the illusion of life disney animation b

Djsm~, AnJnj~¥' Frank Thomas and Olli ~ J 1b. delil>C"lion of any personality almost stan. ,", ' ;(h . C()Sluming has been an essential pan of the : ;:::: : ~'i!~~~";~:;~: slightly less understood impact and poIenli.l of lhe rolors them- · Hee is more sensili,'. (han rl>OSl when he "On50meofl lte caricatures. . [would make """ face ,'''''n. because of hi s character. . he '( look good in any OIher color. And olher ma ke their fa~s completely red. and f",os " 'ere no! red . Red is vibr~lions and il "ibrations and ~II Of;1 is elecl ,ic and iI's alive if you'"" around a pcrson for a linle while . . he or be does no1. Relative value s can be learned. approach always will remain. making onhodo ~ or sensa!ional. dark and mystic Of · realislie or abs lracl. no maUCr how ·ell he leams!O pOI colors togelher. This is a conSlanl : :';:~"~ producer who wanlS a special feel to his if he has a dozen color stylists and back- paimers. seldom will any be exactly right for , There must be conferences. crit- and to oblain a i ilit idea and graphic will ha\'e the responsibility for IIQI only a cnlor ~ ey for the whole picture. but of til.! characters in tbe various direetor aJ ,, '.YS may have visualized in a pink gown. but if pink does nOl fit the 1Ct.eme being suggest~-d, he had bener be pre_ change his concept. perhaps radically. The 1 "Nutcracker Suite" or tbe quaint tt '. house only can evolve as the "m together perfectly. The background man ill have complete authority in this area. since is fully .uccessful when one function has dom- t a balance is maintaiMd. the direc- · layout man "',ork do",ly with tbe painter producer watches the results carefully. 1irtt~r oelp comes from the Color Model supervi- ~ ~~:f.~~:~:~~~:r"j~f'~ ability to qualify for In k and Paint Department well. is easy to do and woat is difficult and time how much any prOCI'S S will cme what colors are available. and even "' hich ones are stable or cause problems_ In addition. she is 3 fine anist and has a good color sense, She knows how much tbe thickness of a cel wi!! darken a color and "'hat to mi x to compensate for tl>e loss. To tbe un· initiated, the list seems endless. As one of the women put it. "You had to know e"ery other aspect of the business to do your own wor ~ . and be creative about it. . . We' re li ke a liai · son between all the departments,'" Finding a set of colors that will work with the gen· eral scheme. the specific background. and the needs of t he character is only the beginning of the problems tbe Color Model expert faces. All of the earlier work has been done on paper with a variety of technique s. and now a way mUSt be found to achieve an equivalem effect in flat shades of tempera paim within outlines on a cel. Handsome. appealing characters li ke Jiminy Cricket or Thumper look so right that the average person has great difficulty in imagining their being any other way. but tbey all took imagination. dedica· tion. and persi~tence. One small example is the expense that will be incurred in putting any character on the SCreen, To begin with. each color represents an expense in itself by the time it is mi xed, put in small jars. dispensed to the painter. PUt in the exact area On the eel. and then allowed to dry. Each use of color adds an additional expense. so the Color Model advisor speaks up early when she sees a bit of questionable detail on the an i_ mator's drawings. That item will have to be drawn many times. have a color selected. be painted on hun _ dreds of eels. and. finally. check ed carefully. We were told. "Each button COStS ten thousand dollars !" and 1: became vcry selective in our decorative additions to the characters. The question is constantly asked. "Is it worth it?" "Do we really necd that ex ira but_ ton?" " How about the buckle on tbe belt docs it really need three colors?" Jiminy Cricket had 27 colors in Pinocchio, but "'ben he appeared later in the Mid y MouS<' Club films that number was CUt to nine, Almost any character will h .ve that many colors. no matter how simple he is. There are always lots of little places to paint> such u inside the mouth. the eyelids. the bonom of the feet: a person docs IIOt ordinarily think of these as having a [...]... 1936 the sound effects men had to get the juicy impacl ofa ripe tomato hining the big bad ·olf in lhe face A et ashcloth had tOO much inlpact a spoonful of grease waS \00 "·et and a cup of water had too much splaner The "",und finally was achieved by comhining the three best sounds OVer the blatant wund of the ·razlberry • the impeninent noisemaker made of two loose pieces of rubber No"," by itself... !>Iacke" of "'In flC! thIS heavy black line put uS right back _ tilt 1921), hefon: the rdinemenu of inking had Other oolon Ihat the Xerox CorpocallOfl rould offer dark were no belle •• so we allem~ed to mate outhne man: acceptable by ISlng II as the "ylc of the woole ptClure backgrounds and all 1010 1"",· ,;" wa IhI: result spearheaded by the mulmal"nted Ken Ano.lc:rson; the linear qualily of the anwort... for laking sMic elttlrit:ity out of Kissors bef,,", CUlling lape gave oIT another sound that barely could be recorded and, finally Jim lUi a large cymbiol and gently brushed a liny piece of COlton against the edge No sound could be detected on the "~e, but lhe tape machi"" "':as pickinl up ~trange vibrations These tIu-cc ooullib well' taken to the dubbing panel in the thealer whell' lhe t"",ks " 'tf'C... washoff relief cds had he cmulslOll on Ihc back of the eel here lhe p,ainl ",'U 10 lO 1Uld ulreme Ihc drpanmcnl y•• "0Il il w~ honible! Everybody moaned when lhe y g01 those kinds of scenes." There even waS rouble w ith the eel lhenlselves e~peda lly whe n the on ly ones avail able Were made of. .. that the soulKls always fit properly into the score and being an entertainer he made sure the sound was the beSt that could be gotten for Ihat spot Good sound effects will add life alKl excitemcnt to a film whereas drab ordi· nary sounds will quic kly drain · h~t life there might be in the action There ,.·cre always changes in the ideas and the material as a picture developed; but hen the studio embarked... for a final shoe of the main charxlCcr alking a""ar inlo the di~t~occ: hile the ca~n pull back ~lo""I y-usually up imo the sky for ~ picwre of the SU""" or the m the dual problem of making tile figure juSt the righl amount smaller ith neh SICp ",-hile keeping tile same s pirit throughout The camen u~ually... of a familiar theme bring I>K~ the CI11lions of I""lt e xperience and through associations W~ Can be made 10 feel empathy nen fOf proples uf di~· tant cultures This b mnes a "ital elemenl in makmg fanta>y orlds belicv~ble-notjust as ~ plact obse ·~ from lhe comfort of OUr lhealer scats bul a "'gion ·c aclually inhabit f{)l" the duration of the film " dare lhe days of ,; organ;,ts... prim cornu off thr ",inuT hlmdrrds of fW"l'if (trr ;n,'()h'r~(Jrh (It! '-"1Ih lilt ·riling of the mllsic the 1$ ' Nly creali"" funclion has been completed Some membcn; of the lUff tlrudy ha, , new a.signmenl$ and are excitedly f~pIoring the rlCXI rrojeCI bul the , ~!i1J 8«' &Cvcral crucial;oos 10 be done and deci.ions 10 be m;,de... 10 lhe beal S Now" , knew j usl how many ban ,'" needed ror nch bi of business , No- !.heel .~ dclcmllncd the ,cmpo t aw us lhe number of fran lOs 16s halevcr The lrUClure lhe number of beiliS 10 ,h~ bar In ,h,s ;~ :::;~:::".·.:',:':'":':".:':'~bcal h~c 'h"each bar 12 f",me> '0 Lalcr dialogue was added, sho ·i n' ·here lhe 'ake Maned and ended Localion of wund effecls were OOIed 100 (There is... "cry be.1 pallem of 0 ,"" lfnOUnl of Ii f., lIN: oct_ of the =~ If m.n, " 'as "" sound 10 sf as I , ide ,he m length "r Iny of , "" lion A Stlti", of 12, (N'icc strond) "" n ,,_lIy "sed hiell mcam thai bel' . the needs of t he character is only the beginning of the problems tbe Color Model expert faces. All of the earlier work has been done on paper with a variety of technique s on the screen. A characler will limit the badgrounds 10 about I'1S of oolors for the whole picture; any other . will be muddy. 100 light. 100 colorful, Black is a complete absence. or the m<)()f1 or a ti,l., llial says. " ;The End ." This was always almost impofoSiblc 10 animale. because: of the dual problem of making t ile figure juSt the righl

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