<P> For a more complex example, consider a sequence in which a boy sets a plate upon a table . The table stays still for the entire sequence, so it can be drawn as part of the background . The plate can be drawn along with the character as the character places it on the table . However, after the plate is on the table, the plate no longer moves, although the boy continues to move as he draws his arm away from the plate . In this example, after the boy puts the plate down, the plate can then be drawn on a separate cel from the boy . Further frames feature new cels of the boy, but the plate does not have to be redrawn as it is not moving; the same cel of the plate can be used in each remaining frame that it is still upon the table . The cel paints were actually manufactured in shaded versions of each color to compensate for the extra layer of cel added between the image and the camera; in this example, the still plate would be painted slightly brighter to compensate for being moved one layer down . In TV and other low - budget productions, cels were often "cycled" (i.e., a sequence of cels was repeated several times), and even archived and reused in other episodes . After the film was completed, the cels were either thrown out or, especially in the early days of animation, washed clean and reused for the next film . Also, after the completion of the film, some of the cels were put into the "archive" to be used again and again for future purposes in order to save money . Some studios saved a portion of the cels and either sold them in studio stores or presented them as gifts to visitors . </P> <P> In very early cartoons made before the use of the cel, such as Gertie the Dinosaur (1914), the entire frame, including the background and all characters and items, were drawn on a single sheet of paper, then photographed . Everything had to be redrawn for each frame containing movements . This led to a "jittery" appearance; imagine seeing a sequence of drawings of a mountain, each one slightly different from the one preceding it . The pre-cel animation was later improved by using techniques like the slash and tear system invented by Raoul Barre; the background and the animated objects were drawn on separate papers . A frame was made by removing all the blank parts of the papers where the objects were drawn before being placed on top of the backgrounds and finally photographed . The cel animation process was invented by Earl Hurd and John Bray in 1915 . </P> <P> In lower - budget productions, shortcuts available through the cel technique are used extensively . For example, in a scene in which a man is sitting in a chair and talking, the chair and the body of the man may be the same in every frame; only his head is redrawn, or perhaps even his head stays the same while only his mouth moves . This is known as limited animation . The process was popularized in theatrical cartoons by United Productions of America and used in most television animation, especially that of Hanna - Barbera . The end result does not look very lifelike, but is inexpensive to produce, and therefore allows cartoons to be made on small television budgets . </P> <P> Moving characters are often shot "on twos", that is to say, one drawing is shown for every two frames of film (which usually runs at 24 frames per second), meaning there are only 12 drawings per second . Even though the image update rate is low, the fluidity is satisfactory for most subjects . However, when a character is required to perform a quick movement, it is usually necessary to revert to animating "on ones", as "twos" are too slow to convey the motion adequately . A blend of the two techniques keeps the eye fooled without unnecessary production cost . </P>

Which of the following is the final step in the classic manual print production process