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Music Theatre Wales

I recently did a quick nice job for Music Theatre Wales thanks to my producer pal Joseph Bell (aka Side Burn Panda). The brief was pretty straight forward and Joe had already mocked up a storyboard, so it was a chance to jazz up the photographs I was provided with some 3D trickery. 

The score that John Hardy Music created for it really brings the video to life. Artistic Director, Michael McCarthy did a nice write up about it here:

It was also nice adding a bit of life to this wrench to promote their opera, The Golden Dragon.

Royal British Legion – Passchendaele 100

To commemorate the 100th anniversary of the Battle Of Passchendaele several films were made by Dan Snow‘s production company Ballista Media for The Royal British Legion. These included a series of 360 videos that I was asked to explore using archive footage and interviews with soldiers who fought in the battle.

Over The Top‘ tries to capture the feeling of that day. The mud, the rain, the tension, and the realities of people who knew each other struggling through the carnage. My main aim was to represent what the interviewees were describing in a respectful, but powerful way.

The images and archive film used were all produced throughout WWI, so the film represents the situation with artistic license in a way that an accurate recreation would struggle to do. The only visually factual elements are the horizon and the handwritten landmark references. This and the arc of the Sun anchor the imagery together. The light levels were animated to represent heart pounding and erratic gun fire. Video footage with camera moves were stabilised so that their content was fixed in the 360 space to make them feel more real – the panning action of the camera now acting as a view finder to the scenes. 

Having never made a 360 film before, I was very conscious about keeping the format relevant. The immersive nature of wearing a headset is powerful but as a viewer I still like to know where I’m supposed to look, while also benefitting from the ability to wander. In this case, the benefit of 360 is the surrounding sense of danger. During the calmer moments there’s more time to look about. During the fighting, the atmosphere is more claustrophobic. Keeping the point of focus generally in the one half of the space also made sense in relation to the forward direction of trench warfare.

It was a privilege to be asked to work on this and I’m glad to hear it’s got a good response from the Royal British Legion. While compositing it all was dark at times, it’s almost impossible to relate to what these people lived through.


Here’s two Chelsea Pensioners taking in the film at the Passchendaele 100 launch. Image by The Royal British Legion.

Visual Editing, Design and Composting by Louis Hudson
Sound Design by Pete Styles
Produced by Joseph Bell

Veterans Interviewed: James Dorrofield Wade, Ulrick Bernard Burke, Charles Heaton, Bert Fearns, 
Veteran interviews provided by the Imperial War Museum
Archive film provided by Critical Past
Images courtesy of the Robery Hunt Collection, Australian War Memorial, and National Library Of Scotland

A Ballista Media production.

The Boy In The Striped Pyjamas – Northern Ballet

Here’s a thing I co-directed with Craig Bush, as part of a series of videos promoting Northern Ballet‘s production of The Boy In The Striped Pyjamas. Craig decided it would be interesting to pair John Boyne‘s voice with animation to get across the themes discussed in the film. After discussing the beats of the interview, I started sifting through some very sombre reference material.

The visuals took their cue from Mark Bailey’s costume designs, so I went about playing with Kyle Webster‘s watercolour and pencil brushes to find a style that suited. I’m continually impressed with how life like an effect you can get from his brushes. However, it’s still pretty essential to be familiar with how to handle the real thing. 

It was then a constant balancing act of using some visual drama, and treating the subject matter with the respect it deserved. The comping, reveals, ink bleeds, and camera work were done in After Effects. I was pretty pleased with how ink runs turned out. The ballet performance was rotoscoped in Photoshop, using its increasingly versatile video/animation tools. I hope they continue to build on them. 

Directed by Craig Bush & Louis Hudson
Animated by Louis Hudson
Music composed by Gary Yershon
Produced by Joseph Bell




BBC Three Big Field

Recently I had fun animating laser eyes and compositing exploding melons for BBC Three’s second series of Big Field. The latest series chops up dialogue from TV programmes and interprets them in a silly way with actors in a big field. The series is created by Darren Dutton and Jonny Roberts.

Big Field 2 - Judge Rinder

The sketch I worked on blends up Judge Rinder into a laser shooting, moron hating, tap pervert. You can watch the rest of the sketches on YouTube or check them out on the BBC iPlayer




Jingle Bad Man

It’s a bit late for anything Christmas related, but here’s something I forgot to share and is probably an accurate portrayal of what Santa’s up to at this very moment.

In the run up to Christmas I collaborated with Rumpus Animation on a corporate job. The animation and Pete‘s music was so banging that it would’ve been a shame not to edit it down. Here’s the result:

Designs/Director – Louis Hudson
Lead Animator – Joe Wood
Animators – Jake Harvey, Nina Noon
Music – Pete Styles

Here’s a couple of takeaway GIFs:

BBC Three Snapchat

Ian‘s work at BBC Digital Guerrillas recently involved a takeover of BBC Three‘s Snapchat channel. Ian and Rob Linsey made some nice documentaries for it and commissioned some ‘pick-me-up’s to go between them. Here’s Louis’ week-themed contributions:

BBC Three Snapchat: MondaysBBC Three Snapchat: HumpdayBBC Three Snapchat: Friday

GIFs for BBC

Since Ian started full time at BBC Digital Guerrillas I’ve had the chance to work with him, churning out animation on some different projects for BBC. Here’s a little round up of some of them.

BBC Shakespeare

BBC Shakespeare ran activities on Shakespeare’s 400th Death-iversary and they wanted some animations for their social media channels. I made a few Gilliam inspired animations that fitted the tone. The ‘Hamlet’ animation below was also projected at the BBC Mailbox studio. I also made a daft Birthday/Deathday Cake GIF that didn’t get used but I was quite pleased with.

BBC Shakespeare: HamletBBC Shakespeare: IdentityBBC Shakespeare: Infinite MonkeysBBC Shakespeare Birthday/Death


BBC Odd Taste

Digital Guerrilla’s did a week-long reactive comedy takeover of BBC Taster. It was a really interesting project that lumped together comedians, developers, illustrators, photoshoppers and animators into virtual writers’ rooms on Slack and Google Hangout. Here’s a couple of things I made for Jimi Hendrix’s birthday and Wear Your Band T-Shirt To Work Day.

Jimi Hendrix Birthday

Wear Your T-shirt To Work Day


BBC Three Launch Vines

As BBC Three moved online I was asked to make a couple of mashups of their launch video for use on Vine. They got a nice reaction but weren’t used in the end. I suppose Greg Davies mucking about the apes from 2001 is a bit of stretch for the younger demographic.

Fish4Dogs – Fine Dining For Dogs

Here’s an online advert made for Fish4Dogs for their new luxury range of treats. The treats are pure squid without any additives so the aim was to promote the purity of the food and the tongue in cheek nature of treating your dog to the fine dining experience. Fish4Dogs came with the central idea of high class dogs in a restaurant, and their new branding was pretty strong. Taking those as inspiration, it was a fairly easy process taking that forward.

Written and Animated by Louis Hudson

Voices: Myles McLeod and Sinead Keenan

Sound Design: Pete Styles

Dialogue recording: Tom Angell

Music: ‘Royal Garden Party’ by David Tobin / Jeff Meegan / Jim Gailloreto. Published by Audio Network.


A fair amount of time was spent choosing particular breeds of dogs that suited the character’s personality types. Meanwhile I settled on a UPA style of design that lent itself to a sense of style and comedy.

Fish4Dogs Designs

Cowboy – Happidy Burdibay

Here’s a doodle animation Louis made for Flatpack Film Festival‘s Ian Francis’ 40th birthday. It features cowboys, beans and exuberance. The sheer amount of textures and beans broke the video format so watch the video in 4K mode if you can.

DuckManBoy Behind The Scenes

Thanks to everyone who has watched and shared DuckManBoy so far. It was an honour enough to be a Vimeo Staff Pick but it’s now become one of Nickelodeon’s most viewed International Shorts. Here’s some material around the making of DuckManBoy, including a podcast interview Ian and I did with Skwigly Magazine‘s Ben Mitchell:


Originally DuckManBoy started life as an off-the-cuff pitch for Channel 4’s Blap series. It was a much more adult orientated version of what we pitched to Nickelodeon, involving a man-child addicted to savoury meat shakes facing up against Fat Barry, an evil pub landlord. There were a lot of things we really enjoyed about the pitch, particularly the influence of the low-budget nature of the 1960s Batman. We also wanted to make the most of the mixture of mundane and surreal that’s encompassed a lot of our work.

At the time it was called Duckman. We hadn’t heard of the 90’s TV series of the same name. Still haven’t watched it.

When we found out we were one of 8 pitches selected from over 600 submissions we set about refining the story and characters. We spent a lot of time working on the dynamic between the characters and their own motivations. Specifically, Dwayne needed to be motivated enough to drive his own plot, but still retain enough flaws to make him absurd.

A lot of the writing process was spent replacing foes with equally left-field characters who better served the plot. Originally, a crew of Nuns looked after Dwayne (“Nun&Nun&Nun&Nun&Duckman“) before we pitched to Nickelodeon. We then changed them to be evil minions. The very good point was quickly made that the U.S. are particularly against the idea of religion in kids’ entertainment. Ian subsequently reinvented Fat Barry as naturist-gone-insane, Richard Battenburger, ruling over an army of zoo animals. Suddenly all of the ingredients of the story were literally using themselves up, which freed up a lot more time for energy and jokes. It also meant we were making a kid’s short based in a sort of nihilistic abattoir – in a good way.

DuckManBoy Character progress

The design style took it’s cue from Don’t Fear Death, with an eye to fit the characters in more elaborate watercolour style backgrounds. In terms of character design, Neil, started his stern life almost fully formed. He felt like the perfect embodiment of someone clinging onto their dignity but by their very nature can’t. Having a daft duck’s head also puts him through a kid’s perspective of how adults are always trying to be adults. Neil became the irreplaceable part of the film and so the other characters started to follow his lead.

Dwayne took the longest to work out even down to his proportions. In the end I was happy with the style of scruffy kid who might turn into a stoner one day, but it would have been nice to have completely cracked his look in the way that Neil manages to sums up his character.

Battenburger was a lot of fun to design because his personality shifts so much. He quickly established himself as a flabby riff on David Attenborough with a dash of Alan Whicker thrown in. He was also an excuse to have most of the main characters wearing suits…. Maybe Dwayne should have a suit too.


Ian’s already written about our experience of the casting and voice recording HERE. In brief, we like to prioritise specific casting so that the characters’ performance can really live. Recording sessions are always the most exciting part of productions. The script, rhythm and character foibles are all set in place. It draws a line under many tweaks of the script, and it injects a huge amount of inspiration for the long manual slog of animation production. When you’ve captured a performance from a great cast like Rasmus HardikerMike Wozniak and John-Henry Falle you feel obliged to try to match the gold they’ve given you.

DuckManBoy Cast Photo


Animation Production:

As usual all of the scenes were animated in Flash and composited in After Effects. Flash was the first animation software that I learnt and I still use it for most productions because so many other freelancers have access to it through the Adobe Suite. Which means that people are either already trained up on it or have access to it when working remotely. It’s certainly never been perfect but hopefully it will be slowly redeemed now that Adobe have refocused on it as ‘Animate CC’.

We had a few people working in the studio. Ross Butter was on board for the longest. He travelled down from the Highlands to to help lift a good chunk of the animation. He also designed all of the animal henchmen, including Hendrick riding a meat trolley pushed by Party Cow. We sent him off with at least a fortnight’s worth of Polish cheese and a duck caller.

Other notable shoutouts go to animator Tom Lucas, who I now call the Miracle Man Of Cardiff, and Vanessa Hill who powered through the vast majority of colouring of the film.

Ross Butter and Hendrick

Leaving CheeseDuck Caller



The watercolour effect for the backgrounds came about as way to be more ambitious with the style but not compete too much with the central characters. The washiness of watercolour lent itself to a more stained, shabby world. The backgrounds were drawn in Flash so that it would be easier to control how characters interacted with them. The line art was then given texture and painted in Photoshop. After a search I found some watercolour brush presets designed by Michael Koran. You can download a copy of the brushes at his Stumpy Pencil blog. The results were surprisingly believable and the technique was quite forgiving. I’ve now discovered Kyle T Webster‘s watercolour brush pack which is really flexible and can produce very realistic results for the right sort of job.09 Lair wide shot 08 Zoo07 Skyline 06 Bedroom high angle 02 TV Sponsored

11 Portrait Curtain


Rob Connor created the music and Mark Ashworth did the sound, working in a similar way to how they did on Don’t Fear Death.

For the opening sting we gave the brief of a surf/garage version of the 60s Batman theme, and Rob nailed it. Also, an impressive amount of craft went into orchestrating the bad-guy lair theme so that it co-ordinated with the jokes and different tones. A lot of the humour comes from people bigging themselves up and being immediately undercut, so demanded a lot of drops in the music and playing around with percussion.

Mark’s work really brought everything alive. Like last time, we focused on a realistic soundscape so you could really feel the environment. The exception being Neil’s duck-torrets. The call is actually a sample from a poor quality YouTube clip of Duck Dynasty’s Phil Robertson. Mark did a great job of cleaning it up, but it still retained a dirtiness that made it really jar in the best possible way. We gave both Mark and Rob duck callers to integrate into what they were doing, but when it came to Neil there was no need. Here’s Rob noodling around with the newly found lyricism of duck call samples:


Nickelodeon UK:

We can’t understate how thankful we are to everyone at Nickelodeon for believing in us and letting us go through this process. Particular thanks go to Alexi Wheeler who’s emphasis was on being creator lead. We started out fully expecting everything would have to change, but all of the notes and meetings were very limited and concise. The rest was left to us to express ourselves and work in the way we felt best. That was really empowering and helped us retain the personality that we were going for without second-guessing what was expected too much. Here’s a present I painted for Alexi afterwards:

DuckManBoy WatercolourHere’s the full cast and crew credits:

Rasmus Hardiker – Dwayne
Mike Wozniak – Neil
John-Henry Falle – Sir Richard Battenburger

ProducersLouis Hudson & Ian Ravenscroft
Director – Louis Hudson
Writer – Ian Ravenscroft
Additional WritingRob Frimston

Animation – Louis HudsonRoss ButterTom Lucas, Matt Walker
Studio AssistantsVanessa HillAlex JolliffeWaheeda Rahman

MusicRob Connor
SoundMark Ashworth
Dialogue RecordingSoho Square Studios

Executive in Charge of Production – Alexi Wheeler
Production Co-ordinator – Matt Kilroy
Consulting Producer – Suzanne Lang

Special Thanks to Nina Hahn, Jules Borkent


If for some reason you haven’t watched it yet, here’s DuckManBoy: