The final shot, beginning with a black foreground and a shining white light in the background, measured of film; according to Disney historian John Culhane, this was likely the longest continuous scene in animation history to date. Ed Gershman, who worked on the segment, described how the animation of the procession figures was so closely drawn, "a difference in the width of a pencil line was more than enough to cause jitters, not only to the animation, but to everyone connected with the sequence." The jittering created on the first shoot led Disney to order a time-consuming and expensive redo. The studio had no camera that moved slowly and continuously enough to film the segment as Disney wanted, so a custom horizontal camera crane was built that accommodated glass panes wide, with the artwork painted on them, so they could be shifted out of the way as the camera tracked through. Workers shot continuously for six days and nights, but following processing they discovered the camera was fitted with the wrong type of lens and had photographed the track, stands, and themselves. Three days into the third reshoot, a minor earthquake rocked the wooden stands and panels that kept the glass panes in place. Rather than carry on with the risk of jittered footage, they started over for a fourth time and completed one day before the film's premiere. The finished film was rushed to New York on a charter plane and spliced into place with four hours to spare.
The final shot, beginning with a black foreground and a shining white light in the background, measured of film; according to Disney historian John Culhane this was likely the longest continuous scene in animation history to date. Ed Gershman, who worked on the segment, described how the animation of the procession figures was so closely drawn, "a difference in the width of a pencil line was more than enough to cause jitters, not only to the animation, but to everyone connected with the sequence." The jittering created on the first shoot led Disney to order a time-consuming and expensive redo. The studio had no camera that moved slowly and continuously enough to film the segment as Disney wanted, so a custom horizontal camera crane was built that accommodated glass panes wide, with the artwork painted on them, so they could be shifted out of the way as the camera tracked through. Workers shot continuously for six days and nights, but following processing they discovered the camera was fitted with the wrong type of lens and had photographed the track, stands, and themselves. Three days into the third reshoot, a minor earthquake rocked the wooden stands and panels that kept the glass panes in place. Rather than carry on with the risk of jittered footage they started over for a fourth time and completed one day before the film's premiere The finished film was rushed to New York on a charter plane and spliced into place with four hours to spare.