Here's a video someone made from the storyboards for the 80's Batman film directed by Tim Burton. David Russell (Star Wars: Return of the Jedi, X-Men Origins: Wolverine) has an uncredited role as storyboard artist.

The fact that you can string the panels together and have them look like a movie shows his amazing work.

Here's the description from Youtube.
"The sequence introducing the Boy Wonder - ultimately cut before filming began - was taken from an early draft of the 1989 'Batman' movie, put together using original pre-production storyboards and voiced by Batman: The Animated Series' Kevin Conroy (Batman) and Mark Hamill (the Joker)."

You can check out David Russel's site is http://www.storyboardart.com/index1.php

A sample from the original script is after the jump
 Script by Sam Hamm

http://www.dailyscript.com/scripts/batman_early.html

EXT. STREET - EVENING - OVERHEAD ANGLE

From high above the street we see the JOKER'S VAN pulling
out of VICKI's building. We're up on the roof, with BRUCE.
He hits a button on his utility belt, and a RED SIGNAL

LIGHT begins to flash.

BRUCE clamps the utility belt around his waist. Pulls the
BLACK NYLON STOCKING over his head. And suddenly, he's
BOUNDING ACROSS THE ROOFTOPS in pursuit of the JOKER.

EXT. CROSS STREET - A MOMENT LATER - EVENING

The VAN turns right at the intersection. Nothing unusual.
But for some reason, PEDESTRIANS are pointing at the sky,
staring goggle-eyed at the rooftops.

Far above them, a MAN -- dressed in a suit, a tie, a yellow
belt and a BLACK STOCKING MASK -- is gliding across the
intersection on a ROPE.
INT. VAN - A MOMENT LATER

The VAN DRIVER guns through a red light. BRAKES SQUEAL on
either side. In the back of the van, the JOKER GROWLS:

JOKER
Slow down, you maniac!

EXT. INTERSECTION - THAT MOMENT - EVENING

As the VAN ROARS PAST, a MOUNTED POLICEMAN shakes his fist.
His horse shies, rears back, turns in a circle. He's just
about gotten the beast calmed down when a MAN IN A STOCKING
MASK plummets down on a rope from nowhere and lands
directly behind him on the horse's back.
BRUCE elbows the startled COP. Now there's only one rider.

The VAN turns left. BRUCE gallops straight ahead through
the intersection, hoping to cut the JOKER off.
INT. ALICIA HUNT'S APARTMENT - THAT MOMENT

ALICIA peers out through the window. On the street below,
UNMARKED CARS are converging.

INT. VAN - THAT MOMENT

The JOKER and co. are two blocks away from ALICIA's. They
see a POLICE SWAT TEAM sealing off the building.

DRIVER
Boss! Jesus! They've --
JOKER
They'll be sorry. They'll be
sorry. -- GET OUT OF HERE!
EXT. SIDE STREET - THAT MOMENT - EVENING

BRUCE on horseback, charging past elegant old brownstones,
drawing stares from passersby. We get a quick look at the
FLASHING RED SIGNAL LIGHT on his belt.
EXT. RIVERVIEW DRIVE - THAT MOMENT - EVENING
A YELLOW VW BUG rips up the street at 70 mph.
INT. VOLKSWAGEN BUG - THAT MOMENT
We can't see the driver. But we do see, on the seat
beside him, a VIDEO DISPLAY with a shifting grid map of the
city -- and on it, a FLASHING SIGNAL blinking in perfect
sync with the one on BRUCE's belt.
EXT. SIDE STREET - THAT MOMENT



BRUCE sees the VW bug rounding the corner and STREAKING

TOWARD HIM. He reins in the horse; it rears back on its

hind legs in a classic western pose; the BUG zooms past --



-- and ALFRED THE BUTLER heaves out a BROWN LAUNDRY BUNDLE,

neatly tied in string.



BRUCE snatches it out of the air, gives ALFRED a quick

salute -- and the BUG is gone.



INT. JOKER'S VAN - EVENING



The JOKER and his boys are stalled in heavy traffic at the

southern border of Gotham Park. POLICE BARRICADES are

everywhere; the surrounding streets have been roped off for

the birthday gala. HORNS HONK in anger.



JOKER

MOVE! Can't you do something??



DRIVER

It's some kind of detour. They're

backed up for blocks!



The JOKER snorts. He happens to glance into the side-view

mirror. What he sees there... CURDLES HIS BLOOD.



JOKER

Oh my God. How does he do it... ?



EXT. STREET - A BLOCK AWAY - THAT MOMENT



THE BATMAN, IN FULL COSTUMED GLORY, GALLOPING UP THE STREET

ON HORSEBACK -- passing stunned COPS, weaving in and around

the stalled autos, GAINING FAST on the JOKER.



INT. VAN - THAT MOMENT



THE JOKER climbing all over the DRIVER. He HITS THE GAS,

RUNS THE VAN UP ON THE SIDEWALK, and -- at the first

opening he sees -- CRASHES THROUGH A POLICE BARRICADE INTO

GOTHAM PARK ITSELF.



BATMAN is half a block behind him now. As he follows hot on

the JOKER's heels, TWO HELICOPTERS swing into the park from

overhead.



EXT. GOTHAM PARK - EVENING



CROWDS EVERYWHERE. On the central platform where we saw the

FREE CONCERT earlier, an EMCEE mans the microphone:



EMCEE

-- the most spectacular, most death-

defying aerial stunt ever devised.

Tonight -- for the first time

anywhere -- THE FLYING GRAYSONS!



He points up at the two approaching HELICOPTERS, flying

side-by-side in tight formation some forty feet apart.



ANGLE ON HELICOPTERS



ONLOOKERS GASP as TWO TRAPEZES drop from the bellies of the

twin copters. Dangling from the trapezes are the FLYING

GRAYSONS -- a husband-and-wife aerialist team in spangled

red-and-green suits. They begin swinging toward each other

in a plane perpendicular to the path of the copters.



EXT. GOTHAM PARK - GROUND LEVEL



PANIC DOWN BELOW as the JOKER's van barrels through the

crowd, HORN BLARING. BATMAN is moving up swiftly.



On each wrist he's wearing a MINIATURE ROCKET LAUNCHER. He

lets fly with TWO SALVOS. The first explodes harmlessly

against a tree. The second HITS THE REAR DOOR OF THE VAN --

driving it off the access road down into the brush, where

it nearly topples over sideways.



ANGLE ON FLYING GRAYSONS



GRAYSON has just completed a double somersault in midair,

landing in the capable hands of his wife. Now they're

swinging again, building momentum as he prepares to make

the return leap back to his own trapeze.



INT. HELICOPTER - THAT MOMENT



In the bay of the helicopter stands a kid, fifteen,

compact, tough, and wiry: DICK GRAYSON. Like his parents,

he's wearing a red-and-green suit. From the copter, he's

got a perfect bird's-eye view of the BATMAN-JOKER chase.



PILOT

Ready to go, Dick?



DICK

What's all the ruckus down there?



EXT. PARK - GROUND LEVEL - THAT MOMENT



The VAN bounces over rocks and bushes, narrowly avoiding

trees, with BATMAN in hot pursuit.



INT. VAN - THAT MOMENT



At the foot of a hill, the JOKER spies a truck. On its

side, in bright red letters, a WARNING: "DANGER -

FIREWORKS. FLAMMABLE LOAD."



The JOKER reaches into the back for a HIGHWAY FLARE.

JOKER
Head for the truck!

INT. HELICOPTER - THAT MOMENT

Hovering over the chase scene, DICK catches sight of the
JOKER. He GASPS IN SHOCK as a LIT FLARE flies from the back
of the VAN... directly into the FIREWORKS TRUCK.

EXT. PARK - GROUND LEVEL - A MOMENT LATER

THE BATMAN is thrown off his horse by the shock of a
massive EXPLOSION. All at once, THE SKY IS FULL of
BURSTING, INCANDESCENT COLORS!!

THE JOKER hangs out of the rear of the van, looking up, an
expression of PURE DELIGHT on his face.

JOKER
I love fireworks!

ANGLE ON HELICOPTERS

LURCHING AND SPINNING IN THE SKY as FIREWORKS rocket past.

One of them takes a dead hit on the rotor. JOHN GRAYSON
falls to his death instantly; a moment later, the COPTER
plummets into the trees with a resounding, fiery CRASH.

MARY GRAYSON hangs from the second copter as it bobs and
weaves out of control. ONLOOKERS SCREAM IN TERROR.

EXT. STREET - THAT MOMENT

THE JOKER'S VAN bursts out of the park and speeds up a
wide, cordoned-off avenue. Overhead, THE SECOND COPTER
veers wildly, out of the park now, swinging dangerously
close to the tall buildings along the avenue.

INT. HELICOPTER - THAT MOMENT

DICK GRAYSON at the mouth of the bay, hanging on by a
canvas strap. He watches helplessly as his MOTHER swings
into a POWER LINE and drops three stories to the pavement.

DICK
NO! NOOOOOOOO!!!!

His face is contorted with rage and pain. The PILOT
struggles desperately to right the copter, barely avoiding
a collision with the nearest building. And then -- before
THE PILOT can make a move to stop him -- DICK HAS JUMPED
OUT OF THE COPTER.

ANGLE ON DICK

With astonishing physical grace, he DIVES. GRABS A
FLAGPOLE. Executes a perfect somersault. FLIPS onto a
nearby fire escape. VAULTS to the next fire escape down.
And LEAPS OUT OVER THE STREET --

-- MAKING A PERFECT TWO-POINT LANDING on his intended
target... THE ROOF OF THE JOKER'S VAN!!

INT. VAN - THAT MOMENT

THE JOKER hears a THUNK overhead. He casually lifts his gun
and BLOWS A HOLE THROUGH THE ROOF OF THE VAN.

EXT. ROOF OF VAN - MOVING - THAT MOMENT

The blast just misses DICK. He sprawls flat, YANKS at the
chrome luggage rack on the roof of the van, and BREAKS OFF

A FOUR-FOOT SHAFT OF METAL.

ANOTHER SHOT through the roof. DICK rolls forward, hoists
his chrome spear over the windshield.

INT. VAN - THAT MOMENT

SPLINTERED GLASS flies everywhere as DICK RAMS THE SHAFT
THROUGH THE WINDSHIELD. THE DRIVER dodges left and LOSES
CONTROL OF THE WHEEL.

EXT. ROOF OF VAN - MOVING - THAT MOMENT

The VAN careens wildly toward an OVERPASS. DICK rises up
into a crouch just in time to see a sign which reads
"DANGER -- LOW CLEARANCE." He's about to get his head taken
off!

ONE SECOND BEFORE IMPACT a BLACK-CAPED SHADOW swings across
the street and SCOOPS DICK OFF THE ROOF OF THE VAN.

EXT. STREET - NIGHT

BATMAN AND DICK tumble to the pavement. THE VAN knocks over
a fire hydrant and STOPS. DICK is already on his feet,
ready to CHARGE THE VAN, when BATMAN throws a powerful arm
around his waist.

DICK
LET ME GO! LET ME --

THE JOKER steps casually out of the van. TWO GOONS with
MACHINE GUNS emerge behind him. PEDESTRIANS SCREAM as the
GOONS level their guns at the CROWD.

DICK (cont.)
YOU PIECE OF -- YOU MOTHERF--

DICK is kicking, screaming, clawing, biting. BATMAN has his
hands full restraining the kid.

JOKER
Like your boyfriend. He's kinda
hot.

(glowering at BATMAN)
Hands off the belt.

BATMAN
Take me. Let the boy go.

JOKER
Gosh, I could kill you, but then
you'd miss my party. And I'd be
real, real sad if you couldn't make
it.

BATMAN
What are you talking about?

JOKER
Batman! Don't you even recognize
your old pal Jack? After all...

(cackling insanely)

You made me what I am today.

BATMAN cocks his head in puzzlement as DISTANT SIRENS

BLARE. The JOKER and his HOODS -- guns still aimed at the
crowd -- back away and race off on foot, vanishing into the
night.

DICK BREAKS FREE and BOLTS AFTER THEM. BATMAN throws him to
the street with a flying tackle. The boy is hysterical.

DICK
HE KILLED MY PARENTS! HE KILLED
MY --

BATMAN flinches at the sound of the words. He reaches into
his belt and -- mercifully -- breaks a KNOCKOUT CAPSULE
under DICK's nose.

more »

John Thiago on the Brazlian website Mundo Hype posted some concept art for production designer Rick Heinrichs' Captain America: The First Avenger.

The blog says the following about the concept art:

"For starters I must emphasize that not confirm the veracity of this news. But you may have some leaked concept art look of the Red Skull in the film of Captain America , which debuts next year. The style of conceptual art match those that leaked months ago of Captain America and Thor. Furthermore, the skull showed up holding the Cosmic Cube, which was confirmed in the film. However, there is no trace of actor Hugo Weaving in art." [Translated by Google Translate]

Most concept art is done before casting, so its no surprise it doesn't look like the actor. What confirms these as legit is that they look exactly like the official movie costumes.

We don't know who did these, but, the concept artists for Captain America are James Carson, Rodolfo Damaggio, Dan Walker, Andy Park and Henrik Tamm.

Captain America: The First Avenger is directed by Joe Johnston and stars Chris Evans. After being deemed unfit for military service, Steve Rogers volunteers for a top secret research project that turns him into Captain America, a superhero dedicated to defending America's ideals.

Via Mania and Splashpage more »

The King Kong: Deluxe Extended Edition DVD is the best behind-the-scenes DVD I've ever seen and it only cost me five dollars.

I like to browse through DVD bins at places like Walmart and my grocery store for DVDs that are hidden gems. I was sifting through Barney DVDs when u speed king Kong. Col I though and puled it out see which version it was I almost had a heart attack. It was the Extended edition. Not just the Extended edition, but the three disk Deluxe Extended edition. I flipped it over and found the words I love to see: conceptual art gallery.

Besides being a great movie, this DVD is a must have for lovers of film. It chronicles the long journey from Peter Jackson's childhood love of King Kong to its aborted attempt in the 1990s to its final release in 2005.

The film is full of beautiful moments, but what really shines is the work of the art department. With interviews of key artists and model makers to their influence over the final film, it really makes you appreciate the hard work of production designer Grant Major and artists like Gus Hunter, Alan Lee and Miles Teves.

All the features show concept art, but what's really special are the five concept art videos of hundreds of paintings and drawing set to music from the film. Normally i like to watch slide shows so I can focus in on little details and appreciate it but these videos are so well done you don't miss anything. Plus, it would sprain your thumb to have to navigate through all these pictures.

Peter Jackson has a love of concept art and it shows in this extraordinary DVD. My only complaint is that they don't show who created which painting or drawing. When you're looking at a dynamic drawing of king Kong fighting a T-Rex or a lush scene of skull island by Jeremy Bennett, it would be nice if they gave credit where credit is due.

I don't know why someone thought this DVD is only worth 5, but I'd highly recommend buying it.
4 1/2 stars.

more »

We get our first official look at Chris Evans in the amazing Captain America costume thanks to the latest issue of Entertainment Weekly. It looks pretty spot on with the concept art.Of course, we don't see the controversial helmet, but it looks awesome.

Captain America: The First Avenger (2011)
After being deemed unfit for military service, Steve Rogers volunteers for a top secret research project that turns him into Captain America, a superhero dedicated to defending America's ideals.
Release Date: July 22, 2011
-IMDB

So, what's different? The colors match and the pattern on his tunic around the star looks the same. The only difference is the straps on his shoulders have more straps and buckles.

Overall, its as functional as you're going to get for a superhero costume. The director, Joe Johnston, said he wanted it to look accidental as a costume and he got his wish.

I'm really looking forward to it. I had my doubts when they cast Evans, but it looks like he's really filling into the character.

Here's some more concept art from the film.

What do you think of the Captain America costume?
Source: Ain't it cool news, EW via firstshowing.net more »

If you've ever wondered what the universe's oldest U.N. would look like can wonder no more. Comic Book Movie has some concept art for the film Green Lantern that features the home planet of the Guardians called "Oa."

"Oa City beams off" by Michele Moen
Michele (Star Trek 2009) managed to make it look old and worn and, at the same time, vibrant and alive. This should be an amazing scene. The almost accidental inclusion of the green in the skyline glow and various crystals really makes it pop. The blast of energy from the Central Power Battery, which gives all the Lanterns their power, is striking.

"Cemetery and Citadel" by Justin Sweet

Fantasy artist, Justin Sweet, has created a haunting painting of the cemetery of Green Lanterns. The scale of these images is fascinating with towering crystal overlooking the landscape. I find it odd that all the figures in the painting are humanoid since one of the hallmarks of the Green Lantern Corp is the inhuman aliens. I mean, one of the core members is a squirrel and another is a giant blob of protoplasm. I especially like how somber and serene the image is. You can imagine wondering these halls with reverence. The citadel is presumably on the hilltop and overlooks the city.

Grant Majors describes the inspiration for the design this way.

"Oa, of course, is at the center of the Universe, and is also an extremely old place. It's been around since not too long after the Big Bang, I assume. And with its function as a sort of U.N.-cum-military-compound in the middle of space, you'd imagine that with 3,600 different sectors, it must have a lot of influence on a lot of different cultures and time. So what I've tried to do is to introduce a plethora of different types of architectural styles and a feeling that, over the millennia, that it's just been building on and building on [itself], and there's just this huge history of culture that's been there."

"I looked to the comics, of course [for design concepts for Oa]. I also wanted to give it a sort of broader aspect. I really wanted to make it the sort of place where, just from the glimpse that we have of it, that you'd really want to go back there and have a really big look around, and in the interest of the film, maybe give birth to subsequent films."  

Green Lantern opens June 14, 2011

http://greenlanternmovie.warnerbros.com/
Source: Comic Book Movie more »

Robert McKinnon has been a visionary concept artist for such high profile films as Live Free or Die Hard and Terminator: Salvation. He agreed to share his wit and wisdom about his life as a concept artist.

Thank you for doing this interview. What led you to become an artist? Was it a lifelong dream?
What led me to become an artist? The money! Nah, just kidding.

Actually, I've always been an artist. I've been drawing and designing as far back as I can remember. I was attracted to films like Star Wars, Jaws, Raiders of the Lost Ark, Singing in the Rain....Just kidding....I hate Star Wars......(yeah right!)

These films influenced me tremendously. They spawned this creative energy that I just had to release whether it was by drawing, sculpting, writing, and designing. You name it, I did it! I wrote scripts and submitted them to studios (complete with my illustrations scotch-taped into the margins). Bet Paul Haggis doesn't do that!

I drew and designed sets, characters, vehicles. I experimented with visual effects causing my parents to increase their home owners' insurance. In school, I drove my teachers crazy because I never paid attention in class and sketched in my books and folders all the time. I had no time for Math or English. I had to design parachute rigs for my GI Joe action figures!!!

 I mean, in my warped twisted adolescent world, I was the Production Designer on the Star Wars sequels (little did George Lucas know).I was the youngest Production Designer in motion picture history. I wasn't getting paid, and my art department was my bedroom, but that's irrelevant!! I was creating!!! I couldn't let down the fans. It was a tremendous amount of stress for a nine year old LOL! But seriously, being an artist wasn't a lifelong dream because I've always lived it. I believed it.

How did you become a concept artist?
I've always been a concept artist ha ha! Being a “paid” concept artist is another issue entirely. Actually, I started like most out there.

I went to college, graduated with honors, receiving a BA in Illustration (very useful in showbiz, you'll soon find out). After a 3 month job hunt, I started out designing for theme park rides and show attractions which opened a door into doing work in videogame, commercial, animation design. Then one day, I got a call to work on a film project with the amazing designer and director Patrick Tatopoulos which started me on this really great adventure in designing and illustrating for film. That initial project sparked a friendship and collaboration that continues to this day.

I now work in various industries. I work mostly on motion pictures in various stages of production, but I take on commercials, music videos, and videogame projects from time to time.

You teach classes on digital art at Concept Design Academy. Why did you decide to teach?
As a professional, I've been fortunate to have found success at what I do, and have achieved my goals. A lot of that is credited to the people who helped me get there. Teachers and colleagues played a significant role in my development. They were a tremendous inspiration to me.

One day I subbed a class for a friend and something just clicked. I started to teach and out of my mouth came the knowledge of great teachers like Gary Meyer, Dave Luce, Bob Kato, Tom Thordarson, Bryan Jowers, Norm Schuremann (rest his soul). Just when I thought my dreams came true, I uncovered another. It was to be like those great teachers that came before me and inspired me.

It's important to me to give back to these young artists what these people gave to me.

Do you see the digital medium as the future of conceptual design?

Absolutely, without a doubt. As artists of the 21st Century, we're part of a new renaissance that's bridging the traditional and digital mediums.

We have to adapt to technology trends and be open to new ways of tackling projects. However, what always remains constant are story and ideas. Concept design is all about great story and ideas. The digital medium is just another tool to communicate ideas.

Ten years from now, who knows what we'll be embracing.

Where do you get your inspiration from?
Depending on the project, I'm inspired by many different sources.

Sometimes, it's the movies I watch or a book I read. Often, inspiration comes from accident or from something unplanned. When I was working on Die Hard, I had to design “America's ATM Machine” basically.

I worked for a few days developing sketches for this thing and was just not happy with what I was coming up with. I remember tossing a worthless comp in the trash, when I spotted an apple core in the can. The shape was awesome. It was the basis for the design of the machine. The final design was a cross between a cutaway of a nuclear missile and..... an apple core.

Go figure......

What was it like working on Inception?
I work on a lot of different shows with a lot of amazing and talented people. Inception was no exception. I worked on it briefly between shows, but I had the opportunity to work with some of the top minds in this business and see them in action.

It was a difficult concept to wrap around, but it's to be expected when you work with someone as talented and original as Chris Nolan. It was a very challenging project to be a part of that's for sure but rewarding because of the professional relationships I established on that show.

Did you have the feeling you would be a part of something as monumental as the film?
It's always great to be a part of something special, but I feel even more fortunate to have worked with the best and brightest in this business. Every time I see a great movie on the screen past or present, I feel incredibly humbled and privileged to be a part of this creative industry. That means so much more to me than a particular film.

Wouldn't mind seeing Inception win some Oscars though. Ha ha.

You did some amazing designs for the film Terminator: Salvation. How did it feel having your Terminator Hydrobot featured on the cover of Empire magazine?
Thank you, I had a blast workin' on Terminator: Salvation. I remember the Hydrobot was in development hell. Many artists tackled it, but it just wasn't workin' for the director. Must have been a year or so of development. All fantastic designs, but just not clicking for the director.

I remember takin' my kids to IHOP for breakfast one morning, and sketching the Hydrobot on a napkin before work. I scanned the sketch in and cleaned it up for presentation. Thought I'd take a shot at the design (a long shot at best). 1st shot, it was approved. One of my proudest professional moments.

And yes, even more than seeing it on the cover of Empire Magazine.

What is the biggest challenge that concept artists face today?
There are various issues Concepters deal with daily.

There are pitfalls in business decisions, contract haggles, lack of work out there, outsourcing, technological shifts, among other things. But we survive because we are a part of a network of good talented men and women I'm proud to call my friends and colleagues.

We're always helpin each other out whether it be recommending each other for projects or simply just being available to chat.

What's the next project we'll see your work on?
This December Tron: Legacy comes out. I'm incredibly excited about this film. I really think people are going to be blown away by it.

Next year, Transformers: The Dark of the Moon (Transformers III) and Part I of the new Twilight movie Breaking Dawn. Beyond that, I can’t talk about the projects I'm on now.

But I can tell you, they are big! A lot of cool stuff coming up.

Ok ok....wanna know how Transformers III ends? Ok here it is......yeah right!

Robert is a prolific blogger. Check out more of his amazing work at http://robertmckinnon.blogspot.com/

What do you think of Robert McKinnon's work? more »

I haven't updated the blog in a while, but have returned with new art and designs. To start off, I'll show Robert McKinnon's Terminator: Salvation sketches.

Here's how he discribes his inspiration: "The designs were inspired by old beat up motorcycles and a picture I saw of a young boy standing in front of this giant old locomotive. I saw that and said....'that's the terminator!' "

T-6003

Come back soon for an exclusive interview with the artist.

Source: http://robertmckinnon.blogspot.com/

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