Emmy-nominated series for Nickelodeon
Focus: performance-driven storyboarding, comedic timing, character acting
Focus: performance-driven storyboarding, comedic timing, character acting
Max and the Midknights was one of those Tintin-esque shows I had always dreamed of
working on since I was a kid. It has heart, charm and it's hilarious - some of the best writing I've seen in ages!
working on since I was a kid. It has heart, charm and it's hilarious - some of the best writing I've seen in ages!
I had the opportunity to help explore the personalities of many characters, particularly the villain Gastley and his cronies throughout the first season. The show's energetic tone invited broad, expressive acting, and every department embraced it. The scripts encouraged bold performances, and the voice actors brought another layer of nuance and humor to every scene. Watching voice director Kristi Reed's recording sessions was especially inspiring.
I worked closely with episode director Kirk Thatcher, supervising director Chris Perry, and showrunner David Skelly and we had an absolute blast crafting these sequences together.
During production, I created over a hundred
visual draw-overs for show-runner and director David Skelly, to direct the overseas animation
team at Xentrix Studios, and help them better interpret storyboard intent. These annotations clarified
acting, posing, silhouette, staging and readability while preserving the original storyboard.
visual draw-overs for show-runner and director David Skelly, to direct the overseas animation
team at Xentrix Studios, and help them better interpret storyboard intent. These annotations clarified
acting, posing, silhouette, staging and readability while preserving the original storyboard.
