A Brief History of Computer Graphics and Video Effects (Paris East)
In the 1980’s, Triple-I did their work producing seven minutes of CG for Looker (1980), while ILM produced the first all digital CG image for Star Trek II: The Wrath of Khan (1982), though Disney’s Tron (1982) was the first extensive use of 3D CG.
In the 1980’s, Triple-I did their work producing seven minutes of CG for Looker (1980), while ILM produced the first all digital CG image for Star Trek II: The Wrath of Khan (1982), though Disney’s Tron (1982) was the first extensive use of 3D CG.
Where the Wild Things Are (1982-83) was a pioneering 35mm film test, which digitally composited 3D CG backgrounds with traditionally animated (digitally inked and painted) characters. The work was led by Chris Wedge (now vice-president of Blue Sky/VIFX, Joe’s Apartment, Star Trek: Insurrection and Bunny). John Lasseter (director of Toy Story, A Bug’s Life and Monsters Inc.) left Disney and joined Lucasfilm Computer Graphics Division, working on the CG Endor moon sequence for “Return of the Jedi” (1983) (Oscar winner).
SGI (Silicon Graphics Inc.) was founded by Jim Clark in 1982 and by 1984 they had released their first product the IRIS 1000. The early 80’s also saw a surge in the opening of graphics software houses and the release of new products onto the market. These included 1983: Alias Research Inc. (Alias/1), 1984: Wavefront (PreView), 1985: Softimage (Creative Environment) and 1982: Autodesk (AutoCAD).
Between 1980 and 1985 the special effects and computer graphics industries began not only to settle down but also to merge slightly. Richard Edlund left ILM in 1983 and formed Boss Film Corp., powering onto the market with effects work for Ghost Busters (Oscar nominated) and 2010 (1984) (Oscar nominated). Lucasfilm Computer Graphics Division released The Adventures of Andre and Wally B directed by John Lasseter. Disney’s The Black Cauldron (1985) became the first animated feature film to contain a 3D element. Lucasfilm Computer Graphics Division produced the 3D animation required to bring to life a knight made of stained glass for the film Young Sherlock Holmes (1985) (Oscar nominated). The project was also the first to composite CG with a live-action background.
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