BEYOND THE GATES
Commissioned by NBC Universal for the Jurassic World: Beyond the Gates – Creator Edition video series on the official Jurassic World YouTube channel, this project reimagined toy photography as a narrative motion comic. What originally started as a static photo series featuring Mattel’s Legacy Reimagined Velociraptor Trilogy Pack evolved into a dynamic animation bringing the Jurassic universe to life in a fresh way.
CREDITS
Client: NBC Universal
Partners: Jurassic World, Mattel, Target
Roles: Creative Direction, Art Direction, Story, Photography, Animation
Tools: Sony a7iv, Adobe Photoshop, Adobe After Effects, Adobe Premiere Pro
PROJECT BREAKDOWN
For this project, I followed a three-phase approach: pre-production, production, and post-production. This structure helped shape the creative direction from the ground up—starting with the story, then bringing it to life through photography and video production, and finally refining it through animation and editing.
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PRE PRODUCTION
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PRODUCTION
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POST PRODUCTION
PRE PRODUCTION
Pre-production was essential to shaping the direction and success of this project. It began with defining the overall scope—not just the final deliverables, but also the intent behind them, including how the content would serve both storytelling and marketing goals. I wrote a complete script that captured the tone and pacing of the Jurassic World universe, then translated it into visual storyboards to guide the photography and animation. This phase also included writing a focused narrative specifically for the motion comic format, ensuring it could stand on its own while complementing the broader campaign. Establishing this foundation early ensured the creative vision stayed consistent across formats and allowed production to move forward with clarity and focus.
SCRIPT
I developed the concept and wrote the script, centering the story on a surprising twist: raptors from different breeds working together to escape their enclosure. Since this particular Mattel set included all three key raptors from the original Jurassic Park trilogy, it was a unique opportunity to tell a fresh story—one that fits within the universe but has never played out on screen. The goal was to shift the focus from instinct to intelligence and teamwork, while staying grounded in the franchise’s tone.
STORYBOARDS
I sketched each panel by hand to map out the framing, composition, and pacing of the story. The storyboards served as a visual blueprint—not only helping me plan the shots, but also making it easier to communicate the vision and align with the team during the approval process. Collaboration played an important role in refining the narrative, ensuring it hit key marketing objectives while staying focused, visually driven, and true to the spirit of the franchise.
DIORAMA CONSTRUCTION
To create the raptor enclosure, I built a custom diorama using insulation foam for the walls—chosen for its rigidity, sculptability, and ability to take acrylic paint well. The catwalks were constructed from dowel rods, balsa wood strips, and light-gauge metal mesh, with two versions built: one fully intact, and the other snapped in half to reflect the destruction caused by the escaping raptors. I added layers of detail with plastic foliage and plants sourced from a local hobby store to ground the environment and enhance realism. Every element was crafted to support the story and create a believable world in miniature.
TEST SHOTS
SHOT WITH IPHONE 13 MAX
SHOT WITH SONY A7IV
As I build, I take test shots using my phone to get an early sense of how the diorama will work with camera framing and composition. At this stage, I’m less focused on having every detail finished and more concerned with how the scene reads through the lens. Reviewing these shots helps me determine where to add detail or adjust elements to enhance the overall production quality. For this project, I captured test images using both my iPhone 13 Pro Max and my Sony a7IV DSLR—it was interesting to compare results and see how each handled depth, light, and texture.
PRODUCTION
Production involved setting up a variety of scenes and environments to capture all the shots needed for the final edit. This included product showcase footage, detailed b-roll, and photographing each panel scene for the motion comic animation. Adding a personal layer to the storytelling, I also appeared on camera to introduce the project, reveal the figures, and walk through my creative process. Each setup was carefully lit and composed to highlight the toys while maintaining a cinematic feel that supported the narrative.
PRODUCT SHOTS
A primary component of the video focused on showcasing the Jurassic Park Velociraptor Trilogy set by Mattel. To support this, I created a compact display environment using hand-carved foam rock and artificial plants—designed specifically to frame and spotlight the product packaging. I captured detailed b-roll footage within this setup, which was later integrated into the long-form video to enhance the overall storytelling and presentation.
SCENES FOR COMIC PANELS
The images above represent the scenes I set up for the motion comic panels. Using the script and storyboard as a foundation, I staged each shot within the custom-built raptor enclosure diorama. Every panel required a unique in-camera composition to support the pacing and narrative. Capturing a mix of still photos and video elements, I wanted to create a sense of depth and motion through parallax effects and subtle camera movement. While all scenes were built within a single diorama, capturing each angle was a meticulous, labor-intensive process—but well worth the effort to bring the story to life.
POST Production
Post-production brought everything together, combining the video footage, photography, and visual elements into a cohesive edit. This phase included assembling the motion comic, animating the stills, and implementing voiceover and sound design. I was able to leverage my experience as a designer, toy photographer, animator, and editor to ensure every element worked together visually and narratively. Careful attention was given to timing, transitions, and visual flow to make the final piece feel seamless and dynamic across all parts of the story.
PROOF OF CONCEPT
Selling the vision early on is a critical part of the creative process, especially when working across teams. Developing a proof of concept was an effective way to communicate my approach and provide a clear sense of the final outcome. For this project, I created two test animations: one using artwork from an existing Jurassic Park comic to demonstrate how still panels could be brought to life through motion, and another using the actual figures and diorama to visualize the opening shot of the final sequence. These animations helped align expectations, showcase tone and pacing, and build trust in the direction before full production began.
MOTION COMIC
Inspired by the original Jurassic Park comics from the 1990s, I created a motion comic test using panels from Jurassic Park: Raptors Unleashed (Volume 1, Issue 14). The issue featured beautifully illustrated, high-action sequences that lent themselves well to movement. I selected key panels, separated the artwork into individual layers in Photoshop, and imported them into After Effects. Using a virtual camera, I animated the transitions and motion across the page to guide the viewer through each panel.
TEST PANEL ANIMATION
With the diorama nearly complete, I set up a test animation using the opening scene from the script. The shot began with a slow camera move focused on the raptors, then dollyed back to reveal the two caretakers positioned above. That footage was brought into After Effects, where I built out a custom comic book frame and integrated the motion into a full test panel. The animation included camera-tracked graphics, comic book overlay textures, and dynamic keyframing—bringing the still image to life and helping sell the overall vision for how the final motion comic would look and feel.
ANIMATION
The screenshots above show my After Effects project files in progress, where all the photography, video, and design elements were brought together. After capturing each scene in-camera, I imported the assets into After Effects to start building the motion comic portion of the video. This phase was time-intensive, but with over 20 years of experience using After Effects, it was a challenge I thoroughly enjoyed.
The creative goal was to merge toy photography with a bold comic book aesthetic to create something visually unique. Composition played a key role in achieving the look, along with stylized graphic elements and highly saturated color adjustments. Each scene was carefully composited, and some sequences required camera tracking to make the word bubbles feel like they were floating naturally within the moving environment.
ONOMATOPOEIA & GRAPHICS
To reinforce the comic book aesthetic and enhance the storytelling, I integrated onomatopoeia and other graphic elements throughout the motion comic. Onomatopoeia—words that phonetically imitate sounds—help bring moments to life visually. In this project, I used “ALERT ALERT ALERT” to represent an unseen intercom warning, and “CRASH!” to emphasize the impact as a raptor lands on the catwalk.
Additional graphic elements included boxed text for location settings and off-screen or non-spoken dialogue, while word bubbles were placed within the scene to show which character was speaking. These visuals not only strengthen the comic style but also provide essential context in a short runtime. Since the final animation is around 20 seconds long, these elements were especially important to convey story beats without relying on voice-over narration.
COMIC PANEL COMPOSITION
The image above shows the full comic spread layout where all the scenes, product photos, and graphic elements come together. It’s designed to be read like a traditional comic, moving from top to bottom and left to right. The final composition presents the project as a cohesive double-page spread, which was the goal from the beginning.
I’m incredibly proud of the outcome and excited to have pushed the project beyond the original request. It became something that blends toy photography, narrative, and design into a unique storytelling format that goes beyond the expected.
FINAL THOUGHTS
Big thanks to the team at NBCUniversal for the opportunity to bring this project to life and for trusting me to help expand the Jurassic World universe in a new way. It’s been an incredible experience combining my love for storytelling, design, and toy photography into something that feels both nostalgic and original.
And if you’ve made it this far—thank you. I appreciate you taking the time to explore the process behind the project, and I’m glad to be creating work that connects with fellow Jurassic World fans. Your support helps make projects like Beyond the Gates: Creator Edition possible. Keep collecting, keep sharing, and keep supporting the artists who bring these stories to life.
