![]() ![]() On the other hand, an artist shows what he sees is there, especially that which might not be perceived by others. The camera cer-i tainly records what is there, but it records everything that is there, with an impartial lack of emphasis. studying film of a moving model made them | think that live action was different. ![]() The animators had learned this in art classes, but. No one knows for sure why a pencil tracing of a live action figure should look so stiff and unnatural on the screen, unless there simply is no reality in a copy. We had made the big break with rotoscope. This took study and analysis and careful work, but once a movement was understood it easily could be incorporated into cartoon terms. Our animation picked up a crispness, a force, and a richness it never had before. with an apprehensive Walt Disney watching every line we made, progress was automatic-difficult, but expected. Our drawing ability had to improve, our knowledge of anatomy and acting had to increase, and our judgment had to develop, but. The actor's movements had to be reinterpreted in the world of our designs and shapes and forms.Īs long as we remembered to use the photostats only as a reference in making our own statement of what should be in the scene, our animation was never tight or restricted. the figure and its model could not do things in exactly the same way. Our job was to make the cartoon figure go through the same movements as the live actor, with the same timing and the same staging, but, because animatable shapes called for a difference in proportions. It was not the photographed action of an actor's swelling cheek that mattered, it was the animated cheek in our drawings that had to communicate. Not until we realized that photographs must be redrawn in animatable shapes (our proven tools of communicating) were we able to transfer this knowledge to cartoon animation. There was a certain authority in the movement and a presence that came out of the whole action, but it was impossible to become emotionally involved with this eerie, shadowy creature who was never a real inhabitant of our fantasy world. The moves appeared real enough, but the figure lost the illusion of life. Fleeting smile, the raising of a shoulder as the body leaned forward-these were the precious elements of life revealed by the camera.īut whenever we stayed too close to the photostats, or directly copied even a tiny piece of human action, the results looked very strange.
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