Editing Lady and the Tramp (section)

===Animation===
As they had done with the deer on ''[[Bambi]]'', the animators studied many dogs of different breeds to capture the movement and personality of dogs. Although the spaghetti eating sequence is one of the most notable scenes in the film, Walt Disney was prepared to cut it, thinking that it would not be romantic and that dogs eating spaghetti would look silly. Animator [[Frank Thomas (animator)|Frank Thomas]] was against Walt's decision and animated the entire scene himself without any lay-outs. Walt was impressed by Thomas's work and how he romanticized the scene and kept it in.<ref name="DVD"/> On viewing the first take of the scene, the animators felt that the action should be slowed down, so an apprentice trainee was assigned to create "half numbers" in between many of the original frames.<ref>{{cite news|first=Ken|last=Jones|date=September 1986|title=Willie Ito|work=[[Comics Interview]]|issue=38|page=49|publisher=[[Fictioneer Books]]}}</ref>

Originally, the background artist was supposed to be [[Mary Blair]] and she did some inspirational sketches for the film. However, she left the studio to become a children's book illustrator in 1953. Claude Coats was then appointed as the key background artist. Coats made models of the interiors of Jim Dear and Darling's house, and shot photos and film at a low perspective as reference to maintain a dog's view.<ref name="backstage">{{cite AV media notes|title=Lady and the Tramp Platinum Edition DVD - "Disney Backstage"|type=Bonus feature|year=2006|publisher=Walt Disney Home Entertainment}}</ref> Eyvind Earle (who later became the art director of Disney's ''[[Sleeping Beauty (1959 film)|Sleeping Beauty]]'') did almost 50 miniature concept sketches for the "Bella Notte" sequence and was a key contributor to the film.<ref name="backstage"/>

====CinemaScope====
{{Further|CinemaScope}}
Originally, ''Lady and the Tramp'' was planned to be filmed in a regular [[full frame (cinematography)|full frame]] [[aspect ratio (image)|aspect ratio]]. However, due to the growing interest of [[widescreen]] film among movie-goers, Disney decided to animate the film in [[CinemaScope]] making ''Lady and the Tramp'' the first animated feature filmed in the process.<ref name="archive"/> This new innovation presented additional problems for the animators: the expansion of space created more realism but gave fewer closeups.<ref name="thomas"/> It also made it difficult for a single character to dominate the screen so that groups had to be spread out to keep the screen from appearing sparse.<ref name="archive"/> Longer takes become necessary since constant jump-cutting would seem too busy or annoying.<ref name="finch"/> Layout artists essentially had to reinvent their technique. Animators had to remember that they had to move their characters across a background instead of the background passing behind them.<ref name="thomas"/> Yet the animators overcame these obstacles during the action scenes, such as Tramp killing the rat.<ref name="finch"/>

More problems arose as the premiere date got closer since not all theaters had the capability to show CinemaScope at the time. Upon learning this, Walt issued two versions of the film: one in widescreen, and another in the [[Academy ratio]]. This involved gathering the layout artists to restructure key scenes when characters were on the edges of the screen.<ref>{{cite AV media notes|title=Lady and the Tramp Platinum Edition DVD - "Behind the Scenes"|year=2006|publisher=Walt Disney Studios Home Entertainment}}</ref>