In connection with the general improvement in cartoon technic, it was recognized that several developments could be undertaken that would add much, if successfully adapted, to the power and charm of animated motion pictures. By confining cartoon photography to a single plane in front of the camera, the expense and difficulty of creating a convincing illusion of depth and a real-life appearance by camera movement made the consideration of a multiplane technic imperative. The out-of-focus diffusion and the differential movement of foreground and background of scenes can be achieved most easily by separating the elements on different planes in front of the camera. The problem resolved itself into the adaptation of glass-shot technic to cartoon production. In separating the scene elements into several planes, many other advantages were gained, such as lighting control of single-scene elements, ease of using special effects equipment, and possibility of using backlight and process backgrounds. […]
