The Golden Age of 3D!

Could this be describing today? … No!…. What’s considered   ‘The Golden Age of 3D’ was actually from 1952 to 1955!

Film-makers have attempted to create the ‘illusion of depth’ since the earliest days of film. Experiments with 3D movies as we know them—with glasses—actually started as far back as 1897! But most attempts were for novelty, or impractical, and never got off the ground as a serious format for film until the 1950’s.

Patent drawing for invention of ‘set-back.’ Patent filed in 1933, and granted in 1936 to Max Fleischer. (click on to enlarge for viewing)

When Seymour worked as an animator at Fleischer Studios in the 1930’s they were using a completely different method to create the illusion of depth. It was technically called ‘the set-back’ and was used in many Fleischer films. This process, patented by Max Fleischer, involved building large miniature sets that sat on a turntable.  Painted drawings on clear celluloid sheets were placed in a special holder in front of the set. A special camera placed in front of the holder sequentially photographed each cell … after which the set was turned ever so slightly. When projected this created a terrific 3D effect… and in spite of considerable expense, was used in many Fleischer films. A number of other animation studios developed their own multiplane process with the same goal in mind—achieving a 3D effect. 

Photo: Dave Fleischer shown with 'set-back' for opening scene of Mr. Bug Goes to Town Fleischer Studios, released December 1941. Collection: Virgnia Mahoney

An interesting thing happened to the film industry in the early 1950’s. Movies had reached a low point in attendance--- television, an increasingly popular medium had taken away the audience! Attendance in theaters fell from 90 million in 1948 to 46 million in 1951. A favorite joke in our house was of a man standing at the box office asking what time the feature started, and the box office girl asking... "What time can you be here?" In 1952, just as theaters were desperately looking for something special they could offer the public, along comes the film Bwana Devil, the first popular 3D film in what would be referred to as 'The Golden Age of 3D.' Suddenly theaters could offer something TV could not...3D!!!

Poster for Bwana Devil explaining the 3D process, 1952 (click on to enlarge for viewing)
Collection: Virginia Mahoney

Bwana Devil was made in a dual strip process, which meant it required two projectors with a special motor to properly sync the projectors,  a special silver projection screen… and polarized glasses* worn for viewing. Most films made during this time used this process. Bwana Devil was hugely popular with the public. It not only brought the audience back to the theaters—it started a whole stream of 3D films that were made between 1952-55.

During this time Famous Studios made two animated 3D films, Popeye, The Ace of Space, (released 1953) and a Casper film, Boo Moon, (released 1954). To take advantage of 3D, both films used outer space as a setting.  The Popeye was directed by Seymour, and the Casper film by both Seymour and Izzy Sparber.

Advertisement for the Trade for Popeye, The Ace of Space. Famous Studios, 1953.

Popeye and Bluto are copyright 2011 King Features Syndicate, Inc. TM Hearst Holdings, Inc.

Collection: Virginia Mahoney

I remember going to the screening of the 3D Popeye film with my dad. He got a great charge out of the fact that the opening ‘gag’ in that 1953 film Popeye, The Ace of Space--- is the same ‘gag’ that had been used in the very first Popeye film made in 1933…. that of Popeye having to cross a great chasm by tossing a rope to the other side and pulling the other side to him. Re-cycling a good ‘gag’ was very common in those days. Popeye, The Ace of Space can still be seen at 3D Film Festivals today. 

Below is the Agreement between Famous Studios and Paramount Pictures dated July 1953 stating that during the contract period of 1953-54 Famous will make twenty four cartoons that will include both a Popeye and a Casper in 3D.

Here’s a 2D copy of the Casper film Boo Moon that was originally made in 3D. When Casper arrives on the moon the tiny inhabitants treat him like Gulliver…another bit of story re-cycling! You’ll also notice King Luna is a take-off on King Bombo from the earlier Fleischer Studio's film Gulliver’s Travels.

Boo Moon, starring Casper the Friendly Ghost, Famous Studios- released 1954. 
All character images are the copyright and trademarks of their respective owners. 

However, ‘The Golden Age of 3D’ was a passing fad, brought down by problems inherent in the 3D process used. The use of two projectors required them both to be exactly in sync—but film repairs due to tears, or even a sloppy projectionist could result in the two reels being out of sync, resulting in viewer headaches and eyestrain.  Also, the process required a special silver screen best viewed from the center with sideline seating often unusable. By 1955 3D was finished, and films using a wide screen format, that didn’t have these problems, were becoming popular. CinemaScope was to be the new fad.

3D periodically re-enters our lives. Some film historians see this occurring in 30 years cycles, pointing to ‘The Golden Age of 3D’ in the 1950’s, the brief 3D resurgence in the 1980’s (Friday the 13th Part 3, Amityville 3-D,  Jaws 3-D, etc.)– and in 2008 a new wave of 3D films started up again, energized by the release of the 3D film Journey to the Center of the Earth. 

The impetus behind this most recent 3D resurgence is again related to failing attendance at the box office. Since we can all now view large screen hi-def films in the comfort of our homes. theaters once again needed something unique to lure the public back. Again, the answer is 3D… this time enhanced with additional dazzling effects. When the film Avatar came out in 2009 it was released in 2D, RealD 3D, Dolby3D, Xpan 3D, and IMAX 3D. New and improved 3D films are suddenly abundant --- though so far we’re still wearing glasses…..

An interesting end to this story……Animation historian 

Michael Sporn has a post on his blog about Larry Riley who had worked at Fleischer Studios: 

"Larry also told of a 3D process he’d developed for Paramount in the 50’s when the movies were all going 3D…Larry offered to give me the camera on which he shot these films- he had it stored in his basement. He was afraid it would get thrown out when he died. I didn’t have room for it.” 

Larry’s grandson later told Michael another collector took the camera to keep it from destruction…. hopefully this bit of history is safely out there…somewhere….

*Most 3D viewing glasses during this time were polarized, with each lens the same gray tinted color- as opposed to the alternative type 3D glasses which have red/blue lenses.

Online References include:
Wikipedia
Odd Culture
Michael Sporn Animation
For the history of many amazing early 3D attempts see:
http://widescreenmovies.org/WoddCultureSM11/3D.htm

HAPPY VALENTINES DAY!

Here’s a Valentine that my dad, Seymour, made for my mom. Living with an animator meant we might receive a one of a kind hand-made card like this at special times. Don’t know the year for this card, but it was typical.

This is also a Valentine from my dad celebrating Popeye! Seymour was Head Animator/Director* on 91 of the 230 theatrical Popeye cartoons made between 1933 and 1957, including the very first Popeye (these figures do not include any of the later made for TV Popeyes). The earliest Popeye films were made during his time at Fleischer Studios, they continued through the change-over to Famous Studios, and later to Paramount Cartoon Studios.

Popeye, a character created by Elzie Segar, first appeared in the comic strip Thimble Theatre. Olive Oyl and her boyfriend, Ham Gravy, were the original stars of this strip. Popeye appeared as a minor character in 1929, ten years into the strip’s already very successful run. Popeye quickly became so popular he replaced Olive Oyl as star of the strip. In 1933 Popeye made a ‘test’ appearance in Popeye the Sailor, a film in the Fleischer’s popular Betty Boop series. Popeye was immediately a huge success on film and soon was starring in his own Popeye the Sailor series. He became the most popular animated film character of his day.

A number of notable changes accompanied Popeye’s move to the world of film, some of which can be seen in his very first picture. In the comic strip Popeye derived strength from rubbing the Wiffle Hen, with spinach being used only sparingly. But on film the Fleischers consistently made spinach the source of Popeye’s super strength.  Also, this first picture introduced Popeye’s famous theme song, “I’m Popeye the Sailor Man.”

Here’s a typical Popeye film directed by Seymour,  “Little Swee’ Pea,” released in 1936. Note the wonderful 3D effect that’s created through the use of a stereoptical camera process (also known as the ‘set-back') that was developed at Fleischer Studios.

"Little Swee' Pea" 7 minutes....click on video to enlarge for viewing
*All occurrences of Popeye, Olive Oyl, and Bluto are © 2011 King Features Syndicate, Inc. TM Hearst Holdings, Inc.

Anyone on staff could submit a cartoon story idea, and if it was used a staffer could earn a few extra dollars.  Here’s a story idea (below) from Izzy Klein, who in this case was in the story department (many ideas came from animators and other staff).  His story concept is so similar to the story in “Lil Swee’ Pea” that I wonder if it might have inspired this film. One can see just how thin the plot is (this is typical), and how dependent the final story would be on a series of ‘gags.’  You can click on the text to enlarge...

Since anyone could submit story ideas, some are handwritten, some typed… any form was acceptable. They’re really fun—sometime later I’ll post a big group of these ‘story ideas.’

*During the time of Fleischer Studios film credit for direction always went to Dave Fleischer. In reality, Dave acted more as Producer and Production Supervisor. The actual ‘direction’ of each film was handled by the Head Animator… who was the first animator name listed in a film’s credits.

Popeye card and Popeye typed story idea: Collection: Virginia Mahoney

SEYMOUR, IZZY, and 'THE BIBLE' ...post 2

Here’s the second posting with another selection of pages from ‘The Standard Production Reference,’ often referred to as ‘The Bible.’ The previous post on this site talks about the history behind this document and also includes scans of some pages. The scope of this document reflects how complex the making of animated films had become, and the broad knowledge then required of animators.

This has a lot of technical information about how things were done…. the details of which may put some to sleep. This post is basically for the many fans who understand and crave these kinds of insights into early film production. But stay tuned…coming soon… posts of a more popular nature!

click to enlarge an image

Collection of Virginia Mahoney

SEYMOUR, IZZY, and "THE BIBLE"

Cover of "The Standard Production Reference," missing front label.
Collection of Virginia Mahoney

Cover label: Collection of J.J. Sedelmaier.

THIS JUST IN! J.J. Sedelmaier noticed I was missing the label on the cover – and sent me a scan of his label. What a gift! Now I know for certain the year it was first officially distributed…1940. Thanks J.J.!

This document, ‘The Standard Production Reference,’ often referred to as ‘The Bible’ was in use at Fleischer Studios by 1940. It was developed by Seymour Kneitel and Izzy Sparber for the use of “animator’s and their assistants.” Originally intended for Fleischer Studios staff it continued in use as the official manual for Famous Studios as well. The need for such a document shows how complex the industry had become since the animated films of the early 1900’s.

In a 1935 article published in Fleischer Animated News and written by animator Bill Turner, he reflected on the earlier less complex days of a fledgling animation industry…..

“All that was needed to go into business in those days was a Parker pen and pencil set. There were no separate departments, everyone working in one room about as large as a good sized doll house. Such departments as Music, Story, Timing and Background were unheard of....... The pictures were run on a portable projector against a wall. In place of a dark room, the camera magazines were loaded in a black bag or overcoat.”

By 1935 when Bill Turner wrote the above, the animation industry had evolved to a much higher level of complexity with separate departments for such functions as story, animation, inking, paint mixing, opaquing, background, timing and music. In addition the increasing popularity of animated films led to increases in staff size (when Fleischer Studios moved to Florida to make Gulliver’s Travels in 1938 their staff grew to over 700 employees). All this growth created a need to formalize procedures to insure an orderly flow of work within a studio.

Several studios developed some form of in house ‘manual’ to answer this need. The Fleischer Studios manual, ‘The Bible,’ is sixty-one pages long. In addition to detailing procedures, it provides sample jobsheets to accompany work as it moves through departments, includes guidelines for dealing with special effects, and information on the use and limitations of various special animation cameras (Approach, Large Field, Set-Back etc.), plus a myriad of other issues that are reflected in the index (below). Since ‘The Bible’ was such an excellent guide to animation production in general it was often used as a reference by other animation studios.

Animation historian Mark Langer notes that “… the Standard Production Reference later became a guide by which other animation companies were organized or by which they regularized production….. For at least thirty seven years after the demise of the Fleischer Studios, “The Bible” was the most commonly used reference work within New York animation studios.”

This is the first of two posts containing selected pages from that document.  These pages show how complex the animation field had become by 1940, and the broad knowledge now required of an animator. Next week I’ll post more pages … check the index (below) and if there’s a particular area not included here you would like to see let me know and I will oblige……. BTW: you can click on individual pages to enlarge for ease of reading.

Reference material:

Article: “The Good Old Bad Days” by Bill Turner - Fleischer Animated News,  Vol. 1 No.3, February 1935

Article: “Institutional Power and the Fleischer Studios: The Standard Production Reference,“by Mark Langer: Cinema Journal, University of Texas Press, Vol. 30, No.2 (Winter, 1991) 

MERRY CHRISTMAS FROM SEYMOUR!

Another original card from Seymour and Ruth, who are yet again facing the Christmas season waiting for the birth of a baby. At the time Seymour was working for Fleischer Studios.

Christmas was a hugely important holiday for the Fleischer Studios people. Staff came from many different backgrounds, many of them were first generation Americans... and they represented many different religions. But no matter their background or religion, they all seemed to think Christmas was yet another great way to have a good time together.

They had a really big and crazy Christmas party in a rented theater or restaurant, exchanged these hand made and personalized Christmas cards with each other… and had a rousing good time. To see more about how Fleischer Studios staff celebrated Christmas, including more of the original Christmas cards created by staff... plus rare footage of a home made movie during one of these 1930’s Christmas parties….

go to…
Fleischerstudios.com

Click on the word 'Museum' near the top of the page (under Fleischer Studios).  This will take you to the Fleischer Studios Museum site where you can click to enter the exhibit, entitled 'Christmas.'

Enjoy and Merry Christmas… 
and watch this Blog in early 2012 for the next postings on some of the interesting ‘technical’ things Seymour was involved with. 

A Love Story...

My parents were married on December 24, 1931. They met while both were working at Fleischer Studios. They remained completely devoted to each other through raising three children and dealing with the sometimes-challenging politics of the animation business.

My dad had married Ruth Fleischer, the boss’s only daughter. When they met, my father Seymour was a young animator at Fleischer Studios. Another Fleischer animator, Shamus Culhane, in his autobiography, Talking Animals and Other People, notes: “The marriage made no difference in Seymour’s status in the studio: he was never given, nor did he ever ask for, special handling from the management.”

In another post I’ll share more about my mother. She was in some of Max Fleischer’s very early films, including roles in his short-lived and little known completely live action series ‘Carrie of the Chorus.’ Before working at the studio she had been dancing ‘on the road’ in an all girl troupe. In the late 1920’s she joined the staff of Fleischer Studios as an inker, progressing to head of the Coloring Department- and then to head of the Inking Department.

In an interview with historian Mike Barrier my mother talked about working at the studio “When I met Seymour, everyone became involved in the romance…It was a family; everybody knew what everybody was doing. The great part of it was, after work, we didn’t just all go away and forget each other.” This was a close-knit staff that spent considerable time together outside the office .

As they started life together it was with the background of the Great Depression, which began with the stock market crash of October 1929. Although many bussinesses closed or struggled to survive, this was not true of the movie business. Films and animated cartoons were an inexpensive escape from the troubles of daily life. In fact, there was so much creativity and technical progress during this time (at a number of animation studios) that the 1930’s is often referred to as “The Golden Age of Animation.”

Seymour’s Letter of Contract from Fleischer Studios (below) shows the typical salary of an animator in the early1930’s….eighty dollars a week. The second letter reflects the huge success and popularity of Fleischer films that allowed a bonus to be distributed to employees Christmas 1931.

Bachelor Dinner for Seymour Kneitel...

December 1931

This photo of Seymour Kneitel’s bachelor party was taken exactly eighty years ago, in New York City at the Blue Ribbon Restaurant, December, 1931. Seymour (front row center) met his future wife, Ruth Fleischer, while both were working at Fleischer Studios. Max Fleischer, Seymour’s soon to be father-in-law is in the front row, far left.

The staff at Fleischer Studios during the late 1920’s and 1930’s often celebrated occasions like this together. Staff also joined the studio sports teams (bowling, baseball etc), played cards and gambled together, partied together, and the men held these bachelor dinners.

Fleischer Studios was a training ground for animators and other animation specialists.While many worked their entire careers with Fleischer Studios (and it’s successor studio Famous Studios) others went on to work at any number of other emerging animation studios…. sometimes even returning later to work again at Fleischers. Many of the men in this photo went on to become prominent and well known figures in animation.

It’s interesting to note that, as with Seymour, virtually all these men would have begun their careers in the early days of silent black and white film…. worked through the introduction of sound, color, and 3D…..and by the end of their careers where producing animation for Television!

Seated front row left to right are Max Fleischer, Seymour Kneitel, Roland (‘Doc’)Crandall. Standing behind them are Frank Paiker, Willard Bowsky, Al Eugster,Ugo D'Orsi, Reuben Timinsky, and possibly Dave Tendlar (present but not visiblein this copy of the print). Back row: Sam Stimson, Charles Shettler, SamBuchwald, unknown, Izzy Sparber, Tom Bonfiglio (who later changed his name toGoodson), Ralph Sommerville, Myron Waldman. Collection of Ginny Mahoney.

Start to Finish!

A Christmas Card

Start to Finish!

Since it’s interesting to see how a concept progresses from the first glimmer of an idea to the final printed piece… thought you’d enjoy this card Seymour did for Christmas, 1935, when son Tommy was almost age two.

The first sketch, was done on Fleischer Studios 8 1/2” x 11” animation paper and is just the beginnings of a idea.

The second image is the more developed final artwork, 7 1/2” x 11” and on thin board. The gray color is an overlay of two different acetate dot screens laid over the black inked drawing.

The last image is the final printed card, 4 1/4” x 5 1/4,” and ready to be hand colored!  Gee , I wish I had one of the hand-colored ones... BTW: the dot screens on the middle image are slightly out of register but can't be fixed without damage to the artwork.

Collection of Virginia Mahoney

Merry Christmas!

1932 Christmas Card
Drawn by Seymour Kneitel in 1932 while he was working at Fleischer Studios, this Christmas card celebrates not only Christmas but the impending birth of Seymour and Ruth’s first child, son Tommy, born January, 28,1933. Animation staffers exchanged these unique personalized cards for Christmas, weddings, surgeries, and any number of other events!  Exchanging these personalized Christmas cards was a wide spread practice at the studio.

Shown here is the original art for the card as well as the final card. These cards were usually printed with only one color ink, usually black, and color was added by hand. Also, there was usually a space left on the card to personally fill in the name of the recipent.

Collection of Virginia Mahoney