Editing Hanna-Barbera (section)

==Production==
===Production process changes===
The small budgets that television animation producers had to work within prevented Hanna-Barbera from working with the full theatrical-quality animation that Hanna and Barbera had been known for at Metro-Goldwyn-Mayer. While the budget for MGM's seven-minute ''Tom and Jerry'' shorts was about $35,000, the Hanna-Barbera studios were required to produce five-minute ''Ruff and Reddy'' episodes for no more than $3,000 apiece.<ref name="HannaRuffReddy">Hanna, William and Ito, Tom (1999). ''A Cast of Friends''. New York: Da Capo Press. 0306-80917-6. Pg. 81–83</ref> To keep within these tighter budgets, Hanna-Barbera furthered the concept of [[limited animation]] (also called "planned animation")<ref>{{Cite web |last1=Seibert |first1=Fred |last2=Burnett | first2=Bill| title=Unlimited Imagination |url=https://www.awn.com/animationworld/unlimited-imagination |access-date=January 8, 2021 |website=Animation World Network |language=en}} Seibert was also a former president at Hanna-Barbera.</ref> practiced and popularized by the [[United Productions of America]] (UPA) studio, which also once had a partnership with Columbia Pictures. Character designs were simplified, and backgrounds and animation cycles (walks, runs, etc.) were regularly re-purposed.

Characters were often broken up into a handful of levels so that only the parts of the body that needed to be moved at a given time (i.e. a mouth, an arm, a head) were animated. The rest of the figure remained on a held animation cel. This allowed a typical seven-minute short to be done with only nearly 2,000 drawings instead of the usual 14,000.<ref>{{Cite news|date=December 19, 2006|title=Hanna Barbera's golden age of animation|language=en-GB|url=http://news.bbc.co.uk/2/hi/entertainment/6193603.stm|access-date=February 14, 2022}}</ref> Dialogue, music, and sound effects were emphasized over action, leading [[Chuck Jones]]—a contemporary who worked for Warner Bros. Cartoons and whose short ''[[The Dover Boys]]'' practically invented many of the concepts in limited animation — to disparagingly refer to the limited television cartoons produced by Hanna-Barbera and others as "illustrated radio".<ref>{{cite web |url=http://www.filmreference.com/encyclopedia/Academy-Awards-Crime-Films/Cartoons-THE-GOLDEN-ERA.html |title=The golden era - Cartoons - film, director, music |work=filmreference.com}}</ref>

In a story published by ''[[The Saturday Evening Post]]'' in 1961, critics stated that Hanna-Barbera was taking on more work than it could handle and was resorting to shortcuts only a television audience would tolerate.<ref name="SEP" /> An executive who worked for Walt Disney Productions said, "We don't even consider [them] competition".<ref name="SEP">(December 2, 1961) "[https://dawsbutler.com/hb-article-web/hb-article-05.jpg TV'S Most Unexpected Hit – ''The Flintstones''] {{Webarchive|url=https://web.archive.org/web/20070704093946/http://dawsbutler.com/hb-article-web/hb-article-05.jpg |date=July 4, 2007 }}" ''The Saturday Evening Post''</ref> Animation historian Christopher P. Lehman argues that Hanna-Barbera attempted to maximize their [[Net income|bottom line]] by recycling story formulas and characterization instead of introducing new ones. Once a formula for an original series was deemed successful, the studio reused it in subsequent series.{{sfn|Lehman|2007|p=25}} Besides copying their own works, Hanna-Barbera drew inspiration from the works of other people and studios.{{sfn|Lehman|2007|p=25}}

Lehman considers that the studio served as the main example of how animation studios that focused on TV animation differed from those that focused on theatrical animation. Theatrical animation studios tried to maintain full and fluid animation and consequently struggled with the rising expenses associated with producing it.{{sfn|Lehman|2007|p=25}} Limited animation as practiced by Hanna-Barbera kept production costs at a minimum. The cost in quality of using this technique was that Hanna-Barbera's characters only moved when necessary.{{sfn|Lehman|2007|p=25}}

Its solution to the criticism over its quality was to go into films. It produced six theatrical feature films, among them are higher-quality versions of its television cartoons and adaptations of other material. It was also one of the first animation studios to have their work produced overseas. One of these companies was a subsidiary began by Hanna-Barbera in November 1987 called Fil-Cartoons in the [[Philippines]],<ref>{{cite news|title=TELEVISION; Peter Pan, Garfield and Bart – All Have Asian Roots|work=[[The New York Times]]|date=December 2, 1990|url=https://www.nytimes.com/1990/12/02/movies/television-peter-pan-garfield-and-bart-all-have-asian-roots.html?scp=45&sq=Hanna-Barbera&st=cse|access-date=August 17, 2010|first=Barbara|last=Basler}}</ref><ref>{{cite book|title=Philippine Company Profiles|date=1993|publisher=Mahal Kong Pilipinas, Inc.|page=198|edition=1993|url=https://books.google.com/books?id=n9meAAAAIAAJ|access-date=January 25, 2021}}</ref> with Jerry Smith as a consultant for the subsidiary.<ref>{{cite news|title=Toast|url=https://news.google.com/newspapers?nid=8cBNEdFwSQkC&dat=19880207&printsec=frontpage&hl=en|access-date=June 5, 2021|work=[[Manila Standard]]|publisher=Standard Publications, Inc.|date=February 7, 1988|page=9}}</ref> [[Wang Film Productions]] got its start as an overseas facility for the studio in 1978.<ref>{{cite web|url=https://taiwantoday.tw/news.php?unit=20,29,35,45&post=24937 |title=Wang's World |publisher=Taiwan Info |last=Violet |first=Chang |date=May 1, 1998}}</ref>

===Digital innovation===
Hanna-Barbera was among the first animation studios to incorporate digital tools into their pipeline. As early as the 1970s, they experimented with using [[Scanimate]], a [[video synthesizer]], to create an early form of digital [[cutout animation|cutout style]]. A clip of artists using the machine to manipulate scanned images of ''Scooby-Doo'' characters, scaling and warping the artwork to simulate animation, is available at the [[Internet Archive]].<ref>{{cite AV media |people=Seig, David; Harrison, Lee |date=2004 |title=The Development of Computer Generated Animated Characters|type=DVD |language=English |url=https://www.worldcat.org/oclc/234090730 |access-date=July 29, 2022 |archive-url=https://web.archive.org/web/20220729201913/https://www.worldcat.org/title/scanimate-dvd-1/oclc/234090730 |archive-date=July 29, 2022 |oclc= 234090730}} [https://archive.org/details/SCANIMATEDVDCOMPLETO Alt URL]</ref>

Likewise, Hanna-Barbera was perhaps the first proponent of [[digital ink and paint]], a process wherein animators' drawings were scanned into computers and colored using software. Led by [[Marc Levoy]], Hanna-Barbera began developing a computerized digital ink and paint system in 1979 to  help bypass much of the time-consuming labor of painting and photographing cels.<ref name="digital ink and paint">{{Cite book |last=Jones, Angie. |url=https://www.worldcat.org/oclc/228168598 |title=Thinking animation : bridging the gap between 2D and CG |date=2007 |publisher=Thomson Course Technology |isbn=978-1-59863-260-6 |location=Boston, MA |oclc=228168598}}</ref> The process was implemented on a third of Hanna-Barbera's animated programs, televised feature films and specials from 1982 through 1996.<ref name="digital ink and paint" /><ref>{{Cite web |title=1976 Charles Goodwin Sands Memorial Medal |url=https://graphics.stanford.edu/~levoy/sands_award.html |access-date=August 20, 2020 |website=graphics.stanford.edu}}</ref>

===Sound effects===
Hanna-Barbera was known for its large library of sound effects, which have been featured in exhibitions at the [[Norman Rockwell Museum]].<ref>{{cite web |title=Norman Rockwell Museum Presents "Hanna-Barbera: The Architects of Saturday Morning" |url=https://www.nrm.org/2016/12/norman-rockwell-museum-presents-hanna-barbera-architects-saturday-morning/ |website=Norman Rockwell Museum |date=December 20, 2016 |access-date=October 10, 2019}}</ref>