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The transparent quality of the cel allows for each character or object in a frame to be animated on different cels, as the cel of one character can be seen underneath the cel of another; and the opaque background will be seen beneath all of the cels. Disney experienced a setback to its ink-and-paint department due to World War II.
The animators' drawings are traced or photocopied onto transparent acetate sheets called cels, [61] which are filled in with paints in assigned colors or tones on the side opposite the line drawings. [62] The completed character cels are photographed one-by-one against a painted background by a rostrum camera onto motion picture film. [63]
A cel, short for celluloid, is a transparent sheet on which objects are drawn or painted for traditional, hand-drawn animation. Actual celluloid (consisting of cellulose nitrate and camphor) was used during the first half of the 20th century. Since it was flammable and dimensionally unstable, celluloid was largely replaced by cellulose acetate.
The film was created by drawing each frame on paper and then shooting each frame onto negative film, which gave the picture a blackboard look. Cohl later went to Fort Lee, New Jersey near New York City in 1912, where he worked for French studio Éclair and spread its animation technique to the US.
Katsudō Shashin. Katsudō Shashin consists of a series of cartoon images on fifty frames of a celluloid strip and lasts three seconds at sixteen frames per second. [1] It depicts a young boy in a sailor suit who writes the kanji characters "活動写真" (katsudō shashin, "moving picture" or "Activity photo") from right to left, then turns to the viewer, removes his hat, and bows. [1]
Using a separate image for a motionless background - rather than drawing the background into each frame together with the moving characters - became a standard technique in cel animation, dominant for many decades from soon after it was patented in 1914 until it was surpassed by digital techniques.
Disney's multiplane camera, which used up to seven layers of artwork (painted in oils on glass) shot under a vertical and moveable camera set for successive frame Technicolor, [4] allowed for more sophisticated uses than the Iwerks or Fleischer versions. A camera crew of up to a dozen technicians might be required to operate and advance each of ...
This involved animating moving objects on transparent celluloid sheets. [7] Animators photographed the sheets over a stationary background image to generate the sequence of images. This, as well as Bray's innovative use of the assembly line method, allowed John Bray Studios to create Colonel Heeza Liar, the first animated series.