As a medium, animation is notorious for being both expensive and time consuming. However, as recent hits such as KPop Demon Hunters and Spider-Man: Across The Spider-Verse have shown, audiences are still hungry for the stories that only animation can tell. That's inspiring more people to pick up the best animation software.
“Animation taps into that child-like wonder we all have deep inside,” says art director Chris Zibach. “It’s a magic trick that takes an incredible amount of magicians to pull off. The voices and stories being told are evolving, which allows for the visual to rise and meet the challenge.”
Article continues belowHow do you get into animation?
Given that animated films are some of the earliest and biggest inspirations for many artists, it’s certainly no surprise that plenty of creatives are eager to enter the industry. Acquiring the necessary skills and adapting to technological changes can make it difficult to know where to start, though.
For writer and director Louie del Carmen, artists need to cultivate tenacity and drive if they want to get their foot in the door. “Concurrently, you also have to get really good at craft and skill,” he says. “Your work should always speak for itself. The opportunities will come as long as you keep working on getting better.
“You have to fall in love with it and be willing to fail and start over. It’s how you really grow and progress. The industry is ever changing and it’s artists who establish a good work ethic, are dependable and deliver consistent, outstanding work that have the edge.” Chris agrees:
“I would suggest being hyper-critical of your work, and to strive to illustrate an honest point of view. Be your own number one fan first and foremost, and keep up with personal work. That kind of enthusiasm will carry through and recruiters will feel it.” As with many creative endeavours, animation is raised by a village.
“Try to surround yourself with honest people who support you, inspire you and push you to be the best that you can be,” says Daniel Ceballos, a senior animator at Sony Imageworks now famous for his own animation references for KPop Demon Hunters. “Community and support are such big factors when it comes to chasing your dream job.”
Josh Wessling was drawn to animation because he wanted to combine his love for painting and filmmaking. "Animation seemed like the obvious path," he says. "I studied animation/illustration at San Jose State University. After graduating, I moved to LA to find work. I began reaching out to my fellow alumni for advice. I continued to contact recruiters and went to networking conventions. Eventually, through those connections, I landed my first job in 2019."
Today, he's a background painter for a television series, so he spends his days "listening to music and cranking out backgrounds" – anywhere from 10 to 15 a week. "My workflow needs to be pretty streamlined. I try to automate as much tedium as possible, which helps me to get to my favourite parts, like colour and light, faster. But my workflow evolves depending on the needs of each production."
Challenging times
Like most arts sectors, animation is currently facing its own set of difficult headwinds. These include the bursting of the streaming bubble, outsourcing, an overload of content, and of course, the ever-present spectre of AI. With so many obstacles in place to overcome, it’s important to continue to remain positive and recognise what it is that separates animators from algorithms.
“I think the best way to combat these hurdles is to lean into what makes you different,” says Daniel. “Regardless of what technology looks like in the future, your ideas are what make you individually stand out.”
In his opinion, ideas grounded in lived experience will always be appreciated by audiences. “Everyone has a unique story that’s specific to them, and there’s a lot of value in that when it comes to art.”
Josh is all too aware of the problems that have arisen in the last five years, including smaller crews and technologies that are changing faster than studios can keep up with.He's seen a trend towards more output for a smaller budget. "Typically, that’s done through outsourcing," he says.
"We’ll probably see that pushed even further. Much leaner, more top heavy crews. We’ve already seen entire crews except leadership get outsourced. Studio appetite for risk seems to have decreased significantly, so we’ll probably continue to see the same existing IP, reboots and sequels that everyone is getting exhausted of".
“I think the best thing we can do as artists is to continue to respond creatively to how we’re feeling about the current state of things,” he adds, not to be intimidated or beaten down by the current atmosphere. Be bold and authentic in our storytelling, even in the face of this kind of cultural anxiety. Our strength as artists isn’t about racing towards the future and anticipating trends or technology.
“It’s about slowing down and reflecting on the present moment. Art isn’t commerce or a service, like those pushing the latest technology want you to believe. It’s a process and a language for people to profoundly connect, human to human.”
The future of animation
“Social media has changed how artists promote and represent themselves,” Louie says. “Individuals have become master marketers.”
Image credit: Louie del Carmen
Louie is resigned to the fact that AI is here to stay. “It can’t keep us from creating and I’d like to think that originality will always prevail.”
Image credit: Louie del Carmen
While the forecast may look uncertain, Louie is on hand to offer some optimism. “Yes, things are a bit challenging at the moment, but it’s always been a cycle of chaos and order, and the industry always ends up remaking itself. We just have to be ready to adapt. And audiences will always gravitate to soulful creativity and authentic human connection.
“Animation has always been about transporting audiences into fun, imaginative worlds with poignant characters and emotional stories, and that’s not going to change. I was so moved and encouraged by what Gints Zilbalodis created in Flow. It showed what a dedicated creator and a small team can achieve with commercially available tools, a dream and meagre financial support.
Chris hopes that the pendulum continues to swing uninterrupted between risky, original stories and safer franchise films.
“Animation will likely have a bigger foothold in the marketplace as audiences that have grown up demand more aged-up content,” he says. “If studios fail to meet expectations, the indie projects and personal passion pieces will be there to inspire, unencumbered.”
The future of animation doesn’t just rely on the creators, either. “People vote with their dollars, which is why it’s so important that audiences support original animation,” Daniel points out. “Studios want to support original ideas, but they also have to make sure they stay afloat.
It speaks to the enduring appeal of animation that it continues to survive despite these turbulent conditions. Louie pins this success on its ability to appeal to everyone of all ages.
“If done well, animation can convince an audience that a fantasy has always existed. Regardless of how it’s made and how it’s delivered, that is what makes good entertainment: Going on an adventure and getting lost in a good story.”
Daniel agrees: “People often view animated movies as a genre for kids, but it’s also a beautiful medium that can tell a story in unique ways. Animation is such a gorgeous means of storytelling, and there’s truly something in it for everyone.”
If you're inspired, see our picks of the best laptops for animation.
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