Page 19 - RD2006-12.pdf

ing process, let's look at the figures first and then the backgrounds. With his preliminary
sketches approved, the animator proceeds to rough out the sequence he has been given to
draw. He prepares the sequence with skeletonized figures and then has it photographed with
a thirty-five-millimeter camera. With a magnifying glass he looks into a "movieola," a
sound-equipped device that gives him an idea how the scene is going to look on the screen.
If he isn't pleased with the result, he can start over or revamp his sketches until they suit
him. The animator does not concern himself with color, this work being handled by specialists.
When he is satisfied with his first rough tests, the artist proceeds to refine the most
important drawings of the sequence. It is in these frames that the action is set; the figures
are drawn in poses that delineate their character. Once the key drawings are completed, the
assistant animators swing into action. They do the "extremes," which may be best
described as those frames in which the start and finish of a specific action are depicted. The
relatively unimportant parts of an action are drawn by the "in-betweeners."

The painting and inking department traces the completed drawings on sheets of celluloid in
ink and then paints them on the reverse side, according to the instructions given by the
colorists. The colors are all indexed, there being between 750 and 1,000 shades and hues in
regular use. This work completed, the "cells" are ready to be photographed by the color
camera.
The multiplane backgrounds are traced on heavy drawing board, colored and then fitted into
place in the intricate camera. The stop-motion color camera takes one exposure at a time. It
is a large affair and shoots downward on the material to be photographed. In front of the
background is placed the celluloid sheets, one for each character in the scene. After "cells" in
the No. 1 group are photographed, they are taken out and the No. 2 set put in their place
against the same background. This is carried out until the scene is finished. Then a new
background is set in place and other cells are snapped until the picture is completed. The
music, sound and dialogue added, the picture is ready to be shown on the screen.

PROJECTOR LAMPS

Limited quantities of these hard to find projection lamps – order now!

Left: 8volt 50watt (Spaceman)
Lamp – popular in early S8 machines.

Centre: EMM 24v 250w – Bell &
Howell 16mm machines.

Right: DCA 21.5volt 150 watt
Eiki Standard 8 sound projector, etc.

Not shown: EPX 90w 15.5volt
Mirror backed

Postage – Australia wide up to 4
lamps $5.00
Mike Trickett 25 Fairlie Street Geeelong North 3215
PH: AH: 03 52781986 Email: filmman@ncable.net.au