Derived stories from The Rainbow’s Child have been developed in seven short pilot electronic episodes, created in association with Realtime Pictures in Linden, Johannesburg. Three puppet characters are featured in “black theatre” sets constructed from 80% recycled materials, designed by Alexandra Wiid and constructed by Ronel Wheeler.

These derived serial stories take place on earth in the future, after humans have left the planet, having destroyed the environment. Over time, fragile nature begins to recover. The fantasy animal characters have been adversely affected by radiation from atomic fallout. They are some of the only creatures left on earth.

Jabulani S Bullfrog and Luk-e the Lunar Moth are rafting on the pond. Luk-e falls into the water and Jabu rescues him.

Jabulani S Bullfrog finds his model aeroplane kit.
Jabulani and Luk-e make adjustments to their model aeroplane in the hope that it will fly better.

Weighing Jabulani S Bullfrog to see if his parachute will be strong enough to carry him.

Jabulani and Luk-e fly in their big homemade aeroplane for the first time.
Through binoculars from up in their homemade aeroplane, Luk-e the Lunar Moth and Jabulani S Bullfrog, two of the Post-Nuclear Fall-out Creatures, see Escargot the Sophisticated Snail down below in her garden.

Jabulani S Fullfrog falls out of the homemade plane piloted by Luk-e the Lunar Moth, and lands in the pond near the garden of Escargot the Sophisticated Snail.

Jabulani and Luk-e fly in their big homemade aeroplane for the first time.
Escargot sings verse 2 of the blues : Everybody needs Somebody.


My career began in television in 1984 when I joined the SABC. I completed the SABC’s Television Training Course, and then moved into VT (video tape department) and FFC (final control) to complete my training.

In 1985 after 1.5 years at SABC I moved to Video RSA (Currently ZSE TV) as a VT operator for there main edit suit (yes in those years an edit suite required a full time VT operator and a machine room full of 1 inch machines).

In 1988 I joined The Video Lab as an Editor, working in there linear suites. I spent 3 years at The Video Lab working my way up to become one of there top linear editors and edited hundreds of commercials music videos and inserts for television.