Autodesk is pitching a creative future with less noise, more Flow

At Autodesk University 2025, one theme dominated the Media & Entertainment chat: AI. But while the industry buzz is deafening, Diana Colella, EVP and Head of Media & Entertainment at Autodesk, is focused on substance over hype.

“I’m not a big buzzword person,” she tells me in our sit-down interview. “You sometimes lose credibility when you use it [AI] too much. What I like about what we’re doing is that we’re actually doing things, products that are already shipping, that you can use, right now.”

Diana points to tools like Flow Studio and MotionMaker, both live and used in production on TV shows and films, designed to solve real-world bottlenecks. “Flow Studio,” she begins, “you can actually go get it for free. Motion Maker is already in Maya.” As she talks about Autodesk’s acquisition and development of these new AI tools, her foot taps ever so slightly – faster the more excited and inspired she gets. “These can stave off the competitors who are constantly at me,” she says with a small grin, eyes tightening.

She relaxes and weighs up where the industry is heading, and how AI tools like those Autodesk is developing can set a benchmark. “I need to make sure that people understand we’re going to continue to give you value, and we’re going to be ahead of the curve,” she says, her foot now subtly bouncing as her enthusiasm grows.

AI that actually works

For Diana, AI isn’t a fad, and she faces industry fears head-on. “I really do believe it’s like the internet [when it first appeared]. Everybody was scared of the internet. Everybody was scared, like, ‘Oh, we’re going to lose all these jobs.’ The same thing happened. And I just don’t think it’s going away.”

She contrasts AI’s staying power with more hyped technologies. “To me, the reason why I don’t think AI is as buzzy as Metaverse or stereo is I think this is more real, and I equate it more like the internet than I do any other. Even VR, right? Nobody is making money on VR.”

Diana explains that AI’s power is only as strong as the data that supports it, and that’s where Flow comes in. Flow isn’t a single product; it’s a collaborative framework designed to unify data across an entire production pipeline, from capture on set through post-production and distribution. By organising, connecting, and making production data accessible to every contributor, Flow acts as a hub for large-scale projects that may involve thousands of collaborators over the years.

Rather than replacing existing tools, Flow integrates them. Legacy desktop software like Maya and 3ds Max remain central to Autodesk’s plans, but now they’re linked to a live, connected network. Features such as animating in context allow artists to see surrounding shots and editorial notes directly in their workspace, reducing inefficiencies and enabling faster iteration.

Flow’s architecture is deliberately open, allowing studios to maintain control over their data while enabling the kind of structured workflows AI requires. It’s a model that encourages collaboration without forcing creators to relinquish ownership, a critical balance in the film and gaming industries, where intellectual property and creative autonomy are highly valued. It's also, fundamentally, a moment when studios large and small can rethink how they work, unpick old practices and start anew.

Flow Studio and the indie revolution

The jewel in Autodesk’s portfolio is Flow Studio, born from its acquisition of Wonder Dynamics. Unlike some AI tools that promise to disrupt pipelines, Flow Studio enhances existing workflows. It accelerates work today while also creating AI-native processes that could empower creators who previously lacked the resources to produce high-quality visual effects or films.

Diana sees its potential beyond big studios, and her energy noticeably rises as she talks about indies making and telling original ideas with the new AI tools. “There are a lot of people with good stories out there, but they’re not able to build their stories because it’s so expensive,” she tells me, foot tapping faster with every word. “What I see is a whole bunch of new creators in the way that TikTok was and YouTube was. Hopefully, there’ll be a whole bunch of new creators actually doing films, not the 30-second thing, but actually building films and being able to bring their ideas and their stories [to fruition]. I’m inspired by that.”

Autodesk’s approach is clear: empower both industry giants and indie creators without compromising either. While larger studios will naturally know how to use these tools, but are perhaps hesitant to embrace something so disruptive, Autodesk is focusing marketing and support on the creator economy, new studios eager to find ways to make 'unmakeable' films and games, helping independent filmmakers access the same capabilities as larger productions.

Productivity, not replacement

Diana is crystal clear on one point, and I know she’s serious because her foot stops momentarily in a deliberate pause: “AI will never replace a creative. Everything we saw on stage today was productivity [Flow, Flow Studio, FaceAnimator, MotionMaker, Avid Media Composer]. It’s to help the creators, not replace them. Our business is based on creators.”

AI is framed as a way to fix structural inefficiencies, flaws in software, and connected apps that have built up over decades. By connecting production and post-production through Flow and embedding AI where it adds value, studios can produce more content faster, reduce waste, and ultimately generate more revenue to create additional shows. Tasks that once took months can now be completed in parallel or accelerated, opening the door to more ambitious projects.

Autodesk’s AI strategy rests on three pillars: improving existing products, acquiring proven innovators, and researching future workflows. The timeline for research is compressing as technology moves faster, but Flow and Flow Studio already provide a glimpse of what AI-native production might look like.

As Diana emphasises, Autodesk’s mission remains unchanged: providing tools for creators. The difference today is how those tools are built and connected, enabling both small and large teams to work seamlessly across the pipeline.

No turning back

Diana knows Autodesk must deliver on combining new AI-first tools and workflows with legacy software that’s not going anywhere; she’s emphatic that Maya and 3ds Max are part of this future. “If I don’t do that, then people will say you’re not doing anything.”

After spending time with Autodesk's EVP and Head of M&E, Diana's vision is clear: AI is not a sideshow; it’s the main event. With Flow and Flow Studio, Autodesk is shaping the infrastructure that will enable creators to thrive in this new era, and the passion she can't hide, foot tapping and all, makes it clear that Diana genuinely believes in this future.