The Evolution Of The First Multiplane Camera

The multiplane camera was invented to add depth to animated films, which were previously two-dimensional. The earliest technique used to create depth was in the 1926 film The Adventures of Prince Achmed, where animators physically created individual layers by cutting out sheets of cardboard and lead, then moving them around while filming. However, this approach was limited and could not produce detailed and vibrantly coloured images. The first multiplane camera was then created by German animator and filmmaker Lotte Reiniger, who used multiple glass layers that could be moved independently to create a sense of depth and parallax. This technique inspired Walt Disney, who wanted to increase the eye value of the many paintings that made up a picture by achieving a soft-focus effect on the backgrounds, illuminating the various levels of each scene individually, and separating the background from the foreground. Disney's multiplane camera, invented in 1937 by William Garity, used up to seven layers of artwork (painted in oils on glass) shot under a vertical and moveable camera, allowing for more sophisticated uses.

The multiplane camera's inventor

The multiplane camera was invented by German animator and filmmaker Lotte Reiniger, who used it to create stunning silhouette animations based on fairy tales and legends. She created the oldest surviving animated film, "The Adventures of Prince Achmed", in 1926. Reiniger's technique inspired other animators, including Walt Disney, who saw the potential of the multiplane camera for his own projects.

Disney developed his own version of the multiplane camera, which was more sophisticated and complex than Reiniger's. He used up to seven layers of cels, each mounted on a movable metal frame, and a vertical camera that could be raised or lowered to adjust the focus and distance. The camera also had a motorized system that synchronised the movement of the cels with the exposure of the film. This allowed Disney to create the illusion of camera movements, such as zooms, pans, and tilts, as well as the effects of wind, fog, and shadows.

The most famous multiplane camera was invented by William Garity for Disney Studios in 1937. This camera was used in the production of "Snow White and the Seven Dwarfs", the first full-length animated film. Disney's multiplane camera allowed for more sophisticated uses than previous versions and was prominently used in films such as "Pinocchio", "Fantasia", "Bambi", and "Peter Pan".

The multiplane camera revolutionised traditional animation, enabling animators to create more realistic and immersive worlds for their characters and stories. It added depth, dimension, and dynamism to films, making them more appealing and engaging for audiences. However, it was eventually replaced by other technologies and methods, such as optical printers, digital compositing, and 3D animation.

How it works

The multiplane camera was invented to create a sense of depth in animated films. Animation is a 2-dimensional art form, and early animators had to invent ways to create the illusion of a third dimension. The multiplane camera was one such invention.

The first multiplane camera was created by German animator and filmmaker Lotte Reiniger, who used it to make silhouette animations based on fairy tales and legends. She used multiple glass layers that could be moved independently to create depth and parallax. She also used coloured filters and lighting effects to enhance the mood and atmosphere of her scenes.

However, the most famous multiplane camera was invented by William Garity for Walt Disney Studios in 1937. Disney wanted to increase the eye value of the many paintings that made up a picture by achieving a soft-focus effect on the backgrounds, illuminating the various levels of each scene individually, and separating the background from the foreground, thus keeping background objects to their proper relative size.

Disney's multiplane camera used up to seven layers of artwork (painted in oils on glass) shot under a vertical and moveable camera. The camera also had a motorized system that could synchronise the movement of the cels with the exposure of the film. This allowed Disney to create the illusion of camera movements, such as zooms, pans, and tilts, as well as the effects of wind, fog, and shadows.

The multiplane camera worked by moving these layers of artwork past the camera at various speeds and at various distances from one another. This created a three-dimensional effect, although not actually stereoscopic. The movements were calculated and photographed frame-by-frame, with the result being an illusion of depth by having several layers of artwork moving at different speeds—the further away from the camera, the slower the speed.

Its impact on animation

The multiplane camera had a significant impact on animation. Firstly, it revolutionised the way animators created depth in their work. By using multiple layers of transparent sheets, animators could create the illusion of depth by moving these layers at different speeds, with objects in the distance appearing to move more slowly than those closer to the camera. This technique, known as parallax, was a major step forward in the industry and is still used today in modern animation programs.

The multiplane camera also enabled animators to create more dynamic and complex scenes. With the camera, animators could achieve realistic tracking shots, rotating images, and special effects such as flickering lights and running water. These effects added a new level of immersion and excitement to animated films, enhancing the viewer's experience.

The camera's impact can be seen in the success of early animated films. Disney's "Snow White and the Seven Dwarfs", which utilised the multiplane camera, was a massive success and became the template for animated films for decades. The camera's ability to create depth and complex visuals captivated audiences and demonstrated the potential of animation as a serious art form.

Additionally, the multiplane camera influenced the development of animation technology. It inspired animators to experiment with new methods and techniques, leading to advancements in the field. The camera's design, with its multiple layers and adjustable positioning, set a standard for future animation equipment.

While the multiplane camera has become obsolete due to the advent of digital animation, its impact on the industry is undeniable. It pushed the boundaries of what was possible in animation, inspiring innovation and creativity. The camera's influence can still be seen in modern animation techniques, demonstrating its lasting legacy in the world of animation.

Previous methods

The multiplane camera was invented to solve a fundamental problem in animation: how to represent three-dimensional objects with only two dimensions. Early animators had to hand-draw each frame of animation and record the image with a physical camera, and they had to find ways to create the illusion of depth.

One way to achieve this effect is to simply draw dozens of images that slightly vary from each other. However, this approach is impractical for certain types of shots. Another method is to create multiple layers that move independently of each other, with objects in the foreground moving faster than those in the background.

The earliest technique used to create this effect can be seen in the oldest surviving animated film, *The Adventures of Prince Achmed* (1926), by German filmmaker Lotte Reiniger. Reiniger and her team physically created individual layers by cutting out sheets of cardboard and lead, then moving them around while filming. This created footage with layers that could be adjusted independently, resulting in dynamic foreground and background images with a distinctive silhouette style.

While this style of animation was interesting, it had limitations in terms of detail and colour. Animators began to experiment with new methods, and in 1937, Disney released *Snow White and the Seven Dwarfs*, utilising a new camera technology that changed animation forever.

Before Disney's multiplane camera, other animators had also created their own versions. In 1932, Berthold Bartosch used a similar technique to Reiniger's in his film *The Idea*. The first true multiplane camera was created by ex-Disney animator and director Ub Iwerks, who used parts of an old Chevrolet to construct a machine that allowed for multiple images to be placed horizontally and moved toward the camera. This camera was used in a number of Iwerks Studio's Willie Whopper and Comicolor cartoons in the mid-1930s.

Another predecessor to the Disney multiplane camera was the Stereoptical camera or Setback, created by technicians at Fleischer Studios in 1934. This device used three-dimensional miniature sets built to scale with the animation artwork. The animation cels were placed within the setup, allowing various objects to pass in front of and behind them, and the scene was shot using a horizontal camera. This technique was used by Fleischer Studios to create *Popeye* and *Betty Boop* cartoons.

Drawbacks and difficulties

Creating the multiplane camera was not an easy task. The production crew at Disney laboured for three years to perfect the device. The camera was large, standing eleven feet tall and six feet square, and was made with almost micrometer precision. It required a camera crew of up to a dozen technicians to operate and advance each of the planes, adjusting positioning, lighting, and speed for each shot. Trial and error was a big part of the process, as it took time to find the desired speed and motion of the elements.

The multiplane camera was also expensive. It required significant time and money to develop, and the final product was the largest and most complex device of its kind. Additionally, the act of animating forward motion was becoming increasingly costly and time-consuming.

The multiplane camera was also limited in its ability to create detailed and vibrantly coloured images. While it could create a sense of depth, the early techniques used to create the layers, such as cutting out sheets of cardboard and lead, resulted in a silhouetted style that lacked detail and colour.

Another drawback of the multiplane camera was that it was not suitable for all types of shots. For example, Disney sometimes used another camera, operating horizontally along tracks laid on a studio floor, to allow for wider movements or extremely long tracking or complicated dissolve shots.

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