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I began my professional experience at Filmfair in London, as assistant to Ivor Wood, most famous for his later Postman Pat series on BBC TV. I animated Stopmotion children's TV series for him, including “Hattytown” and the “The Wombles”. After leaving Filmfair I spent the next few years in the industry working in different London studios – most notably, the Richard Williams and the Hannah-Barbera Studios – learning my craft in 2D Animation. At this time I also worked as an illustrator and model maker. Though my field is Animation, over the years I have gained additional experience in directing live action, film and video editing, sound production, lighting and camera.

In 1983 I met the director Tim Pope, who wanted me to create some pixilation sequences for a pop promo. From this time on I worked exclusively with Stopmotion techniques. I went on to make a number of promos and commercials with Tim as well as other directors. Tim asked me to be the Animation Director for his 1986 award-winning Tuborg: Human Train commercials. Following on this high profile success, Bob Keen invited me to be the Animation Director for the Stopmotion sequences in two horror movies - “Hellbound: Hellraiser 2” (1987) and “Clive Barker’s Nightbreed” (1989).

While working on “Hellbound” I began to use computer technologies to aid in my Stopmotion work. I had previously experimented with a variety of frame-grab technologies to try and find a camera-driven method of surface measurement. Then Bob Keen gave me an Atari 1024 and its hardware plug-in SAM, and this proved to be an excellent way to get minutely accurate surface measurements, which we needed to create shots that would cut seamlessly with live action, as the visionary perfectionist Clive Barker required. He should have waited for computers. Long before the breaks-through in computer hard- and software made it a production possibility, it was clear to Bob and I that computers were going to take over from Stopmotion as the best means of creating photo-convincing shots. Henry Selleck and Aardman prove that wrong, but almost all the rest of FX movies prove it right.

In 1996 I got my first opportunity to work with CGI when Bob brought me back to Pinewood where he was developing a TV series concept, “Dragoncharm” using Alias/Wavefront's PowerAnimator. For the next ten years I worked exclusively with PowerAnimator and, since its introduction, Maya, on such projects as “Harry Potter and The Chamber of Secrets”; “The Little Vampire”; and “The New Captain Scarlet”.

In early in 2008, Brown Bag Films in Dublin asked me to work with 3DS Max to help make a couple of episodes of “Olivia”, a Nickelodeon TV series that was first aired in April 2009. In 2009 I worked remotely, again using 3DS Max, with BUG AS in Bergen, Norway, on a Disney Channel TV series, “City Of Friends”, to be aired in 2010.

In 2010 I did the animation for a number of commercials with Hectic Electric in Amsterdam. I spent the last quarter of 2010 in Kuala Lumpur, Malaysia, helping to mentor the animation and production team at SHOCK3D. Since my return I have been involved in other projects, writing and working with the music publishing company of which I am a director, Atlantic Screen Music Ltd.


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