She Started as an Intern… Now She Leads Nigeria’s Top Animators

Animation is often described as the art of breathing life into drawings, but behind the magic are supervisors who ensure every frame connects, communicates, and resonates. At Spoof Animation, one of Nigeria’s fastest-growing studios, Omotolani Oluwafunmilayo plays a key role in making sure projects meet both creative and technical demands. From her start as a student at Spoof Academy to becoming Animation Supervisor, Funmilayo has witnessed firsthand the growth of Nigerian animation and the challenges of guiding a diverse team.

In this conversation, she opens up about her daily role, the pressures of supervision, and the future of Nigerian animation.

Interview

Funmilayo, you started your journey as a student at Spoof Academy before rising to Animation Supervisor. Looking back, what does this journey mean to you personally and professionally?

My name is Omotolani Oluwafunmilayo, I work at Spoof animation, I’m the Animation Supervisor at Spoof Animation. I’m an animator, storyboard artist and an illustrator. I’ve been in the creative space for 5 years now. I started as a student at Spoof Academy, then an intern before finally becoming a staff.

What does a typical day look like for you as an Animation Supervisor, balancing between creative reviews, team management, and production deadlines?

A typical day for me as an Animation Supervisor at Spoof Animation starts with a team check-in. I meet with the animators, cleanup artists, and background team to review what was completed the day before and set priorities for the day. From there, I dive into reviewing shots (clean up, Animation coloring) making sure the animation is approved by the animation director, and aligns with the director’s vision. I give notes where necessary, always aiming to balance quality with deadlines.

Much of my day is spent bridging communication between the team and production management. I make sure files are flowing smoothly through the pipeline and that no one is stuck waiting on someone else’s work. If any bottlenecks appear say a background is slowing down coloring, I step in to redistribute tasks or guide the team toward a quicker solution.

I also spend time mentoring. If a junior animator is struggling with a complex scene, I’ll sit with them and break down the performance or timing.

By the afternoon, I’m usually in feedback sessions, giving detailed notes on cleanup, or animation coloring. I also go over director or client notes and translate them into clear, actionable steps for the team. Toward the end of the day, I prepare a progress update what shots are done, what still needs work, and what challenges we’re anticipating.

Before logging off, I double-check that all files are properly submitted and organized so the next day starts smoothly. Every day is a mix of creative decision-making, problem-solving, and leadership, but at the heart of it, my role is to make sure the animation looks great, the team feels supported, and the project stays on schedule.”

Supervising multiple teams often means dealing with competing timelines and pressures. What has been the toughest challenge you’ve faced, and how did you resolve it?

The most challenging part is keeping multiple teams aligned when they each have different tasks, paces, and pressures. For example, animators may be waiting on layouts, while background or cleanup teams have their own deadlines. To manage that, I focus on clear communication and constant check-ins making sure everyone understands priorities and how their work connects to the bigger picture. That way, instead of teams working in silos, they move together as one pipeline.”

Depending on the project, we decide on the most suitable software before starting, since some tools offer more flexibility than others. This ensures that the creativity of the project is never compromised. If any technical issues arise that could affect production, it’s my responsibility to inform the director, project head, and operations manager, so the challenges can be addressed quickly and we can find the best way to work around them.”

On a project like Ajaka: Lost in Rome, your role was critical to maintaining consistency across intense fight sequences. Can you walk us through a moment where your supervision changed the outcome of the project?

On Ajaka: Lost in Rome, my supervision made a real difference in maintaining consistency across teams. We had sequences where the action was very intense fast-paced fight scenes with multiple characters and the challenge was keeping the animation fluid without losing clarity.

I worked closely with the animators to refine timing and acting choices, then coordinated with the cleanup and background teams to make sure their work matched that energy without slowing the pipeline. At one point, we faced delays because Clean-ups weren’t approved on time, which risked holding up coloring. I stepped in, redistributed tasks, and kept communication flowing between departments.

In the end, those sequences came out strong the action felt dynamic, the visuals stayed cohesive, and we were able to deliver on schedule. It was a good reminder that as a supervisor, my biggest impact often comes from guiding the creative details while also solving the production bottlenecks.

Competing with global studios requires more than talent—it requires standards. What practices or disciplines do you instill in your team to ensure Spoof’s work holds its own internationally?

To make sure our work at Spoof competes internationally, I focus on instilling three main standards in the team: discipline, attention to detail, and storytelling clarity. First, discipline meeting deadlines and following pipeline processes because reliability is as important as creativity in global production. Second, I emphasize detail, whether it’s staying on model, keeping animation fluid, or ensuring backgrounds and colors are consistent with the overall style. Finally, I push the team to think about storytelling and emotion in every shot, not just movement, because that’s what makes animation resonate worldwide. I also encourage constant learning studying reference, analyzing international films, and refining our craft so the team keeps growing. By holding ourselves to these standards, we make sure Spoof’s work doesn’t just represent Nigeria, but can stand shoulder to shoulder with studios anywhere in the world.

As a woman in a supervisory role in Nigerian animation, you’re breaking ground in a male-dominated space. How do you think women leaders can shape the industry’s future?

I believe more women in supervisory roles can make a huge difference in Nigerian animation. First, it brings diversity of perspective women often approach storytelling, character, and leadership in unique ways that add depth and variety to the kinds of stories we tell. Second, it creates visibility and inspiration for younger women coming into the industry; when they see women leading teams, it makes the path feel more possible. In terms of growth, diversity at the leadership level helps studios connect with wider audiences, both locally and globally, because the stories reflect more voices. For me, having women in supervisory positions isn’t just about representation it’s about strengthening the creative and cultural richness of Nigerian animation as a whole.

Finally, for young Nigerian animators dreaming of leadership roles in the industry, what advice would you give them about both craft and character?

My advice to young Nigerian animators who want to move into leadership roles is to first master your craft really understand the fundamentals of animation, storytelling, and the pipeline. Technical skill gives you credibility. But beyond that, work on communication and collaboration, because as a supervisor your success depends on how well you guide and support others, not just on how good you are individually. Be open to learning from feedback, stay curious about international standards, and always push yourself to grow. Finally, develop patience and empathy leadership in animation is about solving problems and bringing the best out of your team. If you combine skill with strong people management, you’ll be ready to take on those bigger responsibilities.

Closing

Every animated project is built on collaboration, but the quiet leadership behind the scenes often defines whether a story works or falls flat. Funmilayo’s journey is proof that discipline, empathy, and vision are just as important as technical skill. As Nigerian animation expands onto the world stage, her story is not just about frames and deadlines it’s about resilience, representation, and the promise of a brighter creative industry.