![]() The multiplane camera allowed the background to give the impression of movement beyond simply side-scrolling, as was the standard at the time. The camera shot through layers of oil-based images on pieces of glass, allowing for more sophisticated manipulation of the images than ever before. The film was Disney’s attempt to prove that animation was a viable means of telling a complete narrative, so it was important to come up with something dazzling. Audiences were used to watching cartoons as five-minute preludes to a main feature, not as the feature itself. Snow White was the first such picture, after all. Walt Disney commissioned the camera’s creation for the film as he felt it was necessary to ramp up the imaginative nature of animation if people were expected to sit through a feature-length cartoon. Snow White and the Seven Dwarfs (1937) was the first film to employ the use of a multiplane camera. The setup can also make the background and foreground move in opposite directions, creating a spinning effect. Though not truly stereoscopic, the result creates something that appears three-dimensional. The process involves moving a number of pieces of artwork past the camera at various speeds and at various distances from one another. Walt Disney’s team tackled this problem by inventing the multiplane camera, a device capable of shooting several images at once to render a complete animation. In reality, walking closer through a farmland doesn’t amplify the size of the moon-it should always be the same size in a night sky. As Walt Disney explained in a 1957 recording, with traditional animation practices, if the camera zooms in on a picture of a farm at night, the moon gets bigger. Instead of the viewer’s perspective honing in naturally, everything would blow up. Scenery also fell victim to unrealistic point of views if the camera zoomed in or out on a subject. This tactic rendered the character wonderfully, but presented challenges in creating lifelike backgrounds.Īs the overlaid character moved in and out of a physical space, the background perspective didn’t change naturally. The character was drawn on celluloid sheets and placed on top of background art, each frame of the character’s movement matched by a tiny shift of the backing scenery to give the impression of the character inhabiting the space. ![]() Early animation featured moving characters on static backgrounds.
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