Cleaning up and in-betweening the animator’s “extremes” precede the inking and painting steps
IN THIS CHAPTER we shall continue where we left off last month in describing the function of the “in-betweener” in the long series of steps of preparing the art work for a typical
animated cartoon — in this instance, Walt Disney’s “Bambi,” which has been chosen for reference because it is probably one of the best remembered of all Disney feature-length animated films.
The first drawings that are cleaned up are the original extremes of the animator; so the key action poses become the key cleanups as well. This drawing chore is handled by the animator’s assistant, for it is a very important phase in the procedure of animation. The assistant works closely with the animator at all times and is familiar with his way of working. It is the cleanup-man who puts the final “screen-drawing” into the character.
After the extremes are cleaned up, the supplementary poses, or in-betweens, are taken care of by an “in-betweener’, who is the humblest in the long string of artists on the production line. But even the in-betweener must have better-than-average facility with a pencil and possess a good sense of action.
- Animated Film Techniques - Part 1 - Systematized procedure, Story men and Story sketch artists
- Animated Film Techniques - Part 2 - Production Preparation
- Animated Film Techniques - Part 3 - Planning the Staging and Setting
- Animated Film Techniques - Part 4 - The Animator’s Problems
- Animated Film Techniques - Part 5 - In-Betweening
- Animated Film Techniques - Part 6 - Cleanup and In-betweening
- Animated Film Techniques - Part 7 - Animating dialog
- Animated Film Techniques - Part 8 - Inking and painting
- Animated Film Techniques - Part 9 - Animation in television an commercial film productions