Animated series production is the process of turning an idea into a set of connected episodes through four stages: development, pre-production, production and post-production. In Europe, a broadcast season often has 13 episodes, and many broadcasters and platforms prefer a series that can grow to 52 episodes or more. It is one of the most rewarding formats in visual storytelling, and one of the most demanding. You do not make one good film. You make the same good film many times, and each episode has to feel fresh while the whole series feels like one world. This guide explains each stage, so you know what to expect before you start.

Animwood is an animation studio from Poland with more than 100 episodes of animated series and cartoons behind us. We have made content for kids, young adults and adult audiences, from educational series and cartoons to animated documentaries. Three of our original series have secured public funding in Poland. What follows is how we work, and why the process matters as much as the idea.

Animated series production is the full path from a first story idea to finished, delivered episodes. We split it into four stages: development, pre-production, production and post-production. The same logic applies to cartoons, animated documentaries, serialized content and short-form micro-dramas for web, TV or streaming. Only the episode length and the pace change.

The first conversation with a producer goes faster when you arrive with a few basics. The most useful input is a short brief that describes the idea, the target audience, the age group, the tone and any existing materials, such as a script, a book, a logo or reference images. If you do not have all of this yet, a clear idea is enough, and the rest can be built in development.

The producer then helps you make the key decisions that shape the whole project: the format and episode length, the number of episodes and seasons, the animation technique, the financing route and the delivery platform. These choices affect the budget and the schedule more than any other step, so it pays to settle them before the first full script is written.

Development sets the direction of the stories. It includes writing, concept development and visual development, and it is where we work out the ideas, the setting and the world.

1.3 Visual development

Visual development runs next to the writing. We start with creative direction, research, moodboards, concept art, sketches, styleframes and colourboards, so the look and the colour mood of the series are clear. Then we move to production designs, backgrounds, character sheets, storyboards, stillomatics and animation tests. We have taken series through this stage for our own original IPs and for clients, including The God's Story, where we have produced more than 35 episodes by 2026, and the animated documentary series HerStory for ABC News and Good Morning America.

2.2 Rigging and technical tests

For cut-out animation, we rig the characters and prepare extra assets such as hands, mouth shapes for lip-sync, legs and outfits. The choice of software matters here, and we compare the main tools in our guide to Moho and Toon Boom. We also test compositing and post-production on a small amount of material. This shows us how long each step really takes and lets us solve technical issues before they can multiply across dozens of episodes. Voice talents are also chosen at this point.

Production takes the most time. It lasts for months and involves many people, led by the series director and the episode directors. It includes animatics, layouts, illustration, animation and compositing.

3.1 Animatics

The animatic is the first time the storyboard moves. It is a sketch of the animation, with rough drawings, transitions, temporary sound and voice. Here we decide the rhythm, tempo and length of the episode. Animators, layout artists and illustrators all work from it, and the director uses it to control the whole episode.
 

3.4 Animation

Cut-out animation moves through blocking, feedback from the animation director, and tweening, which adds the movement between the key poses. Cel animation needs even more steps, because more of the movement is drawn frame by frame. To choose between the two, read our guide to the best 2D animation style for an animated series.

3.5 Compositing and colour correction

Compositing brings everything together: character animation, backgrounds and layered scenes. This is where we add effects like mist, smoke and glow, and camera moves such as slow zooms, rotations or a handheld feel. Colour correction finishes the look and gives the series its cinematic quality.

Post-production is where a finished picture becomes a finished episode. Sound is half of what the audience experiences, and in animation it is built completely from scratch, because nothing is recorded on a set.

Producing one episode usually takes from 4 to 12 weeks. Shorter episodes with simpler visuals sit at the lower end of this range, and longer episodes with detailed backgrounds or more complex animation sit at the upper end. Episodes move through the pipeline in parallel, with several of them in different stages at the same time, so a season of 13 episodes does not take 13 times longer than one episode. Development and pre-production come before this and are planned separately. A strong preparation phase is the best way to protect your schedule and budget. For the general logic behind these stages, see our article on the animation production process.

The God's Story is an animated series for children based on biblical stories, and it shows how a fixed process works over a long run. By 2026 we have produced more than 35 episodes of the series. At this volume, every episode follows the same pipeline described above, from animatic to final mix, with the same characters, rules and visual direction. This is the main advantage of a clear process: new episodes do not start from zero, and the look and tone of the series stay consistent from the first episode to the latest. You can see more on the The God's Story project page.

European studios know how to combine creative ambition with public funding, co-production models and broadcaster requirements. Animwood has secured public funding in Poland for animated series three times and has delivered over 100 episodes across educational series, cartoons, series for young adults and animated documentaries. If you plan to co-produce, read our guide to animation production and co-production in Poland. If you are building your own world and characters, our article on animated IP development is a good place to continue. You can also see the process in practice in our animated series projects and in our animated series articles.
 

How many episodes should an animated series have?

In Europe, a broadcast season is often 13 episodes. A series with long-term value is usually planned for several seasons, and many producers aim for at least four seasons, which is 52 episodes.

How long should an animated episode be?

Common lengths are 7 minutes and 11 minutes, mainly for children and family audiences. Series for young adults and adults often run 22 to 25 minutes.

What are the stages of animated series production?

There are four: development, pre-production, production and post-production. Development covers writing, concept and visual development. Pre-production prepares the technical assets. Production includes animatics, layouts, illustration, animation and compositing. Post-production adds final voice, sound design and music.

How long does it take to produce one episode?

Producing one episode usually takes from 4 to 12 weeks. The range depends on the episode length, the animation technique and the complexity of the visuals. Several episodes are produced in parallel, so a full season does not take 13 times longer than a single episode.

What is the difference between cut-out and cel animation?

Cut-out animation moves characters built from separate layers and rigged parts, which makes long series faster to produce. Cel animation draws the movement frame by frame, so it needs more steps and more time. We explain the difference in our guide to cut-out and cel animation.

Can an animated series be financed with public funding?

Yes. In many European countries, public funding is a major source of financing for animation, and Animwood has secured public funding in Poland for animated series three times. Rules and amounts differ by country and programme, so always check the current conditions of the fund you plan to apply to.

Can micro-dramas or short serialized content be animated?

Yes. The same four stages apply. Only the episode length, the pace of the story and the delivery format change for web, TV or streaming.

How much does an animated series cost?

The cost depends on the episode length, the number of episodes, the animation technique and the level of visual detail. Two series with the same number of episodes can have very different budgets, so we prepare an estimate after reviewing your brief.

What do I need to start an animated series project?

A short brief is enough: your idea, target audience, preferred episode length and number of episodes, and any existing materials. The rest can be developed together.

Do you produce series for clients or only your own ideas?

Both. We develop and produce original series, and we also work as a production partner on series for clients, including long-running projects.

If you are planning an animated series, cartoon, animated documentary or micro-drama, send us a short brief with your idea, target audience, preferred episode length, number of episodes and timeline. We will review it and suggest the format, technique and next steps.

newbusiness@animwood.com.