[...] The introduction of color marks the first really noticeable
movement towards the development of backgrounds. The new medium
of color formed a consciousness of the need for better composition,
better spotting of darks and lights, utilization of atmosphere,
mood, picturesque quality, and correct scaling. Thru consideration
of these elements, backgrounds have developed and improved to such
a degree today that they play a vital pa[rt] in animation, and should
develop even further in the future.
Returning to the topic of this discussion, there has been a great
deal of discussion on the value and importance of closer working
relationship between the animator and director. An important factor
has been overlooked - the layout man seems to have been omitted
or forgotten. I firmly believe that achievement of the best results
is obtained though the coordinated efforts of the director, the
layout man, and the animator, especially while the animator is picking
up his sequence. It is at this point that the layout man can be
of vital aid to the animator thru his knowledge of the action in
detail, the mood, the workability of an action is relation to the
background. A properly worked-out and planned setting in the proper
mood can do much to enrich the animation.
Even though the layout man has followed the picture through from
the start of the story with the director, I think it is important
for him to continue his contact and remain in close touch with the
animator while the scene is being discussed in detail for animation.
It is here that the animator can make suggestions as to the practicability
of models; sizes of characters that are easiest to animate; the
workability of a background in relation to the action. This system
is now in effect in some of the music rooms, to some extent at least.
I think it can be carried even further in the future.
Correct scaling of a background and he characters that work with
it: This is of utmost importance in the relation of characters to
the background. Regardless of the exaggeration there may be in an
action, the characters should still be in the fixed proportions
already established in the backgrounds. A character in a room should
not be animated too large or too small, making one feel when the
scene is projected on the screen that something is wrong. There
should be established a true sense of proportion in the animation
of the characters used, to the background as a whole. A good example
of what I mean is the Goof in MOVING DAY. He seemed to fit right
into the room ... you felt there was a room around him; that he
was not out of proportion to his surroundings.
Another thing to watch in drawing models for the animator is
that a character's feet be firmly planted in whatever perspective
the background may have. In the past there has been trouble in animating
characters on a single line and not in perspective. Formerly everything
animated more or less on a straight line [...]