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Baba Looey, McGraw's sidekick, is often portrayed as the more thoughtful half of the duo.At times realizing some detail about a given situation, Baba Looey tries desperately to caution Quick Draw of a trap or other danger, before Quick Draw charges headlong into the fray without listening or giving consideration to his surroundings.
The Baby Club; Baby Jake; Back to the Future; Backshall's Deadly Adventures; Bad Boyes [17] Bad Penny; Badger Girl; Badjelly the Witch; Baggy Pants and the Nitwits; Bagpuss; Bailey Kipper's P.O.V. [18] Bailey's Comets; The Baker Street Boys; Balamory; Bamzooki; The Banana Splits; Bananaman (1983-1986, 1989-1999) Barbapapa (1975-1978) Barmy Aunt ...
Baby Huey is a gigantic and naïve duckling cartoon character. He was created by Martin Taras for Paramount Pictures ' Famous Studios , and became a Paramount cartoon star during the 1950s. Huey first appeared in Quack-a-Doodle-Doo , a Paramount Noveltoon theatrical short produced in 1949 and released in 1950.
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There were also "bumpers," mini-cartoons between the main cartoons that featured Quick Draw and other main characters on the show. Michael Maltese wrote the stories of all the episodes. Screen Gems, the television division at the time of Columbia Pictures, originally syndicated the series. It ran on Saturday mornings on CBS for one season, 1965-66.
Augie Doggie and Doggie Daddy are two Hanna-Barbera cartoon characters who debuted on The Quick Draw McGraw Show and appeared in their own segment. The segments centered on the misadventures of a dachshund father-and-son team. [1]
Bosko is an animated cartoon character created by animators Hugh Harman and Rudolf Ising.Bosko was the first recurring character in Leon Schlesinger's cartoon series and was the star of thirty-nine Looney Tunes shorts released by Warner Bros. [2] He was voiced by Carman Maxwell, Bernard B. Brown, Johnny Murray, and Philip Hurlic during the 1920s and 1930s and once by Don Messick during the 1990s.
Before animation begins, a preliminary soundtrack or scratch track is recorded so that the animation may be more precisely synchronized to the soundtrack. Given the slow manner in which traditional animation is produced, it is almost always easier to synchronize animation to a preexisting soundtrack than it is to synchronize a soundtrack to pre-existing animation.
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