Editing The Lion King (section)

===Animation===
{{Quote box|width =33%|quote="''The Lion King'' was considered a little movie because we were going to take some risks. The pitch for the story was a lion cub gets framed for murder by his uncle set to the music of [[Elton John]]. People said, 'What? Good luck with that.' But for some reason, the people who ended up on the movie were highly passionate about it and motivated."|source=Don Hahn<ref name=latimes/>}}
The development of ''The Lion King'' coincided with that of ''[[Pocahontas (1995 film)|Pocahontas]]'' (1995), which most of the animators of [[Walt Disney Animation Studios|Walt Disney Feature Animation]] decided to work on instead, believing it would be the more prestigious and successful of the two.<ref name="PlatinumEditionDVDOrigins" /> The story artists also did not have much faith in the project, with Chapman declaring she was reluctant to accept the job "because the story wasn't very good",{{sfn|Neuwirth|2003|p=107}} and [[Burny Mattinson]] telling his colleague [[Joe Ranft]]: "I don't know who is going to want to watch that one."<ref>{{cite podcast|title=Animation Podcast 017 - Burny Mattinson, Part Two |host=Kaytis, Clay|url=https://podcasts.apple.com/us/podcast/animation-podcast-016-burny-mattinson-part-one/id73331075?i=1000424937971|publisher=Apple Podcasts|date=2006-09-04}}</ref> Most of the leading animators either were doing their first major work supervising a character, or had much interest in animating an animal.<ref name="pride" /> Thirteen of these supervising animators, both in California and in Florida, were responsible for establishing the personalities and setting the tone for the film's main characters. The animation leads for the main characters included [[Mark Henn]] on young Simba, [[Ruben A. Aquino]] on adult Simba, [[Andreas Deja]] on Scar, [[Aaron Blaise]] on young Nala, [[Anthony DeRosa]] on adult Nala, and Tony Fucile on Mufasa.<ref name="LionKingProduction" /> Nearly twenty minutes of the film, including the "[[I Just Can't Wait to Be King]]" sequence,<ref name="dvdcommentary">{{cite AV media |title=The Lion King — Audio Commentary |others=Roger Allers, Don Hahn, Rob Minkoff |date=1995 |medium=LaserDisc |publisher=Walt Disney Home Entertainment}}</ref> was animated at the [[Disney's Hollywood Studios|Disney-MGM Studios]] facility. More than 600 artists, animators, and technicians contributed to ''The Lion King''.<ref name="maneattraction" /> Weeks before the film's release, the [[1994 Northridge earthquake]] shut down the studio and required the animators to complete via [[remote work]].<ref>{{cite news |url=https://www.filmstories.co.uk/news/how-1994s-the-lion-king-had-to-be-completed-in-peoples-spare-rooms/ | title=How 1994's The Lion King had to be completed in people's spare rooms | first=Simon | last=Brew | newspaper=Film Stories | date=8 November 2019}}</ref>

The character animators studied real-life animals for reference, as was done for ''[[Bambi]]'' (1942). [[Jim Fowler]], renowned wildlife expert, visited the studios on several occasions with an assortment of lions and other savannah inhabitants to discuss behavior and help the animators give their drawings authenticity.{{sfn|Finch|1994|p=173}} The animators also studied animal movements at the [[Zoo Miami|Miami MetroZoo]] under guidance from wildlife expert [[Ron Magill]].<ref>{{cite web|title=FilMiami's Shining Star: Ron Magill|url=http://www.filmiami.org/news_11May_Ron.asp|website=FilmMiami|publisher=Miami-Dade County|access-date=May 24, 2015|url-status=dead|archive-url=https://web.archive.org/web/20150525015758/http://www.filmiami.org/news_11May_Ron.asp|archive-date=May 25, 2015|df=mdy-all}}</ref> The Pride Lands are modeled on the Kenyan national park visited by the crew. Varied focal lengths and lenses were employed to differ from the habitual portrayal of Africa in documentaries—which employ [[telephoto lens]]es to shoot the wildlife from a distance. The epic feel drew inspiration from concept studies by artist Hans Bacher—who, following Scribner's request for realism, tried to depict effects such as [[lens flare]]—and the works of painters [[Charles Marion Russell]], [[Frederic Remington]], and [[Maxfield Parrish]].{{sfn|Finch|1994|p=170}}<ref>{{cite book|page=66|title=Dream worlds: production design for animation|first=Hans P.|last=Bacher|year=2008|publisher=Focal Press|isbn=978-0-240-52093-3}}</ref> Art director Andy Gaskill and the filmmakers sought to give the film a sense of grand sweep and epic scale similar to ''[[Lawrence of Arabia (film)|Lawrence of Arabia]]'' (1962). Gaskill explained: "We wanted audiences to sense the vastness of the savannah and to feel the dust and the breeze swaying through the grass. In other words, to get a real sense of nature and to feel as if they were there. It's very difficult to capture something as subtle as a sunrise or rain falling on a pond, but those are the kinds of images that we tried to get." The filmmakers also watched the films of [[John Ford]] and other filmmakers, which also influenced the design of the film.<ref name="LionKingProduction" />

Because the characters were not [[Anthropomorphism|anthropomorphized]], all the animators had to learn to draw four-legged animals, and the story and character development was done through the use of longer shots following the characters.<ref name="dvdcommentary" />

Computers helped the filmmakers present their vision in new ways. For the wildebeest stampede sequence, several distinct wildebeest characters were created in a 3D computer program, multiplied into hundreds, [[cel shading|cel shaded]] to look like drawn animation, and given randomized paths down a mountainside to simulate the real, unpredictable movement of a herd.<!--the "Be Prepared" sequence was done by animating a handful of hyenas by hand and duplicating them, not by using the same CGI process as the wildebeests--><ref>{{cite AV media|title=The Lion King: Platinum Edition (Disc 2), Computer Animation|medium=DVD|publisher=[[Walt Disney Home Entertainment]]|year=2003}}</ref> Five specially trained animators and technicians spent more than two years creating the two-and-a-half-minute stampede.<ref name="LionKingProduction" /> The [[Computer Animation Production System]] (CAPS) helped simulate camera movements such as [[tracking shot]]s, and was employed in coloring, lighting, and particle effects.<ref name="dvdcommentary" />