Comments for Scooby Doo Toys http://scoobydootoys.org Fun Lovin' Scooby Toys Of All Kinds Sun, 05 Sep 2010 04:54:36 +0000 hourly 1 http://wordpress.org/?v=3.0 Comment on How where cartoons like Scooby Doo made? by Lord Darkclaw http://scoobydootoys.org/how-where-cartoons-like-scooby-doo-made.html/comment-page-1#comment-3770 Lord Darkclaw Sun, 05 Sep 2010 04:54:36 +0000 http://scoobydootoys.org/how-where-cartoons-like-scooby-doo-made.html#comment-3770 You said it yourself; they were hand-drawn and hand-animated. The big downside was that it was extremely laborious - and expensive - to create complex animations but there was often more attention to detail than you see in modern computer-rendered cartoons. You said it yourself; they were hand-drawn and hand-animated. The big downside was that it was extremely laborious – and expensive – to create complex animations but there was often more attention to detail than you see in modern computer-rendered cartoons.

]]> Comment on How where cartoons like Scooby Doo made? by jplatt39 http://scoobydootoys.org/how-where-cartoons-like-scooby-doo-made.html/comment-page-1#comment-3769 jplatt39 Sun, 05 Sep 2010 04:54:36 +0000 http://scoobydootoys.org/how-where-cartoons-like-scooby-doo-made.html#comment-3769 Okay, first point. Scooby Doo was created in a series of meetings where producers worked with writers (who were probably producers and designers (one of whom who I'll get to was probably as senior as most of the others) to come up with concepts like the Mystery Mobile its inhabitants and so on. The designer who worked on Scooby-Doo more than any other was Iwao Takamoto who was absolutely trained in the US though he got his first drawing lessons while interned in one of our Concentration Camps for Japanese during World War II. Takamoto was responsible for concept sketches, designs of the characters and model sheets for ALL of them. He had other artists working with him but he was primarily responsible as, at the time was Alex Toth on other series. Then scripts were commissioned and as they took shape storyboards, backgrounds and designs and model sheets for other characters. WHILE that was going on, finished episodes were recorded and someone was assigned to time each episode, writing down just how long each sound effect or each syllable of each word took, as a guide for synching the animation. Finally the timing sheets and model sheets and so forth would be given to the key animators, who would draw the key positions of everything which changed in the episode (like characters, buttons, clubs -- guns weren't permitted on TV) and turn them over to junior animators called in-betweeners who exactly drew in the actions in between the key images they were given. These were usually drawn on light boxes in pencil using a thin paper with holes punched in them to allow them to hang from a register bar which kept all the drawing consistent (the first bevis and butthead was drawn on notebook paper, which makes sense as it already has holes for registration). The drawings were, for Scooby-Doo, in limited animation, which meant each would be on the screen for 1/12 of a second rather than the 1/24 of a second of a traditional animation. They were then, by that time, xeroxed onto clear acetate sheets known as cells, which were hand painted and sent to what is called a multiplane camera to be photographed in front of the backgrounds. Finally the film was edited to fit the soundtrack and the whole thing was transferred to video. The first series was done mainly in California but for monetary reasons, I believe they shipped the animation overseas after the episodes were recorded. Okay, first point. Scooby Doo was created in a series of meetings where producers worked with writers (who were probably producers and designers (one of whom who I’ll get to was probably as senior as most of the others) to come up with concepts like the Mystery Mobile its inhabitants and so on. The designer who worked on Scooby-Doo more than any other was Iwao Takamoto who was absolutely trained in the US though he got his first drawing lessons while interned in one of our Concentration Camps for Japanese during World War II. Takamoto was responsible for concept sketches, designs of the characters and model sheets for ALL of them. He had other artists working with him but he was primarily responsible as, at the time was Alex Toth on other series.

Then scripts were commissioned and as they took shape storyboards, backgrounds and designs and model sheets for other characters. WHILE that was going on, finished episodes were recorded and someone was assigned to time each episode, writing down just how long each sound effect or each syllable of each word took, as a guide for synching the animation. Finally the timing sheets and model sheets and so forth would be given to the key animators, who would draw the key positions of everything which changed in the episode (like characters, buttons, clubs — guns weren’t permitted on TV) and turn them over to junior animators called in-betweeners who exactly drew in the actions in between the key images they were given. These were usually drawn on light boxes in pencil using a thin paper with holes punched in them to allow them to hang from a register bar which kept all the drawing consistent (the first bevis and butthead was drawn on notebook paper, which makes sense as it already has holes for registration). The drawings were, for Scooby-Doo, in limited animation, which meant each would be on the screen for 1/12 of a second rather than the 1/24 of a second of a traditional animation. They were then, by that time, xeroxed onto clear acetate sheets known as cells, which were hand painted and sent to what is called a multiplane camera to be photographed in front of the backgrounds. Finally the film was edited to fit the soundtrack and the whole thing was transferred to video. The first series was done mainly in California but for monetary reasons, I believe they shipped the animation overseas after the episodes were recorded.

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