Production
The Rescuers Down Under is notable for Disney as its first traditionally-animated film to completely use the new computerized CAPS process. CAPS (Computer Animation Production System) was a computer-based production system used for digital ink and paint and compositing, allowing for more efficient and sophisticated post-production of the Disney animated films and making the traditional practice of hand-painting cels obsolete. The animators' drawings and the background paintings were scanned into computer systems instead, where the animation drawings are inked and painted by digital artists, and later combined with the scanned backgrounds in software that allows for camera positioning, camera movements, multiplane effects, and other techniques. The film also uses CGI elements throughout such as the field of flowers in the opening sequence, McLeach's truck, and perspective shots of Wilbur flying above Sydney Opera House and New York City. The CAPS project was the first of Disney's collaborations with computer graphics company Pixar, which would eventually become a feature animation production studio making computer-generated animated films for Disney. As a result, The Rescuers Down Under was the first animated film for which the entire final film elements were assembled and completed within a digital environment. However, the film's marketing approach did not call attention to the use of the CAPS process. It is Disney's second animated film that does not include any musical numbers, the first being The Black Cauldron.
A team of over 415 artists and technicians were required for the production of the film. Five members of the team traveled to the Australian Outback to observe, take photographs and draw sketches to properly illustrate the outback on film.
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Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
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