1. Method and Apparatus for Synchronising Photoplays

During sound animation’s early years, Walt Disney, Wilfred Jackson, and William Garity developed the following method to perfectly match movie images and soundtracks. Once the musical director gave the production an idea of the film’s sound the animators and artists would begin animating story segments and preparing synchronisation sheets. These provided precise timings to synchronise actions and particular musical beats. The developed animated film also contained beat marks to provide timings and remove distractions when the musicians were recording. Music and animation were then combined. Several early Disney animations used this method. And despite its challenges, this method helped animation and sound become more closely synchronised.

2. Control Device for Animation

Another innovation William Garity helped Disney develop was the Multiplane camera. This invention positioned a camera above several transparent layers. Different scene elements were then put on the layers. Creating the illusion of depth within the scene. While filmmaker Lotte Reiniger had been using similar methods of creating depth, Disney patented the invention. Using visual depth to great effect in short (The Old Mill) and feature films (Snow White and the Seven Dwarves). 

3. Method of Creating Cartoon Effects

Some Disney patents were revolutionary, others, are mundane. This patent focuses on creating rounded effects like shadows by placing a layer of transparent material with a uniform colour in the shape of an effect over a drawn animation cell and photographing it. Essentially superimposing an effect rather than drawing it. Though underwhelming, this method certainly saved the artists time as they would not need to painstakingly draw every aspect of an effect. Which also saved on production costs.    

4. Sound Reproducing System

Synchronising animation and sound was not Disney’s only auditory advancement. When making Fantasia William Garity and John Hawkins developed the idea of a sound system that used multiple speakers around a venue. Allowing for a surround sound experience. Some now also consider Fantasound, as it was known, to be the precursor to stereo sound. As such it has had a real lasting impact on the film industry.

5. Photographic Animation Transfer Process

David Spencer’s invention involved photographing a rough sketch of a character or scene. The film negative was then placed over a transparent cell sheet with light-sensitive dye on it. The dye was then cured through exposure. Thus replicating the original sketch. This process was faster than the previously used Xerox method. But later computer advances and Disney’s implementation of the CAP system made this process obsolete.

6. Method for Flattening Acetate-Based Films Using Steam

Despite modern Disney’s intent to remake and replace its older properties, Disney also patented a way to help with film preservation. One of the biggest problems with acetate-based film is its tendency to become damaged by heat or humidity over time. However, Disney developed a method that used a specific amount of steam to flatten the film. Allowing for playback to capture its soundtrack. With many films shot on acetate stock, this method is invaluable for preservation. 

7. Real-Time High-Quality Facial Performance Capture

One of Disney’s most talked-about recent innovations is its advancements in facial capture technology. Disney’s technology now allows for the capture of more detail in an actor’s facial performance. Thus allowing the animated characters they are playing to display more emotion. But will this patented method lead to more great performances, like with Thanos in Infinity War? Or will they simply use it to recreate deceased performers e.g. Peter Cushing in Rogue One? Only time will tell. 

And this is just a glimpse into Disney’s patent collection. That said, no matter your feelings on the company or the results of their inventions, it’s undeniable that Disney, from its inception until today, remains an innovator (for better and worse) in the film industry.

Also Read: Disney Shifts Its Focus Away From Cinemas

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We all like surprises – who doesn’t? At Big Picture Film Club, part of what makes our job so cool is that we are able to find hidden gems in the expansive film world and do our part in bringing them to the forefront. One such example is the short film, Anchor, by photographer and director, Madeleine Morlet. Although only 9 minutes long, there is not a second wasted in this gripping power play between two lovers, exploring sexual dependency and complex emotions in an increasingly strained relationship.

In Madeleine’s own words, “Anchor is exploring feelings, by coming at it from a place of rigid constraints it was also possible to explore the dullness of extreme feeling. The piece captures a woman as she reaches the full saturation of what she is able to feel, to the point where everything flatlines and nothing but a dull ache remains”. We took the opportunity to have a few words with Madeleine to find out more about what she is up to and to discover more about Anchor…

Big Picture Film Club: What was your motivation in creating “Anchor”?

Madeleine Morlet: The easiest way to answer this question would be to say that Anchor wasn’t motivated by any specific cause, it was motivated by what was then, and continues to be now, a personal objective to make work.

BPFC: The overarching theme of “Anchor” appears to be Power, more specifically the use of sexual power in relationships – would we be correct in thinking this?

MM: I would say that is accurate. Reflecting on my own experience I find that often it is through another person’s eyes that you can really see yourself honestly. I like to think about power and control in relationships. In making Anchor I felt that I could walk in either characters shoes. The dynamic between two people in terms of attraction, desire and sexuality affect this power balance and the needs that drive individuals in relationships can vary greatly.

BPFC: What are you hoping people take from watching this film?

MM: It’s difficult for me to imagine this film having a wide audience, so for those who do see it my greatest hope would be that it produces an emotional response.

BPFC: Your photography work is very captivating, striking and powerful – was it your intention for “Anchor” to have a similar feel to your photography work?

MM: My intention was to make films but a lot of time and resources go into making even a short piece. With this in mind, I found that photography was a way I could actively engage these skills on a regular basis. Anchor was born from my first photography series and each frame was built from one of these original photographs, the images were then used again as a reference for the grade. So yes, it was intentional that the film has a similar feel to my photography work.

BPFC: Is this your first short film? What creative and technical challenges did you face making Anchor?

MM: I consider this to be my first short film. It eventually took 18 months from conception to completion to make Anchor. There were a lot of challenges and setbacks in making the piece, as there often are with zero-budget short films. The script, which was based on real experiences, was too unrealistic, it took six months to cast Delphine in the role of Olivia and with so much emphasis on the sound it was more than half a year to complete the score. Ultimately I approached the entire process with patience and acceptance, this film was made only on my schedule so we didn’t have to hit any deadlines – which meant it had plenty of space to overcome these creative and technical challenges.

BPFC: What is next for you and “Anchor”?

MM: Anchor is being submitted to festivals, which is a learning curve in itself, and my plan is to continue working as I am.

You can follow Madeleine Morlet’s work on Instagram or visit her website: www.madeleinemorlet.com

The post Madeleine Morlet: Vision. Power. Sexuality. appeared first on Big Picture Film Club.