2. The Illusion of Life Chapter Ten: How to Get It on the Screen 33 How can an animated scene’s background provide an effective setting without overwhelming the characters and the action? How effective is the combination of backgrounds and characters in these scenes from “Bambi” ?

3. The Illusion of Life Chapter Ten: How to Get It on the Screen 34 The background may be used to enhance the audience’s ability to focus upon the characters via framing and color contrast.

4. The Illusion of Life Chapter Ten: How to Get It on the Screen 35 Animating the shifting surface and splashing drops of water requires intensive study of the dynamics of liquids, often by watching slow- motion films of actual water.

5. The Illusion of Life Chapter Ten: How to Get It on the Screen 36 Shadow effects contribute greatly to a scene’s realism, but are very difficult to implement. One solution was to paint the shadow cel in black and to double- expose it with the background and other cels.

6. The Illusion of Life Chapter Ten: How to Get It on the Screen 37 Character colors must be carefully selected to ensure that the characters can be clearly discerned in each scene. Each character has a combination of light and darker colors, but note how Flower must be positioned strategically to prevent the primarily black color from blending too much with the background.

7. The Illusion of Life Chapter Ten: How to Get It on the Screen 38 In Max Fleischer’s “Superman” cartoons from the ‘30s, Superman is always positioned to contrast with the background color, make him stand out, while Clark Kent frequently is positioned to blend with the background. Notice the shift in hair color that occurs when Fleischer’s Gulliver needs to stand out against the night sky.

8. The Illusion of Life Chapter Ten: How to Get It on the Screen 39 The peasant disguises of the three fairies in Disney’s “Sleeping Beauty” were intended to be drabber versions of their fairy outfits, but Merryweather’s black bodice tended to suck much of the life out of those scenes.

9. The Illusion of Life Chapter Ten: How to Get It on the Screen 40 Simplifying the tedious chore of hand-inking sketches for scenes was the motivation behind the xerographic process. “101 Dalmatians” (1961) used xerography to print the black lines of drawings directly onto the cels. “The Secret of NIMH” (1982) extended this technique to colored lines.

10. The Illusion of Life Chapter Eleven: The Disney Sounds 41 As with character voices, it’s critical to maintain the tone and mood of one’s animation by means of music selections.

11. The Illusion of Life Chapter Eleven: The Disney Sounds 42 Animation sound falls into two basic categories: Pre-synchronous Sound Pre-synchronous Sound Sound recorded before the animated images are produced Post-synchronous Sound Post-synchronous Sound Sound recorded after the images have been produced Music and sound effects for key actions are recorded pre-synch and the animators “shoot to the track”. Music and sound effects for key actions are recorded pre-synch and the animators “shoot to the track”. Most voices are recorded pre-synch to assist with synchronization with the characters and with the pacing of action. Most voices are recorded pre-synch to assist with synchronization with the characters and with the pacing of action. Sound effects that establish the setting and don’t impact the scene’s pacing (e.g., ringing telephones, closing doors, singing birds) are recorded post-synch. Sound effects that establish the setting and don’t impact the scene’s pacing (e.g., ringing telephones, closing doors, singing birds) are recorded post-synch.

12. The Illusion of Life Chapter Twelve: The Follow-up Functions 43 What do the following people do during animation follow-up? Animation Checker Blue Sketch Artist

13. The Illusion of Life Chapter Twelve: The Follow-up Functions 44 The Disney Multiplane Camera - Explained by Disney!

14. The Illusion of Life Chapter Thirteen: The Uses of Live Action in Drawing Humans and Animals 45 Eddie Collins, the burlesque comedian, served as the live action physical model for Dopey Margaret Kerry was the live action physical model for Tinker Bell Live actors are often filmed and analyzed frame by frame to achieve realistic animation in characters.

15. The Illusion of Life Chapter Thirteen: The Uses of Live Action in Drawing Humans and Animals 46 Precisely emulating the actions of real humans and animals tends to produce rather bland animation, so caricaturing excessive actions and reactions tends to produce better entertainment. In these two images from “The Sword in the Stone”, Merlin and Arthur are behaving similarly, but their stances and postures are somewhat more exaggerated in the scene in which they are squirrels.

16. The Illusion of Life Chapter Thirteen: The Uses of Live Action in Drawing Humans and Animals 47 Which bird would make the best villain in an animated story? The best hero? The best victim?

17. The Illusion of Life Chapter Thirteen: The Uses of Live Action in Drawing Humans and Animals 48 The four fundamental poses of walking Stiff and unnatural Bouncy and unbelievable More natural recoil pattern