A special making-of feature that's well-worth ten minutes of your time, gives a fascinating behind-the-screens look at how his wireframe work came together. Most impressive, as a certain ex-Jedi might say.
Despite the constraints Lisberger and co. It was really great being there, working on it with the pioneers of that whole process. The stuff really stands up today. With it John Lasseter pushed yet more CG boundary.
Work on the 75 second sequence was ultimately divvyed up between seven different FX houses, with ILM taking on the bulk of the work and designing a program that could simulate the watery beast-tube-thing with incredible realism. Another Oscar winner. It was a breathtaking reveal: physically textured dinosaurs so realistic it felt like they might come pounding out of the screen.
The CGI was bleeding edge, but the studio also used a smorgasboard of physical effects on the movie: of 14 minutes of dinosaurs in Jurassic Park, only four minutes were entirely computer generated. Along with the CGI, animatronics and stop-motioned miniatures were used to create the thunderous Gallimimus stampede, and a computer-generated stunt double created for the first time he was munched by the animatronic T-Rex.
The first ever full-length CG feature, Toy Story was a mighty undertaking undertaking with a team of animators less-than-mighty in number.
It was enough to have Rex cowering in terror, but Pixar came through, again mingling super-detailed animation with emotional beats. We were essentially kick-starting an industry in terms of CG films. Over artists and technicians were hired to digitally breed that icky strain of alien bug warrior, and those CG designs still hold up today, helping enshrine Starship Troopers as cult viewing. Only the one minute sequence applied computer graphics.
Among ILM's technical achievements was cinema's first entirely computer-generated sequence: the demonstration of the effects of the Genesis Device on a barren planet.
The first concept for the shot took the form of a laboratory demonstration, where a rock would be placed in a chamber and turned into a flower.
John Whitney was hired to create the computer animation. He combined the rotation of an M5 gun director used in World War ll with a pendulum that held a paint reservoir with an attached pen to create the spiral drawings for the opening sequence. While the results may not seem spectacular to our jaded eyes they really were at the time. In the sixties, we saw the first realistic computer animation, the first 3D wireframe animation, the first aircraft simulation, the first digital morphing, the first motion capture, and the first talking CGI character, to mention just a few.
Morphing is the blending of line-drawn images so they change smoothly into something else. The first morphing was a little film called Hummingbird Csuri — The Sine Curve Man of the same year takes morphing a step further, creating a smooth transition from one face to another. Building on the innovation of the sixties, CGI continued to grow in sophistication and broke into the world of feature films.
Westworld , directed by Michael Crichton, was so popular it merited a sequel, Futureworld , that also incorporated ground-breaking CGI, namely the rendering of a 3D head. This new technology was used for the trench run briefing sequence in the first Star Wars film.
George Lucas brought digital to Hollywood with Star Wars. He moved the industry away from 8mm film to digital filmmaking as we know it now, and that eventually gave rise to the amazing VFX we have now. The first Alien film rendered the navigation monitors in the landing sequence using a raster wireframe model. Even as computer power was exponentially increasing, CGI continued to push the boundaries of what was possible.
The animators later went on to found the computer animation studio Rainmaker Animation formerly Mainframe Entertainment which is responsible for ReBoot , the first-ever CGI animated series. The fantasy film Labyrinth showed off the first use of a realistic CGI animal.
A flying digital owl is seen in the opening credits. In science fiction film The Abyss used the first digital 3D water effect. The watery alien creature was the first example of digitally-animated, CGI water and was the first computer-generated 3D character.
Used the first all-digital composite, the process of digitally assembling multiple images to make a final image. The all-digital composite was used to show the rapid aging and eventual death of Walter Donovan. Starting at in the video clip below. Technology, art, real actors, and CGI-produced characters all meld seamlessly together in this decade in a big jump forward in the sophisticated use of CGI to create believable alternate worlds.
Motion capture is the process of recording movement and translating it to a digital model. This was used for the skeletal CGI characters behind an X-ray screen in a subway shootout scene. Terminator 2: Judgement Day has the first realistic human movements on a CGI character and the first use of a PC to create 3D special effects in a major movie. The first instalment of the Jurassic Park series included the first photorealistic CG creatures.
The film used a mix of animatronics and computer-generated dinosaurs.
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