Here are the first panels of Sequence 004 for Don Bluth's 'The Land Before Time' - The Tyrannosaurus Attack.
Here are some of Don Bluth's work - beautifully drawn and staged, not just being a guide for Layout but for character poses as well.
Don Bluth and artists Larry Leker and Dan Kuenster worked together as the storyboard artist crew during the features 'Land Before Time' and 'an American Tail'. All 3 of them did beautiful work.
This is the First Revision as during production, Steven Spielberg had requested that the sequence be played down a bit. As it was, the moment was coming off too intense and the thought that it might be a bit much for the younger viewers who will be watching.
When we were shown the first screening of this rough sequence during one Tuesday ' Weeklies' showing, it was great. The editors had added a sound of a beating heart as the sequence became more and more intense. I think most people could understand why the decision to calm it down made sense.
In the class I teach in Vancouver at Vancouver Film School I break down the panels in sequence explaining how the artist is telling the story with his choices of composition using screen direction, angles of the horizon, camera pans and zooms. Also taking note of how many panels are needed to fully explain any character action or performance.
I love breaking work down and seeing the decisions the artist made to visually tell the story in a clear and entertaining way.
I will post the second part of this sequence in a bit.
As a side note, you can see on various panels where an animators name was written on the panel. This was the note explaining who Don was casting the individual scene to as it went into animation production.
Here are some of Don Bluth's work - beautifully drawn and staged, not just being a guide for Layout but for character poses as well.
Don Bluth and artists Larry Leker and Dan Kuenster worked together as the storyboard artist crew during the features 'Land Before Time' and 'an American Tail'. All 3 of them did beautiful work.
This is the First Revision as during production, Steven Spielberg had requested that the sequence be played down a bit. As it was, the moment was coming off too intense and the thought that it might be a bit much for the younger viewers who will be watching.
When we were shown the first screening of this rough sequence during one Tuesday ' Weeklies' showing, it was great. The editors had added a sound of a beating heart as the sequence became more and more intense. I think most people could understand why the decision to calm it down made sense.
In the class I teach in Vancouver at Vancouver Film School I break down the panels in sequence explaining how the artist is telling the story with his choices of composition using screen direction, angles of the horizon, camera pans and zooms. Also taking note of how many panels are needed to fully explain any character action or performance.
I love breaking work down and seeing the decisions the artist made to visually tell the story in a clear and entertaining way.
I will post the second part of this sequence in a bit.
As a side note, you can see on various panels where an animators name was written on the panel. This was the note explaining who Don was casting the individual scene to as it went into animation production.
