“Bully For Bugs” contains the kind of stop-and-let-the-drawing-sink-in posing Chuck Jones is noted for, but it also a couple of scenes where you can find head multiples, as a character moves from one pose to the next.
This is after the bull enters and stops after running in perspective to the camera.
And here’s where Bugs says “pardon me” while standing behind the bull.
It appears different artists in the Jones unit had different ways of moving characters. If you watch “Long-Haired Hare” (1949), for example, you’ll notice smear drawings, where an arm is moved from top to bottom of the frame by, in essence, connecting the two positions together into one long, wide arm. On the other hand, “Rabbit Seasoning” (1952) has odd multiples. I’ll put some up in a future post.