4 answers
Cassie
Student
Satsuma, Alabama
1
Question
Asked
339 views
How scared should I be for my future in film/animation given the increasing lack of love major studios show for the arts in favor of business and rapid results #Spring26?
I'm entering college for animation, and I'm beginning to wonder if indie/independent animation is a feasible alternative to major studio work given its rise in popularity.
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4 answers
Lizz Kupfer
Animator
2
Answers
San Francisco, California
Updated
Lizz’s Answer
You're asking a great question. I did this path 20+ years ago and I'm having trouble finding work, as an animator.
When I graduated, the path wasn't as streamline, so there was a lot of creative freedom to figure out how to survive and what to do. I went to school with an idea I wanted to be an animator, but I also took classes that were outside the scope. I looked at it as, I'm paying to create my short animation (thesis), and I need more skills then just animating to get me by once I graduated. After graduating, I jumped at opportunities to work like my life depended on it. Cause it did. These were not the best gigs. I was doing everything along the process. Working as a generalist got me to keep going. It was extremely difficult. I'm not going to sugar coat that for you. And the place I worked at, right out of school, no longer exists.
I guess my point is, this path was never an easy path. AI is definitely another step along the path the is shifting how we all work.
I like to think of this way we work as we are building the road at the same time we are using it. And not everyone can survive and lots of people wonder off the road to nearby roads that are better planned out. Animation itself is innovative and changing all the time, and it does take a lot of will power and stubbornness to keep going.
You can look at college for animation through many lenses. 'This is a waste of time.' 'I'm going to create an awesome thesis/short film.' 'People get degrees in philosophy and then become teachers, so I go for animation, doesn't mean I won't ever work, but I might have to be more realistic.' How you see it is all up to you. What many colleges do, is give you a telescope and tell you exactly where to look to see the success stories. They don't show you everything, but what is possible. It's great marketing. They sold you that story and are very happy to take your money. But they will never tell you how competitive it is, or worry about the changes to the industry that much.
Sorry if this sounds a little brutal or pessimistic, but I want you to go into your education with honesty. Not everyone who goes to your school will succeed. They won't even go into animation. There are no guarantees. That said, going to school for animation is something I do not regret. I would do it again today. I made some wonderful friends that I still speak to today, some who animate or do more technical work in animation, but some who do other things. One is an art teacher in high school, another is a makeup artist for film and TV, still creative fields.
Go into it with your eyes wide open. This isn't for everyone and it isn't a goal. It's X amount of years learning the ropes and taking as many classes as you can to help build a good foundation to hopefully get you a job out in the world. And animation today will not be the same as it is 4 years from now.
When I graduated, the path wasn't as streamline, so there was a lot of creative freedom to figure out how to survive and what to do. I went to school with an idea I wanted to be an animator, but I also took classes that were outside the scope. I looked at it as, I'm paying to create my short animation (thesis), and I need more skills then just animating to get me by once I graduated. After graduating, I jumped at opportunities to work like my life depended on it. Cause it did. These were not the best gigs. I was doing everything along the process. Working as a generalist got me to keep going. It was extremely difficult. I'm not going to sugar coat that for you. And the place I worked at, right out of school, no longer exists.
I guess my point is, this path was never an easy path. AI is definitely another step along the path the is shifting how we all work.
I like to think of this way we work as we are building the road at the same time we are using it. And not everyone can survive and lots of people wonder off the road to nearby roads that are better planned out. Animation itself is innovative and changing all the time, and it does take a lot of will power and stubbornness to keep going.
You can look at college for animation through many lenses. 'This is a waste of time.' 'I'm going to create an awesome thesis/short film.' 'People get degrees in philosophy and then become teachers, so I go for animation, doesn't mean I won't ever work, but I might have to be more realistic.' How you see it is all up to you. What many colleges do, is give you a telescope and tell you exactly where to look to see the success stories. They don't show you everything, but what is possible. It's great marketing. They sold you that story and are very happy to take your money. But they will never tell you how competitive it is, or worry about the changes to the industry that much.
Sorry if this sounds a little brutal or pessimistic, but I want you to go into your education with honesty. Not everyone who goes to your school will succeed. They won't even go into animation. There are no guarantees. That said, going to school for animation is something I do not regret. I would do it again today. I made some wonderful friends that I still speak to today, some who animate or do more technical work in animation, but some who do other things. One is an art teacher in high school, another is a makeup artist for film and TV, still creative fields.
Go into it with your eyes wide open. This isn't for everyone and it isn't a goal. It's X amount of years learning the ropes and taking as many classes as you can to help build a good foundation to hopefully get you a job out in the world. And animation today will not be the same as it is 4 years from now.
Hi Lizz, thanks for sharing your thoughts. It sounds like yes, animation is still a good pathway but you should be open to different careers (inside and outside of animation) and be willing to adapt to the changes to the changes the field is constantly facing. Is that summary correct?
Gurpreet Lally, Admin
100% Being adaptable is extremely important. Life gives you lemons, go make some lemonade. Or lemon bars. Or a citrus scrub.
Lizz Kupfer
Kelly Donnellan
Associate Professor
26
Answers
Pittsburgh, Pennsylvania
Updated
Kelly’s Answer
Hi Cassie,
This is a really insightful question, and I’m glad you’re asking it now, because it means you’re thinking critically about the industry you’re entering.
SHORT ANSWER:
You don’t need to be scared, but you do need to be strategic and adaptable.
WHAT YOU’RE SEEING IS REAL
There has been a shift in the industry:
- Major studios are more focused on profit and speed
- Creative risks can feel more limited
- Projects can change or disappear quickly
That’s frustrating and you’re not wrong to notice it.
THE BIGGER PICTURE
Creativity doesn’t live only in major studios.
Some of the most exciting work right now is happening in:
- Independent animation
- Small teams
- International and artist-driven projects
For example, animated films like Flow (from Lativa) were made by small teams using free tools (Blender) and still reached a global audience.
That’s not the end of creativity, it’s a shift in where it lives.
IS INDIE ANIMATION A REAL PATH?
Yes, but it looks different.
It often means:
- Smaller budgets
- More creative control
- More flexibility
- Sometimes combining multiple income streams
And that last part is important.
YOU DON’T HAVE TO CHOOSE “JOB OR ART.” You can absolutely:
- Work in one area
- And still make your own creative work on the side
There’s a beautiful animated short, Mona Lisa Descending a Staircase, that took its creator about 20 years to complete while she was doing other things, and it went on to win an Academy Award!
That’s a powerful reminder:
- Your creative work doesn’t have to be rushed
- It doesn’t have to be tied to a paycheck to matter
WHAT ACTUALLY MATTERS
No matter which path you take:
- Your skills
- Your portfolio/reel
- Your ability to adapt and collaborate
Those are what will carry you.
MINDSET THAT WILL HELP
Take care of your creative voice.
Make work because:
- It’s honest
- It excites you
- It helps you grow
Not just because it’s monetizable.
And also:
You can feel scared and still do it anyway.
Fear is part of the process. The goal isn’t to eliminate it. It’s to move forward with it despite the fear.
Because the things people tend to regret aren’t the risks they took, they’re the things they didn’t try.
FINAL THOUGHT
The industry will keep changing. It always does.
But your creativity, your perspective, your voice, that’s yours.
If you keep building your skills, stay open to different paths, and continue making work that matters to you, you’ll find your place, whether that’s in a studio, independently, or somewhere in between.
https://youtu.be/gSiP-EmBK0w?si=q2KNWfbCxMcOUUDa
Blender - The Free and Open Source 3D Creation Software — blender.org https://share.google/ZzhNPW3Hz4aXv5KZ9
https://youtu.be/ZgZccxuj2RY?si=gdC58gWc8bEuwiAM
This is a really insightful question, and I’m glad you’re asking it now, because it means you’re thinking critically about the industry you’re entering.
SHORT ANSWER:
You don’t need to be scared, but you do need to be strategic and adaptable.
WHAT YOU’RE SEEING IS REAL
There has been a shift in the industry:
- Major studios are more focused on profit and speed
- Creative risks can feel more limited
- Projects can change or disappear quickly
That’s frustrating and you’re not wrong to notice it.
THE BIGGER PICTURE
Creativity doesn’t live only in major studios.
Some of the most exciting work right now is happening in:
- Independent animation
- Small teams
- International and artist-driven projects
For example, animated films like Flow (from Lativa) were made by small teams using free tools (Blender) and still reached a global audience.
That’s not the end of creativity, it’s a shift in where it lives.
IS INDIE ANIMATION A REAL PATH?
Yes, but it looks different.
It often means:
- Smaller budgets
- More creative control
- More flexibility
- Sometimes combining multiple income streams
And that last part is important.
YOU DON’T HAVE TO CHOOSE “JOB OR ART.” You can absolutely:
- Work in one area
- And still make your own creative work on the side
There’s a beautiful animated short, Mona Lisa Descending a Staircase, that took its creator about 20 years to complete while she was doing other things, and it went on to win an Academy Award!
That’s a powerful reminder:
- Your creative work doesn’t have to be rushed
- It doesn’t have to be tied to a paycheck to matter
WHAT ACTUALLY MATTERS
No matter which path you take:
- Your skills
- Your portfolio/reel
- Your ability to adapt and collaborate
Those are what will carry you.
MINDSET THAT WILL HELP
Take care of your creative voice.
Make work because:
- It’s honest
- It excites you
- It helps you grow
Not just because it’s monetizable.
And also:
You can feel scared and still do it anyway.
Fear is part of the process. The goal isn’t to eliminate it. It’s to move forward with it despite the fear.
Because the things people tend to regret aren’t the risks they took, they’re the things they didn’t try.
FINAL THOUGHT
The industry will keep changing. It always does.
But your creativity, your perspective, your voice, that’s yours.
If you keep building your skills, stay open to different paths, and continue making work that matters to you, you’ll find your place, whether that’s in a studio, independently, or somewhere in between.
Kelly recommends the following next steps:
Jose Calabres
Film Director
1
Answer
Knoxville, Tennessee
Updated
Jose’s Answer
Your concern is grounded in a real shift, but the conclusion many people jump to—that there is no future—is not accurate. The industry is changing, not disappearing. Let me explain so things.
Large studios such as Disney, Warner Bros., or Netflix have increasingly prioritized scalability, franchises, and predictable returns. That often translates into safer creative decisions, shorter production cycles, and less tolerance for experimentation. That trend is unlikely to reverse in the near term.
However, that same shift has opened space elsewhere.
Independent animation is no longer a marginal path. It has become a parallel ecosystem with real audience reach, viable monetization models, and, in some cases, more creative control than studio pipelines ever allowed. Platforms like YouTube, TikTok, and Vimeo have lowered distribution barriers. Tools have become more accessible. Audiences are more willing to engage with unconventional formats and styles.
What this means for you is not “studio vs. indie,” but understanding that the career model has fragmented:
* Studio work still exists, but it is more competitive and more commercially driven.
* Indie work is more viable than before, but it requires entrepreneurial thinking: funding, audience building, and distribution are part of the job. (Yeap… you need to learn about everything!)
* Hybrid paths are increasingly common: artists move between freelance, studio contracts, and personal projects, and animation is being an artist.
The risk is not choosing animation. The risk is entering it with an outdated assumption that there is a single path to success. A more accurate framing is this:
* Studios offer stability (when available) but less control.
* Independent work offers control but requires building your own system around it.
If you are entering animation now, the most resilient strategy is to develop both: strong craft, so you can compete for studio or contract work, and independence ,so you are not dependent on institutions that are optimizing for business over art.
You should not be “scared” in a general sense. You should be precise about where the instability actually is: it is in traditional gatekeepers, not in the medium itself. Trust me, there’s not a career that can assure no risk and money to anybody. The real deal is to do what you really love to do. 👍🏻👍🏻👍🏻
Large studios such as Disney, Warner Bros., or Netflix have increasingly prioritized scalability, franchises, and predictable returns. That often translates into safer creative decisions, shorter production cycles, and less tolerance for experimentation. That trend is unlikely to reverse in the near term.
However, that same shift has opened space elsewhere.
Independent animation is no longer a marginal path. It has become a parallel ecosystem with real audience reach, viable monetization models, and, in some cases, more creative control than studio pipelines ever allowed. Platforms like YouTube, TikTok, and Vimeo have lowered distribution barriers. Tools have become more accessible. Audiences are more willing to engage with unconventional formats and styles.
What this means for you is not “studio vs. indie,” but understanding that the career model has fragmented:
* Studio work still exists, but it is more competitive and more commercially driven.
* Indie work is more viable than before, but it requires entrepreneurial thinking: funding, audience building, and distribution are part of the job. (Yeap… you need to learn about everything!)
* Hybrid paths are increasingly common: artists move between freelance, studio contracts, and personal projects, and animation is being an artist.
The risk is not choosing animation. The risk is entering it with an outdated assumption that there is a single path to success. A more accurate framing is this:
* Studios offer stability (when available) but less control.
* Independent work offers control but requires building your own system around it.
If you are entering animation now, the most resilient strategy is to develop both: strong craft, so you can compete for studio or contract work, and independence ,so you are not dependent on institutions that are optimizing for business over art.
You should not be “scared” in a general sense. You should be precise about where the instability actually is: it is in traditional gatekeepers, not in the medium itself. Trust me, there’s not a career that can assure no risk and money to anybody. The real deal is to do what you really love to do. 👍🏻👍🏻👍🏻
Patrick Phillips
screenwriter
32
Answers
San Francisco, California
Updated
Patrick’s Answer
Hi, Cassie. Good question. Seems like you already know some of the harder economic realities of animation and film. Yes, the studios want their money back, and then some, and they want it as fast as possible. And their storytelling and animation styles will check certain boxes and stay within those boxes. However, consider...
2024's Flow = Won the 97th Academy Award for Best Animated Feature. Yes, this Oscar-winner came from Latvia. But its style and storytelling were obviously loved by the world, me included. I've watched it 3 times! There's clearly something "non-studio" about it, and that resonated and connected with people. May have been made in Latvia, but it received American and global distribution. An animated homerun.
"Red Bull Gives You Wiiinggss!" That's not a feature film, but that ANIMATED ad campaign has run for at least a decade, also all over the world! Those Red Bull ads are now an institution as much as the Coca-Cola polar bears! Clearly it also has a non-studio style; simple, sketch-like style with a story that usually has some sort of twist or comeuppance. All big companies and their products have slogans, logos, mascots, their "look", brand, etc. Animation and animators are part of this, too.
My point is there IS love for indie animation beyond the US studio system, style and storytelling. Along with filmmaking, please keep an open mind towards MARKETING with your animation talents and dreams. Advertisers and marketers aren't going anywhere; the world is too full of exciting products to sell, and it needs storytellers to sell them. And those Red Bull animators have made a great living off their long-standing work. Also, if you haven't already, start working on following and connecting with the animators you like. Reach out to them without fear; you're a student with questions to ask, and praise to give them -- you'll get their attention!
You seem already aware of the animation landscape, so keep learning and working on your skills and style. And do keep marketing and advertising in mind for your talents along with animated film. Good luck, Cassie!
Best,
Patrick
2024's Flow = Won the 97th Academy Award for Best Animated Feature. Yes, this Oscar-winner came from Latvia. But its style and storytelling were obviously loved by the world, me included. I've watched it 3 times! There's clearly something "non-studio" about it, and that resonated and connected with people. May have been made in Latvia, but it received American and global distribution. An animated homerun.
"Red Bull Gives You Wiiinggss!" That's not a feature film, but that ANIMATED ad campaign has run for at least a decade, also all over the world! Those Red Bull ads are now an institution as much as the Coca-Cola polar bears! Clearly it also has a non-studio style; simple, sketch-like style with a story that usually has some sort of twist or comeuppance. All big companies and their products have slogans, logos, mascots, their "look", brand, etc. Animation and animators are part of this, too.
My point is there IS love for indie animation beyond the US studio system, style and storytelling. Along with filmmaking, please keep an open mind towards MARKETING with your animation talents and dreams. Advertisers and marketers aren't going anywhere; the world is too full of exciting products to sell, and it needs storytellers to sell them. And those Red Bull animators have made a great living off their long-standing work. Also, if you haven't already, start working on following and connecting with the animators you like. Reach out to them without fear; you're a student with questions to ask, and praise to give them -- you'll get their attention!
You seem already aware of the animation landscape, so keep learning and working on your skills and style. And do keep marketing and advertising in mind for your talents along with animated film. Good luck, Cassie!
Best,
Patrick