Saturday, 17 July 2021

Shelsley Walsh Hill Climb

On Sunday 4th July (yep, I know, I've been very busy so a late post here!), my partner Ben and I decided that because of limited football options that day, we would go and do something completely different: watch some car racing at Shelsley Walsh Hill Climb. Shelsley Walsh is situated in the middle of nowhere (you know, the type of place with no phone signal) around 11 miles west of Worcester. Worcester was where I grew up and we used to see some interesting cars going past our house whenever there was an event on at Shelsley, though we didn't have a car (you can't get to it on public transport) so was never able to go. So, being back in the area that weekend, I suggested it as an idea.

Luckily, there was an event on (vintage cars, even better) so we just went for it! It was reasonably priced too, at £16 per adult for a day ticket if bought before the event (it's more on the day). The gates open for spectators around 8am and I think the races finish around 5pm, so it's definitely good value for money. We didn't quite know what to expect, so only allowed time for 3-4 hours there, though if we were to go again to anything similar, I'd like to stay for longer. There was so much to photograph!

One of the benefits of it being 'in the middle of nowhere' was that the track was nestled within the countryside, making for extremely photogenic views. As I'm usually used to photographing football, this was quite a change in that respect and it took some time to get my eye in. After a while, I knew what type of shots would work (and what would not) and ended up with some pictures I was very pleased with.

It's definitely something I would love to go back to, whether that be at the same location (or elsewhere), though I don't think it will take over from the football..!

You can view the full set of photographs here.

Wednesday, 30 June 2021

EbSynth Test #2

You may remember a while ago I made this hand-painted rotoscope piece:

…And shortly after that, I started working on another. In between then and now, I got a full time gig animating on a super amazing project, I bought some shoes which don’t have holes in and I learnt how to use EbSynth. I also painted all of the 103 frames for this second hand-painted piece, along with having drawn all the outlines frame by frame in TVPaint.

The hand painted frames (some of)

So, the title of this post is called ‘EbSynth Test #2’ and you’re probably thinking, ‘right, so she’s pretty much done all the leg work for this, why is she even talking about her new obsession in this blog post’?

The outlines

Ok, so I basically didn’t want the outlines or the paint work to have gone to waste, but at the moment, realistically I would never have found the time to produce a piece in the same way I did the first painted one. So I thought this would be a great opportunity to practise colouring with EbSynth. Using it ‘just’ to colour a clip still saves a load of time (it literally took hours to scan and clean up all the individual painted frames in the previous one).

Side note: I am currently working on a piece to get smooth outlines using EbSynth- once I’ve managed that, then there’ll be a post here, so keep an eye out in the next few weeks!

Having the outlines down already put me in an advantage, because it meant I could give EbSynth something more workable to urm, well, work with. Also, another side note: I coloured in her facial features in TVPaint such as eyes, brows, lips etc as I was working quite small when painting this piece and knew painting all that detail would have added on a lot more hours. If I were to do the keyframes again, I would have painted everything as I would only be needing to paint it a couple of times, as opposed to 103.

As you can see above, I exported the PNG sequence of both the video file and some of the outlines for EbSynth. Having a solid outline for it to follow, I’m assuming made it easier for EbSynth to give a cleaner output. I also brightened the video slightly, along with adding a little contrast, to make it stand out more.

Once I knew what PNG sequence I’d be putting into EbSynth, I needed to create the keyframes. Like I said at the start of this post, I had already painted all the frames, so it was a case of picking out a couple and scanning those, rather than all of them. As this shot has a head movement and an arm movement, I wanted to make two keys which would give EbSynth enough information of each.

I made keys of the first frame and the last frame:

Frame 1 (with outlines)

Frame 103, no outlines (what I fed to EbSynth)

I scanned in the painted frames at 1200dpi and then exported the outlines from TVP of the relevant frames to Photoshop (this would act as a guide so I could resize the painted versions to match the outlines). Here, I cleaned up some blemishes on the paint work and also erased the white paper surrounds. EbSynth works well with an alpha channel and I didn’t want to sit there afterwards and remove the background of 103 frames or it totally would have defeated the object of using EbSynth. If I removed the background for the keyframes, EbSynth would use that information and keep those sections as an alpha channel too. Cowabunga, dude!

Once I had nice clean versions of the keys, I ran them through EbSynth and waited patiently for it to work it’s magic and 10 or 20 mins later (my computer is crazy slow) I had the frames ready to import back into TVP. Also, with the keys, I switched off the outline layers before inputting them to EbSynth. This was so there wouldn’t be an outline on those layers, as it wasn’t needed and would have made it look messy.

I had no idea how it would turn out, but wow I was happy with the result. It was a lot cleaner than I was expecting. Though it definitely still needed touching up in places:

Ignore the pink background- that’s just a placement background as a neutral colour to allow me to see the bits I needed to clean up better. Most of it was a case of just erasing the parts which came out of frame, though there were some bits (mainly on her hand) where EbSynth completely missed the mark. To fill these in, I used the cut brush and made a custom brush from it, allowing me to use the right colour and texture from the painted frames without the new bits standing out or looking weird. Think of it like the clone tool in Photoshop basically.

Where it missed on her hand

I also added the shading using EbSynth which I did on a separate layer. I used 3 keyframes for this and then blended them together. I don’t really add shading to my work mainly due to time constraints, though of course EbSynth allows me to add shading without much extra effort. And I must admit it looks a lot better than the stuff I’ve done previously without shading. So shading is going on everything from now on!

An improvement for this would be that perhaps I could have added the shading as I painted it or digitally added it in a more painterly way. Or even used a blend mode to make it feel more ingrained. Anyway...

So what does this mean for an independent animator like myself?

The big one: it saves so much time! I can get more done in a shorter amount of time, allowing me to spend more time focussing on style, look and story, as opposed to that energy going into drawing each frame. It literally is a game changer! To make an independent short or feature, it will really help speed the process up, meaning I could make something in a fraction of the time it would normally take. How cool is that?! 

I also don’t think a program like this will be something which takes jobs away from animators. As I have just outlined here, a lot of human work is still needed to create an effective piece. Yes, it speeds up the work, but just think of how a program like this can help the independent feature and short film industry. Less time to produce work = less cost to make work = more independent work produced without having to rely on funding = more diverse, cool, interesting animations. Win.

Ps. I know this post was kind of long- I hope I was able to explain everything in a fairly concise or at least clear manner. If you’ve any questions after reading this on EbSynth or my process, then just drop them below and I’ll try and answer as best as I can.

Saturday, 12 June 2021

Rugeley Power Station Cooling Towers Demolition

As a person obsessed with power station cooling towers and non-league football, what could be better than watching a match with a cooling tower demolition taking place with a game in progress?

Answer: nothing.

And this was exactly what myself, my partner Ben and several other football ground enthusiasts had the pleasure of witnessing last weekend. What a spectacular and unique sight!

I had watched a game previously at Ravenhill Park early 2020, which you may or may not remember from this blog post and I already thought that was a fantastic experience, especially with a rainbow popping up over the towers towards the end of the match. Having done a little research into the towers since, I discovered that they were to be demolished. Sadly, this is happening to most cooling towers up and down the country once the power station is decommissioned, often to make way for houses. I say 'sadly' here, because personally I adore the architecture of the things and find them really iconic.

I kept a close watch on when this date might be by Googling it every month or so (totally normal behaviour) as I had been keen to watch a demolition for a while (more normal behaviour), as I was slightly frustrated that I missed the Iron Bridge cooling tower demolition a few years ago.

The date and time were finally confirmed as 11am on Sunday 6th June 2021. This also coincided with a home game for Sunday league side Brereton Lion. I honestly didn't think the game would go ahead at this location as it might have been in the exclusion zone, but as the date drew closer, it became apparent that the fixture would go ahead at said venue.

As a Brereton Lion home game was off the week before due to the away team not being able to raise a team (these things happen all the time in Sunday league), driving the 88 mile journey down felt a little risky. Neither of the teams have a social media presence, so the match being on was never confirmed, other than that what was stated on fixture website Full Time FA. We decided to persist, because either way we would get to see a demolition, the football match being a bonus.

We were delighted when arriving at the ground to see that the game was on. Then we just had to wait. And wait some more. And then wait again. It was slightly delayed, tension and nerves mounting (I did not want to mess up these photographs)!

And then:

Within around 10 seconds they were gone. The game momentarily paused as the towers crumbled, then carried on like nothing happened. The game finished 1-3 (Dormans being the away side).

I doubt I'll ever witness anything like this again and for so many things to align to get these photographs, it really was spectacular and something I will never forget.

Monday, 7 June 2021

EbSynth Test #1

With the prospect arising of potentially learning EbSynth in my job, I decided to familiarise myself with the software and grasp the basics/ have a bit of a play around. I’ve been wanting to learn it ever since I became aware of it last year when the beta version was released and it’s even been sat in the downloads file on my computer since then. I did watch a few tutorials way back when, but it looked super complex and unfamiliar, so I decided against it until now.

I wished I had opened it sooner!

Spoiler alert: the results aren’t great, but for the short time I’ve spent using the program so far combined with what I have seen on YouTube and Instagram, I can tell that I’m going to have a lot of fun using it and it has massive potential. It’s also open source, meaning it’s absolutely free and you can download it for yourself HERE. This is not a sponsored post by the way(!) I genuinely am loving it so far.

So basically, EbSynth is a program (or software- do they mean the same thing?!) which allows you to create altered videos from essentially one keyframe via a texture synthesis algorithm. Pretty cool. I’m not here to really explain the ins and outs or terminology of what it can do (check out their website) for that as they can totes do it better than me, but I will explain my process and my thoughts about it etc. Also there’s loads of tutorials on YouTube about how to work it, so check those out as well!

To get EbSynth to work, you need a piece of footage you want to manipulate and then at least one altered keyframe, such as something painted or hand drawn, or whatever style or medium you want the finished video to look. It’s kind of like a Snapchat filter, but more hi-tech!

Frame from the footage

For EbSynth to be able to do its thing well, you need to pick a frame with as much readable information in, meaning you don’t want any objects to be hidden, mouth to be closed, eyes to be shut, something overlapping the character etc. My clip had a fair bit of movement in it and a head turn, so I actually decided to make 5 keyframes.

One of the keyframes

I did this because I wanted to give EbSynth as much information as possible for it to work as well as it can. As there was a head turn, it was important that I keyed both the profile view and the back of his head, or EbSynth wouldn’t have the information of what the back might look like, therefore the animation wouldn’t look as smooth. Or maybe even super glitchy and weird. I didn’t stay to find out! Perhaps I could have got away with less keys, but for someone who is so used to drawing every frame all the time, five out of 57 felt like pretty much nothing.

I sketched them out real quick in TVPaint with a bold line. I just wanted to see the parameters of the program in this first venture and then later I’ll do more experimentation with styles, colour etc etc.

Anyway, once you have the keys and the image sequence (note: sequence, not a moving image file) of your footage, then that’s where the fun can begin.

As said, totally new here, so it took a little trial and error to get a clip I was happy with. The interface of the program is pretty basic, but don’t let that fool you! The settings take a bit of getting used to. Anyway, for this final version, I found that it was better to output each keyframe sequence into separate folders and blend them myself in Premiere after, rather than let EbSynth blend it for you by locating them all to the same folder, which I did in the first go.

I mean just look at this frame it created:


Also, apparently EbSynth doesn’t like bits going out of frame/ edge of frame or it doesn’t really know how to handle it. If I’d have known this prior to using this clip, I would have chosen a different piece of footage which didn’t touch the edge.

For a first test, I am happy with what I’ve achieved, though I definitely want to push it further and get more creative with styles and techniques. As said, this was a super quick test to see what I can do with it (or if I could even work it for that matter!), hence the clip not being the most exciting thing to have ever graced the internet!

I think I can implement it not only in an experimental way, but also in a practical way, once I get the hang of the software. This would mean (in my case) colouring and/ or shading my rotoscoped line work (as those are the things which seem to add on the most time). As always, keep an eye out on here for more developments in my rotoscopy stuff!

Here’s the final version:

And here’s a side by side, so you can see the comparison: 

Sunday, 9 May 2021


What’s this then? Ooh look, it’s some new work, at long last! Well, I say new- this piece is actually about a month old now- I’ve just been super s l o w getting this blog out.

I sometimes go through these stages where I look at my work and think that it really needs loosening up. Or it’s boring/ same-y etc. When I have these feelings, I decide to give myself small exercises to get me feeling less like what I’ve just described. Sometimes these go completely ‘wrong’ (or not what I intended), resulting in feeling worse about my work, though sometimes they turn out quite nicely and makes me feel like I’ve moved my work forward. This is the latter.

I decided to do some silhouettes of a flock of birds flying, because it seemed like a fun clip to make, plus completely aside from anything I’ve ever done before. Or at least aside from a lot of my recent work. I also knew it would be a fairly quick clip to create, whilst still being effective. To be able to produce something quickly was important for me in this exercise, because I didn’t want to be working on something for weeks just doing an hour or two here and there, feeling I was making little progress. It needed to be something I could do in a weekend.

Completing a piece of work was an important factor of this exercise, because it feels like I’ve not managed to complete anything of my own for a while (besides that of what I’m doing in my day job), despite me working on a few bits and pieces- though all are taking a long time.

This clip was great for pushing me away from my usual work, plus it was nice to finally have completed something new outside of my amazing job (which is also animating, but unfortunately can’t share anything from it just yet). Keep your eyes out on Netflix for it’s release later this year.

I decided to go super simple with this one in terms of both style and colour palette. I don’t often work with silhouettes, but this shot of birds lent itself to working in that way nicely and I feel it really paid off for this clip- and definitely something I’d love to bring into future projects of mine. I also inverted the colours- usually I’d do black on white, not the other way around, so this clip was really useful in helping me try techniques I usually wouldn’t.

I love how the end result looks and I especially like how it’s shown me that a clip doesn’t have to be over complex for it to work as a piece. More like this going forward then, perhaps…

So these birds are not the only animation in this blog post- I also have another clip to share (well isn’t today your lucky day)- you can tell how behind I am with my blog! Here is yet another person talking on the phone (I’m sure that’s my most common piece of work I make). I have no idea why, I think I’m just drawn to animating that! 

The background this time is a collage from old art of mine and sudoko puzzles, which I cut up and scanned in. I liked the fact that art which doesn’t have much meaning to me anymore was able to take on a new life in another piece of work. Plus a great way to be able to recycle (or maybe upcycle is the preferred term?) some of my work, before it gets put in the waste paper. I love the textures this created and is also very much in keeping with my love of merging analogue and digital techniques.

Saturday, 24 April 2021

Football is Back (Again, Again)!

For the third time here in England, non-league football is finally back for both spectators and players (after lockdown 3.0)! Well, at 'grassroots' level at least. So that's step 7 and below in men's and tier 7 and below in women's (the men's and women's football pyramids work slightly differently- though I won't bore you with the details here).

Since Thursday 15th April, I have attended six games at various locations across the country, the furthest being 133 miles away. For a game in the Central Warwickshire Over 35's Football League. On a Sunday morning. At Droitwich Spa Leisure Centre. As you do. Disclaimer: this was actually en route to visit my parents and we didn't make the trip solely for this match (though we have been guilty of doing similar things in the past)!

Me at Droitwich 

Despite spectating being limited to the lower levels, we (usually my partner Ben and I, though sometimes just me) have visited a variety of locations and are finding the 'limitations' of where we can watch football in no way limiting at all. At this level, there are plenty of grounds with football furniture (stands etc- not that a lack of stand has ever put me off) and never short of a fantastic backdrop. We are lucky to live in the north of England, where we are in easy reach of the Lake District and the Peak District and everything in between, providing beautiful scenery for watching the beautiful game.

Scenic: Burton Thistle FC

It has been really enjoyable being back thus far, especially for the photography side of things- I don't really take photographs of much else besides football and architecture these days (read more about why here), so this was a welcome return not only for fulfilling my football fix, but also satisfying another of my creative outlets. Keep an eye on my Twitter and/ or Flickr for more- I don't tend to blog about all the games I go to, just a select few.

Below: Furness Vale. View full set of photographs here.

Below: Middleton & Overton Sports FC. View full set of photographs here.

Friday, 9 April 2021


Here's another character rotoscope piece, this time of a man writing on an iPad with a stylus. I used some 16mm film I scratched several years ago (2013) for the background, but never did anything with it at the time. I've used it in various short pieces such as this, since. I like how the background colours and shapes work with this clip. The whole thing just looks really aesthetic for some reason (or at least I think it does)!

Saturday, 3 April 2021

Lancashire Photography Festival

Lancashire Photography Festival kicked off yesterday (April 2nd) in Preston. It is a fantastic outdoor (free) photography exhibition, with photographs pasted on walls at various locations around the city. You can download the map and see the line up HERE.

It is up until 23rd May- I highly recommend visiting. Here's a few images from my visit yesterday evening, though will be going at least once more as I didn't get time to see everything!

Festival organiser Garry Cook (@gazcook)

Friday, 2 April 2021


Here's a super short clip of a woman turning a page in a book! I really like the colour scheme in this one, along with the super textured background. I created the BG by sponging a few colours of paint on a number of paper frames (as in animation frames/ cells, not actual frames where pictures are hung inside!) and then scanning them in.

I mainly read non fiction these days as I usually find them a lot more interesting than fiction. Plus I get my narrative/ 'made up'/ escapism fix from all the films I watch, so maybe that's why I don't really enjoy reading fiction? Who knows...

Saturday, 27 March 2021


The next clip in my 'every day' series (I mean in terms of what the characters are doing in each shot, as opposed to what I create every day [even though I do animate every day]) is a woman eating cereal. Action packed as that might be! But I just love animating people doing 'normal' kind of things, but then playing around with style and technique to see which direction I can take it. Animation aside: porridge is totes my favourite breakfast cereal (can't beat something warm to eat first thing IMO), flavoured with cinnamon and a few sultanas. And I have the cooling time down to a 't', so Goldilocks, HANDS OFF!

There aren’t loads more of these clips I'm intending to share despite the fact that I have a fair amount left. This is because I completed them in autumn 2020 and although I felt they were, at the time, a ‘jump up’ from some of the earlier work I created that year, having metaphorically ‘jumped up’ another level or so since, I am not pleased with all of the clips and therefore won't be publicising them. Even though I enjoy sharing the work I create, I don’t feel the work is ‘wasted’ if I decide not to share it anywhere. Each piece I complete is something I learn from, thus enhancing my practise and making me a better animator, whether anyone else sees it or not. I guess it’s a bit like the whole ‘if a tree falls in the forest’ thing, maybe..?!

Saying this, at times you might see a post on this blog where I do write about work I am not that pleased with, but that is more for reasons of personal reflection and it is usually something current, rather than digging through older, ropier stuff purely so I have something to share on social media. On the whole though, I prefer to put out work which I feel best represents my skill set or level of competence at the time of sharing. But I am fine with leaving my older work up, so I can see a clear path of progression to where I am at presently. I love learning! 

Thursday, 18 March 2021

Letraset + Roto #2

Here's 'Letraset + Roto #2' (see version one here). This time I'm using different Letraset and paint colours as the background and a different character doing something different. Definitely overdid the 'different' in that previous sentence!

I will try and write a longer post at some stage soon about newer work (apologies if you haven't found the written parts in these last few posts that interesting or varied), but I have been super duper busy with my amazing new job at the moment and haven't found a lot of time to create much of my own work during evenings and weekends. I have been working on another hand painted piece, but the progress is quite slow. Hopefully it shouldn't be too far off though!

Saturday, 13 March 2021

Coffee Rotoscope

Yum, coffee! Fun fact: I only drink decaf these days (perhaps rare for an animator person)?! This clip is of a man drinking coffee whilst walking (spoiler alert, I'm sorry). I really like animating people walking for some reason- maybe because I like walking and do it a lot or maybe as it's a nice action to draw. Who knows?! Anyway, the background of this one is some 16mm film, which I inked with Indian ink and scanned in way back when. You can read more about the process of that in this post.

Sunday, 7 March 2021

Letraset + Roto

As stated in this entry, I said I would be posting some clips which I made in autumn last year, over the next few months or so. Here is the second one: the background this time is Letraset transfers (love those), combined with acrylic and emulsion paint. I really like how this one turned out. Enjoy!

Ps. I watched 'Your Name.' (2016, Makoto Shinkai) yesterday and oh wow what a brilliant film! Would super advise checking it out if you've not already.

Sunday, 28 February 2021

*New Reel Update*

I usually update my animation showreel in spring and autumn for some reason (perhaps when I realise I've enough new pieces to add), so here is the spring 2021 edition! Enjoy!

Friday, 19 February 2021

Rotoscope Paint Test

I’ve been wanting to do some rotoscoping using analogue techniques for a while now and I finally was able to do so as I now own a printer (yay). Probably a little more excited about that than I should be, but I’m an artist type person and stuff like that gets me excited, so there! As you know if you follow my work, a lot of what I do combines both analogue and digital techniques, so creating some rotoscope pieces not using the computer (or at least not fully) seemed like the next logical step. I often use paint and other analogue methods as backgrounds and/ or to add texture, though never rendered a piece fully by hand.

The closest I’ve come to doing so is this short test piece:

As you can see, I printed out the frames and used different media to mark make. I liked the effects I created, though never since took it further than this clip.

Introduction over, I will now talk through the process of creating my first hand coloured piece. Note: everything I do in the computer is still done by hand, drawing every frame using a Wacom tablet, but it basically cuts out the step of scanning everything in.

For this piece, I decided to draw the outlines on computer first, then print those out and do the colouring by hand. This decision was because after printing out some frames as a test I found it hard to trace each frame accurately. As my printer is only monochrome some of the shading was hard to make out when printed. I also printed 4 images on each page, so they were quite small and therefore a little pixelated, which again made it harder to trace the outlines accurately. Yes, I could have printed out one frame a sheet, but I’m quite conscious of being environmentally friendly by using as little paper as I need and not wanting to use ink unnecessarily.

Going into this, I wasn’t quite sure which medium I wanted to use, as I had quite a lot of ideas and didn’t know which one would work the best or to depict what I had envisaged. To help with my decision, I printed off eight frames: four with a solid black outline and four with a light grey outline. This was because I didn’t know how each might look when printed- would the solid black outline look too harsh against textured, analogue colouring? Which is why I thought I would print off one in grey too. With these outlines I was able to create some style frames using various media (below).

All the techniques I tried:

Sharpie (regular colours)

Biro + gel pen


Water colour pencils

Sharpie (unnatural colours)

Watercolour paint

Acrylic paint

Black felt nib

My findings:

It turned out that the black outline looked much better for what I wanted to achieve here- the grey one wasn’t very visible and didn’t give a strong enough image.

The pencil and watercolour pencil didn’t scan very well, so needed altering in post, whether that be by Premiere or Photoshop.

The Sharpie’s bled a little, especially on the second one- not sure whether that was the effect I wanted to create. I do want it all rough looking (well hand rendered/ textured) or I may well have done it by computer, but I still want it to be appropriately neat for each medium. If that makes sense. Probably not!

I added the original frames over the acrylic paint one and the ‘graphic novel’ kind of style one with the black felt nib, to make the outlines stronger. I felt with the original frames brought back in, it really made the image stand out and definitely will be a technique to take forward into the final version.

After studying each image carefully, I came to the decision that one of my favourites was the one which I painted. So I decided to start with that. The pencil came a close second and I think I might use that technique in a future piece (yes, there will be more)!

The painted one had a fantastically bold look to it which I loved, especially when overlaid with the original frame. I also thought having brush strokes on each frame would add lots of texture and a boil to it, which you rarely get when colouring by computer. This is why I wanted to do it by hand- to get a look which is as far from computerised as possible.

So, now for the fun bit: painting! I do enjoy painting a lot, but hadn’t done much for a while, so it was a quite refreshing task. With the added bonus of not being sat at a computer for the 24 hours the paint section took to complete. I used a combination of acrylics and emulsion (didn’t have enough colours of either to do it in one medium) and used one coat of each. I wanted the paint to have large brush marks on it as I wanted it to be as textured as possible.

I went over the lines a fair bit, because I didn’t want there to be any white gaps on the character and I knew I was going to overlay the images with the original outlines I made on the computer anyway. When scanned in, I took each painted frame into Photoshop and matched each with the corresponding outline. Once in the swing of things, this didn’t take as long as I thought it would and before I knew it, I was able to import the image sequence into Premiere to export. TVPaint lets you export the animation frames with the frame number surrounding each one if you check the ‘slate’ box when outputting your animation. This was super useful when using printed frames or else I would have no idea which ones would go where.

The whole piece took 41 hours and 20 minutes for 4.5 seconds of animation.

I am really pleased with what I created here, though if I were to do something differently, I would have liked it even more textured. This is something I can build upon for future versions of this, but for a first go, I am super happy with it. I think it turned out a little better than what I was expecting. It would have also been nicer if it was a longer piece too, but I had no idea how the thing would pan out, so didn’t want to do a ten second clip to find out it would look terrible!

As always, watch this space for semi-regular write ups about my creative processes. Here’s the clip: