applying for \u003Cstrong>grants, scholarships, or funding programs\u003C/strong> from government agencies, non-profits, or artistic foundations.\u003C/li>\u003Cli>Selling \u003Cstrong>pre-sale rights or licensing deals\u003C/strong> to distribution platforms or broadcasters\u003C/li>\u003Cli>\u003Cstrong>Partnerships with brands\u003C/strong> for cross-promotion in exchange for financial support is another avenue\u003C/li>\u003Cli>Selling related \u003Cstrong>merchandise\u003C/strong> on platforms like Etsy or Teespring can generate additional income.\u003C/li>\u003C/ul>\u003Cp>When dealing with third-party entities like investors or organizations, remember to \u003Cstrong>showcase the value and potential of your animation\u003C/strong> \u003Cstrong>project with concrete data-driven evidence\u003C/strong>, and be prepared to provide detailed plans for how the additional funds will be used to complete the project.\u003C/p>\u003Cp>For example, Kitsu helps demonstrate the progress made since the initial investment and highlights achieved milestones, showing how investment has contributed to the project's advancement and the potential for further success with additional funding. You can also showcase the market potential, your financial projections based on your animation pipeline data, your team’s productivity, and your portfolio of past projects.\u003C/p>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>Managing an animation budget can feel overwhelming when your team depends on you, but having the right methods and tools drastically reduces risks. Plan and track your expenses as you go to keep things manageable: you can’t control what you don’t measure.\u003C/p>\u003Cp>By applying best practices you will avoid most of the pitfalls and make sure that any situation can be managed. Your producer and your team will spend a better production and your studio will get higher margins. It will create a virtuous circle allowing you and your team to handle more ambitious projects.\u003Cbr>\u003C/p>\u003Cp>\u003Cem>Make sure to \u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\">join us on Discord\u003C/a> if you need additional help with budget strategies or just want to hang out with 1000+ animation experts from all over the world!\u003C/em>\u003C/p>",{"uuid":575,"comment_id":576,"feature_image":577,"featured":105,"visibility":10,"created_at":578,"updated_at":579,"custom_excerpt":580,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":581,"primary_tag":582,"url":583,"excerpt":580,"reading_time":198,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":584},"500b883f-41a8-4af7-8618-7237413a984b","65002a6e6555a300018b6ba5","https://images.unsplash.com/photo-1633158829585-23ba8f7c8caf?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDN8fGJ1ZGdldHxlbnwwfHx8fDE2OTQ1MTE0NTZ8MA&ixlib=rb-4.0.3&q=80&w=2000","2023-09-12T11:07:58.000+02:00","2026-03-26T10:37:26.000+01:00","Your budget is your animation studio’s lifeline: you need to take care of it because your team’s livelihood depends on it. In this article, we list 9 points to consider to make the most of your animation budget!",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-manage-your-animation-production-budget/","Photo by \u003Ca href=\"https://unsplash.com/@towfiqu999999?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">Towfiqu barbhuiya\u003C/a> / \u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">Unsplash\u003C/a>","/posts/how-to-manage-your-animation-production-budget","2023-09-12T11:40:59.000+02:00",{"title":570},"how-to-manage-your-animation-production-budget","posts/how-to-manage-your-animation-production-budget",[591],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"-ELHTRHBeg2LBiZQel7X4rganKL3jGpZ4K_yx_GKIpk",{"id":594,"title":595,"authors":596,"body":7,"description":7,"extension":8,"html":598,"meta":599,"navigation":13,"path":611,"published_at":612,"seo":613,"slug":614,"stem":615,"tags":616,"__hash__":618,"uuid":600,"comment_id":601,"feature_image":602,"featured":105,"visibility":10,"created_at":603,"updated_at":604,"custom_excerpt":605,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":606,"primary_tag":607,"url":608,"excerpt":605,"reading_time":609,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":610},"ghost/posts:youtube-animation-channel.json","Make Your Own Youtube Animation Channel In 2026",[597],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>If you're an animator looking to make your mark on YouTube, you've come to the right place: this article will guide you through the essential steps to kickstart your animation channel.\u003C/p>\u003Ch2 id=\"why-youtube\">\u003Cstrong>Why Youtube\u003C/strong>\u003C/h2>\u003Cp>With an astounding 2 billion monthly users, \u003Cstrong>YouTube is the world's second-largest search engine\u003C/strong>. With billions of users actively engaging with the platform each month, the potential audience for your animated content is virtually limitless. Whether you're an aspiring animator or a seasoned animation studio, YouTube offers an incredible opportunity to reach out to viewers from around the globe. \u003C/p>\u003Cfigure class=\"kg-card kg-image-card kg-card-hascaption\">\u003Cimg src=\"https://lh6.googleusercontent.com/pNe0ciYxgiYZCRPc3tIeZq1LT_lP0tW4-liB3Z7G6fJe6DFei1k6ZH4im1KB826G6qIQG1di7YzkOuuERd2G9IVvxQGREtilO3NtgnlJjsINl7Aftl3_SWyO99qHY7_WTvJ-x52HrolOvXZwgNS9i-c\" class=\"kg-image\" alt loading=\"lazy\" width=\"624\" height=\"579\">\u003Cfigcaption>A popular motion graphics channel like Kurzgesagt makes huge numbers\u003C/figcaption>\u003C/figure>\u003Cp>Unlike traditional media, YouTube provides a level playing field for creators. \u003Cstrong>Getting started with YouTube animation is easy.\u003C/strong> You don't need elaborate equipment or a large team to produce engaging content. With a computer, animation software, and a passion for storytelling, you can embark on your YouTube animation journey from the comfort of your home. \u003C/p>\u003Cfigure class=\"kg-card kg-image-card kg-card-hascaption\">\u003Cimg src=\"https://lh4.googleusercontent.com/iyfu1l61uAMU2Dz2A6-CsXHD0PrRSDUdgq_4B-f6KtMB4H0KbEqGHsidBlDz5CmdMbsgG_qRTh7LxHNLhjG2oV1pB-R2p216UBOitATouFa_ZUAhxHPJax0MP1Lkvm7quW3waD5BUU0nXV6NRIIMF7M\" class=\"kg-image\" alt loading=\"lazy\" width=\"624\" height=\"579\">\u003Cfigcaption>You don’t need fancy animation either―look at Casually Explained\u003C/figcaption>\u003C/figure>\u003Cp>\u003Cstrong>YouTube serves as a compelling portfolio platform for animators.\u003C/strong> As you produce and upload your animations, your channel becomes a showcase of your evolving skills and creativity. This digital portfolio not only attracts potential clients or collaborators but also helps you build a loyal fanbase that eagerly anticipates your next animation. \u003C/p>\u003Cfigure class=\"kg-card kg-image-card kg-card-hascaption\">\u003Cimg src=\"https://lh3.googleusercontent.com/BM4deoTFvsAWo3Aek175plg7EqEt41lAWH7orjV0HwORlskvIVy6LvVKOrXktS7q1wVQs3wQ4uSxDlD-gaJGg3JAplztoO9hrDolaRXPtjTvS6DxyDMWkHVMaKr_pD7PlaBW0k5vsJav7mhSKsnnui4\" class=\"kg-image\" alt loading=\"lazy\" width=\"624\" height=\"579\">\u003Cfigcaption>Gobelins Animation School is known for sharing animation shorts created by students\u003C/figcaption>\u003C/figure>\u003Ch2 id=\"find-a-niche\">\u003Cstrong>Find a niche\u003C/strong>\u003C/h2>\u003Cp>With countless creators vying for viewers' attention, setting your animation channel apart is crucial. Standing out as an animation YouTuber requires finding a niche that not only aligns with your passion but also offers differentiation and monetization opportunities.\u003C/p>\u003Cp>A well-defined niche gives your channel a unique identity, making it more memorable and distinctive amidst the sea of videos. Embracing a niche allows you to cater to a specific audience, fostering a loyal community that shares your passion and interests.\u003C/p>\u003Cp>Consider the following criteria to pick a niche:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Low competition\u003C/strong> - While it's essential to choose a niche that resonates with you, considering areas with relatively low competition increases your chances of gaining visibility and traction in the early stages.\u003C/li>\u003Cli>\u003Cstrong>Passion and interest\u003C/strong> - Explore animation topics or styles that genuinely excite you. Creating content rooted in your passion will not only keep you motivated in the long run but also result in more authentic and engaging videos that resonate with your audience.\u003C/li>\u003Cli>\u003Cstrong>Unique angle\u003C/strong> - Within your chosen niche, seek a unique angle that sets your channel apart. Whether it's through a distinctive animation style, innovative storytelling approach, or catering to an underserved audience segment, finding your own voice will make your content more compelling.\u003C/li>\u003C/ul>\u003Ch2 id=\"understand-your-audience\">\u003Cstrong>Understand your audience\u003C/strong>\u003C/h2>\u003Cp>Conduct thorough research to understand what kind of animation content is in demand and what your audience is looking for:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Identify needs and interests\u003C/strong> - Analyze the demands of your potential viewers. What are their preferences when it comes to animation content? Delve into their interests, pain points, and the kind of value they seek from your videos.\u003C/li>\u003Cli>\u003Cstrong>Hang where your people are\u003C/strong> - Understanding where your audience spends their time online is crucial. Whether it's popular animation channels, social media platforms, online forums, or other communities, being present where they are will help you engage with them effectively.\u003C/li>\u003Cli>\u003Cstrong>Study content consumption habits\u003C/strong> - Investigate the type of content your audience consumes regularly. Identify popular animation channels they follow and study trending topics to discern patterns that align with their preferences.\u003C/li>\u003C/ul>\u003Ch2 id=\"pick-an-animation-style\">\u003Cstrong>Pick an animation style\u003C/strong>\u003C/h2>\u003Cp>Various animation styles can captivate audiences in unique ways, so select the ones that best fit your content and artistic vision:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>2D \u003C/strong>- 2D animation is a classic and widely recognized style, known for its hand-drawn or digitally created characters and backgrounds. It offers a broad range of creative possibilities, from traditional frame-by-frame animation to modern vector-based techniques. 2D animation is versatile, making it suitable for storytelling, character-driven content, explainer videos, and even comedic shorts. Example:\u003C/li>\u003Cli>\u003Cstrong>3D \u003C/strong>- 3D animation brings characters and environments to life with depth and realism. It's commonly used in movies, TV shows, and video games, but it has also found a place on YouTube. 3D animation requires specialized software and skills, but it offers stunning visuals and the potential for immersive storytelling. Example:\u003C/li>\u003Cli>\u003Cstrong>Stop Motion\u003C/strong> - Stop motion animation involves photographing real-life objects or models in incremental movements and then combining the images to create motion. This charming and tactile style is often used for quirky and inventive storytelling. Stop motion has a nostalgic appeal that resonates with audiences, and it can stand out amidst the digital sea of animations on YouTube. Example:\u003C/li>\u003Cli>\u003Cstrong>Motion Graphics\u003C/strong> - Motion graphics animation focuses on typography, shapes, and graphical elements to convey information or tell a story. It's widely used for explainer videos, tutorials, and presentations. Motion graphics animation is clean, professional, and effective in engagingly delivering complex concepts. Example:\u003C/li>\u003Cli>\u003Cstrong>Virtual YouTubers\u003C/strong> - or Vtubers, are animated characters controlled by real-life creators, often using motion-capture technology or real-time animation software. Vtubers have gained immense popularity for their ability to interact with the audience in real time and create unique personas that appeal to a wide range of viewers. Example:\u003C/li>\u003C/ul>\u003Ch2 id=\"research-content-ideas\">\u003Cstrong>Research content ideas\u003C/strong>\u003C/h2>\u003Cp>Finding ideas for your animation videos isn't hard once you get used to it, but how do you tell which are good or bad? There are a few proven ways to find video ideas that people actually want to watch:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Youtube keyword research\u003C/strong> - Keywords are the compass that guides your content toward what users are actively searching for on YouTube. Conduct in-depth keyword research to identify popular and relevant terms related to your animation niche. Tools like Google's Keyword Planner, YouTube Autocomplete, and third-party keyword research tools can help you uncover high-demand keywords that can inspire your video topics and titles.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh4.googleusercontent.com/WFx5LaGE3PjREOuJ_HZYInnuoT86g0D6cMRz6YaQ2I52pff99DPx5lTleDMnyj-QB9HTgMF-9IXkbtyliK4AuL-7PXk1sq11KSWuW910brwZcKUIpf8qrOYkhJPSqXwzqj7lC2qpERDFS7n82nDvB58\" class=\"kg-image\" alt loading=\"lazy\" width=\"624\" height=\"353\">\u003C/figure>\u003Cul>\u003Cli>\u003Cstrong>Trending formats\u003C/strong> - Staying updated with the latest trends and formats on YouTube can give your channel a competitive edge. Keep an eye on trending animation styles, popular challenges, or emerging storytelling techniques that are gaining traction. By incorporating elements of trending formats into your content, you can attract new viewers and keep your existing audience engaged.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh4.googleusercontent.com/Jh9nFfGuk5oetgazcXqF2oPA8m2_50TcMW3Msgg_xGZhmoAJ8ZjRmyZH3lic1d8wo1ugW1sQwYpLOXSKV9migBN_i0KUC-ryhd2jsVPYaV3W1z9KZBMHbr3FrkRQ8c5SqMY24xXgla2nZhuW6xD-Z04\" class=\"kg-image\" alt loading=\"lazy\" width=\"624\" height=\"579\">\u003C/figure>\u003Cul>\u003Cli>\u003Cstrong>Reverse-engineer competitors\u003C/strong> - Analyzing what your competitors are doing well can provide valuable insights for your content strategy. Study successful animation channels within your niche and see what kind of videos resonate most with their audience. While it's essential to maintain your unique voice and style, understanding your competitors' strengths can inspire new angles for your content and help you identify opportunities they might be missing.\u003C/li>\u003C/ul>\u003Cp>Your existing viewers are an invaluable source of content ideas, so also pay attention to their comments and visual feedback (like, subscriptions) to gauge their interests. You can directly ask your audience for video suggestions through polls or community posts. Engaging with your viewers fosters a sense of community and shows them that you genuinely care about providing content they enjoy.\u003C/p>\u003Ch2 id=\"scripting\">\u003Cstrong>Scripting\u003C/strong>\u003C/h2>\u003Cp>The scripting phase involves thorough research and editing to craft quality content that can captivate your audience:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Keyword-powered outlines with ChatGPT\u003C/strong> - To kickstart your script, take advantage of ChatGPT's AI capabilities by inputting your relevant keywords. Let ChatGPT generate an outline that aligns with your chosen topic and animation style. This AI-generated outline can serve as a helpful foundation for your script, providing a framework to build upon.\u003C/li>\u003Cli>\u003Cstrong>Research and analysis\u003C/strong> - Before diving into writing, conduct comprehensive research on your chosen topic. Examine existing content on YouTube to understand what's already out there. Identify content gaps, opportunities, and unique angles you can explore in your script. This research will help you create content that stands out and offers something fresh to your audience.\u003C/li>\u003Cli>\u003Cstrong>AI-assisted first draft\u003C/strong> - Using ChatGPT's capabilities, generate a basic first draft of your script. Leverage the AI-generated content as inspiration and reference points, but ensure you infuse your unique voice and storytelling style. The AI-generated draft serves as a starting point, helping you organize your thoughts and ideas.\u003C/li>\u003Cli>\u003Cstrong>Extensive editing\u003C/strong> - The magic of scripting lies in the editing process. Go through your first draft meticulously, refining sentences, enhancing clarity, and polishing the language. Ensure your script flows smoothly, maintaining a consistent tone and pace that resonates with your audience.\u003C/li>\u003C/ul>\u003Cp>As a rule of thumb, a 10-minute video corresponds to roughly 1500 words.\u003C/p>\u003Ch2 id=\"production\">\u003Cstrong>Production\u003C/strong>\u003C/h2>\u003Cp>The production phase depends entirely on the type of animation you decide to go with. For example:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>2D\u003C/strong> - For traditional 2D animation, you'll need drawing materials such as paper, pencils, and lightboxes. Digital 2D animation requires animation software like Adobe Animate, Toon Boom Harmony, or OpenToonz. A graphics tablet can significantly enhance the precision and efficiency of digital 2D animation, allowing you to draw directly on the screen.\u003C/li>\u003Cli>\u003Cstrong>3D\u003C/strong> - On top of tools to create 2D assets, you'll need 3D modeling and animation software like Autodesk Maya, Blender, or Cinema 4D. A powerful computer with ample RAM and a good graphics card is important for rendering, but you can also use a render farm.\u003C/li>\u003Cli>\u003Cstrong>Stop motion\u003C/strong> - For traditional stop motion, you'll need a camera or smartphone with a sturdy tripod. Additionally, clay, puppets, or physical objects are used to create the animation frames. Depending on the scale of your stop motion project, you might require specialized equipment like stop motion armatures or dedicated stop motion software.\u003C/li>\u003Cli>\u003Cstrong>Motion graphics\u003C/strong> - Motion graphics animation is primarily done using computer software like Adobe After Effects or Apple Motion. Similar to 2D animation, a graphics tablet can streamline the creation process for motion graphics.\u003C/li>\u003Cli>\u003Cstrong>Vtuber Animation\u003C/strong> - Creating Vtuber animation involves using real-time animation software such as Live2D or VTube Studio, which allows you to control your Vtuber avatar in real-time. To ensure smooth real-time animation, a computer with a good processor and a webcam is necessary.\u003C/li>\u003C/ul>\u003Cp>For more details, you can read the many articles available in this blog to get information about handling your animation production.\u003C/p>\u003Ch2 id=\"distribution\">\u003Cstrong>Distribution\u003C/strong>\u003C/h2>\u003Cp>Publishing your animation on YouTube is just the beginning of your journey. To maximize your channel's reach and engagement, consider exploring various distribution channels:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Youtube shorts\u003C/strong> - YouTube Shorts is a feature that allows you to create vertical videos of up to 60 seconds in length. These bite-sized animations cater to users' shorter attention spans and are prominently featured on YouTube. By tapping into this format, you can attract new viewers and potentially gain more exposure for your animation channel.\u003C/li>\u003Cli>\u003Cstrong>Live streaming\u003C/strong> - Engage your audience in real-time by incorporating live streaming into your YouTube animation process. Live streams provide an opportunity to interact directly with your viewers, answer their questions, and even create animations on the spot based on their suggestions. This level of interactivity can foster a stronger connection with your audience and keep them coming back for more.\u003C/li>\u003C/ul>\u003Cp>In general, don't be confined to your channel and actively participate in relevant communities and platforms related to animation. Share your content in online communities on Reddit, Discord, or animation-focused forums to reach potential viewers who share an interest in your niche. Engage with the community by offering value and joining discussions.\u003C/p>\u003Ch2 id=\"monetization-strategies\">\u003Cstrong>Monetization strategies\u003C/strong>\u003C/h2>\u003Cp>Turning your passion for YouTube animation into a sustainable venture requires a monetization strategy. Animation creators have a plethora of business models to explore:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Ads & affiliate marketing\u003C/strong> - The most traditional and accessible monetization approach is through YouTube's ad revenue. As your channel grows and meets eligibility requirements, you can enable ads on your videos. However, ad revenue alone might not suffice. Consider incorporating affiliate marketing by promoting products or services in your animation descriptions or related videos, earning commissions for successful referrals.\u003C/li>\u003Cli>\u003Cstrong>Paid freelance work\u003C/strong> - Leverage your animation portfolio to secure paid freelance projects outside of your YouTube channel. Offer animation services to clients, create animations for businesses, or collaborate with other content creators to expand your revenue streams beyond YouTube.\u003C/li>\u003Cli>\u003Cstrong>Merch\u003C/strong> - Create and sell merchandise related to your animations. This could include custom-designed t-shirts, hoodies, mugs, stickers, or even physical art prints. Merchandising not only generates revenue but also strengthens your brand and fosters a sense of community among your fans.\u003C/li>\u003Cli>\u003Cstrong>Sponsorships\u003C/strong> - Platforms like Youtube and Patreon allow fans to support you through monthly subscriptions. Offer exclusive perks like behind-the-scenes content, early access to videos, or personalized shoutouts to entice your patrons. Seek sponsorships or brand partnerships relevant to your niche to earn additional income sources for your videos.\u003C/li>\u003C/ul>\u003Ch2 id=\"growing-a-team\">\u003Cstrong>Growing a team\u003C/strong>\u003C/h2>\u003Cp>As your YouTube animation channel gains traction and evolves into a thriving business, collaborating with talented individuals can elevate the quality of your content, enhance productivity, and open up new opportunities.\u003C/p>\u003Col>\u003Cli>\u003Cstrong>Start with your biggest pain points\u003C/strong> - Determine the specific roles and skill sets needed to complement your animation expertise. Consider roles such as animators, illustrators, writers, voice actors, editors, and project managers. Identify individuals who align with your animation style and share your passion for storytelling.\u003C/li>\u003Cli>\u003Cstrong>Leverage collaboration\u003C/strong> - Expand your network within the animation community and collaborate with other creators. Attend animation events, join online forums, and engage with social media communities. Building relationships with like-minded professionals can lead to potential team members or partnerships.\u003C/li>\u003Cli>\u003Cstrong>Hire contractors\u003C/strong> - Start by outsourcing certain tasks to freelancers before committing to permanent team members. This allows you to gauge their skills and cultural fit for long-term collaboration, but also learn management skills.\u003C/li>\u003Cli>\u003Cstrong>Foster a collaborative culture\u003C/strong> - Encourage open communication, feedback, and collaboration within your team. A positive and creative work environment will lead to better ideas, higher productivity, and a more enjoyable experience for everyone involved.\u003C/li>\u003Cli>\u003Cstrong>Develop standard processes\u003C/strong> - Establish clear workflows and standard processes to streamline collaboration and project management. Having well-defined procedures ensures that everyone understands their roles and responsibilities, leading to smoother animation production.\u003C/li>\u003C/ol>\u003Cp>It will be the time to consider setting up a more complex workflow. Remember that \u003Ca href=\"https://cg-wire.com/kitsu?ref=blog.cg-wire.com\">Kitsu\u003C/a> can help you to build qualitative animation efficiently as a team!\u003C/p>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>The animation industry keeps growing, and Youtube represents an incredible opportunity for animators to reach new audiences: you just need to start!\u003C/p>\u003Cp>Through this comprehensive guide we covered all the aspect to consider before launching a new channel. They will help you to avoid many pitfalls and reach quickly a wide audience. When you're done share the news on social media by tagging us, we will be glad to repost your work!\u003C/p>\u003Cp>\u003Cem>We encourage you to join our \u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\">Discord\u003C/a> community made of animation experts! They will answer your questions on how to set your pipeline and your workflow for your Youtube channel!\u003C/em>\u003Cbr>\u003C/p>\u003Cp>\u003C/p>",{"uuid":600,"comment_id":601,"feature_image":602,"featured":105,"visibility":10,"created_at":603,"updated_at":604,"custom_excerpt":605,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":606,"primary_tag":607,"url":608,"excerpt":605,"reading_time":609,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":610},"65d5f496-7891-4b7b-a244-a927aed1eff5","64f6fabaf740290001f72c42","https://images.unsplash.com/photo-1637806631554-bcfe2c618058?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDE3fHxZb3V0dWJlfGVufDB8fHx8MTY5MzkwODM0N3ww&ixlib=rb-4.0.3&q=80&w=2000","2023-09-05T11:54:02.000+02:00","2026-03-26T10:45:41.000+01:00","If you're an animator looking to make your mark on YouTube, you've come to the right place: this article will guide you through the essential steps to kickstart your animation channel!",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/youtube-animation-channel/",10,"Photo by \u003Ca href=\"https://unsplash.com/@nuvaproductions?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">Javier Miranda\u003C/a> / \u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">Unsplash\u003C/a>","/posts/youtube-animation-channel","2023-09-05T12:07:05.000+02:00",{"title":595},"youtube-animation-channel","posts/youtube-animation-channel",[617],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"VIqigbyxoovpCgDBNBXNobx0vBryZCkDSQcaaz4C30k",{"id":620,"title":621,"authors":622,"body":7,"description":7,"extension":8,"html":624,"meta":625,"navigation":13,"path":636,"published_at":637,"seo":638,"slug":639,"stem":640,"tags":641,"__hash__":643,"uuid":626,"comment_id":627,"feature_image":628,"featured":105,"visibility":10,"created_at":629,"updated_at":630,"custom_excerpt":631,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":632,"primary_tag":633,"url":634,"excerpt":631,"reading_time":115,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":635},"ghost/posts:the-main-types-of-animation.json","(2026) The 5 Main Types of Animation",[623],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>Animation comes in different shapes and forms, each with its pros and cons. As a business owner, marketing manager, or producer, it's important to understand them to hire the right animation studios and increase your return on investment.\u003C/p>\u003Cp>We can distinguish 5 main types of animation: 2D, 3D, stop motion, motion graphics, and rotoscopic. Let's look into each one.\u003C/p>\u003Ch2 id=\"2d-animation\">\u003Cstrong>2D Animation\u003C/strong>\u003C/h2>\u003Cp>2D animation has been captivating audiences for decades, creating some of the most iconic pieces of art.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card kg-card-hascaption\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2023/08/image-1.png\" class=\"kg-image\" alt loading=\"lazy\" width=\"460\" height=\"260\">\u003Cfigcaption>La Vie de Château - Miyu Production\u003C/figcaption>\u003C/figure>\u003Cp>\u003Cstrong>What is 2D Animation?\u003C/strong>\u003C/p>\u003Cp>2D animation creates moving images using a sequence of hand-drawn or computer-generated frames. Each frame represents a slight variation in movement, and when played in rapid succession at 25 frames per second, they give the illusion of fluid motion.\u003C/p>\u003Cp>From Disney, Cartoon Networks, and Studio Ghibli to anime and Adult Swim, 2D animation is still going strong despite recent technological advances.\u003C/p>\u003Cp>\u003Cstrong>Pros of 2D Animation\u003C/strong>\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Originality\u003C/strong> - Each frame in a 2D animated film is handcrafted with care, giving the artwork a unique and distinct feel that stands out from other animation styles. This originality allows for a more personalized and artistic touch to be infused into the final product.\u003C/li>\u003Cli>\u003Cstrong>Simplicity\u003C/strong> - While animation is far from a simple process, 2D animation often involves less complexity in terms of skills compared to 3D, leading to a more straightforward and efficient production pipeline.\u003C/li>\u003Cli>\u003Cstrong>Every frame a painting\u003C/strong> - One of the most cherished aspects of 2D animation is the artistic value it brings to every frame. Each individual scene is a work of art, with attention to detail and creativity poured into every element.\u003C/li>\u003C/ul>\u003Cp>\u003Cstrong>Cons of 2D Animation\u003C/strong>\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Costs\u003C/strong> - 2D animation is labor-intensive. The frames require skilled animators, and the time and effort invested can result in higher production costs because animation assets aren't always easy to reuse and reproduce compared to 3D models.\u003C/li>\u003Cli>\u003Cstrong>Lack of flexibility\u003C/strong> - Unlike 3D animation where modifications to a scene can be relatively easier, altering frames in 2D animation can be more complicated and time-consuming. This can hinder the flexibility to make significant changes during the production process.\u003C/li>\u003C/ul>\u003Cp>While 2D animation holds a special place in the hearts of many audiences and creators, it has faced challenges in the face of rising budgets and shifting audience preferences. Studios have often grappled with the decision of whether to invest in traditional 2D animation or transition to more cost-effective 3D animation.\u003C/p>\u003Cp>By wisely managing their budgets, focusing on compelling storytelling, and leveraging the nostalgic appeal of 2D animation, some animated films and series still manage to strike a balance between financial success and artistic brilliance.\u003C/p>\u003Ch2 id=\"3d-animation\">\u003Cstrong>3D Animation\u003C/strong>\u003C/h2>\u003Cp>3D animation stands as a technological marvel, bringing to life breathtaking virtual worlds and characters that push the boundaries of realism.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card kg-card-hascaption\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2023/08/image.png\" class=\"kg-image\" alt loading=\"lazy\" width=\"1024\" height=\"613\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2023/08/image.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2023/08/image.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2023/08/image.png 1024w\" sizes=\"(min-width: 720px) 720px\">\u003Cfigcaption>3D Character by the Blender Studio\u003C/figcaption>\u003C/figure>\u003Cp>\u003Cstrong>What is 3D Animation?\u003C/strong>\u003C/p>\u003Cp>3D animation uses computer-generated graphics to animate images. Animators manipulate digital models in a three-dimensional space, allowing for intricate movements and lifelike interactions. This revolutionary approach has opened up endless possibilities, enabling filmmakers and storytellers to craft immersive worlds that captivate audiences like never before.\u003C/p>\u003Cp>From the groundbreaking fantasy world of James Cameron's \"Avatar\" to the heartwarming friendships portrayed in Pixar's \"Toy Story\" series, 3D animation has showcased the power of technology in storytelling, pushing the boundaries of creativity and innovation.\u003C/p>\u003Cp>\u003Cstrong>Pros of 3D Animation\u003C/strong>\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Realism\u003C/strong> - The level of realism achievable in 3D animation is unparalleled. From rendering intricate details on characters to creating photorealistic environments, this technology allows filmmakers to craft worlds that feel tangible and alive.\u003C/li>\u003Cli>\u003Cstrong>Asset reusability\u003C/strong> - Once 3D models are created, they can be reused in different projects, reducing production time and costs for subsequent films or animations. This reusability fosters efficiency in the creation process.\u003C/li>\u003Cli>\u003Cstrong>Visual FX\u003C/strong> - The 3D capabilities allow to have no limit in creativity. Any visual effects can be implemented in 3D, whether it's a burning element or turning a character into a giant rainbow.\u003C/li>\u003C/ul>\u003Cp>\u003Cstrong>Cons of 3D Animation\u003C/strong>\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Complexity\u003C/strong> - The creation of 3D animations requires specialized technical knowledge and skilled animators. Learning and mastering the intricacies of 3D software and techniques can be a time-consuming and challenging endeavor.\u003C/li>\u003Cli>\u003Cstrong>Rendering costs\u003C/strong> - Rendering, the process of converting 3D models into the final images, can be resource-intensive and time-consuming. High-quality renderings may require significant computational power, leading to increased production costs.\u003C/li>\u003C/ul>\u003Ch2 id=\"stop-motion-animation\">\u003Cstrong>Stop Motion Animation\u003C/strong>\u003C/h2>\u003Cp>\u003Cstrong>What is Stop Motion Animation?\u003C/strong>\u003C/p>\u003Cp>Stop-motion animation involves the manipulation of physical objects or puppets, capturing movements frame by frame. Each frame is a photograph, and when played consecutively at 25 frames per second, the illusion of motion is achieved. This labor-intensive process requires precision, patience, and an unwavering dedication to craft characters and stories.\u003C/p>\u003Cp>From the macabre world of Tim Burton's \"The Nightmare Before Christmas\" to the hilarious escapades in Aardman Animations' \"Chicken Run\" and more recently Del Toro's \"Pinocchio,\" stop motion animation has proven its versatility in captivating audiences across generations.\u003C/p>\u003Cp>The materials used have a big impact on the final result: cut-out animation involves using pre-drawn or printed characters and objects, which are then cut out and articulated with joints. This technique allows animators to create fluid movements while saving time on drawing each frame individually. \"South Park\" is a famous example of cut-out animation. Claymation, a variation of stop-motion animation, uses clay or plasticine models to create characters and scenes. These models are carefully sculpted, and their positions are altered slightly for each frame. The claymation process offers a charming and tactile aesthetic.\u003C/p>\u003Cp>\u003Cstrong>Pros of Stop Motion Animation\u003C/strong>\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Low Cost\u003C/strong> - In comparison to other animation styles, stop motion animation often requires modest resources. The materials used for puppets and sets can be relatively inexpensive, making it an attractive option for independent animators or small production studios.\u003C/li>\u003Cli>\u003Cstrong>Unique Visual Appeal\u003C/strong> - Stop motion animation carries a distinct visual charm that sets it apart from other animation techniques. The tactile quality of physical puppets and sets adds a tangible, handmade appeal to the final product, resulting in a unique and captivating viewing experience.\u003C/li>\u003C/ul>\u003Cp>\u003Cstrong>Cons of Stop Motion Animation\u003C/strong>\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Time-Consuming\u003C/strong> - Stop motion animation is a time-consuming process. The creation of intricate movements and the attention to detail demands a significant investment of time and effort, making the production timeline more extended compared to some other animation methods.\u003C/li>\u003C/ul>\u003Cp>While stop-motion animation's low-cost advantage is appealing, it still faces the financial challenges shared by all animation styles, and the labor-intensive nature of crafting each frame and the time required to complete a feature-length film greatly influence production budgets.\u003C/p>\u003Cp>Despite these challenges, stop-motion animated films have proven to be successful at the box office, drawing audiences with their unique visual allure and captivating storytelling. By striking a balance between creativity and prudent budgeting, stop-motion animators have demonstrated that even in a world dominated by digital animation, the artistry and charm of this method continue to captivate and resonate with audiences.\u003C/p>\u003Ch2 id=\"motion-graphics\">\u003Cstrong>Motion Graphics\u003C/strong>\u003C/h2>\u003Cp>Motion graphics involves the use of animated graphics, text, and visual elements to convey information, tell stories, and create engaging visual experiences.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card kg-card-hascaption\">\u003Cimg src=\"https://lh4.googleusercontent.com/TokSPx-SfwKtu4hACXGvBnwLImGQbb9AZQEoNt_7mSD-KXSgssr6pZSpZKwW0ZtFH0uav5Yk11ddae7s5dU0SVX21S_qP1QL46Jb29Az9l3xUyZoyov_H6dVLQzU7TKOTvejXqtpYGaFC8c0oA1RfWQ\" class=\"kg-image\" alt loading=\"lazy\" width=\"624\" height=\"351\">\u003Cfigcaption>Kurzgesagt – In a Nutshell (Youtube channel)\u003C/figcaption>\u003C/figure>\u003Cp>\u003Cstrong>What are Motion Graphics?\u003C/strong>\u003C/p>\u003Cp>Motion graphics is a dynamic form of animation that blends design elements, such as typography, illustrations, and icons, with animated movements and transitions.\u003C/p>\u003Cp>It is commonly used in various contexts, including advertisements, explainer videos, title sequences, and presentations. Motion graphics effectively blend artistry and information, making complex concepts more accessible and engaging to audiences.\u003C/p>\u003Cp>From informative explainer videos that simplify complex topics to visually captivating advertisements and stunning title sequences for films and TV shows, motion graphics have permeated various aspects of visual storytelling.\u003C/p>\u003Cp>\u003Cstrong>Pros of Motion Graphics\u003C/strong>\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Low cost\u003C/strong> - Motion graphics often require fewer resources compared to other animation styles. Since they often involve manipulating existing graphics and elements, the production process can be more cost-effective, making it a popular choice for projects with budget constraints. YouTube has become a hub for motion graphics content, with creators using the medium to engage audiences on various topics. From educational channels breaking down complex concepts with visually compelling graphics to captivating animated intros for popular YouTubers, motion graphics have found a place in the digital landscape.\u003C/li>\u003Cli>\u003Cstrong>Simplicity\u003C/strong> - The clean and minimalist aesthetic of motion graphics makes it an effective medium for conveying information concisely and clearly. Its simplicity allows viewers to focus on the message being conveyed without unnecessary distractions.\u003C/li>\u003Cli>\u003Cstrong>Flexibility\u003C/strong> - Motion graphics can be adapted to suit various styles and tones, from corporate and professional to playful and creative. This adaptability makes it a versatile tool for different types of projects.\u003C/li>\u003C/ul>\u003Cp>\u003Cstrong>Cons of Motion Graphics\u003C/strong>\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Not as visually appealing or artistic\u003C/strong> - While motion graphics excel at conveying information, they may not always have the same level of visual appeal or artistic depth as other animation styles, like 2D or 3D animation. The focus on conveying information may sometimes overshadow more intricate artistic expression.\u003C/li>\u003C/ul>\u003Ch2 id=\"rotoscope-animation\">\u003Cstrong>Rotoscope Animation\u003C/strong>\u003C/h2>\u003Cp>Rotoscope animation is a unique and captivating animation technique that intertwines the real world with the animated realm to create a semi-realistic and dreamlike experience.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://lh4.googleusercontent.com/sn5dQYdjyUhv2IVLT684TohYm5gBY4iDakicwieML5KfvXuo31f2kPD1GX_Y2ac0s46m01McKKwKq1FXNisv-JNowt3Qh1PypQ4AeyeqMcLqwIqaef4FTrf2vAb4rqTr5EgI0eNeuV-RxNobUt_xvS8\" class=\"kg-image\" alt loading=\"lazy\" width=\"624\" height=\"468\">\u003C/figure>\u003Cp>\u003Cstrong>What is Rotoscope Animation?\u003C/strong>\u003C/p>\u003Cp>Rotoscope animation bridges the gap between live-action and animation by incorporating real-life footage as the foundation for the animated sequences. Artists meticulously trace over each frame of the live-action footage to create fluid and lifelike animated movements. This technique allows for a unique blend of realism and artistic expression, blurring the line between the tangible and the imaginative.\u003C/p>\u003Cp>Classic Disney movies like Cinderella, Pinocchio, and Alice in Wonderland leverage rotoscope animation to create ethereal and thought-provoking visuals. The fluidity of movement and the infusion of surreal elements in these films have left audiences mesmerized. More recently, Loving Vincent and Prime's Undone also proved successful.\u003C/p>\u003Cp>\u003Cstrong>Pros of Rotoscope Animation\u003C/strong>\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Visual appeal\u003C/strong> - Rotoscope animation possesses a distinct and visually striking aesthetic. The combination of real-life footage with hand-drawn animation results in a dreamlike experience for the audience.\u003C/li>\u003Cli>\u003Cstrong>Semi-realism\u003C/strong> - Rotoscope animation allows for a unique blend of realism and artistic interpretation. By capturing real-world movements and expressions, the animated characters and scenes can exude a level of authenticity that traditional animation styles might not achieve.\u003C/li>\u003C/ul>\u003Cp>\u003Cstrong>Cons of Rotoscope Animation\u003C/strong>\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Not so used nowadays\u003C/strong> - While rotoscope animation has a rich history and has been used in notable films, it is not as commonly employed in modern animation. The labor-intensive nature of the process and advancements in other animation techniques like 3D may have contributed to its diminished usage.\u003C/li>\u003Cli>\u003Cstrong>Style - \u003C/strong>The style can be appealing but it is very tied to the technic. So the audience may consider it's not \"real\" animation.\u003C/li>\u003C/ul>\u003Cp>Given the limited use of rotoscope animation in recent times, direct box office comparisons might not be readily actionable. The financial considerations for rotoscope animation can vary significantly depending on factors such as the complexity of the project, the number of frames to be traced, and the expertise of the animators involved.\u003C/p>\u003Ch2 id=\"combine-animation-styles-with-kitsu\">Combine animation styles with Kitsu\u003C/h2>\u003Cp>It is not unlikely you'll need to use different animation styles for different projects, or even combine different types of animation to come up with something unique. Whether you're working with different studios or handling several projects in parallel, using a tool like Kitsu to keep everyone aligned is key.\u003C/p>\u003Cp>Kitsu is used for all types of animation to track production progress, store assets in one central location, and quickly iterate on ideas:\u003C/p>\u003Cp>Whether you're working in 2D or 3D, Kitsu syncs with your favorite digital content creation tool to help your team get work done faster.\u003C/p>\u003Ch2 id=\"conclusion\">\u003Cstrong>Conclusion\u003C/strong>\u003C/h2>\u003Cp>Each type of animation brings something unique. Traditional hand-drawn animation allows for artistic expression and a unique style but demands significant time and effort. \u003C/p>\u003Cp>3D animation offers realistic visuals and efficient manipulation of virtual objects, yet it can be complex and resource-intensive. \u003C/p>\u003Cp>Stop-motion animation grants a charming, tangible feel to characters, but it demands meticulous attention to detail. \u003C/p>\u003Cp>Motion graphics enable a wide range of possibilities and visual effects, although it may lack the organic charm of traditional methods. \u003C/p>\u003Cp>Picking the right style for your animation project is crucial to connect with your audience, so don't overlook it.\u003C/p>\u003Cp>\u003Cem>We also run\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\"> a Discord community\u003C/a> where you can connect with more than 1000 CG professionals to share tips and ideas. No matter where you come from, join us―we will be happy to help you with your projects!\u003C/em>\u003C/p>",{"uuid":626,"comment_id":627,"feature_image":628,"featured":105,"visibility":10,"created_at":629,"updated_at":630,"custom_excerpt":631,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":632,"primary_tag":633,"url":634,"excerpt":631,"reading_time":115,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":635},"4f19e476-2fab-4292-a93c-d52b9b57d315","64da4d19635cdc00018fc689","https://images.unsplash.com/photo-1622737133809-d95047b9e673?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDh8fGFuaW1hdGlvbnxlbnwwfHx8fDE2OTIwMjkzMDZ8MA&ixlib=rb-4.0.3&q=80&w=2000","2023-08-14T17:49:45.000+02:00","2026-03-26T10:44:08.000+01:00","Animation comes in different shapes and forms, each with its pros and cons. As a business owner, marketing manager, or producer, it's important to understand them to hire the right animation studios and increase your return on investment.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/the-main-types-of-animation/","Photo by \u003Ca href=\"https://unsplash.com/@sebastiansvenson?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">Sebastian Svenson\u003C/a> / \u003Ca href=\"https://unsplash.com/?utm_source=ghost&utm_medium=referral&utm_campaign=api-credit\">Unsplash\u003C/a>","/posts/the-main-types-of-animation","2023-08-14T18:09:58.000+02:00",{"title":621},"the-main-types-of-animation","posts/the-main-types-of-animation",[642],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"lhdSsHGVsc_A6XDetPKhUG2RyKALVoVdLn-G_ng5hDE",{"id":645,"title":646,"authors":647,"body":7,"description":7,"extension":8,"html":649,"meta":650,"navigation":13,"path":661,"published_at":662,"seo":663,"slug":664,"stem":665,"tags":666,"__hash__":668,"uuid":651,"comment_id":652,"feature_image":653,"featured":105,"visibility":10,"created_at":654,"updated_at":655,"custom_excerpt":656,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":657,"primary_tag":658,"url":659,"excerpt":656,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":660},"ghost/posts:4-best-practices-for-managing-a-multi-studio-animation-production.json","4 Best Practices For Managing A Multi-Studio Animation Production In 2026",[648],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>As productions become more complex and demanding, it's becoming increasingly common to divide each step of the production pipeline among several animation studios to face a lack of in-house resources, limited space, meet deadlines, or leverage opportunities to tap into specialized expertise.\u003C/p>\u003Cp>But managing a multi-studio production, whether each entity resides in the same country or abroad, comes with its challenges. This article will explore the pros and cons of working with multiple animation studios and provide best practices for ensuring a successful outcome.\u003C/p>\u003Ch2 id=\"benefits-of-hiring-multiple-studios\">\u003Cstrong>Benefits of Hiring Multiple Studios\u003C/strong>\u003C/h2>\u003Cp>Hiring multiple studios can bring a host of benefits worth considering when planning your next production:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Increased creativity and diversity\u003C/strong> - Each studio has its unique style and perspective. Bringing more studios means you can tap into a broader range of creative ideas and approaches, leading to a more diverse and exciting end product.\u003C/li>\u003Cli>\u003Cstrong>Access to a broader pool of talent and expertise\u003C/strong> - An animation production relies on various skill sets, from IT to character design or project management. Working with different studios gives you access to a broader pool of talent and expertise, which leads to a higher-quality end product.\u003C/li>\u003Cli>\u003Cstrong>The ability to divide the workload and meet tight deadlines\u003C/strong> - With more hands on deck, you can complete tasks more quickly and efficiently, allowing you to stay on schedule and avoid delays.\u003C/li>\u003Cli>\u003Cstrong>Cost savings through competition among studios\u003C/strong> - With multiple studios bidding on the project, you can negotiate better rates and secure the best deal for your budget.\u003C/li>\u003C/ul>\u003Ch2 id=\"production-challenges\">\u003Cstrong>Production Challenges\u003C/strong>\u003C/h2>\u003Cp>The added complexity comes with its own challenges, however:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Coordinating the efforts of multiple studios\u003C/strong> - Managing the work and progress of multiple animation studios is hard work: you need to keep track of the status of different tasks and ensure their completion on schedule. This challenge requires effective communication and project management skills.\u003C/li>\u003Cli>\u003Cstrong>Managing communication and ensuring consistency\u003C/strong> - Maintaining clear and consistent communication among multiple studios is especially hard when working with studios in different countries or time zones. But it's crucial to keep everyone on the same page to obtain a consistent end product in terms of style and quality.\u003C/li>\u003Cli>\u003Cstrong>Maintaining quality control\u003C/strong> - It can be challenging to make sure the final product meets the desired quality standards across all studios: establishing a clear set of quality control measures is essential.\u003C/li>\u003Cli>\u003Cstrong>Dealing with legal and financial issues\u003C/strong> - Working with multiple studios can also lead to legal and financial challenges. It would be best if you had a clear understanding of the legal and financial agreements in place and the rights and responsibilities of each party involved.\u003C/li>\u003C/ul>\u003Cp>We must be aware of these challenges and take steps to mitigate them to ensure a successful outcome.\u003C/p>\u003Ch2 id=\"best-practices-for-managing-a-multi-studio-production\">\u003Cstrong>Best Practices for Managing a Multi-Studio Production\u003C/strong>\u003C/h2>\u003Ch3 id=\"1-choosing-the-right-studios\">\u003Cstrong>1. Choosing The Right Studios\u003C/strong>\u003C/h3>\u003Cp>Choosing the right animation studio for your project is crucial for success. It's important to consider a few key factors:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Quality of Service\u003C/strong> - Does the studio have a good reputation for providing high-quality work? Are they reliable?\u003C/li>\u003Cli>\u003Cstrong>Project Capacity\u003C/strong> - Does the studio have the capacity to take on your project? Are they already working on other projects that may impact their availability or ability to deliver on time?\u003C/li>\u003Cli>\u003Cstrong>Equipment\u003C/strong> - Is the studio operational and well-equipped? Do they have the necessary technology and resources to deliver your project?\u003C/li>\u003Cli>\u003Cstrong>Compatibility\u003C/strong> - Are the studios using compatible technologies? Studios that use different software or hardware may not be able to work together, which is a deal breaker in a work environment requiring extensive collaboration.\u003C/li>\u003C/ul>\u003Cp>Once you've identified the studios you wish to work with, it's essential to establish clear rules and agreements before starting the project.\u003C/p>\u003Ch3 id=\"2-distributing-the-tasks\">\u003Cstrong>2. Distributing The Tasks\u003C/strong>\u003C/h3>\u003Cp>It's important to be very clear and specific when distributing tasks among multiple animation studios. This will help to avoid confusion and ensure that all parties understand their responsibilities:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Write a technical contract\u003C/strong> - Clearly define the different studios' work, including the start and end of each step.\u003C/li>\u003Cli>\u003Cstrong>Include as many details as possible\u003C/strong> - Explain the expected input and output files, how a step should be carried out, validation criteria, the allowed number of revisions, etc. Be specific in defining the production steps to avoid surprises and ensure that all parties understand their responsibilities.\u003C/li>\u003Cli>\u003Cstrong>Validate the technical documents with all stakeholders\u003C/strong> - Include the technical documentation as an annex in your contracts and make sure it is understood.\u003C/li>\u003Cli>\u003Cstrong>Separate tasks by episode or sequence\u003C/strong> - To mitigate risks of delays, prepare a backup plan. Plan for buffers between different studios and consider working one episode ahead of schedule.\u003C/li>\u003C/ul>\u003Cp>For example, imagine asking a studio to do the production of color sets and animation. You can assume they will take care of pre-compositing and deliver a single video file with all the right assets but think again. If pre-compositing tasks aren't specified, they can decide to deliver the backgrounds in one separate file and the animation in another―you would then have to put everything together yourself!\u003C/p>\u003Cp>Follow all these best practices to ensure a smooth production process!\u003C/p>\u003Ch3 id=\"3-communication-communication-communication\">\u003Cstrong>3. Communication, communication, communication\u003C/strong>\u003C/h3>\u003Cp>The most important thing when working with multiple studios is communication: you can come up with the best plan and still face backlashes because one provider needed help understanding what you were getting at. Working with a single in-house studio is hard enough, so working with several ones comes with added risks.\u003C/p>\u003Cp>Consider the following best practices to ensure effective communication in a multi-studio, international production:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Account for timezone differences\u003C/strong> - Make sure to plan for direct communication moments and factor in the time it may take to get a response.\u003C/li>\u003Cli>\u003Cstrong>Factor in public holidays\u003C/strong> - Each country has different vacation times, so consider this when planning your schedule. In France, little is going on in August, May, and between Christmas and New Year's Day. Even if the studio is willing to accommodate your schedule, finding staffing may be challenging at certain times of the year.\u003C/li>\u003Cli>\u003Cstrong>Eliminate language barriers early\u003C/strong> - Identify and address any language barriers early on to ensure effective communication: What is the primary language spoken in the country? Do you have a common language like English? Are there English speakers on the team to understand your feedback? Does the studio have a translator? And if so, how long does it take to get the translation?\u003C/li>\u003Cli>\u003Cstrong>Designate a referent\u003C/strong> - Provide a dedicated contact person on both sides to help build trust and understanding.\u003C/li>\u003Cli>\u003Cstrong>Schedule recurring meetings\u003C/strong> - Schedule regular meetings to review progress and address any issues. Define the agenda beforehand and keep the number of people involved to a minimum. From experience, we don't advise mixing the production follow-up meeting with the production briefing: it is better to make separate points on different days so everyone has time to prepare beforehand.\u003C/li>\u003Cli>\u003Cstrong>Brief everyone at the beginning of each stage for each episode\u003C/strong> - Make sure everyone is on the same page by providing detailed briefings at the start of each stage, for each episode. These briefs must happen the day before a new stage starts to avoid scheduled shifts, so schedule them early accordingly.\u003C/li>\u003C/ul>\u003Cp>You can avoid any misunderstandings during production by using these best practices, but remember: good preparation is key to staying on time and on schedule without sacrificing quality.\u003C/p>\u003Ch3 id=\"4-adapting-to-each-studio\">\u003Cstrong>4. Adapting To Each Studio\u003C/strong>\u003C/h3>\u003Cp>Each studio works differently, so it's important to take into account their specificities and adapt your production process accordingly. The best way to do that is to \u003Cstrong>send a supervisor on-site throughout the entire production\u003C/strong>.\u003C/p>\u003Cp>Unfortunately, this is often overlooked because of the cost it incurs. From experience, however, the benefits far outweigh the costs of unforeseen conflicts, delays, and retakes:\u003C/p>\u003Cul>\u003Cli>Consider this: if your contractors deliver late, you still need your supervisors, production manager, and director. The whole chain is impacted, so \u003Cstrong>you won't just pay for an extra person, but for the whole crew\u003C/strong>!\u003C/li>\u003Cli>Let's imagine we live in a perfect world and there is no production delay: dedicated supervisors still \u003Cstrong>ensure consistent quality\u003C/strong> throughout the production of the animation series by their presence, saving you time and money on retakes.\u003C/li>\u003Cli>Bonus points if the supervisor is \u003Cstrong>familiar with the hired studio's country, language, and culture\u003C/strong>. Each culture has its own codes and specificities that can end up in the production. If you tell an artist to animate a character brooming the floor, you will get different results depending on the country: in France, we handle brooms with two hands, but in some countries, a broom doesn't have a handle and the action is done near the ground. If you don't keep these details in mind, unnecessary conflicts can emerge.\u003C/li>\u003C/ul>\u003Cp>This is why it's important to develop a common visual language with the help of a supervisor―whether it's images, video clips, or anything that will help you get your ideas across. Again, the more precise you are, the smoother the work will be.\u003C/p>\u003Ch2 id=\"to-sum-up\">\u003Cstrong>To sum up\u003C/strong>\u003C/h2>\u003Cp>A few key takeaways to conclude:\u003C/p>\u003Cul>\u003Cli>Bring the same attention to detail to each studio. No stage of production is easier or simpler than another.\u003C/li>\u003Cli>Each studio must have a contact person, a weekly production brief, and a sequence brief for each new episode.\u003C/li>\u003Cli>Treat a foreign animation studio the same way you would a local studio. But do spend more time and energy on a foreign studio to make up for the difference in culture, language etc. They don't necessarily share the same perspectives and references.\u003C/li>\u003Cli>Treat each studio equally and create an inclusive environment. Otherwise, you risk decreasing the production quality and straining your relationship.\u003C/li>\u003C/ul>\u003Cp>With this best practice, you will avoid all caveats and make your production a success!\u003C/p>\u003Cp>\u003Cem>If you're interested in learning more about hiring several studios, we also run\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\"> a Discord community\u003C/a> where you can connect with more than 1000 CG professionals to share tips and ideas. No matter where you come from, join us―we will be happy to help you with your projects!\u003C/em>\u003C/p>",{"uuid":651,"comment_id":652,"feature_image":653,"featured":105,"visibility":10,"created_at":654,"updated_at":655,"custom_excerpt":656,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":657,"primary_tag":658,"url":659,"excerpt":656,"reading_time":140,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":660},"36847b48-2a83-4f90-9afa-7a8a25e275fa","63bd8d4ebd504c003d8dc790","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2023/01/eric-prouzet-HpOfKailFP8-unsplash.jpg","2023-01-10T17:07:42.000+01:00","2026-02-20T06:03:42.000+01:00","It becomes frequent during production that the work is separated into several studios. Either because the main studio is only a delegated producer and has no production studio or artist, because of lack of space, or to take advantage of a better rate on certain stages.‌",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/4-best-practices-for-managing-a-multi-studio-animation-production/","Photo by \u003Ca href=\"https://unsplash.com/@eprouzet?utm_source=unsplash&utm_medium=referral&utm_content=creditCopyText\">Eric Prouzet\u003C/a> on \u003Ca href=\"https://unsplash.com/photos/HpOfKailFP8?utm_source=unsplash&utm_medium=referral&utm_content=creditCopyText\">Unsplash\u003C/a>","/posts/4-best-practices-for-managing-a-multi-studio-animation-production","2023-01-31T08:30:40.000+01:00",{"title":646},"4-best-practices-for-managing-a-multi-studio-animation-production","posts/4-best-practices-for-managing-a-multi-studio-animation-production",[667],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"55xFfM7uHkcc4-Sop1OqQfsvpK4bW1h5B6gudrtWW10",{"id":670,"title":671,"authors":672,"body":7,"description":7,"extension":8,"html":674,"meta":675,"navigation":13,"path":686,"published_at":687,"seo":688,"slug":689,"stem":690,"tags":691,"__hash__":693,"uuid":676,"comment_id":677,"feature_image":678,"featured":105,"visibility":10,"created_at":679,"updated_at":680,"custom_excerpt":681,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":682,"primary_tag":683,"url":684,"excerpt":681,"reading_time":115,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":685},"ghost/posts:how-much-cost-a-cgi-tv-show-52-episodes-of-12-mn.json","How Much Does A CGI TV Show Cost In 2026?  52 Episodes of 12 Mn Example",[673],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>It is commonplace for TV shows in the US to cost hundreds of thousands of dollars per episode, if not millions. But CGI TV show budgets aren’t cheap either: Netflix’s acclaimed CGI show Arcane has been estimated to have cost over 90 million dollars and 6 years to create for example―10 million dollars per episode! \u003C/p>\u003Cp>For a preschool production, the budget is around 5 million dollars for the whole show of 52 episodes of 15mn. While different CGI TV shows require different budgets, you might wonder where all this money goes. In the following article, we’ll tell you exactly what you can expect as a CG production manager.\u003C/p>\u003Ch2 id=\"why-you-need-a-budget\">Why You Need A Budget\u003C/h2>\u003Cp>As an artist with an idea looking for funds, \u003Cstrong>you’ll need a budget to showcase your project’s viability\u003C/strong>. Even artistic endeavors require business plans. It is unlikely you’ll be able to convince producers to bet their hard-earned money on you unless you can demonstrate proof of potential profitability. A budget gives a clear idea of where the money will go. Combined with a revenue estimate based on solid market research, it will give you the data to predict future success or failure.\u003C/p>\u003Cp>\u003Cstrong>A well-thought-out budget protects you and your investors against risks.\u003C/strong> It helps you prepare for the worst-case scenarios, giving you the peace of mind you’ll need to bring out your full creative potential. Similarly, nobody in their right mind will accept to work for you for free. Being able \u003Cstrong>to pay your artists on time and on a budget is key to the success of your show\u003C/strong>.\u003C/p>\u003Ch2 id=\"how-to-budget-a-cgi-tv-show-in-7-steps\">How To Budget A CGI TV Show In 7 Steps\u003C/h2>\u003Cp>In the following breakdown, \u003Cstrong>we take a high-end CGI TV show of 52 episodes of 12 minutes aimed toward adults as an example, with the aim to release one episode per week\u003C/strong>.\u003C/p>\u003Ch3 id=\"conception-449k%E2%82%AC\">Conception (449k€)\u003C/h3>\u003Cp>Preparation is key to the success of a show―having an idea isn’t enough. You’ll need to document the artistic direction, write scripts, and hire other people to help you with these tasks. Here are some high-average costs you can expect:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>General concept \u003C/strong>- The general concept can either be brought by you, or bought from someone else. In the case of a novel adapted to a TV show, for example, you’ll need to buy the rights from the novel’s author.\u003C/li>\u003Cli>\u003Cstrong>Literary bible (55k€)\u003C/strong> - The literary bible defines the show’s universe―everything from the characters to the locations and the themes. You can expect a lot of time writing and revising the document with the producer, hence the price tag. The amount of money is split between payroll and royalties.\u003C/li>\u003Cli>\u003Cstrong>Writers’ guide (4k€)\u003C/strong> - For writers to stay coherent with the literary bible while working together, the story editor has to write a “writer’s guide”.\u003C/li>\u003Cli>\u003Cstrong>Story editing (182k€) \u003C/strong>- 3,500€ per episode.\u003C/li>\u003Cli>\u003Cstrong>Scripts (130k€)\u003C/strong> - 2,500€ per episode\u003C/li>\u003Cli>\u003Cstrong>Graphic bible (3,600€) \u003C/strong>- Storytelling is one thing, but visuals are just as important. A graphic bible documents the design research behind a series’ concept.\u003C/li>\u003Cli>\u003Cstrong>Director (75,000€)\u003C/strong> - A director oversees the whole production, end to end. There are several ways to compensate a director (salary, artistic rights, a percentage of the gross revenues, etc.), but the price will ultimately come down to his experience and skills.\u003C/li>\u003C/ul>\u003Cp>\u003Cstrong>Total cost: 449,600€\u003C/strong>\u003C/p>\u003Ch3 id=\"staff-354k%E2%82%AC\">Staff (354k€)\u003C/h3>\u003Cp>We base our schedule on 26 months of production―2 years and 2 extra months as a security margin. All contractors work 5 days a week, so 22 days per month. \u003Cstrong>The total cost of the staff during the whole production is about 354,640€\u003C/strong>:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Production Manager (91,520€)\u003C/strong> - 160€ per day over 26 months\u003C/li>\u003Cli>\u003Cstrong>Production Assistant (45,760€)\u003C/strong> - 130€ per day over 16 months\u003C/li>\u003Cli>\u003Cstrong>Technical Director: (114,400€)\u003C/strong> - 200€ per day over 26 months\u003C/li>\u003Cli>\u003Cstrong>1st Assistant: (102,960€)\u003C/strong> - 180€ per day over 26 months\u003C/li>\u003C/ul>\u003Ch3 id=\"2d-pre-production-223k%E2%82%AC\">2D Pre-Production (223k€)\u003C/h3>\u003Ch4 id=\"main-model-pack-50k%E2%82%AC\">Main Model Pack (50k€)\u003C/h4>\u003Cp>Because the example centers on an adult animation, we will do all the research and pre-production in 2D to deliver the final design quicker while maintaining high quality throughout the animation stage.\u003C/p>\u003Cp>The production begins with the main model packs containing all the designs of the main characters, props, locations, and everything that appears in the episodes. You can safely \u003Cstrong>budget 2 months to develop and test everything\u003C/strong>.\u003C/p>\u003Cul>\u003Cli>Character design (21,560€)\u003C/li>\u003Cli>\u003Cstrong>Character design supervisor (7,920€)\u003C/strong> - 180€ per day\u003C/li>\u003Cli>\u003Cstrong>Character design artists (7,040€) \u003C/strong>- 160€ per day\u003C/li>\u003Cli>\u003Cstrong>Color research animation and texturing artist (6,600€)\u003C/strong> - 150€ per day\u003C/li>\u003Cli>Background design (22,440€)\u003C/li>\u003Cli>\u003Cstrong>Line drawing background supervisor (7,920€)\u003C/strong> - 180€ per day\u003C/li>\u003Cli>\u003Cstrong>Line drawing background artists (7,040€)\u003C/strong> - 160€ per day\u003C/li>\u003Cli>\u003Cstrong>Color BGs supervisor (7,480€)\u003C/strong> - 170€ per day\u003C/li>\u003Cli>Props & FX (6,600€)\u003C/li>\u003Cli>\u003Cstrong>Props and FX artist (6,600€)\u003C/strong> - 150€ per day\u003C/li>\u003C/ul>\u003Cp>\u003Cstrong>The main model pack costs 50 600€ in total.\u003C/strong>\u003C/p>\u003Ch4 id=\"storyboard-design-173k%E2%82%AC\">Storyboard Design (173k€)\u003C/h4>\u003Cp>Scripts are vital to reduce the cost of your production because they help anticipate the creation of characters and backgrounds before you even begin the design phase. You also have to provide the designs to the story editor to define together some of the characters and locations used in the production, and design creation doesn’t end after the storyboard either. Storyboard artists sometimes need to create more assets than what you provide.\u003C/p>\u003Cp>If you have a new character in every episode, you will end up with 52 new characters to design. An artist can draw a complete turn, as well as complete the expression and attitude sheet in 2 days for one character: you’ll need almost 5 months to create all the episodic characters. Same for the environment. To be on the safe side, \u003Cstrong>the pre-production should last 11 months\u003C/strong>.\u003C/p>\u003Cp>You’ll need about 58k euros in pre-storyboard design costs for 5 months of work:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Character design supervisor (19,800€)\u003C/strong>\u003C/li>\u003Cli>\u003Cstrong>Line drawing BG supervisor (19,800€)\u003C/strong>\u003C/li>\u003Cli>\u003Cstrong>Color BG supervisor (18,700€)\u003C/strong>\u003C/li>\u003C/ul>\u003Cp>And another 115k€ post-storyboard:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Line drawing bg artist (21,120€)\u003C/strong> - over the full 11 months, half-time\u003C/li>\u003Cli>\u003Cstrong>Props & FX artist (36,300€)\u003C/strong>\u003C/li>\u003Cli>\u003Cstrong>Color BGs artist (21,120€)\u003C/strong> - 11 months, half-time\u003C/li>\u003Cli>\u003Cstrong>Color research artist (36,300€)\u003C/strong>\u003C/li>\u003C/ul>\u003Cp>\u003Cstrong>In total, the costs of 2D pre-production fetch 223,740€.\u003C/strong>\u003C/p>\u003Ch3 id=\"storyboard-animatic-325k%E2%82%AC\">Storyboard & Animatic (325k€)\u003C/h3>\u003Cul>\u003Cli>\u003Cstrong>Storyboard supervisor (66,000€)\u003C/strong> - 200€ per day for 15 months\u003C/li>\u003Cli>\u003Cstrong>52 storyboards (208,000€)\u003C/strong> - 4,000€ per storyboard considering you’ll need 4 weeks per episode paying storyboard artists 200€ per day\u003C/li>\u003Cli>\u003Cstrong>Layout posing artist (14,560€)\u003C/strong> - 140€ per day, 2 days per episode max. Layout posing simplifies the work of the CGI layout artist and reduces the number of retakes, so it’s worth the investment.\u003C/li>\u003Cli>\u003Cstrong>Animatic editor (35,100€)\u003C/strong> - 225€ per day, 3 days per episode max\u003C/li>\u003C/ul>\u003Cp>You’ll also need a storyboard for the opening credit (1,000€) and the corresponding animatic editing (500€).\u003C/p>\u003Cp>\u003Cstrong>Total cost storyboard/animatic: 325,160€\u003C/strong>\u003C/p>\u003Ch3 id=\"cgi-pre-production-170k%E2%82%AC\">CGI Pre-Production (170k€)\u003C/h3>\u003Ch4 id=\"main-characters-modeling-9k%E2%82%AC\">Main Characters Modeling (9k€)\u003C/h4>\u003Cp>The CGI part starts with the modeling of the main characters. Note you should budget extra days to account for revisions:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Modeling (900€)\u003C/strong> - 4 days and 2 extra at 150€ per day.\u003C/li>\u003Cli>\u003Cstrong>Rigging, blendshape, skinning (640€)\u003C/strong> - 2 days + 2 extra at 160€ per day\u003C/li>\u003Cli>\u003Cstrong>Shading (750€)\u003C/strong> - 3 days + 2 extra at 150€ per day\u003C/li>\u003Cli>Total per character: 2,290€, over 15 days\u003C/li>\u003C/ul>\u003Cp>Planning a budget for 4 main characters, \u003Cstrong>it would cost us 9160€ in CGI design packs.\u003C/strong>\u003C/p>\u003Ch4 id=\"secondary-characters-modeling-73k%E2%82%AC\">Secondary Characters Modeling (73k€)\u003C/h4>\u003Cp>Since you already have your primary characters, artists can create a base mesh to reduce the time and cost of modeling secondary characters. To simulate the base-mesh optimization, we do the math with 32 characters instead of 52 and obtain \u003Cstrong>73,280€ (2,290€ per character)\u003C/strong>.\u003C/p>\u003Ch4 id=\"props-environment-modeling-48k%E2%82%AC\">Props & Environment Modeling (48k€)\u003C/h4>\u003Cp>This is harder to estimate but on average a team needs 6 days per prop and/or environment:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Props for 52 episodes (46,800€)\u003C/strong> - You’ll need about 6 days per prop (3 days modeling, 1-day rigging, 2 days shading) at 150€ per day.\u003C/li>\u003Cli>\u003Cstrong>32 Environments (48,000€)\u003C/strong> - 10 days per environment (3 days modeling, 3 days shading, 4 days for revisions) at 150€ per day.\u003C/li>\u003C/ul>\u003Cp>\u003Cstrong>The total cost of the CGI pre-production amounts to 169,560€.\u003C/strong>\u003C/p>\u003Ch3 id=\"production-stage-2150m%E2%82%AC\">Production Stage (2,150M€)\u003C/h3>\u003Cp>\u003Cstrong>The cost of the whole production stage depends on your artists’ daily production quota.\u003C/strong> The faster they go, the faster the pace of the whole project is, and the cheaper the overall project will be.\u003C/p>\u003Cp>But a quota that is too high will exhaust the team, resulting in a drop in quality: you need a balance between the two to minimize your production costs.\u003C/p>\u003Ch4 id=\"layout-742k%E2%82%AC\">Layout (742k€)\u003C/h4>\u003Cp>Since we put a lot of effort into our storyboards, we can estimate a daily quota of 13s of animation duration per artist at this stage. An episode is 10-minutes long if we remove the duration of the opening/ending credits and the still frames, so it would take a single artist 47 days to complete an episode. To reach a release rate of one episode per week working 5 days a week, we will need to hire 10 animators (140€ per day each). That’s 14,000€ per episode:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Layout of the first episode (28,000€)\u003C/strong> - the first episode usually takes double the time, so double the costs.\u003C/li>\u003Cli>\u003Cstrong>Layout of 51 episodes (714k€)\u003C/strong>\u003C/li>\u003C/ul>\u003Cp>We can add:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>3 extra animators (109k€)\u003C/strong> to handle retakes.\u003C/li>\u003Cli>\u003Cstrong>A layout supervisor (49,500€)\u003C/strong> to oversee the completion for the whole 52 weeks + 3 weeks extra for the retakes at 180€ per day.\u003C/li>\u003C/ul>\u003Cp>\u003Cstrong>The total cost for the layout team is 742,000€.\u003C/strong>\u003C/p>\u003Ch4 id=\"animation-1110m%E2%82%AC\">Animation (1,110M€)\u003C/h4>\u003Cp>The formula is similar for animators, except we base our estimate on a daily quota of 6 seconds with a rate of 160€ per day. We will require 20 animators to stay on time, and 5 extra to handle retakes, which amounts to 20,000 € per episode:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Animation of the first episode (40,000€)\u003C/strong>\u003C/li>\u003Cli>\u003Cstrong>Animation of 51 episodes (1,020,000€)\u003C/strong>\u003C/li>\u003C/ul>\u003Cp>Again, you’ll need \u003Cstrong>an extra 49,500€ for an animation supervisor\u003C/strong> (180€ per day) to stay 55 weeks, bringing \u003Cstrong>the total cost of animation to a whooping 1,109,500€.\u003C/strong>\u003C/p>\u003Ch4 id=\"rendering-68k%E2%82%AC\">Rendering (68k€)\u003C/h4>\u003Cp>\u003Cstrong>Two render wranglers \u003C/strong>(\u003Cstrong>67,600€ \u003C/strong>at 130€ per day) are necessary to handle the rendering during the whole production.\u003C/p>\u003Cp>You’ll also need to account for IT investments. If your company is already established, you probably have a render farm. If you’re a young company, you can do the render at night on the company’s computer, or work with an external company for the renders, such as \u003Ca href=\"https://blog.cg-wire.com/partnership-with-ranch-computing/\">Ranch Computing\u003C/a>.\u003C/p>\u003Ch4 id=\"compositing-447k%E2%82%AC\">Compositing (447k€)\u003C/h4>\u003Cp>Compositing costs are based on a daily quota of 4 shots per day per artist (150€ per day). You’ll need 200 shots per animation, or 10 full-time animators to complete the 52 episodes in 52 weeks.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Compositing the first episode (15,000€)\u003C/strong>\u003C/li>\u003Cli>\u003Cstrong>Compositing 51 episodes (382,500€)\u003C/strong>\u003C/li>\u003Cli>\u003Cstrong>Compositing supervisor (49,500€)\u003C/strong>\u003C/li>\u003C/ul>\u003Cp>The total cost for the compositing amounts to \u003Cstrong>447,000€. \u003C/strong>And the \u003Cstrong>total cost production step climbs to 2,149,800€.\u003C/strong>\u003C/p>\u003Ch3 id=\"post-production-443k%E2%82%AC\">Post-Production (443k€)\u003C/h3>\u003Cp>Last but not least, you’ll need to chip in a few extra bills to wrap up your production:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Music (40,000€)\u003C/strong> - One for the opening credit (5 000€) and some for the episodes (35 000€).\u003C/li>\u003Cli>\u003Cstrong>Sound design (179,400€)\u003C/strong> - 3,450€ per episode\u003C/li>\u003Cli>\u003Cstrong>Voice acting (185,000€)\u003C/strong> - 3,000€ for the casting and 3,500€ per episode\u003C/li>\u003Cli>\u003Cstrong>Editing (28,080€)\u003C/strong> - 180€ per episode\u003C/li>\u003Cli>\u003Cstrong>Mixing (11,440€)\u003C/strong> - 220€ per episode\u003C/li>\u003C/ul>\u003Cp>\u003Cstrong>Total cost of post-production: 443 920€.\u003C/strong>\u003C/p>\u003Ch2 id=\"to-conclude\">To Conclude\u003C/h2>\u003Cp>Amazingly, our breakdown brings us to \u003Cstrong>a grand total of more than 4 million euros\u003C/strong>. Hiring people for production represents the biggest part of your expenses, but you’ll also need a studio, computers, software, an accountant, a lawyer, a whole IT infrastructure, insurance, electricity, water… We won’t detail these costs because they are assimilated with the company’s costs, not only the project’s. \u003C/p>\u003Cp>It also depends a lot on the size of the company and how long it’s been around, and outsourcing tasks like modeling or animation will equally drastically influence the final costs. Last but not least, if you increase the quality and the time spent on each iteration, the cost increases significantly.\u003C/p>\u003Cp>We haven’t even mentioned taxes that represent a substantial amount as well (68% in France where we are based, so you’d pay roughly 7 million euros instead of 4 million on paper…), so don’t forget to factor those in as well.\u003Cbr>\u003Cbr>Note that the budget of your production vastly depends on how productive the team can be. This is a reason why you should use \u003Ca href=\"https://www.cg-wire.com/kitsu?ref=blog.cg-wire.com\" rel=\"noreferrer\">a production tracker like Kitsu is key to decreasing the production costs\u003C/a> that will amount to the majority of your budget. Even better, it will allow you to prevent problems resulting in budget exceeding.\u003C/p>\u003Cp>Now that you have a better understanding of the whole production cost, you can start setting up the budget of for your next project!\u003C/p>\u003Cp>\u003Cem>We also run\u003C/em>\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\">\u003Cem> a Discord community\u003C/em>\u003C/a>\u003Cem> where you can connect with more than 1000 CG professionals to share tips and ideas. No matter where you come from, join us―we will be happy to help you with your projects!\u003C/em>\u003C/p>",{"uuid":676,"comment_id":677,"feature_image":678,"featured":105,"visibility":10,"created_at":679,"updated_at":680,"custom_excerpt":681,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":682,"primary_tag":683,"url":684,"excerpt":681,"reading_time":115,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":685},"42b42e81-7602-4710-98b4-df133e83ffbd","6b073cc8be1f","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2022/11/northfolk-Ok76F6yW2iA-unsplash.jpg","2021-01-12T17:50:44.000+01:00","2026-03-26T11:11:11.000+01:00","It is commonplace for TV shows to cost hundreds of thousands of dollars per episode, if not millions. But CGI TV shows budgets aren’t cheap either...",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-much-cost-a-cgi-tv-show-52-episodes-of-12-mn/","\u003Cspan style=\"white-space: pre-wrap;\">Picture by Northfolk on Unsplash.co\u003C/span>","/posts/how-much-cost-a-cgi-tv-show-52-episodes-of-12-mn","2022-11-21T10:00:00.000+01:00",{"title":671},"how-much-cost-a-cgi-tv-show-52-episodes-of-12-mn","posts/how-much-cost-a-cgi-tv-show-52-episodes-of-12-mn",[692],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"gC__m4NYRRLKjVOM26mc5f1yg7mLcZkaFJlPh9vaej4",{"id":695,"title":696,"authors":697,"body":7,"description":7,"extension":8,"html":699,"meta":700,"navigation":13,"path":709,"published_at":710,"seo":711,"slug":712,"stem":713,"tags":714,"__hash__":716,"uuid":701,"comment_id":702,"feature_image":703,"featured":105,"visibility":10,"created_at":679,"updated_at":704,"custom_excerpt":705,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":706,"primary_tag":707,"url":708,"excerpt":705,"reading_time":115,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:how-to-start-an-animation-studio-as-a-freelancer.json","How To Start An Animation Studio As A Freelancer In 8 Steps (2026)",[698],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>Global Animation & VFX represented \u003Ca href=\"https://www.businesswire.com/news/home/20210122005365/en/Global-Animation-VFX-Market-2021-to-2025---Strategies-Trends-Opportunities---ResearchAndMarkets.com?ref=blog.cg-wire.com\">a $156 billion industry in 2020\u003C/a>, still growing in 2022. But to catch a part of the market, you need to \u003Cstrong>grow as an artist, perhaps by starting your very own animation studio\u003C/strong>.\u003C/p>\u003Cp>At \u003Ca href=\"https://www.cg-wire.com/?ref=blog.cg-wire.com\">CGWire\u003C/a>, we know what it feels like to carve your own path in life because we’ve been there. Creating your own company is thrilling. It’s an opportunity to shape the way you work while discovering an entirely different world, which can be frightening at times. But \u003Cstrong>fear not: we come with solid hints to help you create your studio\u003C/strong> from \u003Ca href=\"https://www.cg-wire.com/kitsu?ref=blog.cg-wire.com\" rel=\"noreferrer\">our experience dealing with dozens of animation studios\u003C/a> that started just like you.\u003C/p>\u003Cp>In this article, we will consider the simplest situation: you are the sole member of your studio, and you \u003Cstrong>work as a freelancer\u003C/strong>.\u003C/p>\u003Ch2 id=\"what%E2%80%99s-an-animation-studio\">What’s An Animation Studio\u003C/h2>\u003Cp>An animation studio is \u003Cstrong>a company creating animated media\u003C/strong>―films, series, ads, or even video tutorials. Animation is everywhere!\u003C/p>\u003Cp>An animation studio typically \u003Cstrong>involves a variety of activities\u003C/strong> like script writing, storyboarding, style framing, drawing illustrations, modelization, rigging, animation, compositing, 2D/3D image editing, voice-over recording, and sound design.\u003C/p>\u003Ch2 id=\"why-start-your-own-animation-studio\">Why Start Your Own Animation Studio\u003C/h2>\u003Cp>The primary advantage of starting your own studio is \u003Cstrong>the possibility to choose your own lifestyle\u003C/strong>―shape the way you work, choose who you want to work with, and impulse your own creative vision. It is only natural when you evolve in a studio that, at some point, you might consider you can do better by yourself. After all, you are a professional with your own relations and the necessary experience to evaluate your deliveries.\u003C/p>\u003Cp>Then, there is \u003Cstrong>the financial freedom of being your own boss\u003C/strong>. Animation studios are in high demand, but whether you’re an employee or a freelancer, you are going to have to deal with the uncertainty of finding paid work. The only differences are you’ll get to choose your projects, to a certain extent, and increase your rates without having to wait around for a middleman.\u003C/p>\u003Cp>Lastly, starting your own studio will allow you \u003Cstrong>to develop new valuable skills\u003C/strong>. Even if you fail, you’ll acquire knowledge that will make you a better artist. The world of animation is fierce and competitive―having experience marketing your skills, delivering projects, and dealing with stakeholders will help you stand out.\u003C/p>\u003Ch2 id=\"8-steps-to-start-your-indie-animation-studio\">8 Steps To Start Your Indie Animation Studio\u003C/h2>\u003Ch3 id=\"i-research-define-your-personal-brand\">\u003Cbr>I. Research & Define Your Personal Brand\u003C/h3>\u003Cp>First, you’ll need to\u003Cstrong> find your niche\u003C/strong>―the type of animation you’d like to produce. As a one-person business, you can’t afford to tackle everything because there is not enough time in a day. Focusing on a niche allows you to target an audience, and \u003Cstrong>knowing your audience is key\u003C/strong> to providing the right services, acquiring customers by knowing where they hang out online, and ultimately making your business profitable.\u003C/p>\u003Cp>Once you list down potential niches, you can research them to \u003Cstrong>assess their potential and pick one\u003C/strong>:\u003C/p>\u003Cul>\u003Cli>How competitive is the niche?\u003C/li>\u003Cli>How much does it pay?\u003C/li>\u003Cli>Is there enough work to sustain my business?\u003C/li>\u003C/ul>\u003Cp>As a freelancer, you can focus on \u003Cstrong>a niche that has low competition and high demand\u003C/strong>, but also that you’ll enjoy working in. Character rigging for pre-school TV series for example. Ultimately, you’ll want to align your personal brand―the way you present your company―with your niche audience, so \u003Cstrong>choose your studio’s brand identity accordingly\u003C/strong>.\u003C/p>\u003Ch3 id=\"ii-register-your-business\">II. Register your business\u003C/h3>\u003Cp>Once you find a name for your company, you need to register it. Like any traditional company, you’ll need to open a professional bank account and fill up a company creation form.\u003C/p>\u003Cp>As a freelancer, you can \u003Cstrong>start as a sole business owner for less than 1,000 euros\u003C/strong> depending on your country, sometimes for free.\u003C/p>\u003Cp>With the rise of neo-banks like Revolut, Wise, or N26, \u003Cstrong>your bank account will cost between 0 and 9 euros/month\u003C/strong>. It’s a lot more if you open a traditional business bank account.\u003C/p>\u003Ch3 id=\"iii-upgrade-your-hardware\">III. Upgrade your hardware\u003C/h3>\u003Cp>Registering your animation business allows you to bill customers, but you’ll need to \u003Cstrong>invest in equipment to deliver projects\u003C/strong>.\u003C/p>\u003Cp>Animation, rendering, compositing, or video editing takes up a lot of computational resources, so your first item on the list is \u003Cstrong>a powerful computer\u003C/strong> with a professional GPU and a large amount of RAM. You can expect to spend anywhere from 1,000 to 5,000 euros depending on how complex your projects are.\u003C/p>\u003Cp>You also need to think about \u003Cstrong>data storage and backup\u003C/strong>. Your storage must be accessible from your client’s office to shorten feedback loops. The best long-term solution is a Network Attached Storage (NAS)\u003Cstrong>\u003Cem> \u003C/em>\u003C/strong>that can store terabytes of data for about 1,000 euros, but you can get started with premium cloud storage services for a monthly subscription.\u003C/p>\u003Cp>Lastly, you’ll need a fast, \u003Cstrong>reliable internet connection\u003C/strong> for business video calls and video downloads and uploads (50 euros per month). You can expect your work-from-home setup to add an extra 100 euros per month.\u003C/p>\u003Cp>Overall, to have the proper hardware, you should expect to spend around 7,000 euros in initial costs, and then 150 euros per month in bills.\u003C/p>\u003Ch3 id=\"iv-choose-your-software\">IV. Choose Your Software\u003C/h3>\u003Cp>Now that you have the proper hardware to work on, you must choose the right software tools for your project! Aside from the operating system, you’ll need different tools for each step of production.\u003C/p>\u003Cp>It’s likely you will spend 3,000-5,000 euros per year on your software, as \u003Ca href=\"https://medium.com/cgwire/cg-pipeline-series-list-of-the-most-popular-cg-tools-7fb39ff6d062?ref=blog.cg-wire.com\">the following breakdown of the most popular CG tools\u003C/a> shows:\u003C/p>\u003Cp>\u003Cem>Operating system \u003C/em>\u003Cbr>Windows (130€)\u003C/p>\u003Cp>\u003Cem>Modeling\u003C/em>\u003Cbr>Autodesk 3dsMax (2940€ / year)\u003Cbr>Autodesk Maya (2940€ / year)\u003Cbr>Blender (0€ / year)\u003C/p>\u003Cp>\u003Cem>Shading\u003C/em>\u003Cbr>Adobe Substance (20€ / month)\u003Cbr>Quickcell suite (400€ / month)\u003Cbr>Adobe Photoshop (70€/ month)\u003Cbr>The Foundry Mari (54€ / month)\u003C/p>\u003Cp>\u003Cem>Sculpt\u003C/em>\u003Cbr>Pixologic Zbrush (40€ / month)\u003Cbr>Autodesk Mudbox (150€ / month)\u003C/p>\u003Cp>\u003Cem>Motion Design\u003C/em>\u003Cbr>Maxon C4D (126€ / month)\u003C/p>\u003Cp>\u003Cem>FX\u003C/em>\u003Cbr>SideFX Houdini (269€ / year)\u003C/p>\u003Cp>\u003Cem>Fur/Cloth\u003C/em>\u003Cbr>Marvelous Designer (1700€ / year / user)\u003Cbr>Autodesk Maya Ncloth (39€ / user)\u003Cbr>Autodesk 3dsMax Ornatric (599€ / user)\u003C/p>\u003Cp>\u003Cem>Environment\u003C/em>\u003Cbr>Itoo Software Forestpack (60€ / year / user)\u003Cbr>World Machine (119€ / year)\u003Cbr>Planetside Software Terragen (38€ / month / user)\u003C/p>\u003Cp>\u003Cem>Rendering\u003C/em>\u003Cbr>Chaos Group Vray (60€ / month)\u003Cbr>Pixar Renderman (595 € / user)\u003Cbr>Autodesk Arnold (645€ / month)\u003Cbr>Corona Renderer (25€ / month)\u003Cbr>Mercenaries Guerilla Render (700€ / node)\u003Cbr>Redshift (300€ / node)\u003Cbr>Otoy Octane (700€ / year)\u003Cbr>Blender Cycles (0€ / year)\u003C/p>\u003Cp>\u003Cem>Lookdev\u003C/em>\u003Cbr>Isotropix Clarisse (2300€ / year)\u003Cbr>Foundry Katana (7500€ / user)\u003Cbr>Mercenaries Guerilla Station (2000€ / nod)\u003Cbr>Sketchfab (249€ / year)\u003Cbr>Marmoset Toolbag  (189€ / user)\u003C/p>\u003Cp>\u003Cem>Animation\u003C/em>\u003Cbr>Autodesk 3dsMax (2940€ / year)\u003Cbr>Autodesk Maya (2940€ / year)\u003Cbr>Toonboom Harmony\u003Cbr>TVPaint\u003Cbr>Blender (0€ / year)\u003Cbr>Mercenaries Rumba\u003C/p>\u003Cp>\u003Cem>Compositing\u003C/em>\u003Cbr>Foundry Nuke (1349€ / user)\u003Cbr>Blackmagic Design Fusion (269€)\u003C/p>\u003Cp>\u003Cem>Editing\u003C/em>\u003Cbr>Magix Software Vegas (359€ / user)\u003Cbr>Avid (1299€ / user)\u003Cbr>Blackmagic Design Davinci Resolve (299€ / user)\u003Cbr>Adobe Premiere (included with the Photoshop suite)\u003C/p>\u003Cp>\u003Cem>Production Tracking and review\u003C/em>\u003Cbr>\u003Ca href=\"https://www.cg-wire.com/kitsu?ref=blog.cg-wire.com\" rel=\"noreferrer\">Kitsu (29€ / month)\u003C/a>\u003Cbr>Frame.io (19$ / month according to reviews)\u003Cbr>Ftrack review: (10$ / month according to reviews)\u003C/p>\u003Cp>And of course, another option, if your customer doesn’t have any software requirements, is to rely on open-source software. It requires some additional training, but the cost reduction can prove to be worth it:\u003C/p>\u003Cul>\u003Cli>Operating system - Linux\u003C/li>\u003Cli>Modeling / Animation / Rendering - Blender\u003C/li>\u003Cli>Digital Painting - Krita\u003C/li>\u003Cli>Production Tracking - \u003Ca href=\"https://www.cg-wire.com/kitsu?ref=blog.cg-wire.com\" rel=\"noreferrer\">Kitsu\u003C/a>\u003C/li>\u003C/ul>\u003Ch3 id=\"v-start-your-online-presence-with-a-portfolio\">V. Start Your Online Presence With A Portfolio\u003C/h3>\u003Cp>Now that you have everything you need to deliver productions for your clients, you will need to get the word out to win contracts: \u003Cstrong>having a portfolio is the first step to showcasing your work to the world\u003C/strong>.\u003C/p>\u003Cp>Knowing your audience is key to \u003Cstrong>understanding where to host and distribute your online portfolio\u003C/strong>. If your customers like to hang out on Instagram, post your work as Instagram reels. If your niche is about Tiktok animated tutorials, post on Tiktok. If you’re not sure where to start, it doesn’t hurt to experiment with different platforms like Linkedin, ArtStation, Youtube… or whatever social media you prefer, but in the end, you want to \u003Cstrong>prefer quality over quantity when it comes to your online presence\u003C/strong>.\u003C/p>\u003Cp>In any case, having your own portfolio website is always a sure bet.\u003C/p>\u003Ch3 id=\"vi-find-your-pricing\">VI. Find Your Pricing\u003C/h3>\u003Cp>You now receive offers from bigger studios or small agencies and it’s time to send them a quote, but how should you go about pricing? You need to consider several factors for your daily rates:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>How much money do you need to recoup your initial investments\u003C/strong> - hardware, software, and living expenses\u003C/li>\u003Cli>\u003Cstrong>How much time do you need to deliver the project\u003C/strong>―don’t forget to include retake time!\u003C/li>\u003Cli>\u003Cstrong>How big of a return on investment you are providing\u003C/strong> to your customers\u003C/li>\u003C/ul>\u003Cp>It’s obvious you should be able to at least make a living from your job―cover your business costs, and your living expenses, and still make a profit to re-invest somewhere else! As a reminder, here is a breakdown of the expenses you should budget for:\u003C/p>\u003Cfigure class=\"kg-card kg-image-card kg-card-hascaption\">\u003Cimg src=\"https://lh5.googleusercontent.com/bO_jYrgrqYmNZ2nPp1eNpvHDWxzIAiaOP8YH8pdXX88pJiMXfuIQ1ldKP1Apc7gS75QHbitsUT9o8JSz296eePR3rvaAagw6NH7eiLUGAmmWfvmqB5N-4yE4JsgYTRf2ekqWOzExXXNwZPwR6Mud3-O2l2QYnyUNW94MgvmEeq-PSFfctcM\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"624\" height=\"651\">\u003Cfigcaption>\u003Cspan style=\"white-space: pre-wrap;\">How to price your services as a freelancer in an animation studio\u003C/span>\u003C/figcaption>\u003C/figure>\u003Cp>But it would also be a mistake to limit yourself to strictly covering your costs, you shouldn’t be afraid to ask for more if your work is likely to bring a huge return on investment to your customer. Developing a profitable business is not only your duty as a freelancer but also the only way to be sustainable.\u003C/p>\u003Cp>When sending your quotes, you should \u003Cstrong>be precise about the scope of the project\u003C/strong>―what is expected from you. It will prevent you from dealing with too many additional requests. Another good practice for long projects is to \u003Cstrong>ask for a percentage of the total payment upfront\u003C/strong> to give yourself room to breathe. Then, depending on the length of the project, another in the middle, and the rest upon delivery.\u003C/p>\u003Ch3 id=\"vii-invest-in-customer-acquisition\">VII. Invest In Customer Acquisition\u003C/h3>\u003Cp>Customer acquisition is the activity that consists in identifying and approaching potential customers. Keeping your pipeline of customers full is important to make your income more stable, so you need to stay open to new opportunities:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Update your portfolio regularly\u003C/strong> - An aging portfolio doesn’t show your best side to a potential client: the more work you can feature, the more experienced and trustworthy you look!\u003C/li>\u003Cli>\u003Cstrong>Create new content on social media\u003C/strong> - Content creation, no matter which platform you choose, ensures more customers become aware of your existence.\u003C/li>\u003Cli>\u003Cstrong>Send out project proposals on a weekly basis\u003C/strong> - Sometimes, all you have to do is study companies you think can be a good fit for your profile and explain to them how you can help them.\u003C/li>\u003Cli>\u003Cstrong>Nurture your network\u003C/strong> - Go visit your former colleagues at the studio. If you can't see them directly, send them emails to update them about your situation.\u003C/li>\u003Cli>\u003Cstrong>Go to events\u003C/strong> - In the same vein, participate in events like festivals or meetups. It will allow you to meet new peers and grow your network.\u003C/li>\u003C/ul>\u003Ch3 id=\"viii-focus-on-retention-deliver-on-time-and-on-budget\">VIII. Focus On Retention: Deliver On-Time And On-Budget\u003C/h3>\u003Cp>Customer acquisition is time-consuming as you’ll soon find out, so it’s extremely important to prioritize customer retention―your ability to retain customers for recurring work―above everything else. More precisely, you’ll want to focus on the following key elements:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Deliver your projects on time and on-budget \u003C/strong>- Do not make your client deceived.\u003C/li>\u003Cli>\u003Cstrong>Over-communicate with your stakeholders\u003C/strong> - Gather feedback and use Kitsu as a production management tool to keep all stakeholders updated in real-time.\u003C/li>\u003Cli>\u003Cstrong>Deal with scope creep accordingly\u003C/strong> - Be careful if a client keeps on demanding extra stuff for your creation (like additional FX, props or animations). It may end in an unfeasible project.\u003C/li>\u003C/ul>\u003Cp>Activities to nurture customer retention should be performed on a daily basis to deal with risks and conflicts early.\u003C/p>\u003Ch2 id=\"to-conclude\">To conclude\u003C/h2>\u003Cp>If you want to manage your time and set your artistic direction, one of the best solutions is to create your studio. But building a new business requires investments, so be aware you will have to buy hardware and software licenses, as well as cover extra costs like legal paperwork, internet connection, and electricity. Having a clear idea of your costs will help you define your pricing and build a sustainable partnership with your customers.\u003C/p>\u003Cp>\u003Cem>We dedicated this blog to CG Production Management and CG Pipeline. Additionally, \u003Cstrong>we run a \u003C/strong>\u003C/em>\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\">\u003Cstrong>\u003Cem>Discord\u003C/em>\u003C/strong>\u003C/a>\u003Cem>\u003Cstrong> community where you can discuss your problems or solutions and learn from others\u003C/strong>. We are already 1000 members to share tips and ideas. Join us―technical directors and production managers from all over the world will be super happy to welcome you!\u003C/em>\u003C/p>\u003Cp>Photo by \u003Ca href=\"https://unsplash.com/@rubavi78?utm_source=unsplash&utm_medium=referral&utm_content=creditCopyText\" rel=\"noopener\">Rubén Bagüés\u003C/a> on \u003Ca href=\"https://unsplash.com/s/photos/alone-crowd?utm_source=unsplash&utm_medium=referral&utm_content=creditCopyText\" rel=\"noopener\">Unsplash\u003C/a>\u003C/p>",{"uuid":701,"comment_id":702,"feature_image":703,"featured":105,"visibility":10,"created_at":679,"updated_at":704,"custom_excerpt":705,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":706,"primary_tag":707,"url":708,"excerpt":705,"reading_time":115,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"3a391e1e-33ff-4b40-abf0-9c8a21a14649","a4f57e8ab7e4","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2022/09/1-e_dm1n-FhIGzUeJfWBejkw.jpeg","2026-03-26T11:11:48.000+01:00","Creating your own company is thrilling. It’s an opportunity to shape the way you work while discovering an entirely different world, which can be frightening at times. But fear not: we come with solid hints to help you create your studio.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-start-an-animation-studio-as-a-freelancer/","/posts/how-to-start-an-animation-studio-as-a-freelancer","2022-09-26T17:55:00.000+02:00",{"title":696},"how-to-start-an-animation-studio-as-a-freelancer","posts/how-to-start-an-animation-studio-as-a-freelancer",[715],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"Qnu_CXvgx9rvHKWDKtxU10JTzU7atxD2xgM5L4T7Rw0",{"id":718,"title":719,"authors":720,"body":7,"description":7,"extension":8,"html":722,"meta":723,"navigation":13,"path":733,"published_at":734,"seo":735,"slug":736,"stem":737,"tags":738,"__hash__":740,"uuid":724,"comment_id":725,"feature_image":726,"featured":105,"visibility":10,"created_at":727,"updated_at":728,"custom_excerpt":729,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":730,"primary_tag":731,"url":732,"excerpt":729,"reading_time":558,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:how-to-make-the-best-use-of-your-productivity-quotas.json","How To Make The Best Use of Your Productivity Quotas (2026)",[721],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>In production, it's common to set quota goals to facilitate planning and budgeting. These quotas are then used as indicators to know whether the team is going at the right pace or not. Quotas can be calculated in terms of frames per day, seconds per day, or finished tasks per day. \u003C/p>\u003Cp>Quotas are efficient but are a double-edged sword too. When they are well balanced they help the team to work serenely and give an indication of the level of quality required. But, when the estimations are wrong, teams will not be able to keep up with it and will end up exhausted trying to meet unrealistic demands. The quality will go down and your team may fail to ship on time...\u003Cbr>\u003Cbr>To avoid bad situations, we'll see in the following how to use this tool efficiently without undermining your teams.\u003C/p>\u003Ch3 id=\"setting-quota-goals\">Setting quota goals\u003Cbr>\u003C/h3>\u003Cp>\u003Cem>Basics\u003C/em>\u003Cbr>It is important to know what quotas mean in order to use them correctly. Like, we said earlier, by definition, it is the number of frames, seconds, or tasks validated per day. It's better to stick to a single indicator but you can track the three of them.\u003C/p>\u003Cp>\u003Cem>Retakes or not\u003C/em>\u003Cbr>When do you consider that the task is finished from the artist's point of view?\u003Cbr>In TV Shows, we will often consider that the shipping of the take 1 (T1) determines the quotas. We do not include the calculation of retake quotas (T2/T3). We guess that the shot won’t be changed entirely because of a retake. Most of the time the T3 is done much faster than the T1.\u003Cbr>\u003Cbr>It may sound contradictory but it is mandatory to keep room to make these retakes. It is not because it is faster to do a T2 than a T1 that retakes should be totally removed! So the best option is to include the fact that some retakes will be done when you set the T1 quota goals (for instance, decreasing your daily quotas goals by half a second will allow you to anticipate the time spent on retakes). \u003C/p>\u003Cp>\u003Cem>Difficulty\u003C/em>\u003Cbr>It is great to be aware of what it means to have a quota of X seconds of animation per day. Unfortunately, it is not enough to calculate the number of frames in a shot to determine the quota goal. You have to take into account several other parameters :\u003C/p>\u003Cul>\u003Cli>The number of animated characters in the frame.\u003Cbr>For example, if there are two people talking in a shot, you will have to animate these two characters. The animator will have to do double work for this shot: animate character A and then animate again character B.\u003C/li>\u003Cli>The difficulty of the shot itself: is it an emotional or an action scene? Is there a complex movement involved? etc.\u003C/li>\u003Cli>The number of moving props in the scene and the number of FX may have an impact on its difficulty.\u003C/li>\u003Cli>The level of the animators enters into consideration. We expect more from a senior than from a junior. Beware too that a senior may take more difficult or longer shots. In that case, the quota goal should be adapted.\u003C/li>\u003C/ul>\u003Cp>\u003Cem>Contracts\u003C/em>\u003Cbr>The context defined by the contract with the animation studio will have an influence too. For example, you could decide that there are no more than two characters on a shot, no more than six in a shot with wide framing, etc. \u003Cbr>\u003Cbr>Once you agree on this, all the previous steps must be validated with these limitations in mind (script, storyboard, animatics...) to ensure that the quotas will be feasible.\u003C/p>\u003Cp>The contracts set how many back and forths are planned and the nature of the retakes (if simple corrections are expected or if the shot can be fully redrawn). It will give you an idea of the time spent on the retakes on average. \u003C/p>\u003Cp>\u003Cem>Final notes\u003C/em>\u003Cbr>Quotas should be used as a guideline to establish a budget and a schedule as close as possible to reality. It is important to include buffer zones that will allow absorbing the delay of an episode without jeopardizing the rest of the schedule. Keep in mind too, that quotas are not a dogma set once and for all the production, you will have to adapt to every situation. \u003C/p>\u003Cp>Let's finish with a little tip for TV series. To ensure that the quotas are respected, alternate the episode difficulty. A heavy episode should be followed by a light episode to allow the team to recover (in terms of fatigue and delay).\u003C/p>\u003Ch3 id=\"track-productivity\">Track productivity\u003C/h3>\u003Cp>\u003Cbr>Once the product is launched and the teams are set up, you need indicators to know if the quotas are respected and if everything is going at the right pace. You need to track the productivity of the teams.\u003C/p>\u003Cp>As you guess, to match them with quotas we are going to calculate artist by artist how many frames / seconds / plans they have done each day.\u003C/p>\u003Cp>If you do it manually, it requires spending a lot of time each day to get an accurate record of the work done. You will have to store this in a spreadsheet to be able to analyze the data.\u003C/p>\u003Cp>The second issue is that it adds a lot of stress on the artists. They may feel that they are constantly being watched. If an artist decides to rework his shot because he feels it's needed, he will have to justify it, and may even hesitate to do so. Artists can stop planning and thinking about what is really best for the pictures, in order to start animating as fast as possible to meet the quotas.\u003C/p>\u003Cp>And the last point to pay attention to the artist can take a break, or start again from scratch his work. It will be up to the production manager to flatten the quotas on all the days spent by the artist, to have an idea of his speed. \u003C/p>\u003Cp>To not annoy an artist, there is another solution: you can track how much time per day an artist has worked on his task. As soon as he asks for validation, you can consider that he's done. Then you can make a retroactive calculation by weighting the amount of frame shipped with the time logs coming from the timesheets. If you don't use a timesheet, you can rely on his start date and guess a daily average of frames shipped between the beginning and the end of the task. Guessing quotas will be less overwhelming for you and your artists. It will lead to a similar level of accuracy with much fewer efforts required.\u003C/p>\u003Cp>Ideally, during production, the quotas should be displayed via a burndown chart system for the whole team. It really helps to know if the team is still on track and it makes easier to handle edge cases (difficult shots, big retakes, etc.). For instance, you should break your animation department into teams of 4 to 5 people, and track their quotas together. This technique allows to remove the individual pressure and improves the cooperation between animators. Even better, it creates a sense of accounting and it could be seen as a game by the artists. It leads to stronger collaboration among the team!\u003C/p>\u003Ch3 id=\"to-sum-up\">To sum up\u003C/h3>\u003Cp>\u003Cbr>Quotas are a powerful tool to predict and track your production. But it is double-edged. Badly estimated, quotas can exhaust a team and lead to a consequent delay. Properly estimated, quotas will serve as a reference throughout the production. It will give an idea of the number of elements to have in the picture and to know the real difficulty that the teams encounter. \u003C/p>\u003Cp>Everyone can find motivation in seeing the progress and keep being regular. Team quotas can be fun and push everyone to act as smart as possible to finish on time while keeping a great movie quality. Overall, it's a great tool, but use it wisely!\u003C/p>\u003Cp>\u003C/p>\u003Cp>\u003Cem>We dedicated this blog to Animation Production Management and Animation Pipeline. But you can follow us on \u003Ca href=\"https://fr.linkedin.com/company/cgwire?ref=blog.cg-wire.com\">LinkedIn\u003C/a> to see our news. We also share news from the animation industry. Come take a look and join us!\u003C/em>\u003C/p>",{"uuid":724,"comment_id":725,"feature_image":726,"featured":105,"visibility":10,"created_at":727,"updated_at":728,"custom_excerpt":729,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":730,"primary_tag":731,"url":732,"excerpt":729,"reading_time":558,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"eec8cf3a-0573-4b3c-a5a9-0c543b572208","625945f5526de3003d8bba1a","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2022/04/chris-liverani-dBI_My696Rk-unsplash-1.jpg","2022-04-15T12:16:21.000+02:00","2026-02-20T06:04:37.000+01:00","In production, it's common to set quota goals to facilitate planning and budgeting. These quotas are then used as indicators to know whether the team is going at the right pace or not. Quotas can be calculated in terms of frames per day, seconds per day, or finished tasks per day. ",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-make-the-best-use-of-your-productivity-quotas/","/posts/how-to-make-the-best-use-of-your-productivity-quotas","2022-04-25T12:14:37.000+02:00",{"title":719},"how-to-make-the-best-use-of-your-productivity-quotas","posts/how-to-make-the-best-use-of-your-productivity-quotas",[739],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"nB8rxjH5VusLap-pootz39kmUQxfz4OWgDaL22BFMVg",{"id":742,"title":743,"authors":744,"body":7,"description":7,"extension":8,"html":746,"meta":747,"navigation":13,"path":759,"published_at":760,"seo":761,"slug":762,"stem":763,"tags":764,"__hash__":767,"uuid":748,"comment_id":749,"feature_image":750,"featured":105,"visibility":10,"created_at":751,"updated_at":752,"custom_excerpt":753,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":754,"primary_tag":755,"url":757,"excerpt":753,"reading_time":758,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:5-kitsu-tips-to-make-your-day-better.json","5 Kitsu Tips For Animation Production Management In 2026",[745],{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},"\u003Cp>While discussing with our customers and watching their Kitsu, we figured out that they do interesting things that we didn't expect. In this blog post, we want to share with you a few tips coming from their usage. To make this post even better, we added two highlights on hidden features of Kitsu.\u003C/p>\u003Ch3 id=\"1-table-and-file-names\">1. Table and file names\u003C/h3>\u003Cp>When you have a robot that publishes your previews for your team, it's common to write information about that files. It often involves file names and scripts. Because comments are markdown compatible, you can format your information as a table and style file name as in a terminal. It will be easier to read.\u003Cbr>Check \u003Ca href=\"https://www.markdownguide.org/cheat-sheet/?ref=blog.cg-wire.com\">this guide\u003C/a> to see how you can format your comment in Kitsu!\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2022/01/image-1.png\" class=\"kg-image\" alt loading=\"lazy\" width=\"367\" height=\"318\">\u003C/figure>\u003Cp>\u003C/p>\u003Ch3 id=\"2-emoji-in-status\">2. Emoji in status\u003C/h3>\u003Cp>To make status funnier and playful, you can add an emoji in the short name of the status. Your artists will be happier by seeing this!\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2022/01/image.png\" class=\"kg-image\" alt loading=\"lazy\" width=\"85\" height=\"36\">\u003C/figure>\u003Cp>NB: Find \u003Ca href=\"https://emojipedia.org/?ref=blog.cg-wire.com\">here\u003C/a> a search engine for your emojis.\u003C/p>\u003Ch3 id=\"3-rainbow\">3. Rainbow\u003C/h3>\u003Cp>If you chose well your task type colors you can set a rainbow for your main shot tracking table. It's a simple trick that will make you smile every time you open your production in Kitsu!\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2022/01/image-2.png\" class=\"kg-image\" alt loading=\"lazy\" width=\"1387\" height=\"685\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2022/01/image-2.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2022/01/image-2.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2022/01/image-2.png 1387w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Ch3 id=\"4-zoom-in-pictures\">4. Zoom in pictures\u003C/h3>\u003Cp>When you are in full screen mode to see a picture, you can use the right click button to open a magnifying glass inside the picture (if its resolution is bigger than your screen). It's great to see details for your backgrounds for instance.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2022/01/image-4.png\" class=\"kg-image\" alt loading=\"lazy\" width=\"1254\" height=\"783\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2022/01/image-4.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/2022/01/image-4.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2022/01/image-4.png 1254w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Ch3 id=\"5-copy-paste-urls-or-bookmark-them\">5. Copy / Paste URLs or bookmark them\u003C/h3>\u003Cp>Most pages store the context in the URL. It means that you can build a filtered view and share it easily with others. You can copy your current url and send them the link. They will be able to see the same thing as you. The other option is to save it as a bookmark to access easily to this page later.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2022/01/image-3.png\" class=\"kg-image\" alt loading=\"lazy\" width=\"770\" height=\"61\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/2022/01/image-3.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2022/01/image-3.png 770w\" sizes=\"(min-width: 720px) 720px\">\u003C/figure>\u003Cp>\u003C/p>\u003Cp>That's it for this Kitsu tip session. Feel free to send us your best practice and fun usages. We will share them with the whole community!\u003C/p>\u003Cp>\u003C/p>\u003Cp>\u003Cem>We dedicated this blog to Animation Production Management and Animation Pipeline. But you can follow us on \u003Ca href=\"https://fr.linkedin.com/company/cgwire?ref=blog.cg-wire.com\">LinkedIn\u003C/a> to see our news. We also share news from the animation industry. Come take a look and join us!\u003C/em>\u003C/p>",{"uuid":748,"comment_id":749,"feature_image":750,"featured":105,"visibility":10,"created_at":751,"updated_at":752,"custom_excerpt":753,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":754,"primary_tag":755,"url":757,"excerpt":753,"reading_time":758,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"a5a359b5-adea-45e5-9a3f-b5bd87ce5f73","61d5e2e8e02af7003b161902","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/2022/01/unknown.png","2022-01-05T19:26:48.000+01:00","2026-02-20T06:03:43.000+01:00","While discussing with our customers and watching their Kitsu, we figured out that they do interesting things that we didn't expect. In this blog post, we want to share with you a few tips coming from their usage. To make this post even better, we added two highlights on the hidden features of Kitsu.",{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},{"id":756,"name":37,"slug":40,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":36},"5fff0e3c653a0c003924f7ee","https://blog.cg-wire.com/5-kitsu-tips-to-make-your-day-better/",2,"/posts/5-kitsu-tips-to-make-your-day-better","2022-01-06T11:29:22.000+01:00",{"title":743},"5-kitsu-tips-to-make-your-day-better","posts/5-kitsu-tips-to-make-your-day-better",[765,766],{"id":756,"name":37,"slug":40,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":36},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"FKpqAw5QCjJNbVBykWiHS7YMU0QjizQiBYbaYjXOa8A",{"id":769,"title":770,"authors":771,"body":7,"description":7,"extension":8,"html":773,"meta":774,"navigation":13,"path":784,"published_at":785,"seo":786,"slug":787,"stem":788,"tags":789,"__hash__":791,"uuid":775,"comment_id":776,"feature_image":777,"featured":105,"visibility":10,"created_at":778,"updated_at":779,"custom_excerpt":780,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":781,"primary_tag":782,"url":783,"excerpt":780,"reading_time":47,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:your-spreadsheets-matters-less-than-the-time-of-your-artists.json","(2026) Your Spreadsheets Matter Less Than The Time of Your Artists",[772],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>\u003Cstrong>After years of work, you meet success and your studio is growing\u003C/strong>. You have more important and demanding projects. It’s time to hire more people, new people, artists who are not used to your methods. And sometimes they won’t even be on your premises and therefore can’t be trained by your seniors. Facing these new challenges is super exciting and you want to make everything perfect.\u003C/p>\u003Cp>You are ready to make a significant step forward:\u003Cstrong> you are going to build a strong pipeline\u003C/strong>. Among other tools, you want a production management software that will be available to everyone in the studio. You are ok to let your beloved spreadsheets of all kinds, even it they took months or maybe years to refine.\u003C/p>\u003Cp>So, you take a look at the solutions of the market, you register for a trial and you try each of them. And now comes the real big question: what are your selection criterias? For who this tool is really aimed at?\u003C/p>\u003Cp>\u003Cstrong>If you take it for yourself, your main criteria will be production reports and statistics. \u003C/strong>You will enjoy building custom pages to find all your production indicators. And this as quickly and easily as possible. That would be great to have all this new reports but if this is your first criterion, it means that the whole artist / supervisor / director / client crew comes after.\u003C/p>\u003Cp>\u003Cstrong>The second option is to help your production team to do their weekly report and follow better their production.\u003C/strong> It sounds good, but if this is your first criterion, it means that artists, supervisors directors and clients come after again. It means that you prefer to help people whose job is to organize, manage and report rather than people who build the movie, and who should solely focus on their art… And from what the reports say, it seems they have  a much bigger importance in your budget…\u003C/p>\u003Cp>Take, for example, an ecosystem of 10 people: 1 client, 1 producer, 1 production manager, 1 director/supervisor, and 6 artists. \u003Cbr>The client will give his validation on the previews once a week. The producer is going to follow the production once a month. The production manager will follow the artists every day and report to the producer once a week. The director will supervise the artists and give them feedback every day. And \u003Cstrong>the artists will look several times a day at what they have to do\u003C/strong> and whether their previous work has been validated.\u003C/p>\u003Cp>As a producer, director of the production, \u003Cstrong>you will spend a lot of time recruiting your artists\u003C/strong>. They are the cornerstone of your project! You recruit them based on their demo tape, maybe even on a test. You are willing to pay the price to get the right person in the right position.\u003Cbr>But when the artist arrives in your studio, he will have to manage your internal tracking system. He will have to look for his shots on the network in a spreadsheet. He will spend a lot of time running after the real to know if his work has been validated or not. He will look for the previews of previous building steps. In short, \u003Cstrong>he will spend time looking for the information he needs\u003C/strong>. If the software, cluttered, slow and complex he may spend 15 minutes a day only to look for the right information.\u003C/p>\u003Cp>Then let’s take the production manager, but on the other hand, we recruit him for his organizational, synthesis, and communication skills. Saving him a few hours to build his report is nice. But the question arises! \u003Cstrong>What matters most? Providing a tool that will help your production managers to make their reports, which is why you recruited them? Or make sure that your artists don’t waste a minute looking for information and could focus only on their art?\u003C/strong>\u003C/p>\u003Cp>If we stay on the example of the artist who loses 15 minutes a day looking for information about himself, after a week, he has already lost more than 1 hour and 15 minutes (15mn x 5d = 75mn). If it is a team of 6 people, we are already wasted a full day (75mn x 6 people = 450mn = 7.5h).\u003Cbr>Let’s continue the same math over a month and \u003Cstrong>your whole team loses almost a week’s work \u003C/strong>(7.5h * 4.5 week = 34h = 4.7d). And we don’t add here the time lost when a shot need to be processed again because of a misunderstanding.\u003C/p>\u003Cp>All this wasted time could have been used to refine and push the quality even further or avoid overtime. So, one last time, ask ourselves the question: \u003Cstrong>is it better to privilege the artists or the production reports?\u003C/strong>\u003C/p>\u003Cp>\u003Cstrong>At CGWire, we have our idea.\u003C/strong>\u003C/p>\u003Cp>\u003Cem>We dedicated this blog to CG Production Management and CG Pipeline. Additionally, We propose a Discord channel where you can discuss your problems/solutions and learn from others. We are already 400+ to share tips and ideas. Join us; TDs and Production Managers from all over the world will be super happy to welcome you!\u003C/em>\u003C/p>",{"uuid":775,"comment_id":776,"feature_image":777,"featured":105,"visibility":10,"created_at":778,"updated_at":779,"custom_excerpt":780,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":781,"primary_tag":782,"url":783,"excerpt":780,"reading_time":47,"access":13,"comments":105,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"e584181a-4b78-46c7-aac1-01389113be32","89b89ce9a92a","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-3OjqEPWWT1cy5CY9r4Hqfg.png","2021-01-11T18:38:35.000+01:00","2026-03-27T10:51:56.000+01:00","After years of work, you meet success and your studio is growing. You have more important and demanding projects. It’s time to hire more…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/your-spreadsheets-matters-less-than-the-time-of-your-artists/","/posts/your-spreadsheets-matters-less-than-the-time-of-your-artists","2021-04-25T18:47:00.000+02:00",{"title":770},"your-spreadsheets-matters-less-than-the-time-of-your-artists","posts/your-spreadsheets-matters-less-than-the-time-of-your-artists",[790],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"1hpYe8uuFVPSK3JKQGEVOZBNR-nyK-i5RC6ZXcvUTbg",{"id":793,"title":794,"authors":795,"body":7,"description":7,"extension":8,"html":797,"meta":798,"navigation":13,"path":812,"published_at":802,"seo":813,"slug":814,"stem":815,"tags":816,"__hash__":818,"uuid":799,"comment_id":800,"feature_image":801,"featured":105,"visibility":10,"created_at":802,"updated_at":803,"custom_excerpt":804,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":805,"canonical_url":7,"primary_author":806,"primary_tag":807,"url":808,"excerpt":804,"reading_time":558,"access":13,"comments":105,"og_image":809,"og_title":810,"og_description":804,"twitter_image":809,"twitter_title":810,"twitter_description":804,"meta_title":7,"meta_description":811,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:how-to-perform-a-post-mortem-of-your-finished-production.json","How To Perform a Post-mortem of Your Finished Production (2026)",[796],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>That’s it; production is over! You’re proud of the result, and your production quality seems to have reached a new level. You were able to push your studio’s limit. But it was not without a few challenges along the way.\u003C/p>\u003Cp>With your teams, you spent hours problem solving — both technical and human! Some of your artists pulled all-nighters to keep up with the workload. You may have even had to hire extra artists to keep the team’s heads above water and be able to deliver on time.\u003C/p>\u003Cp>Your development team was on call the whole time, creating specific tools for unusual situations. All areas of friction were exacerbated by the difficulty and the scale of the production. Your pipeline mutated to the point where you no longer recognize it.\u003C/p>\u003Cp>But the project is finally over; you can all take a break and start back fresh and ready for a new project. Everyone is very proud of the outcome but also agrees on a single point: never again.\u003C/p>\u003Ch4 id=\"never-again-but-\">NEVER AGAIN, BUT…\u003C/h4>\u003Cp>It would be a pity not to capitalize on the progress you made. You should be able to build on your workflow by optimizing just a few points. And there is only one way to do this: conduct a post-mortem and learn from your mistakes!\u003C/p>\u003Cp>A post-mortem isn’t simply listing what went or what went right. A post-mortem is an analysis of what happened at all stages of production, both good and bad. And above all, understanding why these things happened.\u003C/p>\u003Cp>Conducting a post-mortem is a slow and difficult process because you have to be honest and objective about what happened. It is not the time to settle scores with other departments or team members. Pointing fingers is not constructive and will not help in future productions.\u003C/p>\u003Ch4 id=\"1-gather-data\">1. Gather data\u003C/h4>\u003Cp>For a proper post-mortem, you need as much data as possible. In this article, we will work on the assumption that the budget and the schedule were correct. Every overrun has been noted, and there is a copy of the original budget and schedule.\u003C/p>\u003Cp>The first thing to do is to compare the original budget and schedule to the final one. This is a step-by-step process. Isolate one department after another to try and build a global understanding of the project. Did we stay on track, or did we run over? If the project stayed within forecasts, it is essential to know why. Were all the steps properly tracked? Was one step much faster than expected, absorbing any previous delays?\u003C/p>\u003Cp>It’s essential to keep track of what happened, such as the number of character studies or retakes for an asset or a shot or the time spent redoing things over and over again.\u003C/p>\u003Ch4 id=\"2-talk-with-supervisors\">2. Talk with supervisors\u003C/h4>\u003Cp>Once you’ve analyzed all the data, it’s time to talk with department supervisors to get their on-the-ground feedback.\u003C/p>\u003Cul>\u003Cli>How did they experience this production?\u003C/li>\u003Cli>Did they need specific tools?\u003C/li>\u003Cli>Was the brief complete enough?\u003C/li>\u003Cli>How was communication with the previous department?\u003C/li>\u003Cli>And the following department?\u003C/li>\u003Cli>Did they need to change their way of working?\u003C/li>\u003Cli>Did they have to do unforeseen research and development during their run?\u003C/li>\u003Cli>Did the team have to work overtime?\u003C/li>\u003Cli>How did the validation go?\u003C/li>\u003Cli>And the most important: how did it go with the team?\u003C/li>\u003C/ul>\u003Cp>Once you have discussed with the supervisor, you should have a better understanding of what happened. But you need more concrete information to create new guidelines. So, it’s now time to talk to the teams.\u003C/p>\u003Ch4 id=\"3-talk-with-the-team\">3. Talk with the team\u003C/h4>\u003Cp>If the production were particularly challenging, you’d need to dig deeper into what happened.\u003C/p>\u003Cp>First, start by talking with the supervisor to get their vision of the project and teams. Then discuss further with each member of the team, if possible. Not everyone will have the same vision since everyone does a different job. This step helps identify the processes to keep, those to be scrapped, and those that need adapting.\u003C/p>\u003Cblockquote>Keep in mind that just because the result was a success, the processes that lead to it may not have been.\u003C/blockquote>\u003Cp>Identify what has been done differently and what has brought real improvements to the project. What are the steps and processes that made these improvements possible? Once these processes have been identified, analyze them to understand how to reproduce across teams, if possible. For example, throughout the production of a 52-episode, 11-minute cartoon series, we encountered many delays and retakes.\u003C/p>\u003Cp>Halfway through, we realized that the writers had run out of ideas for the series and, as a result, had started to steer too far from the brief. As such\u003Cstrong>, \u003C/strong>we had to hire more writers during the season to complete the series.\u003C/p>\u003Cp>It is also important to keep in mind if the final result was better than previous productions, it does not mean that things went better in all departments. You may find that a department takes it upon itself to correct previous errors and push the final product's quality, but not necessarily improving the overall workflow.\u003C/p>\u003Cblockquote>This is why it is important to dissect each step in turn.\u003C/blockquote>\u003Cp>You must analyze production, development, R&D, the job of the producer, and the providers.\u003C/p>\u003Cp>After all this has been done, it is time to compare with deviations from the budget and schedule and identify unnecessary expenditure and shortfalls.\u003C/p>\u003Cp>The second step is to analyze the sequence of the work.\u003C/p>\u003Cul>\u003Cli>Did each department receive what is needed to work correctly?\u003C/li>\u003Cli>Was the brief clear?\u003C/li>\u003Cli>Were the files properly named?\u003C/li>\u003Cli>Did they have a script to help them? / Could a script have helped them?\u003C/li>\u003Cli>Did they need new software?\u003C/li>\u003Cli>Were the assets properly named in the working files?\u003C/li>\u003Cli>Were the retakes done?\u003C/li>\u003C/ul>\u003Cp>Another example, after this stage during a post-mortem, I realized that one of our artists, who was usually very discreet and quiet, started taking on more and more responsibilities.\u003C/p>\u003Cp>He took it upon himself to rectify all the errors from the previous stage to lighten the load for his supervisor. Once we realized his capacities, we agreed to offer him a supervisor position on the next production. It was a real eye-opener for him and the production.\u003C/p>\u003Ch4 id=\"4-analyze-all-data\">4. Analyze all data\u003C/h4>\u003Cp>You now have all the information you need to understand what went wrong and what worked well. What was clumsy, what was useless, or what took too long.\u003C/p>\u003Cp>From your research, you should be able to create a theoretically perfect pipeline. It is now time to have your supervisors validate it. Each supervisor can adjust according to their practical knowledge. Present them the results of the post-mortem, showing their feedback and requests have been taken into account.\u003C/p>\u003Cp>After, all supervisors should be brought in to discuss the new pipeline and figure out what could be further improved or smoothed out.\u003C/p>\u003Cp>This will result in a different way of forecasting production in terms of budget and planning and a new way to communicate, centered around supervisors. Tools will be created, replicated, or removed from the pipeline as necessary.\u003C/p>\u003Cp>Each production is different. It is impossible to give an exhaustive list of problems and solutions, but this article should be a sufficient guide to help you improve. Production is a team effort, and everyone is working with a common goal: get the best possible result.\u003C/p>\u003Ch4 id=\"to-sum-up\">To sum up\u003C/h4>\u003Cp>Get in the habit of doing a post-mortem after each production, even if things went well. Post-mortems are not there to blame people. They aim to find room for improvement!\u003C/p>\u003Cp>1. Compare your updated budget and schedule with the real data.\u003C/p>\u003Cp>2. Ask your Supervisors specific questions. Favor one-to-one meetings over email. This way, everybody feels implicated, and you’ll find they talk more candidly without filters.\u003C/p>\u003Cp>3. Talk to the team. If everything went well, try a group session. For a project with conflicts, stick to one-to-ones.\u003C/p>\u003Cp>4. The final step is to analyze the data and write a theoretical pipeline and validate it with your supervisor.\u003C/p>\u003Cp>Now, you should feel empowered to begin work on a new production, as big or even bigger than the one before.\u003C/p>\u003Cp>If you have any questions or feedback about this article, feel free to post them in the comments!\u003C/p>\u003Cp>\u003Cem>We dedicated this blog to CG Production Management and CG Pipeline. Additionally, We propose a \u003C/em>\u003Ca href=\"https://discord.gg/VbCxtKN?ref=blog.cg-wire.com\" rel=\"noopener\">\u003Cem>Discord channel\u003C/em>\u003C/a>\u003Cem> where you can discuss your problems/solutions and learn from others. We are already 400+ to share tips and ideas. Join us, TDs and Production Managers from all over the world will be super happy to welcome you!\u003C/em>\u003C/p>",{"uuid":799,"comment_id":800,"feature_image":801,"featured":105,"visibility":10,"created_at":802,"updated_at":803,"custom_excerpt":804,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":805,"canonical_url":7,"primary_author":806,"primary_tag":807,"url":808,"excerpt":804,"reading_time":558,"access":13,"comments":105,"og_image":809,"og_title":810,"og_description":804,"twitter_image":809,"twitter_title":810,"twitter_description":804,"meta_title":7,"meta_description":811,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"f46a645c-8390-43c7-84f2-3688e4d9326a","c25a50a47835","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-c2O88QDB3Vsn0jRTl3ffnA.jpeg","2020-12-22T08:27:52.000+01:00","2026-02-20T06:04:39.000+01:00","That’s it; production is over! You’re proud of the result, and your production quality seems to have reached a new level. You were able to…","custom-table-of-contents",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-perform-a-post-mortem-of-your-finished-production/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-c2O88QDB3Vsn0jRTl3ffnA.jpeg","How To Perform a Post-mortem of Your Finished Production","That’s it; production is over! You’re proud of the result, and your production quality seems to have reached a new level. You were able to push your studio’s limit. But it was not without a few…","/posts/how-to-perform-a-post-mortem-of-your-finished-production",{"title":794},"how-to-perform-a-post-mortem-of-your-finished-production","posts/how-to-perform-a-post-mortem-of-your-finished-production",[817],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"tSDkJaV9OvllzwaTnTdq9QSL7SbG9oiyufsBLoTgwuQ",{"id":820,"title":821,"authors":822,"body":7,"description":7,"extension":8,"html":824,"meta":825,"navigation":13,"path":838,"published_at":829,"seo":839,"slug":840,"stem":841,"tags":842,"__hash__":844,"uuid":826,"comment_id":827,"feature_image":828,"featured":105,"visibility":10,"created_at":829,"updated_at":830,"custom_excerpt":831,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":805,"canonical_url":7,"primary_author":832,"primary_tag":833,"url":834,"excerpt":831,"reading_time":140,"access":13,"comments":105,"og_image":835,"og_title":836,"og_description":831,"twitter_image":835,"twitter_title":836,"twitter_description":831,"meta_title":7,"meta_description":837,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:why-you-should-check-twice-the-casting-of-your-shots.json","(2026) Why You Should Check Twice The Casting of Your Shots",[823],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>During my career, I realized that making a mistake in shot casting is one of the best ways to set a fire in a production.\u003C/p>\u003Cp>The consequence always follows the same pattern. The Animator is the first to notice that something is missing. Then, he warns the Production team about the issue. In response, the Production asks the Modeling Artist to stop what he is doing and switch his focus on the missing asset. It doesn’t sound like a big issue, but this simple action modifies the production process and creates a lot of noise.\u003C/p>\u003Cp>To avoid that situation, the only thing you can do is to be properly prepared. This blog post will explore how to get ready and see what can be done when a casting error happens!\u003C/p>\u003Cp>\u003Cem>NB: If you are not familiar with the concept of the Shot Casting, you can learn more with this article \u003C/em>\u003Ca href=\"https://medium.com/cgwire/cg-pipeline-shot-casting-6410cb090b12?ref=blog.cg-wire.com\">\u003Cem>CG Pipeline: Shot Casting\u003C/em>\u003C/a>\u003Cem>.\u003C/em>\u003C/p>\u003Ch4 id=\"do-several-breakdowns\">Do Several Breakdowns\u003C/h4>\u003Cp>To handle the shot casting properly, you need to do three breakdowns during the production lifetime:\u003C/p>\u003Cp>1The Script Breakdown to list all the assets for Concept Artists and Storyboard Artists.\u003C/p>\u003Cp>The first time you read the script, you should not start the breakdown yet. You have to get the story first before analyzing it. Once you have the big picture of the movie, you can start your breakdown. Don’t try to do everything in a single pass. You need to identify the backgrounds, the characters, the props, and the most important FX. If you are not used to breakdown, you can highlight the elements with pens of different colors. It will help you not to miss a thing.\u003C/p>\u003Cp>The background is the most complicated part. It would be best if you focused on establishing/close-up/reverse angle/… The purpose is not to create everything but to create meaningful environments that will act as references.\u003C/p>\u003Cp>Characters are easy; you can add special posing and action if there are really specific. Don’t forget to mention passerby or figure.\u003C/p>\u003Cp>The props are a bit more tricky; you have to visualize the action. If, for example, the script says, “Tom hangs a frame on the wall,” you need to list the frame, the hammer, and the nail!\u003C/p>\u003Cp>Be prepared to have back and forths with the director/supervisor. They may have ideas to optimize your breakdown.\u003C/p>\u003Cp>2The Storyboard Breakdown for Modeling/Preproduction Artists and Layout Artists.\u003C/p>\u003Cp>To do the storyboard breakdown, you need 2 things: the storyboard (of course) and the design pack created earlier. The purpose of this breakdown is to list all the things added by the Storyboard Artist.\u003C/p>\u003Cp>Once again, don’t try to do everything at once. Do the background first, check the environment already created, and see if you have all the information needed. You may have to create extra camera angles or close up to fit with the storyboard.\u003C/p>\u003Cp>Then, do the characters and props breakdown. It’s the same principle, check if you have all the information previously created. It would help if you had a reference for everything, all the spoons, cars, leaves;... Finally, list all the FX, drop of water, mud puddle, sparkle, etc.\u003C/p>\u003Cp>3The Previz/Layout Breakdown for the Modeling/Preproduction Artists and Animator Artists\u003C/p>\u003Cp>This breakdown may be tedious and sounds like an “extra kill,” but the Previz/Layout Artist commonly adds new elements to improve the pictures. You need to list these elements to not to miss anything.\u003C/p>\u003Cp>Every time you achieved one of these breakdowns, ensure that the official shot casting is updated accordingly! It’s best to avoid future mistakes.\u003C/p>\u003Ch3 id=\"how-to-manage-problems\">How to manage problems\u003C/h3>\u003Cp>But, let’s be honest, even if you’re prepared, errors happen. So how to react when an asset is missing from the casting?\u003C/p>\u003Ch4 id=\"the-modeling-artist-figured-out-that-something-is-missing-\">The Modeling Artist figured out that something is missing.\u003C/h4>\u003Cp>He could decide to build the missing asset by himself. An Artist shouldn’t have to imagine how to make an asset. If the Director didn’t brief him, the Artist would do the shape to ease his work the most, not what the director wants. There is a high probability that this asset will be redone. All related shots will require a new take to fit with the new official asset.\u003C/p>\u003Cp>\u003Cstrong>What to do in that case: \u003C/strong>When an artist comes tells you that an element missing an element, make sure that there is not a similar element.\u003Cbr>If there is nothing, add this asset and label it with a Stand By status. Then give the artist something else to not block him. You now have to redo the breakdown of the animatic/layout to define this missing element's properties. Once the characteristics have been filled in and validate with the Director, you can have this element made. Then you have to update the shot casting!\u003C/p>\u003Ch4 id=\"the-modeling-artists-did-not-realize-that-something-is-missing-neither-the-animators-\">The Modeling Artists did not realize that something is missing, neither the Animators.\u003C/h4>\u003Cp>In that case, someone realizes late in the process that an asset is missing on some shots. Creating an asset during the last stages of the production will create a lot of confusion. As a Production Manager, you may even need to call back a Modeling Artist if there is none in the studio at that moment. All days spent on modeling, shading, rigging this asset, and redoing the animation of the related shots, are days where the rendering is stuck.\u003C/p>\u003Cp>It could compromise your deadline. Make sure to inform all stakeholders when it happens.\u003C/p>\u003Cp>\u003Cstrong>What to do in that case:\u003C/strong> If it is at the rendering stage that we realize that something is missing, the first thing to do is to postpone the build of this shot and give the Artist something else to do.\u003Cbr>You have to analyze the shot again and see what is missing. The first reflex is to try to find an approximate element because it doesn’t require extra work. But prior to that, you need to involve the Modeling Supervisor (he knows best what’s in stock), the Rendering Supervisor (he knows if it would change the shot's performance), and finally, the Director to validate the decisions made. If an equivalent element can be found, it’s ok to keep on building this shot. If nothing can be found to replace this element, we must define the need precisely. A new breakdown is needed to know if this element appears in other shots. Gather as much information as possible, take a decision and have it validated by the Director.\u003Cbr>Then, you have to get this element done. You have to decide if the Rendering Artist can handle this or a the Modeling Artist have to be called back. And, once you’re done, do not forget to update the shots casting!\u003C/p>\u003Ch4 id=\"you-have-done-the-breakdown-but-the-casting-is-not-up-to-date-\">You have done the breakdown, but the casting is not up-to-date.\u003C/h4>\u003Cp>It means the Modeling Artist will have a list of objects and characters to do, without a distinction of importance. Without a shot casting, the Modeling Artist won’t know if an asset appears in every shot or just in a single one. He will play the safe card and spend the same amount of time on every asset.\u003C/p>\u003Cp>The Rigging team will have the same lack of information. The Artists will do the rig the same way for each object and character, without knowing if an object is a prop (needs a rig) or an object part of a background set (doesn’t need a rig).\u003C/p>\u003Cp>It can quickly become a huge waste of time! It can also affect the global quality of the show. The main characters and props won’t be pushed enough, and an insignificant object will be worked way too much compared to the time it is visible. When the artists realize the discrepancies between their work and the final picture, it will bring a lot of frustration. The Director can go mad.\u003C/p>\u003Cp>\u003Cstrong>What to do in that case:\u003C/strong> It is time to be more accurate with your breakdow. Identify the most recurring elements. It is always useful to know how many times per sequence or episode an element is used.\u003Cbr>It is also necessary to know if an element will be seen in close-up, medium, or wide shot. It’s important to differentiate a passer-by and a speaking character. Do not forget about the character posing too. It has an impact on its rig (and details matter: watch, under soles, inside of the mouth, etc.).\u003Cbr>Another important element to take into account is the lighting. Indeed we will not treat an element in the same way if it is displayed with a full lighting or in the dark.\u003Cbr>A quick solution can be to classify the elements as primary, secondary, or accessory. In the same way, you should not hesitate to note the posing or visible details of characters or objects in the description. The more exhaustive you will be during the preparation, the faster the next steps will be.\u003C/p>\u003Ch4 id=\"to-sum-up\">To sum up\u003C/h4>\u003Cp>As a Production Manager, you need to take extra care about the different breakdowns you have to do during the production.\u003C/p>\u003Cp>If you forget to do it, several problems can occur:\u003C/p>\u003Cul>\u003Cli>According to his own desire and not the director's view, an artist can decide to do the missing asset by himself.\u003C/li>\u003Cli>No one realizes that an asset is missing until the very end of the production. Shots will be stuck, and the whole process of the pre-production has to start again.\u003C/li>\u003Cli>The main and secondary assets are not identified. They will all have the same level of detail. It will affect the movie’s quality, and a lot of time can be wasted to fix that.\u003C/li>\u003C/ul>\u003Cp>The breakdown and the shot casting are the different faces of the same coin. It’s one of the main elements to communicate with your team. Be sure to manage them properly, and you will avoid a lot of annoying situations!\u003C/p>\u003Cp>\u003Cem>This blog is dedicated to CG Production Management and CG Pipeline. We have a \u003C/em>\u003Ca href=\"https://discord.com/invite/VbCxtKN?ref=blog.cg-wire.com\" rel=\"noopener\">\u003Cem>Discord channel\u003C/em>\u003C/a>\u003Cem> where you can discuss about your own problems/solutions and learn from others. Our vibrant community of TDs and Production Managers will be super happy to welcome you, so join us!\u003C/em>\u003C/p>",{"uuid":826,"comment_id":827,"feature_image":828,"featured":105,"visibility":10,"created_at":829,"updated_at":830,"custom_excerpt":831,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":805,"canonical_url":7,"primary_author":832,"primary_tag":833,"url":834,"excerpt":831,"reading_time":140,"access":13,"comments":105,"og_image":835,"og_title":836,"og_description":831,"twitter_image":835,"twitter_title":836,"twitter_description":831,"meta_title":7,"meta_description":837,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"912e3515-5809-499d-aeb0-a6b279e37e2a","4ea3b0d9cbcd","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-6cf50b0w_Iiy4R5sbHfG_w.jpeg","2020-12-08T13:08:07.000+01:00","2026-02-20T06:05:07.000+01:00","During my career, I realized that making a mistake in shot casting is one of the best ways to set a fire in a production.",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/why-you-should-check-twice-the-casting-of-your-shots/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-6cf50b0w_Iiy4R5sbHfG_w.jpeg","Why You Should Check Twice The Casting of Your Shots","During my career, I realized that making a mistake in shot casting is one of the best ways to set a fire in a production. The consequence always follows the same pattern. The Animator is the first to…","/posts/why-you-should-check-twice-the-casting-of-your-shots",{"title":821},"why-you-should-check-twice-the-casting-of-your-shots","posts/why-you-should-check-twice-the-casting-of-your-shots",[843],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"oc4Geu2Bw3e70j9Z274ENkGxgdVtZJqW-qBnebUEWu4",{"id":846,"title":847,"authors":848,"body":7,"description":7,"extension":8,"html":850,"meta":851,"navigation":13,"path":864,"published_at":855,"seo":865,"slug":866,"stem":867,"tags":868,"__hash__":870,"uuid":852,"comment_id":853,"feature_image":854,"featured":105,"visibility":10,"created_at":855,"updated_at":856,"custom_excerpt":857,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":805,"canonical_url":7,"primary_author":858,"primary_tag":859,"url":860,"excerpt":857,"reading_time":140,"access":13,"comments":105,"og_image":861,"og_title":862,"og_description":857,"twitter_image":861,"twitter_title":862,"twitter_description":857,"meta_title":7,"meta_description":863,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:the-main-indicators-of-a-cartoon-tv-series-production.json","(2026) The Key Metrics of a Cartoon TV Series Production",[849],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>Like any project, to manage an animation production properly, you need to track KPIs and specific events. Tracking numeric data gives a complete overview of your project while being able to analyze the situation at a smaller scale. Watching a set of events allows reacting quickly to changes. In this article, we are going to list the main things you must track to manage your production well.\u003C/p>\u003Cp>The KPIs we are interested in are related to budget and schedule. An important thing to consider is that, most of the time, the production doesn’t have access to all the money from the beginning. The contracts defines various milestones that trigger payments (ex: the validation of a given number of episodes for a given building step). Therefore, your numbers are tightly coupled to deadlines. That’s you must be ready to watch your dates as you watch your numbers.\u003C/p>\u003Cp>Now that we set up the frame for this article, let’s go into the details and see what does it mean for your production!\u003C/p>\u003Cp>\u003Cem>In this article, we won’t cover quality and focus more on the budget and the schedule.\u003C/em>\u003C/p>\u003Ch3 id=\"what-to-track\">What to track\u003C/h3>\u003Ch4 id=\"the-budget\">The budget\u003C/h4>\u003Cp>The main thing to do is to track costs on a monthly and weekly basis. The idea is to have a document that forecasts the expenses according to the planned budget.\u003C/p>\u003Cp>Then, you have to write another document to compare the actual costs to your predictions. You will have a global view of reality versus forecast. Quotes and invoices should be systematically confronted and of course it’s important to include cash milestones too.\u003Cbr>You need to always have an eye on the cash flow. This way, you will be aware of any excessive costs or planning changes.\u003C/p>\u003Ch4 id=\"the-schedule\">The Schedule\u003C/h4>\u003Cp>Because you have all the milestones in the contract, you already know which stage and number of episodes need to be delivered. You can follow your budget and set your numbers on a weekly or monthly scale accordingly.\u003C/p>\u003Cp>The easiest way to keep track of the schedule is to use the technique of double planning. You need to double all the lines of tasks on your schedule. You should keep the first one as a reference, and never update it. You only have to update the second version. It’s an excellent way to see where the production is compared to what was decided.\u003C/p>\u003Ch4 id=\"quotas\">Quotas\u003C/h4>\u003Cp>The definition of a quota is the number of frames (or seconds) validated per day. Reaching your quota goals sets the rhythm for the production. That’s why they matter a lot.\u003C/p>\u003Cp>Determining the quota per artist depends on three variables: how many frames (or seconds) must be done, how long the episode lasts, and how many people are in the team. Quotas need to be adapted for each artist. For instance, you don’t expect the same amount of productivity from a junior or a senior artist. Quotas also rely on the difficulty of a shot. The nature of the animation and the number of characters on the screen have a lot of impact. In other words, you can’t ask an animator to spend the same amount of time on a calm shot with only one character on the screen, as on a shot with a charging cavalry.\u003C/p>\u003Cp>The interpretation of quotas is straightforward: if they are respected, it means that the production is on time. If productivity is higher than the expected quota, you are going to finish earlier. If it’s lower, you will be late.\u003C/p>\u003Cp>The goal behind this indicator is to identify who among the artists meet difficulties and is unable to meet the quotas. You know too who is above the average and, you can assign more tasks to the most productive artists to compensate those who are late.\u003C/p>\u003Cp>Quota must be tracked at the artist level, but, additionally, it’s essential to follow the quota average of the whole team. You will see how things are going for the entire group.\u003C/p>\u003Ch4 id=\"retake-rate-per-%E2%80%9Ctake%E2%80%9D\">Retake rate per “take”\u003C/h4>\u003Cp>The second numerical indicator to watch is the retake rate. We call “retake” a comment/feedback given on a task that requires to work on it again. For example, when modeling a character, the Director can ask to reshape the nose.\u003C/p>\u003Cp>The retake rate is the percentage of retake per take number per building step. The goal is to monitor the progress and quality of the episode. When the studio outsources specific steps, the maximum number of back and forth that is allowed is set in the contract. It’s another reason to track this number.\u003C/p>\u003Cp>It is common for the first episodes to have a very high retake rate (up to 70%). The main reasons behind this are the pipeline learning curve, the time to get used to the Director’s demands or /and the time to define precisely the style. But after the first episodes, if your shots have too many retakes (especially more than three retakes), it’s often a sign of a problem that you should fix quickly.\u003C/p>\u003Cp>If a shot has a lot of retakes, it can mean several things:\u003C/p>\u003Cul>\u003Cli>The brief is unclear. In this case, it’s better to sit down and talk with the Artist and the Director to clear things up.\u003C/li>\u003Cli>The shot is more complicated than the artist’s capabilities. It’s useless to keep on giving retakes. If the artist didn’t succeed in the first two takes, there is little chance that he will succeed afterward. It is better to assign this shot to another artist.\u003C/li>\u003Cli>The artist may have too much to do in the time allocated and, therefore, not have time to do it right. The artist and their supervisor can discuss the amount of work required, and perhaps dispatch the tasks to other team members.\u003C/li>\u003Cli>Conflicts can occur. The artist or the Director can be wrong and didn’t want to change their opinion. In this case, only having one-to-one discussions with them will solve this problem.\u003C/li>\u003C/ul>\u003Cp>To sum, what you must track is the percentage of validation and retake for each review round.\u003C/p>\u003Ch4 id=\"burndown-chart\">Burndown chart\u003C/h4>\u003Cp>The goal of the production tracking is to know if the production is still in the rails. The simpler way to achieve that is always to follow if the validations are on time. To monitor this, we can borrow the technique of the burndown chart from the agile method. This tool allows you to monitor production visually and have a faster reaction.\u003C/p>\u003Ch3 id=\"daily-routine-for-production-managers\">Daily routine for Production Managers\u003C/h3>\u003Cp>We listed the main aspects to track to make sure that everything is running well. In the following, we are going to turn this into a daily routine. This is what we recommend you to do when you start a new day.\u003C/p>\u003Cp>For each of the following actions, if you have to change something, talk to the artists and the supervisor of the related department. See with them what changes can occur on the schedule and the assignations prior to taking any decision.\u003C/p>\u003Cp>1\u003Cstrong> Quotas: Artists above and below average \u003C/strong>\u003Cbr>The goal is to identify who among the artists are in difficulty and cannot meet the quotas. We have to compare each artist’s quota with his reference and see if some tasks must be dispatched differently.\u003C/p>\u003Cp>2\u003Cstrong>Tasks ready to start\u003C/strong>\u003Cbr>Identify the tasks that are ready to start. You need to get them started and assign them to artists. You must avoid leaving plans lying around because you think you can deal with them later. The truth is that you may forget them and create a new bottleneck.\u003C/p>\u003Cp>What you have to always keep up to date:\u003C/p>\u003Cul>\u003Cli>The list of tasks not yet started that are known to be valid from the previous task\u003C/li>\u003Cli>The list of available artists (with few or more tasks in their todo list)\u003C/li>\u003C/ul>\u003Cp>3\u003Cstrong>Retakes\u003C/strong>\u003Cbr>Identify the tasks that are not validated and try to know why they are not approved yet. A high retake rate is one of the most common reasons for being late. Having to make and redo the same shots can easily double or triple the time spent.\u003C/p>\u003Cp>What you have to always keep up to date:\u003C/p>\u003Cul>\u003Cli>The list of tasks waiting for approval that are not yet validated\u003C/li>\u003Cli>The list of tasks that didn’t start while they were planned for this\u003C/li>\u003Cli>The number of retakes for each task\u003C/li>\u003Cli>The estimated duration of the time spent on the task\u003C/li>\u003C/ul>\u003Cp>4\u003Cstrong>Assignments\u003C/strong>\u003Cbr>It can happen in production that some artists have nothing left to do, or very few tasks on their todo list.\u003Cbr>We are used to distributing to artists a small number of shots at a time not to overwhelm them. Therefore, it is necessary to be attentive to their todo list to continue to feed them and avoid a break in their work rhythm.\u003C/p>\u003Cp>What you have to always keep up to date:\u003C/p>\u003Cul>\u003Cli>The list of available artists with few or none tasks in their todo list\u003C/li>\u003Cli>The list of ready-to-go tasks\u003C/li>\u003C/ul>\u003Ch3 id=\"conclusion\">Conclusion\u003C/h3>\u003Cp>What you should remind is that there are four crucial parameters to follow in a production:\u003C/p>\u003Cul>\u003Cli>The quotas: to track productivity.\u003C/li>\u003Cli>The list of tasks that are ready to start: to anticipate the next step.\u003C/li>\u003Cli>The retake numbers: to identify slowdowns and bottlenecks.\u003C/li>\u003Cli>The assignments: to make sure everyone is busy.\u003C/li>\u003C/ul>\u003Cp>With this information in mind, you will be able to react immediately in case of unexpected events. Talk about it with the team before deciding any change. Big problems won’t occur anymore. You will feel safer, and all the stakeholders of the production will trust you even more!\u003C/p>\u003Cp>If you have any questions or feedback about this article, feel free to post them in the comments!\u003C/p>\u003Cp>\u003Cem>We dedicated this blog to CG Production Management and CG Pipeline. Additionally, We propose a Discord channel where you can discuss your problems/solutions and learn from others. We are already 400+ to share tips and ideas. Join us, TDs and Production Managers from all over the world will be super happy to welcome you!\u003C/em>\u003C/p>",{"uuid":852,"comment_id":853,"feature_image":854,"featured":105,"visibility":10,"created_at":855,"updated_at":856,"custom_excerpt":857,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":805,"canonical_url":7,"primary_author":858,"primary_tag":859,"url":860,"excerpt":857,"reading_time":140,"access":13,"comments":105,"og_image":861,"og_title":862,"og_description":857,"twitter_image":861,"twitter_title":862,"twitter_description":857,"meta_title":7,"meta_description":863,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"cb8747fb-c78f-4c9b-ac72-edecc1b68b82","1d0e9c0bc0ac","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-gyTOkMuRotn-s4cVD9SZMw.jpeg","2020-05-14T09:36:00.000+02:00","2026-03-27T10:51:40.000+01:00","As you know, Animation Productions are like all projects. To manage them properly, you need to track KPIs and particular events. Tracking…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/the-main-indicators-of-a-cartoon-tv-series-production/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-gyTOkMuRotn-s4cVD9SZMw.jpeg","The Main Indicators of a Cartoon TV Series Production","Like any project, to manage an animation production properly, you need to track KPIs and specific events. Tracking numeric data gives a complete overview of your project while being able to analyze…","/posts/the-main-indicators-of-a-cartoon-tv-series-production",{"title":847},"the-main-indicators-of-a-cartoon-tv-series-production","posts/the-main-indicators-of-a-cartoon-tv-series-production",[869],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"gGan-YHn2YRWQSsdZNiaC9BHR0mjbO5XQN_TpmujlwQ",{"id":872,"title":873,"authors":874,"body":7,"description":7,"extension":8,"html":876,"meta":877,"navigation":13,"path":890,"published_at":881,"seo":891,"slug":892,"stem":893,"tags":894,"__hash__":896,"uuid":878,"comment_id":879,"feature_image":880,"featured":105,"visibility":10,"created_at":881,"updated_at":882,"custom_excerpt":883,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":805,"canonical_url":7,"primary_author":884,"primary_tag":885,"url":886,"excerpt":883,"reading_time":115,"access":13,"comments":105,"og_image":887,"og_title":888,"og_description":883,"twitter_image":887,"twitter_title":888,"twitter_description":883,"meta_title":7,"meta_description":889,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:stages-of-an-animation-production-or-how-to-better-anticipate-problems.json","(2026) Stages of an Animation Production, or How To Better Anticipate Problems",[875],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>When running an animation production, what matters the most is to identify what can slow down the production. For that you must know all stages that may be a bottleneck and those that involve to do retakes at previous stages. On the opposite, you must be aware of the steps that can be automated.\u003C/p>\u003Cp>Knowing the entry and exit points for each stage also help the teams to get better organized. Each department knows what must be done to make the next step running as smoothly as possible.\u003C/p>\u003Cp>In production, there is an infinite number of things that can go wrong, so it’s important to eliminate problems that can be predicted, or at least know where they are more likely to occur. That’s why in this article will give you a detailed least of all the steps of a production. At the end, we added a diagram to make things more visual.\u003C/p>\u003Ch4 id=\"development\">Development\u003C/h4>\u003Cp>The development is the research stage of the production; the producer often funds it himself. The goal of the development stage is to define the graphic and literary styles of the future series.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Literary/graphic bible\u003C/strong> (Authors): The authors will write the literary bible, which will be the basis of the story of the series. Then they describe the main characters, their motivation, etc. The graphic bible will include detailed main characters and the main settings for the movie.\u003C/li>\u003Cli>\u003Cstrong>Synopsis of 3 episodes\u003C/strong> (Authors): It’s to write an outline: a one page summary of the scenario. It’s the story without dialogue. It specifies the places, characters, and essential actions of each episode.\u003C/li>\u003Cli>\u003Cstrong>Budget\u003C/strong> (Head of production): From the information gathered from the bibles and the synopsis, the Head of Production will have an average number of assets per episode, as well as shots. This information allows him to set up the global budget of the TV series.\u003C/li>\u003Cli>\u003Cstrong>Schedule\u003C/strong> (Head of Production): The Head of Production does the global schedule of the production parallelly to the budget. The global schedule will define the beginning and the end of the production, as well as the duration of the main stages of production. The length of the steps determines the number of people required per team.\u003C/li>\u003Cli>\u003Cstrong>Teams hiring \u003C/strong>(Head of Production / Director / Production Manager): Now that the budget and the schedule are defined, the Head of production, the Director and the Production Manager will proceed to the hirings.\u003C/li>\u003C/ul>\u003Cp>It’s essential to lock the design of the main characters at this stage. It is better to take a little more time and make sure that all co-producers agree with the designs. If there is an issue later, you will have to rework the designs of the main characters during pre-production, and consequently, redo the entire storyboards.\u003C/p>\u003Ch4 id=\"pre-production\">Pre-production\u003C/h4>\u003Cp>Pre-production is the first step in the production of a TV series (i.e., the financing plan has been completed). Pre-production encompasses all the stages of creation and reflection. It often takes place on the producer’s premises, as opposed to the production stage, which can be outsourced (France or abroad). The more detailed and precise the pre-production will be, the more you will avoid misunderstandings during the production stage.\u003C/p>\u003Cp>Pre-production mainly concerns the assets and the storyboards.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Scripts\u003C/strong> (Author / Director / Co-producer / Production manager): The author writes the script of the episode. It’s validated by the different co-producers, that are often TV channels. Once the co-producers have approved the script, the director and the production manager refine it. The aim is to make sure that the text respects the production constraints.\u003C/li>\u003Cli>\u003Cstrong>Script Breakdown\u003C/strong> (Production assistant): Once everyone has validated the script, the production assistant starts the script breakdown. It consists of listing all the assets present in an episode: character, background, props.\u003C/li>\u003Cli>\u003Cstrong>Pre-story designs\u003C/strong> (Artists): Thanks to the script breakdown, and thus the design list, the artists draw all the assets needed for each episode.\u003C/li>\u003Cli>\u003Cstrong>Design Validations\u003C/strong> (Artists / Director / production manager): Once the assets are finished, they are validated by the director. It may lead to back and forth between the director and the artists.\u003C/li>\u003Cli>\u003Cstrong>Design Pack\u003C/strong> \u003Cstrong>for the storyboarder \u003C/strong>(Production Assistant): The production assistant gathers all the specific elements of the episode (script, voice assets), as well as a brief from the director and the lead storyboard.\u003C/li>\u003Cli>\u003Cstrong>Storyboard Preview\u003C/strong> (Storyboard Artist): The pack is provided to the storyboard artist. The storyboard artist puts into pictures the scenario and defines the staging of this episode. He starts with the first draft with a rough drawing, without too much detail.\u003C/li>\u003Cli>\u003Cstrong>Rough storyboard validation\u003C/strong> (Storyboard Artist / Director): This first pre-cut allows the Director or lead storyboard artist, to make returns early on (before everything is finished). The storyboard artist can already include the feedback to the next steps.\u003C/li>\u003Cli>\u003Cstrong>Storyboard Cleaning\u003C/strong> (Storyboard Artist / Animatic Artist): The Storyboard Artist resumes his pre-cutting and adds more details. He defines more precisely the characters and their attitudes, as well as the scenery. He integrates the comments from the Lead Storyboard Artist or from the Director. He does the animatic of his episode by making a video from the images of his storyboard (called a panel). He does that by following the duration of the voices.\u003C/li>\u003Cli>\u003Cstrong>Storyboard breakdown\u003C/strong> (Production Assistant): the production assistant does the storyboard breakdown to list all the new elements that have not yet been created. These can be secondary characters such as passers-by in the street, or new camera angles and, therefore, new backgrounds. The production assistant then makes a list of these elements that he gives to the Artists.\u003C/li>\u003Cli>\u003Cstrong>After-story designs\u003C/strong> (Artists): The artists create all the missing assets from the storyboard and send them to the director for validation.\u003C/li>\u003Cli>\u003Cstrong>Asset Validations\u003C/strong> (Artists / Director / Production Assistant): The new assets are validated by the director and can lead to a new retake round with the artists.\u003C/li>\u003Cli>\u003Cstrong>Breakdown List\u003C/strong>: the Production Assistant creates a very detailed list, shot by shot of the episode. For each shot, he lists all the assets that will appear into. He also specifies the mood of the characters. In addition to these asset indications, there are often notes from the Director.\u003C/li>\u003Cli>\u003Cstrong>Assembly of the design pack for the animation studio:\u003C/strong> The Production Assistant gathers all the elements created for the animation teams (Storyboard + Animatics + Design Pack + BKL).\u003C/li>\u003C/ul>\u003Cp>Although this step may seem daunting, it is essential for the rest of the production. If an asset has been missed during the analysis, this error may not be seen for a long time. Keep in mind that you could have to make the designers come back a long time after the beginning. You will have to ask them to make the missing assets.\u003C/p>\u003Cp>Also, if the brief of the director or the animation manager is not complete enough, the impact will only be seen after the work of the animators. It can cause big delays that you should avoid as most as possible.\u003C/p>\u003Ch4 id=\"production\">Production\u003C/h4>\u003Cp>In TV Series, the Production stage concerns the making of the episode itself and everything concerning the shots.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Box animation / Scene assembly\u003C/strong> (Pipeline TD / Artist): This is the creation of the working file, and the loading of the assets in the scene according to the breakdown list. The scene is then saved according to previously defined naming conventions.\u003C/li>\u003C/ul>\u003Cp>Then the typical steps of a shot building start. The process is the same for each step:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Take 1\u003C/strong>: The Artists work on their tasks and send their work to the Director.\u003C/li>\u003Cli>\u003Cstrong>Retake 1\u003C/strong>: The Director (or the Lead Animator) receives a first version of the episode and makes his feedback. A certain percentage of the shots is validated on the first take; the rest of the shots will require a retake (correction). The Director sends his comments with text and drawing annotations for each shot requiring a retake.\u003C/li>\u003Cli>\u003Cstrong>Take 2\u003C/strong>: The Artists receive the comment list (retake list) and work on the related shots.\u003C/li>\u003Cli>\u003Cstrong>Retake 2\u003C/strong>: The Director gets the second batch of shots of this episode with the performed retakes. A certain percentage is validated during this second round; the rest will require another retake.\u003C/li>\u003C/ul>\u003Cp>It’s during the first take that you can notice problems related to an asset. It can be a problem of size, proportion, … This step can involve unexpected back and forths with the design. That’s why it’s essential to always provide an asset with a size reference (another character, a hand, etc.).\u003C/p>\u003Cp>These exchanges between the teams and the Director will last until all the shots are validated. If some shots are not validated, due to lack of time, the Production Manager / Director can consider that the quality is ok and finally approves these shots.\u003C/p>\u003Cp>The take and retake (back and forth between the teams and the director) will happen at all stages of production. The list below is a non-exhaustive example of the different stages you can encounter:\u003C/p>\u003Cul>\u003Cli>Layout Posing T1 (Artist / Lead)\u003C/li>\u003Cli>Layout Posing Validation T1 (Director / Prod)\u003C/li>\u003Cli>Layout Posing T2 (Artist / Lead)\u003C/li>\u003Cli>Layout Posing Validation T2 (Director / Prod)\u003C/li>\u003Cli>…\u003C/li>\u003Cli>BG T1 (Artist / Lead)\u003C/li>\u003Cli>BG Validation T1 (Director / Prod)\u003C/li>\u003Cli>BG T2 (Artist / Lead)\u003C/li>\u003Cli>BG Validation T2 (Director / Prod)\u003C/li>\u003Cli>…\u003C/li>\u003Cli>Anim T1 (Artist / Lead)\u003C/li>\u003Cli>Anim Validation T1 (Director / Prod)\u003C/li>\u003Cli>Anim T2 (Artist / Lead)\u003C/li>\u003Cli>Anim Validation T2 (Director / Prod)\u003C/li>\u003Cli>…\u003C/li>\u003Cli>Compositing T1 (Artist / Lead)\u003C/li>\u003Cli>Compositing Validation T1 (Director / Prod)\u003C/li>\u003Cli>Compositing T2 (Artist / Lead)\u003C/li>\u003Cli>Compositing Validation T2 (Director / Prod)\u003C/li>\u003Cli>…\u003C/li>\u003C/ul>\u003Cp>Compositing is the hinge between the production and post-production stages. It can be considered to be part of the post-production depending on the studio’s habits. It can be done in the studio or outsourced.\u003C/p>\u003Cp>Compositing can also call for new animations or design retakes. It’s during compositing that you notice that a character has the same color as the background behind him. So be prepared to have animation retakes at this stage.\u003C/p>\u003Cp>You can also realize at this stage that the scenery has been cut too much. It prevents the compositing artist to do his work. It will thus be necessary to go back and forth with the Set Artists to fix the problem.\u003C/p>\u003Ch4 id=\"post-production\">Post-production\u003C/h4>\u003Cp>Post-production concerns everything that is image and sound editing. This stage is rarely outsourced.\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>First edit\u003C/strong> (Editor / Director): This is the first edit of the episode; the Editor cuts it “in timing”. Sometimes, the animation produces shots with extra frames to give margins to the shots. The Editor and the Director, during the first edit, decide the order and the duration of all shots. The work of an editor in animation implies the know-how of a rigger. He has to freeze frames, copy and paste pieces of animation to put them in other shots or on other characters, etc.\u003Cbr>From this first editing often comes a new correction list for the animation. This list can either contain corrections that were not seen in the previous step, or new requests specific to this edit. The timing of all the shots at this stage is final; the sound work can be done in parallel with the animation corrections.\u003C/li>\u003Cli>\u003Cstrong>Animation Retake\u003C/strong> (Animation Artist): The animators receive this new list of comments and make the requested corrections. Then, they ship a new version of the shots. Animation retakes after the editing are important. Smart animation modifications can prevent from redoing a whole episode.\u003C/li>\u003Cli>\u003Cstrong>Final edit \u003C/strong>(Editor): The editor integrates the last retakes from animation and compositing departments. He releases the final image of the episode.\u003C/li>\u003Cli>\u003Cstrong>Sound\u003C/strong>: In parallel to the animation corrections, the dialogs are recorded by actors (if this step has not been done beforehand). The music and sound designs are made and added to the images (Dialog, music and sound FX).\u003C/li>\u003Cli>\u003Cstrong>Mix\u003C/strong>: Mixing is the step to set a good balance between all the audio tracks: sound effects, voice, and music.\u003C/li>\u003Cli>\u003Cstrong>Master output\u003C/strong>: The producer can call a laboratory to make an uncompressed output of the episode that is called “master”. It’s sent to the broadcasters’ labs, who will test it according to the country’s guidelines. If the master conforms, it is considered to be ready to be broadcasted.\u003Cbr>There may still be backtracking with animation / compositing when checking the master. Especially if some shots don’t conform to the current standards, or if there are technical problems with the image.\u003C/li>\u003C/ul>\u003Ch4 id=\"to-sum-up\">To Sum Up\u003C/h4>\u003Cp>There are certain steps that require particular attention when making a cartoon TV show. Knowing them all and their sequencing gives you a better global vision of the production and allows you to anticipate future problems. In the end, it will be easier to ship on time with an increased quality.\u003C/p>\u003Cp>To finish this article, I share with you this diagram of the different stages of production. It includes the files that are generated. I highlighted too the stages that can cause problems. It should make things clearer for you!\u003C/p>\u003Cfigure class=\"kg-card kg-image-card kg-width-wide\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-08oq_Qmaf_I6FiEgfIK2pw.png\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1200\" height=\"2655\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/max/1200/1-08oq_Qmaf_I6FiEgfIK2pw.png 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/max/1200/1-08oq_Qmaf_I6FiEgfIK2pw.png 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-08oq_Qmaf_I6FiEgfIK2pw.png 1200w\" sizes=\"(min-width: 1200px) 1200px\">\u003C/figure>\u003Cp>If you have any questions or feedback about this article, feel free to post it in the comments!\u003C/p>\u003Cp>\u003Cem>We dedicated this blog to CG Production Management and CG Pipeline. Additionally, We propose a Discord channel where you can discuss your problems/solutions and learn from others. We are already 385 to share tips and ideas. Join us, TDs and Production Managers from all over the world will be super happy to welcome you!\u003C/em>\u003C/p>",{"uuid":878,"comment_id":879,"feature_image":880,"featured":105,"visibility":10,"created_at":881,"updated_at":882,"custom_excerpt":883,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":805,"canonical_url":7,"primary_author":884,"primary_tag":885,"url":886,"excerpt":883,"reading_time":115,"access":13,"comments":105,"og_image":887,"og_title":888,"og_description":883,"twitter_image":887,"twitter_title":888,"twitter_description":883,"meta_title":7,"meta_description":889,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"79eb1cff-711d-4ec1-994f-6f8edb4ee5a6","f7883f8d697c","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/800/1-E9Nr8RxtS9QlS-a4z30gYg.png","2020-04-13T14:07:37.000+02:00","2026-03-27T10:51:21.000+01:00","When running an animation production, what matters the most is to identify what can slow down the production. For that you must know all…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/stages-of-an-animation-production-or-how-to-better-anticipate-problems/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1091/1-E9Nr8RxtS9QlS-a4z30gYg.png","Stages of an Animation Production (or How To Better Anticipate Problems)","When running an animation production, what matters the most is to identify what can slow down the production. For that you must know all stages that may be a bottleneck and those that involve to do…","/posts/stages-of-an-animation-production-or-how-to-better-anticipate-problems",{"title":873},"stages-of-an-animation-production-or-how-to-better-anticipate-problems","posts/stages-of-an-animation-production-or-how-to-better-anticipate-problems",[895],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"CQbWwpRsEUMoAqy2Xh4L_y3msZRjbdm_CuZVBs4cVYE",{"id":898,"title":899,"authors":900,"body":7,"description":7,"extension":8,"html":902,"meta":903,"navigation":13,"path":916,"published_at":907,"seo":917,"slug":918,"stem":919,"tags":920,"__hash__":922,"uuid":904,"comment_id":905,"feature_image":906,"featured":105,"visibility":10,"created_at":907,"updated_at":908,"custom_excerpt":909,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":805,"canonical_url":7,"primary_author":910,"primary_tag":911,"url":912,"excerpt":909,"reading_time":140,"access":13,"comments":105,"og_image":913,"og_title":914,"og_description":909,"twitter_image":913,"twitter_title":914,"twitter_description":909,"meta_title":7,"meta_description":915,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:list-of-the-most-common-files-used-in-2d-productions.json","Most Common Files In 2D Productions (2026)",[901],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>It is not uncommon during a production to come across a file whose extension is unknown. For instance, during a meeting, everyone is talking about a .fla file but you don’t know what it means. And of course, you don’t want to ask because you are scared to look dumb…\u003C/p>\u003Cp>In 2D, 30 years ago, everything was much more straightforward. We worked from sheets of paper, which were photocopied for the archives. The studios sent each other boxes by mail, and we stored the videos on VHSs. But now that everything is (almost) paperless, each step uses different software, and therefore different work files and export files. It also often happens that it is necessary to go through a specific type of file to build bridges between software. In the end you have to know a lot of different extensions to understand what people talk about.\u003C/p>\u003Cp>That’s why we decided to make an exhaustive list of all the types of files you could see during a 2D production. Every time you will see a new file extension, you will know it!\u003C/p>\u003Cp>\u003Cstrong>.7z:\u003C/strong> A 7Z file is a compressed archive created by various file compression utilities, most notably, Igor Pavlov’s 7-Zip. It uses open-source LZMA compression, which has a high compression ratio and can include strong AES-256 (256-bit) encryption. 7Z files may contain multiple directories or files compressed to save space for storage or transportation purposes.\u003C/p>\u003Cp>\u003Cstrong>.aep:\u003C/strong> Adobe After Effect working file, It contains a video composition that includes audio, images, and video clips, a timeline, and various effects that can be applied to the movie. AEP files are used for creating professional-quality video productions.\u003C/p>\u003Cp>\u003Cstrong>.ai: \u003C/strong>Adobe Illustrator working file, a vector graphics editing program. It is composed of paths connected by points, rather than bitmap image data. AI files are commonly used for logos and print media.\u003C/p>\u003Cp>\u003Cstrong>.doc(x):\u003C/strong> text file, can be opened with Microsoft Word, Open Office, or Google Document. It may contain formatted text, images, tables, graphs, charts, page formatting, and print settings.\u003C/p>\u003Cp>\u003Cstrong>.edl:\u003C/strong> Edit Decision List File. Video editing file created by programs such as Adobe Premiere Pro, Avid Media Composer, and Apple Final Cut Pro stores an edit decision list (EDL). It specifies editing choices during production, includes the location of source video data and timecodes for when to use video. It allows the original project to be recreated in a separate editing system.\u003C/p>\u003Cp>\u003Cstrong>.fla:\u003C/strong> Adobe Animate working file, formerly Flash, a program used to draw and publish animations. It contains graphics, video, audio, and other assets. FLA files are often saved as SWF files. It’s mostly used for puppet animation. You will need a rig to use the puppet.\u003C/p>\u003Cp>\u003Cstrong>.jpg/jpeg:\u003C/strong> A JPG file is an image saved in a compressed image format standardized by the Joint Photographic Experts Group (JPEG). It is commonly used for storing digital photos and used by most digital cameras to save images. JPG files are among the most common image files along with PNG, TIF, and GIF.\u003C/p>\u003Cp>\u003Cstrong>.mov:\u003C/strong> A MOV file is a common multimedia container file format developed by Apple and compatible with both Macintosh and Windows platforms. It may contain multiple tracks that store different types of media data and is often used for saving movies and other video files. MOV files commonly use the MPEG-4 codec for compression. It’s a video file that can be used as an export for animation or editing but can also be used as a delivery file.\u003C/p>\u003Cp>\u003Cstrong>.mp3:\u003C/strong> An MP3 file is an audio file saved in a compressed audio format developed by the Moving Picture Experts Group (MPEG) that uses “Layer 3” audio compression. It is commonly used to store music and audiobooks with near-CD quality sound (stereo, 16-bit) and roughly 1/10 the size of a WAV or AIF file. It can be used for music placeholders on a montage\u003C/p>\u003Cp>\u003Cstrong>.mp4:\u003C/strong> An MP4 file is a multimedia file commonly used to store a movie or video clip, but may also contain subtitles or images. MP4 is short for MPEG-4 Part 14, which is a container format based on the QuickTime File Format (QTFF) used by MOV and QT files. It serves as a preview for an animation scene, or a montage for example.\u003C/p>\u003Cp>\u003Cstrong>.pdf:\u003C/strong> file for viewing a drawing or text. A PDF file is a multi-platform document created by Adobe Acrobat or another PDF application. The PDF format is commonly used for saving documents and publications in a standard format that can be viewed on multiple platforms. In many cases, PDF files are created from existing documents instead of from scratch.\u003C/p>\u003Cp>\u003Cstrong>.png:\u003C/strong> A PNG file is an image file stored in the Portable Network Graphic (PNG) format. It contains a bitmap of indexed colors and uses lossless compression, similar to a GIF file but without copyright limitations. PNG files are commonly used to store graphics for web images. It’s often used to export animation scenes, and each png file corresponds to an animation frame\u003C/p>\u003Cp>\u003Cstrong>.prproj: \u003C/strong>Adobe Premiere working file. It contains a timeline that is comprised of video and audio clips and includes transitions, special effects, and other applied edits. PRPROJ also files store project settings such as the settings for transitions, the video renderer, audio and video display format, and the capture format.\u003C/p>\u003Cp>\u003Cstrong>.psd:\u003C/strong> Adobe Photoshop working file. It is the native format used to save files in Photoshop. PSD files may include image layers, adjustment layers, layer masks, annotations, file information, keywords, and other Photoshop-specific elements\u003C/p>\u003Cp>\u003Cstrong>.rar:\u003C/strong> compression file. It uses a higher compression ratio than typical ZIP compression and incorporates a proprietary compression algorithm that is now used by other compressors, including 7-Zip for its .7Z files. RAR files may be extracted using a variety of programs.\u003C/p>\u003Cp>\u003Cstrong>.sbpz:\u003C/strong> ToonBoom Storyboard Pro archive file. This file is the set of working files to make this storyboard\u003C/p>\u003Cp>\u003Cstrong>.sbdkp:\u003C/strong> ToonBoom Storyboard Pro working file. It’s the main software used in the industry to create Storyboard. You can also edit the animatic within. It can store picture, drawing, sound (voices and music).\u003C/p>\u003Cp>\u003Cstrong>.swf:\u003C/strong> Adobe Animate video file, formerly Flash, that can be played by Flash Player. It may contain vector and raster graphics.\u003C/p>\u003Cp>\u003Cstrong>.tga:\u003C/strong> A TGA file is a file saved in the raster graphic format designed by Truevision. It supports 8, 16, 24, or 32 bits per pixel at a maximum of 24 bits for RGB colors and 8-bit alpha channel. TGA files are used for various types of images, such as digital photos and textures referenced by 3D video games. Each TGA file corresponds to an animation frame\u003C/p>\u003Cp>\u003Cstrong>.tvpp: \u003C/strong>TVpaint working file, animation software which is the closest to tradition animation. It doesn’t use puppet and rig to animate.\u003C/p>\u003Cp>\u003Cstrong>.wav:\u003C/strong> A WAV file is an audio file that uses a standard digital audio file format utilized for storing waveform data. It allows audio recordings to be saved with different sampling rates and bitrates. And it is often saved in a 44.1 kHz, 16-bit, stereo format, which is the standard format used for CD audio. It’s mainly used for the voices as it’s uncompressed.\u003C/p>\u003Cp>\u003Cstrong>.wmv:\u003C/strong> is a video file based on the Microsoft Advanced Systems Format (ASF) container format and compressed with Windows Media compression. It contains video encoded with one of Microsoft’s Windows Media Video (WMV) proprietary codecs. It’s a video file that can be used to export an animation or a montage.\u003C/p>\u003Cp>\u003Cstrong>.xls:\u003C/strong> spreadsheet file can be opened with Microsoft Excel, Open Office tor Google Spreadsheet. It contains one or more worksheets, which store and display data in a table format. XLS files may also store mathematical functions, charts, styles, and formatting.\u003C/p>\u003Cp>\u003Cstrong>.xml:\u003C/strong> Extensible Markup Language) data file. It is formatted much like an HTML document but uses custom tags to define objects and the data within each object. XML files can be thought of as a text-based database.But most of the time it’s a file from editing software. This file is used to indicate the list of shots and their entry and exit points in the assembly.\u003C/p>\u003Cp>\u003Cstrong>.xstage /.table: \u003C/strong>Toonboom harmony working file. A program used to draw and publish animations. It contains graphics, video, audio, and other assets. It’s mostly used for puppet animation. You will need a rig to use the puppet.\u003C/p>\u003Cp>\u003Cstrong>.zip:\u003C/strong> compression file, it stores files separately from each other, allowing the files to be compressed using different methods and extracted without compressing or decompressing the entire archive.\u003C/p>\u003Cp>That’s it! Now extensions won’t have any secrets for you! You will be able to understand all conversations and tackle problems effectively.\u003C/p>\u003Cp>Feel free to let us a comment if you thing that a definition is wrong or that an extension is missing!\u003C/p>\u003Cp>Source:\u003Ca href=\"https://www.wikipedia.org/?ref=blog.cg-wire.com\" rel=\"noopener\"> wikipedia.org\u003C/a>,\u003Ca href=\"https://fileinfo.com/?ref=blog.cg-wire.com\" rel=\"noopener\"> fileinfo.com\u003C/a>\u003C/p>\u003Cp>\u003Cem>We dedicated this blog to CG Production Management and CG Pipeline. Additionally, We propose a Discord channel where you can discuss your problems/solutions and learn from others. We are already 270 to share tips and ideas. Join us, TDs and Production Managers from all over the world will be super happy to welcome you!\u003C/em>\u003C/p>",{"uuid":904,"comment_id":905,"feature_image":906,"featured":105,"visibility":10,"created_at":907,"updated_at":908,"custom_excerpt":909,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":805,"canonical_url":7,"primary_author":910,"primary_tag":911,"url":912,"excerpt":909,"reading_time":140,"access":13,"comments":105,"og_image":913,"og_title":914,"og_description":909,"twitter_image":913,"twitter_title":914,"twitter_description":909,"meta_title":7,"meta_description":915,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"1eb61749-5b97-4b35-a178-5e84239c6b37","8cf0ba12dd12","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-iejOUqbpOYwaPjwvKAiY1g.jpeg","2019-10-08T09:31:01.000+02:00","2026-03-27T10:50:19.000+01:00","It is not uncommon during a production to come across a file whose extension is unknown. For instance, during a meeting, everyone is…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/list-of-the-most-common-files-used-in-2d-productions/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-iejOUqbpOYwaPjwvKAiY1g.jpeg","List Of The Most Common Files used in 2D Productions","It is not uncommon during a production to come across a file whose extension is unknown. For instance, during a meeting, everyone is talking about a .fla file but you don’t know what it means. And of…","/posts/list-of-the-most-common-files-used-in-2d-productions",{"title":899},"list-of-the-most-common-files-used-in-2d-productions","posts/list-of-the-most-common-files-used-in-2d-productions",[921],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"lblhFQqZPP-2epUhUjbBby5rHuDtDCoY4CxqiV6EtIM",{"id":924,"title":925,"authors":926,"body":7,"description":7,"extension":8,"html":928,"meta":929,"navigation":13,"path":941,"published_at":933,"seo":942,"slug":943,"stem":944,"tags":945,"__hash__":947,"uuid":930,"comment_id":931,"feature_image":932,"featured":105,"visibility":10,"created_at":933,"updated_at":934,"custom_excerpt":909,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":935,"primary_tag":936,"url":937,"excerpt":909,"reading_time":609,"access":13,"comments":105,"og_image":938,"og_title":939,"og_description":909,"twitter_image":938,"twitter_title":939,"twitter_description":909,"meta_title":7,"meta_description":940,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:list-of-the-most-common-files-encountered-in-cgi-production.json","Most Common File Formats In CGI Production (2026)",[927],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>It is not uncommon during a production to come across a file whose extension is unknown. For instance, during a meeting, everyone is talking about a .fbx file but you don’t know what it means. And of course, you don’t want to ask because you are scared to look dumb…\u003C/p>\u003Cp>No worry, in CGI production, there is more and more software used for particular tasks. To create a character we can easily use many tools: we will start by sketching in Photoshop, then doing the sculpt with Zbrush. We will then make the modeling under 3DS Max (or Maya), make the textures under Substance, the clothes with Marvelous, the hair with Houdini, and so on. And of course, each software has its working file type and export file type. It also often happens that it is necessary to go through a specific type of file to build bridges between software. In the end you have to know a lot of different extensions to understand what people talk about.\u003C/p>\u003Cp>That’s why we decided to make an exhaustive list of all the types of files you could see during a CGI production. Every time you will see a new file extension, you will know it!\u003C/p>\u003Cp>\u003Cstrong>.7z:\u003C/strong> A 7Z file is a compressed archive created by various file compression utilities, most notably, Igor Pavlov’s 7-Zip. It uses open-source LZMA compression, which has a high compression ratio and can include strong AES-256 (256-bit) encryption. 7Z files may contain multiple directories or files compressed to save space for storage or transportation purposes.\u003C/p>\u003Cp>\u003Cstrong>.abc:\u003C/strong> Alembic is an interchangeable computer graphics file format. Its primary focus is the interchange of geometry (models) between different groups working on the same shots or the same assets. Often different departments in the same company or different studios are working on the same projects.\u003C/p>\u003Cp>\u003Cstrong>.aep:\u003C/strong> Adobe After Effect working file, It contains a video composition that includes audio, images, and video clips, a timeline, and various effects that can be applied to the movie. AEP files are used for creating professional-quality video productions.\u003C/p>\u003Cp>\u003Cstrong>.blend:\u003C/strong> 3D image or animation project created with Blender, an open-source 3D modeling program; contains 3D mesh data, lighting information, vertex painting, animation keyframes, NURBS objects, procedural textures, UV mapping layout, and realtime interactivity data; may also store multiple scenes in a single file.\u003C/p>\u003Cp>\u003Cstrong>.bvh:\u003C/strong> ASCII file that contains motion capture data for three-dimensional characters. It is used by 3ds Max’s Character Studio and other 3D animation programs to import joint rotational data. It was developed by Biovision as a standard format to save biped character motion data.\u003C/p>\u003Cp>\u003Cstrong>.c3d: \u003C/strong>Data file saved in the Coordinate 3D (C3D) format. It is used for storing biomechanical information. It stores three-dimensional motion capture data in a compact binary structure. It is used as a standard format for biomechanics data storage.\u003C/p>\u003Cp>\u003Cstrong>.dds:\u003C/strong> A DDS file is a raster image saved in the DirectDraw Surface (DDS) container format. It can store compressed and uncompressed pixel formats and is often used for texturing video game unit models. DDS files may also be used to store Windows desktop backgrounds or wallpapers.\u003C/p>\u003Cp>\u003Cstrong>.doc(x)\u003C/strong>: text file, can be opened with Microsoft Word, Open Office, or Google Document. It may contain formatted text, images, tables, graphs, charts, page formatting, and print settings.\u003C/p>\u003Cp>\u003Cstrong>.edl:\u003C/strong> Edit Decision List File. Video editing file created by programs such as Adobe Premiere Pro, Avid Media Composer, and Apple Final Cut Pro. It stores an edit decision list (EDL), which specifies editing choices during production. It includes the location of source video data and timecodes for when to use video; allows the original project to be recreated in a separate editing system.\u003C/p>\u003Cp>\u003Cstrong>.exr: \u003C/strong>Bitmap image or raster image stored in the OpenEXR format, a high dynamic-range (HDR) image file format developed by Industrial Light & Magic; supports multi-layer images, lossy and lossless compression, and 16-bit and 32-bit pixels; used for storing deep raster images for high-quality graphics; used by raster graphics editing programs and imaging applications.\u003C/p>\u003Cp>\u003Cstrong>.fbx:\u003C/strong> 2D or 3D drawing saved in the Autodesk FBX format; maintains the full fidelity and functionality of the original file and can be manipulated by multiple programs; used for creating interoperability between 3D applications.\u003C/p>\u003Cp>\u003Cstrong>.h264:\u003C/strong> An H264 file is a video file encoded with H.264 compression, which is a popular format for high definition video. It is often used as the video format for AVCHD camcorders, HDTV, Blu-ray, and HD DVD. H264 generally refers to a video file that is an MP4 file.\u003C/p>\u003Cp>\u003Cstrong>.hip/.hda:\u003C/strong> Project file created by Houdini, a three-dimensional modeling and animation program; contains 3D shape definitions; may store points, lines, surfaces, fluids, and other objects; may also include project assets, such as embedded images; can be rendered into a 3D scene using Houdini.\u003C/p>\u003Cp>\u003Cstrong>.hipnc:\u003C/strong> 3D image file created by Houdini Apprentice, the trial version of the full Houdini 3D modeling software; stores three-dimensional objects and animation properties for a scene; can be rendered with the software, but at a reduced resolution from the full version; often used in educational settings or by artists for personal portfolio development.\u003C/p>\u003Cp>\u003Cstrong>.jpg/jpeg:\u003C/strong> A JPG file is an image saved in a compressed image format standardized by the Joint Photographic Experts Group (JPEG). It is commonly used for storing digital photos and used by most digital cameras to save images. JPG files are among the most common image files along with PNG, TIF, and GIF.\u003C/p>\u003Cp>\u003Cstrong>.ma/mb:\u003C/strong> A MA file is a project created with Maya, a 3D modeling and animation program. It contains information that defines the geometry, lighting, animation, and rendering properties of a 3D scene. MA files are saved in an ASCII text format, while binary Maya project files use the MB extension.\u003C/p>\u003Cp>\u003Cstrong>.materialX: \u003C/strong>MaterialX is an open standard for the transfer of rich material and look-development content between applications and renderers. MaterialX addresses the need for a common, open standard to represent the data values and relationships required to transfer the complete look of a computer graphics model from one application or rendering platform to another. It includes shading networks, patterns and texturing, complex nested materials, and geometric assignments. To further encourage interchangeable CG look setups, MaterialX also defines a complete set of data creation and processing nodes with a precise mechanism for functional extensibility.\u003C/p>\u003Cp>\u003Cstrong>.max:\u003C/strong> A MAX file is a three-dimensional scene file created by 3ds Max, a 3D modeling, animation, and rendering application. It may contain multiple models that include wireframes, textures, lighting effects, shading, animation, and other 3D design elements.\u003C/p>\u003Cp>\u003Cstrong>.maxscript:\u003C/strong> MAXScript is the scripting language of 3DS MAX. It allows you to automate certain aspects of the program, such as modeling, animation, and rendering,\u003C/p>\u003Cp>\u003Cstrong>.mdd (pc2):\u003C/strong> Model data file used by Point Oven, a commercial suite of plugins used for transferring vertex and fcurve data between modeling programs; saves “baked” vertex data for every animation frame of a specified mesh. It allows actual vertex mesh positions, or deformations, to be exchanged between other programs that have Point Oven MDD support.\u003C/p>\u003Cp>\u003Cstrong>.mdl:\u003C/strong> Simulation model created with Simulink, a simulation and model-based design application; contains the block diagram and block properties of the simulation\u003C/p>\u003Cp>\u003Cstrong>.mel:\u003C/strong> The Maya Embedded Language (MEL) is the programming language of the 3D Maya software. It is an interpreted language. Maya is characterized by its ability to be fully usable via lines of code knowing that a large part of the software (including its interface) is programmed in Mel, the rest in C++.\u003C/p>\u003Cp>\u003Cstrong>.mov:\u003C/strong> A MOV file is a common multimedia container file format developed by Apple and compatible with both Macintosh and Windows platforms. It may contain multiple tracks that store different types of media data and is often used for saving movies and other video files. MOV files commonly use the MPEG-4 codec for compression. It’s a video file that can be used as an export for animation or editing but can also be used as a delivery file.\u003C/p>\u003Cp>\u003Cstrong>.mp3:\u003C/strong> An MP3 file is an audio file saved in a compressed audio format developed by the Moving Picture Experts Group (MPEG) that uses “Layer 3” audio compression. It is commonly used to store music and audiobooks with near-CD quality sound (stereo, 16-bit) and roughly 1/10 the size of a WAV or AIF file. It can be used for music placeholders on a montage\u003C/p>\u003Cp>\u003Cstrong>.mp4:\u003C/strong> An MP4 file is a multimedia file commonly used to store a movie or video clip, but may also contain subtitles or images. MP4 is short for MPEG-4 Part 14, which is a container format based on the QuickTime File Format (QTFF) used by MOV and QT files. It serves as a preview for an animation scene, or a montage for example.\u003C/p>\u003Cp>\u003Cstrong>.mtl:\u003C/strong> Material settings file used by 3D object editing applications. It is stored with an OBJ file and describes how textures are applied to the object. It includes the name of texture bitmap files as well as the 3D positioning of the textures.\u003C/p>\u003Cp>\u003Cstrong>.nk:\u003C/strong> Nuke Working file. Nuke is a nodal digital compositing software.\u003C/p>\u003Cp>\u003Cstrong>.obj:\u003C/strong> An OBJ file is a standard 3D image format that can be exported and opened by various 3D image editing programs. It contains a three-dimensional object, including 3D coordinates, texture maps, polygonal faces, and other object information.\u003C/p>\u003Cp>\u003Cstrong>.ocio: \u003C/strong>OCIO profile used to manage used to modify the look of an image in a “creative” manner (as opposed to a colorspace definition which tends to be technically/mathematically defined).\u003C/p>\u003Cp>\u003Cstrong>.pdf:\u003C/strong> file for viewing a drawing or text. A PDF file is a multi-platform document created by Adobe Acrobat or another PDF application. The PDF format is commonly used for saving documents and publications in a standard format that can be viewed on multiple platforms. In many cases, PDF files are created from existing documents instead of from scratch.\u003C/p>\u003Cp>\u003Cstrong>.png:\u003C/strong> A PNG file is an image file stored in the Portable Network Graphic (PNG) format. It contains a bitmap of indexed colors and uses lossless compression, similar to a GIF file but without copyright limitations. PNG files are commonly used to store graphics for web images. It’s often used to export animation scenes, and each png file corresponds to an animation frame\u003C/p>\u003Cp>\u003Cstrong>.prproj:\u003C/strong> Adobe Premiere working file. It contains a timeline that is comprised of video and audio clips and includes transitions, special effects, and other applied edits. PRPROJ also files store project settings such as the settings for transitions, the video renderer, audio and video display format, and the capture format.\u003C/p>\u003Cp>\u003Cstrong>.psd:\u003C/strong> Adobe Photoshop working file. It is the native format used to save files in Photoshop. PSD files may include image layers, adjustment layers, layer masks, annotations, file information, keywords, and other Photoshop-specific elements\u003C/p>\u003Cp>\u003Cstrong>.py: \u003C/strong>Python is an interpreted programming language, multi-paradigm and multiplatform. It promotes structured, functional, and object-oriented, imperative programming.\u003C/p>\u003Cp>\u003Cstrong>.rar:\u003C/strong> Compression file. It uses a higher compression ratio than typical ZIP compression and incorporates a proprietary compression algorithm that is now used by other compressors, including 7-Zip for its .7Z files. RAR files may be extracted using a variety of programs.\u003C/p>\u003Cp>\u003Cstrong>.sbpz:\u003C/strong> ToonBoom Storyboard Pro archive file. This is the set of working files to make the storyboard.\u003C/p>\u003Cp>\u003Cstrong>.sbsar:\u003C/strong> An SBSAR file is an archive created by Allegorithmic Substance Designer, a program used to create materials for use in 3D content, such as animations, special effects, and video games. It contains a 3D material, such as concrete, carpet, glass, marble, steel, slate, iron, metal, wood, and glass. SBSAR files are used to share materials that have been made by Substance users or are available for download with a Substance Source subscription.\u003C/p>\u003Cp>\u003Cstrong>.sbbkp/.sboard: \u003C/strong>ToonBoom Storyboard Pro working file. It’s the main software used in the industry to create Storyboard. You can also edit the animatic within. It can store picture, drawing, sound (voices and music).\u003C/p>\u003Cp>\u003Cstrong>.tga:\u003C/strong> A TGA file is a file saved in the raster graphic format designed by Truevision. It supports 8, 16, 24, or 32 bits per pixel at a maximum of 24 bits for RGB colors and 8-bit alpha channel. TGA files are used for various types of images, such as digital photos and textures referenced by 3D video games. Each TGA file corresponds to an animation frame\u003C/p>\u003Cp>\u003Cstrong>.tx:\u003C/strong> Mipmaps texture file. Mipmaps save several resolutions of an image into a single texture file. It speeds up render time because it can load the high-resolution mipmap image if the object is close in the render, and smaller images when it is farther away. For this treason, both Arnold and Renderman default to using mipmap textures.\u003C/p>\u003Cp>\u003Cstrong>.usd:\u003C/strong> Pixar’s Universal Scene Description (USD) software tool included many features, such as importing models, creating basic primate models, and applying transformations. Transformations include organizing, rotating and scaling models, adding lights, adjusting and changing lighting and changing model materials. USD is designed to work with the modern 3D animation pipeline. Pixar uses USD to create 3D animated movies. USD uses an internal OpenGL renderer. Pixar released an open-source version of Universal Scene.\u003C/p>\u003Cp>\u003Cstrong>.wav:\u003C/strong> A WAV file is an audio file that uses a standard digital audio file format utilized for storing waveform data. tIt allows audio recordings to be saved with different sampling rates and bitrates. It is often saved in a 44.1 kHz, 16-bit, stereo format, which is the standard format used for CD audio. It’s mainly used for the voices as it’s uncompressed.\u003C/p>\u003Cp>\u003Cstrong>.wmv: \u003C/strong>is a video file based on the Microsoft Advanced Systems Format (ASF) container format and compressed with Windows Media compression. It contains video encoded with one of Microsoft’s Windows Media Video (WMV) proprietary codecs. It’s a video file used to export an animation or a montage.\u003C/p>\u003Cp>\u003Cstrong>.xaf: \u003C/strong>XML file created by the 3ds Max modeling and animation software; contains motion information for a biped, which is a model with two-feet; enables modelers to capture human accurately and creature movements for video games, movies, and other 3D animations.\u003C/p>\u003Cp>\u003Cstrong>.xls(x):\u003C/strong> spreadsheet file, can be opened with Microsoft Excel, Open Office, or Google Spreadsheet. It contains one or more worksheets, which store and display data in a table format. XLS files may also store mathematical functions, charts, styles, and formatting.\u003C/p>\u003Cp>\u003Cstrong>.xml:\u003C/strong> Extensible Markup Language) data file. It is formatted much like an HTML document but uses custom tags to define objects and the data within each object. XML files can be thought of as a text-based database. But most of the time it’s a file from editing software. This type of file is used to indicate the list of shots and their entry and exit points in the assembly.\u003C/p>\u003Cp>\u003Cstrong>.zip:\u003C/strong> compression file, it stores files separately from each other, allowing the files to be compressed using different methods and extracted without compressing or decompressing the entire archive.\u003C/p>\u003Cp>\u003Cstrong>.zpr:\u003C/strong> Zbrush working file. ZBrush is a digital sculpting tool that combines 3D/2.5D modeling, texturing, and painting.\u003C/p>\u003Cp>That’s it! Now extensions won’t have any secrets for you! You will be able to understand all conversations and tackle problems effectively.\u003C/p>\u003Cp>Feel free to let us a comment if you think that a definition is wrong or that an extension is missing!\u003C/p>\u003Cp>Source:\u003Ca href=\"https://www.wikipedia.org/?ref=blog.cg-wire.com\" rel=\"noopener\"> wikipedia.org\u003C/a>,\u003Ca href=\"https://fileinfo.com/?ref=blog.cg-wire.com\" rel=\"noopener\"> fileinfo.com\u003C/a>\u003C/p>\u003Cp>\u003Cem>We dedicated this blog to CG Production Management and CG Pipeline. Additionally, We propose a Discord channel where you can discuss your problems/solutions and learn from others. We are already 270 to share tips and ideas. Join us, TDs and Production Managers from all over the world will be super happy to welcome you!\u003C/em>\u003C/p>",{"uuid":930,"comment_id":931,"feature_image":932,"featured":105,"visibility":10,"created_at":933,"updated_at":934,"custom_excerpt":909,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":935,"primary_tag":936,"url":937,"excerpt":909,"reading_time":609,"access":13,"comments":105,"og_image":938,"og_title":939,"og_description":909,"twitter_image":938,"twitter_title":939,"twitter_description":909,"meta_title":7,"meta_description":940,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"c4a85e67-11d7-4a20-ab15-5c01900fa5c4","519c54d6d1e","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-qLESIyc9UbHJkKEXyaIhdQ.jpeg","2019-10-01T11:01:01.000+02:00","2026-03-27T10:50:50.000+01:00",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/list-of-the-most-common-files-encountered-in-cgi-production/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-qLESIyc9UbHJkKEXyaIhdQ.jpeg","List of the most common files encountered in CGI production","It is not uncommon during a production to come across a file whose extension is unknown. For instance, during a meeting, everyone is talking about a .fbx file but you don’t know what it means. And of…","/posts/list-of-the-most-common-files-encountered-in-cgi-production",{"title":925},"list-of-the-most-common-files-encountered-in-cgi-production","posts/list-of-the-most-common-files-encountered-in-cgi-production",[946],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"RVB2NLVdjDsKLwYCErPoBKlfES7HXSy8c8uDcHHnznA",{"id":949,"title":950,"authors":951,"body":7,"description":7,"extension":8,"html":953,"meta":954,"navigation":13,"path":967,"published_at":958,"seo":968,"slug":969,"stem":970,"tags":971,"__hash__":973,"uuid":955,"comment_id":956,"feature_image":957,"featured":105,"visibility":10,"created_at":958,"updated_at":959,"custom_excerpt":960,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":961,"primary_tag":962,"url":963,"excerpt":960,"reading_time":47,"access":13,"comments":105,"og_image":964,"og_title":965,"og_description":960,"twitter_image":964,"twitter_title":965,"twitter_description":960,"meta_title":7,"meta_description":966,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:how-to-choose-your-animation-studio-part-2.json","How To Choose Your Animation Studio: Part 2 (2026)",[952],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>If you read our \u003Ca href=\"https://blog.cg-wire.com/how-to-choose-your-animation-studio-part-1/\">previous post\u003C/a>, you will know that we were having doubts about our choice of an animation studio. In the end, a visit to the studio visit proved to be the nail in the coffin. The studio was under-equipped, had no immediate staffing, and the agreed budget would not have allowed them to handle the production given their lack of resources.\u003C/p>\u003Ch4 id=\"finding-a-new-contractor\">Finding a new contractor\u003C/h4>\u003Cp>We had to find a new contractor. For us, there were three significant factors to consider when looking for a new animation studio:\u003C/p>\u003Cul>\u003Cli>The new animation studio must be located in the same area as the show had been significantly funded by the CNC and the region of Ile-de-France.\u003C/li>\u003Cli>Time was of the essence. With broadcasters and a toy manufacturer already in on the deal, pushing back the deadline was not an option.\u003C/li>\u003Cli>It was too late in the game to secure new funding, so our budget had to remain fixed.\u003C/li>\u003C/ul>\u003Cp>The advantage of encountering issues the first time around meant that we had the opportunity to fine-tune our brief and adapt how we communicate with studios. We already had a lot of scripts available so we could play with economies of scale and any potential obstacles had already been flagged up.\u003C/p>\u003Ch4 id=\"working-with-a-fixed-budget-and-tight-schedule\">Working with a fixed budget and tight schedule\u003C/h4>\u003Cp>We finally managed to find a studio to take the production within the time frame and on budget. But since time was short, we needed to minimize the margin for error as much as possible. From the outset, we made sure the studio worked closely with the show’s director and first assistant to get the project off on the right foot.\u003C/p>\u003Cp>We took advantage of everything available to us: synopses, outlines, WIP scripts.\u003C/p>\u003Cp>A lot of work went into convincing our partners that this last-minute change was for the better. Showing them we had well-prepared battle plan helped, but the animation studio’s reputation was really the deal clincher.\u003C/p>\u003Ch4 id=\"organization-and-sharing-of-tasks\">Organization and sharing of tasks\u003C/h4>\u003Cp>For the project to run as smoothly as possible, we worked hard to compile as much information for the studio and to find ways of working to save time and money on both ends. This is what we found to work best.\u003C/p>\u003Cul>\u003Cli>We got a step ahead with character modeling. Running animation tests ahead of time allowed us to understand the limitations and technical constraints of what we wanted to achieve. This included stretching textures on characters in animation and limitations in movement. From there, we were able to provide a list of “do’s and don’ts” for the storyboard to the animation studio.\u003C/li>\u003Cli>Prep work on the sets was a huge timesaver. We build up a bank of terrains and backgrounds that could interchangeably be assembled to create numerous different sets saving time later on down the line.\u003C/li>\u003Cli>We made sure the storyboards detailed the proper placement of characters in the space and their size ratio in order to minimize layout issues.\u003C/li>\u003Cli>\u003Cstrong>We also work with an experienced editor to really refine animatic and make sure the timing was tight.\u003C/strong> As a result, we managed to avoid any unnecessary animation or frame rendering.\u003C/li>\u003Cli>We paid special attention to the design pack. The idea was to make this as complete and detailed as possible. For each character, we drew up nine different poses, various expressions, and looks, as well as sheets of details, such as accessories, the inside of the mouth, under the feet, etc.\u003C/li>\u003Cli>Each set was linked to storyboard panel with props that had been systematically drawn from the angles detailed in the storyboard to leave no room for interpretation.\u003C/li>\u003Cli>\u003Cstrong>All FX were provided with their animation key-poses.\u003C/strong>\u003C/li>\u003Cli>We worked closely with the animation studio to create a storyboard template for the entire series to ensure that artistically and technically, it could work for everyone.\u003C/li>\u003C/ul>\u003Ch4 id=\"the-results\">The results\u003C/h4>\u003Cp>In the end, all stakeholders were satisfied. The budget and schedule were respected and The broadcasters were really pleased with the quality of the show. The director was exhausted but happy with the work that had been done.\u003C/p>\u003Ch4 id=\"takeaways\">Takeaways\u003C/h4>\u003Cp>To facilitate communication and minimize the opportunity for error, do not be afraid to go into detail about everything. You need to be as clear as possible about what you want, even if that changes throughout the production cycle. You need to run your own tests beforehand to ensure that models will work with animation and work with a supervisor to oversee the characters from the beginning.\u003C/p>\u003Cp>Once you have chosen your contractor, provide them with the most complete documentation possible. The less room for interpretation, the more efficient the workflow will be. Always remember that a studio will never do better than what was sent to them. We always receive the quality we send.\u003C/p>\u003Cp>\u003Cem>We dedicated this blog to CG Production Management and CG Pipeline. Additionally, We propose a Discord channel where you can discuss your problems/solutions and learn from others. We are already 270 to share tips and ideas. Join us, TDs and Production Managers from all over the world will be super happy to welcome you!\u003C/em>\u003C/p>",{"uuid":955,"comment_id":956,"feature_image":957,"featured":105,"visibility":10,"created_at":958,"updated_at":959,"custom_excerpt":960,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":961,"primary_tag":962,"url":963,"excerpt":960,"reading_time":47,"access":13,"comments":105,"og_image":964,"og_title":965,"og_description":960,"twitter_image":964,"twitter_title":965,"twitter_description":960,"meta_title":7,"meta_description":966,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"0eae47c4-d759-420c-98ba-59cfeac2e725","a4581e3fc02f","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-ZfHg2K0qnob5s7FTJTUoDg.jpeg","2019-08-29T15:04:06.000+02:00","2026-03-27T10:47:57.000+01:00","If you read our previous post, you will know that we were having doubts about our choice of an animation studio. In the end, a visit to…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-choose-your-animation-studio-part-2/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-ZfHg2K0qnob5s7FTJTUoDg.jpeg","How To Choose Your Animation Studio — Part 2","If you read our previous post, you will know that we were having doubts about our choice of an animation studio. In the end, a visit to the studio visit proved to be the nail in the coffin. The…","/posts/how-to-choose-your-animation-studio-part-2",{"title":950},"how-to-choose-your-animation-studio-part-2","posts/how-to-choose-your-animation-studio-part-2",[972],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"HI5Ff8M7KdHE39Bnq1JM_qXWvf3QVFo-BAe1AFyUxE4",{"id":975,"title":976,"authors":977,"body":7,"description":7,"extension":8,"html":979,"meta":980,"navigation":13,"path":994,"published_at":984,"seo":995,"slug":996,"stem":997,"tags":998,"__hash__":1000,"uuid":981,"comment_id":982,"feature_image":983,"featured":105,"visibility":10,"created_at":984,"updated_at":985,"custom_excerpt":986,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":987,"primary_tag":988,"url":989,"excerpt":986,"reading_time":990,"access":13,"comments":105,"og_image":991,"og_title":992,"og_description":986,"twitter_image":991,"twitter_title":992,"twitter_description":986,"meta_title":7,"meta_description":993,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:how-to-choose-your-animation-studio-part-1.json","How To Choose Your Animation Studio: Part 1 (2026)",[978],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>A few years ago, I took on a job managing production at a studio. It was undergoing a full restructure but the financing plan had been agreed and broadcasters locked down.\u003C/p>\u003Cp>Everything was on track. Next up: handling production management.\u003C/p>\u003Cp>The studio had just sold its first-ever CGI production but all development had been done in 2D. Nevertheless, a toy dealer came in on the deal and bought out the selling rights to the show’s main characters. It looked like it was going to be a huge success!\u003C/p>\u003Ch4 id=\"scoping-out-the-project\">\u003Cstrong>Scoping out the project\u003C/strong>\u003C/h4>\u003Cp>First things first, I started by doing due diligence. I read over the first scripts and got familiar with contracts. The deals with broadcasters and the toy manufacturer seemed pretty standard, but something was off with the draft of the contract with the animation studio. I decided to dig in deeper.\u003C/p>\u003Cp>The animation studio had never seen a script or synopsis, so you can imagine my surprise when they were able to provide a quote and delivery based solely on the pitch. Since then, storylines had evolved drastically and the number of main characters increased. And the biggest change: each episode was now set in a different location. The worrying thing was that none of these changes were reflected in the quote.\u003C/p>\u003Cp>Next, I turned to the visual guidelines. The 2D characters were beautiful with a distinct cuteness: big heads, small bodies, tiny limbs. The sales materials were equally as beautiful, all in pastel colors. Development has been done by a team of just two, and when I looked more closely, I realized that no modeling or animation tests had been done. Could the characters touch their faces? Could they bend over? What did they look like walking with their tiny legs?\u003C/p>\u003Cp>I needed some answers but had nowhere to go — those who had worked on the project had left as part of the restructure. As far as I could see, no time or budget has been dedicated to testing at this stage. “It must be planned for pre-production,” I concluded. I also assumed our animation contractor likely did not have access to the latest 2D designs either.\u003C/p>\u003Ch4 id=\"time-for-action\">Time for action\u003C/h4>\u003Cp>I decided to go to the source and asked if I could join my producer on his next visit to the studio. Surprised, he turned to me and told me no visit has been planned. I presented my doubts that this mid-sized studio had the capacity to take on our project at the quoted price and he agreed to schedule a visit just a few days later.\u003C/p>\u003Ch4 id=\"at-the-animation-studio\">At the animation studio\u003C/h4>\u003Cp>It began with lunch. I tried to air my concerns regarding the many changes that had been made since the first quote. I insisted we wanted to work with them to find a solution that would suit all: to not overwhelm the team, not trim margins and stick to a fixed budget. The production would be long — we needed to get off on the right foot.\u003C/p>\u003Cp>Lunch ended and we were given a tour of the studio. The building was old and large, with several small rooms. Each room could easily host 10 graphic designers — even 12 in the winter if they wanted to stay warm!\u003C/p>\u003Cp>We see the first room, then a second. Both are empty — not a person in sight. Something was up with the hardware, too. Shockingly few graphics tablets were on the desks and underneath, no computer towers, just disconnected screens, and keyboards on the desks.\u003C/p>\u003Cp>I pointed this out to my producer. He’d also noticed that in these warm, south-facing rooms, there was no air conditioning. It was early spring and in our four-man office, it was already stuffy and warm. How do they cope here?!\u003C/p>\u003Cp>From room to room, we continue to visit their office. Mentally, I count off the number of artists the space could house. I casually ask if we could bring in more artist if needed.\u003C/p>\u003Cp>They take us to see an annex room, this time without insulation or electricity. The office was in such bad state that my producer had huge doubts that we’d be able to start production in 2 months.\u003C/p>\u003Cp>“No worries,” the contractor told us. “A little plasterboard, some extension cords and we’re good to go!”\u003C/p>\u003Cp>We end the visit in the ‘IT office’. In reality, it was a lone man in the basement, surrounded by 50 half open and partially assembled computers, all from different brands.\u003C/p>\u003Cp>“At least we’d solved the mystery of the missing computers,” I thought to myself.\u003C/p>\u003Cp>How were they going to render all the footage, with such a poorly equipped studio and outdated hardware? My concerns were growing so I asked the question. The answer? Everything gets rendered at night, apparently…\u003C/p>\u003Cp>It was becoming more and more clear that the studio was going to really struggle to support our production. At the end of the day, we sat down to discuss the quote and scheduling. Around the meeting table, the contractor was nothing but reassuring about all the changes. Then, out of the corner of my eye, I see a big whiteboard with their production timeline for the coming year. There is only one line: ours.\u003C/p>\u003Cp>It became instantly evident that the studio was willing to do anything and everything to keep this deal, even if it meant under-valuing his work and putting his business in danger.\u003C/p>\u003Cp>In mutual agreement with my producer, we decided immediately to begin looking for another contractor for our animation production.\u003C/p>\u003Ch4 id=\"takeaways\">Takeaways\u003C/h4>\u003Cp>It is important to check several things before signing with an animation studio:\u003C/p>\u003Cul>\u003Cli>Reputation: are they reliable? Can they provide high-quality work?\u003C/li>\u003Cli>Current projects: do they have the capacity to take on your project?\u003C/li>\u003Cli>Technology: is the studio operational? Is it well equipped? Are they already staffed?\u003C/li>\u003C/ul>\u003Cp>Once that you are sure that those conditions are met, send someone from your team out to the studio. The supervisor will be the touchpoint between the studio and the director.\u003C/p>\u003Cp>In the long run, it will save enormous amounts of time and less back and forth trips. The supervisor can quickly identify recurring problems and correct them. In general, you’ll likely see improvements in the overall level of production by having someone to share advice on animation.\u003C/p>\u003Cp>Now that you built the right frame to work with your animation studio, prepare to see an increase in productivity and fingers crossed that you will be able to ship your movie on time!\u003C/p>\u003Cp>\u003Cem>We dedicated this blog to CG Production Management and CG Pipeline. Additionally, We propose a Discord channel where you can discuss your problems/solutions and learn from others. We are already 270 to share tips and ideas. Join us, TDs and Production Managers from all over the world will be super happy to welcome you!\u003C/em>\u003C/p>",{"uuid":981,"comment_id":982,"feature_image":983,"featured":105,"visibility":10,"created_at":984,"updated_at":985,"custom_excerpt":986,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":987,"primary_tag":988,"url":989,"excerpt":986,"reading_time":990,"access":13,"comments":105,"og_image":991,"og_title":992,"og_description":986,"twitter_image":991,"twitter_title":992,"twitter_description":986,"meta_title":7,"meta_description":993,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"def11e6c-6d85-44d2-b6bc-ce3d960b104f","e1f28f43cbe1","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-vpZeLg3fd4oBFfDsNAqR2w.jpeg","2019-07-26T09:56:01.000+02:00","2026-03-27T10:47:44.000+01:00","A few years ago, I took on a job managing production at a studio. It was undergoing a full restructure but the financing plan had been…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-choose-your-animation-studio-part-1/",4,"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-vpZeLg3fd4oBFfDsNAqR2w.jpeg","How To Choose Your Animation Studio — Part 1","A few years ago, I took on a job managing production at a studio. It was undergoing a full restructure but the financing plan had been agreed and broadcasters locked down. The studio had just sold…","/posts/how-to-choose-your-animation-studio-part-1",{"title":976},"how-to-choose-your-animation-studio-part-1","posts/how-to-choose-your-animation-studio-part-1",[999],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"EjATESfj36c1eXOym_XXQAsCokz9yUr_noJI_3gcoUE",{"id":1002,"title":1003,"authors":1004,"body":7,"description":7,"extension":8,"html":1006,"meta":1007,"navigation":13,"path":1020,"published_at":1011,"seo":1021,"slug":1022,"stem":1023,"tags":1024,"__hash__":1026,"uuid":1008,"comment_id":1009,"feature_image":1010,"featured":105,"visibility":10,"created_at":1011,"updated_at":1012,"custom_excerpt":1013,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1014,"primary_tag":1015,"url":1016,"excerpt":1013,"reading_time":609,"access":13,"comments":105,"og_image":1017,"og_title":1018,"og_description":1013,"twitter_image":1017,"twitter_title":1018,"twitter_description":1013,"meta_title":7,"meta_description":1019,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:how-to-apply-the-scrum-method-to-a-cartoon-tv-show-production.json","How To Apply The Scrum Method To a Cartoon TV Show Production (2026)",[1005],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>My name is Gwénaëlle Dupré, I worked in cartoon TV show production for more than 13 years, I get through all the positions: from Second Director Assistant director to Head of Production, but also as Technical Director. Because of this extensive experience, when studios face complex situations, the first person they think about is me! I like that, it always leads me to interesting productions. But the counterpart is that I have to be creative all the time.\u003C/p>\u003Cp>A few years ago, I worked on a production that was very ambitious with a lot of funding. Unfortunately, one of the investors, a toy dealer decided to leave the project. It resulted in an underfunded project. To deal with that, they changed the contractor animation studio. The new studio had a lower price but did not have the skill set to meet the deadlines or the quality expected. As you guess, quickly problems occurred and things went really wrong.\u003C/p>\u003Cp>Halfway through the first season, the production was almost a year behind schedule. Worst, the quality was way below expectations. This is when they decided to call me. They knew that I love challenges and that I will probably accept their mission. And they were right. But this time I put one condition: I have total control on how we are going to work and how the money will be spent. After a few discussions, they accepted and the deal was done!\u003C/p>\u003Cp>Now, let’s go back to the state of the production. It was the first time I saw a broadcaster refusing an episode due to its low quality. At the animation stage, 80% of the shots were sent back in retakes. Reasons were mainly technical: missing head, pop of color, wrong lighting on the background, extra arms on the characters, etc. Obviously, we had to work a lot to ship the first season. It was very exhausting and there was no way to keep doing things the same way. That’s why, for the second season, everyone agreed to change the workflow (producer and contractor). But one question remained: change it for what?\u003C/p>\u003Cp>I did some research, trying to find the magical management methodology that would make everything great. There was no obvious way to improve our situation. Until one night, I had a drink with some friends who work as software engineers in another industry. I explained to them my situation. They smiled, it reminded them so much their job. This is where I heard for the first time about the Agile methodology.\u003C/p>\u003Ch4 id=\"agile-methodology-fundamentals\">Agile methodology: fundamentals\u003C/h4>\u003Cp>Because I didn’t know the main principles of agile methodologies, I did like everyone else: I typed \u003Cem>Agile Method\u003C/em>ology in a search engine. There were tons of results: it was like I discovered a whole new word. I spent the night reading articles on the web and especially on Wikipedia.\u003C/p>\u003Cp>This is what I found: Agile methodologies are based on an iterative, incremental and adaptive development cycle. They must respect four fundamental values expressed in twelve principles.\u003C/p>\u003Cp>The 4 core values are described in the official agile Manifesto:\u003C/p>\u003Cul>\u003Cli>\u003Cstrong>Individuals and their interactions\u003C/strong> over processes and tools. \u003Cem>It reminded me that the relationship between all the peers and especially between the animators and the director is essential.\u003C/em>\u003C/li>\u003Cli>\u003Cstrong>Operational software\u003C/strong> rather than exhaustive documentation. \u003Cem>It makes me think about the fact that the image in the frame must be fine. What happens outside the frame doesn’t matter.\u003C/em>\u003C/li>\u003Cli>\u003Cstrong>Collaboration with customers\u003C/strong> more than contractual negotiation. \u003Cem>We work closely with our customers. And when issues occur, we work with customers to look for a solution rather than looking for a lawyer.\u003C/em>\u003C/li>\u003Cli>\u003Cstrong>Adapting to change\u003C/strong> more than following a plan. \u003Cem>Artistic retakes, Director changes or shot simplification are not deterministic.\u003C/em>\u003C/li>\u003C/ul>\u003Cp>So, all the main principles are applicable to the animation. I introduce my peers to them. Everyone felt we were on the right track.\u003C/p>\u003Ch4 id=\"scrum\">SCRUM\u003C/h4>\u003Cp>Once I learned the agile principles, I realized that there were several types of practical methodologies. I was looking for a “cooking recipe” to apply. Once again, Wikipedia helped a lot. \u003Cbr>I chose the most popular methodology named SCRUM. Which is based on three main concepts:\u003C/p>\u003Cp>\u003Cstrong>Transparency\u003C/strong>\u003Cbr>SCRUM emphasizes having a common language between the team and management. This common language should allow any observer to quickly get a good understanding of the project. It says too that everyone should be informed of the progress and the main decisions.\u003Cbr>→ We set up a common vocabulary and made extra efforts to be more explicit when sending retake requests. We made retake information accessible to everyone.\u003C/p>\u003Cp>\u003Cstrong>Inspection\u003C/strong>\u003Cbr>At regular intervals, SCRUM proposes to take stock of the different artifacts produced, in order to detect any undesirable variation.\u003Cbr>→ We were already doing this inspection work on the producer side while getting the delivery. What was missing is that no-one checked the work on the contractor side! We set up quality check on the contractor side.\u003C/p>\u003Cp>\u003Cstrong>Adaptation\u003C/strong>\u003Cbr>If drift is noticed during the inspection, the process must be adapted.\u003Cbr>→ We identified the recurring retakes and find ways to not have them anymore.\u003C/p>\u003Cp>We thought, on the producer side, we had something that could work. We had a strong common ground, and it was more about a change of habits than about reinventing the wheel!\u003C/p>\u003Ch4 id=\"convince-the-contractor\">Convince the Contractor\u003C/h4>\u003Cp>It was obviously necessary to convince the studio contractor. What made things easier is that SCRUM is based on iterative and incremental progress. It’s similar to our animation process (layout T1, T2 …, Anim T1, T2, etc). So we had a good start. \u003Cbr>But, finally, we convince them by emphasizing the facts that it will not only benefit the quality of the animation, but also the quality of life. At this time the turnover at the animation studio was a huge issue! One week to another you weren’t sure to talk to the same people, artist or production staff. So, the risk to get things worst by changing the way we work was small. And the outcome could be high.\u003C/p>\u003Ch4 id=\"main-phases-of-scrum-implementation\">Main phases of SCRUM implementation\u003C/h4>\u003Cp>There were 4 important things that we wanted to put in place:\u003C/p>\u003Cul>\u003Cli>Splitting the step teams (layout, animation…) into smaller teams of 4/5 people, called the SCRUM Teams (S-Teams). Every team had its own representative.\u003C/li>\u003Cli>Doing preparation meetings before each sprint.\u003C/li>\u003Cli>Running daily meetings within the Scrum teams.\u003C/li>\u003Cli>Perform review meetings at the end of each stage.\u003C/li>\u003C/ul>\u003Cp>We wrote custom guides for all positions. For the customer, for the production managers, for the supervisors of each step. Everyone had a common language and common processes.\u003C/p>\u003Ch4 id=\"setting-up-the-scrum-teams-s-team\">Setting up the SCRUM Teams (S-Team)\u003C/h4>\u003Cp>The first step was to split large teams into smaller teams. The goal was to have seniors, mids and juniors in the same team, to improve the global level of everyone and prevent juniors from being left behind. Then, for each team, we selected a representative. The supervisor of the artist floor would mainly talk with the representative (instead of everyone) which would give him more time to check the final delivery.\u003C/p>\u003Cp>To apply those changes, we had to build trust. So, when I was in the animation studio, I spent a lot of time explaining to the teams who am I, what was I doing here, and what was the purpose of all of these. There were about 40 to 70 peoples per stage, and the meeting room was not that big.\u003Cbr> I had to do the same presentation for several batches of people. I remember I made jokes during my speech to make them more comfortable. For the first group, it went good, people were laughing, they asked questions. It was the same with the second group. When I spoke in front of the third group, people stared at me. They kept silent: no laugh and no question. Same thing with the 4th group. I was worried, but finally, things went back to normal with the 5th group. Still, there was something bugging me.\u003C/p>\u003Cp>Then, I spent had face-to-face discussion with CG artists. Asking a question in front of a lot of people can be scary, I wanted to give them the opportunity to talk to me directly, in a safe environment. Quickly, I realized that artists have different native languages: Chinese, Thai, Malaysian, … And that they didn’t all understand English! I understood why I had no reaction during some of my meetings. Some of them understood nothing. Worst, they were isolated when they work. This was the main reason behind the insane turnover of the production. So, I added another constraint to my S-Teams: each of them should have at least one English speaker able to translate it to all other team members!\u003C/p>\u003Ch4 id=\"rethink-the-way-we-deal-with-retakes\">Rethink the way we deal with retakes\u003C/h4>\u003Cp>Now we had a new team organization. The most important thing to fix was the number retakes. Having between 70 and 90% retake in T1 leads to a vicious circle. It means that the time allowed for the next episode is reduced by the time of the retakes. It was like the teams had 2 episodes to do at the same time. The quality went down. Therefore, we kept a high rate of retake.\u003C/p>\u003Cp>So, the first step was to reduce quickly the number of retakes running. We decided to dedicate a S-Team to the retakes while others would focus on the new shots from the next episode. But, when a CG artist was assigned to this position it was often seen as a punishment. The motivation of the retake team went down quickly. To avoid that problem, we decided that each week it would be a different team that would be responsible for the retakes.\u003Cbr> This time, it was a success, the number of running retakes reduced quickly.\u003C/p>\u003Cp>Once the vicious circle was broken, we had fewer retakes per episode to handle. We were able to bring the amount of retakes back to normal. So, we dispatched retakes to all S-Teams, there was no more a team dedicated to them.\u003C/p>\u003Cp>When a team took retakes, we made sure that they were handled by the whole team. Prior to that, it was the animator who did the shot who handled the retakes for that shot. \u003Cbr>The first benefit was that it allowed to have a fresh look from other animators, which improved the overall quality. The second benefit was that juniors (who obviously had more retakes) were able to not spend too much time on their shots. The seniors and the mids were able to fix their retakes faster. Better they were able to tell the juniors what they did wrong. Juniors acquired skills faster.\u003C/p>\u003Ch4 id=\"setting-up-agile-sprints\">Setting up agile sprints\u003C/h4>\u003Cp>With SCRUM, you define meetings (named rituals) on a regular basis. The time frame between the main rituals is named a sprint. We decided to go for one week sprint. It means that at the beginning we defined a todo-list for one week (sprint planning) and at the end of the week we discussed the result (retrospective). \u003Cbr>At each sprint, the S-Teams chose themselves which sequences would be made. Most of the time, the sequence needed several sprints to be done.\u003Cbr>The immediate benefit was that the initial brief was kept fresh in mind and was not forgotten after weeks of work. Prior to that, the production was working on a cycle of 6 weeks, which was too long. It was hard to remember the Director brief. Shortening the shipping cycle led to more accurate shots.\u003Cbr>The second benefit was to improve shots hook up. The teams worked on shots that followed each other, it was easier for them to exchange posings or animations and to check the hook up between the shots.\u003C/p>\u003Ch4 id=\"daily-meeting\">Daily meeting\u003C/h4>\u003Cp>The point that was difficult to put in place was the daily scrum. The goal was for the artists to show what they did the day before to the other artist of their S-Team, and make sure that everyone gives his opinion. Shyness was hard to break, but once it was acquired and accepted by everyone, the number of technical retakes dropped quickly. With 5 couples of eyes on a shot, the slightest pop of color, or extra arm was quickly spotted and corrected.\u003Cbr>The overall animation improved. A junior could show his work and a senior gave him advice. By making things systematic, we managed to remove the “shame” factor of having to ask for help.\u003C/p>\u003Ch4 id=\"task-board\">Task board\u003C/h4>\u003Cp>Each S-Team wrote their name and the name of the sequence they choose to work on a card. All the cards were put on a task board. We stored shots by states of progress: To Do, In Progress, To Check, Question. Each day after the daily scrum, the representative of each S-Team updated the task board.\u003Cbr>The supervisor could, therefore, focus on the shots to check or look at the shots that had questions. He didn’t waste time anymore to collect the information. He had only to go around the studio to see where his teams were. He knew exactly on what he should work.\u003C/p>\u003Cp>The other advantage was also for the production team. They didn’t have to go and check artist per artist what they were doing. They just have to look at the board and know immediately the progress of the show. It saved a lot of time. We were able to focus on the planning for the future, instead of checking for the past.\u003C/p>\u003Ch4 id=\"sprint-review-and-retrospective\">Sprint review and retrospective\u003C/h4>\u003Cp>Sprints reviews and retrospectives were the least successful. The goal was for the whole studio to get together to watch the episode at the end of a sprint. For instance, the animation could give its opinion on the layout and help to avoid future retakes.\u003Cbr>But it took too long to move everyone and watch an episode (26 minutes x 3 steps layout, animation, and compositing). In the end, there were only the supervisors who were watching the previous stage to give their feedback. In some way, we found a solution but it didn’t involve everyone as we wanted at the beginning.\u003C/p>\u003Ch4 id=\"how-we-made-sure-that-our-new-methodologies-were-applied\">How we made sure that our new methodologies were applied\u003C/h4>\u003Cp>To make thing happened quicker \u003Ca href=\"https://blog.cg-wire.com/how-to-prepare-your-production-part-4-send-an-animation-supervisor-overseas/\">we sent an Animation Supervisor\u003C/a> and a Layout Supervisor on site, to ensure that the methodologies were properly applied, to correct the technical problems and also to improve the overall quality.\u003C/p>\u003Ch4 id=\"conclusion\">Conclusion\u003C/h4>\u003Cp>Overall it was a big success. We delivered the season 2 on time with a much better quality. All of these, without exceeding the initial budget.\u003Cbr>We went down from 70% retake in T1 to 30%. CG Artists were happier, the turnover was close to zero at the end of the production.\u003C/p>\u003Cp>By adapting SCRUM methodology to our production we improved the communication among peers. It allowed us to fix the biggest issues (language problems and lack of skills of juniors). Then, we were able to avoid retakes and shorten the feedback loop. Finally, everyone was more motivated and the overall quality increased a lot.\u003C/p>\u003Cp>When dealing with production management, there is no silver bullet. Nevertheless, we encourage you to try new things and fine-tune already existing methodologies to adapt it to your needs. The SCRUM agile methodology worked great for us. You should give it a try. Results can go much beyond expectations!\u003C/p>\u003Cp>\u003Cem>This blog is dedicated to CG Production Management and CG Pipeline. We have a Discord channel where you can discuss about your own problems/solutions and learn from others. Our vibrant community of TDs and Production Managers will be super happy to welcome you, so join us!\u003C/em>\u003C/p>",{"uuid":1008,"comment_id":1009,"feature_image":1010,"featured":105,"visibility":10,"created_at":1011,"updated_at":1012,"custom_excerpt":1013,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1014,"primary_tag":1015,"url":1016,"excerpt":1013,"reading_time":609,"access":13,"comments":105,"og_image":1017,"og_title":1018,"og_description":1013,"twitter_image":1017,"twitter_title":1018,"twitter_description":1013,"meta_title":7,"meta_description":1019,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"6a97d09a-5a65-4ed5-847a-a18d6c8e3307","bc09c72e40b0","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-uUC81rul5YgFhVxzbSAxuw.jpeg","2019-04-10T11:00:17.000+02:00","2026-03-27T10:47:28.000+01:00","My name is Gwénaëlle Dupré, I worked in cartoon TV show production for more than 13 years, I get through all the positions: from Second…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-apply-the-scrum-method-to-a-cartoon-tv-show-production/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-uUC81rul5YgFhVxzbSAxuw.jpeg","How To Apply The Scrum Method To a Cartoon TV Show Production","My name is Gwénaëlle Dupré, I worked in cartoon TV show production for more than 13 years, I get through all the positions: from Second Director Assistant director to Head of Production, but also as…","/posts/how-to-apply-the-scrum-method-to-a-cartoon-tv-show-production",{"title":1003},"how-to-apply-the-scrum-method-to-a-cartoon-tv-show-production","posts/how-to-apply-the-scrum-method-to-a-cartoon-tv-show-production",[1025],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"YjxgGqHrmmAAdkTvXl9f-TfynjKQ0IV06wEEP8R5ueI",{"id":1028,"title":1029,"authors":1030,"body":7,"description":7,"extension":8,"html":1032,"meta":1033,"navigation":13,"path":1046,"published_at":1037,"seo":1047,"slug":1048,"stem":1049,"tags":1050,"__hash__":1052,"uuid":1034,"comment_id":1035,"feature_image":1036,"featured":105,"visibility":10,"created_at":1037,"updated_at":1038,"custom_excerpt":1039,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1040,"primary_tag":1041,"url":1042,"excerpt":1039,"reading_time":140,"access":13,"comments":105,"og_image":1043,"og_title":1044,"og_description":1039,"twitter_image":1043,"twitter_title":1044,"twitter_description":1039,"meta_title":7,"meta_description":1045,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:how-to-prepare-your-production-part-4-send-an-animation-supervisor-overseas.json","How To Prepare Your Production (2026) - Part 4: Send An Animation Supervisor Overseas",[1031],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>Some productions require to work with an animation studio overseas. It’s great to dispatch the work and limit budget but it brings uncertainty. To minimize the risks, you have to keep in mind that the more accurate and precise information you will give to your contractor, the less time they will lose to think about what they should do. In that case, what we all do is to send them a detailed roadmap they can use while doing their job. Unfortunately, most of the time, the roadmap isn’t enough to ensure good results.\u003C/p>\u003Cp>Deciding to build the animation step overseas, is a little bit like making a whole another production elsewhere. If there are issues, the producer will realize it very late in the process. It’s hard to see the problems before the animation is delivered. For a cartoon TV Show, it means that they can appear when two or three other episodes are going to be sent to the overseas contractor again. At that time it will become really hard to fix things. That’s why you should consider sending your Animation Supervisor on-site.\u003C/p>\u003Cp>— — — — — — — — — — —\u003C/p>\u003Cp>This is the fourth article of our series about the production setup:\u003C/p>\u003Cul>\u003Cli>\u003Ca href=\"https://medium.com/p/4d5a6ef1ccf1?ref=blog.cg-wire.com\">Part 1: The contracts\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"https://blog.cg-wire.com/how-to-prepare-your-animation-production-part-2-the-schedule/\">Part 2: The Schedule\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"https://blog.cg-wire.com/how-to-prepare-your-production-part-3-set-up-rituals/\">Part3: Set up rituals\u003C/a>\u003C/li>\u003C/ul>\u003Cp>— — — — — — — — — — —\u003C/p>\u003Ch4 id=\"the-detailed-roadmap\">The detailed roadmap\u003C/h4>\u003Cp>Before sending anyone there, you should ensure that they have a clear overview of the work to achieve. For that, send them a roadmap containing the following:\u003C/p>\u003Cul>\u003Cli>A do-and-don’t about animation\u003C/li>\u003Cli>How your characters should move and turn\u003C/li>\u003Cli>The final designs\u003C/li>\u003Cli>Your characters specificity\u003C/li>\u003Cli>A brief for the whole episode and one per specific sequence\u003C/li>\u003Cli>The type of animation do you want\u003C/li>\u003Cli>Animation references\u003C/li>\u003Cli>Make sure there is no room for interpretation in the storyboard\u003C/li>\u003Cli>Include backgrounds and characters that are more developed than a line and a circle.\u003C/li>\u003C/ul>\u003Ch4 id=\"the-animation-supervisor\">\u003Cstrong>The Animation Supervisor\u003C/strong>\u003C/h4>\u003Cp>Now it’s time to consider sending someone there to manage the animation correctly. And of course, make sure there is a line in your budget for an Animation Supervisor on-site.\u003C/p>\u003Cp>You may think it is an extra expense and you don’t have the money for it. But now imagine the cost of having an animation studio that doesn’t understand your references, or that don’t have the technical level to follow the quality guideline within the schedule. This kind of events will lead you to hire more CG Artists to create additional references, to spend more time in the checking of the animation, and to spend even more time on dealing with retakes. It will generate frustration on both sides and expenses will seriously raise.\u003C/p>\u003Cp>And if the animation studio does good, you will have the opportunity to improve dramatically the quality of the animation. Your characters will have a strong personality and the animation will be awesome. It will be good publicity for your studio and for your contractor. The broadcasters will be more than happy with this TV Show.\u003C/p>\u003Ch4 id=\"they-won%E2%80%99t-adapt-if-you-send-wrong-directives\">\u003Cstrong>They won’t adapt if you send wrong directives\u003C/strong>\u003C/h4>\u003Cp>Now let’s review some bad things that can happen when working with a contractor.\u003C/p>\u003Cp>Animation studio will send you back exactly what you asked them. If your storyboard doesn’t have the backgrounds in every panel, or if the posing is not correct, they won’t fix it for you. For the background example, they will use the background listed on the leadsheet but they won’t correct the perspective or the framing. They cannot afford to do more.\u003C/p>\u003Cp>It means you will only realize the poor quality of your pack when you receive the animation 4 weeks later. The production of each side will spend plenty of time on the phone and no one will agree on what they have sent/receive.\u003C/p>\u003Cp>It means also the director will receive the animation, he will spend the day to check it, and in the evening, he will write his email.\u003C/p>\u003Cp>On day two, the studio will receive the email, correct the animation, and send it back. On day three, the director will receive the retake. Three days later, the problem should be fixed!\u003C/p>\u003Cp>With an Animation Supervisor on site, he will realize immediately that something is wrong with the storyboard or the package. He will phone the production, explain the issue, and give his solution. On the same day, problems are solved, the animation will be as good as or even better than on day three of our previous example. If it’s the same issue that comes back again and again, the Animation Supervisor will be able to do a meeting about this and be sure it won’t happen again. Instead of always writing the same retakes on the retake list!\u003C/p>\u003Ch4 id=\"cultural-gap\">\u003Cstrong>Cultural gap\u003C/strong>\u003C/h4>\u003Cp>Keep in mind that if you work with animation studios overseas, you should be aware of the cultural differences between your two countries.\u003C/p>\u003Cp>You will need to be extra clear on your explanation. A simple gesture like waving the hand to say hello, or shaking your fist when you are mad, could be wrongly interpreted overseas because they may not react like you on this kind of situation.\u003C/p>\u003Cp>Having an Animation Supervisor will help to ease the communication between the director and the animation team. The director won’t have to spend all his time on this step and keep focusing on the other steps where he is really needed.\u003C/p>\u003Cp>The Animation Supervisor will also be able to give you feedback about the material you send, and he will pinpoint the weakness or the uncertainties. He will also be able to give you an accurate report of the situation and update your schedule if needed. If unfortunately, the animation studio will have some delay, the Supervisor will be the first to know it, and you will be aware of the situation more quickly.\u003C/p>\u003Ch4 id=\"other-animation-studios-involved\">\u003Cstrong>Other animation studios involved\u003C/strong>\u003C/h4>\u003Cp>When you deal with an overseas studio you don’t know, there is a possibility that it won’t have the manpower to do the whole show. The animation studio may decide without you, to share the animation with another studio. You won’t be aware of it. It will increase the discrepancies between the episodes. Without an Animation Supervisor on the Animation Studio, you would never be aware of it and spend extra time and money to understand and correct this issue!\u003C/p>\u003Cp>Sometimes they also use the possibility to work with animation school to gain time and money, but the quality won’t be what you have expected.\u003C/p>\u003Ch4 id=\"lack-of-manpower\">\u003Cstrong>Lack of manpower\u003C/strong>\u003C/h4>\u003Cp>If you are in a hurry to choose quickly an animation studio, you may only choose him based on a phone call and pictures of their office. However, it can happen that they wait for the first payment to buy hardware and hire people. It means you can have a 3 month time with no work because the animation studio is hiring and looking for hardware. Of course, it’s not planned on your schedule. If you have sent an Animation Supervisor, he could have told it to you already.\u003C/p>\u003Ch4 id=\"unskilled-teams\">\u003Cstrong>Unskilled teams\u003C/strong>\u003C/h4>\u003Cp>It happens that the team simply doesn’t have the required skill level to perform the job. In that case, your Animation Supervisor will have to train the team at the lunch break and during the weekend. It will clearly raise the quality of global animation. When you receive duties, it’s better if you can fulfill them!\u003C/p>\u003Cp>Keep in mind too that most of the time the studio won’t brief specifically the team for a difficult sequence or episode. It’s something that the Animation Supervisor can deal with. He will act as the director to make sure everything runs smoothly.\u003C/p>\u003Ch4 id=\"turnovers\">\u003Cstrong>Turnovers\u003C/strong>\u003C/h4>\u003Cp>You should expect a lot of turnovers; it’s very rare that you finish the production with the same artists than at the beginning.\u003C/p>\u003Cp>If you have an Animation Supervisor on site, he will ensure that each new CG Artist gets on board quickly. He will be able to train them, describe the animation style, and explain the do-and-don’t specifically for this production. The turnover will be transparent of the production.\u003C/p>\u003Cp>On the same way, if on the producer’s side there is also some turnover, the new ones will be able to rely on the Supervisor, he will be able to explain how the production is working.\u003C/p>\u003Ch4 id=\"why-your-animation-supervisor-needs-to-stay-during-the-whole-production\">\u003Cstrong>Why your Animation Supervisor needs to stay during the whole production\u003C/strong>\u003C/h4>\u003Cp>If the Supervisor stays at the studio only for one or two months it’s a good start, he will be able to set up a good process. But if he leaves, it won’t last. He will only be able to fix the issues and not to anticipate them. The old habits will come back. The overall quality will go down and there will be more pressure for the retakes.\u003C/p>\u003Ch4 id=\"to-sum-up\">\u003Cstrong>To sum up\u003C/strong>\u003C/h4>\u003Cp>The work quality of an animation studio always depends on the quality of the material you sent. They will never do more than what you ask.\u003C/p>\u003Cp>If you want quality animation, spend a bit more time on the references and design package you will send to your contractor. Make sure that your roadmap is clearly understood. Prepare the main pack in collaboration with your Animation Supervisor. Then, send him to the animation studio. He will be your link with them and will be able to manage the work done properly.\u003C/p>\u003Cp>\u003Cem>This blog is dedicated to CG Production Management and CG Pipeline. We have a Discord channel where you can discuss your own problems/solutions and learn from others. Our vibrant community of TDs and Production Managers will be super happy to welcome you, so join us!\u003C/em>\u003C/p>",{"uuid":1034,"comment_id":1035,"feature_image":1036,"featured":105,"visibility":10,"created_at":1037,"updated_at":1038,"custom_excerpt":1039,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1040,"primary_tag":1041,"url":1042,"excerpt":1039,"reading_time":140,"access":13,"comments":105,"og_image":1043,"og_title":1044,"og_description":1039,"twitter_image":1043,"twitter_title":1044,"twitter_description":1039,"meta_title":7,"meta_description":1045,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"4c2fa4cc-e847-4ecc-9510-ff1140328109","af578e094872","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-w0YcpMhPGBRBeQ25G9g-iA.jpeg","2019-02-13T12:49:26.000+01:00","2026-03-27T10:49:29.000+01:00","Some productions require to work with an animation studio overseas. It’s great to dispatch the work and limit budget but it brings…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-prepare-your-production-part-4-send-an-animation-supervisor-overseas/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-w0YcpMhPGBRBeQ25G9g-iA.jpeg","How To Prepare Your Production - Part 4: Send An Animation Supervisor Overseas","Some productions require to work with an animation studio overseas. It’s great to dispatch the work and limit budget but it brings uncertainty. To minimize the risks, you have to keep in mind that…","/posts/how-to-prepare-your-production-part-4-send-an-animation-supervisor-overseas",{"title":1029},"how-to-prepare-your-production-part-4-send-an-animation-supervisor-overseas","posts/how-to-prepare-your-production-part-4-send-an-animation-supervisor-overseas",[1051],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"94ll4nBDeNZ1x0_ZXN9QmRYXlWD0LqFFKLZ0W1_uGuw",{"id":1054,"title":1055,"authors":1056,"body":7,"description":7,"extension":8,"html":1058,"meta":1059,"navigation":13,"path":1072,"published_at":1063,"seo":1073,"slug":1074,"stem":1075,"tags":1076,"__hash__":1078,"uuid":1060,"comment_id":1061,"feature_image":1062,"featured":105,"visibility":10,"created_at":1063,"updated_at":1064,"custom_excerpt":1065,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1066,"primary_tag":1067,"url":1068,"excerpt":1065,"reading_time":558,"access":13,"comments":105,"og_image":1069,"og_title":1070,"og_description":1065,"twitter_image":1069,"twitter_title":1070,"twitter_description":1065,"meta_title":7,"meta_description":1071,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:how-to-prepare-your-production-part-3-set-up-rituals.json","How To Prepare Your Production (2026) | Part 3 Set up rituals.",[1057],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>As a young production manager, you may not know how to position yourself toward the other teams. You may be too friendly, but if you do so, at some point, they won’t see you as a leader, but as a friend. They will share information with you but they will not follow you anymore.\u003C/p>\u003Cp>At the opposite, you can become a tyrant. You decide to never listen to anybody but yourself. You become rude with people and give orders instead of direction. In that case, your team won’t trust you either. It surely does more damage than good to the production, especially to the spirit of the team. And by the way, ruthlessness is often a signal that you are already not part of the team anymore.\u003C/p>\u003Cp>This situation can be very dangerous and even jeopardize the production. If the team doesn’t follow your lead, you won’t be able to manage it properly. You are the only person with the right information to lead all the teams. If you mess it up, the whole production may fail.\u003C/p>\u003Cp>The situations described above may sound like caricatures, but we all faced them at some point in our career, especially during the first years. It’s tough to avoid them. I’ve been trapped myself into them and I had hard times to recover the situation. That’s why in this article I want to share with you what I learned from it. During my 10+ years as CG Production Manager/Head of Production, I identified best practices that will help you. With them, you will avoid bad situations and know when you have to change something.\u003C/p>\u003Cp>— — — — — — — — — — —\u003C/p>\u003Cp>This is the third article of our series about the production setup:\u003C/p>\u003Cul>\u003Cli>\u003Ca href=\"https://medium.com/p/4d5a6ef1ccf1?ref=blog.cg-wire.com\">Part 1: The contracts\u003C/a>\u003C/li>\u003Cli>\u003Ca href=\"https://blog.cg-wire.com/how-to-prepare-your-animation-production-part-2-the-schedule/\">Part 2: The Schedule\u003C/a>\u003C/li>\u003Cli>Part3: Set up rituals\u003C/li>\u003C/ul>\u003Cp>— — — — — — — — — — —\u003C/p>\u003Ch4 id=\"give-a-weekly-to-do-list-schedule-to-your-team\">Give a weekly to-do list schedule to your team\u003C/h4>\u003Cp>Each artist needs to know clearly, what is important or not. They also need to know in which order they have to do their work. Each week, take the time to do a schedule with priorities to each team.\u003C/p>\u003Cp>\u003Cem>NB: If you have issues to estimate the correct amount of time of a task you can refer to our \u003C/em>\u003Ca href=\"https://blog.cg-wire.com/how-to-prepare-your-animation-production-part-2-the-schedule/\">\u003Cem>previous article about the schedule\u003C/em>\u003C/a>\u003Cem>.\u003C/em>\u003C/p>\u003Cp>Once you estimate the right amount of time needed per asset or shot, you can do the team schedule. My preference is a calendar type presentation. They will know day by day what they have to do, what meeting they have to attempt. You can do it weekly or every two weeks. It depends on the pace of your production.\u003C/p>\u003Cp>Once you have done it for the teams, do the same for the director. Write down all the briefs, the validation, and the meetings he will have during his week. This way, he will have dedicated time frames for everything and will not miss anything.\u003C/p>\u003Cp>You can also report this information in the supervisor’s schedules. They will know when the director is available for them. It will ease communication, and make sure everyone can reach each other.\u003C/p>\u003Cp>If you are interested you can \u003Ca href=\"https://www.cg-wire.com/en/spreadsheets.html?ref=blog.cg-wire.com\" rel=\"noopener\">download a schedule template\u003C/a> on our website. If you want to go further about your relationship with CG artists, you can also read this article: \u003Ca href=\"https://medium.com/cgwire/how-to-track-properly-the-cg-artist-progress-b1267f8b0a39?ref=blog.cg-wire.com\" rel=\"noopener\">How to properly track the progress of a CG Artist.\u003C/a>\u003C/p>\u003Ch4 id=\"set-rituals\">Set rituals\u003C/h4>\u003Cp>From the beginning of the production, plan all the weekly meetings, one for the brief, one for the validation and let everybody know!\u003C/p>\u003Cp>It will help the team to focus on what they have to do during the week and nothing else. Questions and discussions will happen during the meetings. The more focus they will be, the better the job they’ll do. They will also have time to prepare the review if they know the date. Even better if the day is always the same, it will become a ritual, and they will trust and follow even more their calendar.\u003C/p>\u003Cp>The important part of having a briefing at the beginning of the week is to regroup a maximum of the question at the same time and answer to them in front of everybody. The answers might help other teams. In addition, it will save time for everybody if every CG Artist doesn’t ask the same question to the director.\u003C/p>\u003Ch4 id=\"prepare-you-communication-in-case-of-frozen-production\">Prepare you communication in case of frozen production\u003C/h4>\u003Cp>It’s common to see the production or part of it frozen. It’s not something fun but it can happen and it’s part of the job to deal with it. Your role is to make sure things get the smoother possible.\u003C/p>\u003Cp>In that situation, the best thing is to express clearly and as soon as possible when the CG Artists will have a none expected break. All the CG Artists know this misfortune happens. But, they will get mad if you told them at the last minute! They have a personal life that is impacted by this change. The least you could do is to give them information on time so they can get organized accordingly.\u003C/p>\u003Cp>If you can’t precisely predict when the break will occur, at least let them know there will be one. Explain to them why they have to go home and for how long if you can.\u003C/p>\u003Cp>When they leave, don’t forget that talents are rare. Other productions are probably contacting them to hire them. So, the most important thing to do is to keep in touch with them on a regular basis! Call them to explain how the situation is evolving and let them know when they will come back. They will appreciate your professionalism and won’t be tempted to look for other productions.\u003C/p>\u003Cp>The CG Artist will never be mad at you because of a break, but they will blame you if you don’t inform them. So don’t leave them and the dark by communicating properly about what is happening.\u003C/p>\u003Ch4 id=\"to-sum-up\">To sum up\u003C/h4>\u003Cp>My belief is the more the team know about the state of the production, the smoother it will be. Explain to them clearly what they have to do, and in which order. Give them rituals, it will help the CG Artists to keep organized and focused. The most important is to explain them clearly every situation, good or bad.\u003C/p>\u003Cp>In my experience, when I am honest and transparent with the team, they understand the situation, and never complain about it. Let the CG Artist feels he is part of your team, ask for his advice. Most of the time, they will help you and make things simpler in return. Adopt this mindset early in the production. Because if you don’t do it well, it’s something hard to fix.\u003C/p>\u003Cp>In other words, you don’t have to become friend with each of the CG Artist. But if you explain them sincerely the situation and your decisions, they will trust you. With trust, people really feel they are in the same boat, and enjoy going in the same direction as you. They will accept you as the captain and will do their best to deliver the movie on time.\u003C/p>\u003Cp>\u003Cem>This blog is dedicated to CG Production Management and CG Pipeline. We have a Discord channel where you can discuss about your own problems/solutions and learn from others. Our vibrant community of TDs and Production Managers will be super happy to welcome you, so join us!\u003C/em>\u003C/p>",{"uuid":1060,"comment_id":1061,"feature_image":1062,"featured":105,"visibility":10,"created_at":1063,"updated_at":1064,"custom_excerpt":1065,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1066,"primary_tag":1067,"url":1068,"excerpt":1065,"reading_time":558,"access":13,"comments":105,"og_image":1069,"og_title":1070,"og_description":1065,"twitter_image":1069,"twitter_title":1070,"twitter_description":1065,"meta_title":7,"meta_description":1071,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"6746ecab-f19d-428d-b61e-abdab0c4339b","5e1d7dc55ae4","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-rU6KNs9KfdROiENL-UQTNA.jpeg","2019-01-09T09:31:01.000+01:00","2026-03-27T10:49:14.000+01:00","As a young production manager, you may not know how to position yourself toward the other teams. You may be too friendly, but if you do so…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-prepare-your-production-part-3-set-up-rituals/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-rU6KNs9KfdROiENL-UQTNA.jpeg","How To Prepare Your Production | Part 3 Set up rituals.","As a young production manager, you may not know how to position yourself toward the other teams. You may be too friendly, but if you do so, at some point, they won’t see you as a leader, but as a…","/posts/how-to-prepare-your-production-part-3-set-up-rituals",{"title":1055},"how-to-prepare-your-production-part-3-set-up-rituals","posts/how-to-prepare-your-production-part-3-set-up-rituals",[1077],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"3uA-UigEEe5mXQ2vvKs4Z8ELwpDU-Ctn76xrF8Qprt0",{"id":1080,"title":1081,"authors":1082,"body":7,"description":7,"extension":8,"html":1084,"meta":1085,"navigation":13,"path":1098,"published_at":1089,"seo":1099,"slug":1100,"stem":1101,"tags":1102,"__hash__":1104,"uuid":1086,"comment_id":1087,"feature_image":1088,"featured":105,"visibility":10,"created_at":1089,"updated_at":1090,"custom_excerpt":1091,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1092,"primary_tag":1093,"url":1094,"excerpt":1091,"reading_time":198,"access":13,"comments":105,"og_image":1095,"og_title":1096,"og_description":1091,"twitter_image":1095,"twitter_title":1096,"twitter_description":1091,"meta_title":7,"meta_description":1097,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:how-to-prepare-your-animation-production-part-2-the-schedule.json","How To Prepare Your Animation Production (2026) |  Part 2: The Schedule",[1083],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>Every production relies on a schedule. It’s something you can’t avoid and that will follow you during all the production lifetime. So, it’s better to be confident about what you put into it! The good news is that in this post, we are going to share with you the best practices to build it properly.\u003C/p>\u003Cp>— — — — — — — — — — —\u003C/p>\u003Cp>This is the second article of our series about the production setup:\u003C/p>\u003Cul>\u003Cli>\u003Ca href=\"https://medium.com/p/4d5a6ef1ccf1?ref=blog.cg-wire.com\">Part 1: The contracts\u003C/a>\u003C/li>\u003Cli>Part 2: The Schedule\u003C/li>\u003C/ul>\u003Cp>— — — — — — — — — — —\u003C/p>\u003Ch4 id=\"scheduling-is-difficult-and-requires-all-the-team-onboard\">Scheduling is difficult and requires all the team onboard\u003C/h4>\u003Cp>Prior to doing the estimation and setting deadlines, remember that you should rely on your supervisors to evaluate the amount of work for the team. You don’t have to be alone in the dark to achieve this task.\u003C/p>\u003Cp>You will notice too that supervisors will be glad to help you. They would rather spend time with you to build a coherent planning than fighting a non-sense schedule during the production! Even better, engaging them in the process will make them more motivated and will make future conflicts solving easier.\u003C/p>\u003Cp>NB: Keep in mind that preparing a good planning requires experience. To estimate tasks, it’s simpler if you have already tracked CG artist progress in a previous production. So, if you are a young production manager, don’t be scared to make mistakes. It will require some trial and errors, it’s part of the learning process.\u003C/p>\u003Ch4 id=\"how-to-estimate-the-length-of-a-task\">How to estimate the length of a task\u003C/h4>\u003Cp>However, to be able to start a discussion with someone, you need to have an idea of your estimations, even if you are not sure about them. So, decide about rough estimations before iterating on them with your supervisors.\u003C/p>\u003Cp>To begin, list all the tasks to do before the next known milestone. If you are not sure about your milestones, look for it in \u003Ca href=\"https://blog.cg-wire.com/how-to-prepare-your-production-part-1-the-contracts/\">your contracts\u003C/a>. Once everything is clear, warm up your calculator!\u003C/p>\u003Cp>Any kind of production, a TV show, a feature film or a short, comes with a script. From it, you can do a breakdown which will give you the number of assets and sequences to build. That’s enough information to do simple math and set rough deadlines.\u003C/p>\u003Cp>Let say you have 10 characters to do in 5 days with a team of 8 CG artist. First, you need to identify which ones are more important; for example, you have four main characters and six secondary characters. Now we can calculate how much time have CG artists to reach their deadline:\u003C/p>\u003Cul>\u003Cli>The first step is to bring back everything at the same level. Let’s consider that building a simple character is our unit of measure. The main characters are 3 times more detailed than the secondary characters are. Let’s say a secondary character costs 1. Therefore, four main characters will be almost the same than creating 4 x 3 secondary characters, for an overall cost of 12.\u003C/li>\u003Cli>The second step is to establish how much time a CG Artist can spend on a simple character. You now have 12 + 6 = 18 characters to do in 5 days, with a team of 8 CG Artists. It means your team must be able to 18 / 5 = 3.6 characters a day. Each artist must ship the equivalent of 3.6 / 8 = 0.45 simple characters a day.\u003C/li>\u003C/ul>\u003Cp>Now we have the right information, we are able to build a schedule for our Character team and dispatch the work to them.\u003C/p>\u003Cp>By the way, it already helps you to anticipate problems. A thing you can notice from our example is that a CG artist cannot handle by himself the building of a main character (it requires 6 days and we only have five). For that kind of situation, we have three solutions:\u003C/p>\u003Cul>\u003Cli>Lower down your quality expectation by using five days instead of six to create a main character.\u003C/li>\u003Cli>Split the main character work on two CG Artists (give the facial to one and the body to another).\u003C/li>\u003Cli>Rely on a senior CG artist for the main characters.\u003C/li>\u003C/ul>\u003Cp>This arithmetic is a way to establish a first timeline to discuss with your supervisors. They will help you refine it and find the right dispatching. With more experience, you will achieve more accurate estimation and the iteration with your supervisors will go faster.\u003C/p>\u003Ch4 id=\"the-right-schedule-for-the-right-person\">The right schedule for the right person\u003C/h4>\u003Cp>Your schedule will serve different purposes and be used by different people. So you need to decline it in several shapes depending on his reader:\u003C/p>\u003Cul>\u003Cli>A rough schedule (per month and per steps) that helps you to adjust your budget and to discuss with all stakeholders. It gives too an overview of the production major steps to everyone.\u003C/li>\u003Cli>A detailed schedule for each department that helps your supervisors to keep in sync with the global view of the production, to manage their team more accurately and to be more aware of the dependencies with the previous and the next steps.\u003C/li>\u003Cli>A day to day calendar that serves as the to-do list for your team.\u003C/li>\u003C/ul>\u003Ch4 id=\"planning-representation-bar-chart\">Planning representation (Bar Chart)\u003C/h4>\u003Cp>We covered how to decide the length of the schedule, what kind of schedule we need, now let’s talk about the visual representation of the schedule. For that let’s make thing simple and use the most common representation, the Gantt chart (bar chart). It has many advantages and a few flaws. Let’s review them.\u003C/p>\u003Cp>Pros\u003C/p>\u003Cul>\u003Cli>You never lose the overview of your production\u003C/li>\u003Cli>You can check easily the links between the tasks\u003C/li>\u003Cli>Each line can represent a person or a team, so you can keep an eye on your manpower\u003C/li>\u003Cli>You can highlight time margins, bank holidays and vacations\u003C/li>\u003Cli>You can easily move around a task and still see the dependencies with the previous and the next ones\u003C/li>\u003Cli>It works for small and big projects\u003C/li>\u003C/ul>\u003Cp>Cons\u003C/p>\u003Cul>\u003Cli>It’s not easily printable on a long production, you may need 2 or 3 A3 paper sheets!\u003C/li>\u003Cli>You need to update it by hand if (like most of the people) you are doing the schedule with a spreadsheet\u003C/li>\u003C/ul>\u003Ch4 id=\"add-time-margins-to-your-schedule\">Add time margins to your schedule\u003C/h4>\u003Cp>Now we have properly set up the schedule, we are going to deal with the fact that your schedule will change over time. It’s a fairy-tale to think everything will go according to the plan. Do you really think no one will have even a day of delay?\u003C/p>\u003Cp>Adding safeties to your schedule is mandatory! Yeah, it’s an option to take more people when deadlines become closer. But life will teach you that it’s better to prevent it. Trust me, managing delay by having time between each episode and each step is always the right decision.\u003C/p>\u003Cp>Add some extra time after each storyboard before the start of a new one. And apply it to the very first steps of the production too. It’s almost mandatory for the storyboard Artists to have at least one week of delay. Especially if you don’t have a storyboard Supervisor. In that case, the Director has to do everything by himself. He won’t have the time to properly brief the storyboard artists and you will have to expect many retakes.\u003C/p>\u003Cp>Keep in mind all the bank holidays and the school breaks. People will take vacations, and hiring someone else in the meantime may not be as effective as it sounds. The new CG Artist will not be acclimated to the show as the rest of your team. It will require time for him to be effective.\u003C/p>\u003Cp>Once you fill comfortable with your schedule, show it to your Director and your supervisors. If everybody feels at ease with it, then you will have more chance they will promote it rather than fighting against it.\u003C/p>\u003Ch4 id=\"share-your-schedule\">\u003Cstrong>Share Your Schedule\u003C/strong>\u003C/h4>\u003Cp>When everything is set, print your schedule and hang it everywhere! The CG Artists need to know where they are going. Consider too that they are very sensitive to stress. The more information you can give to them, the more comfortable they will be with their work. Don’t keep them in the dark for their own protection, it makes won’t lead to good things.\u003C/p>\u003Ch4 id=\"update-your-schedule-but-don%E2%80%99t-overwrite-it\">Update your schedule but don’t overwrite it.\u003C/h4>\u003Cp>Your schedule needs to always be up-to-date. It must reflect the reality of the production. Otherwise, you won’t be able to report or to warn of any future delay. You also need to have a true, clear view of the progress of an episode or the whole production.\u003C/p>\u003Cp>But don’t overwrite your main schedule with the updates. Your main schedule is on every contract and on your direction’s offices. If you constantly update the schedule but don’t keep track of the changes, you won’t realize as much delay you have compared to the main schedule. And if you redo your schedule and postpone frequently several tasks, you could think that everything is ok and blindly ignore delays.\u003C/p>\u003Cp>So, do your best to keep somewhere the main revisions of your schedule. It will help a lot to fulfill what you promised and to understand the situation.\u003C/p>\u003Ch4 id=\"to-sum-up\">To sum up\u003C/h4>\u003Cp>Having a good planning implies a lot of work and responsibilities. It must always be up to date and properly shared with all the team. And remember that you don’t have to do it alone! All the stakeholders can give you information and will be glad to participate.\u003C/p>\u003Cp>Don’t forget that a schedule must match an audience too. When you need to share an official schedule with someone, always ask yourself what will they do with it? Do they need the global picture or a detailed schedule? For example, at a meeting with your producer, bring your updated rough schedule, not a day-to-day calendar!\u003C/p>\u003Cp>The schedule will organize the production and the life of everybody involved (you included!) It’s a double-edged sword. If you mess it up, your production can become a nightmare. If you do it well, everything will run smoothly and you will achieve an amazing project!\u003C/p>\u003Cp>\u003Ca href=\"https://www.cg-wire.com/en/spreadsheets.html?ref=blog.cg-wire.com\" rel=\"noopener\">To illustrate this article we prepared planning templates in Google Spreadsheet. Click on this link to get them\u003C/a>\u003C/p>\u003Cp>\u003Cem>This blog is dedicated to CG Production Management and CG Pipeline. We have a Discord channel where you can discuss about your own problems/solutions and learn from others. Our vibrant community of TDs and Production Managers will be super happy to welcome you!\u003C/em>\u003C/p>",{"uuid":1086,"comment_id":1087,"feature_image":1088,"featured":105,"visibility":10,"created_at":1089,"updated_at":1090,"custom_excerpt":1091,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1092,"primary_tag":1093,"url":1094,"excerpt":1091,"reading_time":198,"access":13,"comments":105,"og_image":1095,"og_title":1096,"og_description":1091,"twitter_image":1095,"twitter_title":1096,"twitter_description":1091,"meta_title":7,"meta_description":1097,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"a1a28649-3df3-4a36-82f8-0818f32c3a1a","cc413d0d8455","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-PJURdfWBahGUxcnEJVyhxQ.jpeg","2018-12-19T09:26:01.000+01:00","2026-03-27T10:48:46.000+01:00","Every production relies on a schedule. It’s something you can’t avoid and that will follow you during all the production lifetime. So, it’s…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-prepare-your-animation-production-part-2-the-schedule/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-PJURdfWBahGUxcnEJVyhxQ.jpeg","How To Prepare Your Animation Production |  Part 2: The Schedule","Every production relies on a schedule. It’s something you can’t avoid and that will follow you during all the production lifetime. So, it’s better to be confident about what you put into it! The good…","/posts/how-to-prepare-your-animation-production-part-2-the-schedule",{"title":1081},"how-to-prepare-your-animation-production-part-2-the-schedule","posts/how-to-prepare-your-animation-production-part-2-the-schedule",[1103],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"itS3PeydShegyALrYFx7QbFhL5nhRdW9DECut3nJkfU",{"id":1106,"title":1107,"authors":1108,"body":7,"description":7,"extension":8,"html":1110,"meta":1111,"navigation":13,"path":1124,"published_at":1115,"seo":1125,"slug":1126,"stem":1127,"tags":1128,"__hash__":1130,"uuid":1112,"comment_id":1113,"feature_image":1114,"featured":105,"visibility":10,"created_at":1115,"updated_at":1116,"custom_excerpt":1117,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1118,"primary_tag":1119,"url":1120,"excerpt":1117,"reading_time":47,"access":13,"comments":105,"og_image":1121,"og_title":1122,"og_description":1117,"twitter_image":1121,"twitter_title":1122,"twitter_description":1117,"meta_title":7,"meta_description":1123,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:how-to-prepare-your-production-part-1-the-contracts.json","How To Prepare Your Production (2026): Part 1 The Contracts",[1109],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>Preparing a production is always a difficult task. It’s like reading the future into a crystal ball! However, you can prepare yourself for most of the issues you may encounter.\u003C/p>\u003Cp>In these series, we’ll cover five major points to secure. For each of them, we will dedicate a full article. As a first topic, I chose the production contracts. I’m going to tell you everything needed for you, your contractors and your clients.\u003C/p>\u003Cp>The first thing is to make sure you have a copy of all legal documents related to the project, or at least an extract with the useful information. And of course, it’s even better if you can be part of the writing of these contracts! Your insight can help to ease some tricky point and you will be better informed.\u003C/p>\u003Ch4 id=\"the-contract-for-the-client\">\u003Cstrong>The contract for the client\u003C/strong>\u003C/h4>\u003Cp>Most of the time your clients will be the broadcasters of your movie. On this kind of contract, you will find two parts:\u003C/p>\u003Cul>\u003Cli>One about the schedule, the budget, and the delivery milestones\u003C/li>\u003Cli>One about the technical specificity of the deliveries\u003C/li>\u003C/ul>\u003Cp>You need to take extra care of the first part but read also the technical one. It can be tough to read but don’t worry, your post-production contractor will do most of the heavy lifting. Keep in mind that this information can be a lifesaver. For example, if your clients want to receive a physical support, you can save time and money to suggest them numerical files instead.\u003C/p>\u003Cp>Take notes of the number of the deliveries required. Be careful, the information can be spread in different parts. Especially if a client has his own library and wants a backup duplicate. It’s important to not forget a delivery!\u003C/p>\u003Cp>You need to highlight and report the milestones on your schedule. Most of the time you will be paid at the beginning, the middle and the end of particular steps of the production. You need to be aware of these steps to manage your project properly and to give the right information to your accounting.\u003C/p>\u003Cp>You will also find the detail of the validation steps. The number of days the clients have to validate or ask for a retake. This period cannot be shortened which affects your schedule. You will also find how much time you spend on discussing the retakes.\u003C/p>\u003Cp>For the technical part, forward it to your post-production contractor. You will also find details for your animation contractor, like the frame rate, the resolution, etc.\u003C/p>\u003Ch4 id=\"the-contract-for-the-animation-contractor\">\u003Cstrong>The contract for the animation contractor\u003C/strong>\u003C/h4>\u003Cp>It’s the most important contract for you as production team. The information is critical for your schedule and your organization. Also in terms of technical delivery and milestones. It contains mainly:\u003C/p>\u003Cul>\u003Cli>The time the contractor has to do the first animation retake (Take 1)\u003C/li>\u003Cli>The time your team have to check the animation\u003C/li>\u003Cli>The number of back and forth allowed\u003C/li>\u003Cli>The time the animation has to achieve other retakes (Takes)\u003C/li>\u003Cli>The time you have to check the retakes\u003C/li>\u003Cli>The percentage of artistic retakes allowed\u003C/li>\u003Cli>The price for the extra retakes\u003C/li>\u003C/ul>\u003Cp>Keep in mind all this information, and organize your teams and schedule according to it.\u003C/p>\u003Cp>You need to take extra care of the technical parts. The animation chart should describe what work you will send to them and how they should deliver it:\u003C/p>\u003Cul>\u003Cli>Storyboard\u003C/li>\u003Cli>Color backgrounds\u003C/li>\u003Cli>Graphics and screen designs\u003C/li>\u003Cli>Animation size and field guide\u003C/li>\u003Cli>Animation\u003C/li>\u003Cli>Animation colors & pre-compositing\u003C/li>\u003Cli>Animation length\u003C/li>\u003Cli>In between\u003C/li>\u003C/ul>\u003Cp>It’s the common ground for everybody. Stick to it to avoid any flaw in the collaboration with your contractor.\u003C/p>\u003Ch4 id=\"the-contract-for-the-post-production-contractor\">\u003Cstrong>The contract for the post-production contractor\u003C/strong>\u003C/h4>\u003Cp>Once again, this contract is in two parts: schedule/budget and technical. The technical part will be the gathering of all the clients’ technical contracts.\u003C/p>\u003Cp>Your post-production contractor is responsible for the client’s acceptation of the delivery. It’s important to detail every step on the contract.\u003C/p>\u003Cp>It’s also the last step of your production; any delay on the previous steps will influence them. The setting of their schedule is very tricky. For most of their steps like the editing, the SFX, the foleys, and the mix, they will have to book a specific person and a specific room. It can be difficult for them to have flexibility on their schedule.\u003C/p>\u003Ch4 id=\"to-sum-up\">\u003Cstrong>To sum-up\u003C/strong>\u003C/h4>\u003Cp>The contracts are the bare bones of your production. It’s the roadmap that everybody will follow. It eases the communication by defining common grounds, but also it protects you if something goes wrong.\u003C/p>\u003Cp>Being well aware of your contract will be a first good step for damage control on your production later. So make sure you carefully understand them and communicate their content to the rest of the team!\u003C/p>\u003Cp>The next article will describe how you should handle the schedule of your production. Stay tuned!\u003C/p>\u003Cp>\u003Cem>This blog is dedicated to CG Production Management and CG Pipeline. We have a Discord channel where you can discuss about your own problems/solutions and learn from others. Our vibrant community of TDs and Production Managers will be super happy to welcome you, so join us!\u003C/em>\u003C/p>",{"uuid":1112,"comment_id":1113,"feature_image":1114,"featured":105,"visibility":10,"created_at":1115,"updated_at":1116,"custom_excerpt":1117,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1118,"primary_tag":1119,"url":1120,"excerpt":1117,"reading_time":47,"access":13,"comments":105,"og_image":1121,"og_title":1122,"og_description":1117,"twitter_image":1121,"twitter_title":1122,"twitter_description":1117,"meta_title":7,"meta_description":1123,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"6572a621-7d38-4f3e-9b14-b1dc46ef37e8","4d5a6ef1ccf1","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-VlGVrAYURbKzjLprcWQpSw.jpeg","2018-12-11T16:05:16.000+01:00","2026-03-27T10:49:01.000+01:00","Preparing a production is always a difficult task. It’s like reading the future into a crystal ball! However, you can prepare yourself for…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-prepare-your-production-part-1-the-contracts/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-VlGVrAYURbKzjLprcWQpSw.jpeg","How To Prepare Your Production: Part 1 The Contracts","Preparing a production is always a difficult task. It’s like reading the future into a crystal ball! However, you can prepare yourself for most of the issues you may encounter. In these series, we’ll…","/posts/how-to-prepare-your-production-part-1-the-contracts",{"title":1107},"how-to-prepare-your-production-part-1-the-contracts","posts/how-to-prepare-your-production-part-1-the-contracts",[1129],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"Z8X53RDQBQaWQHoC9VTAqdk_C2ocwBXZWIyL37ISeps",{"id":1132,"title":1133,"authors":1134,"body":7,"description":7,"extension":8,"html":1136,"meta":1137,"navigation":13,"path":1150,"published_at":1141,"seo":1151,"slug":1152,"stem":1153,"tags":1154,"__hash__":1156,"uuid":1138,"comment_id":1139,"feature_image":1140,"featured":105,"visibility":10,"created_at":1141,"updated_at":1142,"custom_excerpt":1143,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1144,"primary_tag":1145,"url":1146,"excerpt":1143,"reading_time":558,"access":13,"comments":105,"og_image":1147,"og_title":1148,"og_description":1143,"twitter_image":1147,"twitter_title":1148,"twitter_description":1143,"meta_title":7,"meta_description":1149,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:how-to-handle-animation-retakes-in-a-cartoon-tv-show.json","How To Handle Animation Retakes In A Cartoon TV Show (2026)",[1135],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>In a Cartoon TV show, it’s usual to have the animation work done outside of the studio. It can happen in the same country or overseas. For both, the process is the same. They will send you their delivery shot by shot. Then, the Director and the Animation Supervisor will check the work done and will eventually send retake notes.\u003C/p>\u003Cp>You shouldn’t be surprised to have a lot of retakes in the first episodes. It’s natural. Everybody learns how to work with each other. After the first episodes, if you still have a lot of back and forth, you can consider it as a sign for a bigger issue.\u003C/p>\u003Cp>In that case, you need first to identify clearly what kind of retakes you face the most. It will help you to tackle the problem properly. Understanding the symptoms is the first step to find a cure!\u003C/p>\u003Ch4 id=\"identify-the-type-of-retake\">Identify the type of retake\u003C/h4>\u003Cp>Some retakes are the result of a deeper problem. Here are some examples of retakes. For each of them, we will tell you how to react to them.\u003C/p>\u003Cp>\u003Cem>Careless mistake\u003C/em>\u003C/p>\u003Cp>It’s a sign that the animation team doesn’t have the time to check their work before shipment. The number of retakes, when there are not enough animators, can overwhelm them. Your schedule is certainly too tight for them. You can either stretch your schedule or handle this kind of retakes yourself.\u003C/p>\u003Cp>\u003Cem>References or artistic recommendation not followed\u003C/em>\u003C/p>\u003Cp>It can be due to a change of teams just before the production starts, or after the first episodes. It can also be the sign of turn over on your contractor side. In that case, you have to brief them again and give them time to adapt to the specific style of the TV show.\u003C/p>\u003Cp>\u003Cem>Artistic retakes\u003C/em>\u003C/p>\u003Cp>It happens when the client or the director have changed their mind, they want an animation style that was not initially briefed. It could be due to the fact the client/director may have changed during the production.\u003C/p>\u003Cp>In that, case you have two options:\u003C/p>\u003Cul>\u003Cli>The Client or the Director adapts/changes his brief.\u003C/li>\u003Cli>You manage to have extra money to adapt the production schedule.\u003C/li>\u003C/ul>\u003Cp>\u003Cem>Retake was not performed\u003C/em>\u003C/p>\u003Cp>Most of the time it’s because the retake itself can’t be understood. You need to phone your contractor immediately to know what’s wrong and how you can help them… During the writing of the retakes, explain clearly the intents. Draw a lot, and if you can, give an animated example.\u003C/p>\u003Cp>The most important advice I can give you is to send an animation supervisor to your contractor. I know it’s a lot of money and your budget surely don’t allow it. But, if in the middle of your production you are months behind your schedule, then you will have spent more money than the cost of sending an animation supervisor. So cut somewhere else, find the money.\u003C/p>\u003Cp>The animation supervisor will save your day. He will ensure the quality constancy during all the episodes. He will drastically reduce the number of technical retakes. The contractor team needs to see him, to feel his leadership right in the room. More than that, only him will be able to tell you what kind of delay you can expect, and what you can do about it.\u003C/p>\u003Cp>One last thing to know: if you are behind schedule, only quality can save your production from the wrath of your client.\u003C/p>\u003Ch4 id=\"count-the-number-of-artistic-retakes\">Count the number of artistic retakes\u003C/h4>\u003Cp>Artistic or creative retake is a demand that wasn’t expected by the animation studio. It’s a direction change from the Director or from the Client.\u003C/p>\u003Cp>Per the contract, a small number is allowed, but if you exceed this number, then the production will have to pay for them. It’s mandatory because this kind of retake is time-consuming for everybody.\u003C/p>\u003Cp>So be careful, ask your team to highlight them. It will ease your tracking. This information is important if the production goes wrong.\u003C/p>\u003Ch4 id=\"track-your-percentage-of-shots-in-validation-or-retake-state\">Track your percentage of shots in validation or retake state\u003C/h4>\u003Cp>Keep an eye on your validation/retake percentage (aka number of back and forth). You have to keep in mind that it’s the same team that ships an episode and its retakes.\u003C/p>\u003Cp>If you didn’t have plan time for the retakes on your schedule, it means the animators will have to do the next episodes and the retakes of the first one during the same period of time.\u003C/p>\u003Cp>Then during the third episode, they will have to split their time between T1 (first retake) of ep03, T2 of ep02 and T3 of ep01, and so on. Now, let’s say you have 400 shots per episode and that at the first retake, you have 60% of shots concerned and that at the second retake, you still have 40% of shots concerned. It means the animators have to do during the same period:\u003C/p>\u003Cp>400 x (animations for ep003) + 240 x (retakes for ep002) + 96 x (retakes for ep001) = 736 shots\u003C/p>\u003Cp>It means that they have almost only half of the time initially planned to do the new episode. If you have 3 to 5% of retakes on a third retake, consider it as done. Your episode is good enough, making it perfect will consume everybody’s energy to get these retakes done.\u003C/p>\u003Cp>Sometimes it’s quicker to do the retakes by yourself than trying to explain the situation to everybody. Nevertheless, send the retake note and your correction to your contractor. They need to know what’s going on. Better, they will learn from this.\u003C/p>\u003Cp>Finally, as we mentioned in \u003Ca href=\"https://medium.com/cgwire/cg-production-the-hidden-cost-of-retakes-d677fe0a9669?ref=blog.cg-wire.com\">a previous article\u003C/a>, Remember too that retakes have a hidden cost.\u003C/p>\u003Ch4 id=\"accept-you-will-have-retakes-at-the-animation-stage\">Accept you will have retakes at the animation stage\u003C/h4>\u003Cp>Until the unexpected appears, you can prepare yourself to ease things when it’s time to check the delivery. The storyboards need to be crystal clear, be sure there is no room for interpretation. Send references as much as possible. Redact a “do and don’t” and share it with everybody (in-house and to your contractor).\u003C/p>\u003Cp>Give the checking process for late retakes (3rd and 4th) to the assistants. They have the capabilities to tell if a retake is done or not, and it will give more time to your director and animation supervisor to focus on the first retakes. Don’t hesitate to do some retakes in-house if it’s easier and faster for everybody. Keep in mind that only quality saves the day.\u003C/p>\u003Ch4 id=\"to-sum-up\">To Sum up\u003C/h4>\u003Cp>Retakes are an inevitable part of a production. The more prepared you’ll be, the fewer retakes you can expect. The animation step is also very demanding for the production team.\u003C/p>\u003Cp>To make things as smooth as possible, you need to have an overview of the production, keep track of the percentage and the general progress of the episodes and the whole show. You need also to take care of details; they are the indicator of the health of your contractor.\u003C/p>\u003Cp>\u003Cem>This blog is dedicated to CG Production Management and CG Pipeline. We have a Discord channel where you can discuss about your own problems/solutions and learn from others. Our vibrant community of TDs and Production Managers will be super happy to welcome you, so join us!\u003C/em>\u003C/p>",{"uuid":1138,"comment_id":1139,"feature_image":1140,"featured":105,"visibility":10,"created_at":1141,"updated_at":1142,"custom_excerpt":1143,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1144,"primary_tag":1145,"url":1146,"excerpt":1143,"reading_time":558,"access":13,"comments":105,"og_image":1147,"og_title":1148,"og_description":1143,"twitter_image":1147,"twitter_title":1148,"twitter_description":1143,"meta_title":7,"meta_description":1149,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"d611268c-8f69-47f7-a66e-5f7d7ec8d462","6ee8490b5a3d","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-Y1zZK3fLQN54kseJEnowUw.jpeg","2018-11-21T12:29:53.000+01:00","2026-03-27T10:48:12.000+01:00","In a Cartoon TV show, it’s usual to have the animation work done outside of the studio. It can happen in the same country or overseas. For…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-handle-animation-retakes-in-a-cartoon-tv-show/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-Y1zZK3fLQN54kseJEnowUw.jpeg","How To Handle Animation Retakes In A Cartoon TV Show","In a Cartoon TV show, it’s usual to have the animation work done outside of the studio. It can happen in the same country or overseas. For both, the process is the same. They will send you their…","/posts/how-to-handle-animation-retakes-in-a-cartoon-tv-show",{"title":1133},"how-to-handle-animation-retakes-in-a-cartoon-tv-show","posts/how-to-handle-animation-retakes-in-a-cartoon-tv-show",[1155],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"ea30p_XkPVHAziMMM1tkkryTzltVFY3oGrRbrT7vHQo",{"id":1158,"title":1159,"authors":1160,"body":7,"description":7,"extension":8,"html":1162,"meta":1163,"navigation":13,"path":1176,"published_at":1167,"seo":1177,"slug":1178,"stem":1179,"tags":1180,"__hash__":1182,"uuid":1164,"comment_id":1165,"feature_image":1166,"featured":105,"visibility":10,"created_at":1167,"updated_at":1168,"custom_excerpt":1169,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1170,"primary_tag":1171,"url":1172,"excerpt":1169,"reading_time":990,"access":13,"comments":105,"og_image":1173,"og_title":1174,"og_description":1169,"twitter_image":1173,"twitter_title":1174,"twitter_description":1169,"meta_title":7,"meta_description":1175,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:how-to-manage-unexpected-urgency-in-an-animation-movie-production.json","How To Manage Unexpected Urgency In An Animation Movie Production (2026)",[1161],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>As Production Manager, you are prepared for everything. You have done your schedule for the whole production. You have included all the bank holidays. You know that people will take 2 weeks of vacation during the summer and that no one will be here between Christmas and New Year eve. You have carefully plan your schedule during the school's breaks.\u003C/p>\u003Cp>But you know that it won’t be enough. So you add one extra week between all steps. It should help to absorb any delay and can be easily ignored if everything sticks to the schedule.\u003C/p>\u003Cp>You have your perfect paper planning. You attend meetings with all your supervisors, director, contractors, anyone who is part of the production. Now you feel prepared! Nothing can stop you, it’s time to print your schedule and hang it into the artist room.\u003C/p>\u003Cp>Every Monday morning, you update the weekly schedule for everybody with their priority list. Everything goes according to plan.\u003C/p>\u003Cp>However, one day, someone will enter your office holding his weekly schedule, shaking his head and ask: What should I do?\u003Cem> … please, stay calm.\u003C/em>\u003C/p>\u003Cp>Reasons for that are numerous, but mostly it’s due to an unexpected event. Here are a few examples:\u003C/p>\u003Cul>\u003Cli>The contractor suddenly do not deliver on time (earlier or later)\u003C/li>\u003Cli>The client change is mind\u003C/li>\u003Cli>Something has been forgotten\u003C/li>\u003C/ul>\u003Cp>Due to the unexpected, your priority list is now incomplete and the consequences are unknown. Even if you had plenty of time to prepare your schedule/priority list, now you have to take decisions in the blink of an eye!\u003C/p>\u003Cp>To achieve that, you will need to know as much information as possible about your assets and shots. The more details you can gather, the clever your decision will be.\u003C/p>\u003Ch4 id=\"focus-on-the-next-step-needs\">\u003Cstrong>Focus on the next step needs\u003C/strong>\u003C/h4>\u003Cp>When people ask you what they should do, it means, most of the time, you have to decide between two assets or two shots, or between two other entities that should be done during the same period. Prefer the one that is closest to be finished. Don’t overthink your decision. The \u003Cem>what is left to do\u003C/em> criteria is most of the time the right choice.\u003C/p>\u003Cp>At least you will have something finished and the next stage will be able to work with it. It won’t stop your production and you will have one less thing to think about.\u003C/p>\u003Cp>This decision will buy you a bit more time to warn your client about a delay or hire new people to help you. The goal is to finish something in order to be able to run other steps on it.\u003C/p>\u003Cp>For example, a Modeling Artist will ask you what he should do first between two assets: a car or a table. The car is the only asset missing on some shots to be finished, and the table will appear on a shot where other assets are missing too. In that case, choose the car, you will be able to give work immediately to the animators and then to the lighting artists.\u003C/p>\u003Cp>If the assets are both ready to be used by the next stage, then choose the one that will appear in the most shots. It will give work to more people and won’t stop the production.\u003C/p>\u003Ch4 id=\"do-not-change-priorities-until-the-current-work-is-finished\">\u003Cstrong>Do not change priorities until the current work is finished\u003C/strong>\u003C/h4>\u003Cp>If you have an urgent task to be done, then avoid as much as possible to switch an artist from an unfinished task to a new one.\u003C/p>\u003Cp>Switching tasks is a loss of time because the artist needs to be briefed again. He will have to focus on a new job without clearing his mind from the previous one. He won’t work as fast as he could have. There is also the risk of forgetting the unfinished asset. Worst, the next stage could receive the asset or shot uncompleted.\u003C/p>\u003Cp>If you can wait until an asset is finished before starting a new one, it’s a better move for all the production stakeholders.\u003C/p>\u003Cfigure class=\"kg-card kg-image-card kg-width-wide kg-card-hascaption\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-rdKNDb-5UY49_UfW6Z_JWw.jpeg\" class=\"kg-image\" alt=\"\" loading=\"lazy\" width=\"1200\" height=\"800\" srcset=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w600/max/1200/1-rdKNDb-5UY49_UfW6Z_JWw.jpeg 600w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/size/w1000/max/1200/1-rdKNDb-5UY49_UfW6Z_JWw.jpeg 1000w, https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-rdKNDb-5UY49_UfW6Z_JWw.jpeg 1200w\" sizes=\"(min-width: 1200px) 1200px\">\u003Cfigcaption>\u003Cspan style=\"white-space: pre-wrap;\">Photo by Miranda Wipperfurth on Unsplash\u003C/span>\u003C/figcaption>\u003C/figure>\u003Ch4 id=\"to-sum-up\">To sum up\u003C/h4>\u003Cp>Be well prepared is the most important thing. It’s important too that you clearly communicate the priorities, don’t do too many things in parallel and focus on what can allow the next step to start.\u003C/p>\u003Cp>However, during the lifetime of a production, fires can start everywhere: a client can change is mind, a contractor can be late or one of your main artists can take some days off. \u003Cbr> As the production, you need to be one-step ahead of your artists. Your eyes need to be on the current stage, but your mind must be on the next one. It’s the only way to know what to do in case of fire and how to avoid bloating the production. But, being the firemen fixing problems should be the exception, not the norm. Make sure you don’t need to be fireproof to build your next movie like a rockstar!\u003C/p>\u003Cp>\u003Cem>This blog is dedicated to CG Production Management and CG Pipeline. We have a Discord channel where you can discuss about your own problems/solutions and learn from others. Our vibrant community of TDs and Production Managers will be super happy to welcome you, so join us!\u003C/em>\u003C/p>",{"uuid":1164,"comment_id":1165,"feature_image":1166,"featured":105,"visibility":10,"created_at":1167,"updated_at":1168,"custom_excerpt":1169,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1170,"primary_tag":1171,"url":1172,"excerpt":1169,"reading_time":990,"access":13,"comments":105,"og_image":1173,"og_title":1174,"og_description":1169,"twitter_image":1173,"twitter_title":1174,"twitter_description":1169,"meta_title":7,"meta_description":1175,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"4947f0cd-3dd9-42dd-9b3e-23ab59aaf7c7","5bd2f66943b1","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-ia2c7xZ9MblVeK5B5XNg4A.jpeg","2018-11-14T09:31:01.000+01:00","2026-03-27T10:48:26.000+01:00","As Production Manager, you are prepared for everything. You have done your schedule for the whole production. You have included all the…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-manage-unexpected-urgency-in-an-animation-movie-production/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-ia2c7xZ9MblVeK5B5XNg4A.jpeg","How To Manage Unexpected Urgency In An Animation Movie Production","As Production Manager, you are prepared for everything. You have done your schedule for the whole production. You have included all the bank holidays. You know that people will take 2 weeks of…","/posts/how-to-manage-unexpected-urgency-in-an-animation-movie-production",{"title":1159},"how-to-manage-unexpected-urgency-in-an-animation-movie-production","posts/how-to-manage-unexpected-urgency-in-an-animation-movie-production",[1181],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"vzpSsJLH64XQuFpF_3mNk2rnhmjWXLuxobEZ1qUbdIE",{"id":1184,"title":1185,"authors":1186,"body":7,"description":7,"extension":8,"html":1188,"meta":1189,"navigation":13,"path":1202,"published_at":1193,"seo":1203,"slug":1204,"stem":1205,"tags":1206,"__hash__":1208,"uuid":1190,"comment_id":1191,"feature_image":1192,"featured":105,"visibility":10,"created_at":1193,"updated_at":1194,"custom_excerpt":1195,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1196,"primary_tag":1197,"url":1198,"excerpt":1195,"reading_time":558,"access":13,"comments":105,"og_image":1199,"og_title":1200,"og_description":1195,"twitter_image":1199,"twitter_title":1200,"twitter_description":1195,"meta_title":7,"meta_description":1201,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:why-tracking-your-cameras-like-your-assets-is-mandatory.json","(2026) Why Tracking Your Cameras Like Your Assets Is Key",[1187],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>In a CGI production, the camera defines the shot. The background set, the props, the FXs and the animation of the characters are all related to it. And when it’s about motion capture, it’s event wider, it defines the whole sequence.\u003C/p>\u003Cp>When you have a look at the characteristics of a camera, it becomes obvious:\u003C/p>\u003Cul>\u003Cli>Frame range (frame in, frame out and duration of the shot).\u003C/li>\u003Cli>3D Coordinates (in and out)\u003C/li>\u003Cli>Path and speed\u003C/li>\u003Cli>Lenses (focus, f-stop, and focal length)\u003C/li>\u003Cli>Name\u003C/li>\u003C/ul>\u003Cp>One more thing you have to keep in mind is that these data will evolves during the lifetime of a production. Let’s dig deeper into it.\u003C/p>\u003Cp>\u003Cem>NB: \u003C/em>\u003Ca href=\"https://www.linkedin.com/in/sdeverly/?ref=blog.cg-wire.com\" rel=\"noopener\">\u003Cem>Stéphane Deverly\u003C/em>\u003C/a>\u003Cem>, on our Slack channel, mentions this attempt of \u003C/em>\u003Ca href=\"http://camerareports.org/?ref=blog.cg-wire.com#goals\" rel=\"noopener\">\u003Cem>standardization\u003C/em>\u003C/a>\u003Cem> by the VES.\u003C/em>\u003C/p>\u003Ch4 id=\"the-camera-lifecyle\">\u003Cstrong>The Camera Lifecyle\u003C/strong>\u003C/h4>\u003Col>\u003Cli>The first notion of a camera appears in the production script. The words depict an attempt for framing and movements.\u003C/li>\u003Cli>Then on the storyboard, the framing gets more precise: we set the camera angles and the action.\u003C/li>\u003Cli>When we work on the animatic/previz , we add the length of the shots and the speed to the camera definition.\u003C/li>\u003Cli>At the layout stage, you define the 3D space coordinates and the lenses of the camera. The layout artists will have to test several cameras, so expect to name each of them.\u003C/li>\u003C/ol>\u003Cp>As you can see, building a camera is a slow process. At each steps of the movie, we add more information and features to it. And because things are not always simple in a production, there are back and forths for each steps.\u003C/p>\u003Ch4 id=\"camera-validation\">Camera Validation\u003C/h4>\u003Cp>Of course, each stage implies a validation from the supervisors, the director, and the client. Because, from the script to the layout, a client validation is required, it becomes more and more difficult to make changes over time.\u003C/p>\u003Cp>But why would you change a camera? Here are a few reasons:\u003C/p>\u003Cul>\u003Cli>It can be a retake asked by the client.\u003C/li>\u003Cli>A technical issue was noticed by the team.\u003C/li>\u003Cli>Sometimes changing the camera can solve a problem. So, moving the camera can ease the work of everyone. It can be smarter than performing huge retakes.\u003C/li>\u003C/ul>\u003Ch4 id=\"who-relies-on-the-camera-data\">\u003Cstrong>Who relies on the camera data?\u003C/strong>\u003C/h4>\u003Cp>Every team after the layout stage will need to use the camera.\u003C/p>\u003Cp>The animation stage is the trickiest, because the camera can still change while we are late in the production. Sometimes it’s easier to move a bit the camera than animating all the assets of a shot. The FXs, the post-animation, the lighting, and rendering will need them too. They simply can’t work without it. It’s the starting point of their job.\u003C/p>\u003Cp>Everybody takes advantage of the camera frame. For instance there is no point to do a FX out of frame, or a blendshape on a character when we only see his back. All kind of effects require high computation. So, avoiding rendering things out of range is often smarter. It’s the same when doing the lighting of the shot. We are at a polishing stage. It would be pointless to work on it if the camera was not the final one.\u003Cbr>The rendering is the most expensive stage of a production. If you miss some frames it will cost you time because you will have to render them again and redo the compositing. If you have extra frames which won’t be used it’s also a waste of time and money: for the render farm and for the compositing artists.\u003C/p>\u003Cp>Worst scenario, the camera is not the validated one and the shot is rendered and composited. The client will refuse the shot and you will have to do the render and compositing again at your own expense. No need to say how a bad communication around the camera to use can be a killer for a production.\u003C/p>\u003Ch4 id=\"good-practices\">\u003Cstrong>Good practices\u003C/strong>\u003C/h4>\u003Cp>That’s why we recommend you some good practices to secure the camera. Let’s go!\u003C/p>\u003Cul>\u003Cli>Double-check with the client how much you can adjust the camera when he validates it at a previous stage. Then, share the information with your team.\u003C/li>\u003Cli>Identify the validated camera and name it.\u003C/li>\u003Cli>Always compare the shots at each stage. Look at the pictures side by side to detect if the camera has moved. If something got wrong you better have to know it early.\u003C/li>\u003Cli>Be explicit when communicating about your retakes. Tell if the retake is about the camera or about the position of the assets (props/characters/background sets) on the frame. And say it out loud!\u003C/li>\u003Cli>In case of retake make sure that the layout team take the relay. They will adjust the camera and give a new name to, and finally they will export it. Everybody will be aware of the change. On the other side, if the animation team fixes the camera, then nobody else will notice the modification. The risk of using a wrong camera gets high.\u003C/li>\u003Cli>Check the length of the shot and burn the frames or the timecode on the pictures. Everyone will be able to see it if something went wrong.\u003C/li>\u003Cli>Make sure to export the validated camera in a specific folder (or location) and let people know where to find it.\u003C/li>\u003Cli>Write down the frame in and frame out of each shot on your production tracker software. Write them down next to the frame range, add the name of the camera used for the shoot too.\u003C/li>\u003Cli>Engage CG Artists. Make sure they double check their shot frame ranges and cameras.\u003C/li>\u003C/ul>\u003Cfigure class=\"kg-card kg-image-card kg-width-wide kg-card-hascaption\">\u003Cimg src=\"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-subsyqrqlQSnV8k0dR6vWA.jpeg\" class=\"kg-image\" alt loading=\"lazy\">\u003Cfigcaption>Photo by \u003Ca href=\"https://unsplash.com/photos/xGTj5hTsj4I?utm_source=unsplash&utm_medium=referral&utm_content=creditCopyText\" data-href=\"https://unsplash.com/photos/xGTj5hTsj4I?utm_source=unsplash&utm_medium=referral&utm_content=creditCopyText\" class=\"markup--anchor markup--figure-anchor\" rel=\"noopener\" target=\"_blank\">Dustin Kirkpatrick\u003C/a> on \u003Ca href=\"https://unsplash.com/?utm_source=unsplash&utm_medium=referral&utm_content=creditCopyText\" data-href=\"https://unsplash.com/?utm_source=unsplash&utm_medium=referral&utm_content=creditCopyText\" class=\"markup--anchor markup--figure-anchor\" rel=\"noopener\" target=\"_blank\">Unsplash\u003C/a>\u003C/figcaption>\u003C/figure>\u003Ch4 id=\"you-need-to-track-your-cameras-period\">\u003Cstrong>You need to track your cameras, period\u003C/strong>\u003C/h4>\u003Cp>As you noticed, you have to be very confident about your camera state. All the teams rely on cameras. Missing frames or extra frames cost money and time. It brings stress. If your animation team or FX team do some work that are out of range, it won’t be seen. Then again, it’s a waste of time and money and it affects morale.\u003C/p>\u003Cp>The best way to avoid these issues is to manage you camera like an asset. It’s not much extra work and can be achieved by following these simple rules:\u003C/p>\u003Cul>\u003Cli>Include it in your asset table, add validation steps to it.\u003C/li>\u003Cli>Make sure that the export occurs at the right place.\u003C/li>\u003Cli>Define a good and consistent naming system\u003C/li>\u003Cli>From that ensure that you and your team work with the right camera.\u003C/li>\u003C/ul>\u003Cp>Having accurate information about cameras will save you a lot of stress. So be tough with the camera data tracking. All your team will enjoy it and you will sleep better at night!\u003C/p>\u003Cp>\u003Cem>At CGWire, we develop a production tracker named Kitsu. It’s here to help the production by managing all the heavy lifting for you:\u003C/em>\u003C/p>\u003Cul>\u003Cli>\u003Cem>Task dispatching\u003C/em>\u003C/li>\u003Cli>\u003Cem>Preview validations (publish, comments and retakes)\u003C/em>\u003C/li>\u003Cli>\u003Cem>Breakdown management\u003C/em>\u003C/li>\u003Cli>\u003Cem>Time tracking\u003C/em>\u003C/li>\u003Cli>\u003Cem>Easy deployment to the whole studio\u003C/em>\u003C/li>\u003Cli>\u003Cem>Instant sharing\u003C/em>\u003C/li>\u003Cli>\u003Cem>Up-to-date production reports\u003C/em>\u003C/li>\u003C/ul>\u003Cp>\u003Cem>If you are interested, ask for \u003C/em>\u003Ca href=\"https://cg-wire.com/?ref=blog.cg-wire.com\" rel=\"nofollow noopener noopener\">\u003Cem>a trial instance\u003C/em>\u003C/a>\u003Cem> and give us your feelings about what we do!\u003C/em>\u003C/p>",{"uuid":1190,"comment_id":1191,"feature_image":1192,"featured":105,"visibility":10,"created_at":1193,"updated_at":1194,"custom_excerpt":1195,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1196,"primary_tag":1197,"url":1198,"excerpt":1195,"reading_time":558,"access":13,"comments":105,"og_image":1199,"og_title":1200,"og_description":1195,"twitter_image":1199,"twitter_title":1200,"twitter_description":1195,"meta_title":7,"meta_description":1201,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"0e424c01-25ec-4735-9f04-40e030bcc506","a8487adf54bf","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-R-7-hO75C8taFE4G9VaPiA.jpeg","2018-11-06T11:21:29.000+01:00","2026-03-26T11:03:07.000+01:00","In a CGI production, the camera defines the shot. The background set, the props, the FXs and the animation of the characters are all…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/why-tracking-your-cameras-like-your-assets-is-mandatory/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-R-7-hO75C8taFE4G9VaPiA.jpeg","Why tracking your cameras like your assets is mandatory","In a CGI production, the camera defines the shot. The background set, the props, the FXs and the animation of the characters are all related to it. And when it’s about motion capture, it’s event…","/posts/why-tracking-your-cameras-like-your-assets-is-mandatory",{"title":1185},"why-tracking-your-cameras-like-your-assets-is-mandatory","posts/why-tracking-your-cameras-like-your-assets-is-mandatory",[1207],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"Jta6qMIHBQCgNbPsgYLdSk2cl0KRMFvoEMUUCJQTHRA",{"id":1210,"title":1211,"authors":1212,"body":7,"description":7,"extension":8,"html":1214,"meta":1215,"navigation":13,"path":1227,"published_at":1219,"seo":1228,"slug":1229,"stem":1230,"tags":1231,"__hash__":1233,"uuid":1216,"comment_id":1217,"feature_image":1218,"featured":105,"visibility":10,"created_at":1219,"updated_at":1220,"custom_excerpt":1221,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1222,"primary_tag":1223,"url":1224,"excerpt":1221,"reading_time":558,"access":13,"comments":105,"og_image":1218,"og_title":1225,"og_description":1221,"twitter_image":1218,"twitter_title":1225,"twitter_description":1221,"meta_title":7,"meta_description":1226,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:spreadsheets-lifecycle-in-a-cartoon-tv-show.json","(2026) Spreadsheets Lifecycle In a Cartoon TV Show",[1213],{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},"\u003Cp>You were hired to manage this new TV Show. You feel the excitement of working on a new production. It may be one of your first jobs as a Junior Production Manager, or you can be in a familiar territory as an experimented one, you still enjoy as much beginning a new project.\u003C/p>\u003Cp>But whatever your skill level, you know that a big part of your job will be to produce spreadsheets, many spreadsheets… These tables are the backbone of a production. You create and use them at every stage:\u003C/p>\u003Cul>\u003Cli>Recording the name of the people in the team\u003C/li>\u003Cli>Storing the task assignments\u003C/li>\u003Cli>Listing the asset casting of an episode\u003C/li>\u003Cli>Collect specific details for an animator\u003C/li>\u003Cli>Build your progress report\u003C/li>\u003C/ul>\u003Cp>Spreadsheets are the major tool of the production: everybody relies on it. That’s why the information has to be up-to-date and accurate. It’s the main communication tool.\u003C/p>\u003Ch4 id=\"day-1-of-the-production\">Day 1 of the production\u003C/h4>\u003Cp>Here you are at day 1 on this new production! You already have prepared many things. Among them, you have a lot of information to share: the contact list, the scripts breakdown, the todo list for the Director and the Artists…\u003C/p>\u003Cp>If you already worked on TV Show Productions, you probably have your own templates. If it’s not the case, at least, the studio will provide you some. You will have to adapt them for this new production, and probably for each episode.\u003C/p>\u003Ch4 id=\"sharing-the-spreadsheets\">\u003Cstrong>Sharing the spreadsheets\u003C/strong>\u003C/h4>\u003Cp>Spreadsheets are not lifeless. Once you have created them, others will use them, maybe just to read it but most of the time your spreadsheets will be modified by others. To make this happen, you have three options:\u003C/p>\u003Col>\u003Cli>Your sheets are based on a desktop software. All the users need it on their computers. You have to ask your IT to install the software for them and pay the extra licenses for each supervisor/artists who will need an access to the spreadsheets.\u003C/li>\u003Cli>If it’s a web app linked to an email account, they will need a professional account. Same money issue here: you will have to pay a license for each one. Otherwise, they will use their personal email and it will become a security issue.\u003C/li>\u003Cli>If part of your team is elsewhere, you will have to share your spreadsheets via email or online file storage. You will have a lot of back and forth.\u003C/li>\u003C/ol>\u003Ch4 id=\"first-steps-of-the-production\">\u003Cstrong>First steps of the production\u003C/strong>\u003C/h4>\u003Cp>At the beginning of the production, you have to inform people, dispatch the work to do. You are already printing many sheets to share the information. Things run smoothly, you only have to manage one episode. You can take good care of each spreadsheet. Everything goes well.\u003C/p>\u003Cp>And sometimes you feel you have to do twice the job. Let’s take an example with storyboard breakdown and leadsheet. The only difference between them is the way you display the information. These two documents don’t serve the same purpose and different people use them. If you have technical skills, you can link the data of your breakdown to your leadsheet. But, still, it will require some work to be properly done.\u003C/p>\u003Cp>This kind of problems can be your first headache for this production. Fortunately, it’s the beginning, you have time. Everything is ok.\u003C/p>\u003Ch4 id=\"ongoing-production\">\u003Cstrong>Ongoing production\u003C/strong>\u003C/h4>\u003Cp>We are several months later. Some episodes are at the animation stage, others at the storyboard stage, and the newest are still at the script stage.\u003C/p>\u003Cp>You already have a lot of spreadsheets. You use them on a daily basis. You spend time juggling between tabs. The difference between now and the beginning of the production is that people contribute to your spreadsheets and add data by themselves.\u003C/p>\u003Cp>The Director, the Background Supervisor, the Animation Supervisor are working on them, sometimes all at the same time. The more people use documents, the more mistakes happen. They missed a line, they fill the wrong tab or sometimes squash an entire tab…\u003C/p>\u003Cp>After spending hours to fix the spreadsheets, you think about damage control. One solution is to copy the spreadsheet and give one copy to each supervisor, director etc. You wait for them to fill it, then you synchronize all the documents.\u003C/p>\u003Cp>It’s so time-consuming that you start to work late. You may think of bringing work at home. You spend all your time on these spreadsheets because they are necessary for the production. To make sure that everyone is on the same page, they need to be neat and accurate. You may even lose the big picture of the production because you are too focused on the details. Things are getting tough.\u003C/p>\u003Ch4 id=\"people-outside-of-the-studio\">\u003Cstrong>People outside of the studio\u003C/strong>\u003C/h4>\u003Cp>It’s common that you have to share information with people who are not physically located inside the studio. For instance, you will email your files to Artists or Directors who don’t work in the building. They don’t have access to your network so they have to wait for your email, and you have to wait for their answers.\u003C/p>\u003Cp>Waiting for listings, drawings and videos increase the latency of a production. When finally, you receive all the elements, you still have to check them and maybe ask for more details. The back and forth begin.\u003C/p>\u003Ch4 id=\"the-production-report\">\u003Cstrong>The production report\u003C/strong>\u003C/h4>\u003Cp>Your head of production or your producer will ask you to do production reports. It’s important for them to communicate the progress to all shareholders and have an overview of the production.\u003C/p>\u003Cp>If you have technical skills you can create reports automatically filled by the data from the spreadsheets. Even with that, you will have to double check your spreadsheet to be sure the formula is not broken by mistake, or if anyone deleted them by mistake.\u003C/p>\u003Cp>If you don’t have the skills, you create them from scratch. You juggle through all your tabs and compile the data to build a coherent and accurate report… and by the way, you have one more spreadsheet!\u003C/p>\u003Ch4 id=\"production-tracking-software\">Production tracking software\u003C/h4>\u003Cp>Production tracking softwares are here to help. They allow you to manage all these data in shared database and display them in dedicated UI.\u003C/p>\u003Cp>To create a better show, your artists need to totally focus on their creative work and should be able to rely on the production for everything else. That’s why these kinds of tools can greatly enhance the productivity of your team. It allows everyone to collaborate, they are more error-proof, and provides easy to read UI. You don’t have to manage hundreds of files and it’s easier to keep everyone on the same page.\u003C/p>\u003Ch4 id=\"wrapping-up\">\u003Cstrong>Wrapping up\u003C/strong>\u003C/h4>\u003Cp>Let’s sum up everything! During the lifecycle of the production, you are going to create at least half a dozen spreadsheets per episode. A TV show has an average of 52 episodes. If you do the maths, you understand that you will have to create, maintain, analyze, share, check and double check 312 spreadsheets during the production lifetime.\u003C/p>\u003Cp>Let me assume you have five episodes running at a different stage in the same period. If we consider that you have two tabs per spreadsheet, you will have almost thirty tabs opened to track these episodes.\u003C/p>\u003Cp>When someone asks questions about these episodes, they expect that you find quickly the answer for them. You are the keeper of the spreadsheets, people consider you as the main source of information. It’s a great responsibility, assume it and be proud of it!\u003C/p>\u003Cp>\u003Cem>At CGWire, we develop a production tracker named Kitsu. It’s here to help the production by managing all the heavy lifting for you:\u003C/em>\u003C/p>\u003Cul>\u003Cli>\u003Cem>Task dispatching\u003C/em>\u003C/li>\u003Cli>\u003Cem>Preview validations (publish, comments and retakes)\u003C/em>\u003C/li>\u003Cli>\u003Cem>Breakdown management\u003C/em>\u003C/li>\u003Cli>\u003Cem>Time tracking\u003C/em>\u003C/li>\u003Cli>\u003Cem>Easy deployment to the whole studio\u003C/em>\u003C/li>\u003Cli>\u003Cem>Instant sharing\u003C/em>\u003C/li>\u003Cli>\u003Cem>Up-to-date production reports\u003C/em>\u003C/li>\u003C/ul>\u003Cp>\u003Cem>If you are interested, ask for \u003C/em>\u003Ca href=\"https://cg-wire.com/?ref=blog.cg-wire.com\" rel=\"noopener\">\u003Cem>a trial instance\u003C/em>\u003C/a>\u003Cem> and give us your feelings about what we do!\u003C/em>\u003C/p>",{"uuid":1216,"comment_id":1217,"feature_image":1218,"featured":105,"visibility":10,"created_at":1219,"updated_at":1220,"custom_excerpt":1221,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1222,"primary_tag":1223,"url":1224,"excerpt":1221,"reading_time":558,"access":13,"comments":105,"og_image":1218,"og_title":1225,"og_description":1221,"twitter_image":1218,"twitter_title":1225,"twitter_description":1221,"meta_title":7,"meta_description":1226,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"c409efab-d000-4b8c-85a9-7ed57ee5509c","5c179e4d7264","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-MoED9Zm-SDNhmBVCDhXX4A.png","2018-10-30T21:20:26.000+01:00","2026-02-20T06:04:56.000+01:00","You were hired to manage this new TV Show. You feel the excitement of working on a new production. It may be one of your first jobs as a…",{"id":179,"name":180,"slug":181,"profile_image":182,"cover_image":7,"bio":183,"website":7,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":186},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/spreadsheets-lifecycle-in-a-cartoon-tv-show/","Spreadsheets Lifecycle In a Cartoon TV Show","You were hired to manage this new TV Show. You feel the excitement of working on a new production. It may be one of your first jobs as a Junior Production Manager, or you can be in a familiar…","/posts/spreadsheets-lifecycle-in-a-cartoon-tv-show",{"title":1211},"spreadsheets-lifecycle-in-a-cartoon-tv-show","posts/spreadsheets-lifecycle-in-a-cartoon-tv-show",[1232],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"WX-Uzgsv5XZSoirSiHdsrBnOFbvqQvO0ozsO0ibOJs4",{"id":1235,"title":1236,"authors":1237,"body":7,"description":7,"extension":8,"html":1239,"meta":1240,"navigation":13,"path":1254,"published_at":1244,"seo":1255,"slug":1256,"stem":1257,"tags":1258,"__hash__":1260,"uuid":1241,"comment_id":1242,"feature_image":1243,"featured":105,"visibility":10,"created_at":1244,"updated_at":1245,"custom_excerpt":1246,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1247,"primary_tag":1248,"url":1249,"excerpt":1246,"reading_time":990,"access":13,"comments":105,"og_image":1250,"og_title":1251,"og_description":1252,"twitter_image":1250,"twitter_title":1251,"twitter_description":1252,"meta_title":7,"meta_description":1253,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:how-to-track-properly-the-cg-artist-progress.json","How To Keep Track Of The Progress Of Your CG Artists (2026)",[1238],{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},"\u003Cp>One of the key point of production management is to keep information \u003Cbr>about the current state of the production up to date. It ensures \u003Cbr>everyone is on the same page and that nothing is missing. Better yet, \u003Cbr>once collected, the data will make it possible to have both a macro and \u003Cbr>a detailed point of view such as: overall progress of a department and \u003Cbr>back-and-forth communication for a given task. Though this may sound \u003Cbr>good in theory, but updating data all along the production is a tedious \u003Cbr>task. Which is why, in this article we are going to explore how to meet \u003Cbr>that manually and automatically.\u003C/p>\u003Ch4 id=\"two-ways-to-track-the-information\">\u003Cstrong>Two ways to track the information\u003C/strong>\u003C/h4>\u003Cp>To log all the information about the production, you have two options:\u003C/p>\u003Col>\u003Cli>Having a strong team of production managers\u003C/li>\u003Cli>Make CG artists report their progress by themselves.\u003C/li>\u003C/ol>\u003Cp>The first option sounds more natural but it can become risky if your team doesn’t perform well. When the studio grows, it will bring new challenges to your production team, scaling can become complicated and hard to handle.\u003Cbr>The risk there is that the production keeps on grabbing information while they should plan the production, anticipate future issues and give the overall direction.\u003C/p>\u003Cp>The second option relies on collaboration: everyone report by himself his progress. It may sound obviously more efficient, but CG artists are \u003Cbr>working under a lot of pressure and reporting is not their priority. It \u003Cbr>could lead to a bad quality for data. But when your studio scales, you don’t have much choice. In the following, we will discuss how to build a collaborative tracking in your studio.\u003C/p>\u003Ch4 id=\"quality-over-precision\">\u003Cstrong>Quality over precision\u003C/strong>\u003C/h4>\u003Cp>Before going further, we would like to note something. To make tracking works, you need qualitative data. If the information you are looking at is wrong or incomplete, you won’t be able to take good decisions. The reporting you will look at will be misleading. Something that should be helpful becomes a problem.\u003C/p>\u003Cp>To achieve quality you should not insist for too much precision. It may \u003Cbr>not sound intuitive but nitpicking for details will make tracking harder \u003Cbr>and more painful for everyone. People won’t do it properly. Your data \u003Cbr>won’t be good. That’s why you should look for the minimal information required and make sure you have correct data before going for more details.\u003C/p>\u003Cp>Let’s take an example. If you have a complex asset, you may be tempted to divide the work in many tasks. If you have only one artist, it’s useless to do that. Even if you have several people working. The overhead created by this addition may confuse you more than having all the details you want.\u003C/p>\u003Ch4 id=\"define-your-workflow\">\u003Cstrong>Define your workflow\u003C/strong>\u003C/h4>\u003Cp>Before jumping right into the tracking, you should clarify your workflow. Once you have a clear idea about how things are going, you will be in a better position to decide what to track. Do not try to track everything from day 1. Start small then go iteratively by adding elements to your tracking setup on a regular basis.\u003C/p>\u003Cp>Examples of things to track:\u003C/p>\u003Cul>\u003Cli>Progress through task status changes\u003C/li>\u003Cli>Time spent on a task\u003C/li>\u003Cli>Daily quotas of animation (in seconds)\u003C/li>\u003Cli>Impact of an asset modification on the rest of the production\u003C/li>\u003C/ul>\u003Ch4 id=\"tools-to-report-time-spent\">\u003Cstrong>Tools to report time spent\u003C/strong>\u003C/h4>\u003Cp>Time tracking is one of the most wanted information. To achieve it, most of studio owners want to rely on automation to track CG artist progress. With a strong and efficient pipeline, it can be partly done. For instance changing a task status to work in progress and saving the \u003Cem>start date \u003C/em>are things that can be automatically set. Another example is when the CG artist opens and saves a scene related to his tasks, it could save the information in the database. It’s the same to note when the task is finished.\u003C/p>\u003Cp>It gives you an idea of what started when. So tracking time spent could be done the same way: you could measure how long an application is active on the CG artist desktop. It looks good but it can lead to unexpected result, people may be tempted to cheat the system and unexpected situation could lead to wrong data.\u003C/p>\u003Cp>Another option is to rely on a manual tool that can be accessed via the CG artist todo-list through a web app or through the CG tools.\u003C/p>\u003Ch4 id=\"ui-design\">\u003Cstrong>UI design\u003C/strong>\u003C/h4>\u003Cp>To ensure people are motivated enough to report in the tools, the first thing is to provide them with good UIs. If there are any difficulties to report progress, the artist can be irritated to use the tool and tend to forget to fill information or worst fill it with wrong information.So you should make sure artists can find quickly his task and report time spent. Make sure there is no need to think to submit his report. \u003Cbr>To make it short, provide clear and simple UIs that go straight to the point.\u003C/p>\u003Ch4 id=\"give-back-data\">\u003Cstrong>Give back data\u003C/strong>\u003C/h4>\u003Cp>The more information the CG artist can see, the better. By allowing him to see an overview of the production, giving him notifications about changes on his tasks or related tasks, you show him/her the benefits of reporting. It brings the information, he needs to work more efficiently. This way he feels responsible and more motivated to share his progress.\u003C/p>\u003Ch4 id=\"delightful\">\u003Cstrong>Delightful\u003C/strong>\u003C/h4>\u003Cp>To finish you can even make it delightful. For instance you can publish recent previews and allow them to show their approval by liking a preview or not. When something is done, you can reward this success with a funny picture. You can show him too analytics demonstrating his progress over the time.\u003C/p>\u003Ch4 id=\"to-conclude\">\u003Cstrong>To conclude\u003C/strong>\u003C/h4>\u003Cp>To lead properly your production, you need as much data as possible. But what matters most is the quality of the data. To achieve that you should make everything possible to allow CG artists to share information about their progress: have a clear workflow, provide them with good UIs, show that the information can be helpful, and make the reporting fun!\u003C/p>\u003Cp>With the right data, you will be able to manage a full production with serenity!\u003C/p>\u003Cp>\u003Cem>At CGWire we propose a production management software dedicated to small and mid-size studios. If you are interested, visit our \u003C/em>\u003Ca href=\"http://cg-wire.com/?ref=blog.cg-wire.com\" rel=\"noopener\">\u003Cem>website\u003C/em>\u003C/a>\u003Cem> and give us your feelings about what we do!\u003C/em>\u003C/p>",{"uuid":1241,"comment_id":1242,"feature_image":1243,"featured":105,"visibility":10,"created_at":1244,"updated_at":1245,"custom_excerpt":1246,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1247,"primary_tag":1248,"url":1249,"excerpt":1246,"reading_time":990,"access":13,"comments":105,"og_image":1250,"og_title":1251,"og_description":1252,"twitter_image":1250,"twitter_title":1251,"twitter_description":1252,"meta_title":7,"meta_description":1253,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"350513e5-a7de-4e4b-9bf2-758b10e5d7d6","b1267f8b0a39","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-sKpJmj16sJwoAIkAlhkYgQ.jpeg","2018-07-23T00:59:38.000+02:00","2026-02-20T06:04:42.000+01:00","One of the key point of production management is to have up to date information about the current state of the production.\n\nOne of the key point of production management is to have up to date information about the current state of the production. It ensures that everyone is on the same page and that",{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/how-to-track-properly-the-cg-artist-progress/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-sKpJmj16sJwoAIkAlhkYgQ.jpeg","How To Properly Track The Progress Of A CG Artist","One of the key point of production management is to have up to date information about the current state of the production.","One of the key point of production management is to have up to date information about the current state of the production. It ensures that everyone is on the same page and that nothing is missing…","/posts/how-to-track-properly-the-cg-artist-progress",{"title":1236},"how-to-track-properly-the-cg-artist-progress","posts/how-to-track-properly-the-cg-artist-progress",[1259],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"WyDYpRcN6j6IsLe8I4ioJqrzNxo9EbKB60ZA_l_lXDA",{"id":1262,"title":1263,"authors":1264,"body":7,"description":7,"extension":8,"html":1266,"meta":1267,"navigation":13,"path":1279,"published_at":1271,"seo":1280,"slug":1281,"stem":1282,"tags":1283,"__hash__":1286,"uuid":1268,"comment_id":1269,"feature_image":1270,"featured":105,"visibility":10,"created_at":1271,"updated_at":1272,"custom_excerpt":1273,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1274,"primary_tag":1275,"url":1276,"excerpt":1273,"reading_time":47,"access":13,"comments":105,"og_image":1277,"og_title":1263,"og_description":1273,"twitter_image":1277,"twitter_title":1263,"twitter_description":1273,"meta_title":7,"meta_description":1278,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:build-your-file-hierarchy-in-a-glimpse-with-cgwire.json","Build Your CG Movie File Hierarchy In A Glimpse With CGWire",[1265],{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},"\u003Cp>Everytime we visit a studio or discuss with a CG Artist about pipelining, the question of the file hierarchy comes at some point. It may look simple but truth that it requires a lot of attention and tweaking. We already covered that topic in a \u003Ca href=\"https://blog.cg-wire.com/cg-pipeline-a-proposal-for-your-file-hierarchy/\">previous article\u003C/a> so we won’t go into the details. What we want to show you today, is how easy it is to build and manage your file tree with CGWire API and its Python client.\u003C/p>\u003Cp>Let’s go for our first Pipeline tutorial!\u003C/p>\u003Ch4 id=\"1-configuration\">1. Configuration\u003C/h4>\u003Cp>We assume you have a \u003Ca href=\"https://zou.cg-wire.com/?ref=blog.cg-wire.com#install\" rel=\"noopener\">running version installed\u003C/a> on your server and accessible through your local network. If it is not the case and wan to start quickly, you can run an API instance through our Docker container.$ docker build -t cgwire .\u003Cbr>$ docker run \\\u003Cbr>     -ti -rm \\\u003Cbr>     -p 80:80 \\\u003Cbr>     -—name cgwire \\\u003Cbr>     -v zou-storage:/var/lib/postgresql \\\u003Cbr>     -v zou-storage:/opt/zou/zou/thumbnails \\\u003Cbr>     cgwire\u003C/p>\u003Cp>Once the API is up, it’s easy to generate your file hierarchy with a simple python script. In the following we assume that the API is accessible from the \u003Ccode>http://localhost/api\u003C/code> endpoint\u003C/p>\u003Cp>Prior to write our Python script, it requires you install the API client (\u003Ca href=\"http://gazu.cg-wire.com/?ref=blog.cg-wire.com\" rel=\"noopener\">Gazu\u003C/a>) in your Python dependencies: \u003Ccode>pip install gazu\u003C/code>\u003C/p>\u003Cp>Now we are ready, can write our script (name: \u003Ccode>build_file_tree.py\u003C/code>), we must start by configuring the Python client and log in it to the API:import gazugazu.set_host(\"http://localhost/api\")\u003Cbr>gazu.log_in(\"admin@example.com\", \"default\")\u003C/p>\u003Ch4 id=\"2-assets-and-shots\">2. Assets and shots\u003C/h4>\u003Cp>Once the Python client is properly connected to the API, you can run the script that will create the elements of your production. Here, we create a simple production with three assets and three shots:new_prod = gazu.project.new_project(\"Super production\")\u003Cbr>characters = gazu.asset.new_asset_type(\"Characters\")\u003Cbr>props = gazu.asset.new_asset_type(\"Props\")rabbit = gazu.asset.new_asset(new_prod, characters, \"Rabbit\")\u003Cbr>monkey = gazu.asset.new_asset(new_prod, characters, \"Monkey\")\u003Cbr>chair = gazu.asset.new_asset(new_prod, props, \"Chair\")episode = gazu.shot.new_episode(new_prod, \"E01\")\u003Cbr>sequence = gazu.shot.new_sequence(new_prod, episode, \"SE01\")\u003Cbr>shot = gazu.shot.new_shot(new_prod, sequence, \"SH01\")\u003Cbr>shot = gazu.shot.new_shot(new_prod, sequence, \"SH02\")\u003Cbr>shot = gazu.shot.new_shot(new_prod, sequence, \"SH03\")\u003C/p>\u003Ch4 id=\"3-tasks\">\u003Cstrong>3. Tasks\u003C/strong>\u003C/h4>\u003Cp>All the elements of our production are now set up. We can move to the next part, creating the related tasks:modeling = gazu.task.get_task_type_by_name(\"Modeling\")\u003Cbr>setup = gazu.task.get_task_type_by_name(\"Setup\")\u003Cbr>animation = gazu.task.get_task_type_by_name(\"Animation\")\u003Cbr>render = gazu.task.get_task_type_by_name(\"Render\")for asset in gazu.asset.all_assets_for_project(new_prod):\u003Cbr>    gazu.task.new_task(asset, modeling)\u003Cbr>    gazu.task.new_task(asset, setup)for shot in gazu.shot.all_shots_for_project(new_prod):\u003Cbr>    gazu.task.new_task(shot, animation)\u003Cbr>    gazu.task.new_task(shot, render)\u003C/p>\u003Ch4 id=\"4-file-tree\">4. File tree\u003C/h4>\u003Cp>We can now move to the final step, creating the folders of our file hierarchy:import os\u003C/p>\u003Cpre>\u003Ccode>gazu.files.set_project_file_tree(new_prod, \"simple\")\u003C/code>\u003C/pre>\u003Cp>for asset in gazu.asset.all_assets_for_project(new_prod):\u003Cbr>    for task in gazu.task.all_tasks_for_asset(asset):\u003Cbr>        path = os.path.dirname(\u003Cbr>            gazu.files.build_working_file_path(task))[1:]\u003Cbr>        )\u003Cbr>        os.makedirs(path)\u003Cbr>        \u003Cbr>for shot in gazu.shot.all_shots_for_project(new_prod):\u003Cbr>    for task in gazu.task.all_tasks_for_shot(shot):\u003Cbr>        path = os.path.dirname(\u003Cbr>            gazu.files.build_working_file_path(task))[1:]\u003Cbr>        )\u003Cbr>        os.makedirs(path)\u003C/p>\u003Cp>That’s it! We now have all our file hierarchy. Let’s see the result:$ tree -d my_root_folder\u003Cbr>└── productions\u003Cbr>    └── super_production\u003Cbr>        ├── assets\u003Cbr>        │   ├── characters\u003Cbr>        │   │   ├── monkey\u003Cbr>        │   │   │   ├── modeling\u003Cbr>        │   │   │   └── setup\u003Cbr>        │   │   └── rabbit\u003Cbr>        │   │       ├── modeling\u003Cbr>        │   │       └── setup\u003Cbr>        │   └── props\u003Cbr>        │       └── chair\u003Cbr>        │           ├── modeling\u003Cbr>        │           └── setup\u003Cbr>        └── shots\u003Cbr>            └── se01\u003Cbr>                ├── sh01\u003Cbr>                │   ├── animation\u003Cbr>                │   └── render\u003Cbr>                ├── sh02\u003Cbr>                │   ├── animation\u003Cbr>                │   └── render\u003Cbr>                └── sh03\u003Cbr>                    ├── animation\u003Cbr>                    └── render\u003C/p>\u003Cp>The \u003Ca href=\"https://zou.cg-wire.com/file_trees/?ref=blog.cg-wire.com\" rel=\"noopener\">folder can be customized\u003C/a> through templates that will match your need. Here is the one we used:{\u003Cbr>  \"working\": {\u003Cbr>    \"mountpoint\": \"/my_root_folder\",\u003Cbr>    \"root\": \"productions\",\u003Cbr>    \"folder_path\": {\u003Cbr>      \"shot\": \"<Project>/shots/<Sequence>/<Shot>/<TaskType>\",\u003Cbr>      \"asset\": \"<Project>/assets/<AssetType>/<Asset>/<TaskType>\"\u003Cbr>     }\u003Cbr>}\u003C/p>\u003Cp>To sum up, with a simple script we generated production information and generated all the required folder to work properly. And the good news is that it scales easily for a production with thousands of assets and shots. We would be glad to know what you think about it.\u003C/p>\u003Cp>\u003Cem>This blog is dedicated to CG pipeline and production management. If you are interested in file hierarchy scripting, you will probably enjoy our articles. We have a Discord channel too where you can discuss about your own problems and solutions and learn from others.\u003C/em>\u003C/p>",{"uuid":1268,"comment_id":1269,"feature_image":1270,"featured":105,"visibility":10,"created_at":1271,"updated_at":1272,"custom_excerpt":1273,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1274,"primary_tag":1275,"url":1276,"excerpt":1273,"reading_time":47,"access":13,"comments":105,"og_image":1277,"og_title":1263,"og_description":1273,"twitter_image":1277,"twitter_title":1263,"twitter_description":1273,"meta_title":7,"meta_description":1278,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"e840c3c5-2bb7-4489-9209-d66c8c41ae01","14a476430b66","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/800/1-LCa3v5MqT0NQGAz7oq87uQ.png","2018-05-09T13:47:46.000+02:00","2026-03-26T10:49:04.000+01:00","Everytime we visit a studio or discuss with a CG Artist about pipelining, the question of the file hierarchy comes at some point. It may…",{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},{"id":756,"name":37,"slug":40,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":36},"https://blog.cg-wire.com/build-your-file-hierarchy-in-a-glimpse-with-cgwire/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/705/1-LCa3v5MqT0NQGAz7oq87uQ.png","Everytime we visit a studio or discuss with a CG Artist about pipelining, the question of the file hierarchy comes at some point. It may look simple but truth that it requires a lot of attention and…","/posts/build-your-file-hierarchy-in-a-glimpse-with-cgwire",{"title":1263},"build-your-file-hierarchy-in-a-glimpse-with-cgwire","posts/build-your-file-hierarchy-in-a-glimpse-with-cgwire",[1284,1285],{"id":756,"name":37,"slug":40,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":36},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"wkfahF-94hqbO7qMp6HBSutcpRN8bFUOCN4c8l5Z_tk",{"id":1288,"title":1289,"authors":1290,"body":7,"description":7,"extension":8,"html":1292,"meta":1293,"navigation":13,"path":1306,"published_at":1297,"seo":1307,"slug":1308,"stem":1309,"tags":1310,"__hash__":1313,"uuid":1294,"comment_id":1295,"feature_image":1296,"featured":105,"visibility":10,"created_at":1297,"updated_at":1298,"custom_excerpt":1299,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1300,"primary_tag":1301,"url":1302,"excerpt":1299,"reading_time":1303,"access":13,"comments":105,"og_image":1304,"og_title":1289,"og_description":1299,"twitter_image":1304,"twitter_title":1289,"twitter_description":1299,"meta_title":7,"meta_description":1305,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:say-welcome-to-our-brand-new-forum.json","Say Welcome To Our Brand New Forum",[1291],{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},"\u003Cp>A few months ago, we started a community of CG Pipeline Engineers. To achieve that, we invited people to discuss on a private Slack channel. We were pleasantly surprised by the result. It was a field of ideas, on top of that, there were many tips and knowledge on best practices that were shared. People from different studios were able to meet and discuss on these topics. However, at some point we faced two limitations: the content could not be indexed on a search engine and the Slack history is deleted on a regular basis.\u003C/p>\u003Cp>Which is why we decided to open a public \u003Ca href=\"https://forum.cg-wire.com/?ref=blog.cg-wire.com\" rel=\"noopener\">forum\u003C/a> where people could talk about CG Pipeline and CG Production Management. This forum will be a good place for the community to share different topics and to keep track of most important subjects. Search engine indexation will also allow new people to find the forum and the community. Of course, a category is dedicated to CGWire software support. Such as Free and Open Source technology, we think it’s important for users to be able to help each other easily. Finally we will be posting feedback requests about our next upcoming features here in the forum.\u003C/p>\u003Cp>The technology that is being used to manage the forum is called \u003Ca href=\"https://www.discourse.org/?ref=blog.cg-wire.com\" rel=\"noopener\">Discourse\u003C/a>. It’s a proven software that provides a very nice user interface. We hope you’ll enjoy it! We are very excited to see what could come out of this. Don’t hesitate to participate and ask any questions you want, we’ll be glad to answer and help you! Join us on \u003Ca href=\"https://forum.cg-wire.com/?ref=blog.cg-wire.com\" rel=\"noopener\">https://forum.cg-wire.com\u003C/a> !\u003C/p>",{"uuid":1294,"comment_id":1295,"feature_image":1296,"featured":105,"visibility":10,"created_at":1297,"updated_at":1298,"custom_excerpt":1299,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1300,"primary_tag":1301,"url":1302,"excerpt":1299,"reading_time":1303,"access":13,"comments":105,"og_image":1304,"og_title":1289,"og_description":1299,"twitter_image":1304,"twitter_title":1289,"twitter_description":1299,"meta_title":7,"meta_description":1305,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ee81e153-06d4-491f-ab78-73537955d1e8","aafb325121e6","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/800/1-tue5tT1QZwaBn74i_QY96w.png","2017-10-16T00:32:27.000+02:00","2021-01-14T14:52:49.000+01:00","A few months ago, we started a community of CG Pipeline Engineers. To achieve that, we invited people to discuss on a private Slack…",{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},{"id":381,"name":71,"slug":74,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":70},"https://blog.cg-wire.com/say-welcome-to-our-brand-new-forum/",1,"https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1151/1-tue5tT1QZwaBn74i_QY96w.png","A few months ago, we started a community of CG Pipeline Engineers. To achieve that, we invited people to discuss on a private Slack channel. We were pleasantly surprised by the result. It was a field…","/posts/say-welcome-to-our-brand-new-forum",{"title":1289},"say-welcome-to-our-brand-new-forum","posts/say-welcome-to-our-brand-new-forum",[1311,1312],{"id":381,"name":71,"slug":74,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":70},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"F6-3UlDM-PX0A7yK2YUi4UMb-pLw8HoH-ZML5FCNugY",{"id":1315,"title":1316,"authors":1317,"body":7,"description":7,"extension":8,"html":1319,"meta":1320,"navigation":13,"path":1332,"published_at":1324,"seo":1333,"slug":1334,"stem":1335,"tags":1336,"__hash__":1338,"uuid":1321,"comment_id":1322,"feature_image":1323,"featured":105,"visibility":10,"created_at":1324,"updated_at":1325,"custom_excerpt":1326,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1327,"primary_tag":1328,"url":1329,"excerpt":1326,"reading_time":758,"access":13,"comments":105,"og_image":1323,"og_title":1330,"og_description":1326,"twitter_image":1323,"twitter_title":1330,"twitter_description":1326,"meta_title":7,"meta_description":1331,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:cg-production-the-hidden-cost-of-retakes.json","The Hidden Cost of Retakes In A CG Production (2026)",[1318],{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},"\u003Cp>At each step of fabrication, a validation is needed. During the process, there are numerous back-and-forth between producers, directors and CG artists to iterate towards the best result. This is the reason why the process of making a movie differs from an industrial one. A movie production is a continuous discussion to negotiate changes based on the artistic value of an asset and the time available. So, it seems natural for people to always ask for more improvements once a shot or an asset is shipped. The term that is used to describe the fact that a change was asked is “retake”. Some called it “take” to make it even shorter.\u003C/p>\u003Cp>But at some point, everyone arrives at a consensus and it stops. With good production management tools, like Shotgun, Ftrack, Attract or Kitsu, discussions can be tracked properly. You can have an history of required changes and know what asset or shot are in a retake state. Though it’s a positive point, there are two dimensions which are often harder to follow.\u003C/p>\u003Cp>The first challenge is the number of retakes. Building 3 shots with no retakes has a significantly different impact on the budget than having 40 retakes on a single shot. The nature of the retake is an important thing to record too. Changing a simple aspect at the compositing step requires much less work than having to rethink the setup of one of the main characters. A good way to deal with it, is to count every time a retake is being performed. Or better yet, counting the time spent on each retakes of an asset.\u003C/p>\u003Cp>The second aspect is to figure out who is going to handle the changes. If a senior CG artist is involved, it has much more impact on the budget than if it is a junior or an intern who made the fixes. Once again, if you can mix your retake tracking with a time-tracking based on seniority, it could help to identify the costly asset or shots.\u003C/p>\u003Cp>Evaluating the cost of shot or an asset is deeply tied to the number, the time spent and the nature of the retakes that occur in the process of building a movie. If you can track all these aspects you will know which part of the production cost you more. It will allow you to anticipate potential problems earlier and to learn from your previous productions.\u003C/p>\u003Cp>\u003Cem>At CGWire we are currently working on a production management software dedicated to small and mid-size studios that mainly do 3D. If you are interested \u003C/em>\u003Ca href=\"mailto:frank@cg-wire.com\">\u003Cem>contact us\u003C/em>\u003C/a>\u003Cem>, we would be glad to show you our tool and have your feedback!\u003C/em>\u003C/p>",{"uuid":1321,"comment_id":1322,"feature_image":1323,"featured":105,"visibility":10,"created_at":1324,"updated_at":1325,"custom_excerpt":1326,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1327,"primary_tag":1328,"url":1329,"excerpt":1326,"reading_time":758,"access":13,"comments":105,"og_image":1323,"og_title":1330,"og_description":1326,"twitter_image":1323,"twitter_title":1330,"twitter_description":1326,"meta_title":7,"meta_description":1331,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"b2c78df4-8246-4115-b12a-faa223c75076","d677fe0a9669","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-g7aCfYQra2ms_rahdxaJmg.jpeg","2017-09-13T00:26:34.000+02:00","2026-02-20T06:04:15.000+01:00","At each step of fabrication, a validation is needed. During the process, there are numerous back-and-forth between producers, directors and…",{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/cg-production-the-hidden-cost-of-retakes/","CG Production: The Hidden Cost of Retakes","At each step of fabrication, a validation is needed. During the process, there are numerous back-and-forth between producers, directors and CG artists to iterate towards the best result. This is the…","/posts/cg-production-the-hidden-cost-of-retakes",{"title":1316},"cg-production-the-hidden-cost-of-retakes","posts/cg-production-the-hidden-cost-of-retakes",[1337],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"Tg7sKymLWA7XywY3YYURnBAgfeLCilw16lOY_bqghtM",{"id":1340,"title":1341,"authors":1342,"body":7,"description":7,"extension":8,"html":1344,"meta":1345,"navigation":13,"path":1358,"published_at":1349,"seo":1359,"slug":1360,"stem":1361,"tags":1362,"__hash__":1365,"uuid":1346,"comment_id":1347,"feature_image":1348,"featured":105,"visibility":10,"created_at":1349,"updated_at":1350,"custom_excerpt":1351,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1352,"primary_tag":1353,"url":1354,"excerpt":1351,"reading_time":47,"access":13,"comments":105,"og_image":1355,"og_title":1356,"og_description":1351,"twitter_image":1355,"twitter_title":1356,"twitter_description":1351,"meta_title":7,"meta_description":1357,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:book-review-production-pipeline-fundamentals-for-film-and-games.json","Production Pipeline Fundamentals for Films and Games: Book Review (2026)",[1343],{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},"\u003Cp>In any field, whatever your expertise level is, it’s a good idea to stop by in order to study the state of the art of your profession. Our favourite way to achieve that is to read books considered as references. But in the CG industry, the good readings are rare. Fortunately, when we decided to look for a good book, after a few searches, we noticed that one was standing over all others: \u003Ca href=\"https://www.crcpress.com/Production-Pipeline-Fundamentals-for-Film-and-Games/Dunlop/p/book/9780415812290?ref=blog.cg-wire.com\" rel=\"noopener\">Production Pipeline Fundamentals for Film and Games\u003C/a>.\u003C/p>\u003Cp>It’s a book written by Renée Dunlop who acted for 20 years as an editor, technical writer and journalist in the CG industry. She shares with us what she learned about pipelines by observing the major actors of a production. To illustrate this and have different point of views, the book is completed by interviews of experienced people who worked on a CG or game pipeline.\u003C/p>\u003Cp>\u003Cem>NB: in this blog post we will focus only on film pipelines.\u003C/em>\u003C/p>\u003Ch4 id=\"production\">Production\u003C/h4>\u003Cp>CG Productions have a deterministic canvas but the content varies a lot and they involve a lot of creative work. That’s why they require a particular approach and a lot of flexibility.\u003C/p>\u003Cp>So, to Renée, transparency and clear communication are key elements of a CG production success. In a first place, she explains the \u003Ca href=\"https://medium.com/@cgwire/cg-production-pre-production-production-and-post-production-c4723a62ca1c?ref=blog.cg-wire.com\">main stages of a production\u003C/a>. Then she goes into the details by describing each steps from concept to compositing, she describes everything. She considers that everything should be documented to improve communication between stackholders. Then she tackles all the things management should handle: budget forecast, hiring calendar, hardware requirements and service provider booking.\u003C/p>\u003Cp>Then Renée describes how validation are processed: where it happens, how you should compare shots, how to do proper note tracking, how to review delivery, and how to ship the final delivery by handling colorimetry and managing sound synchronisation.\u003C/p>\u003Ch4 id=\"pipeline\">Pipeline\u003C/h4>\u003Cp>This is the main subject of the book. It emphasizes the need of a proper compartmentalization of the fabrication steps. For that Renée encourages you to document properly what is required and created at each step of the production. It will make the life much easier for your software team when implementing tools that manage automatically the transition between steps.\u003C/p>\u003Cp>But, automating non-artistic steps face a difficulty: file management. Dealing with a lot of big files, leads quickly to a mess. Which is why, she explores solutions for your folder structure, file naming and metadata storage. Through an in-depth comparison, she discussed the pros and cons of version control versus (file versioning on the disk) vs source control (central repository for versions, the file system is not accessible directly).\u003C/p>\u003Cp>Renée will introduce you too to the best practices in management of software projects. CG studios are not always familiar with it. So her insights can be very helpful. She notably compared waterfall and agile methodologies.\u003C/p>\u003Cp>Finally she encourages you to adapt your pipeline to your context. to understand the values of the company, the type of production built and what is expected from the people involved.\u003C/p>\u003Ch4 id=\"hardware\">Hardware\u003C/h4>\u003Cp>The book describes the impact of the tooling on the hardware. All the computing, working files and outputs require tremendous storage, CPU capabilities and network bandwidth. She proposes strategies to deal with that complexity based on configuration management, cloud rendering, caching of most accessed files and smart backuping.\u003C/p>\u003Ch4 id=\"the-future\">The Future\u003C/h4>\u003Cp>The last chapter is dedicated to upcoming trends. It gives you hints about what to follow like virtual machines based workstations, collaborative modeling through WebGL and file standardization via open formats. It’s great source of ideas for your Research and Development team.\u003C/p>\u003Cp>Production Pipeline Fundamentals is a must read for anyone new coming into the CG industry. It covers all the main aspects mandatory of a CG pipeline. Chapters are accurate and complete and the interviews added all along the way will give you different perspectives.\u003C/p>\u003Cp>For professionals with years of experience, it’s still a very good reading. You can find new ideas, learn how it is done in video game industry and see how big studios deal with the complexity of a CG pipeline.\u003C/p>\u003Cp>To sum up: Production Pipeline Fundamentals is highly recommended!\u003C/p>\u003Cp>\u003Cem>This blog is dedicated to CG pipeline and production management. If you are interested in this book, you will probably enjoy our articles. Read our \u003C/em>\u003Ca href=\"https://medium.com/@cgwire/facilitating-cg-graphists-to-focus-more-on-the-artistic-aa8f801edf20?ref=blog.cg-wire.com\">\u003Cem>first blog post\u003C/em>\u003C/a>\u003Cem> to understand who we are and what we do.\u003C/em>\u003C/p>",{"uuid":1346,"comment_id":1347,"feature_image":1348,"featured":105,"visibility":10,"created_at":1349,"updated_at":1350,"custom_excerpt":1351,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1352,"primary_tag":1353,"url":1354,"excerpt":1351,"reading_time":47,"access":13,"comments":105,"og_image":1355,"og_title":1356,"og_description":1351,"twitter_image":1355,"twitter_title":1356,"twitter_description":1351,"meta_title":7,"meta_description":1357,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"8e6a0263-aebe-48d5-adef-c2523ddfc898","8efc50fadae6","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/800/1-533IOIVQKJArjDNdcztcEg.jpeg","2017-06-13T11:21:49.000+02:00","2026-02-20T06:04:06.000+01:00","In any field, whatever your expertise level is, it’s a good idea to stop by in order to study the state of the art of your profession. Our…",{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/book-review-production-pipeline-fundamentals-for-film-and-games/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/384/1-533IOIVQKJArjDNdcztcEg.jpeg","Book Review: Production Pipeline Fundamentals for Film and Games","In any field, whatever your expertise level is, it’s a good idea to stop by in order to study the state of the art of your profession. Our favourite way to achieve that is to read books considered as…","/posts/book-review-production-pipeline-fundamentals-for-film-and-games",{"title":1341},"book-review-production-pipeline-fundamentals-for-film-and-games","posts/book-review-production-pipeline-fundamentals-for-film-and-games",[1363,1364],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},{"id":381,"name":71,"slug":74,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":70},"2Mt_n7MDTlNxKNiXRyHgrfHQQM1DkHYNx78K_lc8pM4",{"id":1367,"title":1368,"authors":1369,"body":7,"description":7,"extension":8,"html":1371,"meta":1372,"navigation":13,"path":1384,"published_at":1376,"seo":1385,"slug":1386,"stem":1387,"tags":1388,"__hash__":1390,"uuid":1373,"comment_id":1374,"feature_image":1375,"featured":105,"visibility":10,"created_at":1376,"updated_at":1377,"custom_excerpt":1378,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1379,"primary_tag":1380,"url":1381,"excerpt":1378,"reading_time":47,"access":13,"comments":105,"og_image":1375,"og_title":1382,"og_description":1378,"twitter_image":1375,"twitter_title":1382,"twitter_description":1378,"meta_title":7,"meta_description":1383,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:cg-production-graphic-designer-relationship-management.json","Artists Relationship Management For CG Productions (2026)",[1370],{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},"\u003Cp>In a CG production CG artists are rockstars. Management and Technical Directors make sure they’d have everything they will need in order to create our next favorite movies. Moreover, most CG artists are freelance workers who hops from one studio to another. So, keeping track of who is currently in the studio and keeping up to date information about artists is an important activity for the production.\u003Cbr>In this blog post we will discuss what are the information that you would need concerning the CG artists for better task assignation and proper follow-up.\u003C/p>\u003Ch4 id=\"contact-information\">Contact information\u003C/h4>\u003Cp>Obviously, the first thing you will need are contact informations (name, e-mail and phone number) to get ahold of the person easily.\u003C/p>\u003Cp>The second thing will be their public social media links such as Linkedin or eventually Twitter. A portfolio link can be great too if you want to remember the artist style.\u003C/p>\u003Cp>Finally, linking an avatar to all these informations will add a visual marker to your contact. It doesn’t necessarily need to be their actual picture, just something that will help you identify the person in a glimpse.\u003C/p>\u003Ch4 id=\"current-situation\">Current situation\u003C/h4>\u003Cp>It may sound weird but it’s better to note who is currently working in your studio and who aren’t. It will be useful for your pipeline tools to decide to restrict access or not. Better yet, it will allow you to filter unactive individuals and see who is working or who you can call.\u003C/p>\u003Cp>Every time you change the status to inactive you can set a date as a reminder. That way you will know who you didn’t see for a long time.\u003C/p>\u003Ch4 id=\"current-situation-in-the-studio\">Current situation in the studio\u003C/h4>\u003Cp>Do not forget that people in your studio needs your attention. The key is to know who is working on which project and the number of tasks currently handled by each CG arstist. That way you will know who is overworked or who is waiting for new shots or assets.\u003C/p>\u003Ch4 id=\"skills\">Skills\u003C/h4>\u003Cp>Knowing in which specific field people are good at is always useful, especially for assigning tasks. So asking your co-worker to mention what they prefer to do helps a lot. Modeling, animation, rigging are simple ways to describe that skills. Generalist is a good skill to mention as well when the person in question can help on all the part of the project. Don’t try to be too precise, evaluating skills is hard and constantly changes depending on the reference.\u003C/p>\u003Ch4 id=\"salary\">Salary\u003C/h4>\u003Cp>Average salary expected by the team member can be useful to build your budget estimation and current budgeting. The drawback is that this information is sensitive. So, you won’t be able to share this list easily unless you have a permission scheme or maintain two different versions of the table.\u003C/p>\u003Ch4 id=\"to-conclude\">To conclude\u003C/h4>\u003Cp>The main challenge in storing data about CG artists is to keep important information up to date without acting like a spy and without overhelming you with unrelevant things. You need to know what is happening when they are inside and how to contact them when they are outside. In the following, we listed the infomation we mentioned in this article:\u003C/p>\u003Cul>\u003Cli>Avatar\u003C/li>\u003Cli>Name\u003C/li>\u003Cli>Email\u003C/li>\u003Cli>Phone Number\u003C/li>\u003Cli>Links (Linkedin, portfolio, …)\u003C/li>\u003Cli>Skills\u003C/li>\u003Cli>Active or not\u003C/li>\u003Cli>Last presence in the studio\u003C/li>\u003Cli>Amount of tasks / time assigned\u003C/li>\u003C/ul>\u003Cp>Once you have a clear overview, you can do your job more efficiently. Communication is easier, follow ups can be scheduled and trust is strengthened.\u003C/p>\u003Ch4 id=\"footnote-introducing-kitsu\">\u003Cem>Footnote: Introducing Kitsu\u003C/em>\u003C/h4>\u003Cp>\u003Ca href=\"https://github.com/cgwire/kitsu?ref=blog.cg-wire.com\" rel=\"noopener\">Kitsu\u003C/a> is the production management tool we develop. We aim to provide simple user interfaces for small and midsize studios to make production management easier. The first module we are working on is the people list. To illustrate this article, we use the mockups we made. Feel free to \u003Ca href=\"mailto:contact@cg-wire.com\">tell us\u003C/a> what you think about it!\u003C/p>\u003Cp>\u003Cem>What do you think about CG artist relationship management? Help us in improving this article by commenting it. We’ll be glad to know how you deal with graphic designer relations!\u003C/em>\u003C/p>",{"uuid":1373,"comment_id":1374,"feature_image":1375,"featured":105,"visibility":10,"created_at":1376,"updated_at":1377,"custom_excerpt":1378,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1379,"primary_tag":1380,"url":1381,"excerpt":1378,"reading_time":47,"access":13,"comments":105,"og_image":1375,"og_title":1382,"og_description":1378,"twitter_image":1375,"twitter_title":1382,"twitter_description":1378,"meta_title":7,"meta_description":1383,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"1a003fb9-5761-4768-8dfa-08cea0466f31","fbbc405537b6","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-xZ-7c4ihaD6-Npc8C5nlgA.png","2017-05-29T11:15:29.000+02:00","2026-03-27T11:00:33.000+01:00","In a CG production CG artists are rockstars. Management and Technical Directors make sure they’d have everything they will need in order to…",{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/cg-production-graphic-designer-relationship-management/","CG Production: CG Artists Relationship Management","In a CG production CG artists are rockstars. Management and Technical Directors make sure they’d have everything they will need in order to create our next favorite movies. Moreover, most CG artists…","/posts/cg-production-graphic-designer-relationship-management",{"title":1368},"cg-production-graphic-designer-relationship-management","posts/cg-production-graphic-designer-relationship-management",[1389],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"tGKZ_qwFxJzHdlpmVwyo7_8i_kI7-X2uftxaXQK636U",{"id":1392,"title":1393,"authors":1394,"body":7,"description":7,"extension":8,"html":1396,"meta":1397,"navigation":13,"path":1410,"published_at":1401,"seo":1411,"slug":1412,"stem":1413,"tags":1414,"__hash__":1417,"uuid":1398,"comment_id":1399,"feature_image":1400,"featured":105,"visibility":10,"created_at":1401,"updated_at":1402,"custom_excerpt":1403,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1404,"primary_tag":1405,"url":1406,"excerpt":1403,"reading_time":47,"access":13,"comments":105,"og_image":1407,"og_title":1408,"og_description":1403,"twitter_image":1407,"twitter_title":1408,"twitter_description":1403,"meta_title":7,"meta_description":1409,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:cg-pipeline-publishing-preview-and-production-management.json","Validation, Preview and Publishing In A CG Production (2026)",[1395],{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},"\u003Cp>One of the most critical action of a production is the validation step. Every assets and components built must be reviewed by directors and supervisors before being shipped. Every validation is a strong decision and can be either technical or artistic. If the reviewed component is not accepted, it leads to more work and cost for the whole studio. On the other side, when enough shots have been validated, parts of the budget are unblocked and fuel the studio. Hence, it matters a lot for the production management to have a proper validation tracking.\u003C/p>\u003Cp>In this blog post we’ll discuss what should be tracked and how your pipeline can help to make the validation faster.\u003C/p>\u003Ch4 id=\"history-tracking\">History tracking\u003C/h4>\u003Cp>Because every validation decision implies commitment and budget impacts, you should better know who said what and when. The most common tool we see in studios is Google Spreadsheet. You can build very informative tables with it and you can access it from anywhere. Which makes it very useful. But, unfortunately, except the production team, people are not very eager to fill it. Worst, previous changes are hard to access.\u003C/p>\u003Cp>That’s why we recommend the usage of more complete solutions like Shotgun or Ftrack. It will allow to have a clear history of the conversations and you will be able to browse easily the state of your production. Their price may seem high but they will save you tons of time. Additionally, knowing how many back and forth happened is important to identify which shots or assets require double attention.\u003C/p>\u003Ch4 id=\"preview\">Preview\u003C/h4>\u003Cp>For validating an item, going on the machine of the graphist and see the result is not very effective. So, you should think about building a preview publishing process. Whether it is to store movies or pictures of rendered items \u003Ca href=\"https://medium.com/@cgwire/cg-pipeline-a-proposal-for-your-file-hierarchy-7825a163de1e?ref=blog.cg-wire.com\">in a dedicated folder \u003C/a>or uploading it in a specialised software, you will need to establish a tracking system too. When an artist consider that his work is done he should tell you that a preview is ready to be seen and should note which working file was used to make this preview. On the same way, every comment should be linked to related preview to avoid any misunderstanding.\u003C/p>\u003Ch4 id=\"delivery\">Delivery\u003C/h4>\u003Cp>Once the component validated, things are not done yet. You should build the resulting file for the team who will handle the next step. The generated files are different from the working files (cache files for animation, low resolution and high resolution models for the modeling…). That’s why source files must be tracked too. The created file should be linked to a validation and a working file. It’s useful for validation and in case something should be rendered again.\u003C/p>\u003Ch4 id=\"pipeling-the-whole-thing\">Pipeling the whole thing\u003C/h4>\u003Cp>The good news is that among all the grunt work required to make this, you can automate several things. The generation of the preview can be done via scripts/plugins and be sent to your tracking software on a simple click from the graphist. Output file can be automatically generated after a validation. Relations between your comments, your working files, your output files and your previews can be stored in a indexed databased. From that data store your R&D team can build tables and charts to provide you with an overview and details of the status of your production.\u003C/p>\u003Cp>Following the progress of a CG movie production is tedious. It requires patience, commitment and excellent communication. Fortunately, production team, supervisors and graphists can be assisted by software solution in this task. All this hard work may look secondary at first but when it’s done properly it changes completely the production. Bad surprises are avoided and more flexibility is brought to your fabrication. It leads to less stress and faster results which means more time spent on the artistic and better overall quality!\u003C/p>\u003Cp>\u003Cem>We are a software shop that crafts \u003C/em>\u003Ca href=\"http://www.cg-wire.com/?ref=blog.cg-wire.com\" rel=\"noopener\">\u003Cem>open source tools\u003C/em>\u003C/a>\u003Cem> to make your pipeline more efficient. If you are interesting in what we do and think it can help, feel free to \u003C/em>\u003Ca href=\"mailto:contact@cg-wire.com\" rel=\"noopener\">\u003Cem>contact us\u003C/em>\u003C/a>\u003Cem>!\u003C/em>\u003C/p>",{"uuid":1398,"comment_id":1399,"feature_image":1400,"featured":105,"visibility":10,"created_at":1401,"updated_at":1402,"custom_excerpt":1403,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1404,"primary_tag":1405,"url":1406,"excerpt":1403,"reading_time":47,"access":13,"comments":105,"og_image":1407,"og_title":1408,"og_description":1403,"twitter_image":1407,"twitter_title":1408,"twitter_description":1403,"meta_title":7,"meta_description":1409,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"b1dad9e0-b505-4154-90e0-8612aea65bba","c51d7ae7ffec","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/2560/1-Aww5zN-UY_33lX7DgspgqA.jpeg","2017-05-22T14:44:48.000+02:00","2026-03-27T11:01:08.000+01:00","One of the most critical action of a production is the validation step. Every assets and components built must be reviewed by directors and…",{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},"https://blog.cg-wire.com/cg-pipeline-publishing-preview-and-production-management/","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-Aww5zN-UY_33lX7DgspgqA.jpeg","CG Production: Validation, Preview and Publishing","One of the most critical action of a production is the validation step. Every assets and components built must be reviewed by directors and supervisors before being shipped. Every validation is a…","/posts/cg-pipeline-publishing-preview-and-production-management",{"title":1393},"cg-pipeline-publishing-preview-and-production-management","posts/cg-pipeline-publishing-preview-and-production-management",[1415,1416],{"id":113,"name":6,"slug":16,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":12},{"id":381,"name":71,"slug":74,"description":7,"feature_image":7,"visibility":10,"og_image":7,"og_title":7,"og_description":7,"twitter_image":7,"twitter_title":7,"twitter_description":7,"meta_title":7,"meta_description":7,"codeinjection_head":7,"codeinjection_foot":7,"canonical_url":7,"accent_color":7,"url":70},"JtbbRAL5xi1AL1nROpMjA8oafO0jT7pLpJsLqbJEIeM",{"id":1419,"title":1420,"authors":1421,"body":7,"description":7,"extension":8,"html":1423,"meta":1424,"navigation":13,"path":1436,"published_at":1428,"seo":1437,"slug":1438,"stem":1439,"tags":1440,"__hash__":1442,"uuid":1425,"comment_id":1426,"feature_image":1427,"featured":105,"visibility":10,"created_at":1428,"updated_at":1429,"custom_excerpt":1430,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1431,"primary_tag":1432,"url":1433,"excerpt":1430,"reading_time":758,"access":13,"comments":105,"og_image":1427,"og_title":1434,"og_description":1430,"twitter_image":1427,"twitter_title":1434,"twitter_description":1430,"meta_title":7,"meta_description":1435,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"ghost/posts:cg-production-pre-production-production-and-post-production.json","CG Pre-production, Production and Post-production (2026)",[1422],{"id":363,"name":364,"slug":365,"profile_image":366,"cover_image":367,"bio":368,"website":369,"location":184,"facebook":7,"twitter":185,"meta_title":7,"meta_description":7,"threads":7,"bluesky":7,"mastodon":7,"tiktok":7,"youtube":7,"instagram":7,"linkedin":7,"url":370},"\u003Cp>The thing to understand about production management is the main steps of a movie production. You probably already know these concepts. But to start our production management blog post series we wanted to properly frame the main stages of a production. In the following, we’ll present each stages briefly and discuss the impacts on the pipeline and production team.\u003C/p>\u003Ch4 id=\"pre-production\">Pre-production\u003C/h4>\u003Cp>This is the time where storyboard and concepts (2D designs for characters, environment, etc.) are made. It’s the time where ideas are tested and artistic R&D is done. It’s a very exciting moment where the project finds its shape.\u003C/p>\u003Cp>The production team is in charge to set the planning and the budget. Production will size the team and start building. Decisions regarding investments in hardwares and new softwares will be decided during that time as well.\u003C/p>\u003Cp>For the pipeline team, it’s the moment to adapt the existing tools to the upcoming work. It’s also the opportunity to experiment new in-house or commercial softwares.\u003C/p>\u003Ch4 id=\"production\">Production\u003C/h4>\u003Cp>At this stage, the work is running. There is not much place left for experimentation or improvisation. Most of the bonus time is dedicated to the handle the director’s changes.\u003C/p>\u003Cp>For the production team, the main job consists in making sure that all the information are properly communicated, deadlines are well respected and that validation are properly tracked. The hiring process still runs at that time for specific tasks or to reinforce teams\u003C/p>\u003Cp>For the pipeline the priority is maintenance. When there is time left, writing quick and dirty scripts to help CG artists is the priority.\u003C/p>\u003Ch4 id=\"post-production\">Post-production\u003C/h4>\u003Cp>Special effects, cloth and hair simulations are done before the compositing (it requires a lot of computation). Then it’s time to make last improvements and integrate everything together: shot transition, sounds and visual effects. Then, the delivery files are built and the final backups are done. Finally the post mortem of the production can be done!\u003C/p>\u003Cp>For the production team it’s the rush. Everything must be ended on schedule. They have to ensure that everything is properly shipped.\u003C/p>\u003Cp>For the pipeline team, if all the scene dependencies were properly tracked, things are quieter. People can spend more time on R&D or improving the tooling. The focus is already on the next production.\u003C/p>\u003Cp>That’s all. Hopefully now you have a better picture on the main stages of a CG production and know \u003Ca href=\"https://medium.com/@cgwire/cg-pipeline-series-list-of-the-most-popular-cg-tools-7fb39ff6d062?ref=blog.cg-wire.com\">the main softwares that are being used\u003C/a>, we can go deeper into the details and let you know.\u003C/p>\u003Cp>\u003Cem>Writing mainly about production management and pipeline doesn’t mean we don’t enjoy looking at beautiful pictures too. If you would like broader topics and curated content about the CG industry in general, you can follow us on \u003C/em>\u003Ca href=\"https://x.com/cgwirekitsu?ref=blog.cg-wire.com\" rel=\"noreferrer\">\u003Cem>Twitter\u003C/em>\u003C/a>\u003Cem>!\u003C/em>\u003C/p>\u003Cp>Picture by \u003Ca href=\"https://www.flickr.com/photos/gabrielgm/8505252736/?ref=blog.cg-wire.com\" rel=\"noopener\">Gabriel Garcia Marengo\u003C/a>\u003C/p>",{"uuid":1425,"comment_id":1426,"feature_image":1427,"featured":105,"visibility":10,"created_at":1428,"updated_at":1429,"custom_excerpt":1430,"codeinjection_head":7,"codeinjection_foot":7,"custom_template":7,"canonical_url":7,"primary_author":1431,"primary_tag":1432,"url":1433,"excerpt":1430,"reading_time":758,"access":13,"comments":105,"og_image":1427,"og_title":1434,"og_description":1430,"twitter_image":1427,"twitter_title":1434,"twitter_description":1430,"meta_title":7,"meta_description":1435,"email_subject":7,"frontmatter":7,"feature_image_alt":7,"feature_image_caption":7},"e16999bb-b039-470b-910d-692b263983af","c4723a62ca1c","https://storage.ghost.io/c/be/86/be86007c-1b95-476e-8b3b-895720c0d138/content/images/max/1200/1-780emq1ujMj9kVohb9d5vQ.jpeg","2017-05-09T00:40:19.000+02:00","2026-03-26T10:58:32.000+01:00","The thing to understand about production management is the main steps of a movie production. 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