The short films of the early thirties were full of fast action, skids, and crashes. Each animator searched for a better or funnier way to draw the effect needed to fortify his action.
animator Frank Thomas— Sleeping Beauty.
Feature films also needed unusual drawing effects for certain actions. When the good fairy Flora had to shrink in size. a special device was needed to make this look plausible. A kind of wipeover made of speed lines was used.
The most common stagger is the 345456567678789 timing foe tension when some progression is desired. It is useful in pulls and pushes and on the end of a very strong take, adding extra life to the action. This stagger is done entirely with the mechanics of exposing the drawings under the camera. Inbetweens are made slowing into drawing No. 9 and the rest is left up to the cameraman.
animator Hill Roberts— Clock Cleaners.
This vibration effect is achieved by animating multiple images out from a single image. No special pattern has to be followed, and the particular needs of the scene will determine how it is handled. No two images should be in the same place on two successive drawings. or the eye will sense a stop in the action.
animator: Ward Kimball—Peter and the Wolf. The cat has ) 3 £ 7 f 4
just come face to face with the wolf. The resulting take was 1_, _ I
made from two extremes, each progressing upward about J ' ' ' ' J half an inch. One set used odd numbers. the other even numbers. The odd numbers have wide eyes, brows up. ears up. tail smooth, and legs closer together. The even numbers have round eyes, brows lowered, ears pointing out to the * * <0 t H)
side, tail flaired out. and legs farther out with a small I_1 | I I
trailing image. Mixing the two sets of drawings gives an ' ' I ' animated stagger that vibrates from the odd numbers to the even, giving a shimmering effect.
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