History




Early digital computer animation was developed at Bell Telephone Laboratories in the 1960s by Edward E. Zajac, Frank W. Sinden, Kenneth C. Knowlton, and A. Michael Noll. Other digital animation was also practiced at the Lawrence Livermore National Laboratory.

In 1967, a computer animation named "Hummingbird" was created by Charles Csuri and James Shaffer.

In 1968, a computer animation called "Kitty" was created with BESM-4 by Nikolai Konstantinov, depicting a cat moving around.

In 1971, a computer animation called "Metadata" was created, showing various shapes.

An early step in the history of computer animation was the sequel to the 1973 film Westworld, a science-fiction film about a society in which robots live and work among humans. The sequel, Futureworld (1976), used the 3D wire-frame imagery, which featured a computer-animated hand and face both created by University of Utah graduates Edwin Catmull and Fred Parke. This imagery originally appeared in their student film A Computer Animated Hand, which they completed in 1972.

Developments in CGI technologies are reported each year at SIGGRAPH, an annual conference on computer graphics and interactive techniques that is attended by thousands of computer professionals each year. Developers of computer games and 3D video cards strive to achieve the same visual quality on personal computers in real-time as is possible for CGI films and animation. With the rapid advancement of real-time rendering quality, artists began to use game engines to render non-interactive movies, which led to the art form Machinima.

The very first full length computer animated television series was ReBoot, which debuted in September 1994; the series followed the adventures of characters who lived inside a computer. The first feature-length computer animated film was Toy Story (1995), which was made by Pixar. It followed an adventure centered around toys and their owners. This groundbreaking film was also the first of many fully computer-animated movies.

Comments

Post a Comment

Popular posts from this blog

46)All-woman BSF bikers create historical past with Republic Day presentación; Twitterati beam with take great pride in

India Republic Day -- To celebrate Indias 69th Republic Morning a grand parade was held in Rajpath in New Delhi like every year after Best Minister Narendra Modi paid homage to the nations martyrs by laying a wreath at Amar Jawan Jyoti. But this time around the on-lookers were in for a splendid wonder when a newly-formed Border Security and safety Forces Womens Motor Cycle crew Seema Bhawani made a spectacular debut with their daredevil stunts at the parade. Led by means of Sub-Inspector Stanzin Noryang the actual squad performed breathtaking stunts for the audience including a salute to the President! Out of the 12 stunts an d acrobatics fish riding side riding faulaad prachand baalay shaktiman hoke fighting sapt rishi seema prahari bharat ke mustaid prahari sarhad ke nigheban and flag march pyramid were the highlights. With 113 women the Seema Bhawani made a phenomenal entrance on 26 350cc Suprême Enfield motorcycles. While the viewers cheered for them and even gifted them a sta
Read more

Animation methods

Image
In most 3D computer animation systems, an animator creates a simplified representation of a character's anatomy, which is analogous to a skeleton or stick figure. They are arranged into a default position known as a bind pose, or T-Pose. The position of each segment of the skeletal model is defined by animation variables, or Avars for short. In human and animal characters, many parts of the skeletal model correspond to the actual bones, but skeletal animation is also used to animate other things, with facial features (though other methods for facial animation exist). The character "Woody" in Toy Story , for example, uses 700 Avars (100 in the face alone). The computer doesn't usually render the skeletal model directly (it is invisible), but it does use the skeletal model to compute the exact position and orientation of that certain character, which is eventually rendered into an image. Thus by changing the values of Avars over time, the animator creates motion by maki
Read more

Explanation

Image
To trick the eye and the brain into thinking they are seeing a smoothly moving object, the pictures should be drawn at around 12 frames per second or faster. (A frame is one complete image.) With rates above 75-120 frames per second, no improvement in realism or smoothness is perceivable due to the way the eye and the brain both process images. At rates below 12 frames per second, most people can detect jerkiness associated with the drawing of new images that detracts from the illusion of realistic movement. Conventional hand-drawn cartoon animation often uses 15 frames per second in order to save on the number of drawings needed, but this is usually accepted because of the stylized nature of cartoons. To produce more realistic imagery, computer animation demands higher frame rates. Films seen in theaters in the United States run at 24 frames per second, which is sufficient to create the illusion of continuous movement. For high resolution, adapters are used.
Read more