|Happy Christmas to those of you who celebrate it!|
Hot off the press, here's a new article about The Last Belle from Skwigly online animation magazine.
|Mark Naisbitt at work.|
|Beginning to form the structure of 'Last'.|
|Underlying circles define the curves of the 'S', pushing it|
slightly above and below the height of the other letters. For
some reason this always feels more balanced to the eye.
|Constructing the 'E'|
|I wanted the last 'e' of 'Belle' to be in lower case so that|
the word could be read as 'Bell' and 'Belle' - a word-play
reflecting the plot of the film.
|The final artwork, inked with technical pens onto cel, painted, |
and backed by a graduated colour card, rendered with coloured
pencils and marker pens.
|The opening title as it appears in the film.|
|Amanda Donohoe's credit was tough for Mark to balance as|
it is fairly unusual to have three alternate 'O' letters in a row.
|A close-up of some of the construction. All this effort should|
result in something that looks clean, clear and completely effortless!
|The back of the final painted cel, with its black surround|
and white edges. The interior shape of the surname has been
left clear to reveal the graduated colour that will be added beneath.
|The final set up, ready for filming. I chose purples and blues|
inside the actor's credits as they immediately precede a storm
sequence featuring a similar colour range.
|Sam Spacey at work on cels of Rosie|
|Animation clean up of Wally prior to being traced.|
|Another animation clean up, this time from the tunnel sequence |
discussed in previous posts...
|... and some final traced and painted cels.|
|A frame from the final sequence, shot against its background.|
|Sam Spacey, tracer par excellence!|
|Sienna Guillory, who performs the voice|
of Rosie in The Last Belle.
|Roy at work on a Last Belle background|
|One of Roy's concept drawings for the Moron Mountain sequence in Space Jam.|
|The inked version of a section of background.|
The artwork for the first 12 seconds of the shot alone was 35 feet long.
|The camera information, which shows the lens centre and field size for|
every frame of the movement.
|John Leatherbarrow and Roy discuss how to shoot the artwork. John would|
often have to repeat the camera moves several times so that different lighting
effects could be built up onto the film negative.
|The National Media Museum, home of the Bradford Animation Festival.|
|Scott, Fraser and Roy|
|Geoff Dunbar... homeward bound.|
|The Underground Tunnel sequence|
|Roy and Steven Spielberg on 'Who Framed Roger Rabbit', in 1987|
|Roy preparing a 'Thief and the Cobbler' background in 1990|
|John Leatherbarrow, Jim Maguire (co-writer), Neil Boyle,|
Lyn and Roy Naisbitt at the London Film Festival (photo by Ed Roberts)
|The National Film Theatre tonight, lit up against the Thames|
|Upstairs at The Dog and Duck|
|Rod Howick (voice breakdown), Bella Bremner (sole assistant animator on The Last Belle)|
and Roy Naisbitt (legend, and layout artist)
|Mark Naisbitt (animator) and Rebecca Neville (producer)|
|Brian Stevens (one of the great names from British|
animation and a great friend too)
|Tanya Fenton (who patiently endured 4 or 5 years of being my assistant|
animator at Richard Williams studio) and John Cousen (who ran
the Effects Department at the Williams studio)
|Mark Naisbitt and Neil Boyle (director/animator)|
|Roy Naisbitt, Sam Spacey (tracer) and Angeline De Silva (painter)|
|The editing department: Chris Richmond (editor), Ivan Naisbitt (chief editor)|
Mark Naisbitt, and Paul Naisbitt (editor)