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"Computer animation-History"
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Moving innovation : a history of computer animation
Computer graphics has changed the way we experience the art of moving images. This is the first full-length history of CG & shows how the idea of MIT graduate student Ivan Sutherland has blossomed into a mulitbillion dollar entertainment industry.
Book
Moving Innovation
Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created the first true computer animation program. Instead of presenting a series of numbers, Sutherland's Sketchpad program drew lines that created recognizable images. Sutherland noted: \"Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons.\" This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. In Moving Innovation, Tom Sito -- himself an animator and industry insider for more than thirty years -- describes the evolution of CG. The history of traditional cinema technology is a fairly straight path from Lumière to MGM. Writing the history of CG, Sito maps simultaneous accomplishments in multiple locales -- academia, the military-industrial complex, movie special effects, video games, experimental film, corporate research, and commercial animation. His story features a memorable cast of characters -- math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Computer animation did not begin just with Pixar; Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible.
eBook
Animation
\"Learn about the history of animation and find out how animated films are made today\"-- Provided by publisher.
Book
The Disney animation renaissance : behind the glass at the Florida studio
\"Walt Disney Feature Animation Florida opened in Orlando at the dawn of the Disney Renaissance. As a member of the crew, Mary E. Lescher witnessed the small studio's rise and fall during a transformative era in company and movie history. Her in-depth interviews with fellow artists, administrators, and support personnel reveal the human dimension of a technological revolution: the dramatic shift from hand-drawn cel animation to the digital format that eclipsed it in less than a decade. She also traces the Florida Studio's parallel existence as a part of The Magic of Disney Animation, a living theme park attraction where Lescher and her colleagues worked in full view of Walt Disney World guests eager to experience the magic of the company's legendary animation process. A ground-level look at the entertainment giant, The Disney Animation Renaissance profiles the people and purpose behind a little-known studio during a historic era\"-- Provided by publisher.
Book
The Disney Animation Renaissance
Walt Disney Feature Animation Florida opened in Orlando at the dawn
of the Disney Renaissance. As a member of the crew, Mary E. Lescher
witnessed the small studio's rise and fall during a transformative
era in company and movie history. Her in-depth interviews with
fellow artists, administrators, and support personnel reveal the
human dimension of a technological revolution: the dramatic shift
from hand-drawn cel animation to the digital format that eclipsed
it in less than a decade. She also traces the Florida Studio's
parallel existence as a part of The Magic of Disney Animation, a
living theme park attraction where Lescher and her colleagues
worked in full view of Walt Disney World guests eager to experience
the magic of the company's legendary animation process.
A ground-level look at the entertainment giant, The Disney
Animation Renaissance profiles the people and purpose behind a
little-known studio during a historic era.
eBook
The Empire of Effects
Just about every major film now comes to us with an assist from
digital effects. The results are obvious in superhero fantasies,
yet dramas like Roma also rely on computer-generated
imagery to enhance the verisimilitude of scenes. But the realism of
digital effects is not actually true to life. It is a realism
invented by Hollywood-by one company specifically: Industrial Light
& Magic.
The Empire of Effects shows how the effects company
known for the puppets and space battles of the original Star
Wars went on to develop the dominant aesthetic of digital
realism. Julie A. Turnock finds that ILM borrowed its technique
from the New Hollywood of the 1970s, incorporating lens flares,
wobbly camerawork, haphazard framing, and other cinematography that
called attention to the person behind the camera. In the context of
digital imagery, however, these aesthetic strategies had the
opposite effect, heightening the sense of realism by calling on
tropes suggesting the authenticity to which viewers were
accustomed. ILM's style, on display in the most successful films of
the 1980s and beyond, was so convincing that other studios were
forced to follow suit, and today, ILM is a victim of its own
success, having fostered a cinematic monoculture in which it is but
one player among many.
eBook
The Netflix Effect
Netflix is the definitive media company of the 21st century. It was among the first to parlay new Internet technologies into a successful business model, and in the process it changed how consumers access film and television. It is now one of the leading providers of digitally delivered media content and is continually expanding access across a host of platforms and mobile devices. Despite its transformative role, however, Netflix has drawn very little critical attention—far less than competitors such as YouTube, Apple, Amazon, Comcast, and HBO. This collection addresses this gap, as the essays are designed to critically explore the breadth and diversity of Netflix’s effect from a variety of different scholarly perspectives, a necessary approach considering the hybrid nature of Netflix; its inextricable links to new models of media production and distribution, to new modes of viewer engagement and consumer behavior, its relationship to existing media conglomerates and consumer electronics, to its capabilities as a web-based service provider and data network, and to its reliance on a broader technological infrastructure. Marking the first scholarly work to address its significance, The Netflix Effect provides a critical framework for understanding the company’s specific strategies as well as its broader social, economic, and cultural impact.
eBook