WEBVTT - Disney's Multiplane Camera 0:00:04.480 --> 0:00:12.360 Welcome to Tech Stuff, a production from iHeartRadio. Hey there, 0:00:12.400 --> 0:00:15.720 and welcome to tech Stuff. I'm your host, John, I'm Strickland. 0:00:15.760 --> 0:00:19.360 I'm an executive producer with iHeart Podcasts and how the 0:00:19.400 --> 0:00:23.520 tech are you? So? Recently, the Walt Disney Company held 0:00:23.640 --> 0:00:28.240 its D twenty three conference, which celebrates all things mouse 0:00:28.280 --> 0:00:32.640 House and serves as a huge publicity platform for the company. 0:00:32.920 --> 0:00:35.279 It's actually a heck of a thing. Disney is one 0:00:35.280 --> 0:00:38.159 of the few companies out there that can actually charge 0:00:38.240 --> 0:00:41.200 people admission to come and sit through a whole lot 0:00:41.200 --> 0:00:43.800 of marketing. It's kind of the opposite of how this 0:00:43.960 --> 0:00:48.120 normally goes. Because normal companies spend bucket loads of cash 0:00:48.280 --> 0:00:51.760 in order to advertise to people. Disney can charge people 0:00:51.800 --> 0:00:54.560 to come and watch advertising. There's more to it than that, 0:00:54.920 --> 0:00:57.160 but not a whole lot more. Now I am being 0:00:57.160 --> 0:01:00.800 a little cheeky and a lot reductive, But anyway back 0:01:00.800 --> 0:01:03.680 to the point. One of the many projects the company 0:01:03.720 --> 0:01:07.640 featured was the upcoming release of a live action version 0:01:07.800 --> 0:01:10.759 of their take on Snow White and the Seven Dwarfs. 0:01:11.040 --> 0:01:13.240 And while I could certainly go off on a rant 0:01:13.480 --> 0:01:16.280 about how the words live action have been used to 0:01:16.319 --> 0:01:21.279 describe stuff that is largely computer generated. What I really 0:01:21.319 --> 0:01:25.760 wanted to do was talk about Disney's first Snow White feature, 0:01:26.160 --> 0:01:29.280 the one that came out back in nineteen thirty seven. 0:01:29.520 --> 0:01:33.000 That's boggling, right, Like, we are less than a decade 0:01:33.000 --> 0:01:35.520 and a half away from that film hitting its one 0:01:35.640 --> 0:01:40.640 hundred year anniversary. Now, the story behind Disney's desire to 0:01:40.640 --> 0:01:44.080 do a feature length animated film and the challenges that 0:01:44.120 --> 0:01:48.000 the company faced at that time are legendary. Back in 0:01:48.040 --> 0:01:50.680 the day, my dear friend Ariel Casten and I did 0:01:50.720 --> 0:01:53.480 a whole episode in a show called Business on the 0:01:53.520 --> 0:01:56.960 Brink all about Disney and the production of Snow White 0:01:57.000 --> 0:01:59.919 and the Seven Dwarfs, because there was a real chance 0:02:00.600 --> 0:02:04.640 that this project would have bankrupted the company. But one 0:02:04.680 --> 0:02:08.000 thing in particular about the film that I wanted to 0:02:08.040 --> 0:02:11.800 talk about today was a piece of equipment that the 0:02:11.840 --> 0:02:15.760 company developed primarily in order to make a feature length 0:02:15.840 --> 0:02:19.720 animated film a real possibility, and it was an invention 0:02:19.919 --> 0:02:24.639 called the multiplane camera. Now, to understand why the multiplane 0:02:24.680 --> 0:02:28.080 camera was a cool invention to start with requires that 0:02:28.120 --> 0:02:31.359 we go a little bit further out and talk about 0:02:31.800 --> 0:02:36.320 animation itself. Now, as I'm sure you're all aware. Animation 0:02:36.680 --> 0:02:41.679 is the illusion of movement, and really all films, as 0:02:41.720 --> 0:02:45.960 in movie, shot on film, arguably all films period, but 0:02:46.240 --> 0:02:50.239 specifically shot on film, they are animation. It's not hand 0:02:50.320 --> 0:02:53.840 drawn animation or computer animation, but it is an animated 0:02:53.880 --> 0:02:57.280 sequence of pictures, or at least the illusion of animation. 0:02:57.880 --> 0:03:01.440 When you watch something on film, what you're really watching 0:03:01.600 --> 0:03:04.840 is a series of illuminated photographs that are shown in 0:03:04.960 --> 0:03:09.200 quick succession. Quentin Tarantino has a great way of describing this. 0:03:09.480 --> 0:03:12.840 You can find him in interviews talking about the magic 0:03:12.880 --> 0:03:16.840 of cinema and why cinema is a fantasy from the 0:03:16.880 --> 0:03:19.360 get go. Like just the fact that you're watching something 0:03:19.360 --> 0:03:22.480 that looks like it's moving, that alone is a fantasy 0:03:22.520 --> 0:03:25.760 before you even get to the subject matter. Even if 0:03:25.800 --> 0:03:28.960 you're watching a documentary, you're still engaged in a fantasy 0:03:29.080 --> 0:03:32.440 because nothing is actually moving as far as those images 0:03:32.480 --> 0:03:35.160 are concerned. Instead, it's a series of photographs, and when 0:03:35.160 --> 0:03:38.320 you play those photographs back at a fast enough speed 0:03:38.520 --> 0:03:41.440 the standard for films is twenty four frames per second, 0:03:41.680 --> 0:03:45.280 then the sequence appears to show a moving image, but again, 0:03:45.640 --> 0:03:48.040 the image itself is not moving at all, at least 0:03:48.040 --> 0:03:51.080 not on the screen inside the projector yes, you've got 0:03:51.080 --> 0:03:54.480 stuff that's moving. You've got film that's being pulled so 0:03:54.520 --> 0:03:57.680 that a lamp shines through it, and a shutter blocks 0:03:57.720 --> 0:04:00.680 the transition from one picture to the next. But our 0:04:00.760 --> 0:04:03.280 human eyes don't pick up on all of that. We 0:04:03.360 --> 0:04:06.800 see what appears to be a magical moving image in 0:04:06.800 --> 0:04:10.640 front of us. Now. In cartoon animation, this effect is 0:04:10.680 --> 0:04:14.480 achieved by photographing a series of drawings so that when 0:04:14.600 --> 0:04:17.440 those photographs are played back at the proper speed, we 0:04:17.520 --> 0:04:21.640 get what appears to be a moving but drawn image. 0:04:22.000 --> 0:04:25.120 In the basic animated short, you typically have a static 0:04:25.160 --> 0:04:28.560 background image. While you have to draw and redraw the 0:04:28.680 --> 0:04:32.560 character images to create the illusion of movement, the background 0:04:32.640 --> 0:04:35.640 can remain the same until you have a change of scene. 0:04:35.800 --> 0:04:38.520 So you might draw a larger background image than can 0:04:38.560 --> 0:04:41.640 actually fit into the frame. It might be wider than 0:04:41.680 --> 0:04:43.839 the camera frame is, but that gives you the option 0:04:44.080 --> 0:04:47.520 to have characters travel and to move the background image 0:04:47.560 --> 0:04:51.560 slightly between shots so that the characters look like they're 0:04:51.560 --> 0:04:55.640 actually going somewhere. But otherwise the background can be static. 0:04:56.000 --> 0:04:59.440 So let's say we have a character juggling in the 0:04:59.480 --> 0:05:02.680 foreground and we are using a background of like a 0:05:02.680 --> 0:05:05.640 circus tent. So you would draw the juggling character on 0:05:05.680 --> 0:05:08.919 a piece of celluloid, which is a clear sheet of 0:05:08.960 --> 0:05:13.240 plastic like material, and the character would be solid right, 0:05:13.680 --> 0:05:15.800 You wouldn't be able to see through the character, but 0:05:15.839 --> 0:05:18.440 the rest of the sheet is transparent, so that means 0:05:18.440 --> 0:05:20.280 when you lay it on top of the background, you 0:05:20.320 --> 0:05:23.280 can still see the background through the sheet. And you 0:05:23.360 --> 0:05:26.559 lay the celluloid or sell on the background, you clamp 0:05:26.600 --> 0:05:29.279 it down so it doesn't move around. You take a photo, 0:05:29.680 --> 0:05:33.080 you unclamp the cell, You take the cell off the background, 0:05:33.080 --> 0:05:35.120 and you move it to the side. You grab the 0:05:35.160 --> 0:05:38.680 next cell with the same foreground character drawn in a 0:05:38.720 --> 0:05:41.960 slightly different position. You clamp that down on the background. 0:05:42.160 --> 0:05:45.559 You take that photo, you unclamp it, You remove the cell, 0:05:45.680 --> 0:05:48.120 move it to the side, and so on. You repeat 0:05:48.160 --> 0:05:52.480 this over and over and over. It's a painstaking process, 0:05:52.800 --> 0:05:58.120 but it does allow for the animation. For the animation 0:05:58.160 --> 0:06:01.800 of a cartoon character, well, what Disney wanted to do 0:06:02.520 --> 0:06:05.240 was to make a system that would allow for more 0:06:05.360 --> 0:06:10.680 dynamic and realistic backgrounds, particularly when you're talking about backgrounds 0:06:10.720 --> 0:06:13.440 and camera movements. See in the real world, you could 0:06:13.480 --> 0:06:15.720 have a camera. You could have a set, or you 0:06:15.760 --> 0:06:19.719 could be filming on location and you move the camera around, 0:06:20.120 --> 0:06:23.120 everything in that area is going to behave more or 0:06:23.240 --> 0:06:26.520 less realistically, unless you're filming on a set where you're 0:06:26.600 --> 0:06:30.000 using a backdrop and the backdrop is causing issues that 0:06:30.040 --> 0:06:32.560 could actually be a problem. But when I'm talking about 0:06:32.600 --> 0:06:36.200 realistic with animation, I don't necessarily mean photo realistic. I 0:06:36.200 --> 0:06:38.400 don't mean that you would think, oh, I'm looking at 0:06:38.440 --> 0:06:43.320 a photograph. Rather, the backgrounds would behave properly so that 0:06:44.200 --> 0:06:48.239 with the connection of camera movements, the background would behave 0:06:48.279 --> 0:06:50.280 in a way similar to what you would experience if 0:06:50.320 --> 0:06:53.800 you were to move through a real physical space. Now, 0:06:53.839 --> 0:06:56.159 let me give you an example that Walt Disney himself 0:06:56.240 --> 0:06:59.400 gave in a short film where he talked about this 0:06:59.680 --> 0:07:04.360 potenticular challenge. So in animation, just like with live action filming, 0:07:04.480 --> 0:07:07.760 it is possible to zoom in on a particular spot, 0:07:07.839 --> 0:07:10.880 to use a camera and to increase the focus so 0:07:10.920 --> 0:07:14.040 that you're zooming in on one part of the frame. 0:07:14.280 --> 0:07:16.960 But with a static background, you're zooming in on a 0:07:17.000 --> 0:07:20.960 static image. That means everything gets bigger no matter where 0:07:21.040 --> 0:07:23.840 in the background it happens to be So if your 0:07:23.840 --> 0:07:28.320 background is for say a nighttime scene, and you know 0:07:28.400 --> 0:07:30.680 in your background you have a path going up a 0:07:30.760 --> 0:07:34.400 hill and there's a building on the hilltop, and there's 0:07:34.440 --> 0:07:37.160 a moon hanging over the building in the far background. 0:07:37.600 --> 0:07:39.800 When you zoom in, all the different elements of that 0:07:39.840 --> 0:07:43.480 background get larger, Right, the bushes you have in the foreground, 0:07:43.640 --> 0:07:47.360 the pathway, the building, the moon, they all get bigger 0:07:47.680 --> 0:07:50.240 as you zoom in. And that's not really how things 0:07:50.280 --> 0:07:52.800 work in the real world. If you were physically walking 0:07:52.840 --> 0:07:55.480 on a path going up a hill at night and 0:07:55.560 --> 0:07:58.280 the moon's hanging in the air, things that are close 0:07:58.320 --> 0:08:01.560 to you would get larger as you approached. Things that 0:08:01.600 --> 0:08:03.880 are a bit further away would also get larger, but 0:08:03.920 --> 0:08:06.559 at a slower rate you wouldn't notice it as much. 0:08:06.840 --> 0:08:09.880 And things that are very very far away, like the moon, 0:08:10.280 --> 0:08:12.640 would seem to remain the same size. It didn't matter 0:08:12.680 --> 0:08:15.360 how far you walked. The moon would not appear to 0:08:15.440 --> 0:08:17.800 grow larger in the sky. But how do you do 0:08:17.880 --> 0:08:21.920 that with animation, Well, you could draw a whole series 0:08:21.960 --> 0:08:24.920 of backgrounds, and you could swap the backgrounds out between 0:08:24.960 --> 0:08:27.679 shots so that the moon would remain the right size 0:08:27.760 --> 0:08:30.200 as the camera would appear to zoom in, so you 0:08:30.240 --> 0:08:33.040 would actually draw the moon a little smaller for like 0:08:33.360 --> 0:08:36.480 the next shot, so when the camera does zoom in, 0:08:36.679 --> 0:08:40.559 the moon appears to remain the same size. That would 0:08:40.559 --> 0:08:43.120 just mean you'd be swapping out backgrounds left and right, 0:08:43.160 --> 0:08:46.280 with each background having different proportions than the others, and 0:08:46.360 --> 0:08:48.719 you would have to factor in like, all right, well, 0:08:48.720 --> 0:08:52.679 how much larger should I make the foreground objects versus 0:08:52.760 --> 0:08:56.160 the background? That would be a huge headache. It'd be 0:08:56.200 --> 0:08:58.920 a ton of work, it would be very difficult to replicate, 0:08:58.960 --> 0:09:03.200 it would be in readibly expensive. So that's kind of 0:09:03.200 --> 0:09:06.480 a non starter. So Disney and his team came up 0:09:06.520 --> 0:09:09.680 with a solution. What if you were able to break 0:09:09.760 --> 0:09:14.600 the background up into different planes, different elements, So some 0:09:14.760 --> 0:09:18.080 of the background would be closer to the viewer or 0:09:18.120 --> 0:09:21.040 the camera. Some elements would be closer to the camera. 0:09:21.080 --> 0:09:24.440 That would represent stuff that would be near us the viewer, 0:09:24.760 --> 0:09:27.680 some large stuff in the background be much further away 0:09:27.840 --> 0:09:30.600 from the camera. Therefore, it wouldn't change as much if 0:09:30.600 --> 0:09:34.040 you were to zoom in, and actually they did something 0:09:34.120 --> 0:09:36.040 much more clever than zooming in, or if you were 0:09:36.040 --> 0:09:38.280 to do a tracking shot, like if you were to 0:09:38.360 --> 0:09:41.640 make stuff move past the camera, you could do it 0:09:41.679 --> 0:09:44.200 so that the stuff that's closer is moving at a 0:09:44.200 --> 0:09:48.120 faster pace than the stuff that's further away. And you 0:09:48.240 --> 0:09:51.240 just had to figure out a way to achieve this goal, 0:09:51.679 --> 0:09:54.280 and they did, and I'll talk about that after we 0:09:54.320 --> 0:10:06.400 take this quick break. So how would you achieve this 0:10:06.520 --> 0:10:09.760 effect of being able to have elements in the foreground 0:10:09.840 --> 0:10:12.280 move at a different pace than stuff in the background, 0:10:12.480 --> 0:10:16.679 or to get larger while the stuff further away doesn't 0:10:16.760 --> 0:10:19.640 change as much. Well, that would be the multiplane camera. 0:10:20.000 --> 0:10:23.080 So at its most basic level, this camera is really 0:10:23.120 --> 0:10:28.040 a system and it consists of a series of frames 0:10:28.200 --> 0:10:32.439 of background. You have the bottomost frame that's the far background. 0:10:32.520 --> 0:10:35.360 This is the solid piece of background. It is the 0:10:35.400 --> 0:10:38.760 furthest back you get. And then above that you would 0:10:38.840 --> 0:10:42.840 have a sheet of clear material like plexiglass or even glass, 0:10:43.000 --> 0:10:46.760 and on this you would have elements of background that 0:10:46.840 --> 0:10:50.440 are slightly closer to the camera than the far background. 0:10:50.720 --> 0:10:52.560 You go up a frame, you have the same sort 0:10:52.600 --> 0:10:56.920 of thing, another clear sheet with elements of background. Maybe 0:10:56.920 --> 0:10:59.240 you'd call this the mid ground, and you might have 0:10:59.280 --> 0:11:02.800 a couple of sheets that and then close to the 0:11:03.040 --> 0:11:05.880 camera in the foreground, you would have yet another sheet 0:11:06.120 --> 0:11:09.800 that would have elements of background, and this would make 0:11:09.960 --> 0:11:13.360 a vertical system. You would position the camera above all 0:11:13.360 --> 0:11:16.960 these frames and point the camera downward, so it's a 0:11:17.040 --> 0:11:20.600 vertical system. Each frame could be moved independently. You could 0:11:20.679 --> 0:11:23.920 raise or lower the frames so that rather than actually 0:11:24.000 --> 0:11:28.160 zooming the camera, you're bringing elements of the background closer 0:11:28.320 --> 0:11:32.640 to the camera and allowing to have the effect of 0:11:32.679 --> 0:11:37.000 a zoom through a landscape. You could also move things 0:11:37.080 --> 0:11:40.000 laterally so that you could have a tracking shot that 0:11:40.080 --> 0:11:42.760 goes say left or right or right to left, and 0:11:42.840 --> 0:11:45.360 have the elements that are closest to the camera move 0:11:45.440 --> 0:11:48.760 at a faster pace than the stuff that's much further away. 0:11:49.000 --> 0:11:52.400 It all replicates camera motions in the real world, but 0:11:52.880 --> 0:11:55.520 in the context of an animated film. And it was 0:11:55.679 --> 0:11:59.360 really clever, like being able to think, how can we 0:11:59.400 --> 0:12:03.240 make an anime film behave in a way that we 0:12:03.320 --> 0:12:06.200 are used to based upon the films that are shot 0:12:06.280 --> 0:12:08.280 in the real world, and not just have it be 0:12:08.440 --> 0:12:13.800 flat and only two dimensional, So this would give the 0:12:13.880 --> 0:12:17.400 film a sense of dimensionality. Now you can watch a 0:12:17.440 --> 0:12:20.520 really good demonstration of this from Disney himself. The company 0:12:20.559 --> 0:12:23.600 created a short film demonstrating the use of the multiplaying 0:12:23.679 --> 0:12:26.640 camera back in nineteen fifty seven. You can find copies 0:12:26.640 --> 0:12:29.880 of this on YouTube. You could just search Disney Multiplane 0:12:30.040 --> 0:12:33.240 camera and it'll pop right up. It includes an explanation 0:12:33.280 --> 0:12:35.880 of how the system can create panning shots by moving 0:12:35.920 --> 0:12:39.320 these various planes horizontally across the camera's view. Between them, 0:12:39.559 --> 0:12:45.520 you get some goofy scripted exchanges between Disney engineers who 0:12:45.559 --> 0:12:49.360 are working on shooting a sequence. It doesn't come across 0:12:49.360 --> 0:12:52.520 as natural at all, but it does illustrate how the 0:12:52.600 --> 0:12:55.480 system works. You also get a sense of how truly 0:12:55.679 --> 0:12:59.640 enormous the multiplaying camera was because it was quite big, 0:12:59.679 --> 0:13:03.720 and so sometimes the backgrounds that these animators were using 0:13:03.880 --> 0:13:08.160 they'd be several feet long in order to have lots 0:13:08.200 --> 0:13:11.720 of landscape to play with when you were doing things 0:13:11.760 --> 0:13:15.200 like panning, because you would physically, you know, turn a 0:13:15.200 --> 0:13:20.120 little crank and move the entire frame a little bit over. 0:13:20.640 --> 0:13:22.320 You'd be able to do that over and over and 0:13:22.360 --> 0:13:25.439 over again. You wanted to have a wide enough background 0:13:25.480 --> 0:13:27.480 to work with so that you didn't run out of 0:13:27.559 --> 0:13:31.679 background before your character has finished, you know, traveling across 0:13:31.679 --> 0:13:35.400 the frame of shot. Obviously This system required lots of 0:13:35.440 --> 0:13:39.200 fine tuning and careful adjustments during filming. Each element needed 0:13:39.200 --> 0:13:42.960 to be controlled precisely between shots to create the proper effect. 0:13:43.080 --> 0:13:46.000 If you have a character casually strolling through a field, 0:13:46.320 --> 0:13:49.160 you wouldn't want the dandelions in the foreground to be 0:13:49.240 --> 0:13:52.960 whizzing by the character like he was the flash who 0:13:53.040 --> 0:13:56.520 just realized he was late to the Justice League softball game. Likewise, 0:13:56.640 --> 0:13:59.959 if you have a character racing down a city street, 0:14:00.120 --> 0:14:03.160 you wouldn't want the trash cans and lamps in the 0:14:03.200 --> 0:14:06.319 foreground to just creep by and thus destroy the illusion. 0:14:06.760 --> 0:14:09.880 The multiplaying camera allowed for some effects that just had 0:14:09.920 --> 0:14:13.800 not been seen in animation before. Bill Garrity served as 0:14:13.880 --> 0:14:17.360 the lead technician on this project, and actually the first 0:14:17.440 --> 0:14:21.160 use of the multiplane camera wasn't on the feature film 0:14:21.240 --> 0:14:24.840 Snow White. The first Disney project that was released using 0:14:24.920 --> 0:14:29.200 the multiplane camera was a Silly Symphony animated short titled 0:14:29.400 --> 0:14:33.760 The Old Mill. Now, whether the technical achievement played a 0:14:33.800 --> 0:14:37.160 part or not, the Old Mill did earn Disney an 0:14:37.200 --> 0:14:41.440 Academy Award AKA and OSCAR for Best Animated Short Subject, 0:14:41.560 --> 0:14:44.520 and the multiplaying camera would get its own Scientific and 0:14:44.640 --> 0:14:48.600 Engineering Academy Award in nineteen thirty eight. The multiplane camera 0:14:48.640 --> 0:14:51.720 would become an important component behind the scenes on films 0:14:51.760 --> 0:14:55.960 like Pinocchio and Bambi. There are three of the original 0:14:56.040 --> 0:14:59.600 multiplane cameras on display today, so you can actually see 0:15:00.120 --> 0:15:02.800 one of the original multiplane cameras in one of these 0:15:02.840 --> 0:15:05.800 three locations. Two of them are in California in the 0:15:05.880 --> 0:15:08.160 United States. One of them is at the Walt Disney 0:15:08.200 --> 0:15:11.760 Animation Studio that's in Burbank, California. That's part of the 0:15:11.800 --> 0:15:14.680 Los Angeles area. The other one is in the Walt 0:15:14.680 --> 0:15:18.720 Disney Family Museum that's actually in San Francisco, California. The 0:15:18.800 --> 0:15:23.480 third original multiplaying camera is out in Paris, France at 0:15:23.480 --> 0:15:27.520 Disneyland Paris. The site Waldisney dot org even has a 0:15:27.560 --> 0:15:30.920 guide on how you can build your own multiplane camera 0:15:31.000 --> 0:15:35.240 system using stuff like plexiglass and compostable drinking cups, which 0:15:35.280 --> 0:15:37.560 is pretty cool. Like if you wanted to make your 0:15:37.680 --> 0:15:42.480 own animated short using a very similar system to what 0:15:42.680 --> 0:15:45.440 Disney is, just much more low tech, like it would 0:15:45.600 --> 0:15:48.320 require a lot more hands on work, but you could 0:15:48.360 --> 0:15:51.440 achieve the same effects. They explain how to do it, 0:15:51.560 --> 0:15:53.720 and to me like that's super cool. Like, if you 0:15:53.960 --> 0:15:57.440 decide I'm going to try and do an animated short, 0:15:57.520 --> 0:15:59.720 and I'm on top of that, I'm going to do 0:15:59.840 --> 0:16:02.840 this multiplane approach so that I have more depth to 0:16:02.880 --> 0:16:05.080 my shot, you can totally learn how to do it. 0:16:05.320 --> 0:16:08.160 I think that's awesome. Bill Garritty, the guy behind the 0:16:08.160 --> 0:16:12.680 original multiplane camera, was inducted into the Disney Legends program 0:16:12.720 --> 0:16:15.640 in nineteen ninety nine. It's kind of like Disney's own 0:16:15.720 --> 0:16:19.720 Hall of Fame. Sadly that meant it was a posthumous award. 0:16:19.840 --> 0:16:23.800 Garrity passed away on September sixteenth, nineteen seventy one, but 0:16:23.920 --> 0:16:27.640 it is nice that the company recognized his contributions. As 0:16:27.680 --> 0:16:31.240 I've said on other podcasts, Snow White could have sunk 0:16:31.320 --> 0:16:34.240 the Disney Company if it had not been a success, 0:16:34.320 --> 0:16:38.359 and I think Garretty's work was one of many important 0:16:38.400 --> 0:16:41.880 factors that ultimately contributed to the feature being a hit 0:16:42.200 --> 0:16:47.720 and kind of cementing Disney's status in Hollywood history. Anyway, 0:16:47.880 --> 0:16:51.160 that's a quick look at an influential piece of technology, 0:16:51.200 --> 0:16:55.280 the multiplane camera, and I do recommend you go and 0:16:55.400 --> 0:16:58.280 check out how you could make your own version, even 0:16:58.280 --> 0:17:01.000 if it's just to learn more about how it works, 0:17:01.240 --> 0:17:05.120 because I think getting a look at how you could 0:17:05.119 --> 0:17:08.520 build one yourself really teaches you the basics of the 0:17:08.560 --> 0:17:12.600 principles behind it, and that's more effective than any podcast 0:17:12.640 --> 0:17:15.200 would be. But I hope you enjoyed this short episode. 0:17:15.600 --> 0:17:18.200 I hope you are all doing well, and I'll talk 0:17:18.200 --> 0:17:28.920 to you again really soon. Tech Stuff is an iHeartRadio production. 0:17:29.200 --> 0:17:34.240 For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 0:17:34.359 --> 0:17:39.879 or wherever you listen to your favorite shows.