I got to work with an illustrator/animator some years ago who after receiving his BFA, went to work for the Disney studios doing exacting work for slave wages. He thought it was an outstanding training ground, but trying to live on Disney wages with a new family proved impossible. He went to work for Hanna-Barbera when they were at the top of their game, and although the pay was a good deal better, it was a sweatshop of the first order.
He explained that while Disney's deadlines were pretty loose for their cel painters (you could spend a full day on a single cell if you had to - just getting it right), while H-B demanded production - you had a quota of 15-20 or so cells to complete every day - or you didn't leave. That's why Disney's cartoons were always a lot more polished, especially the feature-length movies where no expense was spared. H-B on the other hand, snapped out new episodes of their brigade of 30-minute TV shows every week . . . which accounted for a lot of shortcuts and errors turning up in the final cut.
Many times you only saw profile views of H-B characters - only the character's mouth moved, and the upstage arm and hand were seldom shown. That eliminated a TON of work for the cartoonists and cel painters, cutting their workload dramatically. Most of the time you'd spot errors - like a character's arm disconnected from the body, or a perspective shift. H-B used a lot of "headshots" too, that eliminated the art crew's having to draw a full body for the characters. It got the job done and met the production deadlines - even if it wasn't exactly "art" - or make any sense to the story.
Disney was Macy's, Hanna-Barbera was Costco. Both made money; one you weren't ashamed to work there.
“Draw your chair up close to the edge of the precipice and I’ll tell you a story."
_____________________- F. Scott Fitzgerald
TLN #42 -The Meaning of Life