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The Monkeyshine Creatives...
Adrian Spanna

Adrian completed a fine art degree specialising in painting and mixed media at Sheffield Hallam. Joining the Film Industry in 2000, he started working in Propmaking departments until he joined a company producing screen graphics. His work here meant he honed his motion graphic and editing abilities, but also gave him the opportunity to work on set. Working as part of the shooting crew, as a Video Op, was invaluable in learning the film making process and teaching him about framing a shot and building a scene.

Combining his technical computer skills and his drawing ability, the natural move into Storyboarding and Animatics seemed a logical progression.

His first collaboration with Jonathan was on Jason Bourne. Since then, with every project, they've fine tuned their internal workflows and external integration with the Film Editorial department, ever improving the value of their storyboard animatics within the Film Industry.

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Jonathan Maris

Jonathan studied art and music at Brighton Polytechnic. Then started working on sets as an art assistant and making props. In turn this led to an opening to be a storyboard artist and a long career in films, TV and commercials. Working closely with great directors over the years has given a great knowledge of the film making process, visualising scripts, shot composition and storytelling.
Along with storyboarding, in a parallel career, Jonathan has written and produced music for television. Specialising in sync-to-picture soundtracks for documentaries and commercials.
In 2016 the opportunity to create animatics for the Bourne movie with Adrian came up. Their pooled knowledge and skill sets fitted perfectly and they formed a fast and efficient team working on many projects since.
Monkeyshine was born (out of Bourne you could say :-) )

Storyboard Animatics

MonkeyShine is a one stop shop for Animatics, able to produce and handover a final product combining writing, drawing, 3D film set/background generation, animating, comping, editing and soundtrack composing.

With Previs having it's own uses and beneifts - Animatics is being seen now as a more affordable, faster and efficient process in deliverying a visual representation of the action and emotion in Script Sequences. The last few projects have required us to integrate with the Editorial and VFX departments ensuring the values of this medium are efficiently used across the Production.

With every project now, our process becomes bespoke to the Directors and the Productions needs. On Jason Bourne, the preferred animatic style

was to animate our drawn assets over live footage that we shot on location. Having the actual location feature in the animatics was of huge importance to the director. When producing the animatics on The Voyage of Dr Dolittle, just recently, we created 3D film sets based on Art Dept drawings which meant we could create the background camera moves, on which to animate our characters over. After producing animatics for the action sequences, Production saw the value in having us then working with the VFX dept with their 2D first pass animation. We even worked on location to comp our animated 2D characters over footage, as they shot, to create a running edit. It’s interesting and rewarding to us to see how our work benefits Productions in more and more ways now with every project'

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