Whether you're in need of pitch boards, rough explorations, normal boards or more animated ones,
Prickly Pear Animation is ready to work with you. If you have a project you'd like to collaborate on, get in touch! Scroll down to see more projects. |
The Ghastly Ghoul
(Service Work for Dream Logic)
This was an exciting opportunity to work on a Halloween TV-Special with the talented people at Dream Logic.
These sequence is set on the eve of Halloween when an interdimensional portal opens for monsters to pass through to the human world.
I was asked to board this using 3D models to assist the layout department as this was a pretty fast moving production.
3D models provided by client, I added camera placement, lighting, portal and fog.
These sequence is set on the eve of Halloween when an interdimensional portal opens for monsters to pass through to the human world.
I was asked to board this using 3D models to assist the layout department as this was a pretty fast moving production.
3D models provided by client, I added camera placement, lighting, portal and fog.
Here's a rougher sequence from later in the film when two new friends discover that their paths have crossed in the past.
Before using the 3D models to lock down the animatic, I would always do a rough, sketchy pass first.
I really enjoy this part of the process as you're not being precious, but just quickly exploring beats, acting and ideas.
Quick to draw, quick to change!
Before using the 3D models to lock down the animatic, I would always do a rough, sketchy pass first.
I really enjoy this part of the process as you're not being precious, but just quickly exploring beats, acting and ideas.
Quick to draw, quick to change!
This next sequence was for the opening of the film.
As with any opening they are always tricky to get right in order to set up the rest of the film.
The brief was to make decorating for Halloween seem a bit violent and murderous by using
somewhat obscure compositions and hiding the identity of the parents until their daughter shows up.
Because of the additional exploration for this sequence, I would work even rougher with just some simple shading to suggest the mood.
I would also keep the panel count low and instead pitch the action of each drawing to the director.
This way we were able to move faster to figure out what worked and what didn't.
Again, this was a really fun sequence to explore ideas on.
As with any opening they are always tricky to get right in order to set up the rest of the film.
The brief was to make decorating for Halloween seem a bit violent and murderous by using
somewhat obscure compositions and hiding the identity of the parents until their daughter shows up.
Because of the additional exploration for this sequence, I would work even rougher with just some simple shading to suggest the mood.
I would also keep the panel count low and instead pitch the action of each drawing to the director.
This way we were able to move faster to figure out what worked and what didn't.
Again, this was a really fun sequence to explore ideas on.
Fisher Price
(Service work for Nexus Studios)
This was done as part of a pitch for an advertisement for Fisher Price.
The general concept was that the characters would interact with large versions of the Fisher Price toys (coloured in elements).
Patrick Osborne, the director on this project, provided me with the initial rough thumbnails that I would take to develop further.
The general concept was that the characters would interact with large versions of the Fisher Price toys (coloured in elements).
Patrick Osborne, the director on this project, provided me with the initial rough thumbnails that I would take to develop further.
LPS Pitch Teaser
(Service work for Boulder Media)
While working at Boulder Media, I was asked to create an animatic of a teaser for a potential feature.
Working off a short script, this animatic was produced within 2-3 days and was requested to be "animated" so production could move faster.
Working off a short script, this animatic was produced within 2-3 days and was requested to be "animated" so production could move faster.
Motorcycle Chase
(Prickly Pear Animation Project)
This grew out of an exercise from a storyboard class at StoryboardArt.org.
One of the really fun challenges I set for myself with this assignment was to give the protagonists only one gun with one bullet
and then see how long I could hold that tension of when do they should use it,
and as a result what other creative ways can they battle themselves out of a series of tricky situations.
This project have been sitting on the WIP shelf for a while now,
but I hope to soon be able to pick it up again and re-work the entire sequence (including a proper ending)
One of the really fun challenges I set for myself with this assignment was to give the protagonists only one gun with one bullet
and then see how long I could hold that tension of when do they should use it,
and as a result what other creative ways can they battle themselves out of a series of tricky situations.
This project have been sitting on the WIP shelf for a while now,
but I hope to soon be able to pick it up again and re-work the entire sequence (including a proper ending)
Cleaned Up Section
Rough pass exploring ideas and beats
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The Heroic Quest of the Valiant Prince Ivandoe
(Service Work for Sun Creature / Cartoon Network)
Ivandoe was a wonderful experience to work on a faster paced style with lots of focus for comedy and personalities.
It was my first time working on this type of show and a big challenge, but really fun!
Every couple of weeks we would pitch my work to the director, producer, showrunner and supervisor to come up
with ways to improve the story and comedy of the episode.
Since Ivandoe, I've had the opportunity to work on more shows of this type, but I can't share that yet due to NDA's.
It was my first time working on this type of show and a big challenge, but really fun!
Every couple of weeks we would pitch my work to the director, producer, showrunner and supervisor to come up
with ways to improve the story and comedy of the episode.
Since Ivandoe, I've had the opportunity to work on more shows of this type, but I can't share that yet due to NDA's.
This Blessed Curse
(Prickly Pear Animation and Pixel Giants IP)
Part of a 15-minute short film for adult audiences we are developing in collaboration with Pixel Giants, set in medieval times in Cyprus.
These boards where produced early in the development stages as part of securing funding for further development.
These boards where produced early in the development stages as part of securing funding for further development.
Otis
(Service work for Brown Bag Films / Apple TV+)
One of the fun challenges on this project was that I was asked to limit the amount of shots for an 11-minute episode to around 60 shots.
The client also asked for the camera to follow characters around.
Coming from a background of photography, I really enjoyed this challenge of organically moving the camera around from one setup to the next.
This first clip is from a Christmas Special which was also a musical so I would try to keep the camera dancing around with the characters as
Otis discovers the first day of snow and wakes up all his friends.
The client also asked for the camera to follow characters around.
Coming from a background of photography, I really enjoyed this challenge of organically moving the camera around from one setup to the next.
This first clip is from a Christmas Special which was also a musical so I would try to keep the camera dancing around with the characters as
Otis discovers the first day of snow and wakes up all his friends.
This second clip is from a different episode where one of their friends is having a hard time dealing with the heat under the blasting sun.
One of the big challenges I found on this episode was that the set was huge, but sometimes
I needed to make it feel compressed so that the characters could talk and interact with each other,
while other times I needed it to feel like different locations.
Having an underlaying understanding of lenses and how they affect space
served me well while trying to solve this issue.
One of the big challenges I found on this episode was that the set was huge, but sometimes
I needed to make it feel compressed so that the characters could talk and interact with each other,
while other times I needed it to feel like different locations.
Having an underlaying understanding of lenses and how they affect space
served me well while trying to solve this issue.