Literally you are the guy who posted the video of the strong guy from the 70s; Moral of the story: A video may be more than 10 years old, but it can still be successful, don't give up on yours.
Its crazy how many drawings and colors go into just a 7 to 20 minute animation.... I am trying to do qnimation as a novice but have to study the fundementals and pacing of the framing.
I have the original 1942 sheet music, and the penny dropped first time I read the verse nearly 50 years ago. The verse sets the context - no White Christmas in LA
The normal work week at Disney was a 40 hour work week (8 hours a day , 5 days a week) . However, often near the end of production on a film we had what was called "crunch time" for a period of weeks or even months in some cases, where we would work overtime hours. On some of the films the amount of overtime was quite extreme, with artists sometimes working 12 - 14 hour days , 6 days a week, amounting to 60 - 80 hours a week . It varied by production. Some productions had many major story changes made during production which meant that sequences had to go back into animation to be redone and that was sometimes near the end of production (but the release date for the film did not change!) hence the "crunch time". Other times the work moved along in an orderly manner and just a normal work week of 40 hours was sufficient to get everything finished on time. --- Salaries varied. It's not easy to answer that question. There was a base pay rate for each job category set by the Animation Guild (union), but many artists worked at "above scale" (higher than the base pay rate) based on their experience and skill level.
Good stuff, take long time to be made. Digital is nice and much appreciated, but it's nothing like old-school. Cel animation feels so humane and home, i just love watching these old animations just for the visuals and to get this sweet feeling. I really dont enjoy watching the new stuff, unless they really have a good plot.
What I've never understand it's how they manage to match perfectly the background environment with the character, because they're draw separately on paper before being draw on celluloid. And how they was able to to animate someone who walk in water for example: you have the background environment, then the animated character and then the moving water?
Well, animators have always what we call "Layout" its the background in a simplest uncolored version and you animate on it. for the second question thats right you animate in that order, you animate the water reacting to the caracter's movement, and when you have a moving camera, you just have a bigger background. This is how it works in a simple way.
I just love this technique! So much effort and time involved that I just now realized after working at a traditional animation studio that is about to adapt a book series into a traditional celluloid film!
In my opinion, this will always be the highest form of animation, much more fluid and beautiful to watch than all the souless lazy tech crap we see on tv these days.
Ironic to note that at the exact time this documentary footage was shot, Disney was phasing out hand-painted cels in favour of the CAPS process for all of their feature films. Amazing work was still done, but not at all like this.
