The Animator Directory · a profile directory for people who make things move

A reel shows what you can do. It cannot be searched. This is the part that can.

The Animator Directory is being built for animators — hand-drawn, cutout and rigged, 3D keyframe, stop-motion, effects, motion design — and for the people who need to commission them. It is organised around a plain mechanical fact the whole craft lives with: the artefact you are judged on is a video, and nobody can run a query inside a video. So the searching happens on titles and tags, and the questions that actually decide a hire — which technique, which role, whose scene files, on ones or on twos, delivered how, and may it even be shown — get asked over email, one animator at a time, or not at all.

Request early access See exactly what a profile records →

This directory is empty today. There are no animator profiles, no roster, no member count, no ratings and no search — and none of them are invented on this page to make it look further along than it is. What is real today is this address, the design of the record described below, the refusals it commits to, and an early-access request that goes to a person. Everything else here is written in the future tense because it is in the future.

Who this is for, and what they arrive wanting

Two people type this address, and they arrive wanting opposite halves of the same missing record.

The animator

A working animator, a freelancer between shows, or a student whose graduation film is the best thing they have made so far. They arrive wanting one thing: to be findable for the work they are actually good at, rather than for the most generic description of it. They have a reel. They usually have a site. Neither of those has ever once been queried by a person who needed exactly a rigger, or exactly clean-up on somebody else’s keys, or exactly effects animation to sit under work already made.

They arrive suspicious, and correctly so. They have been scraped into a profile they did not make, asked for a percentage, sorted below whoever paid, and told a badge means something. The first thing they want to know is what the catch is. That question is answered in full further down, including the part where the honest answer is that we cannot promise them traffic.

The person who needs animation made

A producer, a director, a small studio short a specialist for six weeks, an agency with a locked animatic and no crew, or the person running a school media programme who has budget for motion work and no idea how to describe what they need. They arrive knowing the deliverable and the deadline, and not knowing the vocabulary — which is precisely why a keyword search fails them.

What they want is to stop opening reels. A reel answers “is this person good”, which is rarely the bottleneck. The bottleneck is “can this person do this specific job, in this pipeline, at this length, in this time, and can they show me anything” — five questions, each of which is a field, and none of which is visible until somebody replies to an email.

The directory is being built first for student and early-career animators, and that shapes it more than it might sound. Someone three years in has the sharpest version of every problem here: real work that is under an NDA, a role on a crew that nobody can infer from a finished shot, and a credit that went to whichever company invoiced for it. The record below is built for that person, and it happens to fit an animation director with twenty years behind them just as well.

What “animator” actually means, and why one word is the field’s most expensive mistake

The single tag animator is doing the work of about a dozen jobs, and the cost lands on both sides at once. The searcher gets a result set mixing a character animator, an effects specialist, a rigger, a motion designer and a video editor, and has to sort it by hand from reels. The specialist gets measured against work they never claimed to do, and loses to whoever described themselves most broadly. Being precise about the crafts is not pedantry here; it is the entire mechanism by which the right person gets found.

These are the roles an animation crew is genuinely split into. On a small job one person covers several — that is normal, and the record lets someone say so — but they are different skills, and a reel usually shows only the two or three most photogenic ones.

Storyboard artistTurns a script or a brief into shots -- staging, camera, and the beat of each cut -- before a frame of animation is worth making. Judged on reading clearly to a director, not on finish.
Animatic editorCuts the boards to timing against scratch audio, so the length and the pacing are settled before anyone animates. Where most of the money is saved or lost.
Character designerDraws the cast on model, from the turnarounds and expression sheets a whole crew will work from. Different craft from animating them.
Layout and background artistBuilds the space the shot happens in, and fixes camera and perspective so the animation has somewhere to sit.
Rigger and technical animatorBuilds the puppet -- the skeleton, deformers, and controls -- that an animator will actually pose. A rig that fights the animator costs weeks, and rig quality is invisible in a finished reel.
Key animatorSets the extremes and breakdowns that define the performance: what the character does, and when it lands.
In-betweener and clean-up artistCarries the drawings between the keys and brings the line to final. Consistently the hardest role to hire for from a reel, because the reel usually shows the keys.
Effects animatorAnimates what is not a character -- fire, water, smoke, debris, magic, impact -- which is a separate discipline with its own reference and its own timing.
CompositorAssembles the passes into the final image: grade, glow, grain, depth, and the fixes nobody is supposed to notice.
Animation directorHolds the performance and the consistency across a crew, and is answerable when the show does not cut together.

Technique is a separate axis from role

Role says what someone does on a crew. Technique says how the frames come into existence, and it changes the schedule, the budget and the look together. A key animator in cutout and a key animator in stop-motion share a job title and almost nothing else about their week.

The technique vocabulary a profile is written in. Tool names are the words animators use about their own craft — nothing here is an endorsement, a comparison, or a product for sale.
Technique	What it actually is	Where the work is usually done
2D hand-drawn (paperless or on paper)	Every frame drawn. The line is the performance, and the cost is drawings.	Harmony, TVPaint, OpenToonz, Animate, Krita, Procreate Dreams
2D cutout and rigged	Drawn parts on a rig, posed rather than redrawn. Far cheaper per second, and constrained by what the rig can do.	Harmony, Moho, Spine, Rive, After Effects with a character rig
3D keyframe	Posing a rigged model in space over time. Camera, weight and contact are the difficulty, not the line.	Maya, Blender, Cinema 4D, Unreal
Stop-motion	Physical puppets, clay, cutout or pixilation, shot one frame at a time. Scheduling is a physical constraint, not a render queue.	Dragonframe, plus the build and armature work behind it
Motion design and graphic animation	Type, shape, data and logo work. Adjacent to animation and constantly confused with it -- a different brief, a different reel, a different rate.	After Effects, Cavalry, Blender, Lottie for app and web delivery
Rotoscope and match-move	Animation tracked onto live footage, or footage traced into drawing. Precision work, usually invisible when it is done well.	Harmony, TVPaint, After Effects, compositing packages

And what is deliberately not here

An illustrator makes the image; an animator makes it move. A videographer points a camera at something that is already moving. A filmmaker is answerable for the whole picture, of which animation may be one department. These are neighbouring crafts, they overlap in real people constantly, and collapsing them into one directory would recreate exactly the vague-tag problem described above — so this address stays on animation, and stays useful.

Each of those crafts has its own address in this family. Where one of those addresses is not open yet, we would rather tell you that in a sentence than hand you a link to a page that has not been built — which, until this page existed, is precisely what this address was doing to every animator who typed it.

What the field already gives an animator — and the eight places it reliably fails

It is worth being accurate about the incumbents, because a page that pretends the existing surfaces are bad is not credible to anyone who uses them daily. They are not bad. The big portfolio networks are genuinely the best place in the world to look at animation, and their community and job boards move real careers. The crew directories work for production roles. The credits databases hold decades of record. The union locals do something no directory can. Most animators already use several, and should keep using them — nothing here asks anyone to stop.

The failures below are not failures of effort. They fall out of what those surfaces were built to be: places to LOOK at work, or places to POST a job, or places to run a TRANSACTION. None of them was built to be a structured record of craft capability, which is why none of them has one. Each item names the behaviour rather than a brand, because the behaviour is the part you can go and check for yourself on whichever surface you already use.

A reel is a video, so nothing can be searched inside itThe one artefact the whole craft is judged on is opaque to every index that exists. So surfaces index text ABOUT the work -- a title, a tag, a job-post keyword -- and the question that actually decides a hire is never asked.Here instead: The profile records the craft parameters as fields, next to the reel rather than instead of it. The reel still does the persuading; the fields do the finding.
One word, "animator", covers a dozen different jobsA character animator, an effects animator, a rigger, a motion designer and a video editor land in the same result set. The searcher wastes a week, and the specialists lose to whoever is most generic.Here instead: Role and technique are separate fields with the crew's own vocabulary, so a rigger is findable AS a rigger and is not competing against a logo animation.
The animator disappears into a vendor lineOn commissioned work the credit reads as a studio, an agency or a line item on a purchase order. The person who did the animation has nothing to point at afterwards, which is the currency the next job is paid in.Here instead: A credit records the person by name and what they actually did on it. A studio can appear alongside a name; it cannot replace one.
Profiles built by scraping credits, which the named person cannot correctYou discover a page about you that you did not make, with a stale reel, a wrong role and a dead email, and the correction path is a support ticket to a company that has no relationship with you.Here instead: Nothing exists until the person it names creates it. There is no involuntary record to correct, because there is no involuntary record.
Position in the results is soldA featured tier, a promoted slot or a subscription that buys visibility turns a directory into ad inventory. The order stops meaning anything, and the reader is not told.Here instead: There is no paid placement, no promoted tier and no ranking at all. When listing order exists it will be stated on the page in plain words, and it will not be for sale.
A cut of the work, and pressure toward the lowest bidA marketplace that takes a percentage has to keep the transaction inside itself, which means it benefits from comparison on price. Animation is the wrong craft to sell that way.Here instead: There is no transaction here at all. No booking, no invoice, no escrow, no percentage. Contact goes to the animator directly and the deal is theirs.
Rot: dead reels, dead sites, dead addresses, never re-checkedA directory that never re-checks its own links is a graveyard presented as a roster. Every stale entry costs a searcher trust in every other entry.Here instead: A link that stops resolving will be shown as unresolved with the date it was last checked, not silently dropped and not silently kept. An honest unknown beats a confident stale row.
No field for whether the work may even be shownA large share of a working animator's best work is under an NDA, an embargo, or a client who never released it. There is nowhere to say so, so it is simply invisible, and the animator looks thinner than they are.Here instead: Showable, under embargo until a date, or describable but not showable, are three different states with three different fields. Saying "I cannot show this, here is what it was" is a supported answer, not a gap.

The goal is the union, not a niche carved out of it: everything the field already offers an animator — a profile, a reel, a way to be contacted, a discipline, a statement of availability — plus the structured craft record, the rights and embargo state, the named credit, the honest link-decay reporting, and the standing refusals. Parity would be the floor. Anything less than the union would just be one more place to keep updated.

Stated plainly, because the temptation to overclaim here is obvious: the incumbent surfaces exist and are populated, and this one is empty. On the axis that matters most today — whether there is anybody in it — they win outright, and will until animators start claiming profiles.

What a claimed profile will record

None of this is live. No profile has been claimed, because claiming is not open. This section describes the record the directory is being built around, so that an animator deciding whether to bother, and a commissioner deciding whether this will ever be useful, can both judge the actual design rather than a promise.

An animator writes every one of these fields about themselves. Nothing is inferred, scored, or derived by us. The example column shows the kind of answer a field takes — it is not a person.

Field	The kind of answer it takes	Why it exists
Technique	2D cutout and rigged; some paperless hand-drawn	The single biggest filter, and the one most often guessed at from a reel that mixes several.
Role on a crew	Key animation, clean-up; not layout	Says what someone should be hired FOR, and just as usefully what they should not be.
Pipeline and handoff	Harmony scene files out; can take a rig built by someone else	Decides whether a person can join work already in progress, which a reel never shows.
Timing discipline	Comfortable on ones for action, works on twos as default	Drives cost and look together. A brief that needs animation on ones and a quote priced for twos is a project that fails late.
Deliverable	ProRes 4444 with alpha; image sequence on request; Lottie for web	The most common late surprise in commissioned animation is a file the client cannot use.
Dialogue and lip-sync languages	English, Spanish	Lip-sync is language-specific craft. Assuming otherwise produces work that reads wrong to native speakers.
Typical piece and turnaround	30 to 120 seconds; three to five weeks with an approved animatic	Stated as a range by the animator, never as a platform promise, and never as a guarantee we could not keep.
Rights on the work shown	Two pieces showable; one under embargo until a stated date; one describable only	Lets an animator represent work they legally cannot display, instead of appearing to have less experience than they have.
Credit line	Named, with what they did on the piece	The record the whole directory exists to protect. A name, not a vendor line.
Reel	A link to wherever the animator already publishes it	We link, we do not rehost. The animator keeps the canonical copy, the analytics, and the ability to change or remove it at any time.
How to reach them	The animator's own contact, shown as they choose to publish it	Contact goes to the person. There is no intermediary inbox and no lead being resold.

The same second of screen time, drawn twice over. It is the clearest example of why the record has a timing field: these two rows cost roughly double and half of each other, they read differently on screen, and an animator has a genuine preference and a genuine range. A brief that needs action on ones, quoted by someone who works on twos, is a project that discovers its problem late and expensively — and nothing in a finished reel tells you which one you are looking at.

Illustrative example · not a real profile, not a real animator

The shape an entry takes

Shown so the structure is concrete rather than described. There is no person here: no name, no reel, no contact, and no client — inventing one would be the fabrication this page exists to refuse.

Technique: 2D cutout and rigged; some paperless hand-drawn
Role: Key animation and clean-up; not layout, not compositing
Pipeline: Works in scene files from another animator’s rig; delivers project files or flattened renders
Timing: Default on twos; comfortable on ones for action
Deliverable: ProRes 4444 with alpha; image sequence on request; Lottie for web
Lip-sync: English, Spanish
Typical piece: 30 to 120 seconds, three to five weeks from an approved animatic
Rights: Two pieces showable · one under embargo until a stated date · one describable only
Credit: Named, with the role held on each piece
Reel: A link out to wherever the animator already publishes it

The rights field, which is the one nobody else has

A large share of a working animator’s strongest work cannot be shown. It is under an NDA, or embargoed until an air date, or the client shelved it and never released it, or it shipped inside a product where the animation is three seconds of an interface. On every surface that exists, that work is simply absent, and the animator silently appears to have done less than they did — the more senior and the more commercial the career, the worse the distortion gets.

So “may this be shown” is a first-class field with three honest states: showable now, showable after a stated date, or describable but not showable. The third state is the important one. “I animated a 40-second cutout sequence, I cannot show it, here is what the brief was” is a real answer that a commissioner can weigh — and it is a far better answer than the blank where that credit currently sits.

The questions the record is built to answer

There is no search here today. No index exists, nothing can be queried, and there would be nothing in the results if it could — the directory is empty. What follows is the design target: the shapes of question the fields above are chosen to resolve, written the way the person asking actually says them.

Every one of these is a real commissioning question, and not one of them can be expressed as a keyword search on any surface that exists today. That is the gap, stated as concretely as it can be stated.

A rigger who can hand off a puppet another animator will use, not animate it themselves.A pure rigging brief. Today this returns finished character animation, because rigging is not a searchable role anywhere.
Clean-up and in-between on someone else's keys, in an existing scene file.The role hardest to hire for from a reel, because a reel shows keys. A pipeline field answers it directly.
Effects animation only -- water and smoke -- to sit under animation already made.A distinct discipline that a single "animator" tag buries under character work.
Stop-motion, at a scale that fits one build and a three-week shoot.A physical constraint no render-time estimate captures, and one an animator can state plainly about themselves.
Spanish-language lip-sync on an existing English cutout rig.Two fields at once -- language and pipeline -- which is exactly the intersection a keyword search cannot express.
Someone whose work I can actually be shown before I commission them.The rights field turned into a filter. Obvious to ask, impossible to search for today.

Two things this will not do, worth saying now rather than after somebody is disappointed. It will not rank the results by quality, because there is no score and no assessment being performed — the ordering rule will be stated in plain words on the page, and it will never be for sale. And it will not judge the work for you: the fields narrow the field to people who can genuinely take the job, and then you watch their reels, which is the part software should not be pretending to do.

Credited by name, not by vendor line

This is the part of the directory that is not a feature, and it is the reason the address exists at all.

When animation is commissioned rather than made in-house, the credit tends to attach to whoever invoiced. A studio, an agency, a production company, a line on a purchase order. The animator who set the keys is inside that line somewhere, and outside of it they have nothing to point at. That matters more in animation than in most crafts, because the next job is very often paid for in exactly that currency — what you can show, and what you can prove you did on it.

School and community media programmes are where this is worst, and it is where we first noticed it. A programme commissions a title sequence or an explainer, the work is credited to a vendor, and the person who animated it — frequently a student or someone two years out — ends up with a piece they cannot claim in the one place it was published. That is the origin of this address, and it is why it was built with student and early-career animators in mind first.

So a credit here records a person and the role they held. A studio can appear next to a name; it cannot appear instead of one. And there is a hard limit on that record which we would rather state than have discovered: we do not verify credits. We contact no clients, confirm nothing, and issue no badge. A credit here is the animator’s own statement, presented plainly as the animator’s own statement. A verification we cannot actually perform would be worth less than nothing — it would be a false assurance handed to the person doing the hiring, with the animator’s name attached to it.

The three questions a working animator asks first

The objections, answered without dodging any of them

These are not softened versions. They are the three things an animator says out loud when a new directory turns up, and each answer is a mechanism or a refusal that can be held against us — including the places where the honest answer is unflattering.

I already have a reel and a site. Why would I keep a third thing up to date for traffic you cannot promise me?

We cannot promise you traffic, and we are not going to print a number to suggest otherwise. This directory is empty, it is new, and anyone claiming an audience for it today would be making it up. That is the honest answer to the objection, and it is the answer even though it is the unflattering one.

What we can say is what the profile IS, which is not a third portfolio. Your reel stays where you publish it -- we link to it and never rehost it, so you keep the canonical copy, the view counts, and the ability to change or pull it in one place. Your site keeps doing what a site does, which is persuade someone who has already found you.

The profile does the one job neither of those can do: it is text, and it is structured. A video cannot be queried. A portfolio page phrased in your own voice cannot be filtered. A record that says technique, role, pipeline, timing, deliverable and rights can be. If nobody ever searches it, you have lost the ten minutes it took to write. If someone does, they arrive already knowing you can do the specific thing they need, which is a different and much shorter conversation than a cold reel link.

And the upkeep is deliberately small. There is nothing to post, no feed to feed, no streak to keep, and no ranking that decays if you go quiet for a year while you are on a show.

Is my work going to end up in a training set?

No, and the structure of the thing is most of the answer. We do not host your reel. We store a link to where you already publish it. There is no copy of your frames on our side to license, sell, or lose in an acquisition, because we never took one.

For the text you do write here -- your own description of your craft -- the commitment is explicit: it is not licensed, sold, or handed to anyone to train a model, and it is not bulk-exported to third parties. That is a refusal about our conduct, and it is written on this page so it can be held against us rather than living in a policy nobody reads.

We are also not going to pretend this solves the wider problem. Anything you have already published in public is exposed to whatever crawls the public web, and nothing on this page changes that -- claiming otherwise would be the exact kind of comfortable false statement this directory exists to avoid. What we control is what WE do with it, and what we do with it is link to it.

If you want the record gone, it goes. Removal is a request to a person, it is not conditional on anything, and we do not keep a shadow copy to preserve "the integrity of the index".

What is the catch -- a cut of my rate, a paid tier, or my name sold as a lead?

There is no cut, because there is no transaction. No booking runs through this site, no invoice, no escrow, no payment of any kind. Money is switched off here entirely -- there is no checkout, no price, and no card is charged. A commission is impossible to take on a payment that never happens.

There is no paid tier and no promoted placement. Position is not for sale, and there is no ranking to sell in the first place -- no score, no stars, no "top animator" list, and no algorithmic order dressed up as merit. When listing order exists, the rule producing it will be stated in plain words on the page.

Your contact detail is shown as you choose to publish it and goes to you. There is no intermediary inbox that intercepts an enquiry, no lead resold to an agency, and no bulk export of the directory to anyone.

The honest caveat, since a page that lists only upside is selling: this is early, and how it is eventually funded is not settled. What is settled, and what is written here to be held to, is the shape of what it will never be -- it will not become a marketplace taking a percentage, and it will not sell your position in a list.

What this directory refuses to do

A directory is defined more by what it will not do than by what it offers, because almost every way a directory goes bad is a thing it started doing later: a promoted tier, a percentage, an involuntary profile, a data licence. Each refusal below names who it protects, since a refusal without a beneficiary is just a limitation.

NoNo model training on anyone's work
Your frames are not here to be trained on, because your frames are not here at all -- we link to your reel and never mirror it. The text you write is not licensed, sold, or bulk-exported for that purpose either.
NoNo commission, and no transaction
Nothing is bought or sold on this site, so nobody has an incentive to keep you inside it or to push you toward the lowest bid to close a deal. You negotiate your own rate with your own client.
NoNo paid placement and no ranking
Nobody can buy their way above you, so your position never depends on a budget you do not have. There is no score, no stars, and no leaderboard to be gamed by whoever has the most time to game it.
NoNo scraped or involuntary profiles
You will never find a page about yourself here that you did not create. Nothing is built out of credits lists, festival programmes, or the ends of other people's videos.
NoNo reel rehosting
You keep the canonical copy, the view counts, and the power to change or delete the work in one place. A directory holding its own copy of your reel is a directory that can keep showing a version you have disowned.
NoNo exclusivity
Being listed here asks nothing of you elsewhere. Keep every other profile, every agent, every network. A directory that demands exclusivity is protecting itself, not you.
NoNo verified, vetted or screened badge
We run no bureau and do not assess anybody's craft, so a badge would be a decoration pretending to be diligence -- and a false assurance to the person hiring you is a liability aimed at you. Claiming a profile in your own name is the only signal we can honestly offer, and we will describe it as exactly that.
NoNo ratings and no reviews
A five-point score on creative work is noise that a small number of bad weeks can destroy, and it rewards volume over craft. Judge the reel; that is what it is for.
NoNo minor listed without consent
A student animator's work stays credited to the student, and their presence here is consent-gated and not the default. Nobody's school work gets turned into a public professional listing by accident.
NoNot a school records system
This carries no student roster, no class, no grade, and no school record of any kind, and it never will. It is a professional craft directory that happens to have a careful door for students, not an education product wearing a creative name.

These are commitments about our own conduct, written on the page rather than buried in a policy, so that they are checkable and so that breaking one would be visible. If any of them is ever changed, the change belongs here, in public, and not in a quiet edit to a terms page.

Where this stands today: empty, and saying so

The Animator Directory is empty. There are no animator profiles, no roster, no member count, no waitlist tally, no ratings, no reviews, no testimonials, and no search index — because none of them exist, and manufacturing any of them would be a straightforward lie. The directory opens as animators claim profiles.

Real today: this address; the design of the record set out above; the standing refusals; the consent posture; and an early-access request that reaches a person and creates no account.

Not built yet: profile claiming, the profile itself, search, the link-decay checking, and every field described above. They are written in the future tense throughout this page for that reason, and that tense is load-bearing — if you find a sentence here that reads as though a feature already works, it is a defect in this page and we want to be told.

There is nothing to log into, nothing to browse, nothing to search, and nothing for sale. No card is charged. This page will keep saying all of that for exactly as long as it stays true, and the day it stops being true this section is the first thing that changes.

Request early access

If you animate — at any stage, in any technique, including as a student — and you want to be among the first to claim a profile in your own name, ask to be included as the directory opens. It is an email to a person. There is no account to create, no form that signs you up for anything, no password, and no card. Asking commits you to nothing and can be withdrawn by replying.

If you need animation made and want to know when the record is searchable, the same address works. Say what you were trying to find and could not — that is the most useful thing anyone can send us right now, and it is genuinely how the field list above gets decided.

Request early access Correction or removal →

Nothing here is for sale and no card is charged. Since no listing exists yet, the correction address is currently for telling us this page itself is wrong — which, if you spot a sentence that overclaims, is a genuinely useful thing to send.

FAQ

Questions, answered plainly

Is this live? Can I search it today?

No. There is no searchable directory yet -- no profiles, no roster, no member count, and no search index. The directory opens as animators claim profiles, and until one has, there is genuinely nothing to search. This page will keep saying so rather than quietly implying otherwise.

So what actually exists today?

This address, this description of how the record is designed, the standing refusals below, and an early-access request that goes to a person. That is the complete list. Everything described in the record and search sections is stated in the future tense because it is in the future.

Who can claim a profile?

Anyone who animates, at any point in a career, including people whose day job is something else. There is no portfolio review, no application to pass, and no gate on years of experience -- because we run no bureau, and pretending to assess craft would be the badge problem in a different costume.

Is a motion designer an animator?

Often the same person, but it is a different brief, a different reel and a different rate, so it is a separate technique field rather than a blurred label. Someone who does both says so in both fields and is findable for either. The failure being avoided is the one where a single tag returns a logo animation to somebody who needs a character performance.

What about video editing, illustration, filmmaking or live-action camera work?

Out of scope here, deliberately. An illustrator makes the image; an animator makes it move, and the difference decides who you should hire. Those are separate crafts with separate homes in this family of addresses, and where such an address is not open yet we would rather say so than send you to a page that is not there.

Do I have to show my work to be listed?

No. Work under an NDA, under an embargo, or simply never released by the client is normal in this craft, and there is a field for describing what you did without showing it. Being unable to display your best year should not make you look like you did not have one.

Will you contact my clients or verify my credits?

No. We do not contact anyone on your behalf, and we do not verify credits, because a verification we cannot actually perform would be a claim we cannot back. A credit is your statement, presented as your statement.

Are student animators listed?

Not by default. Student and early-career animators are the reason this directory is being built, but a minor is consent-gated and is not surfaced without the appropriate consent in place, and a student's work stays credited to that student rather than to a school, a programme, or a teacher.

What happens if my reel link dies?

It will be shown as unresolved, with the date it was last checked, rather than silently dropped or silently left looking fine. An honest unknown is more useful than a confident stale row, and it is the same posture this page takes about its own empty state.

How do I get my listing corrected or removed?

You ask, and it happens. Removal is not conditional on anything, there is no retention period held over you, and no shadow copy is kept. Since nothing exists yet, this is a commitment about how it will work rather than a process you can use today.

Does any of this cost anything?

Nothing here is for sale, there is no price, and no card is charged. There is no paid tier to be upsold to, because there is no tier.

Is this a Homeroom product? Why does a school company run an animator directory?

It is run by the same studio, and it is deliberately not the school product -- no district framing, no student records, and no school branding on this page. The connection worth stating plainly is the origin: school media programmes commission a lot of motion work and routinely credit it to a vendor line instead of to the person who animated it. This address exists to record the person.