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Index

• A • Aliasing effects, 30, 82, 298, 300 329, 343–347 AAF file format, 468 and antialiasing, 282 file formats, 356–358 character. See Character Aardman Studios, 33 spatial, 281–282 getting ready, 358–360 animation Abel (Robert) and Associates, temporal, 282 getting started, 86–89 crowd, 394, 396, 400 19, 20, 21 Alias Research, 29 hand-drawn, 296 dynamics simulation, A/B roll editing, 448 Alien Song, 28, 29, 241 history of. See Computer 374–382 Absolute position, 343 Aligning, 148, 164 graphics, history of facial. See Facial animation Absolute values, 101 Alpha channel, 267, 437, 445 information sources, 16 flock, 383–386 Abyss, The, 20, 23 Altitude, 241 limited, 311–312 fundamental, 295–305 Academy of Motion Picture Ambient light, 222, in live action movies, 27, goal-oriented, 386–390 Arts and Sciences (AMPA), 229–230, 231, 239, 246 28, 32, 83 hierarchical structures, awards of, 5, 16, 26, 27, Ambient occlusion shading, multilayer, 24 352–354 29, 33 253 new principles of, hybrid, 363 Acceleration, 334, 375 Ambient reflectivity, 268 310–318 interactive, 396–403 Acclaim Entertainment, 26 AMC file, 358 nonlinear, 60 keyframe interpolation, Acoustic motion capture, 370 Amélie, 32, 33 performance, 297 333–337 Act, 299 American Beauty, 32 pioneers of, 4–5 keyframing, 298–299 Acting, 324 Anatomy of a character, 318 recording, 289 kinematics, forward, 297, Action Ancient World Revisited, The, rendering related to, 197 316, 337–342 overlapping, 307 25 rigging. See Rigging kinematics, inverse, 316, secondary, 309 Angelina Ballerina, 60 technical, 82 363–366 secondary action area, Angel Studios, 25 technical complexity of, of light, 222–223, 236–237 L’Anglaise et le Duc, 416 61–62 347–352 timing of, 300, 302, 309 Angle of mapping, 264 three-dimensional projects, motion capture. See Motion visual line of, 325 Angular straight lines, 434 22, 23–24, 25, 26–27, capture See also Motion Animated movies 29, 30, 62 motion control, 315–317, Action-based games, 402 digital feature, 5, 20–23, traditional principles of, 5, 422–423 Action safe areas, 475 25, 26–27, 30, 32–33, 54, 58, 304, 305–310 motion dynamics, Active camera, 204 35, 36, 77 units of, 299–300 316–317, 374 Adaptive approximation, 146 hand-drawn feature, 4, 77 See also Animation techniques; for motion rides, 397–401 Additive color system, 173, independent shorts, 22, Production, digital particle systems, 382–383 226, 230–231 29, 36, 60, 70 Animation Mother, 461 staging, 306–307 Administrative team, 68, 77 Animated painting look, 28 Animation blocking, 81 stop-motion, 296–297, Advanced Authoring Format Animated shorts, 22, 29, 36, Animation curves, 345 299 (AAF), 468 60, 70 Animation finaling, 82 timing of action, 300–302 Advent Children, 36 Animatics, 80, 360, 448 Animation links, 158 2D/3D integration, Aerial perspective, 284 Animation Animation score, 373 355–356 Age of Empires, 29 awards for, 5, 6, 26, 27, Animation supervisor, 407 See also Procedural animation Ahead of the story action, 33 Animation team, 74 Animatronics, 297 300 career tips, 89 Animation techniques, 78, Anime/animé, 311–312 Akeley, Kurt, 7 character. See Character 333–403 Antialiasing, 282 Aladdin, 26 animation animatronics, 297 Anticipation, 302, 305, 306 Alexeieff, Alexander, 4 defined, 295 anime, 311–312 ANTZ, 27, 82, 83, 394 early, 16–17 camera moves, 216–217, API (Application Program

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Interface), 194 Avery, Tex, 4 Bio-Sensor, 21 nonuniform rational Apocalypto, 15 AVI file format, 467–468 Birds, and flock animation, (NURBS), 117, 118 Apple Computer, 14, 15 Axis/axes, 95, 102 383–386 Budget allocation, 64 Appleseed Saga Ex Machina, 36 Azimuth, 241 Birthday Boy, 33, 128, 210, Buff, 21 Applications software, 66 Azimuthal coordinate system, 318 Bug’s Life, A, 27, 29, 74, 146, Approval, in production 96, 103 Bitmap, 459 394 process, 62 Bitplanes, 458–459 Bullet-time, 424 Approved animation, 83 • B • Bits per second (bps), 473 Bump maps, 276–277, 280 Arcade games, 29, 402 Babylon 5, 25 Black Cauldron, The, 22 Bunnies, 201 Architectural visualizations, 25 Backdrops, 263 Blade Runner game, 353 Bunny, 29, 33, 67, 70, 182, Archival-quality digital prints, Back faces, 164 Blades of Glory, 35 183, 199, 208, 286, 294 470 Background Blair Witch Project, The, 12 Burning Love, 22 Arcs, 121, 308 color, 283, 284, 416 Bleeding Bushnell, Nolan, 20 Area of influence, 144 compositing, 356, 437 color, 182, 360 Business plan, 65 Area lights, 229 composition, 219 light, 232 BVA format, 358 Areas of illumination, 268 in hand-drawn animation, Blending BVH format, 358 Area subdivision, 178 296 image, 266–267, 268, By the deadline, 64 Areté software, 28 replacement, 417 447 Argentine, The, 15 and stage, 237–238 surfaces, 148, 149 • C • Ark, 36, 128 Background plates, 411 Blend motion, 315, 372 CADAM (Computer-aided Armageddon, 28 clean, 412 Blend shapes, 392 design and manufactur- Arriflex, 15 color graded, 413 Blinn, James, 7, 19 ing), 6, 8, 109–110 Arthur and the Invisibles, 35 Back light, 239, 243 Blobby surfaces, 21, 144, California Institute of Articulated chain, 161 Backups, digital, 85, 112, 375 Technology, 10 Articulated figures, 353, 364 289 Blueprints, 107, 110 Camera, 203–219 Articulated skeleton, 161 Backwards ray tracing, 180 Blue screen, 414, 416 animation, 216–217, 329, Artificial lights, 352 Baginski, Tomek, 33 Blue screen technology, 32 343–347 ASF file, 358 Bambi, 305 Blue Sky Studios, 21, 28, 29, compositing, -in-camera, Ashen game, 194 Bandwidth, 69, 477 35, 67 444 Aspect ratios, 206, 217, Banking motion, 345 Blur, motion, 282, 283, 288, digital, 258, 412 468–469, 470, 474 Banned from the Ranch, 28 289 dynamic, 219 Assassin’s Creed game, 219 Barbie in the Nutcracker, 32, Blu-ray Disc, 16, 476 getting ready, 217–219 Asterix in the Olympic Games, 33, 374 Blurring filters, 441 hand-held, 345 15, 36 Barndoors, 245 Blur Studios, 28 high definition digital, 12, Astro Boy, 36, 311 Barnyard, The, 35 BMP file format, 465 15 Atari, 20 Barr, Alan H., 7 Boeing, 8 and laser scanning, 157 ATI Technologies, 15 Basic tracks of motion, 366 Bolt, 35 lenses, 172, 214–216 Atlantis, 32, 355 Baston, 25 Boom, 104, 216, 344, 346 and lighting, 171–172 ATM (Asynchronous Transfer Batman Forever, 28 Boss Films, 21 locked off, 413 Mode), 69 Batman Returns, 23, 25 Bounce light, 239 motion, 100, 103–104, Attention, audience, 302 Battle of Wits, 418 Boundary modeling 343–346 Attracting forces, 379 Beam angle, 232 techniques, 110 multiple views, 106–107, Attraction force, 144 Beast Wars, 230 Bounding boxes, 131–132, 360 Attributes, interpolation of, Beauty and the Beast, 26 381 narrow-angle, 15 336–337 Behind the story action, 300 Bounding volumes, 381 optical printer, 442 Audience Bekmambetov, Timur, 33 Bourne Ultimatum, The, 35 orientation of, 344 attention of, 302 Bell Laboratories, 8, 21 Branches, in hierarchy, 352 position, 208–209, 218, intended, 50 Bend joint, 354 Branching options, 54 343–344 participation, in motion Beowulf, 35, 318, 369, 371 Branch in parallel, 154 pyramid of vision, rides, 402 Bernhart, Walter, 8 BRDF (Bidirectional 204–208 Audio Video Interleaved (AVI) Best-practice guidelines, 64 Reflectance Distribution shake, 345 file format, 467–468 Betacam, 87 Function), 252, 267 shots, 208–214 Automated animation, 386 Beveling edges, 147, 148 Brightness, 440 stabilization, 414 Automatic collision detection, Bézier, Pierre, 7 Brightness values, 231, 270, time freeze, 424 381–382 Bézier curve, 117, 118, 140, 281 tracking, 84, 356, Automatic skin generation, 335, 336, 345 Brillia, 1, 2 413–414 162 Bidirectional Reflectance Brilliance (commercial), 21 types, 203–204 Autonomous characters, 386 Distribution Function Broads, 246, 247 virtual, 103, 203, 204, Avatar, 36 (BRDF), 252, 267 Broken hierarchy, 365 303, 343, 346 Avenging Fist, 407 Billboards, 134, 285–286 B-splines, 117, 118, 140, Camera reports, visual effects, Averaging, 258 Bingo, 27, 29, 120, 318 335–336, 345 412

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Cameron, James, 24, 36 poses of, 376 volumes, 131 without masks, 446–447 Candela, 224 realistic, 318 Collision path, 382 and rendering, 200 Capping, 120 shape and silhouette, Color Compositing and postpro- CAPS software, 23, 26 319–321, 326 additive and subtractive duction team, 74 Cardinal spline, 117, 118, stylized, 318 systems, 173, 226, 230 Compositing supervisor, 407 140, 335 See also Character animation; background, 283, 284, Composition Carpenter, Loren, 7, 19 Facial animation 416 dynamic image, 448–449 Cars, 35 Character sheets, 58, 318 bleeding, 182, 360 of still images, 217–219 Cartesian coordinate system, Character turnarounds, 58, calibration, 461 Compression, 14 95 318 chromatic range of, file format for, 14 Cartoon characters, 305, Cheats (hacks), 285 459–460 lossless, 462–463 309, 318 Chen, Sam, 33 clipping, 460 lossy, 462 CA Scanline, 21 Chicken Little, 35 conversion, 175, 460 wavelet, 465 Casino, 27–28 Chico and Rita, 358 correction, 452–453, 474 Compression options, 466 Casting characters, 319 Children, in hierarchical depth, 459 Computer-aided design and Cathedral, The, 33, 171, 236, structure, 158–159, 353 dithering, 432 manufacturing (CADAM), 248 Children of Men, 35 of fog, 283 6, 8, 109–110 Catmull, Ed, 7 Chow, Stephen, 33 grading, 413, 452–453 Computer-aided tomography Caustics, 183, 226 Chroma key (blue and green keys, 56, 59 (CAT) scan, 6, 8 CD, demo reel on, 87, 88 screens), 414–416 of light, 181, 224, Computer-animated feature CD-ROM (compact disk-read Chromatic range, 175, 230–231, 284 movie, 77 only memory), 475–476 459–460 look-up table, 432–433 Computer animation. See CD-ROM computer games, Chrominance, 473 maps, 275–276, 277, 279 Animation; Animation 24 ChubbChubbs, 350 models, 172–175 techniques Cel animation, 296 CIE color space, 175 palettes, 59 Computer animation Celebration, The, 12 Cinematics, 77 per number of bitplanes, supervisor, 407 Celestial bodies, light of, Cinematic storytelling, 203 459, 460 Computer animation team, 350–351 Cinematographer, 407, 411, pigment-based, 173, 74 Cels, 296 452 225–226 Computer Film Company Center of mass, 380 Cinematography, 312 ramps, 272 (CFC), 33 Center of objects, setting, Cineon file format, 195, 196, resampling, 431–433 Computer games, 13, 14, 25, 127 464–465 resolution, 458–461 132–133, 135, 219. See Centroids, 354 Circles, 121 sampling rate, 461 also Games Centro Pictures, 34 La cité des enfants perdus, 27 saturated, 174, 460 Computer graphics, history Centropolis, 28 Civilization, 29 separation, 172 of Cg graphics language, 194 Clark, James H., 7, 10 shifting, 274–275, 289 milestones in 16–36 Chain root, 364 Classical story design, 51–52 spill, 416 SIGGRAPH awards, 6, 7 Channel animation, 372–374 Clean background plate, 412 surface, 274–276 technological develop- Channels, 436 Cleanup drawings, 296 timing, 452 ment, 5–16 Character animation, 18, 19, Clear delineation, 310 transformations, 342 timeline for, 36–48 21, 22, 29, 298, 410 Climax, in story design, 52, Colored lights, 225–226 transition to, 3–5 hierarchical, 352–354 53 Color space, linear/nonlinear, Computer Image keyframing techniques, 82 Clipping planes, 205 434 Corporation, 18 See also Characters; Facial Cloning, 129 Colossal Pictures, 26 Computer networks. See animation Close-up shots, 212, 213 Command and Conquer game, Networks Character design, 58, Cloth animation, 28 195, 355 Computer rendering farms, 319–320 Clouds, 272, 284, 381 Commercials. See Television 65, 68 Character development, 58, CMYK color model, 173, commercials Computer resources, 65 318–326 470 Compact disk-read only Concatenated transforma- Character extensions, 419 CMYK four-color separation, memory (CD-ROM), tions, 101 Characters 460 475–476 Concept art, 59 appeal of, 310 Coca-Cola Polar Bears, 25 Complex motion, 303 Conceptual storyboards, 327, autonomous, 386 Codecs, 14, 462 Composite video signal, 473 330 cartoon, 305, 309, 318 Codified procedures, 386 Compositing, 25, 28, 32, 74, Cone, 119–120, 123 emotions, thoughts, and Cohen, Michael F., 7 85 Cone of light, 233 intentions of, 324–325 Collaboration, team, 65 image, 437, 442–447 Cone of vision, 204 human-looking, 389–390 COLLADA (Collaborative in-camera, 444 Conical force, 378 internal structure of, Design Activity), 134–135 and lighting, 247 Consistency of motion, 400 321–322 Collage, 442 in live action films, 410 Constantine, 34 personality of, 58, Collision detection, 380 with masks and operators, Constant speed, 334 320–321, 322–323 automatic, 381–382 445–446 Constructive solid geometry

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(CSG) technique, 110 parametric, 139 Destination mesh, 385 DirectX, 194 Context-sensitive L-systems, Curves Device driver, 373 Discrete cosine transforms 154 function, 334–336, 373 Device-independent file (DCT), 465 Continuous masks, 266–267 parameter, 334–336, 338, format, 464 Disney, Walt, 4 Continuous surface, 162 434 Diagonal straight lines, 434 Disney (Walt) Company, 34 Contract employees, 66 vs polygons, 109 Dialog, 54–55, 79 Disney (Walt) Feature Contrast, 440 rational/nonrational, 118 scratch, 79 Animation, 22–23, 24, Controlled curves, 117 soft, 434 Dialog box, 131, 158 26, 27, 29, 30, 32–33, 35 Control points (vertices), Custom filter, 441 Diameter, 119 Disney (Walt) Studios, 20, 28 117, 118 Cut, 450 Dickinson, William K., 5 digital animated features Conversion Cut-copy-paste, 98 Die, 121 of, 5 color, 175, 460 Cutting machines, 479 Difference (not), 146, 147 predigital animated fea- file, 105 Cylinder, 119–120, 121, 123 Diffuse interreflections, tures of, 4 file format, 463 Cylindrical projection, 233–234 twelve principles of ani- utilities, 104–105 263–264 Diffuse reflectivity, 268–269 mation, 5, 58, 305–310 Convert colors, 460 Diffuse surface shading, 252 Displacement maps, 277–278 Cook, Robert, 7 • D • Digital backups, 85, 289 Displacement technique, 22 Copy-and-paste editing, 448 Dailies, review and approval Digital camera, 258, 412 Display, rate of, 299 Cornell University, 10 of, 82–83 Digital compositing and Distortion, random, 149 Coronado, 263 Dam, Andries van, 7 postproduction group, 74 Distributed rendering, 286 Cover letter, 88 Dance Fever commercials, 29 Digital Domain, 24, 29, 30 287 Crane shot, 216–217, 344 Dancing Love, 248 Digital Effects, 10, 19, 20 Distribution of mass, 380 Cranston-Csuri, 21 Danse Interactif, 341 Digital environment, 4 Dither cross-dissolve, 451 Creative environment, digital, Darkroom, 437 creative, 3–5, 475 Dodecahedron, 120, 121 3–5, 475 Das Rad, 360 Digital filters, 440–441 Dolly, 104, 216, 344, 346 Creative goals, 64 Database amplification, 154 Digital flipbook, 358, 476 Donkey Xote, 36, 210 Creative team, 66, 68, 69–70 Data files, 97–98 Digital format, 79 Don Quichotte, 25 Creative vision, 62 backups of, 85, 112, 289 Digital imaging techniques, 4 Don’t Touch Me, 19, 22 Credits Dawn, 132 Digital information, 4, 475 DOP, 411 production departments, Day Watch, 36 Digital media, output on, Dot resolution, 457 71–73 Death Becomes Her, 25 475–478 Dots per inch (dpi), 457 on storyboard, 330 Decay value of light, 232 Digital movie projectors, Downloading, 476 Crisis, in story design, 53 Deep Canvas software, 30 12–13 Downward compatibility, Cross-dissolve transitions, Deep Rising, 265 Digital output. See Output software, 67 450–451, 329 Default (standard) camera, Digital painting, 258 DP, 411 Crossing over between pro- 203–204 Digital Pictures, 22 DPX file format, 465 duction roles, 70, 74 Default light, 227, 246 Digital prints, archival- Dragonheart, 27, 28 Cross-over techniques, 406 Defocus, 347 quality, 470 Dragon Hunters, 36, 51, 59, Cross section, 141 Deformation Digital Productions, 20, 21 61, 210, 225, 274, 302, Cross section extrusion, 141 with lattices, 125, 130 Digital retouching tools, 439 388, 441 Crowd animation, 394, 396, parameters, 161 Digital scanner, 258 Drawing Exchange Format, 400 skin surfaces, 161, Digital studio. See Production 105 Crowd replication, 420–421 162–163 studio, digital Drawing Interchange Format, Csury, Charles, 17–18 with spines and patches, Digital technology, develop- 105 Cubes, 119 148–149 ment of, 5–16 Drawings Cubical environment Degree of curve, 118 Digital-to-analog (DTA) con- for character mapping, 272, 275 Degrees of freedom, joint, verters, 456 design/development, 58, Cubical projection, 263, 264 354 Digital versatile disk. See 318 Cubic curves, 118 De Karnak a Louqsor, 25 DVD hand-drawn animation, Cubic spline, 140 Deliverables, in production Digital video, 12, 473 77, 296 Curvature, 118 plan, 62, 63 Digital video camera, high- in-between, 299 Curved interpolation, 334 Delivery media, 62 definition, 12 for modeling, 107–109, Curved lines, 117–118, Demo reel, 86–89 Dimensions, 95, 327 111, 115–116 139–140, 335–336 Density, 375 Dinosaur, 32 solid, 310 Curved patches, 140, Depth-fading, 283–284 Dioramas, 263 in storyboard, 77, 327, 147–148 Depth of field, 172, 208, Directional lights, 229 329 Curved paths, 122 337, 343, 346–347 Direct numerical description, Dreamcast, 13 Curved surfaces Depth sort, 178 98 Dreammaker, 36 fitting to polygons, Derivative modeling Director’s notes, 82 Dream Quest Images, 28 144–145 techniques, 165 Direct-point manipulation, DreamWorks, 27, 28, 32, 33, free-form, 139–145 DeRose, Tony, 7 124–125 35

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DS-1 (Digital Signal Level Empire of the Wolves, 35 Facets for moving images, One), 69 Employees, 66 defined, 98 466–468, 472 D-20 camera, 15 Encapsulated PostScript (EPS) overlapping, 164 native, 104, 108, 463 Duel, 35, 370 file format, 195, 464 Facial Action Coding System portable, 104, 463 Duke Nukem 3D, 29 Encarnaçao, Jose Luis, 7 (FACS), 312–313, 314 for rendered images, Dumbo, 305 End effector, 364–365 Facial animation, 9, 25, 395 194–196 Duplicating models, Engel zu Fuss, 451 blend shapes, 392 for still images, 196, 128–129 Entertainment value, of expressions, library of, 463–466 Duran, 33 motion rides, 398 312–314, 322, 391–392 storage space, 463 DVD (digital versatile disk), Environment gazing, 389–390 universal, 105, 463 476 concept sketch of, 56 morphing targets and Filler objects, 162 demo reel on, 87, 88 creative digital, 3–5, 475 phonemes, 391–392 Fillets, 147, 148 players, 14–15, 16 digital, 4 motion capture, 392–393 Fill light, 239 red laser, 476 Environmental density, 379 rigs, 160 Film. See Movies, feature Video-DVD, 476 Environmentally sensitive L- tips for, 390–391 Film formats DVD-5, 476 systems, 154 Facial expressions, 312–314, for film recorders, 472 DVD-9, 476 Environment-dependent 322, 391–392 for motion rides, 401 DXF format, 105, 106 shading, 281–284 Fade to black, 450 Film grain, 286 Dyes, fugitive, 470 Environment maps, 270–273, Fade-in/fade-out, 329, 450 simulated, 286 Dye sublimation printing, 275 Fake hold, 300 Film recorders, 472 470–471 EPS file format, 195, 464 Fall-off, 232 Film scanning, 413 Dynamic cameras, 219 Ernst im Herbst, 269 Fantasia, 305 Filter radius, 441 Dynamics simulation Eternal Gaze, 33, 326, 396 Fantasia 2000, 27 Filters techniques, 374–382, 384 Ethernet, 69 Fantastic transformation, 342 digital, 440–441 Evans, David C., 7, 9 Far clipping plane, 205 import/export, 463 • E • Even Pigeons Go to Heaven, 36 Fast-in/fast-out, 308 Final Fantasy game, 29, 34 Ease functions, 336 EverQuest, 34, 135 FBX file, 357 Final Fantasy movie, 32, 36, Ease out, 334 Exaggerated gestures, 325 FDDI (Fiber Distributed Data 68, 156, 256, 285, 392, Edge detection filters, 441 Exaggeration, 309, 310 Interface), 69 449 Edges Ex Machina, 21, 22, 25 Fear(s) of the Dark, 36, 189 Final layout, 81 beveling, 147, 148 Ex-Nihilo, 25 Fearless, 453 Finding Nemo, 33 of curved patches, Experimental computer ani- Feature movies. See Movies, Finite dynamic range, 183 148–148 mations, 60, 61, 65 feature FireWire, 467 defined, 98 Experiments in Art and La femme piège, 33, 120 First-person camera, 219 jagged, 281, 286, 441 Technology, 16 Fetter, William, 8 Fischinger, Oskar, 4 overlapping, 164 Export filters, 463 Fiat Lux, 184, 186 Fishing, 28, 29, 189, 330 rounding, 147 Export of modeling data, Field guides, 207 Fitting, 148 shadow, 234 105 Field of view, 398 Fixed focal length, 214 Edison, Thomas Alva, 5 Export tools, 463 Field of vision, 206 FK (forward kinematics), Editing, 312 Exposition, in story design, Fight Club, 28 337–342 A/B roll, 448 52 File Flash file format, 468 motion capture, 372 External control structures, conversion, 105 Flash files, 134 nonlinear, 448 340 data, 97–98 Flat projection, 262–263, Effector, 364 External shape, of three- downloading, 476 264 Effects animation, 30, 82, dimensional character, 319 geometry, 98, 108 Fleischer, Max, 4 298, 300 Extremes (keyframes), 299 image formats, 195–196 Flexible lattice, 376, 392 Effects salad approach, 410 Extrusion picture, 194, 195 Flexible objects, 376 Egg Cola, 227 cross section, 141 playback, 477 Flickering, 474 Ekman, Paul, 312, 313 free-form, 122 size, 430 Flight of the Navigator, 20 Elapsed time, 329 simple, 121–122 streaming, 476–477 Flintstones, The, 25 Elasticity, 376 Eyelight, 239 transmission, 478 Flipbooks, 82, 295 Electric Images, 25 File formats digital, 358, 476 Electrostatic printing, • F • for animation, 356–358 Flock animation, 22, 25, 469–470 Fable II game, 53, 403 and aspect ratios, 317, 383–386 Elson, Matt, 22 Fabric simulation, 156, 157 468–469 Flow, 151 Em, David, 19 Le fabuleux destin d’Amélie for compression, 14 Flow, production, 63–64, Emotions, expression of, 324 Poulain, 453 conversion, 463, 469 75–76 Emperor and the Assassin, The, Face, setting to outline, 127 device-independent, 464 Flowcharts, 54, 56, 75–76 421 Faceted appearance, 252 image, 195–196, Flow of events, 54, 56 Empire Strikes Back, The, 20, Face tracker, 392 463–469 Fluid dynamics simulation, 422 Facetracker system, 26 for modeling, 104–106 375

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Fly High, 347 Fuchs, Henry, 7 Gladiator, 34 Happy Feet, 36 Fly Me to the Moon, 36 Fugitive dyes, 470 Glass, rendering, 288 Happy Tree Friends–False F950 CineAlta, 14 Full-time employees, 66 Global coordinate system, 96 Alarm, 278 Focal distance, 346 Function curves, 334–336, Global forces, 378–379 Hardware previews, 190 Focal length, 172, 207–208, 373, 434 Global illumination, 181, Hardware rendering, 214–215, 337, 343, Fur, 25, 345 183 190–194 345–346 Global light sources, Harrison, Lee III, 18 Focal plane, 208 • G • 233–234 Harry Potter and the Half Blood Focus, 208, 346–347 Gabriel, Peter, 29, 31 Global transformations, Prince, 36 Fog effect, 283–284 Gainey, David, 29 100–101 HDR (high dynamic range), Foldes, Peter, 19 GameCube, 14 Glow 183, 184 Foley, James, 7 Game Developers of light, 232–233, 286 HDR file format, 195, 466 Follow-through action, 302, Conference, 23 surface, 273–274 HDRI (high dynamic range 307 Game engine, 61–62, 133 Goal-oriented animation, image), 184, 186 Folon, Jean-Michel, 20 Game industry, 13–15, 20, 386–390 HDV format, 473 Footage quotas, 74 29, 34 Goals, creative, 64 Header information, 464 Footcandles, 224, 244 Game moding, 135 Gobo lights, 235 Head shot, 212 Foray sculpture, 474 Games Godzilla, 27, 28 Health risks, 86 For the Birds, 295, 318, 320 camera positions in, 349 Golden Army, The, 35 Hellboy II, 35 Forces, types of, 377–380 computer, 13, 14, 25, Google, 16 Hercules, 30 Foreground, 296, 437, 444 132–133, 135 Gopher Broke, 318, 377 Hexahedron, 121 Foreign-to-native file conver- dynamic cameras in, 219 Gouraud shading model, 9, Hidden surface removal, sion, 105 image maps in, 259 253 177–178 45-degree angle spotlight interactive, 402–403 GPU (Graphics Processing Hierarchical chain, 364, 365 pair, 242, 243, 244 platform, 13, 14, 15, 34, Unit), 192 Hierarchical skeletons, Forward kinematics, 297, 132, 133, 135, 190 Graftals, 154 321–322, 363–364, 365 337–342 user-controlled animation, Grandchildren, in hierarchical Hierarchical structures, 102, Foundation Imaging, 28, 30 317–318 structure, 353 158–161, 352–354 458nm, 36 Gamma factor, 461, 474 Graphics Interchange Format Hierarchy diagram, 352 4:4:4 color, 461 Gaps on skin surface, 162 (GIF), 465 Hierarchy level, in flowchart, Four Horsemen, 143 Garbage matte, 444 Graphics memory, 459, 460 54 4K files, 457 Gardner, Geoffrey, 21 Graphics Processing Unit High angle shot, 211–212, Four-point lighting, 238 Gears of War game, 284 (GPU), 192 213 Fox Studios, 28, 32, 34, 35 Gelatin, elasticity of, 376 Gravity, earth’s, 379 High-contrast masks, 266 Fractal geometry, 16, 149, Gelato renderer, 15 Great Mouse Detective, The, 22 High-definition (HD), 14, 32 150 General Electric, 8 Greenberg, Donald P., 7 High Definition (HD) digital Fractal procedures, 150 Generalist employees, 66, 406 Green screen, 32, 416 video format, 473 Frame, 299, 461 General Motors, 8 Grinning Evil Death, 22 High definition digital video Frames per second (fps), 299, Genesis camera, 15 Growth, 21 camera, 12 461 Genesis effect, 20 GROWTH algorithm, 2 High dynamic range (HDR), Framestore, 33 Genetic evolution simulation, Growth attributes, 150 183, 184 Free-form curved surfaces, 390 Grumman Data Systems, 21 Highlight decay, 270 139–145 Gentlemen’s Duel, A, 229, 250, Guard Dog, 312, 313 Highlight editor, 440 Free-form extrusion, 122 318, 330 Guerrilla, 15 Highlight sharpness, 269 Free-form lattice, 340–341 Geodesic sphere, 121 Histogram, 434, 436, 438, Free-form modeling, 124 Geometric primitives, • H • 439–440 Free-form shape animation, 118–121, 122 Hacks, rendering, 285–286 Histogram editor, 439 339–340 Geometric transformations, Hair rendering, 28, 192, 194 Hither plane, 206 Free-form three-dimensional 99–103 Hair simulation, 156, 157 HMIs, 245, 247 objects, 123–126 Geometry Engine, 10 Halftone output, 457 Holy Bird, The, 151 Free Jimmy, 36 Geometry files, 98, 108 Halftone screens, 457 Hoodwinked!, 35 Freelancers, 66 Geometry modeling Halo, 233 Hoppe, Hugues, 7 Freleng, Fritz, 4 technique, 110, 113 Halo 3 game, 70, 71 Host, The, 36 Fresnel lenses, 245, 246 Geri’s Game, 13, 29, 145, 146 Hand animation, 9, 326, 366 House of Flying Daggers, 33 Friction, 379 Gesture motion, 325, 389 Hand-drawn animation, 77, How to Drive Everybody Crazy, Frida, 32 Gesture space, 389 296 50, 176, 398, 399 Frontal light, 242, 243 Get Information feature, 126 Hand gestures, 389 How the Grinch Stole Christmas, Front plane, 96 Ghatothkach, 36 Hand-held camera shots, 345 28 Front projection, 444 Ghosting, 132 Hannibal, 32 Hue of colors, 174 Frozen time visual effect, 28 GIF file format, 465 Hanrahan, Pat, 7 Hue, Saturation, and f/stop, 222, 224, 346 Gimbal lock, 161 Happily N’Ever After, 35 Brightness (HSB) color

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model, 174, 226, 231, 258–261 208–209 Jumanji, 27, 28 234 translucent, 350 Interactive keyframing, 338 Jumper, 15 Hue, Saturation, and Image plane, 206 Interactive project, 54, 56 Jurassic Park, 25, 27 Lightness (HSL) color Image resolution, 456–463 Interactivity, computer model, 173–174 color, 458–461 system, 54–55 • K • Hulk, 32 and image compression, Interlaced fields, 462, 474 Kaena, la Prophétie, 33, 238 Hunchback of Notre Dame, The, 462–463 Internal structure, of three- Kajiya, James T., 7 30, 394 spatial, 456–458 dimensional character, Karwas, Piotr, 33 Hunger, 19 temporal, 461–462 321–322 Kawaguchi, Yoichiro, 21 Hybrid animation, 363 Image retouching, 437–441 Internets, 68–69 Kenan, Gil, 35 Hybrid environment, 363 Image sequencing, 447–452 Interpolation Keyframe, 325, 333 Hybrid framework, 315–316 building, 448 antialiasing, 282 Keyframe interpolation, Hybrid rendering, 177 frames, 461 keyframe method, 299, 333–337 Hydro Thunder, 262 mapping, 342 333–337 Keyframing, 298–299 transitions effects, neighbor pixel, 430 interactive, 82, 338 • I • 449–452 pixel methods, 430 Key light, 238–239 Ice Age, 32, 36, 325 visual rhythm/tempo, shape, 162, 336 Key poses, 299, 325 Icosahedron, 120, 121 448–449 weighted, 30 Kick light (kicker), 239 IK (inverse kinematics), 81, Imagesetters, 472 Interpolation ease, 334 Kilobits per second (Kbps), 316, 338, 363–366 Image space hidden surface Interreflection of light, 181 477 IK rigs, 81 removal, 178 Interrupted action, 300 Kimba the White Lion, 311 Illumination areas, 268 IMAX, 27 Intersection (or), 146, 147 Kinematics Illumination level, 228, 230, Immortel (ad vitam), 33 Intranets, 12, 69, 477 forward, 297, 316, 348 Impacting forces, 379 Inverse kinematics (IK), 81, 337–342 Image-based modeling, 28, Implementing the motions, 316, 338, 363–366 inverse, 81, 316, 338, 157 316 Invisible light sources, 230, 363–366 Image-based rendering, 13, Implicit surfaces, 144 246–247 Kinetophones, 5 28, 183–187, 424 Import filters, 105, 463 Invisible Ocean, 200, 226, 227 Kinetoscope, 5 Image compositing, 437, Import tools, 463 Iron Giant, 27 Kingdom Under Fire, 281, 403 442–447 In-between drawings, 299 Iron Man, 35, 36, 79, 412 King Kong, 35, 296 Image compression. See In-betweening, 299 ISO (International Standards Kirk, David, 7 Compression Incandescence, surface, Organization), 467 Kiss that Frog, 29, 31 Image definition, 456 273–274 It’s Not the End of the World Kite Runner, The, 35 Image dimensions, 430–431 Inciting incident, in story music video, 33 Kleiser, Jeff, 19 Image file, 195, 456–457 design, 52 Kleiser-Walczak Construction Image file formats, 195–196, Incredible Hulk, The, 34–35 • J • Company, 21, 22 463–469 Incredibles, The, 33 Jagged edges, 281, 286, 441 Klüver, Billy, 16 Image layers, 436–437 Independent short, 60, 70 Jak & Daxter, 218, 360 Knee shot, 213 Image manipulation, Indexed color, 432 Japan Computer Graphics Knickknack, 18, 21, 300 429–437 Indiana Jones and the Temple of Lab (JCGL), 21 Knots, on NURBS, 118 color resampling, Doom, 20 Jason and the Argonauts, 296 Kroyer, William, 22 431–433 Industrial Light & Magic Jet Propulsion Laboratory Kudan, 86 histogram for, 434, 436, (ILM), 19, 20, 24, 25, 27 (JPL), 10, 19 Kuhfo, 191 438, 439–440 Infinite lights, 228–229 Jimmy Neutron Boy Genius, 33 Kung Fu Hustle, 33, 36 image layers for, 436–437 Information, digital, 475 Joggler, The, 19 Kung Fu Panda, 35, 51, 291, linear/nonlinear color Information International, Joint Photographic Experts 318, 327 space, 434 Inc., 10, 19 Group (JPEG) file format, with masks, 437 Ink jet printing, 470 195, 465 • L • parameter curves for, 434 Ink and paint, 396 Joints Lambert shading model, 252 pixel resolution, resam- Input capabilities, 69 forward kinematics, LAN (Local area network), pling, 429–431 Input devices, peripheral, 373 338–339 477 Image maps, 19, 120, 133, Instancing, 129 information, 354 Landreth, Chris, 27, 29, 33 134, 157, 412 Intel microprocessors, 8, 14, inverse kinematics, 364, Landscape format, 206 basic idea, 256–257 15 368 Lantz, Walter, 4 blending, 266–267, 447 Intensity, of light source, motion constraints, 321, Lara Croft Tomb Raider, 34 creating, 257–258 231–232 322, 354, 364–365 Laser printing, 470 for feature films, 261–262 Intention-based animation, Jones, Chuck, 4 Laser scanning, 157, 158 positioning, 264–266 386 JPEG file format, 195, 465 Lasseter, John, 2, 4, 21 projection methods, Interactive animation, JPEG 2000, 465 Last of the Leaves, 91, 92 262–264 396–403 Julesz, Bela, 8 Last Stand, The, 34 for real-time applications, Interactive camera placement, Julia function, 131 Last Starfighter, The, 20–21

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Lateral light, 242–243 Lightness, color, 174 Location-based entertain- bump, 276–277, 280 Latham, William, 25 Lightning storm, 225 ment, 29, 30, 396–397 color, 275–276, 277, 279 Lathe (revolve), 122, 123 Light probe image, 184 Location shoot, 238 displacement, 277–278 Lattice Light reflectance model, Loch Ness Expedition game, 402 environment, 270–273, deformation with, 125, 251–252 Locked off camera, 413 275 130 Lightscape radiosity software, Locked shots, 343–344 reflection, 270 flexible, 376, 379, 392 27–28 Locking objects, in modeling transparency, 280–281, free-form, 340–341 Light shader, 230 process, 126–127 286 Lawnmower Man, The, 25 Light sources Locomotion, 20, 22 See also Image maps; Texture Layering moving images, 451 components of, 230–235 Loco Rodeo, 266 maps Layers of motion, 304–305 moving, 348 LOD (levels of detail), 134, Mars Attack, 27, 28 LBE rides (location-based number of, 181, 241 192 Mask entertainment), 29, 30, position of, 241–243, Lofting, 122 compositing with, 437, 396–397 268–269 Logical operators, 146–147, 445–446 Leaf Magic, 25 styles of, 235, 238–241 165 continuous, 266–267 Left-handed coordinate sys- types of, 226–230, 247 Log space, 434 high-contrast, 266 tem, 95 visible, 239–240 Long shot, 213, 214 See also Matte Legend of Speed, 417 See also Spotlight Look development, 59 Masking, 437 Legend of Zelda, The, 29 Limited animation, 311–312 Lord of the Rings, The, 32, Masks, 33, 241 Leica reels, 80 Lineage, 154 313, 318, 373, 400, 409, Mass, 375, 376 Lekos, 246, 247 Linear color space, 434 420–421, 453 center of, 380 Lenses Linear force, 378 Lossless compression, distribution of, 380 aperture, 222, 223, 224, Linear interpolation, 334 462–463 Massachusetts Institute of 346 Linear lights, 230 Lossy compression, 462 Technology (MIT), 7, 8, camera, 172, 214–216, Linear perspective, 284 Lost World, The, 27 22 346 Linear splines, 117–118, Low angle shot, 211–212, Mass Illusion, 27 fresnel, 245, 246 140, 335 213 Massively parallel computers, Lens flare, 233, 286 Lines L-systems, 154 6 Letterbox, 469 curved, 117–118 Lucas, George, 12, 19, 20, 32 Match move, 414 Level of recursion, 150 defined, 98 Luminance, 473 Match reality, 410 Levels of detail (LOD), 111 polygonal (straight), Luxo, Jr., 2, 4, 21 Material databases, 255 Levoy, Marc, 7 116–117 LZW (Lempel-Ziv-Welsh) Mathematical Applications Le Xons Crac-Crac, 25 straight angular, 434 compression technique, Group, Inc. (MAGI), 8, 10, Library of key expressions, straight diagonal, 434 464 19, 20 391–392 Lines per inch (lpi), 457 Mathematical functions, 126 Light Lines of sight, 205, 398 • M • Mathematical operations, 100 animation, 222–223, Linked to motion path, 339 Mac Guff Ligne, 21, 25 Matrix, The, 27, 28, 424 347–352 Linko, 425 Mac OSX, 14 Matrix: Reloaded, 32 color of, 173, 224, Linux computer operating Madagascar: Escape 2 Africa, Matrix: Revolutions, 32 230–231, 284 system, 12, 14 35, 89, 367 Matte, 437 measurements on location, Lion King, The, 26, 30, 394 MAGI (Mathematical garbage, 444 223–224 Lip configuration, 392 Applications Group, Inc.), stationary, 442 obstruction of, 350 Liquid Selves, 25 8, 10, 19, 20 traveling, 443–444 reflection of, 267–270 Listerine Arrows, 25 Magnenat-Thalmann, Nadia, See also Mask Lighting, 221–250 Little Death, The, 21, 22 25 Matte painting, 442–443 artificial lights, 352 Little Mermaid, The, 23 Magnetic motion capture, Matte surfaces, 268 and color bleeding, 182 Live action, 28, 32, 83, 84, 370 Matting techniques, 266, colored, 225–226 298, 410 Magnetic resonance (MR) 437, 442–446 getting ready, 244–248 Live actors, and motion scanner, 143–144 Max, Nelson, 7 image-based, 183–187 capture, 371–372 Magnolia, 32 McLaren, Norman, 4 and mood, 221 Live control, 366 Main action area, 236 Medal of Honor, 133, 160, practical lights, 239–240, Local area network (LAN), Mainframe Entertainment, 267, 318, 328, 342, 394 351–352 477 30, 58, 449 Media asset management, 85 and rendering, 83–84, Local coordinate system, 96 Mainframes, 5–6, 9 Media formats, 206 171–172, 221 Local forces, 378 Mandelbrot, Benoit, 150 Medium shot, 213 scenes, 235–238 Local illumination, 252 Mandelbrot function, 131 Meetings, preproduction, 62 and shading, 247 Local light sources, 234 Manipulation planner, 388 Meet the Robinsons, 35 strategies, 221–226 Local transformations, Map blending, 266–267 Megabits per second (MBps), See also Light sources 100–101 Mapping projection, 262 477, 478 Lighting markers, 412 Local weight point averaging, Mapping a sequence, 342 Megabytes per second Light meter, 172 146 Maps (MBps), 477

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Megapixels, 412 multiple camera views in, consistency of, 400 30–31 Megasónicos (Megasonikoak), 106–107 and joint constraints, Motion Pictures Experts 26, 27 numerical description, 321–322, 354, 364–365 Group (MPEG) file format, Même les pigeons vont au 96–98 layers of, 304–305 467 paradis, 215, 235, 314, overmodeling, 164 multiple layers of, 366 Motion planner, 387–389 318 polygonal models, real- overlapping, 304, 307 Motion rides, 30, 397–402 Memoirs of a Geisha, 35 time, 132–138 pose-to-pose action, 307 Motion sensors, 368–369 Memory requirements, 113 with polygons or curves, previewing, 358, 381 Motion simulators, 397, 400 Menfond, 34 109, 112 primary, 303 Mouse Hunt, 27 Mental Images, 10 preproduction guidelines, raw, 366 Movie projectors, digital, Mental Ray software, 27 106–113 readability of, 302 12–13 Merging patches, 140 in production process, realistic, 358 Movies, feature Metadata, 412 80–81 rhythm of, 323 animated digital, 5, Metallic surfaces, 268 rendering related to, secondary, 303–304, 309, 20–23, 25, 26–27, 30, Metercandle, 224 110–111, 196–197 366 32–33, 35, 36, 77 Metrolight, 21, 22 sketches for, 107–109, sequence of, 387 animated hand-drawn, 4, Microcomputers, 6, 8, 10, 111, 115–116 simple and complex, 303 77 11, 14, 25, 67 software tools, 93–94 speed of, 302, 308, chronological overview, Microsoft, 14, 15, 33, 468 spaces/objects/structures, 322–323 36–48 MIDI (Musical Instrument 94–96 straight-ahead action, 306, production team for, 68, Digital Interface), 374 subdivision surfaces, 13, 307 69 Midtone editor, 440 21, 109, 145–146 synchronization of, 398 standard length, 61 Mighty Joe Young, 27, 28 sweeping, 121–123 tempo of, 322 visual effects, 20, 24–25, Milestones, in production techniques for, 10, 78, tests, 78 27–28, 31–32, 33–36, plan, 62 109–110, 115–157 timing of the action, 300, 424 Mill Film, 24, 34 and transformations, 302, 309 Moving images Milling machines, 479 99–104 transitions, 392 cross-dissolve transitions, Minicomputers, 6 utilities, 126–132, of water, 226, 277 451 Mini-DV format, 473 147–149 Motion capture, 26, 32, 33, file formats for, 466–468, Minotauromaquia, 297 vertices/edges/facets, 83, 316, 366–374 472 Mirroring, 130–131, 132 98–99 acoustic, 370 lights, 240 Mirror servers, 477 See also Procedural descrip- channel animation, screenplay translated into, Mise-en-scène, 306 tion; Rigging 372–374 50 Mission Impossible, 28, 35, Modeling links, 158–159 defined, 366 shadows, 350 286 Modeling plants, 152, early applications of, water, 226, 350 Miyazaki, Hayao, 27, 33 153–156 366–367 Moxy, 26, 372 Mocap. See Motion capture Models, 170 editing, 372 MPEG file format, 467 Model approximate instanc- Modems, 478 facial, 392–393, 397, 398 MPEG-1, 467 ing, 156 Moment, The, 384 of live actors, 371–372 MPEG-2, 467 Modeled surface texture, 276 Monster House, 35, 318, 371 magnetic, 370 MPEG-4, 467 Modeling Monster in Paris, A, 36 and MIDI output, 374 MPEG viewers, 467 blobby surfaces, 21, 144 Monsters Inc., 33, 54, 55, 74, optical, 370 MP3 file format, 467 blueprints in, 107 77, 157 processed, 297–298 Mr. Computer Image ABC, 18 for CADAM projects, Montage, 300 prosthetic, 370 MTV (Music Television 109–110 Mood, and lighting, 221 real-time, 297, 369–371 Channel), 29 concepts, 93–112 Morana, 272 rotoscoping, 371 MTV Video Music Awards, curved lines, 116–118 Morphing sensors for, 368–369 29, 32 curved surfaces, free-form, three-dimensional, 20, slow-ins/slow-outs, 308 Mulan, 27, 30 139–145 24–25, 340, 343, in visual effects, 423 Multicore CPU, 67–68 defined, 93 421–422 Motion control techniques, Multiple cameras, 204 fabric, 22 two-dimensional, 447 315–317, 422–423 Multiple users, 477 file formats for, 104–106 Morph interpolation, 391 Motion dynamics techniques, Mummy, The, 27, 35 free-form objects, Mother Nature series, 129, 316–317, 374 Muscle rigs, 161, 163 123–126 155 Motion hold, 304, 306 Muscles, simulated, 392, 394 geometric primitives, Motion Motion parallax, 344, 348 Musical Instrument Digital 118–121 arc, 308 Motion path, 345, 414 Interface (MIDI), 374 image-based, 28, 157 blend, 315, 372 Motion path animation, 339, Music Television Channel logical operators in, blur, 282–283, 288, 289 345 (MTV), 25 146–147 camera, 100, 103–104, Motion Picture Association of Music videos, 25–26, 29 malfunctions of tools, 343–346 America (MPAA), rating MTV awards, 29, 32 164–165 choreographing, 303–305 system of, 18, 22, 23, Mutations, 25

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MXF file format, 468 b-splines (NURBS), 117, OpenEXR file format, output on, 469–471 My Date from Hell, 303 118, 140 195–196, 466 standard sizes, 469 Myst, 24, 25, 135 Normal lens, 216 Open face lamps, 245, 247 for storyboards, 327, Norton, Alan, 25 OpenGL, 194 329–330 • N • NTSC color filter, 441 Open Media Framework Parallel action, 54, 300 NAMCO, 21 NTSC temporal resolution, (OMF) file format, 468 Parameter (function) curves, Naming objects, 126 462 Open Season/Open Season 2, 334–336, 338, 434 Narrative effect, of camera NTSC video standards, 473 35, 318, 319 Parameter space, 265 shot, 210 Null parent, 159, 353 Operating systems, 67 Parametric curved surfaces, National Film Board of Numbers Operators, 445 139 Canada, 19 of light sources, 181, 241 Optical motion capture, 370 Paramount, 27 National Television Systems in modeling process, Optical printer, 442 Parents, in hierarchical struc- Committee (NSTC), 441, 97–98, 111–112 Optimize polygonal models, ture, 102, 158, 353 462 of motion sensor, 368 132 Parker, Claire, 4–5 Native file format, 104, 108, of pixels, 180–181, 456 Order of correspondence, 340 Park, Sejong, 33 463 scene-and-shot, 328 Order of rotation, 160 PAR light sources, 245, 247 Natural phenomena of sequential files, 464 Ordinary lighting, 242 Particle streams, 375 lighting effects, 348–351 Numerical description of Origin II camera, 15 Particle systems, 25, 149, modeling, 149, 152–153, three-dimensionality, Orthographic projections, 204 150–153, 382–383, 420 156 96–98 Osaka University, 10, 21 Patches Natural transformation, 342 Numerical values, 258, 265 Outlines, 141 curved, 140, 147–148 Navigation, 103–104, 209, NURBS (nonuniform rational Output deformation with, 149 230 b-spline), 117, 118, 125, basic concepts of, Paths of Hate, 190 Navone, Victor, 29 140, 476 455–456 Pauses, in dialog, 54 NBA Live 97, 29 NVIDIA, 15 on digital media, Pearl Harbor, 32 Near clipping plane, 475–478 Pelvis sensor, 368 205–206 • O • final, 85 Pencil test, 296 Neighbor pixel interpolation, OBJ (.obj) format, 105 halftone, 457 Pen plotters, 471 430 Object coordinate system, 96 on paper, 469–471 Penumbra, 234 Nelvana, 30 Objects, 94 on photographic media, Perfect Storm, The, 28 Networks collision, 380–381 471–472 Peripheral input devices, 373, downloading from, 476 filler, 162 and rendering, 197–198 457 internets, 68–69 free-form three-dimension- on three-dimensional Peripherals, output, 455–456, intranets, 69, 477 al, 123–126 media, 478–479 472 rendering in, 286–287 numerical description of, on video, 471, 472–475 Peripheral storage, 68 speed of, 478 96–98 Output capabilities, 69 Perlin, Ken, 7 Network servers, 68, 477 physical properties of, Output peripherals, Personality of characters, 58, New York Institute of 376–377 455–456, 472 320–321, 322–323 Technology (NYIT), 19 Object space hidden surface Overall blending, 266, 267 Personnel, 64, 66, See also New York University, 10 removal, 177–178 Overhead light, 243 Teams NHL 98, 29 O Brother Where Art Thou?, Overlapping action, 307 Perspective projection, 103, Nickelodeon, 27 453 Overlapping edges, 164 203–204 Night-for-day effect, 453 Obstacles, on collision path, Overlapping motion, 304 Phantom HD high-speed Night Watch, 33 382 Overmodeling, 164 camera, 15 1906, 36 Ocean simulation, 156–157 Oversampling, 282 Phantom Menace, The, 27, Ninja Gaiden, 168, 403 Octahedron, 120, 121 286, 394, 396 Nintendo, 13, 14, 15, 29, 34 Oddworld: Munch’s Oddysee • P • Phase Alternation by Line Nishita, Tomoyuki, 7 game, 34, 195, 219, 220, Pacific Data Images, 21, 22, (PAL), 462 Node tree, 445 228 28 Phonemes, 392, 393 Noise function, 280, 339 Offset the map, 265 Painted images, 437 Phong shading model, 9 Noll, Michael, 8 Off-the-shelf software, 66 Painting Photogrammetry, 157, Noninterlaced monitors, 474 Ohio State University, 10 digital, 258 423–424 Nonlinear animation, 60 Oktapodi, 36 matte, 442–443 Photographic media, output Nonlinear color space, 434 Oliver & Company, 22–23 traditional tools, 438 on, 471–472 Nonlinear storytelling, 54, 56 OMF file format, 468 PAL video format, 87, 462, Photographic procedures, in Nonphotorealistic (NPR) ren- Omnibus, 21 473 retouching, 438–439 dering, 13–14, 188–190 Omnidirectional light, 227 Pan camera move, 104, 217, Photon maps, 183 Nonproportional scaling, 103 One game, 134 344, 346 Photorealistic RenderMan, Nonrational curve, 118 One Rat Short, 36 Pan’s Labyrinth, 35 254 Nonsquare pixels, 468–469 Onimusha game, 33, 351 Paper Physical simulations, Nonuniform rational On-target, 64 in imagesetters, 472 156–157

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Pianist, The, 32 132–138, 424 Princess and the Frog, The, 35 input capabilities of, 69 PICS file format, 465 Polygonal structures, 119 Princess Mononoke, 27, 355 networks in, 68–69 PICT file format, 463, 464 Polygon Family, 237, 238 Principles of animation peripheral storage in, 68 Picture files, 194, 195, 463 Polygon Pictures, 21 new, 310–318 personnel in, 66. See also Picture maps, 275–276 Polygon reduction software, traditional, 5, 54, 58, 304, Teams Pigment-based colors, 173, 111 305–310 processing power of, 225–226 Polygons Printer driver, 469 67–68 Pinkava, Jan, 29 billboards, 134 Printing software in, 64, 66–67 Pinocchio, 305 vs curves, 109 dye sublimation, 470–471 See also Production, digital Pipe Dream, 390 defined, 99, 121 electrostatic, 469–470 Production team, 66, 69, 70, Pirates of the Caribbean, 34, facing away, disabling, ink jet, 470 74 87, 369, 408 164 laser, 470 Progressive complications, in Pitch, 104 fitting curved surfaces to, PRMan, 254 story design, 52–53 Pivot points, 354, 366 144–145 Procedural animation, 317, Projection, rate of, 299 Pixar, 4, 10, 13, 21, 24, 25, shading value, 252 382–390 Projection plane, camera, 214 26, 27, 29, 33, 35 subdivision, 150 flock, 317, 383–386 Promise, The, 36 Pixel aspect ratios, 468 Polyhedra, regular, 120 goal-oriented, 386–390 Proportional scaling, Pixel resolution, 456–457, Pong, 20 particle systems, 382–383 102–103 469 Portable file formats, 104, Procedural creation, 278 Proprietary software, 67 resampling of, 429–431, 463 Procedural description, Props, 58 457 Portrait format, 206–207 149–157 computer-generated, 420 Pixels Poseidon, 35 fractal geometry, 149, 150 Prosthetic motion capture, in bitmap, 459 Poses, key, 325 particle systems, 149, 370 nonsquare, 468–469 Pose-to-pose action, 307, 150–153 Proxies, 80, 82 number of, 180–181, 456 308 physical simulations, Prusinkiewicz, Przemyslaw, 7 per inch, 430, 456, 458 Postprocessing, 78, 85 156–157 Psychological effect, of Placeholder geometry, 81 and color grading, of plants, 152, 153–156 camera shot, 210 Plan of action, 62 452–453 Procedural texturing tech- Puppetry, 297 Planar surfaces, 99 and compositing, niques, 278–280, 282 Purbeck Light Years, 135, 137 Planet 51, 36, 329 442–447 Processing power, 67–68 Purging, 148 Planning, 65 image manipulation, Production, digital, 49–90 Putput peripherals, 455–456 Plants, modeling, 152, 429–437 animatics, 80 Pyramid of vision, 204–208 153–156 and retouching, 437–441 character design, 58, 82 Plastic surfaces, 268 and sequencing, 447–452 lighting and shading, • Q • Platform games, 13, 14, 15, Postproduction. See 83–84 QTVR file format, 467 34, 132, 133, 135, 190, Postprocessing live action, matching, 84 Quadratic curves, 118 219, 402. See also Games Postproduction group, 74 preproduction, 62, 77–78, Quantization, 460 Playback controller, 466 Potentiometers, 370 79 Quantum of Solace, 15 Playblast, 358 Power windows, 453 screen credits, 71–73 QuickTime file format, 88, Player (plug-in), 133 Practical effects, 424 steps in, 77–85 195, 463, 466–467 PlayStation, 13, 14, 15, 34, Practical lights, 239–240, storyboards, 77, 79, QuickTime VR (QTVR) 190, 192, 402 351–352 328–329, 360 file format, 467 Plot points, 54 Precedence, levels of, 353 storytelling, 49–56 Plug-ins, 66 Predefined points of interest, strategies, 60–65 • R • Pocahontas, 30 210 techniques, 74 Race for Atlantis, 29, 30 Pocoyó, 126, 304, 318 Predefined position, 204 types of, 60–61 Rack focus, 347 Point, 98 Preferences file, 112–113, of visual effects, 74, Radial force, 378 Point force, 378 358–359 405–413 Radiance, 183 Point of interest (POI), 205, Preproduction, 62, 77–78, visual/look development, Radiance RGBE, 466 210, 215 79, 409 59 Radiosity rendering, Point light, 227–228 Presentation storyboard, See also Modeling; Production 181–182 Point sampling, 183 327–328, 330 studio, digital; Rendering Radius (of sphere), 119 Point of view (POV), 205, Previsualization (previz), 79, Production flow, 63–64, RAID disk arrays, 68 210, 215 80, 409, 411 75–76, 77 Random distortion, 149 Point of view shots, 211, Previz test, 80 Production pipeline, 77, 407, Ratatouille, 35, 73 213 Primary color correction, 453 409 Rate of display, 299 Polar Express, 32 Primary motion, 303 Production-ready script, 79 Rating systems, 18, 22, 23, Polygonal lines, 116–117 Primordial Dance, 25 Production schedule, 64 30–31 Polygonal meshes, 117, Prince of Egypt, 27, 72, 355, Production studio, digital, Rational curve, 118 123–124, 125, 136 382, 394, 401, 421 65–69 Rauschenberg, Robert, 16 Polygonal models, real-time, Prince of Persia, 36 components of, 64 Raw motion, 366

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(The two-dimensional characters in Sky Crawlers are composited over three-dimensional backgrounds and props. Related images in Figure 11.6.1. Images courtesy of Polygon Pictures. © MH/NI, BWDVYHDYCH.)

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Ray tracing depth, 180 in layers, 176, 177 Revolve (lathe), 122 Saturated color, 174, 460 Ray tracing rendering, and lighting, 83–84, Reynolds, Craig, 23 Scaling 179–181, 200, 270, 280, 171–172, 221 R/Greenberg Associates, 21, image maps, 266 286 modeling related to, 29, 34 nonprorportional, 103 Readability of motion, 302 110–111, 196–197 Rhythm & Hues Studios, 21, proportional, 102–103 Read-time, 475–476 monochrome, 60 22, 25, 29, 34 Scanimate system, 18 Real actors, 367, 368 multi-pass, 255–256 Rhythm Scan line, 178 Realistic characters, 318 network, 286–287 of motion, 323–324 Scanner, digital, 258 Real-time motion capture, nonphotorealistic (NPR), visual, 448–449 Scary Movie 4, 15 369–371 13–14, 188–190 RIB (Renderman Interface Scene Real-time rendering, and overlapping edges, Bytestream), 254 boundaries, 94–95 132–135 164 Richter, Hans, 4 defined, 299 Rear projection, 444 polygonal structures in, Riggers, 160 layout, 81 Reboot, 30, 58, 449 109 Rigging lighting, 235–238 Recording computer preparations for, 169–172 defined, 78, 81, 159–160 Scene-and-shot-number, 328 animation, 289 radiosity, 181–182 heavy motion, 164 Scene description language, Rectangular coordinate ray tracing, 179–181, and hierarchical structures, 106 system, 95 200, 270, 280, 286 158–159 Schedule, production, 64 Rectangular images, 264 real-time, 132–135 order of rotations, Schroder, Peter, 7 Recursion, level of, 150 single point of view, 164 160–161 Science of Sleep, The, 35 Red, Green, and Blue (RGB) steps in, 175–177 skeleton, 160 Scratch dialog, 79 color model, 173, 174, tests, 199–200 skin binding, 161–162 Screen credits. See Credits 175, 226, 230, 231, 232, time, 200, 246 skin deformation, Screenplay, 50–51, 327 234 wireframe, 99 162–163 Script, 50, 56 Red laser DVD, 476 Z-Buffer, 178–179 Right-handed coordinate production-ready, 79 Rednecks, 30 See also Camera; Shading system, 95 Sculpting, virtual, 124–125 Red One camera, 15 Rendering engine, 133 Rigid body dynamics, Seafari, 29 Red’s Dream, 21 Rendering farms, 65, 68, 287 374–375 SECAM video format, 462 Reflection of light, 268 Rendering layer, 255–256 Rigid geometry, 162 Secondary action, 309 Reflection maps, 270 Rendering links, 158 Rigid objects, 376 Secondary action area, Reflection rays, 180 Rendering passes, 256 Rim light, 239 236–237 Reflectivity, surface, 267–274 Rendering Preferences File, Ripping, 469 Secondary motion, 303–304, Reflectors, 244–245 198 RISC (reduced instruction 366 Refraction rays, 180 Renderman Interface set computer), 10, 11 Second unit of photography, Refresh rate, 474 Bytestream (RIB), 254 Rising action, 52–53 411 Regular polyhedra, 120 RenderMan shading, 10, 13, Robichaud, Daniel, 29 Sederberg, Thomas W., 7 Reininger, Lotte, 4 21, 27, 28, 254 Rolie Polie Olie, 30 Seed outline, 121 Relative values, 101 Repetitive stress injury, 86, 88 Roll camera move, 104, 217, Sega, 13 Remote collaboration, 65 Resampling 344, 346 Self-contained format, 466 Remote rendering, 287 of color resolution, Rotation Sequences Renaissance, 36 431–433 direction of, 102 defined, 299 Rendering, 10, 169–201 of pixel resolution, order of, 160–161 keyframes, 298–299 animation related to, 197 429–431, 457 range of, 354 of motion, 304, 387 color models in, 172–175 Rescuers Down Under, The, 26 Rotational velocity, 380 of moving images, defined, 78, 84 Resisting forces, 379 Rotoscoping, 84, 371, 414 466–468 file formats, 194–196 Resolution, in story design, Rough cut, 448 numbering files in, 464 finaling (wrangling), 285 52, 53 Rough layout, 81 of still images, 295 fur, 25 Resolution, image. See Image Rounding edges, 147, 148 Sequence supervisor, 407 getting ready, 196–200 resolution Rubber ball, elasticity of, 376 Sequencing. See Image glass, 288 Resource allocation, 64 Rugrats, 27 sequencing global illumination, 181, Response speed, of games, Rule-based motion, 317, 382 Serial section reconstruction, 183 402 Running time, 329 141 hacks (cheats), 285–286 Rest position, 376 Rushes, 82 Series of still images, hair, 28, 192 Resume, 88 Ryan, 33, 313, 318 463–464 hardware, 190–194 Retargeting motion, 374 Server, 68, 477 hidden surface removal, Retouching, image, 437–441 • S • Set extensions, 419 177–178 Return of the Jedi, 20 SAGE Air Defense System, Setting a face, 127 hybrid, 177 Revenge of the Fallen, 36 7–8 Seventh art, 5 hyperrealistic, 25 Reverse angle shots, 212, 214 Salesin, David H., 7 Seven Wonders of the World, image-based lighting, 13, Review and approval cycle, Sampling points, 367 The, 25 28, 183–187 62 Santa Barbara Studios, 24 Sexy Beast, 32

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Shaders Silicon Graphics, 10 types of, 64 289, 406, 411 surface, 254–256 SimmGraphics, 26 upgrades, 67 Spyro the Dragon game, 112, toon (cel), 188–189 Simple motion, 303 Sogitec, 21 132, 194, 259, 333 vertex, 194 Sims, Karl, 25 Solid drawing, 310 Square, 24 volume, 281 Sims, The, 34 Sony, 13, 14, 15, 24, 28, 35 SquareSoft, 29 Shading, 9, 10, 84, 176, 247 Simulated film grain, 286 Soulblade, 29 Squash and stretch, 20, 22, ambient occlusion, 253 Simulated lens glow and Sound stage, 237 26, 305–306, 340 diffuse, 252 flares, 286 Soundtrack, 87, 328 Stage, 237 environment-dependent, Simulated material, 254 Source mesh, 385 Staggered motion, 304 281–284 Simulated muscles, 392 South Park, 27 Staging, 306–307 fog effect, 283–284 Simulation, 11, 12, 14, 15 Space, three-dimensional, Stam, Jos, 7 hybrid models, 252 dynamic, 374–382, 384 94–95 Stand-alone animation file, and light reflectance mod- genetic evolution, 390 Space-oriented procedural 357 els, 251–252 of human-looking charac- techniques, 154 Standard Definition (SD) minimum parameters, ters, 389–390 Sparx, 30 video signals, 472–473 287–288 non-edge, 21 Spatial aliasing, 281 Standard length, 60–61 RenderMan, 10, 13, 21, 27, physical, 156–157 Spatial animation, 337–338 Stanley and Stella: Breaking the 28, 254 shortcuts in, 379 Spatial relation between Ice, 22 smooth, 253 Simulation domain, 378 shots/scenes, 450 Starship Troopers, 27 specular, 252–253 Sin City, 35, 36, 453 Spatial resolution, 282, Star Trek, 20, 36 See also Image maps Single server, 477 456–458 Star Wars, 12, 14, 19, 28, 31, Shading value, 251 Skeleton editor, 354 Spatial textures, 276 35, 396, 411, 420, 422 Shadow editor, 440 Skeletons Special effects, 424 Stationary camera shot, 210 Shadow ray, 180 articulated, 161 Specialist employees, 66, 406 Stationary matte, 442 Shadows, 234–235, 350 hierarchical, 321–322, Special lighting effects, Stationen, 33 Shape, of characters, 363–364, 365 240–241 Stencils, 437 319–320, 326 rig, 160 Special Visual Effects awards, Stereo lithography, 109, 110, Shape animation, 336 Sketches. See Drawings 5 113, 476, 479 Shape interpolation, 162, Sketchpad, 8 Species, 27 Stiffness, 376 336 Skin binding, 160, 161 Specular reflectivity, 269 Still frame, 299 Shape styling, 124–125 Skin deformers, 162–163 Specular shading, 252–253 Still images Sharpening filters, 441 Skin generation, automatic, Speed of motion, 302, 308, file formats for, 196, Shell, 110 162 322–323 463–466 Shinobi, 36, 79, 330, 436 Skin motion, facial, 391 Speed Racer, 35, 453 sequences of, 295 Shooting on twos, 299 Skinning, 141–144, 165 Spheres, 119, 121 Stochastic values, 154 Shorts, animated, 22, 29, 36, Skin shader, 194, 250 Spherical coordinate system, Stop-motion animation, 60, 70 Skin surfaces, 161–162 96, 103 296–297, 299 Shot assignments, 74 Sky Crawlers, 357 Spherical environment Stop motion mode, 422 Shot number, 328 Skypans, 245 mapping, 271–272 Stories, 49 Shots Slices, 141 Spherical projection, 264 Stormriders, The, 443 defined, 299 Slope of path, 334 Spider-Man, 34 Storyboards, 327–330 timing information for, Slow-in/Slow-out, 307–308 Spielberg, Steven, 25 and animatics, 80 328–329 SMILE system, 24 Spirals, 121 conceptual, 327, 330 transitions between, 329, Smith, Alvy Ray, 7 Spirit, 32 presentation, 327–328, 449–452 Smoke simulation, 284 Spirited Away, 33 330 Shoup, Richard, 7 Smooth surface shading, 253 Splines, 117–118, 335–336 production, 77, 79, Shrek, 33, 36, 54, 55, 77, Snap to a grid, 131 deformation with, 149 328–329, 330, 360 161, 162, 317, 318, 328, Snow White, 305 Splinter Cell Double Agent, 349 titles and credits on, 330 337 Soft curves, 434 Spotlight, 222, 232, 236, Story development, 50 Siblings, in hierarchical Soft cut, 329, 450 244 Story genre, 50 structure, 353 Softimage, 10 cone of light, 233 Story reels, 80 Side Effects Software, 10 Softs, 245–246, 247 in dark scene, 352 Storytelling, 49–56 Side plane, 96 Software dimmed/turned up, 348 anticipation in, 306 Sideways scanning, 345 applications, 66 hard edge/soft edge, 234 cinematic, 203 SIGGRAPH awards, 6, 7, 33 memory requirements, 113 pulsating, 348–349 classical design, 51–52 SIGGRAPH Video Review, photogrammetry, 157 types of, 228 nonlinear, 54, 56 16 physical simulation, 157 Spread of light beam, 232 techniques of, 51–54 Silhouette of character, proprietary, 67 Springs, in stretched/rest tips, 50 320–321, 326 rendering, 198, 254 positions, 376 Straight-ahead action, 306, Silicon chip, 6 turnkey, 66–67 Spy Kids 2, 13, 14, 32, 248, 307

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Straightforward communica- transparency, 280–281 Temporal aliasing, 282 Tilt camera move, 104, 217, tion, 218 trimmed, 147 Temporal relation between 344, 346 Straight lines, 116–117 visible, 177 shots/scenes, 450 Time freeze, 424 Straight path, 121 See also Shading Temporal resolution, Time-sharing system, 17 Streaming files, 476–477 Surface shader, 254–256 461–462 Timing Stretched position, 376 Surf ’s Up, 35 Temps, 410 of action, 300, 302, 309 Structural-oriented procedural Surprise, 54 Tendril, 19 of character, 322 techniques, 154 Survage, Léopold, 4 Tension of curved line, 118 Timing sync information, Structures, 94 Survey data, visual effects, 10,000 BC, 58 483 Stuart Little, 27, 28, 444, 445 412 Terkel in Trouble, 33, 273 Tinted lights, 226 Studio, 437., See also Suspense, 54 Terminator, 24–25, 28, 36 Tin Toy, 17, 21 Production studio digital Sutherland, Ivan E., 7, 8 Terrains Tippet Studios, 21 Stunt double Swade-Meyer, Christian, 33 creating, 125–126, 130 Titanic, 27, 28 computer-generated, 25, Sweeping modeling with displacement maps, Titles, on storyboard, 330 28 technique, 121–123 278 TMNT. See Teenage Mutant virtual, 419, 423 Swirling, 375 Tessellation, 177 Ninja Turtles Stylized characters, 318 Symbolics Graphics, 22 Tetrahedron, 120, 121 Tokyo Links, 21, 22 Suba Jellyfish, 54 Synchronicity, 32, 33 Texas Instruments, 12–13 Tomb Raider, 29 Subdivision grids, 181 Synchronization of motions, Text tools, 130 Tonal range, editing, Subdivision surfaces, 13, 21, 398 Texture 439–440 109, 145–146 Synthavision, 9 surface, 276–280 Toon shaders, 188 Subject of screenplay, 51, 52 System palette, 433 transformations, 342 Toontown, 136, 137, 138 Subsurface scattering, 282 Texture maps, 259, 260 Top plane, 96 Subtractive color system, • T • positioning, 264–265 Torques, 380 173, 226 T-1, 69 three-dimensional proce- Torrance, Kenneth E., 7 Subtractive rapid prototyping, Tagged Image File Format dural, 278–280 Torus, 120, 122 479 (TIFF), 195, 463, 464 two-dimensional procedur- Toy Story, 4, 5, 14, 23, Sun, as light source, 229 Taisei Corp., 25 al, 278, 282 26–27, 36, 362, 363 Supercomputers, 6 Tale of Despereaux, The, 36 Texture noise, 441 Toy Story 2, 27, 262 Superman Returns, 15, 34 Tangent points, 118 Texture painting, 81–82 Toy Story 3, 36 Super Mario 64, 29 TARGA, 466 Texturing, 276 Tracking markers, 412 Supermicrocomputers, 6, 11 Tarzan, 27, 30 Tezuka, Osamu, 311 Trajectories, particle, 150 Supervision, 65 Team effort, 65, 66 TGA file format, 195, Transfer paths, 388 Surface characteristics, anima- Teams 465–466 Transformation matrix, 100, tion of, 342–343 administrative, 68, 77 Thalmann, Daniel, 25 336 Surface finish, 254 creative, 66, 68, 69–70 They Will Come to Town, 209 Transformations, timing of, Surface layers, 256 crossing over, 70 Thickness, of refractive 342 Surface libraries, 255 in large-scale projects, surface, 180 Transformers, 34, 36 Surface normals, 251 70–77 Thinking process of charac- Transition, 329 Surfaces production, 66, 69, 70 ter, 324–325 Transition effects, 449–452 blending, 148, 149 technical, 70 Third-person camera, 219 Transit paths, 388 blobby, 21, 144, 375 visual effects, 74 30 frames, 299 Translation, 101–102 color, 274–276 Technical animation, 82 3D rotoscoping, 371 Translation of data, 456 facing away, 164 Technical complexity, 61–62 Three-dimensional animation Translucent image map, 350 free-form curved, Technical director, 81 projects, 22, 23–24, 25, Transparency, surface, 139–145 Technical implementation, 62 26–27, 29, 30, 62 280–281 hidden surface removal, Technical notes, 88–89 Three-dimensional media, Transparency map, 280–281, 177–178 Technical support group, 70, output on, 478–479 286 with holes, 147 85 Three-dimensional modeling. Transponders, 370 illumination, 266 Technological Threat, 21, 22 See Modeling Traveling matte, 443–444 incandescence, 273–274 Teenage Mutant Ninja Turtles Three-dimensional morphing, Traveling shot, 216, 344 and light sources, 234 (TMNT), 35, 112, 164, 20, 24–25, 340, 343, Treasure Planet, 32–33 modeling utilities, 248, 271, 290, 355, 393 421–422 Treatment of subject, 50 147–148 Tekkonkinkreet, 36 Three-dimensional space, 95 Tree structure, hierarchy, 352 reflectivity of, 267–274 Telephoto lens, 216 300, 453 Triangles per second, 190 of revolution, 122 Television commercials, 21, Three-point lighting, 238 Trimmed surfaces, 147 skin, 161–162 25, 29–30, 33 3 to 2 pulldown, 462 Trimming, 147 subdivision, 13, 21, 109, crews for, 66, 70 TIFF file format, 195, 463, TRON, 20 145–146 Tempo 464 Truck, 104, 344, 346 subsurface scattering, 282 of motion, 322 Tightrope, 29 Truck move, 216 texture of, 276–280 visual, 448–449 Tiling image maps, 266 Tungsten fresnels, 245, 247

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Turbulence, 375 Vertex shaders, 192, 194 set/character extensions, Weight, control point, 118 Turnkey software, 66–67 VFX. See Visual effects 419–420 Weighted interpolation, 430 Twelve principles of VFX elements, 411 stop-motion, 296 What Dreams May Come, 28 animation, 5, 54, 58, 304, Video, output on, 471, Visual effects producer, 74, Where the Wild Things Are, 36 305–310 472–475 407 Whirlwind computer, 7 24 frames, 299 Video-DVD, 476 Visual Effects Society, 424 Whitney, John, Sr., 5, 17 2012, 36 Video formats, 87–88, 472 Visual effects supervisor, 74, Whitney/Demos Productions, Twister, 28 Videogames, 9, 12, 14, 20, 407, 412, 452 21, 22 Twist joint, 354 29, 34, 60, 131, 190. See Visual effects team, 69, 74, Whitted, Turner, 7, 21 Two-dimensional crowd also Games 406–407, 412 Wide angle lens, 215–216 replication, 421 Video output, 87–88 Visual interpretation, 49 Wide shot, 213 Two-dimensional morphing, Video System, 25 Visual line of action, 325 Wii, 15 447 Video tracks, 448 Visual look, 59, 314, 453 Wild, The, 35 Two-dimensional shapes, 121 Viewing angle, 206 Visual style, 64, 314–315 Williams, Lance J., 7 2D roto, 371 VIFX, 21, 28, 34 Visual textures, 276 Windows Media file format, 2D/3D integration, 355–356 Vignetting, 184 Volcano Mine Ride, The, 29 468 2K file, 413, 457 Viper FilmStream, 14 Vol Libre, 16, 19 Windows NT operating 2001: A Space Odyssey, 444 Virtua Fighter 3, 13, 29 Volumes, 375 system, 12 Type of production, 60–61 Virtual actors, 367, 368 bounding, 381 Wipes, 451–452 Virtual Andre, 29–30 calculation of, 131, 376 Wireframe rendering, 99 • U • Virtual camera, 103, 203, Volume shaders, 281 Wire removal, 417, 419 Ugly Duckling and Me!, The, 204, 343, 346 Volumetric lights, 233 Within budget, 64 36, 333, 334 Virtual Macbeth, 191 Vortex, 375 Witkin, Andrew, 7 Ultima Online, 29 Virtual Marilyn, 24, 25 Voyager 2, 19 Workflow, production, 63 Ultraviolet, 418 Virtual reality, 397 Voyager space mission simu- Workspace, 94–95 Umbra, 234 Virtual Reality Modeling lations, 15, 19 Workstations, 6, 11 Underpaint, 256 Language (VRML), 106, VRML (Virtual Reality Works, The, 11 Union (and), 146, 147 109 Modeling Language), 106, World coordinate system, 96 Universal file formats, 105, Virtual sculpting, 124–125 109 World origin, 95 463 Virtual studio, 170 Wrapping projection, 264 Universal joint, 354 Viscosity, 375, 379 • W • Written description of pro- Universe, The, 11 Visemes, 133 Waist shot, 212–213 duction flow, 63 University of California at Visibility, and fog, 284 Walczak, Diana, 19 Written information on pro- Berkeley, 10, 13 Vision Research, 15 Walk cycles, 323, 324 duction storyboard, 328 University of Hiroshima, 10, Visual effects, 405–426, 443 WALL-E, 35 www.artof3d.com, 16, 36, 86 21 awards, 5, 27, 33, 34 Waltz with Bashir, 196 University of Tokyo, 10 background replace- Wanted, 35 • X • University of Utah, 9 ment/wire removal, Ward, Greg, 7 X3D, 106 Unix operating system, 12 417–418 Warner Bros., 27, 32 Xbox, 14, 15, 33, 34, 190, Up, 36 blue and green screens Warner Digital, 28 402 Upward compatibility, (chroma key), 414–416 Warnock, John, 7 Xenons, 245, 247 software, 67 camera tracking, 413–414 Watchmen, 36 X-Men, 34 URU: Ages Beyond Myst, 34 cross-over techniques, 406 Water X-Men Origins, 36 User-controlled animation, crowd replication, motion of, 226, 277, 350 XY coordinates, 265 317–318 420–421 simulation of, 156–157 User testing, 56 information sources on, 16 Water mesh simulation, 151 • Y • Utilities, modeling, 126–132, for live action, 298, 410 Waterworld, 28 Yaw, 104 147–149 milestones in, 20–21, 23, Waveform monitor, 472, 474 Yon plane, 205 UV coating, 470 24–25, 27–28, 31–32, Wavefront, 10 Young Sherlock Holmes, 20 UV coordinates, 265, 266 35–36, 424 Wave functions, 341–342 YouTube, 15–16 morphing, three-dimen- Wavelet compression, 465 • V • sional, 421–422 Waves • Z • Vanguard Animaton, 33 motion capture, 423 circular, 341–342 Z-Buffer rendering, 178–179 Variable bit rate (VBR), 476 motion control, 422–423 parametric, 277 Z-depth map, 179, 184 Vectorscope, 474 particle systems, 420 planar, 342 Zhang, Yimou, 33 Velocity, 375 photogrammetry, simulation of, 156, 157, Zone system, 222, 224 rotational, 380 423–424 341 Zone V, 222, 224 Verbal descriptions of three- practical (special), 424 spherical, 342 Zoom, 104 dimensionality, 97 production process, 74, Websites, and polygonal Zoom lens, 214, 346 Vertex, 98 405–413 models, 133 Zoom moves, 346 Vertex normals, 251 rotoscoping, 414 Wedge, Chris, 29, 33, 67

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(Top: For the Birds. © Disney Visit this website to download selec- Book is set in 10 on 11 Columbus Enterprises, Inc./Pixar Animation tions from the Timeline of Animation Monotype, with headings and cap- Studios.) and Visual Effects and the Ten Career tions in Syntax. Tips for Digital Artists.