I make complicated things impossible to misunderstand.

I'm a creative director using 2D and 3D animation to help companies explain complicated things.

Water treatment systems. CNC machining. Construction software. Board games with 40-page rulebooks.

Usually it's the kind of thing where somebody on your team ends up explaining it twenty times a week — and you'd rather they didn't have to.

Odds are you've never commissioned an animation before. Most of my clients hadn't either — and honestly, it's a strange thing to buy.

So here's exactly what happens, start to finish. No mystery, no surprises at the end.

I created the Hyperfocus Method, a six checkpoint process where you approve each step before we move forward.

And that's how we build success, together. 

This is the deep dive. What do we need to create? Why are we building it, and who needs to understand it?

Bring references. Bring that video you loved. Bring that thing your competitor made that you hated. Anything to give direction on what you like, or hate, so we have a sandbox to play in.

The first deliverable is a two-column visual treatment. The script on the left, the on-screen visuals written out on the right. You'll also get a collection of inspiration to give an idea of where we're headed.

Then we go back and forth until it's right.

Style frames are a single moment from your final video, teasing what the end result could look like.

At the same time, we create an animatic — the storyboard cut to a rough voiceover and music, to make sure the pacing and timing isn't luck, but is tested and actually works.

Sometimes things just aren't quite perfect. So included in the Hyperfocus Method is two rounds of revisions. You'll receive a link to the review platform to make a list of comments.

Here's the good news: because we already agreed on everything before production, the revisions are usually pretty minor. That's the entire point of the approval process.

And though it's rarely needed, there's a second round to tighten up any remaining errors.

When it's approved, you'll receive a link to download the final video.

Did you have additional aspect ratios, codecs, or languages included in the delivery? We'll knock those out too.

You'll never see the finished video for the first time.

By the time it's animated, you've already approved the words, the look, the shots, and the pacing. There's no big reveal at the end, because there's nothing left to reveal. (That's on purpose.)

Changing direction after the animatic costs extra.

Not a penalty — just physics. Rebuilding an animated scene takes real hours. That's why the checkpoints exist, and why we take them seriously. If we get to that point, I'll tell you before the meter starts. Always.

My name is on the (virtual) door.

That means I stand behind the quality of each project and the success of your video. I don't believe in making videos for fluff — they need to have results and ROI. And I want to be a part of your success in that way.

Final runtime · 2D or 3D · how much custom illustration or modeling we need · whether you already have usable assets · voiceover and music licensing · and where it's going to run — your own channels, paid media, or broadcast.

You'll get a range in our first meeting and an exact number before contracts are signed. It's usually best to come with a budget in mind, so we can move the deliverables, designs, and custom work to match your needs.