Color Composition : The Relationship of Layouts and Backgrounds to Animation From am Animator's Viewpoint
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From the collection of Hans Perk at A. Film L.A. and reprinted here with his permission.
|LAYOUTS AND BACKGROUNDS IN RELATION TO ANIMATION
MAC STEWART (re LAYOUT TIE-UP IN MUSIC ROOM 2, cont.)
[...] We go over the sequence for story, scene cuts, layouts
- not necessarily so much for our drawings, but to determine
just how we are going to shoot the scenes, ay what field, and
hoe the field moves will work. All that information is dictated,
and the transcript, together with some very rough sketches,
is made up into a fairly complete script. Copy of that script
is then given to all the animators involved so each one knows
what the other is doing. We all work from that script.
At the time of discussion we thrash out most of the problems
that come up, rather than at the time the scene is given out.
The plan is practically the same as the procedure suggested
by Les. Dave gets the ideas of the animator, the layout man,
and the story man; all changes are made at that preliminary
meeting; then Dave goes over the scene again with the individual
animator before he gives him the sheets, in order to recall
the detail and feeling of the scene ... he also has the script
to work from at that time to serve as a reminder. So far that
plan has worked.
Regarding contact between layout man and animator - I generally
make it a point to keep in close touch with the animator on
a scene not only when he picks it up but all the way thru, so
that I can make small changes that may prove necessary without
referring to the director. Extreme changes are made with the
director but there are very few extreme changes to be made.
By the time the animator gets his scene and the exposure sheets,
director, layout man, and animator are all thinking along the
This arrangement creates a better tie-up in the work, and approaches
the old system more closely than other systems that have been