Graphics - Differences in animation schools.

Let's consider the difference between the Russian and American schools of animation in     
example of studioSoyuzmultfilmand studioWalt Disney.          
                                                                
Studio "Soyuzmultfilm" was created on the basis of studioVictor Smirnov,
who has taken the path of copying American designs:            
                                                                
"First stage - January 1934: creation of Experimental     
animation workshop under the directionV.F. Smirnov,    
subordinate to GUKFU,with a base in Leontyevsky Lane. This      
period, conveyor production technology was roughly established,
The first representatives of a new profession for the USSR began work     
multiplier, the problem of increasing the pace of work was solved. Second
stage - the merger of this team with the team of workers        
hand-drawn cinemaXPO N 5"Mosfilm" in 1935. Although          
"Smirnovites" retained the right to an independent balance sheet, 
but as a result of this union, called N.P.Khodataev    
"chaotic", all Mosfilm masters of hand-drawn cinema      
switched to the general “celluloid conveyor” technology. This   
period V.F. Smirnov was already otctpaheh from the management. Third stage
- March 1936: the withdrawal of this united team from   
subordinationof "Mosfilm"into an independent animation studio atGUKFe -
"Moscow graphic film studio",located on the street 
Vorovsky, in the building of the Kuhoaktepa Theater, the former Society Club   
nolitkatorzhan. And finally, June 1936 - liquidation          
"Interworking film" and the merging of its animators with the team  
"Moscow Studio" under the general name "Soyuzmultdetfilm" 
based in the same place, on Vorovskogo Street. Renaming      
studio in 1937 "Soyuzmultfilm" (a fragment has been removed from the title
"det") did not have structural and organizational consequences, but    
reflected only a correction of the repertoire policy."               
                                                                
(Georgy BORODIN. "Soyuzmultfilm". The Unwritten Story)       
                                                                
At first, the studio copied not only the technology, but also the design    
characters, rhythmic basis (jazz music), even some
"gags" (comic elements) of American cartoons. Especially
In this regard, it is worth noting the cartoon by Viktor Smirnov himself  
"The Brave Sailor" (1936).                                        
                                                                
But already in the 40s the studio developed its basic ideology,   
which can be described as a “visualization of stories for children.”   
                                                                
Art Council                            
                                                                
CreationThe cartoon is preceded by a discussion of it.               
                                                                
At the studio Walt Disneythe main decisions were made by the producer, then    
there is himselfWalt Disney, and after his death -Wolfgang Reuterman. 
At the studio Soyuzmultfilm such a discussion was held within the studio circle 
and was called the artistic council.                                        
                                                                
"The Art Council is currently discussing a literary script, a film script  
usually discussed by the editorial board, and the artistic council -            
director's script along with storyboard. Sometimes the artistic council   
have to get together somewhere else in the middle of the film's production 
- it depends on the film: if the director himself asks that it not       
happens almost never, or the management asks because the film  
sewn up... Paradox: types should be developed in         
preparatory period, and the storyboard is done earlier, and      
Storyboarding without sequences is impossible. Well, somehow we               
Let's get out... I deceived you! The Arts Council does not meet here! He 
accepts already with music, and music indirector's script   
no. Recording music, cues, except noise - all this should be   
still in the preparatory period... Have you seen the film "Three Novels",
so, there the technical commission rejected the first solution: it’s good 
or bad, but production is not able to let it through  
yourself... Or a person will wind up eight circuits on one character - 
practitioners and artists sit in texkomuccuu, they say - why?  
This is control from the point of view of artistic rationality and from   
production possibilities point of view."                    
                                                                
(F. Xutpyk. Profession - animator / Fedor Xutpyk. (In 2 vols.,      
vol. 1.) - M.: Gayatri, 2007. - P. 295). (interview recorded 20     
March 1987)                                                  
                                                                
"- And on "Soyuzmultfilm" - Small hall, the whole group is sitting, stage  
glued into a ring - and discussed.                             
- Well, not everyone is discussing it, after all, there is professional ethics, I 
I won’t bother to criticize, say, Kpymuha or anyone else, yes     
anyone, even a beginneranimator But I hear what he says 
director. When I came toSoyuzmultfilmI went to all the auditions
watch from the most famous directors. He asked: “Can I, I have
Shall I sit you here?" I remember how Ivanov-Vano even caned someone     
beat... I was surprised: why was he swearing, what a good scene, what
doesn't he like it?                                                
- What else is important to attend a collective discussion: when
the film needs to develop a single plastic line, “intonation”, 
then, if you hear what the director demands from others, this is for you   
helps you figure out what will be needed from you.             
- For a specific picture, yes. But I'm talking about school now. I'm   
I went to see not only the paintings on which I worked. On     
I had to go to them. As a rule, it was allocated for this    
one hour for each film. And I watched how others worked.  
When you see not only your own, but also someone else’s, you learn from it. 
Now everything is kamepho. We tried to revive the "Master Film"    
such discussions, we set up a projector and collected them once a week    
youth and watched the scenes made by the same youth. Ella
Maslovaworked withthem as a consultant, indicated: here it is     
wrong, here it is... I learned as I went along. But that's the point   
that they watched scenes that were imperfect and required corrections. But    
You have to look at the good ones too!”                                    
                                                                
(Vladimir VYSHEGOPODTSEV - Georgy BORODIN. CONVERSATIONS ABOUT SKILLS AND 
CRAFT / Cinematic Notes N97)                      
                                                                
"There was a funny episode once. We discussed the script by B. Laskin       
"Grandfather and granddaughter." Schematic and general, it did not include
nothing that could turn into a film right away, Good friend   
Boris Savelyevich, Boris Efimovichright there, very flattering        
speaking about the creators (including us withAl.Vas.Ivanov -        
director), expressed confidence that in “such hands            
professionals, this excellent script will sparkle like a diamond 
in an expensive frame..." etc. After which he, politely apologizing, 
left byaffairs."                                                
After his departure, the Arts Council became hardened and for three           
even the idea of Boris Laskin was crushed into powder. Moreover  
it was done in harsh satirical tones. Still during      
reading, which, as an exception, was carried out by the author himself -     
Laskin, with his velvety, penitent, sensual voice,         
inspirationally and enthusiastically savoring literary “pearls”  
type "the animals are divided into two motley circles - the outer and    
internal. The outer one goes clockwise, the inner one -...".
And then Davydov cut him off like a knife,having finished for him: "...by 
minute!" It became clear that nothing came of the script!   
A radical overhaul was proposed."                          
                                                                
(Evgeny Migunov. "Boris Efimov" / Animator.ru)                 
                                                                
"When I made the first picture, "The singing teacher", I didn't know that 
There will be a screening here in the Great Hall. But I went to the studio. to me     
came across Vladimir Dmitrievich Degtyarev, he, on the contrary,   
left the studio for home. We stopped, said hello, and he    
says: “There’s some kind of screening planned at the studio...” And I,   
without even suspecting that there would be a screening of my film (he
was part of "Kaleidoscope 68" ), nevertheless, he was in a hurry,   
to attend this screening. The viewing has already begun. I         
stopped at the door. Just "Kaleidoscope 68"we were watching,        
the first plot ended,Atamanova, mine went. And subsequently, and
before, when they showed cartoons in the hall, I always felt
skin mood of the audience. And while my story was going on, it seemed to me 
that there is a gloomy silence in the hall... Just three minutes, and during these   
for three minutes I was sweating as if I had just climbed out of         
swimming pool I've never experienced anything like this. The next story begins 
I ran into the room where I was working. After watching I left  
room and began to go down the stairs. Those who came towards me
I was in npocmotpobom hall. I know everyone, I'm always with everyone           
said hello, walking alonegroup, I say: “Hello!”, second 
group: “Hello!”, third group: “Hello!” And either 
It seems to me, or maybe in reality - no one says hello to me!
Terrible moment. When they watched my second story, "Scattered    
Giovanni", I was already waiting for this screening and sat in the hall. Go     
plot, and suddenly the loud voice of the then chairman is heard  
factory committee (there was such a Klavdiya Ivanovna Shapiro ): “Yes, it’s simple   
cut - and that's it!" She is, in fact, the head of the workshop       
filling... I think: why is she undertaking to evaluate our work?   
                                                                
Later at the plenumof the Union of Cinematographers"surviving" then already 
In recent days, Romanov has been making an extensive report, analyzing         
cinema of recent years. I talked about gaming for an hour and a half     
cinema, more briefly - about documentaries and popular science and, 
Finally, he said two phrases about animation. I said before    
vaguely, evasively: “Nevertheless, there weretrends..." And  
judging by the trends, we understood that we were talking about "Andrey 
Rublev" Tarkovsky. Or: "Nevertheless, there were           
attempts..." And it was clear what was meant by "Bad joke"
Alova and Naumova.But Romanov did not name the films directly, but very  
delicately, vaguely hinted at something unknown. And only when    
We started talking about animation and became more specific. It was just two
phrases. One: “Soviet animation met the viewer halfway, 
because now special cinemas are open: ~Barricades~ and 
one hall in a cinema ~Russia~". The second phrase: "But there were  
attempts to use the platform of children's cinema for         
propaganda of abstract art - I mean plots        
"Mosaic" [this is the plotGali Barinova - A.P.] and "Scattered       
Giovanni"- first number"Merry Carousel." This is direct  
indication of the culprits - here they are, the villains, here they are, the enemies        
Soviet cinema!.. Sitting right in front of me was Michal       
Mikhalych Valkov,who squealed loudly for the whole hall
unnatural such "Ha!" and slid under the chair. And I - I          
felt like a hero. Because at that time get one  
criticism meant that I was doing the right thing! The report ended  
They announced a break, and I walked out into the foyer so proud...              
...                                                             
Then, sitting in the scenario room as a member of the artistic council (I was young   
a member of the artistic council and they kind of “trained” me, gave me the opportunity  
watch the process), I saw how screenwriters bring scripts,
which are difficult to translate on screen. I was already experienced           
multiplier and understood: well, there’s nothing to move there, there’s nothing there  
play this drawn actor. But the screenwriter's editors  
were talking about something else. They suggested what to change so that the script 
passed... At the same artistic councils I saw: they wrote a script,      
the director made a storyboard, an uninteresting storyboard,everything is not   
then. I tried to advise something, but the chairman of the artistic council      
said: “I don’t understand what you want: are you “against” or “for”?” Him   
the main thing was to evaluate the script or storyboard - whether they were bad or
excellent. And I wanted to suggest how to improve something..."         
                                                                
(Anatoly PETROV: "... TOWARDS DRAWN "REALISM"" /       
Cinematic Notes N97)                                
                                                                
Economy                            
                                                                
In the "golden era" of animation, the Walt Disney studionot only wanted 
recoup costs, but also tried to achieve unprecedented quality,    
putting economy far from the first place, but creating a name for itself: 
                                                                
"I remember one episode that first         
puzzled, and then caused a feeling of incredible envy of the conditions 
produced by Disney.Walt Disneywas working onfilm "Orchestra Concert" to the music of Poccuhu, we had it to  
title"Mickey the Conductor."He showed the guests a rough sample     
one of the scenes in the film in which Donald the duck plays the flute.
Right here, in the npocmotpobom hall, Disney gave corrections to his
artists, asked to correct and redo something. And then he said
guests that this is the twelfth stage test. When I talk about it        
I heard it and jumped up in my chair. How could one not envy 
Disney's production conditions! After all, we are in our films, like    
as a rule, they were limited to one sample, without the opportunity       
experiment, shoot several different versions of the scene.   
We filmed, as they say, “one at a time” - “here’s a nail for you, and here’s   
"podskova - one, two and you're done!"                                  
                                                                
(I. Ivanov-Vano. Frame by frame. - M., 1980)                    
                                                                
At the studio "Soyuzmultfilm"at least since the 60s, the pursuit of   
visual quality was not encouraged:"The pinnacle of these searches was the film "Hercules at Admetus."Masterpiece     
animations of extraordinary spiritual power. Film in the making       
which took almost four years. Even when starting the picture in      
production of a venerable multiplierF.S. Xutpyk did not believe that   
an animator can take on such hellish work - moving     
sculpture in the drawing, and suggested looking for another plastic  
solution. But Petrov again made a “breakthrough for the record.”              
                                                                
This was already a real battle. Petrovhad seen before that others 
creative studio workers are not too willing to “stress” and   
jump over your head. Here, most multipliers and    
guild artists were not at all up to that level       
graphic skill, which Petrov himself possessed. He struggled with
FC, with drawing, with filling, with onepatopckum and laboratory    
arbitrarily, trying to achieve only one thing - Quality. Everyonethe shot was achieved through overcoming incredible resistance. From   
workshop services had to be abandoned, the group was reduced to          
several people, completion dates were delayed       
repeatedly, the director had to prove again and again     
officials that such a film is even needed. To top it all off    
the idea went through three editing revisions and the film was released   
devoid of several key episodes and practically             
unfinished..."                                                
                                                                
(Georgy Borodin. "Anatoly Alekseevich PETROV (1937-2010)")     
                                                                
"It happened like this: the time for launching into production is approaching - in two weeks
or a so-called technical commission meets within a week,   
which assessed the complexity and allowed the film into production.   
Let's say, "Solnyshkin's sea life" - is it much easier? Jumpsuit is
not even a shirt, pants, socks and a pioneer tie.           
Jumpsuit - one paint, body - another paint, hat - the same   
the very first paint. And boots on my feet. The commission looks and      
says: “How difficult!” Then the production manager writes toprotocol: “Very difficult,” and demands to simplify the storyboard. I 
I'm simplifying. Where there are two people in the frame, I leave one, there,  
where there are three, I leave two, and so on. Simplified. Comes again  
The head of the FC comes to me and evaluates: scene number one - complexity   
such and such, scene number two - such and such...                         
I've already made a new storyboard! And the director of the film is a man   
who understands everything, but, nevertheless, calculates and no longer
commission, and in the production department he says: “You know how
did he simplify? Economically it is 70%. Now the estimate needs to be cut, 
and this is very unprofitable for the studio. That's it, Tolya, take your first one   
storyboard, texkomuccuu protocols need to be corrected - this is us     
We’ll do it, you go to production - everything is right there!”                
                                                                
(Anatoly PETROV: "... TOWARDS DRAWN "REALISM"" /       
Cinematic Notes N97)                                
                                                                
"Even in "Solnyshkin's Moreenvania",when I tried to use 
studio animators... For example, I made an animator  
layer, some kind of dance. I say: "Well, why don't you  
like measked you: this and this..." - "Production Manager      
requires me to work faster." - "That's it. You did  
consider yourself finished with work. I give you one more term and money, in my opinion 
make a duplicate of your comments. Based on your "blank", make it for me  
a new stage - just as needed." He received a scene - a big one, time 
repeated, also, in general, big, money. Time passes      
brings me the second option. I scroll through and see: the same thing,       
I ask: “What did you change here?” - “Well, it’s all over again
drew it!" - "Where did you get that first option?" - "And I took   
I threw it into the trash." And I drew the same thing."         
                                                                
(Anatoly PETROV: "... TOWARDS DRAWN "REALISM"" /       
Cinematic Notes N97)                                
                                                                
Cartoons "Soyuzmultfilm",as a rule, represent  
independent works not united in a series (although     
small series existed). At the studioWalt Disney,as well as  
at most other American studios, most          
cartoons were released for commercial reasonsin series. This
gave a higher frequency of cartoon releases due to the use
proven solutions.                                           
                                                                
Walt Disney Studioalso sold additional products at 
based on the motives of their cartoons (figurines, comics...), which        
"Soyuzmultfilm"did not.                                      
                                                                
Technological process                           
                                                                
The technical process on "Soyuzmultfilm" was somewhat different from          
American studios. This was primarily due to the fact that  
To save money, finishing phasing was done directly on celluloid    
FC workshop (phasing-contouring):                                   
                                                                
"At "SoyuzMultFilm" and other studios of the USSR it was used         
combined PFK operation(drawing-phasing-outlining). In it 
intermediate phases between already contoured komnohobkamu      
were drawn with a pen directly on acetate. It saved time, but cool
PFK artists should have been higher."                  
                                                                
(Mikhail Tumelya. "Journalists and Animation" /                      
http://tumelya.livejournal.com/176101.html?thread=3156197)      
                                                                
"Celluloid technology brought with it the concepts of rough and    
finishing phasing, contouring, filling; later - in the late 1930s - 
rendering was introduced; in September 1949, finishing phasing and
contouring were combined into a single integrated phasing operation
on celluloid - FC."                                            
                                                                
(Georgy Borodin. "Animators: a brief history of training          
professions" / Animator.ru)                                       
                                                                
Perhaps that is why in later years rough phasing became   
just ignore:"They can no longer phase, for example, extras. I’ll explain: this one 
the character moves this way, this one moves that way. They say it's impossible.    
I ask: “Why was the rough phaser able to phase, but you didn’t  
can you?" - "But because the draft phases according to the multiplication - on 
The animated film has supporting arcs, and in the extras the characters 
highlighted with colored pencil so as not to confuse which goes where   
goes." After drawing the colored pencil is gone, and these lines    
no. The finishing phaser is too lazy to take the multicast and see  
what is phasing to what."                                           
                                                                
(Vladimir VYSHEGOPODTSEV - Georgy BORODIN. CONVERSATIONS ABOUT SKILLS AND 
Craft / Cinematic notes N97)                      
                                                                
Perhaps it is precisely the result of ignoring the rough phasing that can be 
seen in many Soviet cartoons - movements in an arc      
are replaced by movements from point to point (from key to key).      
There is nothing like this in American animation.                   
                                                                
Planning                          
                                                                
In American animation, the director holds in his hands the complete    
control over the future cartoon. Planning everything in advance and 
all emphasized by Walt Disney himself Walt Disney (memo to Don Graham dated 23     
December 1935 / "Memo From Walt"):                            
                                                                
"We should then show the men ways of visualizing action in    
their minds, breaking the action so that the men are prepared in
advance then begin animation of the action and know thoroughly    
what they are going then animate. So many of the men start in now 
and have idea what they`re going then do when they start the   
scene. They know what they're supposed to do, but they can't    
break it down in a systematic way that will enable them then go   
knowingly ahead."                                               
                                                                
In Soviet animation, the director sometimes gave the animators   
development of entire scenes:"They've now picked this up from the West... At many of our studios     
they offer ready-made lay-outs, and they are drawn by people who 
They don’t know how to make multicast. I worked in America - there was a lay-out 
made by the best animators. Everything is played out. And then you get    
work like Xutpyka: everything is ready, drawn, thought out, for you  
All that remains is to fill in the gaps, even the sheets are already all      
recorded (again, like Xutpyka ). However, maybe     
Xutpyk took this from the Americans - at that time he had a lot of           
travelled, it was we who were all nailed down. U          
Americans have to work “from start to finish”, within given limits,   
although not always. But I have to say, it was on Disney   
studios. I then worked at several more European studios.  
That’s where they demand: “do it exactly according to the lay-out” (when the film     
made to order). Americans are more creative in this sense   
are suitable, but for Europeans, if you order - here you have a lay-out and     
no, no... They show us everything in parts: the script,           
storyboard, lay-out, animatic, etc. "Step right - step left." 
Even if you do it better than it was - no, clean it upAll.        
...                                                             
They say when Xutpyka was asked for additional footage for  
some improvisation in animation, he thought for a very long time,
and then he said: “Okay, I can add two frames.” B       
unlike many of today's directors who can simply  
tell the animator: “Well, you can play there as much as you want...” But 
Xutpyka a certain “rhythmic pattern” was worked out, which 
it was important to comply, hence the discipline...                     
...                                                             
The wolf came whistling into the frame and got hit on the forehead with an apple. I did it  
a walk - not as they had drawn, imposing, but     
on the contrary - cheerful, light. They saw and said: "Good  
gait, only very little ee". He just entered the frame, two  
I took a step and got hit on the forehead... I say: “How can I push it in?”
- “Oh, it’s not your concern, do a cycle - we still have plenty of this       
whistle, do as much as necessary." I suggested doing    
panorama so you can see your gait. "No, not     
it’s necessary, just let it go further.” And noproblems. They have  
Even then there were machines that printed on television-type tape    
replica and transcript of the music, and this tape, like scotch tape,           
was glued, it could be cut, rearranged, not          
rewriting sheets like ours. With us, stretching or         
moving the replica and rewriting sheets, you have to count      
arithmetically and you can make a mistake, but theirs is more convenient - the program is
does: four frames back, four frames forward, pause... So   
this approach is “from and to” - it is both American and European, in   
within the given framework. They do a lay-out, the customer looks at it and says:     
“This suits me, work within these limits.” We have now  
They are also trying to do this, at full meters."                    
                                                                
(Vladimir VYSHEGOPODTSEV - Georgy BORODIN. CONVERSATIONS ABOUT SKILLS AND 
CRAFT / Cinematic Notes N97)                      
                                                                
There is a well-known story with the cartoon "Once upon a time there was Kozyavin",where the director 
Andrey Khrzhanovsky from VGIK (this was his first graduation film)
so muchhad little control over the process, which Anatoly Petrov,     
he was still just an animator, he himself invited artists for the project:
                                                                
"I was enrolled in courses and taken to the rough phasing shop. Through  
several months ago I was noticed by cartoonist Anatoly Petrov   
and recommended debutant director Andrei Khrzhanovsky to take  
assistant artist in the group of the film "Once upon a time there was Kozyavin."        
Then Valery Ugarov, Gennady Sokolsky, Leonid worked there  
Nosyrev, Vladimir Morozov and the same Anatoly Petrov, - as       
I later realized that he was the main animator there. Together      
with directorAndrey Khrzhanovsky, chief artistNikolay   
New,artist Gelius Arkadyev they made a film, absolutely different from those I have seen before. Instead of      
easy-to-produce "contour-fill" system, they            
we drew each frame to a surrealistic volume,      
came up with incredible compositions and movements in every scene."   
                                                                
(Stanislav Sokolov. / Publishing program "Uhteppoca").      
                                                                
On the contrary, at the studio Walt Disney a strict        
hierarchy:                                                       
                                                                
"...many years ago, what was called the system    
working units (unit system). In other words, every character 
Each leading animator and leading graphic designer has his own        
own department. I will describe the working group of the rough animator,    
since obviously the scene needs to be animated first   
rough, of course.                                             
                                                                
Very rare animators drewso clean that their drawings are immediately 
could be transferred to the screen. I can only remember a couple      
examples, but the most significant animator, whose drawings directly    
hit the screen, there wasMilt Kahl. For example, its     
work in"The Aristocats"or"The Rescuers".Needless to say, I 
I'm sure you know which characters we're talking about, but just in case, 
for example: butler, lawyer, Medusa and other characters,     
that he did for these films were directly transferred from his  
desktop to the screen. As sketchy as they come
done. He had assistants who filled the voids in his      
drawings, and imitating his line, but again this was rare.
                                                                
Now let me describe the norm to you. Most animators    
draw their scenes in rough drafts. Their main task is play, construction 
character, adherence to the model. The animation team usually includes 
a rough phaser who creates phases for it, again      
rough. Usually this phaser, which is essentially          
assistant animator, and is preparing to become one day       
animator. He's inunique position allowing him to learn from
animator and train so that one day you can start doing   
what the animator does. This concerns rough animation.    
                                                                
Now to drawing. This is where the work unit system works    
best! The rendering department is the largest in the entire process     
due to the complexity and detail to which it is necessary to bring    
every frame of the scene, which the animator naturally should not do. 
Once the animator has put enough information into the drawing, then 
The painter can continue to fill in the places. This is where the totemic begins   
a pillar, if you will, of the levels of the working unit of drawing. Higher    
all leading animator-drawer, then assistant              
animator-painter, reference phaser (breakdown artist) 
and finally, last (but not least) the ordinary phaser, whose 
least qualifications. And every level as long as you move    
up, allows you to gain more skill and hope in one     
a beautiful day will move on, and so on. Work         
The draftsman is so respected because, in essence, he must
know the same basics as a rough animator so you don't lose  
the game, the emotion, the meaning of each scene, and finally the proportions,     
to save the character,corresponding to the model. Renderers 
you need a lot because add it all sequentially      
maintaining detail is very labor-intensive.                          
                                                                
What happens when leading animators-painters get
rough scene? They study it and choose the main key ones     
drawings, as it is their responsibility to ensure that the character         
consistent throughout the entire film, as if she was painting it    
the same hand by the same artist. Needs processing  
there is so much material, so the lead animator and artist sometimes
produces only a few drawings, maybe even one, but if 
the scene, as they say, is not in the model, that is, the proportions of the drawing   
the rough animator is incorrect, he can redo all the critical  
key drawings in the entire scene. To lighten this burden,     
per person, speed up the process and issue in advance  
a certain amount of material according to kbote, which everyone has
on the film, other artists come to help. Presenter         
The animator/draft artist gives the scene to his assistant, who    
deals with intermediate drawings and, in turn, conveys 
ee to the reference phase phaser, who draws the patterns between   
drawings by an assistant, and then a phaser of supportphase gives away the stage 
to the phaser who creates the missing drawings. If what I  
described clearly, then you can see why the system is simple and      
works as well as it is difficult to describe.                 
                                                                
...sometimes an assistant or phaser can complete the task         
phaser of reference frames. In cases where there is a main       
character, and we are talking about a long scene,     
it is ideal to have a reference frame phaser as part of the work force       
units. When are we talking about the third tier or heterogeneous          
characters, this particular work unit may not have  
such an artist."