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Same basic configuration of animators as in the previous sequences:
Animation by Paul Busch, George Rowley, [?] Stark, Phil Duncan, Don Tobin, Sandy Strother, Art Fitzpatrick, John Noel Tucker, Steve Bosustow, Jim Will, Cornett Wood, Josh Meador, Woolie Reitherman, Ed Aardal, Jack Harbaugh, John Reed.
Scene 35 is typical of specifically devided footage credits: Animals march (Busch) in dust (Meador), and while the animals are out of frame after 9.08ft., the dust continues until 14.01ft. and up to the sun for the remainder of this 21.10 scene... (Again, remember that you can convert feet-frames to seconds-frames in the boxes in the right-hand column here on this blog).
One foot is 16 frames each, and often a footage starts from -00 to -15, making a total 16.
ReplyDeleteAlthough, some animators don't animate a lot, but it comes to screen footage, director's appeal, I think.
Good sequence, and this the final part of the dinosaurs, before the earthquake: the first part with the volcano erupting was the Genesis, and then the second part with the dinosaurs: Evolution took its course, and now were at Extinction for the dinosaurs, although didn't scientists claim that a meteor hit the earth and then became the ice age, I wonder why that never went in the segment?
I don't really know what you mean with director's appeal, Steven. Footage counts were kept for several reasons, to begin with to track progress, as well as to see if there were, in lieu of a better word, "slackers," and eventually the footage would determine screen credit.
ReplyDeleteAs to the meteor, that is a fairly recent theory, and I remember we felt rather progressive choosing it when we made our two-part The History of Our Wonderful World back in 1992, as at the time that was still a very contentious theory...
An animator is not credited if he does not reach a footage quota entirley on assignments from a single director. Animators can do a large amount of work over an entire project, in small portions spread over several sequences, occasionally between many directors, but that doesn't count; even though he has done alot, the animator has done very little in the eyes of the sequence directors. In a way, the animator has to work enough to appeal to a director, and get a screen credit. Hence, directors appeal. I don't know how it factors into this, though.
ReplyDelete