was complete, an overall color scheme was designed to the general mood of the music, and patterned to correspond with the development of the subject matter The studio's character model department would also sculpt three-dimensional clay models so the animators could view their subject from all angles. The live action scenes were filmed using the three-strip Technicolor process, while the animated segments were shot in successive yellow, cyan and magenta-exposed frames. The different pieces of film were then spliced together to form a complete print. A multiplane camera that could handle seven levels, three more than the old multiplane camera, was built. Toccata and Fugue in D Minor Disney had been interested in producing abstract animation since he saw A Colour Box by Len Lye from 1935. He explained the work done in the Toccata and Fugue was "no sudden idea ... they were something we had nursed along several years but we never had a chance to try". Preliminary designs included those from effects animator Cy Young, who produced drawings influenced by the patterns on the edge of a piece of sound film. In late 1938, Disney hired Oskar Fischinger, a German artist who had produced numerous abstract animated films, including some with classical music, to work with Young. Upon review of three leica reels produced by the two, Disney rejected all three. According to Huemer all Fishinger "did was little triangles and designs ... it didn't come off at all. Too dinky, Walt said." Fischinger, like Disney, was used to having full control over his work and not used to working in a group. Feeling his designs were too abstract for a mass audience, Fishinger left the studio in apparent despair, before the segment was completed, in October 1939. Disney had plans to make the Toccata and Fugue an experimental three-dimensional film, with audiences being given cardboard stereoscopic frames with their souvenir programs, but this idea was abandoned. The Nutcracker Suite In The Nutcracker Suite, animator Art Babbitt is said to have credited The Three Stooges as a guide for animating the dancing mushrooms in the Chinese Dance routine. He drew with a music score pinned to his desk to work out the choreography so he could relate the action to the melody and the counterpoint, "those nasty little notes underneath ... so something has to be related to that". The studio filmed professional dancers Joyce Coles and