Historical animation
Working for a successful Youtube channel.
Over a six-year tenure with The Armchair Historian, my role evolved from core production animator to pre-production director. This multi-layered journey required a deep structural pivot—transitioning from executing motion sequences on the timeline to entirely masterminding the technical, creative, and logistical pipeline that fueled them. By bridging the gap between rigorous historical data and actionable 2D design, I shaped a workflow that balanced strict archival accuracy with high-velocity broadcast delivery.
Over a six-year tenure with The Armchair Historian, my role evolved from core production animator to pre-production director. This multi-layered journey required a deep structural pivot—transitioning from executing motion sequences on the timeline to entirely masterminding the technical, creative, and logistical pipeline that fueled them. By bridging the gap between rigorous historical data and actionable 2D design, I shaped a workflow that balanced strict archival accuracy with high-velocity broadcast delivery.
A selection of my storyboards alongside the finished animations
A selection of my storyboards alongside the finished animations
My journey with the channel began directly in the trenches of production as a 2D motion animator, working primarily within Adobe After Effects to bring complex historical battlefields and political maneuvers to life. This hands-on groundwork provided me with an intimate understanding of the technical friction points animators face—specifically how file structure, asset nesting, and character layering choices on day one dictate the velocity of the timeline weeks later.
Recognizing opportunities to streamline our output, my responsibilities expanded into a comprehensive pre-production director role. In this position, I took ownership of the foundational architecture of our episodes. I stepped in to direct the technical blocking, visual pacing, and structural cinematography before a single keyframe was ever set. Simultaneously, I managed the entire asset-gathering process for our broader network of artists, building a unified creative database that ensured historical compliance across every scene.
A vital component of this directorial shift was the generation of our core 2D storyboards. Because of my background on the timeline, I didn't just draw flat panels; I engineered them to function as optimized, multi-layered blueprints tailored specifically for the animation team's After Effects pipeline. This proactive workflow drastically reduced project bottleneck times, minimized revisions, and maintained rigid stylistic continuity. Over six years of continuous scaling, this iterative evolution allowed me to not only direct the overarching design roadmap but to personally animate key milestone sequences, ensuring our foundational vision translated seamlessly into the final broadcast renders.
Beginning as a 2D animator, I gained an intimate understanding of timeline bottlenecks before stepping into a pre-production directorial role. In this position, I directed the technical blocking, visual pacing, and structural cinematography for episodes while managing massive asset databases to ensure historical compliance. Leveraging this pipeline experience, I engineered our 2D storyboards into optimized, multi-layered blueprints that eliminated production bottlenecks and scaled our workflow over a six-year period.
My journey with the channel began directly in the trenches of production as a 2D motion animator, working primarily within Adobe After Effects to bring complex historical battlefields and political maneuvers to life. This hands-on groundwork provided me with an intimate understanding of the technical friction points animators face—specifically how file structure, asset nesting, and character layering choices on day one dictate the velocity of the timeline weeks later.
Recognizing opportunities to streamline our output, my responsibilities expanded into a comprehensive pre-production director role. In this position, I took ownership of the foundational architecture of our episodes. I stepped in to direct the technical blocking, visual pacing, and structural cinematography before a single keyframe was ever set. Simultaneously, I managed the entire asset-gathering process for our broader network of artists, building a unified creative database that ensured historical compliance across every scene.
A vital component of this directorial shift was the generation of our core 2D storyboards. Because of my background on the timeline, I didn't just draw flat panels; I engineered them to function as optimized, multi-layered blueprints tailored specifically for the animation team's After Effects pipeline. This proactive workflow drastically reduced project bottleneck times, minimized revisions, and maintained rigid stylistic continuity. Over six years of continuous scaling, this iterative evolution allowed me to not only direct the overarching design roadmap but to personally animate key milestone sequences, ensuring our foundational vision translated seamlessly into the final broadcast renders.
A selection of my animations for the Armchair Historian channel
A selection of my animations for the Armchair Historian channel
.say hello
I'm open for freelance projects, feel free to email me to see how we can collaborate
.say hello
I'm open for freelance projects, feel free to email me to see how we can collaborate
