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Contents
[hide]
1The earliest pioneers: 1940s to mid-1960s
2Mid-1960s to mid-1970s
3Towards 3D: mid-1970s into the 1980s
4The 1980s
53D animation software in the 1980s
6CGI in the 1990s
73D animation software in the 1990s
8CGI in the 2000s
93D animation software in the 2000s
10CGI in the 2010s
11Further developments
12References
Mid-1960s to mid-1970s[edit]
The University of Utah
Utah was a major center for computer animation in this period.
The computer science faculty was founded by David Evans in
1965, and many of the basic techniques of 3D computer graphics
were developed here in the early 70s with ARPA funding
(Advanced Research Projects Agency). Research results included
Gouraud, Phong, and Blinn shading, texture mapping, hidden
surface algorithms, curved surface subdivision, real-time line-
drawing and raster image display hardware, and early virtual
reality work.[15] In the words of Robert Rivlin in his 1986
book The Algorithmic Image: Graphic Visions of the Computer
Age, "almost every influential person in the modern computer-
graphics community either passed through the University of Utah
or came into contact with it in some way".[16]
Evans & Sutherland
In 1968, Ivan Sutherland teamed up with David Evans to found
the company Evans & Sutherland—both were professors in the
Computer Science Department at the University of Utah, and the
company was formed to produce new hardware designed to run
the systems being developed in the University. Many such
algorithms have later resulted in the generation of significant
hardware implementation, including the Geometry Engine,
the Head-mounted display, the Frame buffer, and Flight
simulators.[17] Most of the employees were active or former
students, and included Jim Clark, who started Silicon Graphics in
1981, Ed Catmull, co-founder of Pixar in 1979, and John
Warnock of Adobe Systems in 1982.
First computer animated character, Nikolai Konstantinov
In 1968 a group of Soviet physicists and mathematicians with
N.Konstantinov as its head created a mathematical model for the
motion of a cat. On a BESM-4 computer they devised a
programme for solving the ordinary differential equations for this
model. The Computer printed hundreds of frames on paper using
alphabet symbols that were latter filmed in sequence thus
creating the first computer animation of a character, a walking
cat.[18][19]
Ohio State
Charles Csuri, an artist at The Ohio State University (OSU),
started experimenting with the application of computer graphics
to art in 1963. His efforts resulted in a prominent CG research
laboratory that received funding from the National Science
Foundation and other government and private agencies. The work
at OSU revolved around animation languages, complex modeling
environments, user-centric interfaces, human and creature motion
descriptions, and other areas of interest to the discipline.[20][21]
[22]
Cybernetic Serendipity
In July 1968, the arts journal Studio International published a
special issue titled Cybernetic Serendipity - the computer and the
arts, which catalogued a comprehensive collection of items and
examples of work being done in the field of computer art in
organisations all over the world, and shown in exhibitions in
London, UK, San Francisco, CA. and Washington, DC.[23]
[24] This marked a milestone in the development of the medium,
and was considered by many to be of widespread influence and
inspiration. Apart from all the examples mentioned above, two
other particularly well known iconic images from this
include Chaos to Order[25] by Charles Csuri (often referred to as
the Hummingbird), created at Ohio State University in 1967,
[26] and Running Cola is Africa[27] by Masao Komura and Koji
Fujino created at the Computer Technique Group, Japan, also in
1967.[28]
Scanimate
The first machine to achieve widespread public attention in the
media was Scanimate, an analog computer animation system
designed and built by Lee Harrison of the Computer Image
Corporation in Denver. From around 1969 onward, Scanimate
systems were used to produce much of the video-based animation
seen on television in commercials, show titles, and other
graphics. It could create animations in real time, a great
advantage over digital systems at the time.[29]
National Film Board of Canada
The National Film Board of Canada, already a world center for
animation art, also began experimentation with computer
techniques in 1969.[30] Most well-known of the early pioneers
with this was artist Peter Foldes, who completed Metadata in
1971. This film comprised drawings animated by gradually
changing from one image to the next, a technique known as
"interpolating" (also known as "inbetweening" or "morphing"),
which also featured in a number of earlier art examples during
the 1960s.[31] In 1974, Foldes completed Hunger / La Faim,
which was one of the first films to show solid filled (raster
scanned) rendering, and was awarded the Jury Prize in the short
film category at 1974 Cannes Film Festival, as well as an
Academy Award nomination.
Atlas Computer Laboratory & Antics
The Atlas Computer Laboratory near Oxford was for many years
a major facility for computer animation in Britain.[32] The first
entertainment cartoon made was The Flexipede, by Tony
Pritchett, which was first shown publicly at the Cybernetic
Serendipity exhibition in 1968.[33] Artist Colin Emmett and
animator Alan Kitching first developed solid filled colour
rendering in 1972, notably for the title animation for
the BBC's The Burke Special TV program.
In 1973, Kitching went on to develop a software called Antics,
which allowed users to create animation without needing any
programming.[34][35] The package was broadly based on
conventional "cel" (celluloid) techniques, but with a wide range
of tools including camera and graphics effects, interpolation
("inbetweening"/"morphing"), use of skeleton figures and grid
overlays. Any number of drawings or cels could be animated at
once by "choreographing" them in limitless ways using various
types of "movements". At the time, only black & white plotter
output was available, but Antics was able to produce full-color
output by using the Technicolor Three-strip Process. Hence the
name Antics was coined as an acronym
for ANimated Technicolor-Image Computer System.[36] Antics
was used for many animation works, including the first complete
documentary movie Finite Elements, made for the Atlas Lab
itself in 1975.[37]
From around the early 70s, much of the emphasis in computer
animation development was towards ever increasing realism in 3D
imagery, and on effects designed for use in feature movies.
First digital animation in a feature film
The first feature film to use digital image processing was the
1973 movie Westworld, a science-fiction film written and
directed by novelist Michael Crichton, in which humanoid robots
live amongst the humans.[38] John Whitney, Jr, and Gary Demos
at Information International, Inc. digitally processed motion
picture photography to appear pixelized in order to portray the
Gunslinger android's point of view. The cinegraphic block
portraiture was accomplished using the Technicolor Three-strip
Process to color-separate each frame of the source images, then
scanning them to convert into rectangular blocks according to its
tone values, and finally outputting the result back to film. The
process was covered in the American Cinematographer article
"Behind the scenes of Westworld".[39]
SIGGRAPH
Sam Matsa whose background in graphics started with the APT
project at MIT with Doug Ross and Andy Van Dam
petitioned Association for Computing Machinery (ACM) to form
SICGRAPH (Special Interest Committee on Computer Graphics),
the forerunner of ACM SIGGRAPH in 1967.[40] In 1974, the
first SIGGRAPH conference on computer graphics opened. This
annual conference soon became the dominant venue for
presenting innovations in the field.[41][42]
The 1980s[edit]
The '80s saw a great expansion of radical new developments in
commercial hardware, especially the incorporation of framebuffer
technologies into graphic workstations, allied with continuing
advances in computer power and affordability.
Silicon Graphics, Inc (SGI)
Silicon Graphics, Inc (SGI) was a manufacturer of high-
performance computer hardware and software, founded in 1981
by Jim Clark. His idea, called the Geometry Engine, was to create
a series of components in a VLSI processor that would
accomplish the main operations required in image synthesis—the
matrix transforms, clipping, and the scaling operations that
provided the transformation to view space. Clark attempted to
shop his design around to computer companies, and finding no
takers, he and colleagues at Stanford University, California,
started their own company, Silicon Graphics.[68]
SGI's first product (1984) was the IRIS (Integrated Raster
Imaging System). It used the 8 MHz M68000 processor with up
to 2 MB memory, a custom 1024×1024 frame buffer, and the
Geometry Engine to give the workstation its impressive image
generation power. Its initial market was 3D graphics display
terminals, but SGI's products, strategies and market positions
evolved significantly over time, and for many years were a
favoured choice for CGI companies in film, TV, and other fields.
[69]
Quantel
In 1981, Quantel released the "Paintbox", the first broadcast-
quality turnkey system designed for creation and composition of
television video and graphics. Its design emphasized the studio
workflow efficiency required for live news production.
Essentially, it was a framebuffer packaged with innovative user
software, and it rapidly found applications in news, weather,
station promos, commercials, and the like. Although it was
essentially a design tool for still images, it was also sometimes
used for frame-by-frame animations. Following its initial launch,
it revolutionised the production of television graphics, and some
Paintboxes are still in use today due to their image quality, and
versatility.[70]
This was followed in 1982 by the Quantel Mirage, or
DVM8000/1 "Digital Video Manipulator", a digital real-time
video effects processor. This was based on Quantel's own
hardware, plus a Hewlett-Packard computer for custom program
effects. It was capable of warping a live video stream by texture
mapping it onto an arbitrary three-dimensional shape, around
which the viewer could freely rotate or zoom in real-time. It
could also interpolate, or morph, between two different shapes. It
was considered the first real-time 3D video effects processor, and
the progenitor of subsequent DVE (Digital video effect)
machines. In 1985, Quantel went on to produce "Harry", the first
all-digital non-linear editing and effects compositing system.[71]
Osaka University
In 1982, Japan's Osaka University developed the LINKS-1
Computer Graphics System, a supercomputer that used up to
257 Zilog Z8001 microprocessors, used for rendering
realistic 3D computer graphics. According to the Information
Processing Society of Japan: "The core of 3D image rendering is
calculating the luminance of each pixel making up a rendered
surface from the given viewpoint, light source, and object
position. The LINKS-1 system was developed to realize an image
rendering methodology in which each pixel could be parallel
processed independently using ray tracing. By developing a new
software methodology specifically for high-speed image
rendering, LINKS-1 was able to rapidly render highly realistic
images." It was "used to create the world's first 3D planetarium-
like video of the entire heavens that was made completely with
computer graphics. The video was presented at
the Fujitsu pavilion at the 1985 International Exposition
in Tsukuba."[72] The LINKS-1 was the world's most
powerful computer, as of 1984.[73]
3D Fictional Animated Films at the University of Montreal
In the '80s, University of Montreal was at the front run of
Computer Animation with three successful short 3D animated
films with 3D characters:
In 1983, Philippe Bergeron, Nadia Magnenat Thalmann,
and Daniel Thalmann directed Dream Flight, considered as the
first 3D generated film telling a story. The film was completely
programmed using the MIRA graphical language,[74] an
extension of the Pascal programming language based on abstract
graphical data types.[75] The film got several awards and was
shown at the SIGGRAPH '83 Film Show.
In 1985, Pierre Lachapelle, Philippe Bergeron, Pierre Robidoux
and Daniel Langlois directed Tony de Peltrie, which shows the
first animated human character to express emotion through facial
expressions and body movements, which touched the feelings of
the audience.[76][77] Tony de Peltrie premiered as the closing
film of SIGGRAPH '85.
In 1987, the Engineering Institute of Canada celebrated its 100th
anniversary. A major event, sponsored by Bell Canada and
Northern Telecom (now Nortel), was planned for the Place des
Arts in Montreal. For this event, Nadia Magnenat
Thalmann and Daniel Thalmann simulated Marilyn
Monroe and Humphrey Bogart meeting in a cafe in the old town
section of Montreal. The short movie, called Rendez-vous in
Montreal [78] was shown in numerous festivals and TV channels
all over the world.
Sun Microsystems, Inc
The Sun Microsystems company was founded in 1982 by Andy
Bechtolsheim with other fellow graduate students at Stanford
University. Bechtolsheim originally designed the SUN computer
as a personal CAD workstation for the Stanford University
Network (hence the acronym "SUN"). It was designed around the
Motorola 68000 processor with the Unix operating system and
virtual memory, and, like SGI, had an embedded frame buffer.
[79] Later developments included computer servers and
workstations built on its own RISC-based processor architecture
and a suite of software products such as the Solaris operating
system, and the Java platform. By the '90s, Sun workstations
were popular for rendering in 3D CGI filmmaking—for
example, Disney-Pixar's 1995 movie Toy Story used a render
farm of 117 Sun workstations.[80] Sun was a proponent of open
systems in general and Unix in particular, and a major contributor
to open source software.[81]
National Film Board of Canada
The NFB's French-language animation studio founded its Centre
d'animatique in 1980, at a cost of $1 million CAD, with a team of
six computer graphics specialists. The unit was initially tasked
with creating stereoscopic CGI sequences for the NFB's 3-
D IMAX film Transitions for Expo 86. Staff at the Centre
d'animatique included Daniel Langlois, who left in 1986 to
form Softimage.[82][83]
First turnkey broadcast animation system
Also in 1982, the first complete turnkey system designed
specifically for creating broadcast-standard animation was
produced by the Japanese company Nippon Univac Kaisha
("NUK", later merged with Burroughs), and incorporated
the Antics 2-D computer animation software developed by Alan
Kitching from his earlier versions. The configuration was based
on the VAX 11/780 computer, linked to a Bosch 1-inch VTR, via
NUK's own framebuffer. This framebuffer also showed realtime
instant replays of animated vector sequences ("line test"), though
finished full-color recording would take many seconds per frame.
[84][85][86] The full system was successfully sold to
broadcasters and animation production companies across Japan.
Later in the '80s, Kitching developed versions of Antics
for SGI and Apple Mac platforms, and these achieved a wider
global distribution.[87]
First solid 3D CGI in the movies
The first cinema feature movie to make extensive use of solid
3D CGI was Walt Disney's Tron, directed by Steven Lisberger, in
1982. The film is celebrated as a milestone in the industry, though
less than twenty minutes of this animation were actually used—
mainly the scenes that show digital "terrain", or include vehicles
such as Light Cycles, tanks and ships. To create the CGI scenes,
Disney turned to the four leading computer graphics firms of the
day: Information International Inc, Robert Abel and
Associates (both in California), MAGI, and Digital Effects (both
in New York). Each worked on a separate aspect of the movie,
without any particular collaboration.[88] Tron was a box office
success, grossing $33 million on a budget of $17 million.[89]
In 1984, Tron was followed by The Last Starfighter, a Universal
Pictures / Lorimar production, directed by Nick Castle, and was
one of cinema's earliest films to use extensive CGI to depict its
many starships, environments and battle scenes. This was a great
step forward compared with other films of the day, such
as Return of the Jedi, which still used conventional physical
models.[90] The computer graphics for the film were designed by
artist Ron Cobb, and rendered by Digital Productions on a Cray
X-MP supercomputer. A total of 27 minutes of finished CGI
footage was produced—considered an enormous quantity at the
time. The company estimated that using computer animation
required only half the time, and one half to one third the cost of
traditional special effects.[91] The movie was a financial success,
earning over $28 million on an estimated budget of $15 million.
[92]
Inbetweening and morphing
The terms inbetweening and morphing are often used
interchangeably, and signify the creating of a sequence of images
where one image transforms gradually into another image
smoothly by small steps. Graphically, an early example would
be Charles Philipon's famous 1831 caricature of French King
Louis Philippe turning into a pear (metamorphosis).
[93]"Inbetweening" (AKA "tweening") is a term specifically
coined for traditional animation technique, an early example
being in E.G.Lutz's 1920 book Animated Cartoons.[94] In
computer animation, inbetweening was used from the beginning
(e.g., John Whitney in the '50s, Charles Csuri and Masao Komura
in the '60s).[23] These pioneering examples were vector-based,
comprising only outline drawings (as was also usual in
conventional animation technique), and would often be described
mathematically as "interpolation". Inbetweening with solid-filled
colors appeared in the early '70s, (e.g., Alan
Kitching's Antics at Atlas Lab, 1973,[36] and Peter Foldes' La
Faim at NFBC, 1974[31]), but these were still entirely vector-
based.
The term "morphing" did not become current until the late '80s,
when it specifically applied to computer inbetweening with
photographic images—for example, to make one face transform
smoothly into another. The technique uses grids (or "meshes")
overlaid on the images, to delineate the shape of key features
(eyes, nose, mouth, etc.). Morphing then inbetweens one mesh to
the next, and uses the resulting mesh to distort the image and
simultaneously dissolve one to another, thereby preserving a
coherent internal structure throughout. Thus, several different
digital techniques come together in morphing.[95] Computer
distortion of photographic images was first done by NASA, in the
mid-1960s, to align Landsat and Skylab satellite images with
each other. Texture mapping, which applies a photographic image
to a 3D surface in another image, was first defined by Jim
Blinn and Martin Newell in 1976. A 1980 paper by Ed
Catmull and Alvy Ray Smith on geometric transformations,
introduced a mesh-warping algorithm.[96] The earliest full
demonstration of morphing was at the
1982 SIGGRAPH conference, where Tom Brigham
of NYIT presented a short film sequence in which a woman
transformed, or "morphed", into a lynx.
The first cinema movie to use morphing was Ron Howard's 1988
fantasy film Willow, where the main character, Willow, uses a
magic wand to transform animal to animal to animal and finally,
to a sorceress.
3D inbetweening
With 3D CGI, the inbetweening of photo-realistic computer
models can also produce results similar to morphing, though
technically, it is an entirely different process (but is nevertheless
often also referred to as "morphing"). An early example is Nelson
Max's 1977 film Turning a sphere inside out.[46] The first
cinema feature film to use this technique was the 1986 Star Trek
IV: The Voyage Home, directed by Leonard Nimoy, with visual
effects by George Lucas's company Industrial Light &
Magic (ILM). The movie includes a dream sequence where the
crew travel back in time, and images of their faces transform into
one another. To create it, ILM employed a new 3D
scanning technology developed by Cyberware to digitize the cast
members' heads, and used the resulting data for the computer
models. Because each head model had the same number of key
points, transforming one character into another was a relatively
simple inbetweening.[97]
The Abyss
In 1989 James Cameron's underwater action movie The
Abyss was released. This was the first cinema movie to include
photo-realistic CGI integrated seamlessly into live-action scenes.
A five-minute sequence featuring an animated tentacle or
"pseudopod" was created by ILM, who designed a program to
produce surface waves of differing sizes and kinetic properties
for the pseudopod, including reflection, refraction and
a morphing sequence. Although short, this successful blend of
CGI and live action is widely considered a milestone in setting
the direction for further future development in the field.[98]
Walt Disney & CAPS
The late 80s saw another milestone in computer animation, this
time in 2D: the development of Disney's "Computer Animation
Production System", known as "CAPS". This was a custom
collection of software, scanners and networked workstations
developed by The Walt Disney Company in collaboration
with Pixar. Its purpose was to computerize the ink-and-paint and
post-production processes of traditionally animated films, to
allow more efficient and sophisticated post-production by making
the practice of hand-painting cels obsolete. The animators'
drawings and background paintings are scanned into the
computer, and animation drawings are inked and painted by
digital artists. The drawings and backgrounds are then combined,
using software that allows for camera
movements, multiplane effects, and other techniques—including
compositing with 3D image material. The system's first feature
film use was in The Little Mermaid (1989), for the "farewell
rainbow" scene near the end, but the first full-scale use was
for The Rescuers Down Under (1990), which therefore became
the first traditionally animated film to be entirely produced on
computer—or indeed, the first 100% digital feature film of any
kind ever produced.[99][100]
Further developments[edit]
New developments in computer animation technologies are
reported each year in the United States at SIGGRAPH, the largest
annual conference on computer graphics and interactive
techniques, and also at Eurographics, and at other conferences
around the world.[162]
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85. Jump up^ "About The Cover", IEEE Computer
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86. Jump up^ "Animators' Tool", IEEE Computer
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91. Jump up^ Ohio State University CG history page, (retrieved 30
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92. Jump up^ "The Last Starfighter" at Box Office Mojo, (retrieved
30 June 2012).
93. Jump up^ Charles Philipon's 1831 caricature of Louis Philippe
turning into a pear (retrieved 27 July 2012).
94. Jump up^ Online copy of E.G.Lutz's book Animated Cartoons,
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95. Jump up^ "Morphing in 2-D and 3-D", Valerie Hall, Curtin
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96. Jump up^ "3-D transformations of images in scanline order", by
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103. Jump up^ "A History Lesson on Alias 3D
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119. Jump up^ Studio Fantome at Animation World
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120. Jump up^ Insektors at Animation World Network
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134. Jump up^ "A Breakdown of Best Matchmoving and Tracking
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139. Jump up^ "Commercial animation software companies -
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140. Jump up^ "Commercial animation software companies -
Alias Research", Wayne Carlson, Ohio State University (retrieved
3 September 2012).
141. Jump up^ "Commercial animation software companies -
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3 September 2012).
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Softimage", Wayne Carlson, Ohio State University (retrieved 3
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147. Jump up^ "The History of 3D Studio - Gary Yost
interview" (retrieved 7 July 2012).
148. Jump up^ "History of Autodesk 3ds Max" Archived 2011-02-
22 at the Wayback Machine. (retrieved 28 August 2012).
149. Jump up^ "Commercial animation software companies -
Autodesk", Wayne Carlson, Ohio State University (retrieved 3
September 2012).
150. Jump up^ "Side Effects Software website" (retrieved 7 July
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151. Jump up^ "PRISMS description and screenshots", Nick Van
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152. Jump up^ "Commercial animation software companies - Side
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September 2012).
153. Jump up^ Debevec, Paul; Tim Hawkins; Chris Tchou;
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154. Jump up^ Cinema: A Painstaking Fantasy Chris Taylor,
Time, 31 July 2000 (retrieved 8 August 2012).
155. Jump up^ Final Fantasy: The Spirits Within at Box Office
Mojo (retrieved 12 August 2012).
156. Jump up^ The uncanny valley is a hypothesis in the field of
robotics and 3D computer animation, which holds that when
human replicas look and act almost, but not perfectly, like actual
human beings, it causes a response of revulsion among human
observers. The "valley" refers to the dip in a graph of the comfort
level of humans as a function of a robot's human likeness.
157. Jump up^ Gollum: How We Made Movie Magic, a 2003
memoir by British actor Andy Serkis
158. Jump up^ "Rules Approved for 83rd Academy Awards",
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159. Jump up^ "Tintin and the dead-eyed zombies", by Prospero,
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160. ^ Jump up to:a b "Debevec", "Paul". "Digital Ira SIGGRAPH
2013 Real-Time Live". Retrieved 2013-07-31.
161. Jump up^ "Debevec", "Paul". "debevec.org".
Retrieved 2013-07-31.
162. Jump up^ "Computer Graphics (CG) Conference Schedule",
Yamauchi Hitoshi (retrieved 14 August 2012).
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