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.