The story is developed as a "storyboard", a giant-sized comic strip. As the story develops, new drawings are added to the storyboard. Since the drawings are pinned onto a cork board, it is easy to make alterations to the story.

The backgrounds are painted on white Bristol or celluloid with tempera, acrylic or sometimes even oil paints. The backgrounds are the "landscape" in which the characters are moving, and they are often made into large-size panoramas, "pan backgrounds", considerably larger than the picture format. The camera follows the characters as they move across the background. This background is painted in a format suitable for a vertical camera move.

But in "The Mousie Bros. in 'Mike Attack' " (Bancy's Film Debut), I scanned in my penciled backgrounds (some still and some animated) with my line-tester for Digital Ink & Paint & Compositing!

Before the tedious drawing work can begin, the dialogue is recorded on tape and then transferred onto magnetic film. This filmstrip is analyzed in a sound reader, and every syllable is registered on an "exposure sheet (or "dope sheet" for short)" - necessary to obtain perfect synchronization between sound and picture. The sheet is divided into many rows, each corresponding to one frame of film. Music and sound effects aren't usually recorded until after the film is finally cut, and an optical sound track is then prepared and printed onto the film, see below.

My Perfect Sound format on "The Mousie Brothers in 'Mike Attack!' " is Dolby Stereo "Spectral Recording" Digital & Sony Dynamic Digital Sound (which was uncredited)! :)

Now the real work begins. Every second of finished film consists of 24 frames, requiring 12 to 24 drawings, depending upon the speed of movement - faster movements need more drawings per second, slower moves can be animated with less, with three or even more frames shot of every drawing. The difference between two successive frames can be almost negligible, an arm moves a fraction of a millimeter, for instance. The animated drawings are filmed on black & white film to check the smoothness of the movements (this is called a pencil test).

If your Short Film Wanted to be in 4x3 Full Screen, Buy 12-Field Animation Paper to Match the Same Aspect Ratio as Bancy's Film Debut.

In order to superimpose the animated characters on the backgrounds, the drawings are copied onto transparent sheets of celluloid or plastic, usually called "cels". The lines are traced in ink, and the colors are filled in on the reverse side of the cels, in order to get completely even colors when viewed from the front.

To Buy your Cel-Vinyl Colors & KOH-I-NOOR Ink & KOH-I-NOOR Pens...

 go to this link & to tour its catalog!

if you don't want a Pint of KOH-I-NOOR Ink, You Need to build you own Xerox Cel Coping Machine.

A Little Trivia.... "Mike Attack" didn't use Cels, KOH-I-NOOR Ink & Cel-Vinyl Paint for Ink & Paint, because there was this digital ink & paint "freeware" called "TAPPTOONS" so I will Clean up my old HP Pavilion/Windows XP Computer (namely "Mike") with a bigger flashcard w/ a USB Cord called "The Passport", I will clean it up soon, don't worry!

The filming is carried out on an "animation stand". Sometimes the picture is divided into several levels (4 on this "multiplane" stand), separated by about 30 cm, or 12". The fore- middle- and backgrounds of the landscape are on different levels, so a certain 3-dimensional effect is achieved, especially when the camera or background is moving.

"Mike Attack" was Scanned into a Hewlett Packard/Microsoft Windows XP Personal Computer (probably named "Mike") & Was Digitally Colored in on some kind of Digital Ink & Paint Freeware (which is credited) called "Tapptoons". although the penciled backgrounds were Scanned before the Drawings were Scanned.

"Mike Attack" is Filmed in 4x3 Academy Ratio (1.33:1) & in TechniColor® & a copy of this film was printed on Eastman KODAK Motion Picture Film for me to keep & its Special but Authentically Awesome Premiere at The Michigan Theatre of Jackson (or should I say "Skull"!)

 and of course a LOT OF INSPIRATION