Move every shot from layout to final render with its artist, its notes and its cost.

An animated production is a pipeline. A storyboard becomes an animatic, the animatic becomes a list of shots, and every shot needs characters, backgrounds and props that must be built first. Each stage belongs to a different artist, often a freelancer on a short contract who joins in the middle of the production and leaves before the final render.

Most studios follow shot status on a spreadsheet and chase notes in chat. The director knows a shot is late only when the compositor asks where it is.

The producer prices the job by episode, minute or shot, and the production manager breaks the script into sequences and shots. Art directors approve character designs and colour keys. Modellers, riggers and background painters build the assets, and each one is versioned so that nobody animates with an outdated rig.

Animators receive a shot with its layout, its audio and its notes. They submit a blocking pass, a spline pass and a polish pass, and the director reviews each in a daily session. Retakes go back with a note and a frame number. Some come back twice. Lighting, effects and compositing follow, and heavy scenes queue on a render farm that charges for hours.

The studio books artists by week, tracks timesheets for freelancers and reports cost to the client on milestones. Voice sessions, music and final mix run in parallel with picture, each with its own studio booking, its own takes and its own approval from the director. At the end, the delivery package goes out in the formats the broadcaster or platform asked for.