First things first, where did you study?
“I studied at The University of Dundee and did a BA (Hons) in Animation and Electronic Media.
I learned about the principles of animation and working with various software packages on team projects to produce short animated films. I also gained experience in directing and project managing.
 
Still at Dundee, I went on to do a Master of Science (MSc) in Animation & Visualisation. I worked on developing animation skills, researching and exploring how to create convincing and believable character performances, through the production of a short film I directed and animated on. 
 
We also worked on an industry-set project which was a hugely valuable experience.
 
Then I went on to do an Artists Residency for a year and decided to leave after that as the next thing was a PHD and I wasn't quite ready for that - I'd had enough of studying.”
 
When did you start working for LSA?
“I've been working at Locksmith now for over three years. I remember it well because it was Halloween 2016.  I had applied as a runner initially but didn't get the job and then got a call a couple of months later for a week of work experience. The week went from a week and a half to a permanent position, and so I quickly had to find some permanent accommodation and make the big move to London.”
 
What positions have you had at Locksmith?
“When I was first employed, Locksmith was still in the process of getting their first project greenlit. So seeing this process from such an early stage was not only really lucky, but it also meant that I became immersed in the entirety of film making as well as seeing the company begin to grow.  
 
Initially, I was a Production Assistant and the changing and developing of each department made me see more definitely which area I wanted to work in.  I then became The Story Production Assistant on 'Ron's Gone Wrong'.”
 
How did you know this was the area you were most suited?
“Initially, I thought I would become an animator, but I was tasked by David Peers (Cinematographer) to do some storyboarding as a test piece to test the pipeline and then completely fell in love with storyboarding. It encompasses everything I like about filmmaking and animation.”
 
What has been your most significant professional achievement to date?
“Having the chance to be a fix artist and doing some of the storyboards from scratch has been amazing, especially then seeing those boards end up in the screening up on the big cinema screen. You know, seeing your work like this is the magic of film making.”
 
What does a typical day look like for you?
“It starts with peppermint tea,
Check emails,
Check the schedule to see if any story launches are coming up and if I need to help the story coordinator, Rebecca Farmer, gather artwork or script pages for the launch or to send to any remote story artists,
Taking notes in story critic meetings,
Drawing story fixes and creating boards,
Be on hand for anything that comes up that I can help with.”
 
What is the tech you use?
“Wacom Cintiq - For Drawing
Photoshop 
Flix - Organising Storyboards”
 
Do you have any mentors?
“David Peers (Cinematographer) - he set me my first storyboarding project. 
Octavio Rodriguez (Co-Director) - he gave me a personal project to work on to help me build up my storyboarding skills. 
Ash Boddy (Head of Story) - sitting and working in the room with all the story artists enables me with any questions I have. I sit next to Ash which has been great for me to absorb knowledge.”
 
Do you have any advice for people trying to get into the business?
“Don't give up. I spent a long time trying to get into the industry, but it is true once you are in, the opportunities and contacts quickly arise.
Don't be afraid to put yourself out there.
Stay in contact with the people you are meeting during your search.”

Article By: Ramin Zahed

Those excellent words of advice come from J.P. (Jean-Philippe) Vine, who is directing his first animated feature Ron’s Gone Wrong, Locksmith Animation’s maiden project (slated for a 2021 release). Vine, who was born in Curepipe, Mauritius, says he loved Aardman’s shorts growing up, but his biggest influences were French comic books and British classics by Raymond Briggs and Roald Dahl. After studying theater design in London, he found himself building sets and props for companies such as the Royal Shakespeare Company.
“Through prop work I found my way to work on Aardman’s Wallace & Gromit: The Curse of the Were-Rabbit as a set dresser,” he recalls. “On that movie, the dressers would all watch the previous day’s rushes in dailies, and I realized the animators were having the most fun. I started bugging them for tips and took old characters home to teach myself. I was hooked. I even got some shots in the film. They were only rabbits, but hey!”
He also directed episodes of Aardman’s Shaun the Sheep series and worked as a storyboard artist on The Pirates! Band of Misfits, Inside Out and The Good Dinosaur. His upcoming movie Ron’s Gone Wrong is set in a world where walking, talking, digitally connected “bots” have become children’s best friends, and tells the story of an 12-year-old boy who finds that his robot buddy Ron doesn’t quite work.
“I love working with performance: whether it’s with an actor, an animator, a story artist,” notes the 43-year-old helmer. “I love the energy that erupts when we get excited about an idea … And I love working with design. Lots to love. The challenge is the volume of decisions that have to be tracked throughout the whole film. We’re working all over the film at all times so it can be challenging to hold it all in place.”
His take on the state of animation worldwide? “I’m delighted that more creators are being backed on streaming platforms, and that animation tools are becoming so much more accessible. My nine-year-old has just started animating in Procreate, which I love!”