Ninety seconds decides it
Studios do not read animation CVs closely. They watch a reel and form a view in
the first fifteen seconds.
That single fact should shape everything about how you prepare. Your best shot
goes first. Anything merely adequate comes out entirely, however long it took.
Three strong shots read as someone who knows what good looks like; ten mixed
shots read as someone who does not.
Blocking before splining, always
Animators who go straight to smooth curves produce floaty work and cannot fix it
afterwards.
Blocking in stepped keys forces the poses and the timing to be decided before
interpolation hides the decisions. Every studio works this way, and a reel that
shows you can block cleanly says more about your ability than a polished shot
with vague timing.
Critique is the daily weather
Your work will be reviewed in front of other people, frequently, and often it
will be sent back.
This is normal and it is not personal, and people who cannot separate the two
find the job painful regardless of talent. Learning to hear “the weight is wrong
on the landing” as information rather than judgement is genuinely part of the
skill set.
The technical route is underrated
Animation is the most competitive part of the pipeline because it is the part
everybody wants.
Rigging, lighting and pipeline work are less contested, pay comparably or better,
and are far easier to get a first job in. If you enjoy solving problems more than
performing, that is a real option rather than a consolation prize.