Editing Traditional animation (section)

===Animation===
[[File:Pegbars.gif|thumb|Sketch of an animation peg bar, and measurements of three types, Acme being the most common]]

In the traditional animation process, animators will begin by drawing sequences of animation on sheets of transparent paper perforated to fit the peg bars in their desks, often using [[colored pencil]]s, one picture or "frame" at a time.{{sfn|Laybourne|1998|p=xv}} A ''peg bar'' is an animation tool used in traditional animation to keep the drawings in place. A ''key animator'' or ''lead animator'' will draw the [[key frame]]s or key drawings in a scene, using the character layouts as a guide. The key animator draws enough of the frames to get across the major poses within a character performance.

While working on a scene, a key animator will usually prepare a ''pencil test'' of the scene. A pencil test is a much rougher version of the final animated scene (often devoid of many character details and color); the pencil drawings are quickly photographed or scanned and synced with the necessary soundtracks. This allows the animation to be reviewed and improved upon before passing the work on to their ''assistant animators'', who will add details and some of the missing frames in the scene. The work of the assistant animators is reviewed, pencil-tested, and corrected until the lead animator is ready to meet with the director and have their scene ''[[sweat box|sweatbox]]ed''.

Once the key animation is approved, the lead animator forwards the scene on to the ''clean-up department'', made up of the ''clean-up animators'' and the ''inbetweeners''. The clean-up animators take the lead and assistant animators' drawings and trace them onto a new sheet of paper, making sure to include all of the details present on the original model sheets, so that the film maintains a cohesiveness and consistency in art style. The ''inbetweeners'' will draw in whatever frames are still missing ''in-between'' the other animators' drawings. This procedure is called [[tweening]]. The resulting drawings are again pencil-tested and sweatboxed until they meet approval.

At each stage during pencil animation, approved artwork is spliced into the leica reel.{{sfn|Laybourne|1998|pp=105–107}}

This process is the same for both ''[[character animation]]'' and ''[[special effects animation]]'', which on most high-budget productions are done in separate departments. Often, each major character will have an animator or group of animators solely dedicated to drawing that character. The group will be made up of one supervising animator, a small group of key animators, and a larger group of assistant animators. Effects animators animate anything that moves and are not a character, including props, vehicles, [[machine]]ry and phenomena such as [[fire]], [[rain]], and [[explosion]]s. Sometimes, instead of drawings, a number of special processes are used to produce special effects in animated films; rain, for example, has been created in Disney animated films since the late 1930s by filming [[slow-motion]] footage of water in front of a black background, with the resulting film superimposed over the animation.