The white plexiglass disc has the advantage of being much less expensive than the traditional metal disc with sliding peg bars, as well as being light-weight enough to carry around and use for animating in casual situations such as using ambient light to shine through the back as the animator rests the disc on his knees or on the edge of a chair or table. Sylvain Chomet animating on his film "The Triplets of Belleville" : Here is Richard Williams animating on a plexi-disc at his studio in London: Lightfoot Animation sells a similar disc for $129.00 + shipping.
( Colin Johnson sells this white plexiglass disc with peg bar for $85.00 + $18.00 shipping. These type of discs originally became popular at the Richard Williams Animation Studio in the 70's and 80's and have since become widely used in the industry. Many modern-day animators prefer to use a lightweight, relatively inexpensive white, translucent plexiglass disc.
Nowadays when most camera moves are done within a digital ink and paint or compositing program (such as TVPaint, Toon Boom Harmony, Digicel Flipbook, After Effects, etc.) it is not as necessary to have the sliding peg bars on the disc to figure out the moves. These peg bars were ruled in 20'ths of an inch to allow very close pan moves to be calculated by the animators and notated in the Camera column on the Exposure Sheet.Ī precision, metal animation disc such as this deluxe model made by Mechanical Concepts is still a worthy tool, but not as necessary as in days past.
In years past when animators were expected to calculate their own camera/pan moves for their scenes, metal or wooden discs with sliding, ruled peg bars were the norm.
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