LEADER 07122nam 22004933 450 001 9911117634503321 005 20250406090345.0 010 $a9798400712685 035 $a(MiAaPQ)EBC31986191 035 $a(Au-PeEL)EBL31986191 035 $a(CKB)38247884100041 035 $a(OCoLC)1513861306 035 $a(EXLCZ)9938247884100041 100 $a20250406d2025 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aCalculated Imagery $eA History of Computer Graphics in Hollywood Cinema 205 $a1st ed. 210 1$aNew York :$cMorgan & Claypool Publishers,$d2025. 210 4$dİ2025. 215 $a1 online resource (1042 pages) 225 1 $aACM Bks. 327 $aAdvance Praise for Calculated Imagery -- Calculated Imagery -- Contents -- List of Figures -- List of Acronyms -- Foreword by Gary Demos -- Acknowledgments -- Introduction -- Calculating Imagery -- Early Computer Output and Graphics -- The Spread of Computer-generated Imagery -- Photorealistic Imagery versus Photostylized Imagery -- 1 Simulating Computers and Computer Graphics -- 1.1 Screens On-screen -- 1.2 Computers On-screen -- 1.3 Simulating Computer Graphics -- 1.4 Faking Computer Graphics into the 1970s and 1980s -- 2 Computer Graphics as Diegetic Computer Graphics -- 2.1 Computer Graphics Introduced to the Public -- 2.2 Lissajous Figures, Vertigo, and John Whitney Sr. -- 2.3 Early Film Recorders -- 2.4 Vector versus Raster Graphics -- 2.5 Wireframe Imagery -- 2.6 Computer Animation Applications and Languages -- 2.7 Mathematical Visualization and Modeling -- 2.8 The Public Face of Computer Graphics in the 1960s -- 2.9 The Andromeda Strain ? and the First Digital Film System? -- 2.10 The Key Frame Animation System -- 2.11 Computer Graphics' First Oscar Nominations -- 2.12 Alan Kitching and ANTICS -- 2.13 Westworld and Computer Vision -- 2.14 UFO Target Earth and Alien Revelation -- 2.15 The Scanimate System -- 2.16 HICAMP, HICAMPER, and Compufilms -- 2.17 The Frame Buffer -- 2.18 Smooth Shading: Gouraud, Phong, and More -- 2.19 Catmull and Parke Lend a Hand to Futureworld -- 2.20 The Z-buffer -- 2.21 Mapping, Fractals, and Other Innovations -- 2.22 The Film versus Video Debate -- 2.23 The Making of Star Wars -- 2.24 Logos and Title Sequences -- 2.25 The Computer Graphics Industry of the 1970s -- 2.26 Imagining Computer Graphics of the Future -- 3 Early Photostylized Computer Graphics -- 3.1 The Earliest Computer-generated Diegetic Objects -- 3.2 CG Spaceship Tests -- 3.3 Blinn's JPL Flyby Simulations and Other Projects. 327 $a3.4 Developing Global Illumination -- 3.5 The NYIT Computer Graphics Lab -- 3.6 Lucasfilm's Computer Graphics Division -- 3.7 Scanned Images and Altered States -- 3.8 Scanned Humans and Looker -- 3.9 Rendering Nature -- 3.10 Fractals, Particle Systems, and the Genesis Sequence -- 3.11 The Making and Marketing of Tron -- 3.12 CGL's Work on The Works Continues -- 3.13 Music Videos -- 3.14 Computer Graphics and Traditional Animation -- 3.15 Creating Digital Scenes and Landscapes -- 3.16 Digital Compositing -- 3.17 Entering the Live-action Diegesis: The Last Starfighter and 2010 -- 3.18 New Hardware and Software -- 3.19 Advances in Character Animation -- 3.20 Apollo Computer's Midnight Movie Group -- 3.21 Radiosity -- 3.22 The Computer Graphics Industry of the 1980s -- 3.23 The Start of Pixar -- 3.24 The DOA Fiasco -- 3.25 New Companies of the Late 1980s -- 4 Photostylized Computer Graphics as an Artistic Choice -- 4.1 Choosing Photostylization -- 4.2 Pixar's Short Films -- 4.3 The Late 1980s and Early 1990s -- 4.4 Refining and Combining Techniques -- 4.5 Photostylized Imagery for Film and Television -- 4.6 Early Computer-animated Television Shows -- 4.7 Digital Ink-and-Paint Systems -- 4.8 Disney's Computer Animation Production System -- 4.9 The Making of Toy Story -- 4.10 Computer Animation as a Mode of Production -- 4.11 The Early Years of All-CG Feature Films -- 4.12 Shorter-format Film and Video -- 4.13 Television Animation -- 4.14 The Computer-animated Feature Film Industry -- 5 Photorealistic Computer Graphics -- 5.1 Realism, Perceptual Realism, and Photorealism -- 5.2 Appearance, Behavior, and Context -- 5.3 Early Photorealistic Computer Graphics -- 5.4 Procedural Textures, Solid Textures, and Perlin Noise -- 5.5 The Knight and the Navigator -- 5.6 ILM's Computer Graphics Department -- 5.7 Invisible Effects -- 5.8 Morphing Effects. 327 $a5.9 New Software: RenderMan and Photoshop -- 5.10 The Water Pseudopod and The Abyss -- 5.11 The Digital Effects Industry of the 1990s -- 5.12 Liquid Metal and Terminator 2 -- 5.13 Skin, Bones, and Muscles -- 5.14 Cloth, Fur, and Hair -- 5.15 Character Animation Systems -- 5.16 Further Advances in Invisible Effects -- 5.17 Small-screen Science Fiction -- 5.18 Fluids, Fire, and Smoke -- 5.19 Herds, Crowds, and Armies -- 5.20 Simulating Eye and Camera -- 5.21 The Digital Effects Industry of the 21st Century -- 5.22 Photorealistic Environments -- 5.23 Simulations of Human Beings -- 6 Computer Graphics Behind the Scenes -- 6.1 Computer Usage Behind the Scenes -- 6.2 Digital Editing Systems -- 6.3 Pixel-pushing: Paint Programs and 2D Image Manipulation -- 6.4 Advances in Film Scanners and Recorders -- 6.5 Image Repair, Restoration, and Preservation -- 6.6 Digital Intermediates -- 6.7 Previsualization -- 6.8 Digital Puppeteering and Motion Capture -- 6.9 Motion Tracking, Matchmoving, and Optical Flow -- 6.10 Advanced Digital Compositing -- 6.11 Digital Cameras -- 6.12 Combining Digital and Virtual Cameras -- 6.13 Virtual Production -- 6.14 Digital Distribution and Projection -- 7 Computer Graphics as Automated Imagery -- 7.1 A Car Stunt Simulation -- 7.2 Early Forms of Simulation -- 7.3 Kinematic and Dynamic Methods -- 7.4 Procedural Generation -- 7.5 Complex Physics Simulations -- 7.6 Agents and Artificial Intelligence -- 7.7 The Future of Computer Graphics in Cinema -- Epilogue: The Cinematic Image as a Computer Graphic -- The Initial Resistance to Digital Imaging -- The Ontology of Computer-generated Imagery -- Author's Biography -- Index. 330 $aThis is a comprehensive history of computer graphics in Hollywood cinema. As the first such work of its kind, it is an essential reference for anyone interested in the history of cinema, visual effects, or computer graphics, and the industries of which they are a part. 410 0$aACM Bks. 606 $aCOMPUTERS / Design, Graphics & Media / General$2bisacsh 606 $aCOMPUTERS / Design, Graphics & Media / Graphics Tools$2bisacsh 606 $aCOMPUTERS / Computer Science$2bisacsh 615 7$aCOMPUTERS / Design, Graphics & Media / General 615 7$aCOMPUTERS / Design, Graphics & Media / Graphics Tools 615 7$aCOMPUTERS / Computer Science 700 $aWolf$b Mark J. P$0867385 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9911117634503321 996 $aCalculated Imagery$94791955 997 $aUNINA