Instead of the viewer’s perspective honing in naturally, everything would blow up. Scenery also fell victim to unrealistic point of views if the camera zoomed in or out on a subject. This tactic rendered the character wonderfully, but presented challenges in creating lifelike backgrounds.Īs the overlaid character moved in and out of a physical space, the background perspective didn’t change naturally. The character was drawn on celluloid sheets and placed on top of background art, each frame of the character’s movement matched by a tiny shift of the backing scenery to give the impression of the character inhabiting the space. Early animation featured moving characters on static backgrounds.
