Simulation FX: Cinema and the R&D Complex Jordan Gowanlock a Thesis in the Mel Hoppenheim School of Cinema Presented In
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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Concordia University Research Repository Simulation FX: Cinema and the R&D Complex Jordan Gowanlock A Thesis In the Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Film and Moving Image Studies) at Concordia University Montreal, Quebec, Canada August 2017 © Jordan Gowanlock, 2017 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Jordan Gowanlock Entitled: Simulation FX: Cinema and the R&D Complex and submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Film and Moving Image Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Michael A. Conway External Examiner Dr. Julie Turnock External to Program Dr. Charles Acland Examiner Dr. Haidee Wasson Examiner Dr. Joshua Neves Thesis Supervisor Dr. Marc Steinberg Approved by _________________________________ Dr. Martin Lefebvre, Graduate Program Director November 16th, 2017 _________________________________ Dr. Rebecca Taylor Duclos, Dean, Faculty of Fine Arts iii Abstract Simulation FX: Cinema and the R&D Complex Jordan Gowanlock, Ph.D. Concordia University, 2017 This study looks at the ongoing development of tools and practices used to animate nonlinear physical phenomena, such as the crash of ocean waves or the movement of human hair, in the visual effect and animation industries. These tools and practices are developed in a nexus between public funding, research universities, the film industry, and various other sectors, such as aerospace and meteorology. This study investigates how technological development became integrated with film production, and in turn how epistemic paradigms were shared between the film industry, scientific research institutions and other industries. At the heart of these animation tools and practices, and the networks of institutions that developed them, is a way of thinking that seeks to make use of unpredictable nonlinear complexity by shaping it toward specific applications. I observe this in the way animation and visual effect studios seek the realistic appearance of nonlinear natural movement through simulation, while also implementing technologies and practices to direct the look of these simulations. I also observe this in a variety of related examples, from the way the concept of research and development unites science and application, to the way management science promotes hands off approaches that preserve the unpredictable nature of creative work. My methods consist of charting the circulation of ideas, technologies, moving images and people through contact zones such as the computer science special interest group ACM SIGGRAPH, using archival research of trade communications, scholarly publications and conference proceedings, as well as interviews with industry workers. iv Acknowledgements I would like to thank my supervisor Marc Steinberg for his feedback, guidance and encouragement during my research and writing, and for all of the other things he has done for me outside of the scope of thesis work. Marc went beyond what I was expecting from a supervisor, and I want to thank him for his incredible generosity. I would also like to thank the members of my committee, Haidee Wasson, Joshua Neves, Charles Acland and Julie Turnock, for the notes, the reference letters and the one-on-one time. I am deeply grateful to have people I respect so much offer their time to support my work. Thank you also to my informants in the visual effects and animation industries, who helped me understand their industry and their work. Finally, thank you to the Mel Hoppenheim School of Cinema and the Fonds de Recherche du Québec for their vital financial support. v List of Figures Figure 1. Nonlinear Simulation: Techniques, Tools and Applications ……………..…...………24 Figure 2. Fluid Simulation for Computer Graphics: Research, Tools and Applications………...77 vi Table of Contents List of Figures ................................................................................................................................. v Introduction: Defining Simulation FX ............................................................................................ 1 Physical and Nonlinear Simulation ............................................................................................. 3 Technical Animation and R&D................................................................................................... 6 Special FX ................................................................................................................................. 11 The Particularity of Simulation FX ........................................................................................... 13 Chapter Summaries ................................................................................................................... 15 Conclusion ................................................................................................................................. 17 Chapter 1: Nonlinear Simulation and the R&D Complex ............................................................ 20 Scientific Simulation and Nonlinearity ..................................................................................... 21 Stochastic Nonlinearity ............................................................................................................. 25 Dynamic Nonlinearity ............................................................................................................... 29 R&D: Engineering and Science in Modernity .......................................................................... 36 Complexes ................................................................................................................................. 40 Computer Science and the R&D Complex ............................................................................... 45 Conclusion ................................................................................................................................. 51 Chapter 2: The Blockbuster R&D Complex ................................................................................. 53 ACM SIGGRAPH ..................................................................................................................... 55 The Hollywood Blockbuster ..................................................................................................... 61 The Cost and Risk of R&D in VFX and Animation ................................................................. 69 The Development of Fluid Simulation ...................................................................................... 76 SIGGRAPH Visual Proceedings ............................................................................................... 87 Conclusion ................................................................................................................................. 93 Chapter 3: R&D and Simulation in VFX and Animation Production .......................................... 94 Workflows ................................................................................................................................. 95 Pipelines .................................................................................................................................. 111 Simulation FX ......................................................................................................................... 115 Conclusion ............................................................................................................................... 128 Chapter 4: Nonlinear Simulation in the Cinema ......................................................................... 130 vii Star Trek II: Wrath of Kahn (1982) ........................................................................................ 134 Jurassic Park (1993) ............................................................................................................... 138 Twister (1996) ......................................................................................................................... 143 The Perfect Storm (1999) ........................................................................................................ 145 The Day after Tomorrow (2004) ............................................................................................. 147 Conclusion ............................................................................................................................... 151 Conclusion: Nonlinear Simulation and Realism ......................................................................... 154 On Hyperrealism ..................................................................................................................... 155 Simulation FX as Speculative Realism ................................................................................... 160 Conclusion ............................................................................................................................... 167 Bibliography ............................................................................................................................... 169 1 Introduction: Defining Simulation FX Animators have long been interested in the unique,