This production also marked an exciting evolution from the first series. While the original Pip & Dec episodes were filmed entirely in a controlled studio environment, this new iteration introduced on-location filming, a flexible modular set, and expanded visual effects. Our goal was to push the ambition of the production, balancing handcrafted puppetry with refined compositing techniques and seamless integration of animation.

With a larger episode count and new technical demands, this production presented fresh creative and logistical challenges. Filming on-location introduced dynamic backdrops but also unpredictable elements—from shifting light conditions to unexpected interruptions.

One of the most unusual surprises came when filming at Murlough Beach and the surrounding woodlands, where we suddenly found ourselves contending with live military training drills from a nearby base. The sound of firearms echoed unpredictably, making it nearly impossible to record. With no prior warning or scheduling insight, we had no choice but to strategically time our shots between bursts of gunfire, adjusting on the fly to capture the footage we needed.

Once filming wrapped, the focus shifted to post-production, where another set of challenges emerged. Compositing visual effects for puppets required a new level of precision, particularly in tracking and animating eyelid movements frame-by-frame. This painstaking process added subtle layers of expression to the characters, making their interactions feel more natural and emotive.

We also introduced playful visual tricks, such as animating Dec’s blinking eyes inside the lenses of felt binoculars for comedic effect. These refinements, while time-consuming, helped bring an extra layer of personality to the puppets—enhancing the storytelling without disrupting the handmade charm of the production.

The final series featured 19 episodes, blending puppet-driven storytelling with animation to teach foundational lessons about history, nature, and daily life. The modular pegboard-inspired set allowed us to quickly reconfigure backgrounds, giving each episode a fresh, thematic feel.

On-location filming added an exciting sense of adventure, taking Pip & Dec beyond the studio and into real-world environments—from sandy beaches to lush woodlands. This naturalistic approach strengthened audience immersion, making learning feel engaging and tangible.

The series was well received, with BBC’s creative team supporting the new direction, and user testing in schools confirming that children actively engaged with the characters, laughing, responding, and eagerly interacting with the lessons. The chemistry of Michael McNulty and Sarah Lyle’s performances continued to be a highlight, bringing Pip & Dec’s personalities to life in a way that resonated deeply with young viewers.

This project reinforced the value of natural storytelling in children’s content. By stepping away from rigid narration and embracing a character-led approach, we saw firsthand how young audiences learn through play, dialogue, and interaction.

We also saw new possibilities for puppetry and production techniques, refining both practical and digital effects to enhance the storytelling without overshadowing the charm of live performance.

Pip & Dec’s evolution as a series reinforced our passion for creating innovative, high-quality children’s content—blending traditional puppetry with modern production techniques. As we continue exploring new ways to expand the world of Pip & Dec, this series has laid the foundation for even greater possibilities in puppetry, animation, and educational storytelling.