A Brief History of Computer Graphics 1950S

Total Page：16

File Type：pdf, Size：1020Kb

A Brief History of Computer Graphics 1950S

1 A Brief History of Computer Graphics Mike Bailey [email protected] This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License Computer Graphics History.pptx mjb – September 9, 2021 1 1950s 2 • Pen Plotters • Computer-controlled oscilloscopes Calcomp Tektronix Computer Graphics mjb – September 9, 2021 2 1 1960s 3 • Vector displays • Interaction • Ivan Sutherland’s SketchPad project Imlac MIT Computer Graphics mjb – September 9, 2021 3 4 1970s Megatek • Direct View Storage Tubes (Oregon’s own Tektronix!) • Color raster displays (CRTs) • Hardware-accelerated vector displays • Commercial production companies emerge • SIGGRAPH conferences (started in 1974) • Star Wars Episode IV IBM Tektronix LucasFilm Tektronix Computer Graphics mjb – September 9, 2021 4 2 1980s Pixar 5 • Dynamic color raster displays 20th Century Fox • Flight simulators • Silicon Graphics, Inc. (SGI) • Pixar Pixar • Scientific visualization • Luxo Jr., Tin Toy • The Last Starfighter, TRON, Star Trek II: The Wrath of Khan, Young Sherlock Holmes, The Abyss • Jen-Hsun Huang graduates from Oregon Evans & Sutherland State with a BSEE degree,1984 Evans & Sutherland Lorimar MAGI LucasFilm Computer Graphics LucasFilm mjb – September 9, 2021 5 1990s 6 Nvidia • Texture-mapping in hardware • OpenGL • PC graphics cards • Terminator 2, Jurassic Park, Toy Story, Star Wars Episode 1 Amblin Entertainment CarolCo Pictures Pixar LucasFilm Computer Graphics mjb – September 9, 2021 6 3 2000s 7 • Hardware Shaders Pixar • OpenGL-ES (Embedded Systems, i.e., intended for underpowered hardware) • More movies! Pixar 20th Century Fox Disney Disney Illumination Entertainment Pixar Pixar Computer Graphics mjb – September 9, 2021 7 2000s 8 • CG is now so much a part of movies that we don’t even think about it Marvel Studios Disney Disney Pixar Pixar Pixar Disney Computer Graphics mjb – September 9, 2021 8 4 Matrix Resurrections Looks Awesome! 9 Keanu Reeves walking through a flexible mirror. December 22?? We need to wait until December 22? Computer Graphics mjb – September 9, 2021 9 Where Are We Now? 10 • Ongoing OpenGL-ES/WebGL merger with OpenGL desktop • Mobile platforms (tablets, phones) We’re waiting for December 22. That’s where we are. • 3D movies • Virtual and Augmented Reality • Hardware support for ray-tracing • Vulkan, DX12, Metal • Game Engines and giant screens being used for live backgrounds in movies Computer Graphics mjb – September 9, 2021 10 5 That Last Picture Needs Some More Discussion 11 Computer Graphics mjb – September 9, 2021 11 Uses for Computer Graphics 12 Traffic Animation Training Navigation Art Movies History Simulation TV Games Advertising Cartoons Architecture Commercials Cartography City Planning Planning Biology Education Scientific Styling Design Visualization Chemistry Data Amusement Parks Visualization Medicine Manufacturing Land Use Construction Management Veterinarian Computer Graphics Science mjb – September 9, 2021 12 6.

Copy Link

Recommended publications

Throwaway Robots in Blade Runner, the Terminators, A.I., and Wall•E” Many Objects Remain Unnoticed Simply Because It Never Occurs to Us to Look Their Way
NEWSLETTER OF THE UCLA CENTER FOR THE JUN09 STUDY OF WOMEN BY VA N G E H E ILI ge R an D H eaT he R C O L L E TT E -VanDe R aa CSW Desire and Disposability in Patricia Yaeger’s “Luminous Trash: Throwaway Robots in Blade Runner, the Terminators, A.I., and Wall•E” Many objects remain unnoticed simply because it never occurs to us to look their way. Most people turn their backs on garbage cans, the dirt underfoot, the waste they leave behind. Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality (Oxford, 1960) 1 toc Trashy Robots , continued from page 1 hat does it mean for humans to them completely within three years—almost desire human-like relationships with before the physical object itself shows any signs Wrobots? What kind of sovereignty do of wear and tear. In robot movies, this technol- we want to have over our trash? These two seem- ogy turnover becomes personified in robots: ingly unrelated questions melded together ex- commodities who behave both as subjects (who quisitely during Patricia Yaeger’s talk “Luminous can act) and as objects (that can be disposed of Trash: Throwaway Robots in Blade Runner, the once they are no longer valued). We humans Terminators, A.I. and Wall•E.” Yaeger directed want human-like relationships with our robots, her audiences’ eyes towards robots as trash, and but when our robots become obsolete—which is in doing so, linked together present and future practically instantaneous—we shift our thinking possibilities for re-thinking automated relation- from one of relating to one of discarding.
[Show full text]
Disneyland® Park
There’s magic to be found everywhere at The Happiest Place on Earth! Featuring two amazing Theme Parks—Disneyland® Park and Disney California Adventure® Park—plus three Disneyland® Resort Hotels and the Downtown Disney® District, the world-famous Disneyland® Resort is where Guests of all ages can discover wonder, joy and excitement around every turn. Plan enough days to experience attractions and entertainment in 1 both Parks. 5 INTERSTATE 4 5 2 3 6 Go back and forth between both Theme Parks with a Disneyland® Resort Park Hopper® 1 Disneyland® Hotel 4 Downtown Disney® District Ticket. Plus, when you buy a 3+ day ticket before you arrive, you get one Magic Morning* 2 Disney’s Paradise Pier® Hotel Disneyland® Park early admission to select experiences 5 at Disneyland® Park one hour before the Park opens to the general public on select days. 3 Disney’s Grand Californian Hotel® & Spa 6 Disney California Adventure® Park *Magic Morning allows one early admission (during the duration of the Theme Park ticket or Southern California CityPASS®) to select attractions, stores, entertainment and dining locations at Disneyland® Park one hour before the Park opens to the public on Tuesday, Thursday or Saturday. Each member of your travel party must have 3-day or longer Disneyland® Resort tickets. To enhance the Magic Morning experience, it is strongly recommended that Guests arrive at least one hour and 15 minutes prior to regular Park opening. Magic Morning admission is based on availability and does not operate daily. Applicable days and times of operation and all other elements including, but not limited to, operation of attractions, entertainment, stores and restaurants and appearances of Characters may vary and are subject to change without notice.
[Show full text]
Complicated Views: Mainstream Cinema's Representation of Non
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
[Show full text]
Motion Picture Export Association of America
quate fundsbeing available in the MPEAA member companies' bank accounts in Motion Picture Export Colombo) because the NFC had not as yet recommended such remittance to the Association of America Exchange Controller. Non payment of dues by the NFC re I The companies affiliated to the MPEAA tation of the films, as would be the case sulted in MPEAA members, in the first" comprise the world's largest film produc when films are purchased outright with instance, stopping further shipments and ers/distributors and account for over 80% valuable funds being tied up. release of their product on contracts al of the most successful English language ready approved. As no payments were i films distributed worldwide. The MPEAA MPEAA deals with exhibitors on the made even thereafter, MPEAA members member companies include Buena Vista basis of rental, with the supplier accept finally withdrew the exhibition rights given International (Disney), Carolco Pictures ing a percentage of the actual box office to NFC and informed the Corporation Incorporation, Columbia Pictures Inter takings. This way, the supplier's share is accordingly. But the NFC, though it has national (Tri Star), MGM/UA Communi governed only by how well a film fares at loudly proclaimed its ability to source all cations Company, Orion Pictures Inter the box office here and not by the selling its requirements of English language films national Corporation, Paramount Pictures price of the film itself. In Sri Lanka, the through independent suppliers or 'third Corporation, Twentieth Century Fox Inter market size for English language films parties' in the absence of MPEAA films, national Corporation, Universal Interna automatically commends rental as the still continues to this day to distribute tional Films and Warner Brothers Inter obviously viable choice.
[Show full text]
Master Class with Andrea Martin: Selected Filmography 1 the Higher
Master Class with Andrea Martin: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Films and Television Series mentioned or discussed during the Master Class 8½. Dir. Federico Fellini, 1963, Italy and France. 138 mins. Production Co.: Cineriz / Francinex. American Dad! (2005-2012). 7 seasons, 133 episodes. Creators: Seth MacFarlane, Mike Barker, and Matt Weitzman. U.S.A. Originally aired on Fox. 20th Century Fox Television / Atlantic Creative / Fuzzy Door Productions / Underdog Productions. Auntie Mame. Dir. Morton DaCosta, 1958, U.S.A. 143 mins. Production Co.: Warner Bros. Pictures. Breaking Upwards. Dir. Daryl Wein, 2009, U.S.A. 88mins. Production Co.: Daryl Wein Films. Bridesmaids. Dir. Paul Feig, 2011, U.S.A. 125 mins. Production Co.: Universal Pictures / Relativity Media / Apatow Productions. Cannibal Girls. Dir. Ivan Reitman, 1973, Canada. 84 mins. Production Co.: Scary Pictures Productions. The Cleveland Show (2009-2012). 3 seasons, 65 episodes. Creators: Richard Appel, Seth MacFarlane, and Mike Henry. U.S.A. Originally aired on Fox. Production Co.: Persons Unknown Productions / Happy Jack Productions / Fuzzy Door Productions / 20th Century Fox Television. Club Paradise. Dir. Harold Ramis, 1986, U.S.A.
[Show full text]
Kanye West Live Stream
A GLOBAL INDUSTRY STREAMING PROBLEM BROADCAST STREAMING = CONTENT THEFT STREAM HACKING CREDENTIAL SHARING RE-STREAMING VIII. 100.(b) Saudi Arabia pay to beIN Damages ... Estimated to be in excess of USD 1 billion…” - 2018-10-01-beIN-Notice-of-Arbitration-236336633 “Disclaimer - Mygoodstream.pw absolutely legal and contains only links to other websites on the Internet that make the embedded feature available like justin.tv, ustream.tv.... We do not host or upload any video/media files, Mygoodstream.pw is not responsible for the legality of the content of other sites.” - mygoodstream.pw PIRACY COST EXAMPLE TIDAL - Kanye West Live Stream • In February 2016, Tidal live streamed the Kanye West Life Of Pablo subscription price of $8.99. • 3 million subscribers 20 million viewers = 17 million overage • Result servers crashed, next day headlines read Tidal Streaming failure • If everyone had been able to watch the entire stream at 1080p without the stream failing, at the lowest advertised cost for streaming bandwidth ($0.06 per Gb), Tidal would have incurred an additional unnecessary bandwidth cost of $1,298,052. http://www.billboard.com/articles/columns/hip-hop/6874845/tidal-blames-spotty-kanye-west-stream-life-pablo. http://www.theverge.com/2016/3/29/11325608/tidal-now-has-3-million-subscribers. https://urbanislandz.com/2017/07/03/kanye-west-terminates-tidal-contract-amidst-jay-z-fallout/ Show Revenue: 3M viewers @ $8.99 Streaming Costs Net Revenue Tidal $ 26,970,000 $ 1,566,410 $ 25,403,590 StreamGuard $ 26,970,000 $ 268,358 $ 26,701,642 WHY STREAMGUARD • Only place a single ticket purchase equals only one view • Put an end to middleman attacks, credential sharing, and stream hacking for all live events.
[Show full text]
Dog's Journey SOP Announcement
AMBLIN PARTNERS BEGINS PRINCIPAL PHOTOGRAPHY ON “A DOG’S JOURNEY” DENNIS QUAID AND JOSH GAD RETURN FOR THE HEARTWARMING FOLLOW-UP TO “A DOG’S PURPOSE,” IN THEATERS NEXT MAY Los Angeles, CA – August 17, 2018 – Amblin Partners announced today that it has begun principal photography on “A Dog’s Journey,” the much-anticipated follow-up to 2017’s beloved “A Dog’s Purpose.” Both films are based on the inspirational, best-selling books by award- winning author, W. Bruce Cameron. Co-financed and co-produced by Walden Media and Alibaba Pictures, “A Dog’s Journey” reunites Dennis Quaid as Ethan with his cherished dog, Bailey, voiced by Josh Gad—who also returns. Marg Helgenberger, Betty Gilpin, Henry Lau and Kathryn Prescott have joined the film, which is being directed by Gail Mancuso. The screenplay was written by W. Bruce Cameron & Cathryn Michon and Wally Wolodarsky & Maya Forbes. Gavin Polone is producing the film. “A Dog’s Journey” will be released in domestic theaters on May 17, 2019 and will be distributed by Universal Pictures in the U.S. and select international territories. In making the announcement, Amblin President and Co-CEO Jeff Small said, “We are excited to join with our partners at Walden Media and Alibaba Pictures to produce ‘A Dog’s Journey,’ the follow-up to our successful ‘A Dog’s Purpose.’ With Director Gail Mancuso at the helm, we can’t wait to share another beautiful story about the special bond between humans and their treasured dogs.” Frank Smith, Walden Media’s President and CEO, said, “Walden Media is proud to produce content that warms the heart and bring entire families together.
[Show full text]
From the Workshop of JJ Abrams
CHAPTER SIX From the Workshop of J. J. Abrams: Bad Robot, Networked Collaboration, and Promotional Authorship Leora Hadas University of Nottingham Whether ‘New golden age’ (Leopold, 2013) or ‘Peak TV’ (Paskin, 2015) – whatever glowing accolades cultural commentators now choose to use, all describe television in the United States as going from strength to strength. For a sustained number of years now, critics and popular opinion alike has celebrated a qualitative transformation in the output of an industry that has struggled for years to shed the image of a ‘vast wasteland’ (Minow, 1961). In critical and academic circles alike, credit for these exciting developments and the transformation of US television has tended to focus on a specific feature of the contemporary industry: the figure of the showrunner, television’s new auteur (Martin, 2013). The emergence of the showrunner-as-auteur has provided US television with a crucial source of cultural legitimacy, one traceable back to Bourdieu’s concept of the ‘“charisma” ideology’ (1980, p. 262) at work in judgements of artistic value. Shyon Baumann (2007) has analysed how film found legitimation as How to cite this book chapter: Hadas, L. 2017. From the Workshop of J. J. Abrams: Bad Robot, Networked Collaboration, and Promotional Authorship. In: Graham, J. and Gandini, A. (eds.). Collaborative Production in the Creative Industries. Pp. 87–103. London: University of Westminster Press. DOI: https://doi.org/10.16997/book4.f. License: CC-BY- NC-ND 4.0 88 Collaborative Production in the Creative Industries an art form in the 1960s through the celebration of autonomous film artists.
[Show full text]
Terminator: Future Fate V2.0
Terminator: Future Fate V2.0 This product was nominated for a Best Campaign Fan Site ENnie from ENworld By Michael Tresca D20 System and D&D is a trademark of Wizards of the Coast, Inc.©. T2 and TERMINATOR are trademarks of Carolco Pictures Inc. and Carolco International N.Y. Copyright 1991 Carolco Pictures Inc. (United States and Canada); Carolco International N.Y. (all other countries) All Rights Reserved. T2:3D and all associated logos, images, and videos are the property of Universal Studios. Trademarks and copyrights are cited in this document without permission. This usage is not meant in any way to challenge the rightful ownership of said trademarks/copyrights. All copyrights are acknowledged and remain the property of the owners. This game is for entertainment only. The T-100 Seeker, T-200 Scarecrow, and T-300 Fast Walker, the Campaign in Brief section, refugee and rogue occupations, and much of the technical specifications on all of the Terminators, HKs and weapons are property of Christopher T. Shields. Information about the M-25 Pulse Rifle, M-27 Pulse Rifle, RBS-80 Plasma Rifle, Antitank Plasma Mine, T-70, T-1, T-600, T-700, T-800, T- 1000, T-X, T-1000000, HK Mini-Hunter, HK Silverfish, HK Centurion, HK Tank, HK Aerial Prototype, HK Aerial, HK Bomber, I-950 Hybrid, Background, Time Travel details and Skynet information is property of Mark Billen. Special thanks to Shane O'Connor for general edits and cleaning up timeline inconsistencies. This document utilizes the Terminator Two font. You can get the latest version of this document at Talien's Tower, under the Freebies section.
[Show full text]
Using Global Objectives to Control Behaviors in Crowds
USING GLOBAL OBJECTIVES TO CONTROL BEHAVIORS IN CROWDS A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Science in the Graduate School of The Ohio State University By Domin Lee, B.S. ***** The Ohio State University 2008 Master’s Examination Committee: Approved by Dr. Rick Parent, Adviser Dr. Matthew Lewis Adviser Graduate Program in Computer Science and Engineering c Copyright by Domin Lee 2008 ABSTRACT The agent-based and behavioral modeling techniques are effective in many situa- tions; however, with an increase in demand for more complex and realistic behaviors, the problems of scale can quickly become an issue. By adding another set of rules that incorporate the desired behaviors, the rule-based methods can become difficult to manage. This thesis attempts to develop an organizational tool that avoids rule pro- liferation and problems with scale in rule-based systems. Using global objectives to weigh local rules, we look to model a system where behavioral decisions are made, not just at the individual levels, but also at the global levels in the crowds. Consequently, this thesis presents a solution for one requirement of team-oriented crowd behaviors in animation and games: the ability to adaptively generate human-like altruistic be- haviors. The team-oriented crowds refers to a type of crowds where each individual has a membership to a team. And those individuals interact directly and simultane- ously to achieve a global objective. Some of the team-oriented crowds include team sports: football, handball, hockey, basketball, and baseball. ”Altruistic behaviors” are the behaviors where behavioral decisions are made for the global objectives of the crowds.
[Show full text]
9781474410571 Contemporary
CONTEMPORARY HOLLYWOOD ANIMATION 66543_Brown.indd543_Brown.indd i 330/09/200/09/20 66:43:43 PPMM Traditions in American Cinema Series Editors Linda Badley and R. Barton Palmer Titles in the series include: The ‘War on Terror’ and American Film: 9/11 Frames Per Second Terence McSweeney American Postfeminist Cinema: Women, Romance and Contemporary Culture Michele Schreiber In Secrecy’s Shadow: The OSS and CIA in Hollywood Cinema 1941–1979 Simon Willmetts Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema Linda Badley, Claire Perkins and Michele Schreiber (eds) Vampires, Race and Transnational Hollywoods Dale Hudson Who’s in the Money? The Great Depression Musicals and Hollywood’s New Deal Harvey G. Cohen Engaging Dialogue: Cinematic Verbalism in American Independent Cinema Jennifer O’Meara Cold War Film Genres Homer B. Pettey (ed.) The Style of Sleaze: The American Exploitation Film, 1959–1977 Calum Waddell The Franchise Era: Managing Media in the Digital Economy James Fleury, Bryan Hikari Hartzheim, and Stephen Mamber (eds) The Stillness of Solitude: Romanticism and Contemporary American Independent Film Michelle Devereaux The Other Hollywood Renaissance Dominic Lennard, R. Barton Palmer and Murray Pomerance (eds) Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown www.edinburghuniversitypress.com/series/tiac 66543_Brown.indd543_Brown.indd iiii 330/09/200/09/20 66:43:43 PPMM CONTEMPORARY HOLLYWOOD ANIMATION Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown 66543_Brown.indd543_Brown.indd iiiiii 330/09/200/09/20 66:43:43 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance.
[Show full text]
Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros.
[Show full text]