Last edited Mon Mar 5, 2018, 12:21 PM - Edit history (1)
I'm on a slow connection. I'll link to an example when I can.
https://en.wikipedia.org/wiki/Max_Fleischer#The_Rotoscope
EDITED: not Rotoscope; I was thinking of "The Stereoptical Process":
Paramount
During its zenith by the mid 1930s, Fleischer Studios was producing four series, Betty Boop, Popeye, Screen Songs, and Color Classics, resulting in 52 releases each year. From the very beginning, Fleischer's business relationship with Paramount was a joint financial and distribution arrangement, making his studio a service company supplying product for the company's theaters. During the Great Depression, Paramount went through four bankruptcy reorganizations, which affected their operational expenses.
As founding member of The Society of Motion Picture Engineers, Max was aware of the technical advancements of the industry, particularly in the development of color cinematography. Due to Paramount's financial restructuring, Max was unable to acquire the three-color Technicolor process from the start. This created the opportunity for Walt Disney, who was then a small fledgling producer to acquire a four-year exclusivity. With this, he created a new market for color cartoons beginning with Flowers and Trees (1932). In 1934 Paramount approved color production for Fleischer, but he was left with the limited two-color processes of Cinecolor (red and blue) and Two-Color Technicolor (red and green) for the first year of his Color Classics. The first entry, Poor Cinderella was made in the two-emulsion/two color Cinecolor Process and starred Betty Boop in her only color appearance. By 1936, Disney's exclusivity had expired, and Fleischer had the benefit of the three-color Technicolor Process beginning with Play Safe.
These color cartoons were often augmented with Fleischer's patented three-dimensional effects promoted as "The Stereoptical Process", a precursor to Disney's Multiplane. This technique used 3-D model sets replacing flat pan backgrounds, with the animation cels photographed in front. This technique was used to the greatest degree in the two-reel Popeye Features Popeye the Sailor Meets Sindbad the Sailor (1936) and Popeye the Sailor Meets Ali Baba's Forty Thieves (1937). These double-length cartoons demonstrated Fleischer's interest in animated feature films. While Fleischer petitioned for this for three years, it was not until the New York opening at Radio City of Disney's Snow White and the Seven Dwarfs ( February 1938) that Paramount executives realized the value of animated features and ordered one for a 1939 Christmas release.
He came up with a lot of effects.
For sound effects, just about any radio serial; "The Lone Ranger," "The Shadow," etc.
EDITED, Monday morning:
Here' are some examples of the Stereoptical Process:
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