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Points, transforming one character into another was a relatively simple inbetweening.[119]The AbyssIn 1989 James Cameron's underwater action movie The Abyss was released. This was one of the first cinema movies 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.[120]Walt Disney and CAPSThe Great Mouse Detective (1986) was the first Disney film to extensively use computer animation, a fact that Disney used to promote the film during marketing. CGI was used during a two-minute climax scene on the Big Ben, inspired by a similar climax scene in Hayao Miyazaki's The Castle of Cagliostro (1979). The Great Mouse Detective, in turn, paved the way for the Disney Renaissance.[121][122]The late 1980s saw another milestone in computer animation, this time in 2-D: the development of Disney's "Computer Animation Production System", known as "CAPS/ink & paint". 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 3-D 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.[123][124]The 1980s saw the appearance of many notable new commercial software products:1982: Autodesk Inc was founded in California by John Walker, with a focus on design software for the PC, with their flagship CAD package AutoCAD. In 1986, Autodesk's first animation package was AutoFlix, for use with AutoCAD. Their first full 3-D animation software was 3-D Studio for DOS in 1990, which was developed under license by Gary Yost of The Yost Group.[125][126]1983: Alias Research was founded in Toronto, Canada, by Stephen Bingham and others, with a focus on industrial and entertainment software for SGI workstations. Their first product was Alias-1 and shipped in 1985.
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Points, transforming one character into another was a relatively simple inbetweening.[119]The AbyssIn 1989 James Cameron's underwater action movie The Abyss was released. This was one of the first cinema movies 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.[120]Walt Disney and CAPSThe Great Mouse Detective (1986) was the first Disney film to extensively use computer animation, a fact that Disney used to promote the film during marketing. CGI was used during a two-minute climax scene on the Big Ben, inspired by a similar climax scene in Hayao Miyazaki's The Castle of Cagliostro (1979). The Great Mouse Detective, in turn, paved the way for the Disney Renaissance.[121][122]The late 1980s saw another milestone in computer animation, this time in 2-D: the development of Disney's "Computer Animation Production System", known as "CAPS/ink & paint". 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 3-D 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.[123][124]The 1980s saw the appearance of many notable new commercial software products:1982: Autodesk Inc was founded in California by John Walker, with a focus on design software for the PC, with their flagship CAD package AutoCAD. In 1986, Autodesk's first animation package was AutoFlix, for use with AutoCAD. Their first full 3-D animation software was 3-D Studio for DOS in 1990, which was developed under license by Gary Yost of The Yost Group.[125][126]1983: Alias Research was founded in Toronto, Canada, by Stephen Bingham and others, with a focus on industrial and entertainment software for SGI workstations. Their first product was Alias-1 and shipped in 1985.
2025-04-09