Color Analysis: The Stag Fight

When Christian Renaut (author of „Les héroïnes Disney“) asked me for a comment on color in the stag fight scene in BAMBI (Hand, 1942), I felt the need to illustrate it with screenshots. Hence, my first color analysis post in years... 

Although Walt Disney was predominantly striving for dimensionally believable, naturalistic settings (in the vein of 19^th century illustrations) when it came to animated features, during the golden age (1937-1942) his overall emotional approach to storytelling allowed for expressionistic use of shape and color during tense/subjective moments.

 

The resulting, less detailed backgrounds are easily integrated, however, since the characters (the focus of audience attention) keep their dimensionality, shape and proportions at all time. No flat shapes, no graphical abstraction. In addition, the Disney „dogma“ of value separation (i.e. either light character colors against dark background colors or vice versa) is closely followed, no matter how stylized the lighting gets. 

Left: light character on dark BG / right: dark character against light BG.

Concept art by Tyrus Wong (left via michaelbarrier.com, right via colossal.com)

 

Visible brushstrokes and less details in more impressionistic approach.

Thanks to Tyrus Wong's suggestive concept art, BAMBI generally feels much more impressionistic than the other films of that era. Besides atmospheric color choices, this impression mainly stems from a very selective degree of detail resulting in suggestive shapes of color and visible brush strokes. This is closely maintained throughout the two fantasy sequences when Bambi follows Faline through the clouds and during their stroll through the night.

 

[Side note: the fantasy sequence immediately before the stag fight has the deer float among more or less realistically painted clouds that resemble the snow only with pink instead of yellow highlights.]

Snow: light blue with yellow highlights / love clouds: with pink highlights

Right between these two love scenes, however, Bambi has to fight his rival Ronno who suddenly appears behind a cloud and brings Bambi back down to earth.

The actual stag fight takes only one minute, it leaves a strong impression not least because of its bold color design. In the backgrounds, there are a lot of expressionistic color transitions with a general arc from green and blue towards red and golden orange. But although the „story meeting commentary“ on the blu-ray insinuates that those color choices were guided by „symbolism throughout“, I believe that what made it to the screen works primarily on an emotional level without too much rationalizing. So in this analysis of the latest blu-ray transfer (which may differ from what the film looked like in Technicolor), I primarily look at how these color combinations work and how they affect me.

The transition

When the cloud setting transitions back to the forest, the familiar brown vs green contrast makes the deer stand out quite naturally. Furthermore, the shades of brown adhere to the well-established Hollywood convention of value-coding: the skin of the female love interest is paler (less saturated) than the hero's skin and in this scene leaning more towards violet. The villain Ronno is deliberately darker than Bambi, especially around the eyes, looking almost like a shadow version of Bambi with more dangerous antlers.

Ronno the Rival

different skin tones according to convention.

Faline paler, Bambi "default", Ronno darker...

While the scene starts out in a naturalistic way, the transition happens step by step. First, a brisk change in lighting after a cut indicates a subjectively heightened perception of the situation. The story notes mention a sunset, what we actually see is heightened contrast and saturation in the green background and glowing golden rim light on Faline and Ronno. This may not look natural but makes for a bold color contrast. The sunset impression also comes from the fact that during the whole stag fight, Bambi and Ronno are always dark against light (except for one short shot). Even in less extreme backlighting, this effect is supported by the rim light that is brighter than the white of the deers' eyes.

During Bambi's attack from the right, the transition is taken further within a shot over the course of which Bambi's body becomes a dark silhouette against a backdrop of broad brush strokes and blue and green shapes devoid of detail (54:19:13).

Bambi from the right, smooth lighting change against broad shapes.

Ronno from the left.

We then see Ronno's counter-attack from the left with hard lighting from the right (aka the expressionist sunset). Contrast is now so high that parts of the image remain pitch black. 

What is more, although perspective and dimensionality are maintained, in the following long shot the level of detail is extremely low. A sketchy brown branch on the left and a silhouetted branch on the right provide the necessary depth cues with dramatic lighting setting the stage for the action.

Cut from high contrast, high saturation to similar, more stylized background.

This setup (right) resembles the style of the first hunting scare (left).

And since Ronno's half of the background is a lot darker (above), this is the one shot where he is much lighter than Bambi and everything else in the shot. Thus, it looks like two contrasting forces (bright orange Ronno and pitch black Bambi) are about to collide.

Ignoring color continuity

However, when the actual collision happens in the next shot, both deer are equally dark against an abstract dark blue background. 

In this elaborately animated shot, Ronno takes Bambi on his antlers and throws him to the left setting up the basic left-right-orientation for the remainder of the fight. At the same time, three basic concepts of the sequence are established:

1. since the editing adheres to meticulous action continuity, the artists applied colors freely without paying attention from shot to shot. No matter how much the colors change from one shot to the next, there is always at least one element that remains stable across cuts.

2. While the characters appear in „expensive Disney silhouettes“ (my own expression) – almost black but still with slight differences in color for lighter body parts and eyes – often against dark backgrounds, the movement is suggested a layer of fierce rim lights, sometimes containing additional highlights in an even brighter color.

3. The degree of detail in the background varies greatly from just a direction of brushstrokes and gradient to some sketchily defined piece of vegetation or even fully rendered leaves and blades of grass. This way, we don't really see these color flashes as abstract backgrounds because like with the rim light on the characters, there are always enough representational elements in the frame to suggest a full setting.

 

Stage-managing emotional color changes

During Bambi and Ronno's initial clash, both are defined by the harsh orange sidelight (and fierce white highlights) of a heated confrontation. But during Bambi's fall to the left, his rim light turns cold as he enters a zone of fictitious blue light from above. Like in most of Disney's more expressionist sequences, this is much more reminiscent of elaborate stage lighting rather than abstract painting.

This notion seems to be confirmed by the fact that when Ronno approaches Bambi he is also bathed in blue overhead lighting and only re-enters the hot orange zone when the action moves to the right (a prime example of the old orange vs teal contrast, if ever there was one).

So rather than separating the two deer by colors, the lighting evokes the emotional involvement in the fight, sometimes using a hard cut to flip from hot to cold as Bambi goes down again (54:28:14).

Then we get the first brief shot from Bambi's point of view: Ronno's orange/white rimmed silhouette runs straight at the camera against a non-representational gradient made of broad diagonal brush strokes.

Now the darker rim light on both characters is green, somewhere inbetween the blue and green of the background. This overall green look is extended to a shot of Faline watching the action in an almost unicolored setup.

Bambi's next attack begins with orange top light but only adds the white highlight in the spot where the two stags meet. Again, the background colors flip across an axial continuity cut from green to orange vs blue (54:37:07) with Ronno on the orange side and Bambi against a dark blue background looking up at Ronno attacking him yet again from a bright background (maybe looking up at a cloud or light source?) that emphasizes the darkness of Ronno's silhouette.

BG colors change with hard cuts

BG colors change with hard cuts

BG colors change with hard cuts

During the next wrestling match (54:45.10), by way of a pan, the green background turns to blue while the blue rimlight gradually transitions to red and orange, which is again reflected in a unicolored shot of Faline watching the action (now staged as shadows over her face and the rock behind her)

continuous color change of rim light.

The sunset justification

Taking into account that all this was supposedly happening while the sun was setting on the right (the typical narrative pretense for colored lighting in Hollywood films at the time), we have now entered the final stage: the lower half of the backgrounds are already in the dark, devoid of warm sunlight.

As we cut from a wide shot to a close-up of the wedged heads, the background snaps to a fully saturated diagonal gradient from dark blue over magenta to red reminiscent of the fierce red glow that occurs shortly after the sun has set (and foreshadows the forest fire). 

The sky is now burning...

Emotionally, the fully saturated red seems to tell us that we have reached the apex of the stag fight.

With red fury on his side, Bambi is getting the upperhand

Indeed, the two clash one last time. Only this time around, Bambi is strong enough to through Ronno off the cliff into the cold violet water (down below, so technically not in the warm part of the background any more). Remarkably, those last few shots have been defined by just enough representational detail that the fully dimensional background during Ronno's fall doesn't attract our attention.

Again entering the striking highlight zone...

Suggestive, leaving much to the imagination, but still representational.

BG colors change with a hard cut.

the final POV shot of Ronno attacking.

The same BG in different colors, early expertise or later tampering?

[Side note: BAMBI has been heavily "restored" for DVD and again for Blu-ray. Without getting into all the things that don't feel right to me, I am very curious about the original colors of this POV background (55:01:16, above). It is certainly the same painting. And although there were indeed procedures that allowed for these kinds of color changes, I am not sure if it really fit the sunset part as well on Technicolor or if it was "fixed" in order to smoothly match the original vision as opposed to what ended up on screen.]

It's interesting how the same BG works for two different size relations!

Generally, the diagonal left-to-right dynamics (Bambi's direction) are adhered to in abstraction as well.

The iconic shot

After this predominantly red climax, for the aftermath – and real payoff – the sky turns gold as Bambi towers over his rival in a simple but strong composition. By this saving-a-damsel-in-distress-and-proving-himself moment, Bambi seems to have earned the „prince of the forest“ staging. He may not yet be ready to succeed the old prince in all aspects, but it is certainly the first time, he is seen in this iconic pose that is backlit so the characters appear as clear silhouettes against a lighter backdrop.

What is interesting about this shot is the direction: here, Bambi still looks to the right (i.e. "ahead" as the convention goes), while the adult Great Prince of the Forest always looks to left ("back" over his subjects, so to speak).

The Great Prince of the Forest (Bambi's father?)

And yes, in the end, Bambi himself becomes the Great Prince (or so it is visually suggested) taking over not only the pose and direction but the very spot of his predecessor (who is never verbally alluded to as his father).

Bambi succeeds the Great Prince and looks back over "his" realm.

All screenshots taken from the European blu-ray edition (time code based on 23.976fps).
Click on the images for larger versions.

Sumptuous Costume Colors: Introduction (Part 1/5)

Among the recurring color concepts that helped create the sumptuous look of Walt Disney's animated features, the quasi single-colored costume - all parts in different shades of the same basic hue - is particularly powerful. In these two posts I will have a look at the concept of analogous costume colors, its precursors and how it became so prominent during the 1950s.

During the classical Hollywood era, the lavish look of Disney features did not only stem from fluid three-dimensional animation (in contrast to most other studios experimenting or simply giving in to limited animation). More than anything, Disney's trademark richness of texture relied on highly detailed (i.e. labor-intensive, thus expensive) character designs and sumptuous (Techni)color coordination well grounded in 19th century illustration styles.

With its rich textures and opulent costumes, SLEEPING BEAUTY (1959) is doubtlessly the epitome of this style. It has mostly been praised for Eyvind Earle's medieval background stylings with their finely chiseled wood textures and angular designs. The character/costume colors, however, are equally important to our impression of the images.

Shapes and colors define the composition more than dimensional lighting and perspective.

And while the Disney artists usually integrated flatly painted characters into highly detailed, dimensional backgrounds by way of empty spaces and pools of light, the slightly more two-dimensional world of SLEEPING BEAUTY required a more graphic approach based on shape and color to match the more evenly lit background patterns.

Storybook illustration from the prologue of SLEEPING BEAUTY (1959)

From the very beginning, Disney was very conscious of the cheapening effect of garish or random "circus poster" colors. Therefore, he urged his employees to more restricted palettes and concepts. By the time SLEEPING BEAUTY was conceived in Technirama70, his artists were able to use the whole spectrum of hues in a shot without making it look all over the place.

If you squint at those screenshots above (or look at them without your glasses), you will still be able to distinguish different characters and groups of characters because their costumes are mostly painted in analogous colors. This is even the case in the crowded image at the bottom. Even though these aristocrats are drawn so richly detailed we can easily see their overall shapes thanks to the unifying coloring approach.

FLOWERS AND TREES (1932): the first 3-strip Technicolor cartoon ever, already restricted palettes: depending on their personalities, tree trunks were painted warmer or colder (the villain even gray!).

Basic Color Concepts and Methods
This costume concept, more than anything else, embodies the marriage of two key concepts the Disney artists were after ever since the adoption of color in FLOWERS AND TREES (1932): clarity and opulence. The early Silly Symphonies already sported carefully limited palettes of subdued colors with sparingly applied primaries. Even a rainbow-happy Easter film like FUNNY LITTLE BUNNIES (1934) was thoughtfully color coordinated.

Color for the bunnies' costumes were carefully chosen: primaries for the workers, pastels for the artists, some even wear suits.

Mickey. Donald and Goofy, however, had very simple costumes based on the primary colors red, blue and yellow, as can be seen in these screenshots from MOVING DAY (1936). Mickey being the oldest and "strongest" is wearing primary red and yellow (toned down considerably for this film). Donald's sailor suit is blue (considered a weaker hue for centuries because it is receding compared to red) and contrasts strongly with his yellow/orange beak and feet. Unpredictable Goofy is dressed in complementary colors orange and blue.

Mickey, Donald and Goofy vs Pete in MOVING DAY.

Simple color schemes for the protagonists. Mickey's yellow shoes are subdued. "White" is slightly blue (not necessarily on purpose, though).

Behind these colors is a color scheme based on the primary colors red, blue and yellow according to Johannes Itten's color wheel. From these three colors, a painter could mix any color of the rainbow - in theory, that is. It never works completely with real pigments. Those primary colors were also available early on for comic strips in newspapers. In the movies, both Donald's (I count his beak as a costume color because it is so dominant) and Goofy's colors are opposites on the color wheel which means that they are complementary colors. Complementary colors are often used to reinforce each other.

How these colors are arranged on Johannes Itten's influential color wheel.

In contrast, Pete's old west sheriff costume (no peg-leg here) is made up of natural browns and beiges. Because their basic hues are very close to each other on the color wheel, they are called analogous colors.

Top row: actual colors of Pete's sheriff costume; bottom row: corresponding hues.

As can be checked in photoshop (see below), the hues of these five colors (top row) are all within a range from 22 to 49ø which is pretty narrow. If I adjust brightness and saturation to 100% we can easily see, how close they are to each other (bottom row of color swatches) on the color wheel.

top: the actual color; bottom: adjusted saturation (S) and brightness (B) show what the hue of 24° looks like.

This might be easier to recognize in this multidimensional color wheel that adds saturation and brightness (but not their combination). Although all of these colors are basically muted variations of yellow-orange, strong contrasts are achieved by varying saturation and brightness.

Left: the range of hues on the color wheel; right: on a multidimensional color wheel.

To compare different costume color schemes I have created a template based on Keira Knightley's ANNA KARENINA gown that has all the fancy parts including a lush waistbelt and a feather on the hat. If we apply Pete's costume colors to her, she looks like a stepping out of a western saloon. Against this background, the "white" taken from Pete's shirt looks deliberately bluer than in the original screenshot* and (accidentally?) serves as a spot of complementary contrast.

The generic "Anna" template for color comparisons. Right: in Pete's colors.

Because we always perceive color in context, I have limited the surroundings in my template strictly to neutral grays and browns. This makes it easier to see hues without color constancy interfering. In fact, Disney often balanced spots of saturated primary, secondary and even pastel colors with neutral grays, browns and natural greens. Those backgrounds and props appear matter-of-factly and boringly devoid of any artistic decisions. But such unobtrusive background colors seldom seem to be randomly chosen.

Left: Silly Symphony title card in primary colors; middle and right: to make the costume colors stand out, a lot of the image was kept in natural browns and grays.

However gorgeous Disney's first two features SNOW WHITE (1937) and PINOCCHIO (1940) may look, the studio's typical color styling only fully came into being with FANTASIA and BAMBI, in my opinion. Since animation did not seem to be worthy of Technicolor's "color director" Natalie Kalmus' close surveillance, Disney's color department experienced more freedom than most American live-action cinematographers and production designers.
Nevertheless "Walt's people" discovered many of the same principles probably because they were, on the one hand, cross-influenced by live-action films and, on the other hand, came from the same painting and illustration background as Kalmus**. In some areas, they had to solve technical issues unique/innate to cel animation.

In color, the jarring difference between the organic textures of gouache backgrounds and flatly painted objects on cels became more noticeable. To make the moving trees in FLOWERS AND TREES match the dimensionality of their background counterparts, the animators added two separate lighting layers, one for the shadow, one for the glow. As any animator knows from experience, this makes convincing animation more difficult and time-consuming.

Both trunks and tree tops had additional layers for shadows and light reflections.

With smaller shapes, a similar effect could be achieved without so many additional lines to the animation process. In order to create a sense of depth to a curtain of leaves in FUNNY LITTLE BUNNIES, the leaves were randomly painted in different shades of green.

Left: simulated depth by adding shadows and different shades of green; right: had all the leaves been painted in the same green, the hedge curtain would look pretty flat like in this digitally simplified mock-up.

With four shades of green and shadows on less than a third of the leaves, the hedge looks pleasingly detailed and textured than in the digitally simplified mock-up on the right. This concept was successfully applied to add natural variety to groups of animals in BAMBI (1942) or FUN AND FANCY FREE (1946) about which I have written some time ago.

Thumper's family in BAMBI (left), the wild bears in BONGO (FUN AND FANCY FREE).

As can be seen in the examples above, this same visual idea was employed to individual animals (just look at the many shades of gray on Thumper). The overall forms of birds and rodents had been divided up into brighter and darker areas that were far easier to animate than shadow layers. Starting with the more realistic tone-on-tone schemes of BAMBI, many forest animals were painted in more closely related analogous colors that are less contrasting but feel more sophisticated than those in earlier features. Even on birds that are made up of different hues the colors look much more unified than in the SNOW WHITE examples:

The 1930s: Clearly distinct colors in SNOW WHITE.

The 1940s: closely related tone-on-tone schemes, natural browns against grays...

...as well as closely related soft colors in BAMBI.

This certainly increased the ink and paint budget, but that money showed up on the screen. While the subdivision into smaller shapes make the animals look more sophisticated or delicate, their overall shapes are easily readable because the parts are unified by one basic hue.

The 1950s: the animals are still very monochrome (different shades of one single hue) in more stylized colors and wearing hats and scarves in spot colors (CINDERELLA and PETER PAN).

In fact, the same concept can be observed in the much maligned Pastoral segment of FANTASIA, but only for mythological fantasy creatures like Pegasi or Centaur(ette)s in art deco colors:

FANTASIA: completely stylized art deco colors: tone-on-tone with spots on the Centaurette.

All this may have initially come to the artists intuitively. But gradually, they started to adapt the same concept to monochromatic fantasy characters and props. In THE GOLDEN TOUCH (1935) - Walt's failed return to the director's chair - everything that turned into gold was animated with both shadow and glow layers (below left). To distinguish golden props on a golden table, each shape was painted in a different shade of yellow (below right).

THE GOLDEN TOUCH

Eleven years later in FUN AND FANCY FREE, the golden surface of a magic harp was evoked simply by dividing the overall shape into many different shades of yellow/orange without relying on lighting effects at all.

Instead of animating shiny effects, the harp was divided into many different shades of yellow.

If we apply these two concepts to "Anna", the main difference becomes clear very easily: in the left version with shading and highlight, she looks like lifeless golden statue, in the right multi-colored version on the right (which would be less complicated to animate but more laborious to paint), we see a woman wearing yellow or golden clothes. The key difference, in my opinion, is the addition of a more or less organic skin color that is within the same range of hue as the shades of gold.

"Anna" as the golden harp: 1. only shadow and glow (MAGIC TOUCH version), 2./3. using the harp colors from FUN AND FANCY FREE screenshots above.

The importance of such natural skin tones to Disney realism will be further discussed in Part II: Rare Experiments.
 
* This may be due to the fact that gray tended to lean to the blue side in three-strip Technicolor. But in this shot, we cannot actually tell because it is not even clear if the DVD transfer came from an original Technicolor print. However, I prefer to leave images untinkered so as to analyze what we actually find on current DVDs. In any case, it is important to remember that these colors could have been looking quite differently due to several factors. This, however, does not change the basic concepts at work.

** According to screen credits, Natalie Kalmus expanded her rigid color dictate to the studio only in live-action segments starting with THE RELUCTANT DRAGON (1941).