History Main / MotionParallax

* ''WesternAnimation/TheOldMill'': As far as animation comes, this is the first short film recorded with a Multiplane Camera, then edge-cutting equipment that allowed shooting different pieces of artwork (of the backgrounds and characters) mounted on glass levels at different speeds. Thus resulting in an illusion of depth particularly exploited in the opening scenes.

Compare {{Skybox}}. Don't confuse with ParallaxMontage.

To get around this problem in {{animation}}, some use multiple background cel layers, moving at different speeds. (In the past this has required a special piece of equipment called a "multiplane camera" --see the extras on Creator/{{Disney}}'s ''Bambi'' [=DVD=] for details-- but the effect has become much easier to manage in the digital age.) Excessively cheap animation (see Creator/{{Filmation}}, Creator/HannaBarbera) uses the single WraparoundBackground, and this intensifies the fakeness.

* ''Series/CornerGas'': The "at the top of the water tower" backgrounds in [[Recap/CornerGasS1E05Grad68 "Grad 68"]] are produced by a motion parallax layer between the tower proper and the scenery behind.

* ''Series/CornerGas'': The "at the top of the water tower" backgrounds in [[Recap/CornerGasS1E05Grad68 "Grad 68"]] are produced by wobbly motion parallax.

* ''VideoGame/ShadowOfTheBeast'': The otherworld sections in the original US Genesis port are rendered by motion parallax to create a sharp contrast against normal levels.

Compare Skybox. Don't confuse with ParallaxMontage.

Live-action shows with windows on the set (and sufficient budgets) will often build the landscape outside as several layers of flat cutouts, thus giving some motion parallax to the background. This same idea was used to create pseudo-3D backgrounds for computer games during [[UsefulNotes/The16bitEraOfConsoleVideoGames the 16-bit era]], when computers and consoles didn't have the horsepower for proper, textured 3D. A common bragging point on the boxes of many games is the number of simultaneously composited scrolling parallax layers the game displays at once.

To get around this problem in animation, some use multiple background cel layers, moving at different speeds. (In the past this has required a special piece of equipment called a "multiplane camera" --see the extras on Creator/{{Disney}}'s ''Bambi'' [=DVD=] for details-- but the effect has become much easier to manage in the digital age.) Excessively cheap animation (see Creator/{{Filmation}}, Creator/HannaBarbera) uses the single WraparoundBackground, and this intensifies the fakeness.

Some neurological research suggests that motion parallax gives more depth-perception information than our binocular vision does,[[note]]which makes sense given that neither retinal disparity nor convergence is useful out past about 50 feet / 17 meters or so[[/note]] thus a one-eyed person can still determine distance quite well, if he moves his head a bit.

Live action shows with windows on the set (and sufficient budgets) will often build the landscape outside as several layers of flat cutouts, thus giving some motion parallax to the background. This same idea was used to create pseudo-3D backgrounds for computer games during [[UsefulNotes/The16bitEraOfConsoleVideoGames the 16-bit era]], when computers and consoles didn't have the horsepower for proper, textured 3D. A common bragging point on the boxes of many games is the number of simultaneously composited scrolling parallax layers the game displays at once.

To get around this problem in animation, some use multiple background cel layers, moving at different speeds. (In the past this has required a special piece of equipment called a "multiplane camera" - see the extras on Creator/{{Disney}}'s ''Bambi'' [=DVD=] for details - but the effect has become much easier to manage in the digital age.) Excessively cheap animation (see Creator/{{Filmation}}, Creator/HannaBarbera) uses the single WraparoundBackground, and this intensifies the fakeness.

Thus, any {{truck}} or {{pedestal}} movement will reveal depth information not available to the single eye of the camera. It can call into question, very quickly, the flatness of a painted backdrop, either on set or in animation.

Some neurological research suggests that motion parallax gives more depth-perception information than our binocular vision does, thus a one-eyed person can still determine distance quite well, if he moves his head a bit.

Live action shows with windows on the set (and sufficient budgets) will often build the landscape outside as several layers of flat cutouts, thus giving some motion parallax to the background. This same idea was used to create pseudo-3D backgrounds for computer games during [[The16BitEraOfConsoleVideoGames the 16-bit era]], when computers and consoles didn't have the horsepower for proper, textured 3D. A common bragging point on the boxes of many games is the number of simultaneously composited scrolling parallax layers the game displays at once.

To get around this problem in animation, some use multiple background cel layers, moving at different speeds. (In the past this has required a special piece of equipment called a "multiplane camera" - see the extras on {{Disney}}'s ''Bambi'' [=DVD=] for details - but the effect has become much easier to manage in the digital age.) Excessively cheap animation (see Creator/{{Filmation}}, Creator/HannaBarbera) uses the single WraparoundBackground, and this intensifies the fakeness.

To get around this problem in animation, some use multiple background cel layers, moving at different speeds. (In the past this has required a special piece of equipment called a "multiplane camera" - see the extras on {{Disney}}'s ''Bambi'' [=DVD=] for details - but the effect has become much easier to manage in the digital age.) Excessively cheap animation (see {{Creator/Filmation}}, {{Hanna-Barbera}}) uses the single WraparoundBackground, and this intensifies the fakeness.
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To get around this problem in animation, some use multiple background cel layers, moving at different speeds. (In the past this has required a special piece of equipment called a "multiplane camera" - see the extras on {{Disney}}'s ''Bambi'' [=DVD=] for details - but the effect has become much easier to manage in the digital age.) Excessively cheap animation (see {{Filmation}}, {{Hanna-Barbera}}) uses the single WraparoundBackground, and this intensifies the fakeness.