Great post! Very informative post that cued me to realize where the very limited extra time is spent on colouring lines and objects. And, where it's simply not.
I appreciate the time spent matching the sketch to the final cut.
This is a good example of what an animation director used to do. Not only did they work with writers, layout, sound recording, chart the shots, they also made expression studies like these.
@Joel, Jones is interesting in that his layouts would be given to the animators as opposed to Friz or Tex Avery. Tex had numerous animation layout artists and Friz had Hawley Pratt. I'm wondering if that worked out to be a time saver. I'm sure Friz did loads of drawings and then gave them to Pratt to plus.
@Andy, I don't know why I didn't think of doing that before. Hope all is well with you.
Great post! Very informative post that cued me to realize where the very limited extra time is spent on colouring lines and objects. And, where it's simply not.
ReplyDeleteI appreciate the time spent matching the sketch to the final cut.
Thanks!
This is a good example of what an animation director used to do. Not only did they work with writers, layout, sound recording, chart the shots, they also made expression studies like these.
ReplyDeleteHey Kevin, I haven't commented in quite some time! Love how you've matched the model sheet drawings to the screen captures.
ReplyDeleteAll the best! :)
@Joel, Jones is interesting in that his layouts would be given to the animators as opposed to Friz or Tex Avery. Tex had numerous animation layout artists and Friz had Hawley Pratt. I'm wondering if that worked out to be a time saver. I'm sure Friz did loads of drawings and then gave them to Pratt to plus.
ReplyDelete@Andy, I don't know why I didn't think of doing that before. Hope all is well with you.
Well hey, it's the model sheet Barrier mentioned in "Hollywood Cartoons".
ReplyDeleteThanks for posting it! Nice to know there's confirmation that it was indeed made in '47.