film tests // fuji xt-20 and helios 44-m

Beyond animating and painting, I spend a lot of time photographing and filming stuff. I don’t really ever post it because it’s always been such a learning tool, but as I begin to fuse it into my work, I thought why the hell not. So, here’s a little film thing I shot recently.

Over the summer, I had the chance to go to lovely Greece. Whilst out there I shot a ton of images and film on my Fujifilm XT-20. Most of the time I was shooting on my Fuji 18 - 55mm lens. But I also took a new lens with me - a late night ebay purchase that has come into its own. The lens in question is the Helios 44-m. It’s a super cheap and accessible soviet lens from the 70’s. Ebay is full of them for around £20 - £40. It’s durable, easy to use and beautiful in its imperfections.

This is my first time playing with vintage lenses on my Fuji camera and I’ll definitely be looking to expand the set soon. Even with the additional crop from the APS-C sensor, the charm and character that these lenses have is something else. I’ve got plenty more footage and images from the past year, so I’ll be posting more on that soon. In fact, this might just be the start of a live-action film…who knows.

3d paintover thumbnails

A quick post this week. Here’s a recent set of thumbnails for a potential new film - created for my third-year students at the University of Portsmouth. This week was all about alternative methodologies for pre-production, namely 3d paint-over.

I try to stay clear of 3d paint-over to ensure I keep on top of fundamentals, but these were super quick and effective to produce. Super useful for composition and quick turnaround. More soon.

Margate Film Festival - Local Shorts: The Unimagined - //_sleeper

I’m super proud to announce that //_sleeper will be screening at Margate Film Festival on 23rd October 2019. This is the first outing for //_sleeper on the festival circuit (more announcements on that soon) and I couldn’t be happier. I’ll be popping along to see the show, so if you are nearby and fancy some strange films by the sea, come along.

//_sleeper will be shown as part of Local Shorts: The Unimagined on Wednesday 23rd October 2019 at 6pm. Book tickets here! Tickets are £6 when booked in advanced (£8 on the door.) For more info, check out the Margate Film Festival site -

From surrealist mobs and missionaries to heartfelt memories, this collection of short films celebrates the wild imaginations of Kent filmmakers. 

Highlighting local filmmaking at it’s best, these short films will take you on a journey into the depths of obscurity, love, loss, and pinch of conspiracy. All shot in Margate and the surrounding areas.







i'm still here // dead_parts #006

It is the year of our lord 2019, and we live in the strangest of times. In this climate of geopolitical angst, rising seas, shifting sands and broken futures, it can be fucking hard to calibrate ones feelings. For the past year or so, I’ve been a bit out of it. It’s just been one of those years where things are a bit wobbly. I’ve been busy with film projects and other commitments - so I’ve just kind of been out of sync with the world.

Anyway, long story short, I’m not dead. In fact, I’m doing pretty good and so I’m just popping by to say hello. I recently finished work on a new short film which I can’t really talk about at the mo, but I can show a few little peaks behind the curtain…

The new short film will be in the world at some point soon, and I’m working on other new things as we speak which I’m excited about. So not much from me other than - hello! The world gets fucking weirder everyday, and although we may be in the end times, there is still plenty of beauty out there, so stick in there!

//_sleeper - a short film by jordan buckner

It’s been a while. The grey skies persist, the rain continues to fall, and the factory lights are still on. As 2019 looms, I return to this internet land to share new work - so here it goes.

Since May, I’ve been working on my latest film //_sleeper, a short animation about creepy obsessions in dying industrial towns. The film premiered at the BFI Southbank on November 19th, and then went on to play on BBC Four on December 2nd. It has been a wild ride, and it is honestly a huge honour and achievement to be recognised by the BBC and BFI.

If you live in the UK, you can watch //_sleeper on BBC iPlayer until January 2nd 2019. Alternatively, you can also see //_sleeper on the BFI Player here.

Set in a dying industrial town, //_sleeper tells the story of Frank, a recluse who wakes each day to a strange anomaly on the horizon. Black treacle skies, glowing monitors and strange phone calls are the backdrop to this unsettling character journey, as Frank looks ever watching towards the horizon - the anomaly awaits him.


I want to say a huge thanks to everyone who helped get this film made. Specifically, Nainita Desai, my sound designer who made so much of this tone possible. And also to Emily Clarkson and Diana Buzea who helped animate this strange tale. And of course, to Phil Gomm for providing his professorial wisdom.

I’ll be back soon, and elsewhere on the internet, with some more info on //_sleeper, plus new details on future projects. Best of luck out there. The world continues to spin…the end has not yet come.


“As soon as you finish a film, people want you to talk about it. But the film is the talking! The film is the thing! So you go see the film.”

David Lynch

the ultracheese // dead_parts #005

I was going to moan and moan about the internet and the royal wedding. But who really needs more of that shit in there life. So, welcome back! I'm hoping this blog will become a nice quiet place for you, away from the horrors of the world. So sit down, take the weight of your feet, and enjoy some bloody good art nonsense!


This last week, I've been working hard to get the animatic for my film in good shape. It is starting to make a lot more sense, but it isn't quite right. There is plenty of work to do to get things just right.

Outside of the animatic, I'm trying to do some R+D to explore how this project might be made. Specifically, I'm interested to discover how I can express the scope and tone of this world, but with aesthetic that works well for independant production. The early concept paintings are just too detailed and glossy to be achievable. So I'm playing with starker imagery and handmade textures as a step forward. The results so far are below.

This is just the start of this exploration. I'll be making a mess with some ink, painting and bleach later this week. So do not adjust your TV sets!


Beyond all of this, I'm also busy marking and listening to Tranquility Base Hotel and Casino on loop. Everyone and their mum seems to be hating this new album, but I've been loving it. It grows on you.

Until next week, stay safe and be good!

tranquility base hotel and casino // dead_parts #004

It is a crazy time of year! This week, many of my students will be handing in there final projects of this semester. It's a stressful and often anxious time for all involved, but it is also a hugely exciting and important moment. Somehow, it has been 6 years since I handed in my own graduate film, and I still remember that feeling all to well. In fact, I wrote a blog post about that feeling back in 2013. I'm not a wise man, but I think some of these words may be of use to those of you who are nearing deadlines. To put it simply, stay calm, work hard, and remember to backup your work!! Make these films the best thing they can! Good luck!


For myself, things are also beginning to get pretty hectic. I'm still working on the pre-production for my film. A lot of this pre-production work is fairly solid now, I have a good sense for art direction and mood, but there are still some details to iron out. So, I'm spending a lot of time writing at the moment, as I attempt to tighten the narrative and interweave theme and motif. It still isn't quite there, but this stage of a project is always so exciting. I sat down for a chat with friend, colleague and bearded genius Phil Gomm last Friday, and he helped spark a lot of ideas that have really pushed things forward.

The fuzzy picture of a CRT is beginning to take shape. The test card has ended...and CFAX is over. I think I can see something in the static...


I sat down on Saturday night to watch The Killing of a Sacred Dear by Yorgo Lanthimos (Dogtooth and The Lobster) and was wonderfully surprised and horrified by it. I really liked The Lobster, but this was on a different level. There is still humour in Lanthamos' work, but it hits more disturbing notes and lingers in mysterious ways.


I've also spent some time this week participating in #sketchadaymay (or #maysketchaday as some call it) which is a hashtag designed to get people drawing. I first saw this from the superbly talented Thomas Scholes, who uses the exercises as a way to relax, experiment and repurpose old work. It also acts as an immunity to self criticism. You get the job done, and put it online before your inner voice tells you that its shit and you should never paint again. The results so far are as follows:

I'm pretty busy this week, so I'm not expecting to keep these up everyday, but the exercises themselves have been hugely rewarding. I'll have some more before the month is out.


And so that is all from me for another week. Time to get back to work. Childish Gambino ended last week with this...(I know you've already seen it, of course you have.)

And this week will be completed with a new Arctic Monkeys vinyl. Backup your work. Stay calm. Be safe out there and be a good human.

goodbye april // dead_parts #003

May is almost upon us, and with a new month, comes a new outlook on what needs to be done. The film hasn't progressed much this week; at least regarding visual development. It has been a busy week with other jobs and other meetings. However, even when things slow down like this, the ideas are still percolating. You need time like this. Time to let things evolve in the background, whilst you get on with some of the more mundane tasks of life.


I had a chance to play around with a few little visual tests. Nothing hugely conclusive or exciting at the moment, but it is something. And something, is better than nothing.

This is an old character model I had laying around, and it helped form the base of a quick test. The mixed media thing is definitely still an exciting route forward. It is the approach that makes the most sense given the narrative points. The final effect needs to be much more evocative and nuanced than this, but it begins to push in the right direction.

I did actually have time for another mixed media test, but it turned out so shit I can't bare to post it. So you'll just have to imagine that one for yourselves. So, in lieu of something new, here are some pages from the few sketchebooks that I've been keeping during this project.

I've recently been using these sketchbooks as a place to write, rather than simply draw. In doing so, I manage to filter out my ideas regarding the film, and simply get my brain onto the page. It is something I wish I had done at a much earlier point. Indeed, the reason I've started this blog, ins't because I'm a narcissistic twat (although I probably am), but because it gives me an outlet to document my thoughts and progress.


If you have a spare few hours, check out Good Time (available on Netflix) by the Safdie brothers. I saw it a couple of months ago but it still keeps lingering in my head. You'll like it, trust me.

And so, until next time, be nice out there. Talk to strangers, be kind to neighbours, and stay away from Twitter.

it_continues // dead_parts #002

The planet continues to spin, and I continue to exist on it. Due to this, I'm back, with a few more updates about what is happening in my part of the world. Let's start with the weather:

It's fucking hot...I hate it. I've secluded myself in the basement studio hoping the sun will jog on so I can go out and get some milk. I shall keep you updated. 


Regarding the film, it has been a week of ups and downs. Lots of indecision and worry. The big questions that keep cropping up around themes, ideas, art direction etc are still gnawing at me. This is a good thing however. It is good to be uncomfortable and unhappy with things. It's part of the process. That sort of anxiety is your brain telling you that things aren't right. Do not proceed. Figure this shit out.

And so I've been trying to figure things out. A few art tests here and there, a bit of sketching and character design. Some questions being answered, others still a bit fuzzy. Here are a few gifs from the experiments so far.

These all use a mix of real paint, ink or charcoal, with 2d and 3d animation techniques. It is essentially a step into the mixed media world of digital and tradition animation.

My biggest concern was that by using my traditional approach (CG animation), the film would fail to express what I want it to. CG has a tendency to kill a lot of emotion, to soften and purify the energy of a character or landscape. And so, I'm beginning to wonder how I can use 2d and 3d, digital and traditional approaches together. So far, these tests are my only step forward. But there are some interesting results. There is a spark of something in these flashing frames.

In truth, it was also really nice to make these from real materials. I'm rather tired of making everything on the computer. It is deadening. Messing around with real mediums is like nothing else, and the results have their own unqiueness that digital approaches struggle to achieve.

The character has to express a lot. He needs to be a mix of lost child, Egon Schiele portrait and scary soul. Wonky teeth an' all. So, I'm excited to see how he'll take shape in this new mixed media world that I venture in. The current state of things regarding character are as such...


Finally, a little bit of animation from a Toon Boom class I taught this year. I'm not a 2d animator by trade, so forgive me for my sins


That's it from me for now. The planet continues to spin, and we continue to exist on it. These are strange times that we live in. Keep plodding on in an attempt to make them less strange and less bewildering. Be nice out there!

hello_world // dead_parts #001

I know, I know, It's been a while...and if I'm honest, in these strange times, I'm not one for being on the internet. It's fucking horrible here. All these ironic memes and hashtags are just too much for me to handle. Hence why my instagram and twitter and website are dead places for dead people. I've been holed up in the real world, trying to stay alive and pretend everything is fine. 

Despite these horrors, I plod on. And in an attempt to plod on with more vigor and excitement than before, this marks the first of a weekly blog post about what's been happening in my part of the world. Welcome! This is going to be great. You are going to love it here. Let's call this the pilot episode for what will hopefully be developed into a fully funded Netflix original. If this were a tv show, it would be called dead_parts and it would probably star Paul Giamatti or Jack Nance. So, where to start?


Well, Easter came and went, and between teaching and a few extra jobs, I've largely been trying to develop an animatic for this little film idea I keep coming back to. In doing so, I'm trying to decide whether it is indeed a good idea, or rather, a terrible bag of shite. I'm still in the decision phase, but whatever the answer, there are some interesting discoveries along the way. Without showing too much, here is a very rough painting that came about this week.

As part of this project exploration, I've also been pissing around in Maya in an attempt to explore art direction. This part is always fun, when the pressure is off and you can begin to figure out how things may look or work. The two art tests so far look like this...

These both use vertex painting. It is an old and simple technique available in Autodesk Maya, and in short, it allows you to colour each specific vertex of a model. It obviously has huge constraints, most notably that textures can only be as complex as the model itself, but it is so immediate and low-fi that it has its own simple charm. It's lovely isn't it. I'm sure instagram are going to love it. But that doesn't mean it is a good idea. Lovely, does not equal good.

This film idea isn't supposed to be charming or lovely. These tests feel too clean, too cute and too CG. The dreaded triple-C. Clean, Cute and CG. The worst of all things. And so, I need to do something different. Something more painterly and expressive. But at least this is a start. Now to try some different approaches.

This week, I've got a few other commitments, but I urgently need to finalise the character for this film. For me, this is always the hardest part. This isn't really a film for anyone other than myself. There is no simple solution to this stage when you are trying to make something expressive. So, I normally just sketch and sketch until the character comes to life infront of me. Here are a few of the sketches so far...


Outside of this, I also managed to get some time away with friends in Bristol and Eastbourne which was great for the head. A chance to get out of the basement office and into the daylight is always welcomed. Between that, I've also been doing some design work, most notably these little illustration things which will be finished soon.


Anyway, that is enough from me for now. Tell your friends and family. I'm here with words and pictures for your pleasure. Link them to this page and they'll have a top time. I hope the world treats you well this week. Keep that head up, keep working gets easier. Here is some Frank Ocean to keep you in good spirits.

factory_town // digital

It has been a very long time since I made a film. For the last 5 years, my focus has been to survive. Essentially, it has been to get projects and pay the rent. In that time I have failed to make any truly personal work. The issue was really more existential than anything, I just didn't really have anything to say. Which was fine...

But things are changing, and I think new ideas are starting to form. So, let's official call this the start of something.

The final outcome of all of this will be a mix of work, both animation, and painting. The script is pretty much done, and the next job is to make the animatic. I'm not sure how you describe this feeling, but it's so good to be back in this old mode of working. So, here it goes.