Animation Storyboarding for Film & TV

Learn what it takes to be a storyboard artist in Hollywood.

Oct 24, 2008 Joe Lam

A Storyboard Artist for Warner Bros, Disney, and Nickelodeon shares firsthand experience about what it takes to work in animated Film and Television.

Suite101 sat down with Llyn Hunter, Storyboard Artist for major Film and TV animated cartoons to discuss her experience in animation, the process of storyboarding, and what newcomers to the industry need to know.

Suite101: Tell us about your experience working in the storyboarding industry?

Hunter: I’ve been working in animation for 18 years for just about every major studio in the Los Angeles area at Warner Bros, Disney, Hannah Barbara, Nickelodeon, and Sony. I’ve done it for Saturday morning fare and after school animated shows. Also direct to video movies such as My Little Pony, Candy Land, and Holly Hobbie. My work covers both 2D and 3D Animated TV Shows and Movies.

Suite101: What is your process of storyboarding?

Hunter: For TV, you have to turn things around pretty fast. Most television is 22 minutes because of the commercials. A writer will have to come up with a script, which is then given to the storyboard artist. We work on an 8 ½” x 14” legal size sheet of paper and it’ll have 3 or panels across the top. In the middle you’ll have sections for action, dialogue, and slugging, which is how they time out things for the animation.

Usually 2 people work on the storyboards, each doing 600 drawings, 1200 drawings total for the 22 minutes. So it looks like a giant comic book and serves as a blueprint for the cartoon. It will be used by the Director, Timing Director, and Animators. And everyone refers back to the storyboards to make sure everything is working together.

Suite101: What tools do you use?

Hunter: A pencil, pencil sharpener, sheet of paper, and an eraser. As time goes on, we are starting to work on the computer, but these tools are still the most widely used.

Suite101: What was your favorite project to work on and why?

Hunter: Animaniacs and Pinky and the Brain primarily because my roots are in old time Warner Bros. I am a Bugs Bunny junkie. I grew up on Looney Tunes and it was so fun to work on that kind of slapstick. Most of the Disney action/adventures were great like Darkwing Duck, Aladdin, and Hercules. The kind of cartoons that were fun and silly because I could use a lot of different camera angles and acting.

Suite101: Is there a downside to being a storyboard artist?

Hunter: Oh yeah, the downside is that unfortunately everybody wants as much work done with as little time and pay as possible. You feel like you’re running around with your shoelaces tied. And as time has gone on, I started in the business since 1990 and from 1997 my pay has stagnated and they keep reducing my deadlines and paying me less. You also keep wondering if they’re going to shipping more of my work to Canada and Australia, which they have. So the jobs keep getting harder to find.

Suite101: What advice can you give new storyboard artists entering the industry?

Hunter: My biggest advice is to first learn the computer because everybody is switching to it. So learn to draw with a Waycon Tablet, Photoshop, or Maya. If you know a background to them it will help you out. Second, nothing gets you a job better than getting the gofer job in an animation studio, it’s the best way to get your foot in the door. Just be in the environment and work up.

About Llyn Hunter:

Llyn Hunter has worked as a Storyboard Artist in animation for over 15 years. She helped win 2 Emmys for Warner Bros. and has also worked on Animated TV and Films such as Aladdin, The Little Mermaid, and Hercules. She is also the author of two children's books A Little Book of Monsters and its sequel A Little Book of Magical Beings. To learn more about Llyn Hunter, visit Llynsplace.

The copyright of the article Animation Storyboarding for Film & TV in Animated Films is owned by Joe Lam. Permission to republish Animation Storyboarding for Film & TV in print or online must be granted by the author in writing.

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