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Peter is sometimes commissioned to storyboard 90% of a feature film. It can take 3-6 weeks of intensive work. Sometimes, he helps design only the most difficult sequences. Often the writer, cinematographer or production designer are invited by the director to contribute ideas in the storyboarding process. Hundreds of thousands of dollars are saved by productions when they invest in a storyboard - especially when the director has the luxury of being able to sleep on ideas after they have been visualised and then play with alternative ideas. Peter was awarded the 2011 APDG Award for Drawing for the Beneath Hill 60 storyboard. Other credits include: Thirteen Lives, The Drover’s Wife, Buoyancy, Breath, Whoever Was Using This Bed, The Sapphires, Drift, The Hunter, A Few Best Men and Sniper.


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Peter is able to supply presentation or shooting boards for advertising campaigns quickly for anywhere in the world from his Canberra studio. The brief can be supplied to him as a shot list or roughs can be sketched real-time via a shared screen. It usually takes about the same time as the brief takes to clean-up a shooting board- but two to three times longer to clean-up a presentation board. Most 15 sec TV commercials can be delivered as roughs for approval the same day and cleaned-up to final art the following day.


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Peter started his career working for Hanna Barbera, in Sydney, on classics such as Popeye, Top Cat and Scooby Doo. More recently he has storyboarded animated series such as Guess How Much I Love You, Pirate Express, Figaro Pho and The Deep and designed 2D and 3D environments for F is for Frank, Lexie and Lottie, Captain Flinn and the Pirate Dinosaurs, Berry Bees, Alice Miranda 2 and Kangaroo Beach.