To bring it to pass that a panorama have the effect of near objects going faster than those that are distant, it is necessary to have two strips of panorama details. One strip will represent the foreground, which is to be moved much quicker, one-eighth of an inch, or so. A second strip will answer for the distance, which is moved, about one-sixteenth of an inch, or even less. If the foreground strip is moved at rather wide intervals, the effect on the screen will be a little like that which we see from the window of a railway-coach when telegraph-poles and near objects seem to fly by.
The panorama strip for the foreground is designed with simple elements so that it can be cut out in silhouette and laid over the other one. With reference to the quality of the details of a scene on a panorama; although it is usual to fill up the whole length with items of interest, there must be observed some degree of simplicity. Perhaps it might be best to say that there should be a subordination in the details, even if they are numerous, and then have some striking feature or object occurring every once in a while, to catch the eye and so help the movement.
Objects, too, automobiles and other vehicles, are combined with these panoramas. This brings us to the consideration of the matter of animating wheels, or making them turn in the screen illusion.
Some distinguishing mark on a wheel is needed to give it the screen illusion of turning.
A wheel true and accurately adjusted and going rapidly gives—with the exception of a blurring of spokes, if there are any—very little evidence of rotation. It is only when it turns unsteadily, or when there is some distinguishing mark found on or near the rim, that we see plainly that the wheel turns. Sometimes it is a stain, a spot on the tire, a temporary repair, or a piece of paper that has caught in the spokes that indicates a turning of the wheel. Further amplification is needless, as a glance at the vehicles, as they pass in the roadway, will make clear. So the animator, when he wishes to show a wheel turning, simply copies actuality by drawing a wheel with some such feature as noted above. A mere black spot on a wheel near the circumference is sometimes sufficient. It is usual to have the wheels drawn on thin cardboard and cut out and fastened in their proper places so that they can be turned. They are turned a little at a time and photographed after each turn.
To represent the hunter in sketch A suddenly trembling with fear as in sketch B, two drawings, 1 and 2, with varying wavy lines are used alternately during the photography.
PHOTOGRAPHY AND OTHER TECHNICAL MATTERS