Rochester Institute of Technology RIT Scholar Works

Theses

8-1-1992

Integrating computer generated animation and videography

Annemaria Incorvia

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Recommended Citation Incorvia, Annemaria, "Integrating computer generated animation and videography" (1992). Thesis. Rochester Institute of Technology. Accessed from

This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. INTEGRATING COMPUTE* GENERATED ANIMATION AND VIDEOGRAPHY

Using a computer animation and paint box system, the intention of this thesis is to combine digitized video input and computer generated imagery for the production of a performance animation.

The material contained within this thesis reflects exercises illustrated on the accessible equipment in The Rochester Institute of Technology's Departments' Computer Graphics Design and Videographics 1986-1987 academic year's installation. Approvals

Advisor: Robert Keough\ ZL--_I¥~~~ Date

Associate Advisor: James Ver Hagu8\ ~7.~O<~/f-:....:·~9..=:'.?-_ Date

Associate Advisor: Charles WBrberill\ ------~~------=---.'-....;,t...~=-r

Special Assistant to the Dean lor Graduate ADairs: Phillip Honarth\ ~

Dean, College 01 imaging Arts and Sciences: / Dr. Margaret Lucas\ ----"'~L;'.~~""__f~:.....:.,:..../~;;... '6at

I, , Annemarie Incorvia (a.k.a. Annemarie Incorvia Roeder), prefer to be contacted each time a request for production is made. I can be reached at the following address.

28070 Andorra Drive North Olmsted, Ohio 44070 (216) 777..{)490 Date: _ Table of Contents

Introduction 1

Stage I: Thesis Proposal 3 A. The Performance Art Piece 3

B. Rotoscoping 4 C. An Animated Background 8

Stage II: Reexamination of Original Intent 9 A. The Prerecorded Piece 9

B. Rotoscope Length 9

C. The Animated Foreground 10

D. Assessment 10

Stage III: The Storyboard 1 1 A. Subject Matter 11

B. Storyboard Development 11

C. Additional Techniques 22

Stage IV: Editing & Composite Assembly 25 A. Assembly Production 25

Evaluation 29

Appendix A: Editing Dasics 31 A. Editing 31

B. Special Effects 33

C. Monitoring Equipment 34

Notes 37

Works Cited 37

Additional Works Cited 41 List of Illustrations and Tables

Illustrations Illustration 1: Keyframe Animation 5

Illustration 2: Forming the Video Image 6 Illustration 3: Video Input: Artronics 7

Illustration 4: Keying 8 Illustration 5: The Lakeland Civic Dance Company 9 Illustration 6: Opening Animation Storyboards 11 Illustration 7: Vector-to-Pixel File Transgression 12

Illustration 8: Raster and Vector Imagery 13

Illustration 9: Panels 14

Illustration 10: Computer Cel Registration 14, 15

Illustration 11: Sequencing Computer Cel Registration 15 Illustration 12: Piano Key Animation Storyboards 16

Illustration 13: Star burst Animation Storyboard 16

Illustration 14: Cycle Animation 17

Illustration 15: Rotoscope Ratio Index 18

Illustration 16: Rotoscoped Gesture Drawing 19 Illustration 17: Secondary Registration 20, 21

Illustration 18: Polarization 22

Illustrationl9: Credit Animation Storyboards 23

Illustration 20: Electronic Frame Painting 24 Illustration 21: Basic Editing Installation 31 32 Illustration 22: Editing with Special Effects Generator

Tables Table 1: Animation Time Table 10 Outline

Stage I: Thesis Proposal A. The Performance Art Piece 3 1. Theatrical Advisory Staff 3 2. Facilities 3 3. Performers 3 B. Rotoscoping 4 1. Genigraphics 4

a. Vector Animation 5 b. Frames 5

c. Storage 6 2. Artronics 6

a. Color Grab 7 3. Rotoscope Length 8

C. An Animated Background 8 Introduction

// Tn the first place, art is always computer graphics will increasingly A independent of the medium automate the mechanics of graphic through which it is practiced. The design, further enhancing the need designers."3 domain in which something is to for good When viewed be deemed art has nothing to do as an alternative approach to effective with how it was produced."1 imaging, computer graphics technol "Art is a process of exploration ogy will truly be a designer's tool. and inquiry. Its subject is human "One of the most interesting and potential for aesthetic perception. far-reaching offshoots of all electronic It asks: How can we {be} different? information processing is the distinc What is other?"2 tions between film, video and print Eventually, most media will be media are becoming less and less digitized, synthesized or integrated important. Designers who once spe as a movement in the progression of cialized in one or two aspects of the

a collaborative media. As alternative graphic arts find their talents are

useful."4 sources and combinations of media more universally are explored and defined, new and As evolutionary design evocative media will emerge. As methods are fostered by technical conventionality relaxes, these mani advancements, general applications festations will develop, out of insight increase. Increasing applications, and experimentation. In turn, these in turn, generate an expanding developments, will create fresh op interest in experimental exploration. self- tions and new precedents. This process, in effect, is In the past, art and technology perpetuating and generates (sciences) have been mutually exclu continuous possibilities. sive. It is no longer true. Today, tech Interests in the development and communication tech nology makes it possible to create and expansion of combine text, imagery, and graphics nologies brought me to Graduate without the use of conventional Computer Graphic Design at

composi- methodology. Electronic Rochester Institute of Technology (RIT). These in addition to tioning offers flexible approaches to interests, exposed to me at image manipulation. Often, the speed, the technology RIT, pursue a thesis which dynamics, and special effects offered brought me to both technical and exploratory. the artist by the computer are other was of this thesis evolved wise unattainable in traditional prac As a body work, applica tices. "This is not to say there is no into a series of explorative and creativity. room for traditional skills. Instead, tions in technology Stage I: Thesis Proposal

the Initially, first discussions with performance art piece required skills thesis my committee generated which I did not possess. Assembling a list of potential guidelines for the these resources or acquiring these shaping of the thesis. Primarily, skills would result in the diversion issues were raised concerning the of my limited thesis hours from com need to explore the mechanical puter graphics exploration toward limitations of combining computer the academics of theater arts. animation and videography, using available equipment. Secondly, 2. Facilities it was recommended that I focus The production of a live perform my intentions early and set my ance coupled with a computer ani objectives in relation to computer mated background required a large time restraints as well as the screenvideo projection system and a

- academic year's end (1986 1987). physical setting. I had neither access The committee speculated that to a theatrical stage nor large screen my concept "to incorporate video- video production facilities. graphic and computer generated imagery to facilitate rotoscoping 3. Performers effects in the design of an animated With the computer animation background for a performance art serving as a background, my initial piece," while ambitious, was overly intention was to incorporate live, inclusive and probably beyond my contemporary dance in the fore current capabilities. In examination, ground of the performance art the objectives of my statement were piece. To facilitate this, Thesis isolated for simplification. This Chairman, Robert Keough, and

simplification," "concept in turn, I attempted to persuade The Bucket identified three areas in need of Dance Theater of Rochester, New closer review. York to act as participants. How ever, Garth Fagan, Choreographer A. The Performance of The Bucket Dance Theater, declined the invitation. Art Piece As an alternative, a resource "Theatrical: a theatrical event limited decision was made to seek is one which represents an action a prerecorded performance piece through the medium of performers for computer graphic applications.

audience."5 on a stage for an How In this manner, academic emphasis ever oversimplified, a performance would remain on computer graphics piece involves the presentation of techniques without reducing the one act, or narrative, by one actor initial intent. Presentation, instead, on a stage, constructed or impro would be limited to a color monitor vised, for another. rather than a theatrical stage. There The production of a performance fore, the visual product would shift art piece requires resources and edu from a live performance art piece to cated expertise. Uneducated in theat a prerecorded production, (i.e. eradi rical mandates, there were several cating the 3-dimensional theater-in- 2-dimen- important issues I needed to consider. the-round and producing a sional video presentation). 1. Theatrical Advisory Staff Since the equipment under consid The complex mechanics involved eration, the Genigraphics and the in successfully producing a cohesive Artronics, were capable of outputing intro visual information directly onto a video footage. I intended to 3/4" video tape recording, my thesis duce sequentially spaced video key system. presentation would be designed to frames into the Genigraphics Pro conform to this format. Using the Genigraphics Paint "Grab" gram's function and a video B. Rotoscoping camera, each keyframe would be In 1918 Max Fleischer devised a input individually. method of filming live actors to pro As an extension of the console duce a reference guide for animators. operating system, keyframes are This system, known as rotoscoping, incorporated in the Genigraphics yielded gestures and mannerisms animation software package. The invented6 which could never be artist creates the keyframe artwork Rotoscoping originates as a tech and indicates command entries in nique to combine live-action and an animation table to reflect desired animated images. By feeding light changes to the artwork. The com to the film through a ninety degree puter calculates the changes between rotoscope prism, the process involves the first keyframe and the next key projecting a piece of live-action film, frame in order to automatically gen frames.9 frame by frame, onto a surface. By erate all the intermediate tracing the projections, a new series The Grab Function is a capturing of drawings can be created and event technique incorporated into the Paint ually inserted into the original live- Program of the Genigraphics Video action footage. From this plot, art Upgrade Package. Frame grabbing work and moves can be planned an image inputs it into the computer together. Maintaining perfect regis system where it can be enhanced or tration, the drawings are then trans modified. This function requires 1/30 ferred to animation eels, so that both second and is also known as a "flash

scan." the animation and live-action can be The image can be black and film.7 combined on a single strip of white or color. It can be a photograph, Traditionally, a synthesis of the a transparency, a three-dimensional cel drawings and the live-action film object, or, for special effects, a moving is created with an animation stand. image. Once in the system, a frame This is achieved by rephotographing grabbed image can be moved, bor each frame of the live-action film dered, painted, or combined with rear-projected at the compound sur other real or synthetic images.10 face along with the corresponding cel The Genigraphics 1986 Video from the animation sequence. An Upgrade Package enables the console alternative technique is to photograph operator to generate sophisticated, the animation sequence alone and high quality images which combine then combine it with the pixel- live-action object-based images with based footage in a process involving mattes images. Vector imagery, or object- and techniques with double-printing based imagery, use basic geometric an optical printer.8 shapes, or equations, to define the I intended to simulate However, individual components of an image. the traditional effect with an uncon Pixel imagery, on the other hand, is ventional approach. Instead of using constructed from 'picture elements" film and live-action as a base, I are Pixels, the smallest display unit decided to use video and computer to which color or texture, can be generated as the imagery primary assigned by a computer system.11 sources. In addition, the synthesis of the material would be achieved a. Vector Animation with a video special effects generator In orderto understand the in an suite (see Appendix AB). following editing modifications, the reader should be aware that theGenigraphics I.Genigraphics animation packageoperates on vector principles.12 original application involved "grabbed" My However, any the of several imagery rotoscoping minutes of introduced through the 1986 Video Upgrade Paint Program would exist The central principle of video as pixelized representations. For this equipment is that an optical image grabbed reason, any imagery could must be converted into an electrical not be animated while it existed in signal which can be transmitted and pixelized form. then reconverted into an optical with However, the Genigraphics image for viewing. When the signal 1986 Video Upgrade Software, a is received, it can be reassembled on pixel grabbed, image could be traced a screen as a visible image. All visible as a series of points to create a vector images maybe thought of as variations representation based for animation. of light and shade. In order to be con In order to take advantage of the verted into electrical signals, images Genigraphics interpolation feature, must be broken down into a large each object targeted for manipulation number of dots, ranging from black must have the same number of vector through gray to pure white, which points from one keyframe to the next, are arranged as a series of slightly and each vector point must be posi slanted horizontal lines on screen13 tioned (in relation precisely to each In order to convey the illusion of 'pictures" other) from one keyframe to the next. motion, each of these lined In any other presentation, it is must last no more that 1/30 second. the animation unlikely sequence In practice, however, even this very would be anatomically correct. brief duration would flicker when I assumed, by designating the viewed. Therefore, each picture of sequentially spaced keyframes as action is scanned twice by a tube start or end points, the Genigraphics generating a series of interlaced lines. would automatically generate the When combined, the interlaced lines "in-between" frames accurately. In produce a complete picture (Illus. 2). frequency" actuality, the rhythmic deviations This is known as "field frequency.14 of the Genigraphics interpolation and is double the frame functionwere strictlymathematical Basically, frames can be measured (Illus. 1). I was animating life forms. in terms of time-units. As hours can This logically tempered progression be measured in terms of minutes and was unlike the complex fluid motion minutes in terms of seconds, in ani of a live performer. The rigid appli mation, seconds are again broken cations of the interpolation function down into another unit of measure. Illus. 1: From keyframe were unsuitablyrigid for myanimation. This unit of measure is the frame. to keyframe, the software Frames, in turn, can be broken down compares and calculates b. Frames into fields. As explained, in video the distance between each Since the complex motion could there are two fields per frame and 30 vector point. Therefore, not be duplicated through interpol frames per second. Therefore, in order when generating each ation, the rotoscoping processwould to rotoscope one minute of live-action "in-between"frame, have to be generated traditionally as video, a series of 1,800 frames must vector point number single frame constructions. At this be generated: one in the start keyframe point, it is important to understand 1 minute = 60 seconds x 30 frames would transform toward the number of frames involved in per second = 1 800 frames. and into vector point live- simply tracing one minute of The process of rotoscoping, frame number one in the end action video tape. by frame, is time consuming. keyframe.

Start Frame 1 In-between Frame 2 In-between Frame 3 End Frame 4 diskettes Suppose it takes only three minutes cost of storage on floppy com to grab, trace, and create each frame was fairly inexpensive when Boxes. for composition. The computer time pared to the cost of Bernoulli required to prepare one minute of Due to digital storage inconsistencies, Artronics live-action footage for rotoscoping information created on the the Geni would equal 90 hours: could not be integrated with 1 minute = 1800 frames x 3 minutes graphics information. Therefore, any on the = 5400 minutes = 90 hours imagery created and stored not be intro While it is unlikely that it would Artronics system could generate duced into the Genigraphics system only take three minutes to an interim each new frame, time constraints are without incorporating further complicated by the fact that step(s). The interim step(s) would the entire process would be limited result in visible quality loss. Further aside from the cycle paint to the availabilityof the Genigraphics more, specifically.15 lOOD-plus system function, the 1986-1987 Artronics Paint software did not offer an feature.17 c. Storage animation Illus. 2: Thefirst For this thesis, however, time was Technical considerations for these scanning process only not the only issueconsidered. Provided elements of incompatibility revolved ' of final 'samples half of the field, time was available, the pixel imagery around the assembly the in stripes, in preparation would require storage on special piece. Feasibly, the animation could "firm-ware" for a second pass. It then known as a Bernoulli be divided to allow separate scenes Boxes.16 returns to the top for a The cost of which (in 1987) to be generated on one system and second 'field '. The second equaled approximately $80.00 each. the video output of each analogically scanning, or field, takes Each Bernoulli Box, in turn, would combined with an editing controller care of ike remaining be capable of storing approximately (see Appendix A:A:1). Capitalizing alternate stripes in the six to 19 images. Therefore, under on the dissimilarities of the two next fraction of a second these conditions, theproduction of systems to heighten the rotoscope (1/60). The total frame one minute of rotoscoped imagery delivery, an intermixing of visual together, composed of two would require a minimum of 90 effects could be possible. However, fields, is now complete, hours on the Genigraphics 100D- for rotoscoping, image registration without visible flicker. plus system at a storage cost was critical and would be excessively between $7578.94 and $24000.00: complicated by the introduction of 1 minute =1800 frames -M9=94.74 two systems during composition. boxes x $80.00 = $ 7578.94 With registration, time, and cost 1 minute = 1800 frames -^6=300 considerations reviewed, upon the boxes x $80.00 = $24000.00 conclusion of the first formal thesis While the Genigraphics offered meeting it was suggested I singularly some very special imaging effects, use the direct video input/output realistically, cost limitations and capabilities of the Artronics system practicality forced me to explore for use throughout my entire thesis other alternatives. body. With the use of a video input cable, the video could be transmitted 2. Artronics from aVideo Tape Recorder (VTR) to The Artronics equipment was the Artronics (Illus. 3). Several video capable of acceptingvideo input for images, or frames, could be captured frame captures, or grabs, as well as with the Artronics Grab software. provide direct video output. While Once captured, these images could the amount of time required to grab be stored, electronically painted, and a single frame would be approx output on videotape for composite imately between 15 and 20 minutes with the performance videotape. as opposed to the 1/30 second flash scan of the Genigraphics 1986 Video a. Color Grab Upgrade grab, in 1987 the thesis time In color video, the camera has to demand on Artronicsequipment was analyze each point of an image for far less restrictive. In addition, the luminance and hue. In addition, hue is subanalyzed for three color com ponents: red, green, and blue. Red, green, and blue are the primary colors and strategically placed mid way and at either end of the visible spectrum. By scanning these three key componentsand producing them in various constructions, it is possible to produce the visible color spectrum. While, the tint of a particular color is referred to as a hue, it is modified by its degree of brightness in the direc tion of either white or black. This direction,known as luminance, affects the degree to which a color is light or dark. Together, these arereferred to as the degree of saturation in that color. In other words, in video, the com pound addition of red, green, and blue produce hue. Hue, in conjunc tion with luminance, correctly saturate colors to a degree of bright ness. These components are all that is needed in order to represent an

color.18 object's correct Unlike a black and white grab on the Artronics, the process of capturing a color image requires three indepen dent scans of visual information. The digitizing camera surveys once for video input the video could be each red, green, and blue color com Illus. 3: With the use ofa cable, Recorder to the Artronics. ponent. In order to avoid the visual transmitted from a Video Tape (VTR) could captured with the Artronics interference of the scan line (see Illus. Several video images, orframes, be software. Once these images could be stored, electron 2), I would need to grab the image Grab captured, play.19 output on videotape for composite with the while the video tape was in ically painted, and However, the durations of a triple performance videotape. scan process compounded by the continuous progression of the tape 3. Rotoscope Length in play left insufficient time for the alternative involved three scans to be completed. There A third the duration of the rotoscope fore, in order to successfully capture limiting Rather than an all the information of each frame effect. rotoscoping the animation itself grab, the process would be restricted entire animation, broken down into workable to monochrome. could be scenes. The Unfortunately, without use of sections or rotoscoping SMPTE Time Code (see Appendix could then be applied to the sizeable portion where it would create the A:A:3), I was unable to grab a con visual impact. secutive sequence of frames for greatest Subsequently, sections or scenes of linear manipulation. This resulted the remaining the animation would have to be in a method which was completely approached in alternative fashions. random and unpredictable. Com pounded by the extremely poor resolution of video, the individual C. An Animate) Background frames could not be acceptably I intended to superimpose the rendered for reassembly in a animated background as the stage cohesive fashion. portion one input to Illus. 4: Keying is a system which permits any hard-edged of effect luminance as a entirely replace the other input on the screen. Keying is an using variant; it works best when altering solid white or solid black.

setting, or backdrop, to the video of computer/video animation. performance occurring in the fore Briefly, keying is a system which ground. During the video perform permits any hard-edged portion of ance, the background was to support one input to entirely replace the other and strengthen the tone of the event. input on the screen (Illus. 4). Keying If the feeling of the production was is an effect using luminance as a to be light and airy, the animation variant; it works best when altering was to visually reflect the same mes solid white or solid black. Alternately, sage to the audience, consciously as chroma keying can be used to replace well as unconsciously. The animation all the parts of one scene of a parti was to remain subordinate to the cular color. Chroma keying is a hue foreground activity. variant; when including human sub The intersection of the background ject matter, a certain blue background and foreground was the compound is recommended due to the near exclu surface where the computer gener sion of its value from human flesh ated animation was to be composited tones (see Appendix A:B:3).20 with the live-action video perform While I questioned the appli ance. On the suggestion of my Thesis cations and effects of this format, Advisor, Charles Werberig, I I was especially interested in the attended a lecture given by Russel superimposition capabilities offered Lunn, a Teacher's Assistant in the by the special effects generator (see Videography Department at RIT. Appendix A:B). After a demon Lunn introduced the concepts of stration, I was convinced keying keying and chroma keying effects and chroma keying were the to create a mask-like composite direction in which to proceed. Outline

Stage II: Reexamination of Original Intent A. The Prerecorded Piece 9

B. Rotoscope Length 9

C. The Animated Foreground 10

D. Assessment 10 Stage II: Reexamination of Intent

Once the major components of atmosphere for most keying and the idealized thesis intent were chroma keying effects. isolated and examined, the immedi As mentioned earlier, keying effects technical ate andphysical limitations such as these operate by subtracting of each component were exposed. visual component information from Reexamined and focused upon, the videographic image. Eventually, the first major directional changes I selected a dance segment where the in the thesis developed. performers were cast against a blue and thebackgroundcontained A. The Prerecorded Piece curtain, very few property elements. I deter Once the concept of a performance mined this would be the most suit art piece was abandoned, the single able for chroma key effects. greatest obstacle was the selection of The selection of this dancesequence the video source material. The selec became the foundation of my thesis. tion of a video source had to be the The product of this thesis reflects one with the greatest flexibility,visu exercises illustrated upon The Lake ally and technically. Eventually, land Civic Dance Companyof Mentor, many limitations of the final syn Ohio's production entitled "The Ball" thesis would be predetermined by Jellicle based upon the Broad the limitations of the original source. way musical Cats and the original The selection of a contemporary poems of Thomas Stearns Eliot's Old dance ensemble for subject matter PossumsBookof Practical Cats(Illus. 5). evolved not only out of personal preference but also from its adapt B. Rotoscope Length ability to free-form and conductive After limitations were discovered expression. Contemporary dance during stage I, I decided to reduce was universally adaptable to my the rotoscoping effects to workable Illus. 5: A scene taken prerequisites. While The Bucket time frames. I also decided to recon from The Lakeland Civic Dance Theater declined to supply struct the animation with the new Dance Company of a videographic recording, The restrictions in mind (see Stage I:B:3) Mentor, Ohio's Lakeland Civic Dance Companyof In order to arrive ata logical break production entitled "The Ball" Mentor, Ohio, was very cooperative. down of the animation segments, I lellicle based upon I was supplied with a 1986 dupli repeatedly listened to the music and the Broadway musical cation of a live performance no longer catalogued the actions of the video Cats and the original in production. Ideally, I would have performance. By recording durations poems of Thomas Stearns preferred to record a live perform between the changes in audio and Eliot's Old Possums Book ance or at least obtain an original choreographic treatment, I developed ofPractical Cats. master tape for usage. Unfortunately the time tables for my animation these options were unavailable. storyboards (see Table 1 on page 10). I viewed the tape for several days before I determined the specific selec C. The Animated Foreground tion I would choose for this anima tion. During my original discussion Keying and chroma keying effects with Russel Lunn, it was recom were applied to portions of the ani live- mended that I choose a dance pro mation video and prerecorded, jecting the actors against either a action footage. A composite assembly solid white background, matte black was made with the aid of three video background, or specific blue back tape recorders, an editing controller, ground. This would provide the best and a special effects generator. Unfortunately, these initial experi 0. Assessment ments revealed that the backgrounds In with these three of the selected prerecording were not summary, incorporate major changes the emphasis lighted evenly enough to outlined, effectively. of thesis was redirected. First, keying and chroma keying the conscious decision the This prevented the complete sub a regarding shifted from traction of the background elements. presentation format art piece to a While the special effects generator a live performance video- performance. permitted the mixing of some prerecorded Second, instead of the entire graphic imagery withportions of the rotoscoping decision was made to computer generated imagery, the performance, a a workable union was not satisfactory. restrict the technique to Disappointed by the first com section of the animation due to time composite posite videographic and computer limitations. Finally, the generated effects outlined, a third treatment of the computer generated modification to the original thesis animation and videographic footage intent was introduced. This modifi would shift from an animated back cation involved the creation of the ground to an animated foreground. computer generated animation on At this point, it appears the tech a solid bluebackground. This would nological aspects of this art form, permit chroma keying effects but have been recognized only as bar with a different perspective. Instead riers. However, it is important to of the performance being super recognize that it is the adaptability imposed over the animation, the of the technology which has brought animation would be superimposed this medium to its present form. The over the foreground. development of this thesis is com Next, an aesthetic decision was pounded by its mechanical flexibility. made. The animation should not con I believe this technological tool in flict or contrast with the actions of juxtaposition with creative appli the performers. For this reason, the cations, is the evolution of this animated foreground would generate medium. Complete computer support and direction for the activ integration, in art, media, science, ities of the performers but remain etc., may be fully realized through subordinate to their activity. experimental applications.

Animation Choreography Music Start Music End Time Alley Cat Opening Animation Cat Silhouette 0:00:00 2:08:26 2:08:26 Keyboard & Flower Sequence Cats Entrance 2:09:26 5:14:12 3:04:86 Starburst Line Sequence 5:14:13 5:28:21 0:14:08 None Synchronized 5:28:22 6:58:01 1:29:79 Running Cat & Leaves Transient Cats 6:58:02 8:27:23 1:69:21 None Exits & Entrances 8:27:24 9:04:08 0:76:84 Rotoscope Sequence Cat Duet 9:04:09 11:11:25 2:07:16 Dancers Group Sequence 11:11:26 12:43:08 1:31:82 Credits Cats Frenzy 12:43:09 15:21:23 2:78:14

1:A and Table log of the music choreography helped develop an animation time table for storyboards. Outline

Stage III: The Storyboards A. Subject Matter 11

B. Storyboard Development 11 1. The Opening Scene 11 a. The Horizon Line 12 b. Animal Locomotion 12

c. Canvases and Panels 12 d. Background Strobing 15 2. The Piano Keys 15 3. The Starbursts 16

4. The Leaves 16 5. Rotoscoping 17 a. Primary Registration 17 b. Tracing, Inking, and Painting 18 c. Secondary Registration 19 d. Introduction to the Genigraphics 19

e. Image & Scene Management 20 f. Video Output 20

g. Glare 21

6. The Credits 21

C. Additional Techniques 22 1. Real Time Animation 22 2. Electronic Frame Painting 23 Stage III: The Storyboards

Escaping technical properties,the the chronology of the music was cat creative aspects of this thesis alogued by audible deviations. From were explored during storyboard this, animation time tables could be development. Mentioned earlier, accurately generated (pg. 10, Table 1). the thesis was broken into several Determined by the choreography of workable sections (see Stage I:B:3). the dance or intensity of the music, To obtain the greatestflexibilityeach some sections were animated while section of the animation table was others were left untouched. developed independently. Provided the synthesis of the parts was cohe 1. The Opening Scene sive, I determined it was not neces While the original book of poems individual sary to apply the same visual effects is a collection of descrip throughout the entire piece. Instead, tions, the Broadway performance Ball" the treatment of each scene was of "The Jellicle is an explosive

cats' determined by the qualities which dance illustrating the "height of would offer it the greatest visual passion through their most private,

rituals".23 impact. Each technique was evalu energetic and anarchic I amplified the ated by what it could offer to the From the start, personification cats juxta independent scene as well as to the of the by human elements with ele Illus 6: Computer overall performance. Continuityof posing animation scenesfrom form, however, would supercede ments of cat genre. The scene opens traditional illum "The Cat's Dream". all other considerations. in a alley oddly inated by an iridescent blue light. A. Subject Matter Simultaneously, entrances and exits were T.S. Eliot published Old Possum's of the prerecorded performance intermixed with those of Book of Practical Cats on October 5, alternately cats. Sections of the per 1939. In this book of collective poems, the animated formance and animation are faded in Eliot depicted cats very much like super human beings. "Each poem is a pre andoutof view while others are imposed upon eachother. The theme cise and accurate definition of a parti indicated the blatant intro cular of but Eliot appears to is by kind cat, Dream" cats' the duction of the title "The Cafs be satirizing the owners, and live."21 When the exits of the animation and English society in which they performer the viewer is The stage design of the original the coincide, invited into the dream a simulated Broadway production of Cats, by by recession of the animated into John Napier, was an environmental alley audience the surface of the monitor (Illus. 6). space designed to entice the into a lyrical, feline world energized a. The Horizon Line by elements of imagination and The first problem encountered was fantasy. Conceived as a giant play visual the between the horizon ground for cats, John Napier inconsistency line of the animation and the pre ized a place where cats might together.22 recorded performance. In the pre congregate recorded performance, the appear B. Storyboard Development ance of a stark visual horizon was generated the planar I developed the storyboards by meeting of the stage and the backdrop. linearly. While the performance of In order to avoid confusion, inter The Lakeland Civic Dance Company the computer animation and illustrated the events of the narrative, mixing Illus 7: By cutting object- based artwork from the display and pasting it to a canvas, a synthetic image is converted to a pixel- based image. Returning a pasted image from the canvas onto the the display, by creating a panel, reserves space on A: On Display, this illustration represents several objects on the artwork list. the artwork list. A panel B: Cutting these objects from Display and pasting them on the Canvas is an object and, therefore, converts the object-based artwork to pixel based artwork. takes one up object on the C: Returning the converted image to Display, produces only one object, the artwork list panel, on the artwork list.

the prerecorded video required the tration could be maintained. uniform display of orientational Unfortunately, the number of elements such as the horizon line. vertices accumulated by the col In response to this need, a series of lective cat drawings surpassed the horizon lines were traced from video Genigraphics table of limits. How display to acetate overlays for regis ever, a workable solution could be tration of future storyboards. achieved by generating pixel files, known as canvases, from the vector b. Animal Locomotion files and, in this process, eliminating Inorder to generate a realistic the problem of excessive vertices. representation of feline movement, I was referred to a photographic c. Canvases and Panels of animal locomotion study by The applications of thecanvasare Eadweard Muybridge. specific to the 1986 Video Upgrade Muybridge noted: "In terrestrial System residing on the Genigraphics movements, the instant that thefoot lOOD-plus (at RIT's 1986-1987 instal strikes the earth the resistance is lation). The canvases are the work great and the arrest complete. The areas where pixel-based imageryis resistance of the air and the water contained for eventual use on the is so much less than that of display.25 the earth. The pixel-based imagery In the animal on the moving surface can be viewed and animated on of the ground, the foot brought being display only through the process to rest, an absolute break occurs of creating panels. To the viewer, between the beginning of the act of panels contain bit-mapped infor recover and its completion, the time mation, however, the 1986 Video which would be required to describe Upgrade System recognizes panels the interval and thus to complete the as synthetic, or vector-based, rec union corresponds to the period that tangles. These synthetic rectangles the foot is on the ground."24 contain only five vertices, the four Using Muybridge's notes and corners and the center. For display studies as a guide, I generated a and animation purposes, the process series of cat locomotion eels on a of creating pixel-based files from traditional animation board. complex inking vector-based files reduces At the same time, I copied the Muy number of vertices the system bridge's photographic record for use recognizes while the later in the thesis. The drawings displaying were same visual information (Illus. 7). input on the Genigraphics system by Fortunately, theavailabilityof affixing an Acme registration peg canvases offered me a workable mount to the surface of the graphics solution. It should be noted, how tablet. In this manner, careful regis ever, the quality of a vector-based file is defined as the maximum reso Due to the degree of registration lution of the output device. The repro required for animal locomotion, on duction quality of a pixel-based file, the Display, the cat illustrations on the other is hand, limited by the would need to overlap each other. input device. This file transgression, To reduce the number of vertices, from vector-based to pixel-based, the cats underwent a vector-to-pixel resulted in the limitation and loss transgression. This means the cat of resolution quality upon output. illustrations were moved to the In addition, vector imagery canbe Canvases and converted to pixelized stacked on top of each other and still forms. Since they were pixel images, retain the integrity of each form. they could not be overlapped. Pixelated imagery is not hierarchical, For this reason, a clear under however, and cannot be overlapped standing of the application of panels while retaining the independence of is important. "When you transfer a the original forms. For example, pixel pixel image from a canvas to the 'sees' systems are often referred to as "paint display, the display that pixel systems." box If a square is painted image as a vector object. The display over a circle, only the information of image is known as a panel. Looking the square remains since the circle at a panel is like looking through a has been physically replaced. How rectangular tunnel with one opening ever, if a square is stacked on a circle on the display and the other opening on a vector system, each object re on a canvas (Illus. 9). Each panel has tains its original attributes (Illus. 8). two "windows":

Illus 8: On a pixel based system, when two objects are overlapped, they occupy the same space and become one. On a vector base system, when two objects are overlapped, they are stacked one one top of the other and remain individual elements.

? Pixel based system A Vector based system The framed illustrations, could to then be rearranged on the canvas avoid overlapping while maximizing available space. Next, panels were frames created using the newly drawn to describe the source window for each illustration. Each source win dow was then assembled, in regis tration, over the original frame already positioned on the display B: The Display To avoid detection, onceassembled, the original reference frame was from the display. In this 1. The destination window, which deleted vector each appears on the manner, as imagery, display cats' of the movement over Illus. 9: Viewing a panel 2. The source window, which cycle canvas"x lapped one another on the on Display is analogous appears on the display but did not as pixel to the two sides ofa The Genigraphics 1986 Video overlap imagery on the canvases (Illus. 10). window. One side of the Upgrade System provided three noted that when window shows the independent canvases all capable It should also be each image is overlapped Display and other side of of containing pixel information. completely in this the the window shows the Although I could not overlap the on the display manner, Canvas. imagery, I had the freedom to locate rearmost objects in the stack could the source and destination windows. not be easily selected. As a solution, was brought This freedom enabled me to develop when each illustration the following registration system. to the display, it was literally num A uniform frame, or reference bered on the display. Residing out rectangle, was drawn and placed side the visible video frame, each in position around a cat illustration number was created as a separate on the display. In turn, an identical object and linked to its corre "group." frame was drawn around each pixel sponding illustration as a illustration on the canvas, in regis A group is a collection of two or tration to the one on the display. more objects which can be linked

/

i^-

1 "-< 9^< *rr- Illus. 10: At right, framed pixel illustrations I as they appear without overlapping on Canvas. At top of next page, the overlapping panels as ****- they appear in registration ^r ^-^ with the reference rectangle on display. was panned on ones. In other words, - - U34^ each phase of the cats movement was Tl photographed four times before changing to the next phase; but, the equal movements of the background were photographed only once before changing to the next lateral position. Although the cats appeared to move smoothly, the environment appeared to violently shift forward and back ward, creating a visual Indicates A Link disturbing Group image. The strobing was corrected """ Indicates Frame Edge by consistently animating the cats as well as the background on four exposure counts each. togetherinorder to maintain a fixed unit. When it was necessary to ani 2. The Piano Keys mate an illustration independently In the next scene, the musical of the others, I selected the number accompaniment ofcomposer Andrew grouped to the image I desired to Lloyd Webber burst out of a subtle, animate. By this process, both the intriguing melody into a vibrant number and corresponding image dance emphasized by the piano. The were easily accessed for animation music seemed to inspire a catharsis in purposes (Illus. 11). the performers. For several choruses, Unfortunately, while creatingthe the choreography featured a series of imagery in precise registration, the bounding, acrobatic performers inter canvases quickly ran out of space. crossing the length of the stage. The My original storyboard called forthe simultaneous animation of three cats in an alley. However, all three can vases were utilized to animate just one cat. Eventually, I had to reduce the amount of information I ani mated at one time. Therefore, the w final composite reflects two cats animated separately, one as panel- vector imagery and the other as tone was solely vector imagery. In addition, joyous, the activity of each cat was limited celebratory, by either the canvas space available and very or the number of vertices allowed playful. by the Genigraphics table of limits. The third cat remained static Therefore, this section of the story Illus. 11: Objects throughout the opening scene. board was developed to reflect the overlapped by other spontaneity and spirituality of the objects are difficult to d: Background Strobing music. Warped piano keys streamed capture. However, Background strobing, otherwise across the screen while a luminous grouping obstructed known as a visual shutter, appeared geometric plane intercepted it. A objects with unobstructed in the first series of animal locomotion second set of playing piano keys elements (in this case, the tests. Strobing usually occurs when a were introduced at the bottom of the numbers which have been frame in head-on perspective pan, or sweeping lateral motion, is Finally, displayed out-of-view) calculated.27 the keys evolved into a repetitive provides a not correctly As explained, selection of orange blossoms. in video, one second of animation series sprouting alternative When animation was composited requires thirty frames (1 second =30 the frames). Each cycle of the cat was with the prerecorded video, the appear animated on fours but the background performers were to as if dancingon the keyboard and leaping among the flowers (Illus. 12). After the initial composite, this section did not encounter many modifications. Primarily, the ani direc- mated elements had to be tionally shifted in order to avoid collisions with the moving per formers. In addition, some of the objects had to be resized due to a close-up camera angle in the prerecording.

8. The Starbursts The starbursts were a short ani Illus 13: The starburst animation was mation designed to reflect the energy designed to illustrate energy. radiating from the celebration of the Jellicle cats. At the suggestion of evoked a message of urgency, yet, Thesis Advisor, JimVer Hague, the one of controlled nervousness. final version was repositioned to I decided to incorporate elements explode from an isolated spotlight of horror show genre into the story projected in the background of the boards, primarily black cats and prerecorded video (Illus. 13). stormy weather. Flying leaves tossed by the wind filled the screen. As the 4. The Leaves leaves cleared, they revealed a single After pausing for a dramatic a solo black cat, full frame, anxiously run in the prerecorded performance, ani ning to or from something. mation was again introduced. The In order to create the running cat, tone of the music shifted away from I returned to Muybridge's photo the celebratory and, instead, edged graphic records. By tracing selected towards the diabolical. The music frames, and stringing them back to back in a cyclical fashion (1-2-3-4-1-2- 3-4-1-etc), the cat could continue to run indefinitely (Illus. 14). Unlike my first encounter with animal locomotion (see Stage III:B:l:b,c), only one cat was animated and less transitoryphases were involved in this sequence. This allowed the animation to remain singularly vector based (without the additional vector-to-pixel based transgression incorporated during the opening animation sequence).

5. Rotoscoping This phase of the performance was the most climactic. The intensity of the music accelerated. The dancers cleared the stage while two primary figures challenged each other in an energized duet. The choreography was filled with strength and emotion. I decided this was the place to Illus. 12: Storyboards inspired by Andrew Lloyd Webber's musical introduce the " rotoscoping; limited in composition for "The Jellicle Ball. length but emphasizing in treatment and relation to the entire piece.

The duration of this segment was approximately forty-four seconds. Again, every second of video ani mation required the constructionof 30 frames. In order to construct 44 seconds of rotoscoped animation, 1320 individual frames would have to be generated: 44 seconds x 30 frames (number of frames per second) = 1320 However, following a procedure outlined in an article published by HOW magazine entitled Video," 'Animating for Music I opted to generate images according to a patterned ratio: 2:3 for every 5 frames of video.28 In other words, for every five frames of video I would need to rotoscope two frames and leave three unmani- pulated (Illus. 15). This ratio was developed for dual image recon struction, ona mutual plane, where the rotoscoped segments wouldbe the cathode ray tube. This device Illus. 14: Using Muy bridge' imposed upon the originally re enabled me to trace the video output s photographs, a corded material. Next, the video of the prerecorded source directly single black cat runs in a performance and rotoscoped eels fromthe monitor where the newly continuous cycle. would be recorded simultaneously. created images would eventually be The voids created by the absence of displayed for output. Thus, by using rotoscoped imagery (three frames careful registration, the images would per every five frames) were intended be properly sized and positioned to facilitate a real/non-real illusion. for final compositing. This new ratio meant the generation In order to precisely access two of twelve rotoscoped frames per sequential frames out of each five, it second, leaving 18 frames of video was necessary to number the frames. material. Therefore, the amount of This process can be achieved with the material required would still involve aid of a time code generator. An editing the creation of several hundred controller was utilized to generate a images, but the total was signifi form of time code known as SMPTE cantly less than originally suspected. (see Appendix A:B:1,5). By writing SMPTE Time Code to audio channel a. Primary Registration 2 of the prerecorded performance, I Since the synthesis would reside could then use the editing controller on video, I had to insure that the to read and freeze each frame I recomposited images were sized needed to trace for rotoscoping. and registered to each other. This Originally, I expected the flat sur was facilitated with the aid of face of the anti-glare screen attached Christopher Wright, a graduate to the output monitor would be an student enrolled in The School excellent surface for registration. for American Craftsmen (SAC) at However, the surface of the anti-glare Rochester Institute of Technology. screen was situated approximately 5/8" Wright designed and built a box above the surface of the moni which would accept a monitor within toring screen itself. This complicated its dimensions.This box was specially the registration process. Unless I created to allow the monitor to be could maintain my exact perspective pro- tipped on its back without damaging throughout the entire tracing Illus. 15: Three frames of video alternated with two frames of rotoscoped eels create a real/non-real scene

=J cedure, the images would appear to gesture drawings, I loosely inked and shift in relationship to my eyes and painted the eels. In order to increase the screen's surface. This isknown as the visibility of the rotoscoped imagery parallax. Therefore, it was necessary upon composite assembly, I restricted to remove the anti-glare screen and my color palette to include colors with work directly on the convex surface highly luminous values (Illus. 16). of the monitor screen. Unfortunately, the registration mount could not be c. Secondary Registration affixed to the convex surface of the When the newly created images monitor. Alternately, the imageswere were input into the Genigraphics registered, as closely and consistently system, they again had to be carefully as possible, by securely placing them registered in order to avoid unsyn- in upper corner of the left the monitor. chronized movement. This secondary registration was achieved by again b. and facing, biking, Painting affixing the Acme peg animation The tracing, inking, and painting mount to the flatbed surface of the process of rotoscopingis more thana video camera stand. Once the image time devouring mechanical maneuver. was grabbed and displayed on the This is the stage where aesthetic Genigraphics display, it was output decisions take place. The amount directly to the video display monitor. of information each traced represen In addition, the primary registration tation must contain as well as the cel and a carefully traced represen artistic treatment of the image is all tation of the original frame were determined this process. during affixed to the output video display of Due to the amount eels needed, monitor. When all were in regis I traced the as images gesture draw tration, each rotoscoped frame was ings. Retaining the liberal quality of individually scanned into the Geni- graphics system for the purpose of ance, each frame was recorded sequen each on outputing a video recording tially with three blank frames alter (Illus. 17). nately placed between every two rotoscoped frames as described by d. Introduction to the Genigraphics the ratio index (see Stage III:B:5> In Each cel was scanned into the Geni addition, it should be noted, that graphics system separately with the when following this procedure, for aid of a Camera Control Unit (CCU), recording purposes it was necessary Brush" an Ikegami Camera and the 1986 to enter the "Use function in Video Upgrade Grab Function. As order to remove the Genigraphics mentioned earlier (see Stage I: area.29 B:l:c), menu fromthe visible recording the amount of storage space required to save these images wouldhavebeen e. Image & Scene Management massive and expensive. Therefore, Since the imagery was never the images were never digitally electronically stored, the rotoscoped stored. Instead, the only record of eels were chronologically labeled. As these drawings remained on the each frame was traced its corre surface of the acetate eels. By grab sponding SMPTE time code number bing the imagery and immediately was recorded on the acetate cel (see bringing the results onto the Geni Appendix A:A:5). graphics screen, the images could Next, a cross reference filing sys be recorded directly on video. tem was developed. Firstly, each cel Generally from the Genigraphics, was filed chronologically according 3/4" imagery is recorded on video the time code number assigned it. by creating an animation table and Secondly, when it was recorded on initiating the taping procedure. video output, each cel was also Fortunately, the editing controller documented with the corresponding also possess the ability to manually frame and scene number assigned frames." record "hold These frames by the 1986 Video Upgrade Software. do not require the recording of an Therefore, when reviewing a scene, animation table. Initiating the manual the associated frame numbers of any procedure can be done at the editing unsatisfactory elements couldbe iden controller keypad, causing the con tified by requesting its particularpara- troller to record directly from output display. Whatever appears on the output display, will also be recorded on the video tape. Therefore, it is nec essary to remove any visible, unwanted information from the display. With the 1986 Video Upgrade Grab Function and a Camera Control Unit, each cel was scanned into the Geni graphics system using the Ikegami camera which was mounted to a camera stand. Once the image was

regenerated on both the Genigraphics and video display monitor, it was immediately recorded manuallyatthe editing controller. While the material was recorded with the aid of a video camera,graphics system, and editing Illus 16: Gesture controller, in essence, this procedure drawings were developed film to mimic the is very similar to the recording complexity of traditional animation. ofmovement and motion To maintain synchronization with dynamics displayed by the live action prerecorded perform the performers. meter information from the editing recording for the purposes of later controller. The parameter infor composite through the available mation provided thevideoframe and special effects generator (SEG). The scene number I previously recorded composite animation would be on each acetate cel by hand. By cross assembled using a video editing Roll," referencing the scene and frame technique known as an "A/B "A" "B" number with the SMPTE Time Code where each and are inde number, specific eels could be located. pendent video sources. These two Once modified, selected eels could be sources are then simultaneously rescanned and viewed on the video edited onto a single tape titled "C". "A" monitor. The new images could then In mis case, would represent the "B" be rerecorded in there correct frame vector and rotoscoped animation, position by entering it at the editing would include the prerecorded video "C" controller keypad. material, and would be the final composite animation. Therefore, to f. Video Output succeed, all animation would need to 3/4" It was necessary to output all the reside on video to accommodate information, both vector animation the available SEG. and rotoscoped animation onto 3/4" a video g. Glare M After reviewing the initial composite, a reflection from the acetate eels created a severe hot spot on the video recording. Confusing and distracting, the reflection was a visual annoyance. In order to record the material without the reflection, it e was necessary to find an alternative approach. For rtiJc: this second recording the reflection was reduced by the application of two polarizing screens and a polarizing filter. The screens were mounted over the camera stand lights at 17: Illus. a polar axis to Displayed the filter which above and at was affixed over the cel right, the video camera registration was lens (Illus. 18). achieved an byfixing In addition, Acme animation peg the white mount to the surface the of 'balance and video camera stand. Once the video gain grabbed cel was displayed on the had to be altered Genigraphics lOOD-plus monitor, in order to rere- it was also displayed on the VTR cord the roto monitor (See next page). A second scoped imagery.30 registration cel, identical to the first, was positioned on the surface Unfortunately a second series of the VTR monitor to guarantee of tests revealed when the two images accuracy that the illum were composited editing. during ination of these images was Page #21

e OO

OO VTR Monitor Display ^Registration Cel

For this reason the credit story boards tookon a very different look from the remainder of the thesis. These were generated as full frame Genigraphics Monitor Display designs with complete backgrounds and a hard-edge, graphic treatment. insufficient to produce a discernable They were not composited with the 19). reproduction. The recording was too prerecorded video (Illus. dark to be separated from the back This portion of the thesis moved eight keyframes ground through the keying process. extremely fast. All Again, the images would have to be were designed in one day and com thereafter. recorded in another format. puter generated shortly For the third recording of the The animation was timed and planned rotoscoped material, the acetate from keyframe to keyframe in a very images were mounted to a light methodical progression. Fortunately, background and illuminated from no problems or modifications were throughout the produc underneath, otherwise known as encountered backlight. The modified background tion of the closing credits. addition the backlight provided in to C Additional Techniques sufficient lighting for reproduction, exercises were however, since the original images The following were aban were created with opaque inks they initiated, however, they to the lack of were now represented as silhouette doned due remaining show. While drawings. Unfortunately, while the time before the thesis excluded from final forms lacked their intended color they were my dance production, I would like to include ation, the illustration of the them in the written body. remained comprehensible.

6. The Credits I.Real Time Animation Real Time Animation is the ani The audio breakdown of the ani mation of objects without encoun mation revealed a section where the degener a prolonged pause for each music entered a period of tering frame regeneration. In "conventional ation. This section was positioned animation," each is near the computer frame after the climax and very logical generated and recorded end of the piece. It was a individually credits. Since frame frame. In contrast, however, point to introduce the by real time animation is generated and function would be to their primary recorded in the same passage of time highlight specific people and specific that of when it would be viewed. functions, they would be treated as as video as an example, in typographic and thematic illustra Using conventional computer animation, tions. I felt for the first time in this require calcu would one second would the production, the animation and subordinate to the lated creation, display, not have to be recording of 30 individual frames. This creation prerecorded performance. may take several hours or even days to generate and record while they would be consecutively reviewed in one second. However, in real time animation, all 30 frames of that one second would be generated and recorded in one second. The display of the Genigraphics system requires a process known as regeneration in order to illustrate the created imagery. During the regener ation process, each created object is reproduced one at a time in the hier archical order in which they are overlapped. If the designer planned carefully, the objects could be over lapped in such a visual array as to construct an animation by simply regenerating the display. As described earlier, the "hold frame" function of the editing con troller permits the manual recording of whatever currently resides on video display (see Stage III:B:5:d). If the manual recording could be initiated during the regeneration process, real time animation would be recorded. Since it would be dif ficult to precisely start and end the manual recordingprocess in synchro nization with the beginning and ending of the regeneration,it would be necessary to record longer time lengths. This extra recording length would then be edited out in post production phases. These two processes, the hold frame of the editing controller and the regeneration of the Genigraphics display, in conjunction with each other would, in effect, constitute a real time animation.

2. Electronic Frame Painting Originally, I intended to incor porate this technique rather than ges ture drawing for the illustration of the rotoscope scene. However, this technique was an incredibly timely process. While the Rochester Institute of Technology's 1987 Genigraphics installation could not directly accept an isolated video input cable, I found a crude but alternative method for Illus. 18: Glare can be reduced by the introducing video to the system. application of two polarizing screens and Again using the monitor box created a polarizingfilter. Page #23

Illus. 19: The credit storyboards were created asfullframe graphic designs. They were not composited with the prerecorded video performance.

by Chris Wright (see Stage III:B:5:a), exclude the interference of the contin I was able to place a monitor on its uous video scan line. However, with back on the flatbed of the camera the aid of the editing controller, I stand.Throughthecompounded use could use the SMPTE Time Code of the Camera Control Unit, Ikegami to address a particular frame, pause video camera and the Genigraphics the image on display, and capture a 1986 Video Upgrade Grab function, particular frame (see Appendix A:A:5). I could capture video imagery while Once scanned, the grabbed image the video cassette remained in play. would reside on a canvas and could Unfortunately, I could not guarantee be enhanced through the applications which frame I would capture nor of the Paint Package (Illus. 20).

Illus. 20: Images grabbed with Ikegami video camera are electronically painted and enhanced with the aid of the Genigraphics 1986 Video Upgrade Package and output with the aid ofan editing controller. Outline

Stage IV: Editing & Composite Assembly A. Assembly Production 25 1. Color Correction 25 2. Audio 25 3. Image Collision 26 4. Rotoscope Alignment 26 5. Safe Area 27 Stage IV: Editing & Composite Assembly

Once the footage for a program is the editing controller, the signal the recorded, process of building checked with the waveform monitor, the narrative really begins. Editing is and the color bars corrected with the two- generally a stage process. The vectorscope. first stage usually includes the cata loguing of raw footage from the ori 1. Color Correction ginal master. From this catalogue, the Among other adjustments,when 'A" desired segments are organized into the two video sources, labeled and "B" what is known an as editing script. were brought to the editing session, The editing script indicates the loca they were monitored for signal tion and duration of each segment stability and color compatibility. intended for the final product The color bars recorded on each assembly. Using the editing script, source were displayed and synchro the rough-cut is assembled, usually nized with the aid of the vectorscope. without effects, titles or graphics. However, when I created the ani Stage two is the fine-edit, in which mated imagery on the Genigraphics, the master tape is edited to create I determined the color visually from the final product. Generally, it is at the display monitor. At the time, I this stage that the full capabilities was unaware that the color generated of computerized editing systems on the display monitor was modified are applied and special effects are to simulate the visual results desired introduced.31 by individual animators using the In order to provide a basic under system. For synthesis applications, standingof somegeneral video editing I was restricted to true color. There principles, Appendix A: "Basic fore, the generated animation had to Editing" has been assembled for the be modified to reflect true coloring. benefit of the reader. If a question This was achieved by keyboarding concerningthe recounted procedures color into the Genigraphics according or equipment used in this stage, to the numeric values supplied in the please refer to this Appendix for Genigraphics User's Manual. In addi more information. tion, the video output monitor was visually corrected by displaying color A. Assembly Production bars with the aid of the color encoder Compositing the computer gener and makingthe adjustments manually. ated imagery with the video imagery For future applications, I recommend was more difficult than anticipated. this procedure to any individual to output Genigraphics For the first editing session, I brought intending the raw footage of the prerecorded imagery on video. performance and the newly gener ated computer animation. Addition 2. Audio original album sound track ally, I brought a detailed editing The on both audio channels scriptincluding time code schematics, was recorded a special effects script, the original of what would become the composite 3/4" sound track from Cats, and a master. By recording the original trackonto the it broadcast quality video cassette album sound video, prerecorded with black burst, color became a second generation sound bars, and SMPTE Time Code. In order track. The recording used to generate to guarantee a successful edit, the a music log for the original develop recordings were genlocked through ment of the animation storyboards Imago Collision was also second generation. The 3. Compensations for sound track music provided on the prerecorded deviations resulted in the displace video performance, however, was storyboard elements when fourth generation. ment of superimposed on the prerecorded Once the original album sound material. order to alleviate the track was composited with the pre In some computer recorded video performance and visual disturbance, animation was excluded the computer generated animation, generated "mixed" portions were a discrepancy was evident. While while other information. the length of the animation almost with the prerecorded equaled the second generationsound As time conscious decisions, these introduced and track, the sound track outlasted the modifications were prerecorded performance by almost incorporated in the editing suite. 40 seconds. Next, I was informed that each of 4. Rotoscope Alignment the three sound tracks, the original As described earlier, the roto album; the prerecorded video per scoped material now resided as formance; and the tape cassette used silhouette imagery. Prior to the syn to generate the music log for the thesis, the imagery had an individual computer animation, should have characteristic. Upon composite, how been played on the same source, at ever, the effect completely lacked a fixed speed (not battery powered), substance. It was confusing and in order to increase the chances they unreadable. While trying to resolve would coincide in duration. the situation, the rotoscoped imagery At this stage, it was too late to was accidentally offset against the create new animation time tables. It prerecorded performance. A strobing was also not recommended to repro effect was produced when the duce the fourth generation sound original ratio of two superimposed track (of the prerecorded video per rotoscoped frames against three formance) onto the composite master unmodified video frames was unin lower- tape thus making it an even tentionally dissolved (see Stage quality, fifth generation sound track. III:B:5). In addition, the rotoscoped As limited as the options appeared, silhouettes appeared to be dancing another alternative existed mani with their prerecorded counterparts. pulating existing imagery. This With the addition of some special included somehow lengthening all effects, the composite editing pro prerecorded video and computer duced an illusion of four synchro animation to equal the duration nized performers where only two of the new sound track. originally resided. Far from idealized, Equality was achieved by modi the final rotoscoped synthesis pro fying the editing and special effects duced the real/non real illusion . script. Portions of the special effects script were altered to include fading 5. Sale Area out the prerecorded performance While the credits of the animation while fading in the computer gener were designed within a specified ated animation. When the pre video safe area, they pressed the recorded performance was faded out, extreme boundaries. When a title or it was rewound an to earlier point graphic is recorded, it is necessary and reintroduced at a suitable posi to to take into consideration that no tion. Another modification included two monitors frame in exactly the a repetitious editing of a cyclical same way. An image that is perfectly choreographic movement to provide centered on one monitor may appear the appearance of several leaps bya slightly to the left on another. Accord performer when only two actually ingly, titles or graphics must have existed. Finally, in order to lengthen adequate space around them so that the computer generated animation, it the edges do not disappear into the was also repeated in a cyclical fashion. monitor frame. But with slides, photo- Page #27

graphs, and other all-over graphics, safe areas and out of viewer sight. the reverse is true. The part of the In order to correct this, I returned image shown has to be smaller than to the Genigraphics and reduced the the whole, especially on the narrow sizes of each affected image. The dimension.32 Upon composite play results were then rerecorded and back, several credits, designed as full successfully insert edited onto the frame imagery, extended beyond the composite master. Page #29

Evaluation

This thesis developed as a personal be one which offered the greatest exploration in the compositing visual adaptability. effects of computer generated imagery, 2. In addition, the mechanical adapt traditional cel animation, and video- ability of the original source graphy. Through trial, great error, would be a major factor in and much modification, this collab producing the final synthesis. oration evolved. As a product of Primarily, deterrents to the composite transition and progression, it can product reflected poor initial source be said, it echoes the absolute selection. The use of a third gener design process. ation, prerecorded, out-of-production In order to create a visually aes performance introduced the major thetic ensemble while incorporating technical limitations which plagued several techniques, each exploration the remainder of the project. was to support the whole in its depic tion. Personal aesthetics and technical Strength limitations determined the inclusion The strength of this thesis was its or abstraction of any particular ability to adapt and modify. Collisions approach, and to what degree, if any, between idealized and realized were, that it would be used, modified or obviously, more frequent than desired manipulated. Finally, these decisions or anticipated. However, out of these were based upon the desire to sup contrasts, alternatives and new pro developed. Processes port, strengthen, or emphasize the cesses were prerecorded performance. which, had the intended symbiosis been reached, would otherwise have Weakness gone unrealized. In retrospect, the encountered provided the The greatest individual weakness obstacles insights and precedents I sought. of this thesis, was a poor foundation. new however the As outlined in Stage II: A, a major Therefore, modified, experimental exploration consideration of this thesis was one evolution of challenged through the limit of source material. was ations of the original thesis intent. 1. The selection of a source had to Outline

Appendix A: Editing Basics A. Editing 31 1. The Process 32 2. The Editing Controller 32 3. Initializing a Tape 32 4. Black Burst 32 5. The Control Track 33 6. SMPTE Time Code 33 7. Assembly Editing 33 8. Insert Editing 33 B. Special Effects 33

1. Fades, Mixes, and Superimposition 34 2. Wipes 34 3. Keying 34 C. Monitoring Equipment 34 1. The Waveform Monitor 35 2. The Vectorscope 35 3. Time Base Correctors 35 Page #31

Appendix A: Editing Basics

the next few pages has been primarily Video tape editing is the rearrange derived and consolidated from three ment of images and sounds from sources: The Video Manual, Conver one tape onto another, enabling gence Corporation ECS-90 Series: unwanted material to be discarded Preliminary Installation and Opera and new alignments made. The tape tions Manual, and Professional Video originally recorded is known as the Production. In order to avoid a master tape. When this tape is edited cluttered and disruptive narrative, "Editing," onto another machine, the second the sections entitled tape is known as the "composite "Special Effects,"and "Monitoring Equipment" master,"and referred to as a second- will be inclusively generation recording. footnoted at their conclusions.

A. Editing 1. The Process In order to provide a basic under The object of a simple edit is to standing of some generalvideo editing place each new segment on the edit principles, this Appendix has been master so that the first frame of the generated. The material outlined on new material will start at precisely

Video In

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Illus. 21: Video editing systems are designed around a controller which more AC enables images and soundfrom Supply than one source to be assembled. "replay" the machine. The replay machine contains the originally IX. recorded master tape. The second fVr machine, known as the record machine, holds the compositing tape L/J and must be capable of producing shot the next / wh splices from one to without interference or frame roll.

2. The Editing ControDer Video editing systems are designed s around a controller that enables the images and sound available at one or > Audio Burst more source decks to be assembled onto a master tape. The controller is in part a remote control, and in part Source VTR Editing VTR a dedicated computer, with its inputs, logic circuits and outputs entirely dedicated to the performance of editing operations (Ulus. 21). The controller's counter uses control track, both to regulate speed and to I Video determine an edit point. In a two- (genlock Video machine edit, the controller input) Output editing rn regulates the replay machine and the record machine. By comparing times of the control tracks on the source and record decks, or replay and record decks, the controller can SEG measure the difference in timing between the decks and generate a differential signal. By providing this signal to the capstan servo of the editing video tape recorder (VTR), the latter can be slowed or sped up by the required fraction until the vertical intervals of the two decks are perfectly matched. This pre Control Control vents a disturbing frame roll. Signals Signals Editing Controller 3. Initializing a Tape A new or blank video tape, by definition, contains no information on it. An initialized tape has a control track laid upon it for frame-by-frame recording and editing purposes. To initialize a tape, it must be prere Illus 22: SEGs make the point at which the last desired corded with either a black video transitional of effects frame the previous segment onthe signal or color bars over the entire between cameras and master ends. The composition, speed, length of the tape. auxiliary devices possible. and direction of movement in one shot will either glide into the next or 4. Black Burst collide with it. The visual of result As described, editing requires a the interface between the two control track. Often control tracksare segments is the primary objective. initiated through black burst. Black Two machines are involved in burst includes the entire television "record" editing: the machine and raster, with horizontal sync, color Page #33

burst and vertical sync in addition to If raw stock or a video tape without control track. When a tape with black a continuous control track is used, burst is run, the particles on the tape assembly mode must be employed are organized into a black-level to raster, achieve the edit. Assembly editing with stable sync. Without a control involves writing over the entire track, a blank tape is not suitable master tape, including the video for editing. picture, the control track information, and all audio tracks. 4. The Control Track As discussed, two machines, or The video image is controlled by video tape recorders (VTRs) are in two sync pulses: line sync and field volved in editing. The master tape sync. in Every videotape, addition to resides on the VTR known as the the video picture and audio channels, replay deck and the compositing tape contains a series of regularly spaced resides on the VTR known as the pulses on a control track. The control record deck. First the recorddeck is track is a signal of consisting one cued to an appropriate starting point, pulse per frame. If the pulses are then the desired segment on the a irregularly spaced, break-up of the master tape is found, rehearsed, and or frame will result. picture, roll, The precisely indicated to the editing pulses are used to track the relative controller. Next, a preroll is initiated, tape location, monitor the speed, and and the replay machine is set into guarantee that edits are executed at motion. When the chosen entry point the correct points. In addition, the is reached the record machine begins pulses are also used to perform taping. At the end of the section searches, prerolls, and previews. required for that episode, the pause is enabled on the record machine and 5. SMPTE lime Code the replay machine is used to find the During an editing session, control next sequence on the master. trackpulsecounting is not completely accurate. Occasionally a pulse is lost 7. Insert Editing and can not be read. Therefore, it is Insert Editing requires much more often necessary to employ time code. sophisticated equipment and involves SMPTE Time Code is thename given the insertion of audio and video (or to the form of time coding developed video alone) on a previously recorded by The Society of Motion Picture and tape. Insert operations involve the Television Engineers. Time coding is insertion of selected parts of a pro control track information generated in gram over prerecorded video material digital form togiveeach frame on a by using the existing control track as video tape a permanent identification a timing reference. The prerecorded in terms of its position in minutes, material is normally black burst. In seconds and frames from the tape this mode, it is possible to insert video head. It is recorded on an audio channel only, without disturbing the existing 3/4" (on recordings it is on a time audio; to dub one or another of the code address track located in the audio tracks separately without dis vertical blanking interval). This extra turbing the existing video, or other signal carries an encoded number for audio tracks, and any combination each frame. Since the recorded thereof. Today, the insert mode is the

editing.33 numbers are permanent, once the tape primary mode used in moves up to full speed any previously undetected pulses are recounted. B. Special Effects While the camera and the deck 6. Assembly Editing record the image, they are not unique The most basic form of editing is to the editing suite. Special Effects known asan assembly edit. Assembly Generators (SEGs), or switchers, are devices that operate mode is used to lay down black and essentially editing sequentially construct separate seg in production as well as post-produc trans- ments of one tape onto another tape. tion. In production, SEGs make itional effects between cameras and from a mix in that the incoming an various auxiliary devices possible. A image occupies ever-increasing a hard line small range of special effects that may area of the screen, and from the out be achieved include: fades, mixes, separates the incoming image. The wipe be a wipes and keying (Illus. 22). going may For an SEG to create transitions straight-forward vertical or hori zontal line. it among the different images gener Alternatively, may ated by two or more pieces of equip be a square, an iris, or any number variations. direction and ment, the images must arrive at the of other The base." SEG on the same "time That speed of the wipe can be controlled and through the is, they must be perfectly synchron through the faders ized, so that the sync intervals of the controls on the SEG. lines and frames generated by each piece of equipment all start at the 3. Keying same instant. Keying is an electronic relative of To do this in production, all the wiping. Keys bring in the new image devices used as image sources are in specified areas, defined by lumi "genlocked," or enslaved, to the sync nance or chrominance. The keyers provided by one source, such as the in most SEGs are luminance keyers. sync from one of the cameras, or These are used, for example, to create from a sync generator. If a videotape the television subtitles which are gen recorder is used as an image source erated against a black background in a studio, however, then either the and superimposed upon the action. sync recorded on the tape is used as The black background is ignored by the genlock source, or the VTR must the keyer, while the bright letters be equipped with a time base corrector supercede the image where they (TBC). Whatever source provides the appear. Where the luminance of sync, all the video equipment used at the keyed letters is equal to mat of one time must operate on the same the image, the letters become unread time base. able if they are not bordered. Video also offers the possibility of 1. Fades, Mixes, and Superimposition chrominance keying, which is done A fade is a gradual increase or by means of a chroma keyer that uses reduction in exposure. SEGs have a specific hue to key an image. Tradi separate faders for each camera. tionally, a central blue (chroma key These act in the same way as volume blue) has been used for this purpose, controls on a sound mixer, and reg because this color contains a ulate the video gain of each input. minimum of flesh tones.34 For example, if camera 1 is selected as the output camera, the image from C. Monitoring Equipment that camera can be faded up, or down Aside from editing controllers, to black and the effect may be observed video tape recorders, and special on the output monitor. Alternatively, effects generators, editing suites as camera 1 is faded down, camera 2 usually include a variety of sensitive may be gradually faded up. The effect equipment in order to monitor the here is a or dissolve, mix, between one quality of the production. Some of camera and another. The mix of the the instruments used provide a two inputs may be held at any given means for identifying signal distor stage to super- produce a sustained tion, stability while other equipment imposition. This can be used for a provides structural compensations variety of effects. for signal inconsistencies.

2. Wipes 1. The Waveform Monitor Wipes are essentially graphic A video waveform monitor is an devices, made when one image is oscilloscope designed to display the transformed into another along the video signal as a linear trace, in for edges of a pattern. A wipe differs mats standardized for television wave- Page #35

forms. It is designed to be used by then indicate precisely how much video technicians to evaluate the color phase adjustment is necessary amplitude and timing as well as the to provide a color-correct master. In relationships between signals, but dubbing, the vectorscope can be used can also be read on a less technical to check the color bars on the master level, to determine the electronic to make correct color dub. integrity of the image that is being, or has been recorded. 3. Tune Base Correctors Video signals recorded and played 2. The Vectorscope back through VTRs are degraded. Vectorscopes are designed to check While first generation quality is accept the color, or chrominance, relation able, when edited, each generation ships within a television image. As amplifies the abberation. A time base mentioned, color has two aspects, hue corrector (TBC) adjusts the timing of and chroma, which describe the actual the video signal. Primarily, this adjust color (hue) and its intensity (chroma, ment involves the time that each line or chroma level). In production, vector- starts, lasts, and is blanked. To do scopes enable the producer or tech this, a TBC stores one or more lines "balance" nical director to match or of video at a time, comparing the two or more cameras, and to check duration of the blanking and sync that the signal recorded displays for each line to a correct reference both correct chroma and correct hue. interval. If a line is a fraction early Matching cameras involves compared to the reference time, it fraction and then checking that each is set for the same is delayed by the color relationships. If the two cameras released. If late, the line will be are matched, the differential between delivered earlier. the two can be minimized or elimi Time base correctors also provide in terms nated entirely. However, when they manual adjustments for hue, off- in terms are not, the entire scene will look of color phase, and chroma, color color whenever there is a switch or of chroma level. However, since base some dissolve from one camera to another. is affected by time error, vector- color occurs auto In post-production, the improvement in correction. scope is also used to check color, pri matically with time base Manual adjustments therefore need marily the color bars that should have unadjusted been recorded at the head of each tape not be made until the during production. The color bars will output is observed. Page #37 Notes

1 Gene Youngblood, "A Medium 13 David Cheshire, The Video Matures: Video and the Cinematic Manual (New York: Van Nostrand Enterprise," in The Second Link: Reinhold Company, 1982), p. 16. Viewpoints on Video in the 14 Ibid. Eighties, comp. The Walter 15 During the 1986-1987 academic Phillips Gallery of The Banff year, the one Genigraphics D plus Centre School of Fine Arts (Banff, graphics computer was the only Alberta, Canada: The Walter system operating with The Video Phillips Gallery of The Banff Upgrade Package. Graduate Centre School of Fine Arts, 1983), students were required to fairly p. 9. divide the number of hours 2 Ibid. available on the system between 3 Charles R. of Berg, "Fundamentals the number of students requiring Computer Graphics for Artists and its services. designers," in Computer Graphics 16 Bernoulli Boxes are removable- '84, Proc. of the Fifth Annual cartridge firm-ware devices Conference on Computer designed for large storage Graphics, 13-17 May 1984 (n.p.: capacities of digital information. National Computer Graphics 17 Cycle Paint is a real-time Association, 1984), I, p. 525. animation function of the 4 Ibid. Artronics Paint Package. It 5 Gerald Kahen, Jacques Callot: repeated shifts a specified range of Artist of the Theatre (Athens, colors from the palette forward by Georgia: The University of a specific number at determined Georgia Press, 1976), p. x. time intervals. 6 Christopher Finch, The Art of Walt 18 David Cheshire, The Video Disney: From Mickey Mouse to Manual (New York: Van Nostrand the Magic Kingdoms from 1983 ed. and Reinhold Company, 1982), (New York: Harry N. Abrams, p. 21. Inc., 1983) pp. 192-193. 19 "In a video camera, the image 7 Kit Laybourne, The Animation coming through the lens is focused Book (New York: Crown onto an electronic "signal plate", Publishers, Inc., 1979) p. 149. coated with photo-electric 8 Ibid. material. A very narrow scanning 9 Genigraphics Corporation, The beam of electrons, emitted by a Animation Products User Guide cathode, reads the resistance of the (n.p.: n.p., n.d.), p. 1-7. material into an electrical signal. 10 Genigraphics Manual, The Video This scan beam traces across the Upgrade Products User Guide entire picture on the signal plate through a deflection coil (n.p.: n.p., 1986), p. Intro-3. passing 11 Ibid. p. Intro-2. which pulls the beam in horizontal vertical directions. 12 Basic geometric shapes, points, and The coil the scanner and lines define vector based deflection focusses pattern until the in point-to-point con in a continuous imagery scanned." picture has been structions. Pixel imagery is entire A. to illustrated as bit-mapped config Edward Kramer, "Analog Conversion: A of urations where the smallest unit Digital History Animation" Video in Computer possible, the picture element, is Proc. of the Eighth the foundation of image assembly. Graphics '87. Annual Conference and domestic color camera. Exposition on Computer Graphics, Gain is the degree of amplification 22-26 March 1987 (n.p.: National of an electrical signal. Computer Graphics Association, David Cheshire, The Video 1987), II, 366. Manual (New York: Van Nostrand 20 David Cheshire, the Video Manual and Reinhold Company, 1982), pp. (New York: Van Nostrand 214,216. Reinhold Company, 1982),p. 175 31 Ingrid Wiegand. Professional 21 Trevor Nunn, 2nd ed., '"We are Video Production (New York: fascinated by cats...'" in Knowledge Industry Publications, Cats:Souvenir Brochure comp. Inc., 1985), p. 117 Mary Williams (London: 32 Ingrid Wiegand. Professional Dewynters LTD, 1983), n. pag. Video Production (New York: 22 Gillian Lynn, "'a giant playground Knowledge Industry Publications, cats'" for in Cats: Souvenir Inc., 1985), p. 151. Brochure comp. Mary Williams 33 Convergence Corporation. ECS-90 (London: Dewynters LTD., 1983), Series: Preliminary Installation n. pag. and Operation Manual (U.S.A.: 23 Ibid. n.p., 1983), pp. 1-4. 24 Eadweard Muybridge, Animals in David Cheshire, The Video Motion (New York: Dover, 1955), Manual (New York: Van Nostrand p. 39. and Reinhold Company, 1982), pp. 25 Genigraphics Corporation, The 41,169-173. Video Upgrade Products User Ingrid Wiegand. Professional Guide (n.p.: n.p., 1986), p. 1-3. Video Production (New York: 26 Ibid. p. 1-4. Knowledge Industry Publications, 27 Tony White, The Animator's Inc., 1985), pp. 117-128. Workbook (New York: Watson- 34 David Cheshire, The Video Guptill, 1986), p. 51. Manual (New York: Van Nostrand 28 Bruce Nesbitt, "Animating for Knowledge Publications, video," Industry Music HOW, May/June Inc., 1985), pp. 174-175. 1986, 1, No. 4, 46-53. Ingrid Wiegand. Professional 29 The Use Brush function of the Video Production (New York: Paint Menu in the Genigraphics Knowledge Industry Publications, Video Upgrade Package calls up Inc., 1985), pp. 37-39. the current canvas, ready for 35 Ingrid Wiegand. Professional painting. The menu will scroll Video Production (New York: away to give maximum work area. Knowledge Industry Publications, Genigraphics Corporation, The Inc., 1985), pp. 41-43. Video Upgrade Products User 32 Ingrid Wiegand. Professional Guide (n.p.: n.p., 1986), p. 2-18. Video Production (New York: 30 White Balance is the system for Knowledge Industry Publications, calibrating color balance on a Inc., 1985), p. 151. Page #39

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Chiani, Carol and Maureen Nappi, Upgrade Products User Guide, n.p.: Joann Tolkoff, and Tanya n.p., n.d.

Weinberger. "Computer Graphics: . Beta Test Document: Trends." Design Techniques and The Genigraphics Family of Video Technical Session VU-17, Computer Upgrade Products, Interim, n.p.: n.p., Graphics '87: The Eighth Annual 1986.

Conference and Exposition on . Video Upgrade Computer Graphics, Philadelphia, 25 Products User Guide, n.p.: n.p., 1986. March 1987. Kahen, Gerald. Jacques Callot: Chishire, David. The Video Artist of the Theatre. Athens, Manual. New York: Van Nostrand Georgia: University of Georgia Press, Reinhold Company, 1982. 1976. Collins, Joan. "Theatrical Laybourne, Kit. The Animation Computer Graphics." Technical Book. New York: Crown Publishers, Session VU-15, Computer Graphics Inc., 1979. '87: The Eighth Annual Conference Lovece, Frank. "Design to the Beat." 24- and Exposition on Computer ID, March/April, 1986, pp Graphics, Philadelphia, 25 March 31,72. Effects." 1987. Lunn, Russel. "Special Computer Graphics '84. Proc. of Introduction to Video II, The the Fifth Annual Conference and Rochester Institute of Technology, Exposition on Computer Graphics. Rochester. 16 Dec. 1986. in 13-17 April/May 1984. n.p.: National Muybridge, Eadweard. Animals Computer Graphics Association, Motion. New York: Dover, 1955. for 1984, Vols. I and II. Newsbitt, Bruce. "Animating Video." Computer Graphics '87. Proc. of Music HOW, May/June. the Eighth Annual Conference and 1986, Vol. I., No. 4, pp. 46-53. "Computer Ghosts. Exposition on Computer Graphics. Tilton, Helga. Vol. No. 22-26 March 1987. n.p.: National "How, Nov/Dec. 1986, I., 6, Computer Graphics Association, pp.38-43. Animators Vols. I and II. White, Tony. The 1987, Watson- Convergence Corporation. "ECS- Workbook. New York: 90 Series:Preliminary Installation and Guptill, 1986. Manual." Gene. "A Medium Operation U.S.A.: n.p., Youngblood, Cinematic 1983. Matures: Video and the Enterprise." Second Link: da Silva, Paul. The World of In The in the Eighties. Animation. New York: Kodak Viewpoints in Video Walter Phillips of Publications, 1979. Comp. The Gallery Centre School of Fine Arts. Finch, Christopher. The Art of The Banff Canada: The Walter Walt Disney: From Mickey Mouse to Bannf, Alberta, of The Banff Centre the Magic Kingdoms. New York: Phillips Gallery School of Fine Arts, 1983. Harry N. Abrams, Inc., 1983. Genigraphics Corporation. Video Page #41

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Chiani, Carol and Maureen Nappi, the Eighth Annual Conference and Joann Tolkoff, and Tanya Exposition on Computer Graphics. Weinberger. "Computer Graphics: 22-26 March 1987. n.p.: National Trends." Design Techniques and Computer Graphics Association, Technical Session VU-17, Computer 1987, Vols. I and II. Series." Graphics '87: The Eighth Annual Lunn, Russel. "Lecture Conference and Exposition on Introduction to Video II, The Computer Graphics, Philadelphia, 25 Rochester Institute of Technology, March 1987. Rochester. 16 Dec. 1986. Collins, Joan. "Theatrical Werberig, Charles. "Lecture Series." Computer Graphics." Technical Introduction to Video I, The Session VU-15, Computer Graphics Rochester Institute of Technology, '87: The Eighth Annual Conference Rochester. 16 Sept. 1986. " and Exposition on Computer Timmerman, Erik. Lecture Series" Graphics, Philadelphia, 25 March Introduction to Animation I., 1987. The Rochester Institute of Computer Graphics '87. Proc. of Technology, Rochester. 16 Sept. 1986.