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We still end up with 50,000 immaculate frames to paint. In fact, let's just say every other frame, since 12 frames per second is a very passable speed for certain animation (Disney and Miyazaki both typically avoid this, but independent animators and anime will often use one drawing for 2 or even more frames) Of course, in this case, we're looking at each frame as a single drawing. and sometimes a single character might get two or more cels of its own! Each character is drawn on a different cel.

Typically, 2D animators work on many different layers for various parts of the animation. And that's if you're counting each video frame as ONE frame. The typical feature animation, unless I'm mistaken, is around 100,000 frames or so. In some of the films, notably Snow White, the blush on her cheeks is actual makeup applied by female Disney employees.Д®h, thousands of hours is still a bit of an understatement.

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A single movie could have up to a million cels. That way, even though the art style was different, Disney could still afford to produce animated films and not bankrupt themselves.ДЇun Fact, though: All of the films that were released during the 'Golden Age' of Disney (Snow White, Pinocchio, Cinderella, Dumbo, Bambi) contained cels that were all hand painted. The reason that this particular era of Disney film looked so gritty is because an animation team would use a handful of cels thousands of times to create the movie. So in 101 Dalmatians, one cel would contain loose representations of the objects (the dogs, a car, the father) and then details (facial expressions, spot patterns, color) were photocopied onto the cel and then changed out for the next scene.

By the time that 101 Dalmatians was produced, Ub Iwerks, who was pretty much in charge of the technical logistics at the studio, had figured out that using Xerox to mass produce cels and then applying individual details later on was incredibly cheaper and much more manageable for the company. Walt Disney absolutely hated the art direction that the animation department was moving towards, mostly because he felt that the new style lost the whole fantasy feeling of the films, but he had little room to talk because the studio was struggling financially. If you look at an individual background cel, you'll see the transition from smoother, more gentle environments like those used in Snow White to the angular, gritty environments in Sleeping Beauty. The art style was originally developed with the release of Sleeping Beauty in 1959, which was a complete failure at the box office.