Pip and Posy

52 x 7 min CGI series Magic Light Pictures and Blue Zoo

Pip and Posy is adapted from the hugely popular books by Axel Scheffler, translating the intricacies of character’s relationships and quirks from the books was key to maintaining the charm of the books. These boards were less about action more about feelings, the client needed to see emotional changes and the distinct personalities of all the characters, from the ever energetic optimistic Posy to the dreamy fairy like Jamilla. Below are sections of final animatics, they have editors notes for animation on them.

Fireman Sam Season 12

13 x 10 min CGI series IOM and Wild Brain Studios

Following the adventures of Sam, the gang and the adventurous children of Pontypandy. Creating 3×10 minute boards full of action and adventure, from cameras swinging across the sea with boats, to racing downhill with burning BBQs! I worked remotely for the studio in Canada, with regular zoom meeting with the directors and supervisors.

Manipulating the 3D backgrounds initially by importing models into storyboard pro, setting up angles and focal lengths, then layering up the drawn characters on top.

Unfortunately I am unable to share work from this production.

Go Jetters Season 3

52 X 11 min CGI series Blue Zoo and Cbeebies

I worked inhouse at Blue Zoo on the fantastically fun and energy packed show Go Jetters for Cbeebies.

Creating dynamic, action based boards, lots of flying, moving, spinning cameras (and characters). My favorite being the ever unfortunate Grandmaster Glitch who was always a pleasure to bring to life!

Dennis & Gnasher Unleashed!

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52 X 11 min CGI series Jellyfish and Beano Studios

I worked on this CGI version of a Beano classic in house from start to end. The storyboards were completed using a new software Panelforge, which allowed me to import basic 3D sets and T pose character models (as you can see in the visual difference of the below boards). I was able to manipulate the cameras in a real world fashion allowing me to really push the shots and become heavily involved in the layout process. As the storyboards fed the camera positions directly to the animators, the staging had to be absolutely on point. Trying to retain the charm (sometimes!) of the original characters, whilst bringing them to a modern audience, involved boarding extreme skateboarding/drone piloting aswell as spaceships flying down the internal organs of a canine!

Dennis and Gnasher Unleashed! was a pleasure to work, i definitely unleashed my inner Dennis!

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Wishenpoof 2 Storyboard

26 X 22 min CGI series DHX

Bianca is just like any other little girl, except for one teensy little thing. Bianca has Wish Magic, so she can make wishes come true. Whether she’s at home in Wish World, at the Willow Tree with her fairy friends, or at school with her non-fairy friends. Bianca and her hilarious teddy bear sidekick Bob navigate day-to-day problems with a little help from Bianca’s mom and of course, wish magic.

Using storyboard Pro I completed 3 boards for Wishenpoof 2 as a remote artist reporting to the Canadian studio.

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Little People Storyboard

52 X 11 min CGI series HIT Entertainment / DHX MEDIA

Based on the iconic Fisher-Price® Little People® brand, the new series features imaginative and energetic characters that are contemporary and relatable to today’s young children. The aim of this series is to bring an energetic group of characters to life through animation and song. 

Working remotely i completed 3 boards for Little people using Storyboard Pro.1

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Messy Goes to Okido Storyboard

52 X 11 min CGI/2D/live action series Doodle Productions and CBeebies

Messy goes to Okido’ is a comedy adventure, science-educational show following a curious, lovable monster called Messy. The series aims to visually bring science to life using stories, comedy and adventure. Messy’s questions cover all aspects of science, from nature and biology to technology, from atoms to outer space, and everything in between.

Working in house from the start of the show, initially as a Storyboard assistant learning how the show was to be done, I became a Storyboard artist in my own right towards the end of the series. Using both live action and animation I had a great mix of formats to explore.

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