665 Sentences With "computer generated imagery"

Together they developed the computer-camera technique to feature computer-generated imagery.

It juxtaposes graphite drawings with collaged elements and other computer-generated imagery.

Not so easy in today's world, where storytelling is dominated by computer-generated imagery.

As makeup improved, so did computer-generated imagery, which some artists viewed as a threat.

Quality computer-generated imagery up until this point was really only found on the big screen.

Musk also shared computer generated imagery of what Moon Base Alpha would look like via Instagram.

The advancements in computer-generated imagery (CGI) in the last decade have been remarkable for Hollywood.

That addition leveraged CGI (computer generated imagery) and worked with around 140 products at launch, Target said.

To realize the monster, del Toro relied on a combination of practical effects and computer-generated imagery.

The 1906 Jack London novel gets a modern boost thanks to motion capture and computer-generated imagery.

Next is computer-generated imagery that can concoct content or ad fake things to a real video.

We couldn't have told the story in as much vivid detail were it not for computer-generated imagery.

It will overlay computer-generated imagery on top of reality and allow a user to interact with it.

She also posted music videos, in which she danced in trendy but offbeat outfits against computer-generated imagery.

With the state of computer-generated imagery a few years ago, "we couldn't do any of this," she said.

In 2009, it was given the 3-D computer-generated imagery treatment, courtesy of "Forrest Gump" director Robert Zemeckis.

Larger-than-life moments were made possible through the use of computer-generated imagery, or CGI, and other special effects.

The research could also lead to new developments in other industries where computer-generated imagery and live action footage are mixed.

A discussion of the changing aesthetic of the ghost in the age of computer-generated imagery would have been worthwhile, too.

It used computer-generated imagery to depict ancient kingdoms and bloody wars in a quintessentially Indian battle of good versus evil.

Vlasenko might have opted for these super short films out of necessity—it's highly time-consuming to make computer-generated imagery.

So while computer-generated imagery is used, Ali Baba's palace, for example, is evoked in the style of Arthur Rackham illustrations.

We use a very high-end 3D modeling software that is typically used to model movie animation and CGI (computer-generated imagery).

Computer-generated imagery (CGI) is getting better and becoming more accessible to people who want to try out 3D art for themselves.

Corridor Digital used to computer-generated imagery to create the parody, posting the video and an explainer video on their official YouTube account.

They are computer-generated imagery (CGI) models with massive followings and in some cases have racked up real advertising deals and music profiles.

The big picture: Computer-generated imagery has long been a staple of big-budget films, but computer animation is expensive and time consuming.

The same is true of VR's cousin, augmented reality (AR), in which computer-generated imagery is painted on top of the real world.

In this episode of Vox Almanac, Vox's Phil Edwards explores the history behind the groundbreaking CGI (computer-generated imagery) in 1973's Westworld.

The new "Lion King" tells the well-known story of the plucky cub Simba through computer-generated imagery designed to look like live action.

They are both computer-generated imagery (CGI) models with massive followings and in some cases have racked up real advertising deals and music profiles.

Mr. Payne's pedigree promises a dramatic focus on the characters rather than on novelty computer-generated imagery (or C.G.I.) — though micro-Damons do appear likely.

Nowadays, most special effects are done with CGI (computer-generated imagery) using green screens and some of the most high-powered computers you can find.

In the middle of all this computer-generated imagery, there really seems to be a focus on getting as much as you possibly can in-camera.

However sophisticated your computer-generated imagery is, if it's been created from no physical elements and you haven't shot anything, it's going to feel like animation.

To create these digital humans, creators will use CGI restoration, sometimes relying on computer-generated imagery based on existing content or combining assets with look-alike actors.

The film includes archival footage; computer-generated imagery illustrating some of his discoveries; and interviews with his former wife Jane Hawking, the astronaut Buzz Aldrin, and others.

It's a noisy, dull, thoroughly soulless affair built on banal dialogue, flat acting, and slapdash computer-generated imagery that barely looks better than your average Playstation game.

The whole sequence suffers from overreliance on computer-generated imagery — which is good for the horses, which in Wyler's version were cruelly forced to run over tripwires.

Disney's remake of "The Lion King" re-tells the classic 1994 animated tale with updated computer-generated imagery and it was nominated in the visual effects category.

Extravagant computer-generated imagery is the hallmark of blockbusters that are carefully formulated to avoid being "execution dependent" or "review sensitive"—to avoid needing to be good.

The trailer, featuring voice-over from James Earl Jones (Mufasa), showcases the same beautifully rendered and realistic computer generated imagery that "The Jungle Book" remake displayed in 2016.

"Aladdin" is not a cartoon, but it takes place in cartoonlike spaces that trade the grace and flow of animation for the cold literalism of computer-generated imagery.

The dinosaur was created with "visual effects," abbreviated in the movie business as VFX, the art of combining real-life footage with hand-drawn or computer-generated imagery.

The thought of moving stills being met with the skeptics decrying witchcraft seems far removed from multi-million dollar epic blockbusters, complete with nearly flawless computer-generated imagery (CGI).

The film has a strong cast, with Alita played by "Parenthood" actress Rosa Salazar in a role that was in development for years — using new computer-generated imagery techniques.

"If art was easy, everybody would do it," said Pete Draper, co-founder of Makuta VFX, which is stitching the film's live-action scenes together with computer-generated imagery.

He spent the next few years inventing mathematical techniques to display curved surfaces, and began to dream of one day creating a full-length movie from computer generated imagery.

The org suggests Kate to instead utilize computer-generated imagery (CGI) of cats in the show rather than forcing real big cats to suffer just to entertain the audience.

Their ability to elicit wonder, terror and empathetic recognition — the whole point of this franchise, after all — has declined even as the capacities of computer-generated imagery have expanded.

Forgoing the all-too-familiar slickness of computer-generated imagery, Stardust instead showcases old-school practical effects, bringing imaginative glee to her colorful conjuring with every line and image.

The late British actor Peter Cushing, who died in 1994, is brought back to life as Death Star commander Grand Moff Tarkin for "Rogue One" using computer generated imagery (CGI).

In 2019 it will add "Dumbo", "Aladdin" and "The Lion King" to its roster of "live-action remakes", which replace the original cartoons with filmed footage and computer-generated imagery.

Based on Rudyard Kipling's famed work and inspired by Disney's 1967 classic animated film of the same name, the Jon Favreau directed movie blends live-action with computer-generated imagery.

The Netflix nature series premiered on April 5, and the dazzling footage has prompted some on social media to question whether computer-generated imagery was used to accomplish certain visuals.

And with its comparatively small stakes and restrained use of computer-generated imagery, Logan is certainly a departure from the effects-driven apocalypticism of the rest of the X-Men film franchise.

So it makes sense that with the rise in both quality and accessibility of 3D imaging and computer-generated imagery (CGI) technology, digital figures would come for a piece of the action.

The character has a look that is mildly off-kilter, like a trip into the uncanny valley, but using a human rather than a robot or computer-generated imagery to arrive there.

I'm a bad photographer and an even worse drawer, so I thought computer-generated imagery (both in 2D and 3D) would be a good way to produce artwork for the music industry.

Combine that with an overreliance on computer-generated imagery for many of the Predator events, and the result is a movie that seems to rob the franchise of its most simple, basic pleasures.

In her first fully realized body of animations, the complex, expansive worlds she generates through wall drawings, collages, computer-generated imagery, watercolors, photography, filmmaking, and activism merge into a total form of mythmaking.

Most of the set-piece sequences use extensive computer-generated imagery, but the director, Ari Sandel, also makes room for practical effects and real-life set dressing in his depiction of possessed Wardenclyffe.

This meticulous comic-book-to-screen adaptation, directed by Frank Miller and Robert Rodriguez, "has the muffled, airless quality of some movies loaded with computer-generated imagery," Manohla Dargis wrote in The Times.

Even Mr. Condon, who won an Oscar himself in 1999, for his "Gods and Monsters" screenplay, winces at the memory of using computer-generated imagery to create a half-human, half-vampire baby.

Fifty students will delve into digital animation, visual effects and computer-generated imagery, all with the guidance of a real studio — one that's currently hard at work on Guardians of the Galaxy: Volume 2.

To create the hologram, BASE will hire an actress to mimic Amy Winehouse's stage movements and will complete the image with prosthetics and computer-generated imagery, according to BASE Hologram Chief Executive Brian Becker.

I suppose there is the chance this behind-the-scenes video could have also been faked using computer-generated imagery, at which point I'll gladly tip my hat to the talented forgers who fooled me.

But it could help spark a necessary and overdue conversation about what might be called digital etiquette, and the practice of using computer-generated imagery to re-create and manipulate the likenesses of dead actors.

The series' first instalment, released in 1995, was also the first ever feature film to be rendered solely using three-dimensional computer-generated imagery (CGI), so it was as cutting-edge as cinema could be.

The film juxtaposes comments he has given about his opposition to Assad, interweaving these with computer-generated imagery imagining what a civilization on Mars might look like, replete with beautiful sweeping red rocky mountainous landscapes.

They describe Samsung NEON as offering: Entertainment services, namely, production of special effects including model-making services, computer-generated imagery and computer-generated graphics for the production of motion pictures, videos and movie trailers; augmented reality video production; creating computer generated characters; design and development of computer-modeled versions of human beings using computer animation for use in movies, television, internet and other applications; design and development of software for virtual characters; creating for others custom computer-generated imagery, animations, simulations and models used for entertainment.

Leapfrog over the age of computer-generated imagery and even the golden age of hand-drawn cartoons featuring Bugs Bunny, Betty Boop, and Mickey Mouse, and delve into the masterworks of the earliest years of animation.

Over the years a trickle of other stars, from Oliver Reed in "Gladiator" to Marlon Brando in "Superman Returns", have returned to the screen thanks to the power of special effects based on computer-generated imagery (CGI).

The cast of the live action "Dumbo," arriving in movie theaters worldwide this week, had to act opposite an assortment of models and stunt men and women while the elephant was being created by computer-generated imagery (CGI).

But Tim Sweeney, Epic's founder, points out that even non-gaming VR applications—such as a relaxing beach simulation or a shared virtual workspace—require slick, fast, computer-generated imagery of exactly the sort that his company sells.

Both worked on designing the outfits for Anna and Elsa on Frozen 2, which Sastrawinata-Lemay notes might be the most intricate of any animated movie in history due to advancements in 3D and computer generated imagery technology.

Robert Wise's 1965 film has no computer-generated imagery or special effects — just a great Rodgers and Hammerstein score, an utterly wholesome story and Julie Andrews's luminous performance as Maria, the young governess to the von Trapp family.

The film was also the first Hollywood feature to use computer-generated imagery, which Crichton had created in order to show how the film's villain, a menacing robotic gunslinger played by a black-clad Yul Brynner, saw the world.

The new movie, made with computer-generated imagery, follows the plot of the Oscar winning 1994 animation about lion cub Simba, who flees his kingdom after his villainous uncle Scar connives to take his father Mufasa's place as king.

Driving the news: 3D avatars of all sorts are appearing, from Apple and Snapchat's animated cartoons to apps like Gabsee and the stealthy Morphin app, which lets users re-create famous GIFs with a computer-generated imagery (CGI) version of themselves.

Computer-generated imagery had been coming of age in the mid- to late 1990s, but no single film had used C.G.I. to such sustained or varied effect, or so seamlessly brought digital creations into contact with flesh-and-blood humans.

"The Mule," which cost $50 million to make, is expected to do well over the busy holiday period, in part because it will have little direct competition; studios are mostly planning to serve up fantasies heavy on computer-generated imagery.

These sequences rely heavily on computer-generated imagery and assistance — but instead of taking us inside the workings of the cars, as in the first film, the digital effects work is used to free the vehicles from the limitations of earthbound physics.

In a 2012 interview with the Directors Guild of America, he laid out his vision for balancing practical effects work with computer-generated enhancements: The thing with computer-generated imagery is that it's an incredibly powerful tool for making better visual effects.

The future of influencers, according to the general director of Betaworks' startup bootcamp, Danika Laszuk, is digital beings who actually are powered by AI. Betaworks' next startup camp will focus on what Laszuk calls "synthetic media" — a combination of computer-generated imagery and AI capabilities.

Kevin Baxpehler: Our investment thesis is based on two main drivers: new advancements in so-called AI technologies — specifically deep-learning, computer-vision and NLP — coupled with new consumer trends such as esports, visual search, and engaging with computer-generated imagery (CGI) like Lil Miquela.

LOS ANGELES (Reuters) - Beyonce led the stars behind the voices of "The Lion King" down the red carpet on Tuesday at the world premiere of the remake of the 1994 Disney movie which uses computer-generated imagery to bring a realistic look to Pride Rock.

The future of influencers, according to the general director of Betaworks' startup boot camp, Danika Laszuk, is digital beings who actually are powered by AI. Betaworks' next startup camp will focus on what Laszuk calls "synthetic media" — a combination of computer-generated imagery and AI capabilities.

The strong results extended Mr. Eastwood's hot streak — his previous film was "American Sniper," which was the No. 1 domestic release of 2014 — and revealed built-up demand by adult moviegoers after a summer filled with big-budget sequels and reboots over-reliant on computer-generated imagery.

When she falls in love with Nino (Mathieu Kassovitz), Amélie finds herself incapable of revealing her feelings and instead turns Paris, recreated through sets and computer-generated imagery, into a kind of treasure hunt as she leaves clues about her identity, and he trails after her.

"Their contributions have led not just to Pixar's movies, but to the entire industry's use of computer generated imagery," says Ravi Ramamoorthi, a professor at University of California San Diego whose own graphics research helped animate the aliens in James Cameron's Avatar and gloss the furry pelts in 2017's War of the Planet of the Apes.

The final screening on Monday focuses on a 20600 film of "Biped," a 215 piece that made imaginative use of computer-generated imagery and that Cunningham likened to "the feeling of switching channels on the TV." Alastair Macaulay, the former chief dance critic at The New York Times, called it "a triumphant outpouring of pure dance invention and a masterpiece of theatrical poetry," and will be on hand to introduce the film and participate in a post-screening Q. and A. 3-2212-2127, anthologyfilmarchives.

According to the director, a watermark created by computer-generated imagery.

Retrieved: October 16, 2014. All flying scenes were staged with computer-generated imagery.

Computer-generated imagery is often used in conjunction with motion capture to better cover the faults that come with CGI and animation. Computer-generated imagery is limited in its practical application by how realistic it can look. Unrealistic, or badly managed computer-generated imagery can result in the Uncanny Valley effect. This effect refers to the human ability to recognize things that look eerily like humans, but are slightly off.

3D computer graphics software refers to programs used to create 3D computer- generated imagery.

The film was shot in Panavision and contains no artificial special effects or computer-generated imagery.

Computer generated imagery was used only to enhance these effects (such as digitally erasing control wires and gimbals).

Such ability is a fault with normal computer- generated imagery which, due to the complex anatomy of the human body, can often fail to replicate it perfectly. This is where motion capture comes into play. Artists can use a motion capture rig to get footage of a human performing an action and then replicate it perfectly with computer-generated imagery so that it looks normal. The lack of anatomically correct digital models contributes to the necessity of motion capture as it is used with computer-generated imagery.

The film combines computer generated imagery of robots and engineering devices and retro clothing and props like a Saab 900 car.

In January 2016, FromSoftware added a new studio in Fukuoka that focuses on creating computer-generated imagery (CGI) assets for their games.

Nintendo was a production partner on the film, and the use of special effects and computer- generated imagery was widely touted in the film's marketing.

3D computer graphics software produces computer- generated imagery (CGI) through 3D modeling and 3D rendering or produces 3D models for analytic, scientific and industrial purposes.

The Trimaxion Drone Ship was rendered in computer- generated imagery (CGI) by Omnibus Computer Animation, under the supervision of Jeff Kleiser, the brother of director Randal Kleiser.

Unlike many contemporary action series, it is distinguished by its use of real stunt work, in contrast to the growing use of computer-generated imagery in action scenes.

Jakers! The Adventures of Piggley Winks is a children's television series, animated using computer-generated imagery and broadcast in the United States, United Kingdom, Ireland, Australia, Canada, and Brazil.

Reid Gershbein an entrepreneur, studio executive, computer-generated imagery specialist, film producer/writer/director, and helps lead the world's Big Data, Social Media Analytics, Database Design, and Computer Security efforts.

The Slitheen aliens are part-computer-generated imagery (CGI) and part- prosthetic/costume. "Aliens of London" was watched by seven million viewers on initial broadcast and received generally mixed reviews.

In 2005, Lemke pitched the idea of adapting the English fairy tale "Jack and the Beanstalk" with computer-generated imagery. By 2013, Jack the Giant Slayer was directed by Bryan Singer.

CREW is artistic partner in the EU-funded multidisciplinary research consortium Dreamspace, which develops tools that enable creative professionals to combine live performances, video and computer generated imagery in real time.

In more modern times, the use of computer-generated imagery is becoming increasingly popular, and, although costly, eliminates any danger level. While impressive at times, it is often argued that it eliminates the realism of the chase scene, which can then in turn damage the established thrill factor. Recent examples of this computer-generated imagery can be found in the Michael Bay films Bad Boys II and The Island. Driven was particularly panned for its CGI car chase sequences.

The Nightmare Machine, developed under Rahwan's guidance, creates computer generated imagery powered by deep learning algorithms to learn from human feedback and generate a visual approximation of what humans might find "scary".

Besides the use of a full-scale aircraft, many of the flying scenes were made through computer-generated imagery (CGI)."Film Locations: Storm Seekers (2009 TV movie)." IMDb. Retrieved: November 24, 2014.

The film was animated entirely in computer-generated imagery, done by India's Discreet Arts Productions which has previously collaborated with Anima Estudios' previous films including Guardians of Oz and Top Cat Begins.

Rosenbaum's return was met with critical applause; however, the artistic decision to not show Welling in the full Superman suit and instead to render Superman using computer-generated imagery (CGI) was met with negativity.

A render farm in Madrid in 2008. A render farm is a high-performance computer system, e.g. a computer cluster, built to render computer-generated imagery (CGI), typically for film and television visual effects.

This technology is used for visual effects because they are high in quality, controllable, and can create effects that would not be feasible using any other technology either because of cost, resources or safety. Computer-generated graphics can be seen in many live-action movies today, especially those of the action genre. Further, computer-generated imagery has almost completely supplanted hand-drawn animation in children's movies which are increasingly computer-generated only. Examples of movies that use computer-generated imagery include Finding Nemo, 300 and Iron Man.

A virtual human, virtual persona, or digital clone is the creation or re- creation of a human being in image and voice using computer-generated imagery and sound, that is often indistinguishable from the real actor.

The realism of the kung fu genre has been blurred with the widespread use of computer- generated imagery (CGI) in the industry. Technology has enabled actors without martial arts training to perform in kung fu films.

In concerts in December 2005, Bono has said the song is one of many influenced by John Lennon's music. The music video for the single utilised animated computer-generated imagery by Spontaneous, something unprecedented for U2 videos.

Apart from snow, most of the computer generated imagery (CGI) in the film was created by Rhythm & Hues Studios. Buddy's belch after drinking a two-liter bottle of Coca-Cola was real, as dubbed by voice actor Maurice LaMarche.

Industrial Light & Magic designed the visual effects sequences with some computer-generated imagery also used for the atomic bombing of Nagasaki. Norman Reynolds was hired as the production designer while Vic Armstrong served as the stunt coordinator.Walker 1988, pp. 63–65.

Filming began in October 2013 in Regina, Saskatchewan, and surrounding area. It is Dean's second feature having previously shot 13 Eerie in the same location. The film is set to rely on "retro-style" practical effects instead of computer- generated imagery.

It was the first feature film using 2D computer-generated imagery (CGI). The producer of Westworld hired Crichton to write an original script, which became the erotic thriller, Extreme Close-Up (1973). Directed by Jeannot Szwarc, the movie disappointed Crichton.

Doctor Who: The Complete History. Volume 49, p. 120. The Jagrafress was entirely made of computer-generated imagery (CGI), animated by The Mill. It was given a shark-like design, with the intention that it would "snap out" like a shark.

They also sound much younger (around 9–11 years of age). Their personalities, however, seem to remain the same. The overall state of the computer-generated imagery in Garage Kids is poorly executed, in almost second-rate video-game starkness, when compared to the smooth, realistic Code Lyoko computer-generated imagery; this is not terribly surprising, as the pilot was never meant to be viewed by the public. Also, some of the visual effects used in anime are used in Garage Kids, but, with the exception of one scene in the episode "Claustrophobia," no anime effects are seen in Code Lyoko.

As Luke takes in the message, he sits with Yoda and shares a quiet moment with his former master. Unlike in the prequels, where fight scenes necessitated the character be rendered in with computer-generated imagery, Yoda is once more portrayed using puppetry.

Computer generated imagery and 3D animation are used not only to bolster reality based images but also to create imaginary worlds. Christopher Hitchens equates pseudo-realism with Socialist realism of the Stalinist era as exposed by Orwell.Christopher Hitchens, Why Orwell Matters. Page 93.

Pan's Labyrinth employs some computer-generated imagery in its effects, but mostly uses complex make-up and animatronics. The giant toad was inspired by The Maze. Del Toro himself performed the noises. The mandrake root is a combination of animatronics and CGI.

Gregory Horror Show, known in Japan as is a mystery, survival horror game based on the computer-generated imagery (CGI) anime series of the same name. The game was published by Capcom in Japan and Europe, but was not released in North America.

Skiba evades the villain by flying through a narrow opening in a canyon wall which the villain's aircraft crashes into. The video makes heavy use of computer- generated imagery and is interspersed with footage depicting the band performing the song on a rooftop.

Law uses the same production crew for all of his films as well as having an ensemble cast of popular Chinese actors. Law also uses computer-generated imagery to create blood, as seen in films such as A Very Short Life and Fatal Move.

Pre- production launching ceremony was held on 13 November 2015 at Haslam Restaurant, Kuala Lumpur. Film production started on 15 November 2015 with shooting taking place around Kuala Lumpur, Port Klang and Putrajaya for 50 days. Around 30% of the film involved computer-generated imagery.

The film-makers used a variety of techniques to recreate the photos from the original Bailey shoot. Where possible they were recreated at the same or near identical locations in Manhattan, whilst others were recreated using a combination of props, and computer-generated imagery.

GoldenEye's opening title sequence featured a woman destroying the hammer and sickle. The film was the last one of special effects supervisor Derek Meddings, to whom it was dedicated. Meddings' major contribution was miniatures. It was also the first Bond film to use computer-generated imagery.

The film is notable for being the first Chinese language film shot in bluescreen. During post-production, effects artists worked on scenes involving computer-generated imagery, focusing on the film's setting and backgrounds. The Storm Warriors was released theatrically in Hong Kong on 10 December 2009.

These and other moving images, from zoetrope to films and video games, create the illusion of motion by playing back at over ten to twelve frames per second. The techniques involved in creating computer-generated imagery are conversely generally removed from a frame-by-frame process.

Sacred Wonders of Britain is a British factual television series that was first broadcast on BBC Two on 30 December 2013. The three-part series was presented by Neil Oliver. Computer-generated imagery was produced by Carbon Digital at MediaCityUK for the series, including the title sequence.

The art directors usually work independently of each other on any given episode. Shogakukan manages computer-generated imagery. The title sequences of each series are sung by Misato Fukuen as Sonia Sky. In the original series, the theme is entitled and in Tribe, the theme is entitled .

Legend of the Sacred Stone is a 2000 Taiwanese puppetry feature film written and directed by Chris Huang, a spin-off from the glove puppetry wuxia television series Pili. It reflects the traditional Taiwanese style of glove puppetry known there as budaixi, supplemented by computer-generated imagery.

Computer-generated imagery (CGI) was used as the main visual effect for the Gelth. "The Unquiet Dead" was seen by 8.86 million viewers in the United Kingdom on first broadcast. It attracted generally positive reception, although some reviewers criticised some plot points and lack of moral dilemma.

His book Creativity, Inc. was shortlisted for the Financial Times and Goldman Sachs Business Book of the Year Award (2014), and was a selection for Mark Zuckerberg book club in March 2015. Catmull shared the 2019 Turing Award with Pat Hanrahan for their pioneering work on computer-generated imagery.

The theatrical version was animated by Intralink Creative in 1993. The white stallion was shot in a hangar at the Santa Monica Airport. The wings were done by combining real white feathers and computer- generated-imagery then merged with Pegasus by computer morphing. The background is nighttime blue.

The show makes extensive use of both 2D and 3D computer-generated imagery, using for example 3D motion tracking to attach statistics graphics to contestants, or 3D wireframe animations to present the rules of a game. The teams are color-coded: one wears purple and the other wears orange.

The corridor fight scene took seventeen takes in three days to perfect and was one continuous take; there was no editing of any sort except for the knife that was stabbed in Oh Dae-su's back, which was computer-generated imagery. The script originally called for full male frontal nudity, but Yoo Ji-tae changed his mind after the scenes had been shot. Other computer-generated imagery in the film includes the ant coming out of Dae-su's arm (according to the making-of on the DVD the whole arm was CGI) and the ants crawling over him afterwards. The octopus being eaten alive was not computer-generated; four were used during the making of this scene.

Computer-generated imagery was used in the film to simulate objects as early as 1972 in the A Computer Animated Hand, parts of which were shown on the big screen in the 1976 film Futureworld. Many will remember the "targeting computer" that young Skywalker turns off in the 1977 film Star Wars. The film Tron (1982) was the first film to use computer-generated imagery for more than a couple of minutes. Advances in technology in the 1980s caused 3D simulation to become more widely used and it began to appear in movies and in computer-based games such as Atari's Battlezone (1980) and Acornsoft's Elite (1984), one of the first wire-frame 3D graphics games for home computers.

In many cases, the "evil" or "selfish" individuals are the first to succumb to the conflagration. The genre experienced a renewal in the 1990s boosted by computer-generated imagery (CGI) and large studio budgets which allowed for greater spectacle, culminating in the cinematic phenomenon that was James Cameron's Titanic in 1997.

The movie was filmed mainly in Paris. The Café des 2 Moulins (15 Rue Lepic, Montmartre, Paris) where Amélie works is a real place. The filmmakers made use of computer-generated imagery (including computer animation), and a digital intermediate. The studio scenes were filmed in the Coloneum Studio in Cologne (Germany).

In all, 16 hours of footage were recorded and handed to The Mill for post production. Knowing that many viewers would suspect the piece was constructed from computer-generated imagery, imperfections such as the supporting wires and spots of lens dust were left in to lend an air of authenticity.

The Legend of Sarila () is a 2013 3-D computer-generated imagery (CGI) Canadian film and Canada's first 3-D animated feature film.Robert Ito (7 February 2014). For a Plucky Upstart, Icy Industry Tundra. New York Times (retrieved 31 January 2015) The film draws heavily on Inuit culture and tradition.

Bardou- Jacquet wanted to compose the advertisement with as little computer-generated imagery as possible, believing that the final product would be that much more appealing to its audience.Hardstaff, Johnny; "The Impossibly Real: Green Belting the Imaginary", Animation: An Interdisciplinary Journal, July 2007 vol. 2 no. 2 pp. 187–201.

Ernst and Golykh originally planned to cast a computer-generated imagery (CGI) Elvis Presley, but were turned down by Elvis Presley Enterprises, and planned to cast a CGI Paul Newman opposite him. Pre- production began on November 17, 2019, with a release initially tied in to Veterans Day (November 11) 2020.

Computer-generated imagery was added in post-production to make Scarborough look like Brighton. The Royal Hotel in Scarborough was also used. Filming then moved on to Saddleworth before concluding in Majorca.Beever, Kirsty (26 June 2008), "It's Spall over 'old big ed' – it is now", Scarborough Evening News, Johnston Press.

A Gotha G.IV appears in the 2006 First World War aerial film Flyboys directed by Tony Bill and starring James Franco. To depict the bomber, the producers used both computer-generated imagery and a replica of the forward fuselage of a Gotha, now displayed in a museum at RAF Manston.

Science fiction and fantasy films are associated with special effects, notably computer generated imagery (e.g., the Harry Potter films). In 2017, screenwriter Eric R. Williams published a system for screenwriters to conceptualize narrative film genres based on audience expectations. The system was based upon the structure biologists use to analyze living beings.

From the 1998 release of Godzilla, American-produced kaiju films strayed from suitmation to computer-generated imagery (CGI). In Japan, CGI and stop-motion have been increasingly used for certain special sequences and monsters, but suitmation has been used for an overwhelming majority of kaiju films produced in Japan of all eras.

In addition to being shot in Madurai, some portions were also filmed in Thiruparankundram. The cockfights were filmed using Computer-generated imagery (CGI). The post-production works on the cockfight sequences delayed the film's release. The voices for Kishore, Taapsee, and Jayapalan were dubbed by Samuthirakani, Andrea Jeremiah, and Radha Ravi respectively.

The series was notable for its extensive, innovative use of early computer-generated imagery, especially Scanimate, a then-state-of-the-art analog video-synthesizer system. They were often used for presenting words with particular sounds. Sometimes a cast member would be seen alongside or interacting in another way with a word animation.

The third logo added light computer-generated imagery effects; the RGB color model was used and golden effects were added for seal's frame and shade in background. Since its founding in the 1550s, the National University of San Marcos' identifying symbols changed over the years, although the main pattern has been consistently maintained.

Her departure threatened the completion of the film, but Foster quickly replaced Kidman. The filmmakers used computer-generated imagery to create the illusion of the film camera moving through the house's rooms. Foster became pregnant during the shooting schedule, so filming was suspended until after she gave birth. The film's production cost .

Massive Monster Mayhem is a children's game show television program that combines live-action and computer-generated imagery animated elements. It premiered on Family Channel and Nicktoons on October 25, 2017. The series was created by Artur Spigel and Michael Chaves. It aired on Nicktoons in the UK and Ireland on February 26, 2018.

The film uses practical effects rather than computer-generated imagery, and its budget was partially financed by a campaign on the crowdfunding website Indiegogo. The film, which was shot in Buffalo, New York, premiered at Dipson's Amherst Theatre on April 10, 2012, and received mixed reviews. The film was released on DVD by Independent Entertainment.

A production technique that can be used to perform digital puppets. Machinima involves creating computer-generated imagery (CGI) using the low-end 3D engines in video games. Players act out scenes in real-time using characters and settings within a game and the resulting footage is recorded and later edited into a finished film.

Others have been critical however, "[Fincher] wants puppets. He doesn't want actors that are creative", said R. Lee Ermey. He prefers shooting with Red digital cameras, under natural or pre-existing light conditions rather than using elaborate light setups. Fincher is also known to use computer-generated imagery, which is mostly unnoticeable to the viewer.

The music video, which is directed by artist Aitor Throup, was released on 20 January 2014. It features a digital deconstruction and reconstruction of Albarn's head. Computer-generated imagery software, actual cranial scans and facial reconstruction techniques were used to produce the animated video. The video for the track also premiered on Sundance Channel.

To preserve secrecy, the shooting script did not include the ending. Stan Winston was the original makeup designer but left because of creative differences. Fox considered using computer-generated imagery to create the apes, but Burton insisted on using prosthetic makeup designed by Rick Baker. Baker was previously involved with Adam Rifkin's unproduced remake.

Jonathan then uses computer-generated imagery to illustrate his imagined vision for the homes after significant renovations. The graphics are made by an outside company using Neezo Renders software at a cost of about $10,000 per episode.Real Style staff (September 2012), "Interview: Property Brothers Drew & Jonathan Scott On Women, Dating & The New Season" . Real Style.

Partly because of the large amount of computer-generated imagery (CGI), "Kobol's Last Gleaming" was more expensive to produce than others in the first season. The production team kept costs down on prior episodes in order to have a greater budget available for "Kobol's Last Gleaming". Sci Fi also allocated additional money for it.

'Fight for Life' is a British television series which explores the human body and its fight for survival in life-threatening situations using new technology, with computer-generated imagery and specially shot footage. The series explains the six stages in life: Birth, Childhood, Teenagers, Prime of Life, The Middle Years and The Final Years.

Other scenes include Aaliyah dancing in tide waves that is Computer-generated imagery. The dance routine was choreographed by Aaliyah's close friend Fatima Robinson. Dancers in the video include Carmit Bachar, Denosh Bennett, Nadine Ellis and Electrik Red members Binkie and Lesley. When describing the video's recurring theme BET producer Kevin Taylor mentioned "It's very ethereal and heavenly,".

The film was the first to use the natural crater formation Gara Medouar. Industrial Light & Magic provided visual effects and blended film and computer-generated imagery to create the mummy. Jerry Goldsmith provided the orchestral score. The Mummy was theatrically released on May 7, 1999 and grossed over $416.4 million worldwide against a production budget of $80 million.

However, after the release of Spielberg's Jurassic Park, with its innovative computer-generated imagery, it was announced in November 1993 that production of A.I. would begin in 1994. Dennis Muren and Ned Gorman, who worked on Jurassic Park, became visual effects supervisors, but Kubrick was displeased with their previsualization, and with the expense of hiring Industrial Light & Magic.

Much of the episode was filmed in-studio and used a large amount of computer-generated imagery, so it appeared to be set in a "CGI world". Some location filming was done in Cardiff, most notably at the Temple of Peace. "Gridlock" was viewed by 8.41 million viewers in the UK and received generally positive reviews from critics.

A 2007 feature film, titled simply TMNT and written and directed by Kevin Munroe, was released March 23, 2007. Unlike the previous films, it used 100% computer-generated imagery, produced by Imagi Animation Studios and distributed by Warner Bros. Pictures and The Weinstein Company. It was the final Ninja Turtle movie to be distributed by Warner Bros.

After spending his early career creating and directing computer generated imagery sequences, Paul moved on to directing special effects sequences for film and television, before working as a freelance television director and producer for the BBC, ITV, Channel Four and Channel Five. Since 2002, Paul has directed and produced several high-profile British television documentaries and factual entertainment series.

An 80% full-size replica of Wilshire Boulevard, which was one of the largest sets ever constructed in the United States, was assembled in Torrance, California. The computer-generated imagery was coordinated and supervised by Dale Ettema and Mat Beck. Between visuals, miniatures, and animation, over 300 technicians were involved in the production aspects of the special effects.

No music video was produced for this remix. "Dead Wrong" was released as the album's ninth single on August 27, 2014. Despite its release, the song failed to enter any music charts. An accompanying music video was shot for the single; its features FEMM in traditional Japanese kimonos dancing the song in front of computer generated imagery.

In addition, CAPS/ink & paint allowed an easier combination of hand-drawn art with computer-generated imagery, which before had to be plotted to animation paper and then xeroxed and painted traditionally.(2006) Audio Commentary by John Musker, Ron Clements, and Alan Menken. Bonus material from The Little Mermaid: Platinum Edition [DVD]. Walt Disney Home Entertainment.

Between this time, Lucas commissioned Theodore J. Flicker to perform a rewrite. In early 1993 Lucas told Universal that advances in computer-generated imagery from Industrial Light & Magic (owned by Lucasfilm), particularly in digital mattes, would help bring Radioland Murders in for a relatively low budget of about $10 million, which eventually rose to $15 million.

Klaatu is initially depicted as a radiant focus of sentient light. He is then depicted as a gray "walking womb" shape which finally takes on a completely human appearance. The filmmakers conceived the transitional form because they pondered the idea of humans mistaking space suits for alien skin. Computer-generated imagery and practical effects achieved the transformation.

In 2004, Anderson created a Captain Scarlet remake titled New Captain Scarlet, which was produced using computer- generated imagery (CGI) and motion-capture techniques. Motion capture was used heavily for action sequences as it provided more convincing character movement. As a nod to Supermarionation, the series was credited as being "created in Hypermarionation".Garland, pp. 71–72.

The role was recast the following month, with Ben Whishaw signing on to voice the title role. Paddington was created using a combination of computer-generated imagery (by the British company Framestore) and animatronics. The creator of the Paddington character, Michael Bond, also appeared in a cameo in the first film, playing the role of the Kindly Gentleman.

Tippett Studio is an American visual effects company specializing in computer- generated imagery (CGI) for films and television commercials. The studio has created visual effects and animations on over fifty feature films and commercials, garnering an Academy Award, four Clio Awards and two Emmy Awards. The company currently consists of approximately , with offices located in Berkeley, California.

Dino statue (right), along with Fred Flintstone (left). Dino appears in both live- action movies. He isn't seen very often in the first film, The Flintstones (1994). Dino was created with both computer-generated imagery and as a puppet from Jim Henson's Creature Shop, while archival audio from the original series was used to serve as Dino's voice.

Footage of the mountain's profile was also shot from Kleine Scheidegg's vantage point, though the climbing scenes were created mostly using computer generated imagery and green screen technology. The hiking track in the area is the basis for the fictional Eiger Nordwand tracks in the computer games Gran Turismo HD, Gran Turismo 5 Prologue and Gran Turismo 5.

Illustrators may become animators. Handicraft may be computer-aided or use computer-generated imagery as a template. Computer clip art usage has also made the clear distinction between visual arts and page layout less obvious due to the easy access and editing of clip art in the process of paginating a document, especially to the unskilled observer.

The Fox with Nine Tails was the first Korean film to use computer-generated imagery and it foreshadowed other changes in the Korean film industry by pioneering the fantasy genre and using chaebol funds from the Byuksan Group to cover the budget."Advances in Visual Technology", Introduction to Korean Film pp. 369. Korean Film Council. Retrieved 28 December 2008.

In 1990, Nickman directed and co-produced The Mind's Eye: A Computer Animation Odyssey, the first of the Mind's Eye series, a collection of animated computer-generated imagery (CGI). His body of work, which also includes Planetary Traveler and Infinity's Child has firmly established him as a computer-generated imagery (CGI) pioneer and a master of long-form films that use music as the primary narrative. Nickman's film, The Mind's Eye, was a double platinum-selling film considered to be a milestone in the field of computer animation and reached number 12 on Billboard′s video hits chart. Combining the artistry of numerous computer animators from around the world with a score by James Reynolds, The Mind's Eye is credited with giving rise to such films as Toy Story.

The standard "New Series" Dalek is finished in a metallic bronze colour scheme. This Dalek design exhibits previously unseen abilities, many of which are realised using computer-generated imagery. The casing has a swivelling midsection incorporating the appendage boxes, providing a 360-degree field of fire. It can also open by splitting down the front centreline to reveal the mutant within.

Each film in the Jimmy Timmy Power Hour series combines the 2D hand-drawn traditional animation of the Fairly OddParents and the 3D computer-generated imagery animation of The Adventures of Jimmy Neutron: Boy Genius. This blending of animation techniques was a technical challenge for the studios responsible for both series, according to Keith Alcorn, co-founder of series producer DNA Productions.

P-51 Dragon Fighter relied heavily on computer-generated imagery to recreate the aerial battles of P-51 Fighter aircraft and dragons. The principal photography in a North Africa landscape was based on location shooting at Blue Cloud Movie Ranch, Santa Clarita, Red Rock Canyon State Park, Cantil, and Trona Pinnacles, Ridgecrest, California."Filming locations: 'P-51 Dragon Fighter' (2014)." IMDb.

In late August 2013 it was announced that the wombles would return with a new television series. Richard Desmond snapped up the rights to the new TV series which will consist of 26 episodes each 11 minutes in length. The new series will be made using computer-generated imagery (CGI) and is due to air in 2015 on Channel 5.

In June 2014, after principal photography had wrapped, Firth voluntarily dropped out of the film, after the studio decided his voice was not suitable for Paddington. The role was recast the following month, with Ben Whishaw signing on to voice the title role. Paddington was created using a combination of computer-generated imagery (by the British company Framestore) and animatronics.

The 8/32 was also employed by Mathematical Applications Group, Inc. (MAGI) to produce the vast majority of the 3D computer-generated imagery (CGI) in the 1982 film Tron. While CGI had been used during the 1970s for minor segments of film work (such as titles), Tron was the first film by a major producer that made extensive use of CGI.

Computer-generated imagery was also used in the film (created by High-Tech Lab. Japan Inc. and the cooperative companies for computer graphics, Sumisho Electronic Systems, Inc. and Wavefront Technologies), primarily to animate the pattern indicator used by Doctor Ōnishi, but it was additionally used to plot the paths of falling objects, model parallax effects on backgrounds, and tweak lighting and lens flares.

Series 10 was the last series produced by Paul Knight, who left to produce episodes of The Knock. Although it had the most episodes—eighteen—the series focused on more of the crew's domestic lives than firefighting work. Budget cuts led to scenes being done with computer- generated imagery. Notable 'shouts' included ones at a paint factory and another at a bus depot.

In the meantime, KNB worked on Pulp Fiction. Following the release of Jurassic Park in 1993, many artists worried that computer-generated imagery might overtake the industry, forcing out practical effects. Berger said that instead of panicking and changing their specialty, KNB decided to "just ride it out". At the same time, there was a slowdown in horror films in the mid-1990s.

In film and television, de-aging is a visual effects technique used to make an actor look younger, especially for flashback scenes. This is often accomplished via digitally editing the image or using computer-generated imagery (CGI) overlays or touch-ups. Some movies will even create de-aged digital actors from scratch or with a mixture of stand-ins and CGI.

The Stendhal Syndrome (Ital. La Sindrome di Stendhal) is a 1996 Italian psychological horror film written and directed by Dario Argento and starring his daughter Asia Argento, with Thomas Kretschmann and Marco Leonardi. It was the first Italian film to use computer-generated imagery (CGI). It was a critical and commercial success in Italy, grossing ₤5,443,000,000 Italian lira (US $3,809,977).

Overall, the visuals she helped build in Silence won several important awards including: the Gold Hugo for Animation Short at the 1998 Chicago International Film Festival and the Grand Prix of the 1999 Odense Film Festival. Lingford's following project, Pleasures of War, of the same year, moved against "the 'plastic' gloss- orientation of much computer-generated imagery".Wells, Paul. Animation: Genre and Autorship.

The Gunstar and other spaceships were the design of artist Ron Cobb, who also worked on Alien, Star Wars and Conan the Barbarian. The computer graphics for the film were rendered by Digital Productions on a Cray X-MP supercomputer. The company created 27 minutes of effects for the film. This was considered an enormous amount of computer generated imagery at the time.

Series 12 marked the beginning of the show's transition into CGI (computer-generated imagery)., Licensing.biz, "Hit reveals new look for Bob and Thomas", Worldscreen, "Thomas, Bob Take CGI Route" Characters' faces were animated through CGI with the aid of motion capture animation. The physical models' molded faces were replaced by white targets with triangles to fix a computer-animated face in post-production.

Saldana voiced her character in the 2013 release of the Star Trek video game. In 2014, Saldana played Gamora in the hit Guardians of the Galaxy. Saldana portrayed the Gamora character with make-up rather than computer generated imagery (CGI) or performance capture. The film became the third highest-grossing film in the Marvel Cinematic Universe, behind The Avengers and Iron Man 3.

Fatima Al Qadiri Official Website. Retrieved 17 August 2017. consisting of a compilation of stock footage and computer-generated imagery meant to visualize the genre of "Gregorian trance." She first listened to music of the style by artists such as Enigma at the age of nine while riding from Kuwait to Bahrain and enjoyed it for its "cinematic and over-the-top" elements.

"Hotshots: In-Camera Invention ", Shots, 12 November 2008. Retrieved 3 August 2010. They wanted to restrict using computer-generated imagery, and stuntwork would be kept to a minimum to maintain focus on the ordinary movements which would be seen in a completely new way through the technique. Based on early tests films of the director, a simple treatment was assembled.

French labour strikes and regulations also affected the schedule. To minimise the need for computer- generated imagery (CGI), cardboard cut-out props of soldiers and military vehicles created the illusion of a large army. Real or scale-model fighter aircraft, and real warships and private boats, provided realism that could not be achieved from CGI. Scale models were created via 3D printing.

A similar parallel can be drawn with the Star Trek television series (second pilot) episode of 1966 titled Where No Man Has Gone Before. The computer-generated imagery (CGI) was created for the film by Angel Studios. The supervising sound editor was Frank Serafine, who was hired as a result of his sound creation work in the 1982 film Tron.

This was Marion Edwards' first series as executive producer. Following the release of the feature-length special DVD Hero of the Rails in September 2009 and the theatrical and video releases of select episodes, this series introduces computer-generated imagery as a replacement for the show's long-standing model animation, as well as a voice cast rather than an individual actor's narration.

Futureworld was the first major feature film to use 3D computer-generated imagery (CGI). CGI was used for an animated hand and face. The animated hand was a digitized version of Edwin Catmull's left hand, taken from his 1972 experimental short subject A Computer Animated Hand. The animated face was taken from Fred Parke's 1974 experimental short subject Faces & Body Parts.

On 30 December 2017, it was reported that Central Board of Film Certification's examining committee asked the film's producers to remove the shots revealing Padukone's midriff for a more modest representation of Padmavati. However, Sanjay Leela Bhansali preferred to bring relevant modifications through computer graphics. On 20 January 2018, a new version of the song was released, which covers Padukone's midriff via computer-generated imagery.

In the story the protagonist, Lucy, hears wolves in the walls of her family's house, but her family does not believe her until one day when the wolves come out of the walls. The book is notable for Dave McKean's art, which utilises many different techniques, including photography, computer-generated imagery and drawing to achieve its effect. It is also available in Spanish, German and Italian.

Digital fur is the rendering of fur using computer generated imagery techniques. The rendering of fur is technically complex, because of the geometric complexity of modelling the hair strands, the complex interplay of light within the fur volume and the effects of subsurface scattering within the skin. Digital fur plays a substantial part in the creation of pseudo- photorealistic films such as Cats and The Lion King.

There had been plans to have the older Bill & Ted travel back to the Circle K scene from the first film to ask Rufus for advice, which they would have used a combination of practical set reconstruction and computer-generated imagery to recreate the younger versions of Bill, Ted, and Rufus, but were limited by budget and time to make this work, and scrapped this approach.

For the role of Edward Bloom, Burton spoke with Jack Nicholson, Spielberg's initial choice for the role. Burton had previously worked with Nicholson on Batman (1989) and Mars Attacks! (1996). In order to depict Nicholson as the young Bloom, Burton intended to use a combination of computer-generated imagery and prosthetic makeup. The director then decided to cast around for the two actors in question.

The initial design sketch for Grievous was refined and made into a -tall maquette sculpture. That was further refined when it was made into a realistic computer-generated model by Industrial Light & Magic. At the time, this was one of the most complicated models ever created by ILM, with many parts of differing physical qualities. Grievous is completely computer-generated imagery in the movie.

Principal photography for Oz the Great and Powerful began July 25, 2011, at Raleigh Michigan Studios in Pontiac, Michigan, employing 3D cameras. Raimi opted to use practical sets in conjunction with computer-generated imagery during filming. Physical sets were constructed so the actors could have a visual reference, as opposed to using green screen technology for every scene. Chroma key compositing was only used for background pieces.

Commanders at War is a TV show on the Military Channel (now American Heroes Channel). It highlights specific battles or skirmishes from World War II, where one commander is pitted against another. Using computer-generated imagery, many scenes are illustrated using cardboard-cutout-like figures to represent soldiers and equipment. Key battle decisions are examined, in order to explain the overall outcome of the battle.

A live-action animated film is a film that combines live action filmmaking with animation. Films that are both live-action and computer-animated tend to have fictional characters or figures represented and characterized by cast members through motion capture and then animated and modeled by animators, while films that are live action and traditionally animated use hand-drawn, computer-generated imagery (CGI) or stop motion animation.

Based loosely on his family and friends, Elliot calls each of his works a Clayography – clay animated biography. Each film takes up to five years to complete. He is noted for his use of traditional 'in-camera' techniques, which means every prop set and character is a 'real' miniature handcrafted object. Elliot does not use digital additions or computer generated imagery to enhance his visual aesthetic.

27 However, Kripke was not pleased with the final appearance of the wendigo, deeming him as "Gollum's tall, gangly cousin". Because of this, the creature is not seen throughout most of the episode.Knight, pp. 23–24 For shapeshifting scenes in the episode "Skin", Kripke chose to base the transformation on that of An American Werewolf in London, using prosthetics and makeup rather than computer-generated imagery.

Example of Computer animation produced using Motion capture Fractal landscape, an example of computer-generated imagery. Computer animation is the art of creating moving images via the use of computers. It is a subfield of computer graphics and animation. Increasingly it is created by means of 3D computer graphics, though 2D computer graphics are still widely used for stylistic, low bandwidth, and faster real-time rendering needs.

Through computer-generated imagery, the helmets "land" at midfield during a live shot, and then explode. The "exploding helmets" gimmick was also used at various times in the 1980s and 1990s during the pre-game tease. Williams Jr. then appeared again at the end of the game to promote the next week's matchup. ESPN also continued to promote upcoming albums through its use in bumper music.

USS Voyager (NCC-74656) is the fictional Intrepid-class starship which is the primary setting of the science fiction television series Star Trek: Voyager. It is commanded by Captain Kathryn Janeway. Voyager was designed by Star Trek: Voyager production designer Richard D. James and illustrator Rick Sternbach. Most of the ship's on-screen appearances are computer-generated imagery (CGI), although models were also sometimes used.

Johnson originally planned to film before an audience at the Telstra Dome, but instead opted to create a crowd using computer-generated imagery. The director also chose to film in the motorcycle district of Melbourne. By June 2005, principal photography had been completed for Ghost Rider, which was set for a summer 2006 release. In April 2006, the cast and crew performed last-minute reshoots in Vancouver.

At the request of the developers, the group of children also expressed through drawings or written words what caused them to be happy or afraid. The company Shirogumi worked on the computer-generated imagery present in Rule of Roses cutscenes. The musical score was composed by Yutaka Minobe, who also co- composed the music of Skies of Arcadia and some tracks from the Panzer Dragoon Orta soundtrack.

Nolan explained: > I believe in an absolute difference between animation and photography. > However sophisticated your computer-generated imagery is, if it's been > created from no physical elements and you haven't shot anything, it's going > to feel like animation. There are usually two different goals in a visual > effects movie. One is to fool the audience into seeing something seamless, > and that's how I try to use it.

Contrary to real-time rendering, performance is only of second priority with pre-rendering. It is used mainly in the film industry to create high-quality renderings of lifelike scenes. Many special effects in today's movies are entirely or partially created by computer graphics. For example, the character of Gollum in the Peter Jackson The Lord of the Rings films is completely computer-generated imagery (CGI).

It was the first ride film to predominantly use computer-generated imagery, with the characters created using traditional cel animation techniques and optically composited. This was the first of three simulator ride attractions to be built inside Soundstage 42 in Universal Studios Florida, followed by Jimmy Neutron's Nicktoon Blast and the current Despicable Me Minion Mayhem, as well as the first motion simulator at Universal Orlando Resort.

Instead, the scene was created by filming the individual band members on a twelve-foot turntable in front of a bluescreen. Tracks were used to shoot two members riding next to each other and Logan used computer-generated imagery to show the entire band bicycling in Jamaica. The video was successful on video channels. It debuted on MTV's Total Request Live October 7, 2002 at number seven.

Retrieved: December 25, 2015. Principal photography took place over a 17-day period in Los Angeles, Sable Ranch, Disney Ranch, Camarillo and Whiteman Airports, California. The aircraft in the film included actual B-24 Liberator bombers, as well as computer-generated imagery. The other aircraft that were seen include the Boeing-Stearman Kaydet trainer and crop duster and Beechcraft Model 18 light transport and training aircraft.

Initially, Russel Mulcahy was going to direct the film; however, his involvement with the television series Teen Wolf made this impractical, and so he hired Kimble Rendall to direct instead. The film began shooting on 29 November 2011. Three animatronic sharks were used for filming. Although Rendall wanted to entirely avoid using computer-generated imagery, the budget necessitated that some scenes required its use.

A computer-animated film is a feature film that has been computer-animated to appear three-dimensional. While traditional 2D animated films are now made primarily with the help of computers, the technique to render realistic 3D computer graphics (CG) or 3D computer-generated imagery (CGI), is unique to computers. This is a list of theatrically released feature films that are entirely computer-animated.

In the Womb is a documentary television special miniseries that was premiered on March 6, 2005, on the National Geographic Channel. Originally beginning as a special about human pregnancy (titled Life Before Birth in the UK), the program features the development of embryos in the uterus of various animal species. The show makes extensive use of computer-generated imagery to recreate the real stages of the process.

Principal photography began in October 2011 near Atlanta, Georgia and lasted over 45 days. It was largely shot on location, with visual effects and computer- generated imagery used to create the plane crash. It received generally positive reviews from critics, with praise going to Zemeckis' direction and Washington's performance, Gatins' screenplay and themes. It was also commercial success, grossing $161.8 million against its $31 million production budget.

This was before the rise of the singer Lulu. Lulu was one of the daughters of a developer of the advert, Richard Oxby. There was also a song called "A Handful of Smarties," written by Gerald Masters, which also aired in Europe, The Caribbean and Jamaica. Mid-1980s television commercials were notable for their advanced use of computer-generated imagery, produced by Martin Lambie-Nairn.

Shooting long scenes in a zero-g environment was a challenge. Eventually, the team decided to use computer-generated imagery for the spacewalk scenes and automotive robots to move Bullock's character for interior space station scenes. This meant that shots and blocking had to be planned well in advance for the robots to be programmed. It also made the production period much longer than expected.

Principal photography for the pilot commenced in May 2010 in Atlanta, Georgia. It was wholly shot on 16 mm film, and was edited using computer-generated imagery. "Days Gone Bye" was heavily promoted in the months preceding its release; as part of an expansive advertising campaign, zombie invasion events were coordinated in selected locations including New York City, Washington, D.C., London, and Madrid. The episode premiered in 120 countries worldwide.

This would later become a scene in the film. In normal productions, animating a sailing ship would usually involve drawing one cel and sliding it across the frame, which would fix it in a predefined perspective and direction. Miyazaki, however, wanted the ships that appeared in Ponyo to be drawn frame-by-frame. A few previous Studio Ghibli films used computer-generated imagery (CGI), the earliest being Princess Mononoke (1997).

For Batman Begins, Nolan preferred traditional stuntwork over computer-generated imagery. Scale models were used to represent the Narrows and Ra's al Ghul's temple.Batman Begins: Path to Discovery [DVD, 2005] There were, however, several establishing shots that were CG composite images, such as Gotham's skyline, exterior shots of Wayne Tower, and some of the exterior monorail shots. The climactic monorail sequence mixed live action footage, model work, and CGI.

Consistent with Refn's usual visual style, wide-angle lenses were used extensively by cinematographer Sigel, who avoided hand-held camera work. Preferring to keep the film more "grounded" and authentic, he also avoided the use of computer-generated imagery (CGI). Budget restrictions were also a factor in this decision. Although many stunt drivers are credited, Gosling did some stunts himself, after completing a stunt driving car crash course.

Perfume dancing in a black background in the video "Computer City". An accompanying music video was shot by Kazuaki Seki; it features the girls performing the song in a black room. There are several intercut scenes of computer generated imagery (CGI), which include the overlapping of digital circuits and other patterns. The music video also appeared on Perfume's DVD compilation sets for Perfume: Complete Best, and Perfume Clips (2014).

The game has a Metacritic rating of 39% based on 8 critic reviews. GameSpot compared the 2004 video game to the gameplay featured in early 1990s adventure titles, describing it as a "pseudo- nostalgia piece" that isn't fun to play. Game Chronicles reasoned that the use of real-world photography is proof that video games don't require computer- generated imagery to be enjoyable. This game features 2700 genuine photograph screens.

At the end of the valley, the sun breaks out over a distant mountain. The entire scene is enhanced with computer-generated imagery. Cyrus has her hair tied in a bun and wears a traveling jacket, a gray tank top, and cowboy boots. In a separate setting, Cyrus, wearing a gray short-sleeved shirt and her hair loose, begins to sing "The Climb" beneath a blue spotlight in a purple room.

For the "Special Edition" theatrical re-release of the films in 1997, Lucas introduced noticeable changes to address his dissatisfaction with the original cuts. These included additional scenes and altered dialogue, and new sound-effects and computer-generated imagery. These changes were included in subsequent releases of the films for home viewing. the original theatrical releases are not commercially available, and have never been released in high definition.

A twenty-second preview of the video was broadcast on E! News on May 24, 2013, with the full video premiering on VEVO on May 28, 2013. The video utilizes several special effects shots, including the use of chroma key compositing and computer- generated imagery. In the video, Clarkson portrays a scientist breaking away from a monochromatic atmosphere and into a colorful one, accompanied with a young girl in full color.

The Swing by Jean-Honoré Fragonard. The film was made using computer-generated imagery (CGI), although Tangled was modeled on the traditional look of oil paintings on canvas. The Rococo paintings of French artist Jean-Honoré Fragonard, particularly The Swing, were used as references for the film's artistic style, a style described by Keane as "romantic and lush." To create the impression of a painting, non- photorealistic rendering was used.

The budget of Chander Pahar was the highest in Bengali Cinema till its release in 2013. The film is produced by Shree Venkatesh Films and is shot at locations in Africa. It was reportedly being made with a budget of nearly — making it one of the most expensive in the Bengali film industry. The film would reportedly incorporate computer- generated imagery and visual effects at par with Hollywood and Bollywood standards.

The episode attracted an average of 14 million viewers, peaking at 14.9 million, the show's highest audience for seven years. Critical reception was mainly positive. According to Daniel Kilkelly of the Digital Spy website the opening of the episode featured the first computer-generated imagery in live television. Jennie McAlpine (who plays Fiz Stape) also became the first actress ever to act out a birth live on a soap opera.

Palmer's plan was to shoot the production of an actual life-sized Fabia cake with little or no computer- generated imagery. With the air-date for the finished piece set only four weeks from the start of the project, of which Easter celebrations would occupy a large portion, there was no time for any research.Lucas, Gavin; "I baked the Skoda Car ", Creative Review, July 2, 2007. Retrieved January 10, 2009.

French video game publisher Ubisoft announced its plans to open a development studio in Quebec City in April 2005. The studio, Ubisoft Quebec, was formally opened on 27 June 2005. Its founders were Nicolas Rioux and Andrée Cossette, of whom Rioux was appointed as general manager. In June 2008, Ubisoft Quebec announced that it had established a computer-generated imagery production arm that would work in conjunction with distributor Guillemot.

This required many more takes of individual scenes than normal. Muren and other ILM animators used previous technology from Harry Potter and the Chamber of Secrets (for the Dobby character) to create the Hulk with computer-generated imagery. Other software used included PowerAnimator, Softimage Creative Environment, Softimage XSI, and Pixar's RenderMan. ILM started computer animation work in 2001 and completed it in May 2003, just one month before the film's release.

Legend of Sudsakorn () is a 2006 Thai fantasy film. It is based on a story from Phra Aphai Mani, an epic poem by Sunthorn Phu. Charlie Trairat, the young male lead from Fan Chan, portrays the title character, a boy who is the son of a mermaid who is sent on a magical quest to find his father, a prince. It is a mix of live action and computer-generated imagery.

The crew was doing one last take of the scene and actor Paul Lieberstein suggested that Steve Carell push his food off the table. The ping pong game between Dwight and Mose was made using Computer-generated imagery. Rainn Wilson and Michael Schur mimed the actions of a ping pong game, and during the stages of editing and post-production the ping pong ball was added in as an effect.

Animation is a method in which figures are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today, most animations are made with computer-generated imagery (CGI). Computer animation can be very detailed 3D animation, while 2D computer animation can be used for stylistic reasons, low bandwidth or faster real-time renderings.

Crichton was also involved in the film and television industry. In 1973, he wrote and directed Westworld, the first film to utilize 2D computer-generated imagery. He also directed Coma (1978), The First Great Train Robbery (1979), Looker (1981), and Runaway (1984). He was the creator of the television series ER (1994–2009) and several of his novels were adapted into films, most notably the Jurassic Park franchise.

Tsui returned to directing at home in 2000 after not having made a local film since 1996. Time and Tide (2000) and The Legend of Zu (2001) were action extravaganzas with lavish computer-generated imagery that gained cult admirers but no mass success. Tsui continues to push technical boundaries and revise old favourites. Master Q 2001 was Hong Kong's first combination of live action and Pixar-style 3D computer animation.

Computer- generated imagery has been used in courtrooms, primarily since the early 2000s. However, some experts have argued that it is prejudicial. They are used to help judges or the jury to better visualize the sequence of events, evidence or hypothesis.Computer-generated images influence trial results The Conversation, 31 October 2013 However, a 1997 study showed that people are poor intuitive physicists and easily influenced by computer generated images.

In 2000, Pitt made her return to the big screen in The Asylum, starring Colin Baker and Patrick Mower and directed by John Stewart. In 2003, Pitt voiced the role of Lady Violator in Renga Media's production Dominator. The film was the United Kingdom's first computer-generated imagery animated film. After a period of illness, Pitt returned to the screen for the Hammer Films-Mario Bava tribute Sea of Dust (2008).

The album features genres of hard rock, heavy metal and hip-hop. Many of the songs are intercut with commentary by Beavis and Butt-Head. They are joined by Cher on a cover of "I Got You Babe", the music video which featured Beavis and Butt-Head meeting a live-action Cher via computer- generated imagery. Beavis and Butt-Head also performed the slow jam "Come to Butt-Head".

The Centrifuge Brain Project is a 2011 German short mockumentary fantasy film written and directed by Till Nowak. The film incorporates computer-generated imagery to create seven real-seeming fictional amusement park rides used in a faux documentary film about the construction of physics-defying rides intended for use in research efforts to improve human cognitive function. Nowak was inspired to create the project when visiting an amusement park in 2008.

Where the Wild Things Are is a 2009 fantasy film directed by Spike Jonze. Written by Jonze and Dave Eggers, it is based on Maurice Sendak's 1963 children's book of the same name. It combines live-action, performers in costumes, animatronics, and computer-generated imagery (CGI). The film stars Max Records and features the voices of James Gandolfini, Paul Dano, Lauren Ambrose, Forest Whitaker, Catherine O'Hara, and Chris Cooper.

For the shot in which Tooms slides through a chimney, the producers hired a contortionist who could squeeze through small spaces. They filmed the shot with the camera standing below the contortionist. The chimney, which was "more like a belt than a pipe", was made to look much narrower than it actually was. Using computer-generated imagery, they were able to produce and elongate shots of the contortionist's fingers.

This allows artists to rapidly apply unique styles to what would be purely photorealistic images from computer generated imagery from 3-D models or photographs. Some styles of hyperrealism may require motion visual effects (e.g. geometrically accurate rotation, accurate kinetics, simulated organic growth, lifelike motion constraints) to notice the realism of the imagery. Software may be used to bridge the gap between the imagination and the laws of physics.

The dinosaurs were a mix of props and computer-generated imagery. Along with the third episode, "A Town Called Mercy", "Dinosaurs on a Spaceship" was in the first production block of the seventh series, with production commencing in early 2012 in the studio and on Southerndown beach in the Vale of Glamorgan. The episode was watched by 7.57 million viewers in the UK and received generally positive reviews from critics.

Enter the Void's post-production process lasted more than a year. Work on the digital effects was led by Pierre Buffin of BUF Compagnie. Every scene in the film includes computer-generated imagery (CGI)—even the flashback scenes, where the backdrops were digitally altered. Studio scenes, helicopter shots, and CGI were forged together in the hovering sequences with the intention that the viewer should be unable to determine which is which.

The music video is the directorial debut of Solange Knowles. The video was almost entirely made using computer-generated imagery, and features abundant stage and costume changes. The video begins with Solange singing and dancing in a white room in a blue dress in front of her band. Then in the background CGI clouds appear, and Solange draws a sun with her hand, setting the stage for the video.

Jason Freeny (born 1970) is an American artist specializing in sculpture, designer toys and computer-generated imagery. He is the owner of the Moist Production studio, which acts as the primary publisher and distributor of his works. He is best known for his anatomical art, where he produces cutaway drawings and sculptures of (typically toy) inanimate objects such as a Lego man, Barbie doll, the animated fish Nemo or a balloon art dog.

Figurative painting and kinetic sculpture are prominent in the exhibition. A large George Condo canvas opens the Arsenale amid other figurative paintings of real and imaginary people by Njideka Akunyili Crosby, Nicole Eisenman, and Henry Taylor. Avery Singer's computer- airbrushed wood panels of computer-generated imagery were particularly compelling. One room of the central pavilion was cacophonous, with a slamming security gate by Shilpa Gupta and a cow on a circular railroad by Nabuqi.

Young Abraham has been well received by audiences and has garnered positive reviews. In a feature article for Lubavitch News Service/Lubavitch.com, Mendy Rimler wrote, "...the climax and message of the CGI (computer generated imagery) animated motion picture, a vivid and compelling retelling of the biblical and Midrashic story of Abraham’s discovery of God: At last, kosher entertainment with Jewish and visual depth." The Dove Foundation awarded Young Abraham five doves, their highest rating.

Traditional animation employs the use of hand drawn frames that are. Traditional animation studios have seen a decline in recent years due to the increased use of computers and some companies, such as Walt Disney Animation Studios, have transitioned away from traditional animation to computer-generated imagery. Nonetheless, traditional animation still is used extensively in the world of cartoons and anime. Notable studios that specialize in this style include Studio Ghibli and Cartoon Network Studios.

Bob Ringwood, Michelle Pfeiffer, Sleek, Sexy and Sinister: The Costumes of Batman Returns, 2005, Warner Home Video The bats were entirely composed of computer-generated imagery since it was decided directing real bats on set would be problematic. The Penguin's "bird army" was a combination of CGI, robotic creatures, men in suits and even real penguins. Robotic penguin puppets were commissioned by Stan Winston. In total 30 African penguins and 12 king penguins were used.

The composition of shots including the Voyager and the alien creatures were accomplished with heavy use of computer-generated imagery (CGI) produced by Amblin Imaging and Santa Barbara Studios. When viewing the alien swarm at a distance, the special effect was a composition from magnified footage of sperm. When viewed close-up however, the alien swarm was computer-generated. Jeri Taylor rewrote the script to weave in Kes' need to mate as the B-story.

Following a rejected Batman origin story reboot Joss Whedon pitched in December 2002, Warner Bros. hired Christopher Nolan and David S. Goyer to script Batman Begins. The duo aimed for a darker and more realistic tone, with humanity and realism being the basis of the film. The film was primarily shot in the United Kingdom and Chicago, and relied on traditional stunts and scale models with minimal use of computer- generated imagery.

Sometimes the target of the animation is the computer itself, but sometimes the target is another medium, such as film. It is also referred to as CGI (Computer-generated imagery or computer-generated imaging), especially when used in films. Virtual entities may contain and be controlled by assorted attributes, such as transform values (location, orientation, and scale) stored in an object's transformation matrix. Animation is the change of an attribute over time.

The episodes were filmed on a budget which was double the amount in costs that are needed to produce a "usual block" of episodes. Extra money was spent on additional days of shooting, wind and rain machines, FX and Computer-generated imagery. Filming took place for eleven days, five were spent on location while the rest were studio based. The shoot lasted three days extra than the typical number of days required to film.

Special effects and computer-generated imagery were created by Darkside Animation using LightWave 3D software.NewTek Europe - Community: Lightwave 3D - Simon Percy Interview This consisted of 170 shots which were filmed between June and November 2003. Notable amongst these were the title sequence and end credits, and a UFO in episode 4, "We Are Not Alone". The series was originally due to be broadcast by the BBC in autumn 2004,Eldridge, Jim - author page at Booksconnect.

Nolan's regular collaborator Lee Smith returned to edit Dunkirk, beginning in September 2016 after Smith had assembled shots unsupervised while filming was still in progress. Editing took place in Los Angeles with an audio mixing team of eight people. Nolan singled out the editing of the aerial sequences as a particular challenge, likening this to a chess game. Limited computer- generated imagery was applied to improve some scenes, but none consisted entirely of CGI.

He proposed filming each animal, and the actress doubling for Hayes, and then feeding the images into a computer program developed by Doug Smythe. The program would then create a smooth transition from one stage to another before outputting the result back onto film. Smythe began development of the necessary software in September 1987. By March 1988, Muren and fellow designer David Allen achieved what would represent a breakthrough for computer-generated imagery (CGI).

Principal photography lasted from 15 September 2003 to 15 January 2004. The film was shot entirely using eight sound stages at Pinewood Studios, where, on the Pinewood backlot, the bottom half exterior of the Palais Garnier was constructed. The top half was implemented using a combination of computer- generated imagery (CGI) and a scale model created by Cinesite. The surrounding Paris skyline for "All I Ask of You" was entirely composed of matte paintings.

Principal photography began on March 17, 2008, on the island of Malta, and was scheduled to last 15 weeks. Production designer Guy Hendrix Dyas used large sets on location instead of computer generated imagery at Amenábar's direction. The construction of the set employed almost 400 people, and was the largest ever designed on the island. Actor Charles Thake (Hesiquius) suffered minor facial injuries on the set when he collided with extras running during a scene.

In the opening credits of the 2001 upgrade edition of Yonggary, Shim Hyung-rae (the film's director) is credited as the creator of the 1999 incarnation of Yonggary.Yonggary: 2001 Upgrade Edition (2001). Directed by Shim Hyung-rae. Zero Nine Entertainment Miniatures and suits for Yonggary and Cyker were produced, but the suits were later replaced with Computer-generated imagery during post-production, thus the 1999 Yonggary is made nearly entirely out of CG effects.

This collection, which toured Europe and America for the next ten years, led to an explosion in the number of artists using stamps as an artistic format. Photographer and multimedia artist Ginny Lloyd started her Gina Lotta Post series in 1979 and by 1982 had produced some of the first computer-generated imagery used in artists stamps. On a visit to Artpool in 1982, she collaborated with György Galántai on artistamp issues.

"The Almost People" ends on a cliffhanger which brings several plot threads of the series to a head. The two-part story was filmed through November 2010 to January 2011, mainly at Caerphilly Castle. The Gangers were achieved with the aid of prosthetics, as well as computer-generated imagery for their contortions. "The Almost People" also features a Flesh double of the Doctor, which marked Smith's first time in prosthetic make-up.

Co-producers included the visual effects studio BUF Compagnie, which also provided the computer-generated imagery. The film's soundtrack is a collage of electronic pop and experimental music. A rough cut premiered at the 2009 Cannes Film Festival, but post- production work continued, and the film was not released in France until almost a year later. A cut-down version was released in the United States and United Kingdom in September 2010.

Winston's department created fully detailed models of the dinosaurs before molding latex skins, which were fitted over complex robotics. Tippett created stop-motion animatics of the raptors in the kitchen and the Tyrannosaurus attacking the car. Despite go motion's attempts at motion blurs, Spielberg found the end results unsatisfactory for a live-action feature film. Muren told Spielberg he thought the dinosaurs could be built using computer- generated imagery; the director asked him to prove it.

Augmenta11y is a mobile app that which helps users with dyslexia read more easily. It uses Augmented Reality and optical character recognition to display computer-generated imagery on top of books, signage, and other text in a dyslexia-friendly mode. Users choose their preferred typeface, line height, letter spacing and color scheme, and then point their cameras to pieces of text. The app also incorporates Agastya for read aloud functionality and is available on iOS, iPadOS and Android.

Foonly Inc. was an American computer company formed by Dave PooleThe New Hacker's Dictionary, by Eric S. Raymond, Guy L. Steele in 1976,Foonly F2 Brochure, 1981 that produced a series of DEC PDP-10 compatible computers, named Foonly F-1 to Foonly F-5.Foonly Product Overview Brochure The first and most famous Foonly machine, the F1, was the computer used by Triple-I to create some of the computer-generated imagery in the 1982 film Tron.

In Peter Jackson's film The Fellowship of the Ring, Rivendell is romantically conceived, with sophisticated culture. The "post-Ruskinian" style does not match Tolkien's own illustrations, though it matches his dislike of industrialised manufacture. In Peter Jackson's film The Fellowship of the Ring, Rivendell was represented by Kaitoke Regional Park, New Zealand, though the waterfalls were added with computer-generated imagery. Brian Rosebury comments that Jackson presents the Elves as sophisticated, where Tolkien made them close to nature.

During the historic presidential election of 2010, in response to the first automation of the election in the country, ABS-CBN utilized a technology from Orad Hi Tech Systems Ltd. that utilizes the principles of augmented reality. The technology uses real-time image processing system for live broadcasts of 3D computer-generated imagery against a real set or background. ABS-CBN also utilized what was probably the biggest touch screen display to be used in a Philippine television show.

Several scenes were filmed with the use of green screen and computer-generated imagery. For example, the stunts Roshan's performed on a train in the Namib Desert used green screen; after Roshan recorded the stunts on a set, Gadhvi traveled to the desert to film the background. Other stunts were performed by stuntmen whose faces were later digitally exchanged with the actors'. The bullet effects and Hrithik's gadgets and the mechanical arm were also computer-generated.

The episode shows both Henry's original death and how Henry first met his wife Abigail and Abe in flashbacks. "Pilot" introduced two season-long story arcs, Henry and Abigail's relationship and the identity of Henry's stalker, as well as several aspects of Henry's immortality. Production occurred in New York City, with filming occurring primarily around New York's Lower East Side. Filming the scene of Henry's rebirth occurred at a university swimming pool and recreated with computer-generated imagery.

In 1992, after viewing an early computer-generated imagery test created by Industrial Light & Magic for Jurassic Park, Lucas announced his intentions to produce a Star Wars prequel trilogy. In 1994, the long- delayed Radioland Murders (co-written and produced by Lucas) was released. In 2005, Lucasfilm opened a studio in Singapore. In January 2012, Lucas announced his retirement from producing large-scale blockbuster films and instead re- focusing his career on smaller, independently budgeted features.

Server farms are commonly used for cluster computing. Many modern supercomputers comprise giant server farms of high-speed processors connected by either Gigabit Ethernet or custom interconnects such as Infiniband or Myrinet. Web hosting is a common use of a server farm; such a system is sometimes collectively referred to as a web farm. Other uses of server farms include scientific simulations (such as computational fluid dynamics) and the rendering of 3D computer generated imagery (see render farm).

This version maintains the digestions and transformations alluded to in the original novella, via practical effects such as animatronics and stop motion animation. A third adaptation, also titled The Thing, was released on October 14, 2011. The 2011 acts as a prequel to the 1982 film, explaining the fate of the expedition which originally found the creature and its ship. The movie follows Carpenter's version, with the creature depicted using a combination of costume effects and computer-generated imagery.

Underdog first appeared in ads standing in the shadow of a tall figure voiced by Brian Blessed. Background music of the Underdog advertising campaigns have included such hits as Chumbawamba's “Tubthumping” and Marvin Gaye's "I Heard It Through the Grapevine" (where the chorus lyrics have been changed to include the brand name). Underdog is voiced by British comic actor Joe Pasquale. The most recent run of ads (beginning in September 2013) featured computer-generated imagery created by Aardman Animations.

The film was one of the last major American studio blockbusters to have no computer-generated imagery. Caglione and Drexler were recommended for the prosthetic makeup designs by Canonero, with whom they had worked on The Cotton Club (1984). The rogues gallery makeup designs were taken directly from Gould's drawings, with the exception of Al Pacino (Big Boy Caprice), who improvised his own design, ignoring the rather overweight character of the strip. His makeup took 3.5 hours to apply.

Throughout the episode, the production crew used split dioptres in certain scenes, a camera technique where two separate camera angles are at the same focus on screen. The episode also includes shots of the hound, which was produced by visual effects. Although the series used computer-generated imagery (CGI) in the past, it was the first time a visual effect was made on a large scale. However, there was no guide for the cast to interact with.

Along with 2D animation, the short also includes stop-motion animation, computer generated imagery (CGI) and live action. Like Ratatouille, Your Friend the Rat also features a musical sequence. This is also Pixar's only special to have a cameo of a protagonist of a film that would be released a year later, which was a cameo of WALL-E. Your Friend the Rat won the category of Best Animated Short Subject at the 35th Annual Annie Awards.

Separate footage of the rig exploding, created by combining actual shots of the rig with CGI, was then filmed, and the two shots were composited on top of one another.Hardy, 41:4541:59. The episode featured the penultimate appearance of the alien black oil; it would appear for a final time via flashback in the series finale. Visual effects for the black oil were created by combining molasses and chocolate syrup with computer-generated imagery (CGI) imagery.

Production on Xero Error commenced in November 2009 and completed by March 2010 . Xero Error is UAE's first film produced using computer-generated imagery. The Hollywood Reporter, By Liza Foreman (December 16, 2008), "'Error' in judgment: Dubai weighs CGI", accessed 01-20-2009 It is also the first film for production company Xpanse CGI, which has worked previously in commercial advertising. In December 2008, Xpanse officials were in Houston, in attempts to raise the financing to cover the budget.

Such a philosophy was unusual at the time and was more typical of later TV productions that depicted prehistoric animals in an educational context (including the BBC's Walking with Dinosaurs and Walking with Beasts series) which became popular following the advent of computer-generated imagery that negated the need for time-consuming, highly skilled manual animation. The original release of Zeman's film was 93 minutes, although the East German release had a slightly shorter running time.

The effects in Drag Me to Hell were created in many different ways, including green screen, puppets, prosthetics and computer-generated imagery. Bruce Jones was the visual effects supervisor on the film. Of Jones, Raimi commented, "He brought a great can-do approach to the film... He's got a great team of artists and technicians with him, and he's got great instincts." There were hundreds of visual effects in the film, and different effects houses were utilized.

Some films make heavy use of chroma key to add backgrounds that are constructed entirely using computer-generated imagery (CGI). Performances from different takes can be composited together, which allows actors to be filmed separately and then placed together in the same scene. Chroma key allows performers to appear to be in any location without leaving the studio. Advances in computer technology have simplified the incorporation of motion into composited shots, even when using handheld cameras.

Channel News Asia aired a documentary about the Bukit Ho Swee fire as part of its "Days of Disaster" documentary series on pivotal disasters in Singapore history. The hour-long episode, which first aired on 8 February 2015, used techniques such as computer-generated imagery and interviews with individuals to document this event. The Bukit Ho Swee fire became the subject of works by several Singaporean artists such as Koeh Sia Yong in the 1960s.Loh, p.

The episodes were filmed primarily in Vancouver and post-production work took place in Los Angeles. Gough and Millar assisted the writing staff with week-to-week story development. "Villain of the week" storylines were predominant during the first season; physical effects, make-up effects, and computer generated imagery became important components as well. Limited filming schedules sometimes forced guest actors to perform physical stunts, and the series regulars were more than willing to do stunt work.

In 1993, a half- hour television special called The Incredible Crash Dummies was produced. It was aired on Fox Kids on May 1, 1993. The animated short was entirely composed of computer generated imagery and centered on the adventures of Slick and Spin. A fellow Dummy named Ted has been chosen to use a new, indestructible torso module (Torso-9000), but his head is mixed up with an evil dummy's head, leading to the birth of Junkman.

The Universe is an American documentary television series that features computer-generated imagery and computer graphics of astronomical objects in the universe plus interviews with experts who study in the fields of cosmology, astronomy, and astrophysics. The program is produced by Flight 33 Productions and Workaholic Productions. The series premiered on May 29, 2007, on The History Channel and four subsequent seasons were aired until 2010. Starting from October 25, 2011, new episodes began airing exclusively on H2.

The Coronation Street exterior set surrounded by the Granada Studios complex and Manchester city centre (photographed in Oct 2007). The live show involved 65 actors and a 300-strong crew. The episode opened with a wide shot of other streets in the fictional Weatherfield, reported by Digital Spy's Daniel Kilkelly to have been the first computer-generated imagery to be produced live. In reality, the Coronation Street set is surrounded by the Granada Television complex in Manchester city centre.

LaserDisc The Mind's Eye series consists of several art films rendered using computer-generated imagery of varying levels of sophistication, with original music scored note-to-frame. The series was conceived by Steven Churchill in 1990. It was produced, directed, conceptualized and edited by Jan Nickman of Miramar Productions and produced by Steven Churchill of Odyssey Productions. The first three products in the series were released on VHS (by BMG) and LaserDisc (by Image EntertainmentBusiness Wire.

It features computer-generated imagery showing a city being transformed into a football stadium and passers- by on the street turning into players, coaches, fans, and officials set to an updated orchestral treatment of the "Heavy Action" theme song. The sequence began every week with a different celebrity walking down the street, picking up a glowing football helmet with the ESPN logo on the side and saying, "I'm ready for some football! Are you?", thus beginning the transformation process.

Body Story is a mini-series produced by Wall to Wall and distributed by Channel 4 and Discovery Channel. The series aired in two seasons 1998 and 2001. Combining real-life acting and computer-generated imagery, it shows the processes going on inside the human body in our daily life as well as facing dramatic experiences, in a docufictional style. The series covers body processes such as basic instincts, learning, immune system, puberty, pregnancy, immune system and recovering.

Synthesis photography is part of computer- generated imagery (CGI) where the shooting process is modeled on real photography. The CGI, creating digital copies of real universe, requires a visual representation process of these universes. Synthesis photography is the application of analog and digital photography in digital space. With the characteristics of the real photography but not being constrained by the physical limits of real world, synthesis photography allows artists to move into areas beyond the grasp of real photography.

"Market Forces" was written by Andrew Robinson and directed by Dan Fausett. Though the show is done in the style of traditional animation, computer-generated imagery was used to produce the green sonic beams made by Shocker. In the original comic book publications, Shocker's secret identity was a man named Herman Schultz. For The Spectacular Spider-Man, they changed his identity to that of Enforcer Montana, who had, in the comics, been a prominent character already.

However, the music video's director was dissatisfied with the result and relied heavily on post-production. On the shoot there were two main robot arms, but during its post production, a third and fourth robot arm were created in computer-generated imagery. The video was shot at Bray Studios and Greenford Studios, and post-production was handled by Glasswork using the software programs Softimage and Flame. Cunningham said that every shot in the clip had four layers.

More than two million players participated in the beta. The game was set to be released worldwide for Microsoft Windows, PlayStation 4, Xbox One on February 9, 2016, but was later delayed to May 3, 2016. The game's graphics are inspired by computer-generated imagery like the movies produced by Pixar, as well as anime. When creating the game's 2D graphics, the team hired Michel Gagné to work on the 2D effects of the game's maps and characters' abilities.

The film's visual effects (VFX) were by Reliance MediaWorks, which also produced computer-generated imagery (CGI) for Balaji Motion Pictures and Luthria for its prequel, Once Upon a Time in Mumbaai (2010). Since the company was also generating VFX for the yet-unreleased Chennai Express (2013) its roster of animators and compositors was divided into two teams. The Once Upon Time in Mumbai Dobaara! team consisted of 40 artists, who augmented 600 digital shots in one month.

The episodes of the original net animation (ONA) The Melancholy of Haruhi-chan Suzumiya were produced by Kyoto Animation and released on YouTube between February and May 2009. The episodes are based on a parody manga series of the same name based on the Haruhi Suzumiya series. The series does not fit into the normal continuity of the main series. During the first four episodes, the characters in the series were rendered using computer-generated imagery.

Other examples of 'pets' being used were for sequences depicting the lassoing tongue of a chameleon (which had to be filmed at ultra-high speed) and the digestive system of a python (which was enhanced by computer-generated imagery). Life in Cold Blood is Attenborough's last major series and also represents the final study in his 'Life' series, which comprises 79 programmes. In a 2008 interview, he stated: > The evolutionary history is finished. The endeavour is complete.

The company began experimenting with computer-generated imagery in 2005 by placing a single computer-rendered image of a wooden chair in the 2006 edition of the catalogue. According to Anneli Sjögren, head of photography at IKEA, customers did not notice that the chair was computer- generated. In 2010, the first entirely computer-generated room was created for the catalogue. By the 2013 edition, 12% of imagery for the IKEA catalogue, brochures and website was computer-generated.

Principal photography commenced in 2014, with filming taking place entirely in Los Angeles. The film required extensive use of computer-generated imagery to portray the animals and settings. The Jungle Book was released in the United States in Disney Digital 3D, RealD 3D, IMAX 3D, D-Box, and premium large formats, on April 15, 2016. It became a critical and commercial success, grossing over $966 million worldwide, making it the fifth-highest-grossing film of 2016.

It has since been renovated and no longer looks as it did in the film. The Circle K store is at the intersection of Southern and Hardy in Tempe. Additional filming took place at selected locations in Italy, including Odescalchi castle standing in as Henry VI's castle. The film also employs computer-generated imagery for the scenes where Bill & Ted are traveling through the 'Circuits of Time', created by the VFX house Perpetual Motion Pictures in Tempe.

The director remarked that "[the Mini Coopers are] part of the cast." Gray wanted the film to be as realistic as possible; accordingly, the actors did most of their own stunts, and computer- generated imagery was used very sparingly. The second unit, under director Alexander Witt and cinematographer Josh Bleibtreu, filmed establishing shots, the Venice canal chase sequence, and the Los Angeles chase sequence over a period of 40 days. Filming on location posed some challenges.

While research revealed that such a mutation was theoretically possible, the wings were changed to tails in the final version of the script because the wings were not considered cute enough. Gilligan also felt that "tails were just funnier" and that the wings would be harder to add in post-production.Meisler, p. 219. The tails were created with computer- generated imagery (CGI) technology, with a green mark painted on the babies' backs serving as a reference for the animators.

The three films were shot simultaneously. They featured extensive computer-generated imagery, including major battle scenes utilizing the "Massive" software program. The first film subtitled, The Fellowship of the Ring was released on December 19, 2001, the second film subtitled, The Two Towers on December 18, 2002 and the third film subtitled, The Return of the King worldwide on December 17, 2003. All three won the Hugo Award for Best (Long-form) Dramatic Presentation in their respective years.

As Ratcliffe’s family had not immediately expected to hear from Jordan they did not report him missing until 8 September 2008. In 2010 a British Transport Police PCSO stopped a young man matching Ratcliffe’s appearance on Waterloo who told the officer that he was from Manchester. In 2014 police visited Portsmouth following a reported sighting, however no information was found relating to Ratcliffe. In 2015, computer generated imagery of what Ratcliffe would look like was released to the public.

Upon its inception, the sequence would translate elements present in the series via computer-aided design. For example, once Clair was sent footage by composer Ramin Djawadi of a player piano in motion, its actual counterpart, situated in the Westworld production office, was photographed and then reconstructed in computer-generated imagery. Nolan also applied the self-playing instrument in reference to Kurt Vonnegut's first novel Player Piano. It was meant to represent the first Rube Goldberg machine to evoke human motion.

The 1991 film Star Trek VI: The Undiscovered Country has a scene where a Klingon is shot ("phasered") in zero gravity. The blood that spurts out of the Klingon's wounds was created using computer generated imagery (CGI); the animators had to make sure that the blood floated in a convincing manner while still looking interesting and not too gory. The effects artist looked at NASA footage of floating water globules to match the physics of the blood particles.Altman, Mark (April 1992).

In producing the video portions of Critical Path, Mechadeus made use of computer-generated imagery to create many the game's scenes and AH-64 Apache attack helicopters. Primary filming was conducted using a professional film crew, with Weisinger as her own stunt performer. Much of the game, however, was produced in a low budget manner. For example, Min Yee, who played General Minh, was an executive at Media Vision, while the first two characters killed were played by Mechadeus' lawyers.

New discoveries and studies have shown that Central Asia, a region located in the centre of Eurasia, played a significant role as a "cradle of civilisation". The civilisations brought to the vast Eurasian continent by conquest and trade continued to collide and fuse, affecting each other and developing new civilisations. Computer-generated imagery is used to recreate the historical scenes of Ai-Khanoum, Babylon, Baghdad, Persepolis, Rome, etc., representing the rise and fall of a dynamic civilisation that took place over 2000 years.

The configuration of Jefferies's design featured a bulbous forward hull connected by a long boom to a wing-like main hull with the engine nacelles mounted on each wingtip. Though a variety of Klingon ships have appeared in Star Trek, their design generally conforms to this style. Most Klingon vessels were physically built as scale models, although later computer-generated imagery was used to create the models. In recent years, many of the original studio models have been sold at auctions.

His 1996 film The Stendhal Syndrome, in which a policewoman (played by Argento's daughter, Asia) who suffers from Stendhal syndrome is trapped by a serial killer in an abandoned warehouse, was the first Italian film to use computer-generated imagery (CGI). Moreover, the film's opening scene was shot in Florence at Italy's famed Uffizi Gallery. Argento is the only director ever granted permission to shoot there. The Stendhal Syndrome was distributed in the U.S. by cult B-movie distribution company Troma Entertainment.

Radeon Pro is AMD's brand of professional oriented GPUs. It replaced AMD's FirePro brand in 2016. Compared to the Radeon brand for mainstream consumer/gamer products, the Radeon Pro brand is intended for use in workstations and the running of computer-aided design (CAD), computer- generated imagery (CGI), digital content creation (DCC), high-performance computing/GPGPU applications, and the creation and running of virtual reality programs and games. The Radeon Pro product line directly competes with Nvidia's Quadro line of professional workstation cards.

The special effects team included veteran makeup designer Greg Nicotero, special effects coordinator Darrell Pritchett, and visual effects supervisors Sam Nicholson and Jason Sperling. Computer-generated imagery was used in much of "Days Gone Bye", particularly when Rick encounters a legless walker. "The woman was wearing basically blue stockings and then everything was cleaned out. There is an alarming amount of CGI in the pilot episode and in the whole show, and you would never know it," said Robert Kirkman.

The imagery in the film is abstract, generated by computers and subsequently manipulated with additional computers and video processing tools. It is thematically indebted to Stanley Kubrick's 1968 2001: A Space Odyssey, with imagery such as the origin of modern humans and the development to the transcendent "Star Child" evoked through abstract computer-generated imagery. Naficy sought to represent "inner and outer consciousness." Naficy was also influenced the writings and ideas of Alan Watts, Aldous Huxley, Gene Youngblood, and Buckminster Fuller.

As the film/television industry continues to grow, so do the capabilities of the technologies behind it. Since the debut of newer technologies, many have feared that CGI (Computer Generated Imagery) will put practical SFX makeup out of business. CGI can be used to accomplish effects that simply aren't possible when working in practical effects. Tom Woodruff Jr. and Alec Gillis, two experienced SFX artists from Amalgamated Dynamics near L.A., share what they see as the middle ground on the subject.

He was created by The Mandalorian creator and showrunner Jon Favreau based upon his desire to explore the mystery around Yoda and his species. The character was further developed in early conversations between Favreau and executive producer Dave Filoni, and the character's imagery was defined by concept artist Christian Alzmann. The Child is mostly a work of animatronics and puppetry, although accentuated with computer-generated imagery. The puppet was designed by Legacy Effects and cost about $5 million to make.

Steven Spielberg directed the United States movie adaptation of War Horse, released on 25 December 2011, with a screenplay written by Richard Curtis and Lee Hall based on the novel. The film was shot entirely in England: in Devon, at Stratfield Saye in Berkshire, Wisley in Surrey, the Luton Hoo Estate in Bedfordshire, and at Castle Combe in Wiltshire. It was filmed naturalistically, with over 100 real horses (including 14 to portray Joey) and computer-generated imagery to support battle scenes.

Stock footage can be used to integrate news footage or notable figures into a film. For instance, the Academy Award-winning film Forrest Gump used stock footage extensively, modified with computer-generated imagery to portray the lead character meeting such historic figures such as John F. Kennedy, Richard Nixon, and John Lennon. Videographer captures stock footage of a passing train outside Las Vegas: photograph by Patty Mooney. News programs use film footage from their libraries when more recent images are not available.

Reznor released the source files for it in GarageBand format a month later, allowing fans to remix the song. He similarly released files for the album's second single "Only" in a wider range of formats, including Pro Tools and ACID Pro. David Fincher directed a video for "Only" with primarily computer-generated imagery. The planned music video for its third single, "Every Day Is Exactly the Same", was directed by Francis Lawrence but reportedly scrapped in the post-production stage.

The rendering equation does not account for all lighting phenomena, but is a general lighting model for computer-generated imagery. 'Rendering' is also used to describe the process of calculating effects in a video editing file to produce final video output. ; 3D projection : 3D projection is a method of mapping three dimensional points to a two dimensional plane. As most current methods for displaying graphical data are based on planar two dimensional media, the use of this type of projection is widespread.

Each new segment was produced by combining traditional animation with computer-generated imagery. Fantasia 2000 premiered on December 17, 1999 at Carnegie Hall in New York City as part of a concert tour that also visited London, Paris, Tokyo, and Pasadena, California. The film was then released in 75 IMAX theaters worldwide from January 1 to April 30, 2000, marking the first animated feature-length film to be released in the format. Its general release in regular theaters followed on June 16, 2000.

The music video for the song was directed, photographed and edited by Matt Mahurin while in quarantine due to the COVID-19 pandemic. Using chroma key and computer-generated imagery technology, Mahurin inserted Manson's likeness into a series of surrealistic vignettes, such as his head being used as a microscope, wading through blood, and transforming himself into a "chaos pill" which is then placed on a disembodied tongue to create an army of clones rising from graves in a cemetery.

The Château de Pierrefonds in France was used for filming Camelot scenes. Merlin began production in March 2008; as many as three episodes were filmed at a time, and not necessarily in the correct order. Many scenes in Camelot were filmed in France at the Château de Pierrefonds, which was hand-picked by the production team. Castles in England had been looked at, but they were often in ruins and would require more computer-generated imagery (CGI) effects in post-production.

The film will utilize full computer-generated imagery animation for the second time, following Un gallo con muchos huevos with about an expected overall increase of fifteen percent of image quality up to the fifth installment, which is also in development. Like Un gallo, the film will be aimed for an international outreach, while being produced in Mexico. "We wanted to make this film very international, without losing the Mexican identity. It has jokes and positive messages," said co-producer Ignacio Casares.

While Koyaanisqatsi and Powaqqatsi examine modern life in industrial countries and the conflict between encroaching industrialization and traditional ways of life, using slow motion and time-lapse footage of cities and natural landscapes, about eighty percent of Naqoyqatsi uses archive footage and stock images manipulated and processed digitally on non-linear editing (non-sequential) workstations and intercut with specially-produced computer-generated imagery to demonstrate society's transition from a natural environment to a technology-based one. Reggio described the process as "virtual cinema".

Some areas where scattering and scattering theory are significant include radar sensing, medical ultrasound, semiconductor wafer inspection, polymerization process monitoring, acoustic tiling, free-space communications and computer-generated imagery. Particle-particle scattering theory is important in areas such as particle physics, atomic, molecular, and optical physics, nuclear physics and astrophysics. In Particle Physics the quantum interaction and scattering of fundamental particles is described by the Scattering Matrix or S-Matrix, introduced and developed by John Archibald Wheeler and Werner Heisenberg.

Greek mythology has consistently served as a source for many filmmakers due to its artistic appeal. Antiquity has been reimagined in many ways and these recreations have been met with great public success regardless of their individual achievements. The plot lines of epic poetry are even more appealing with their enthralling battles, heroic characters, monsters, and gods. And now, with modern technology and computer-generated imagery (CGI), our ability as a society to recreate Greek mythology on screen has improved greatly.

A NASA conception of the collision using computer-generated imagery The Andromeda–Milky Way collision is a galactic collision predicted to occur in about 4.5 billion years between the two largest galaxies in the Local Group—the Milky Way (which contains the Solar System and Earth) and the Andromeda Galaxy. The stars involved are sufficiently far apart that it is improbable that any of them will individually collide. Some stars will be ejected from the resulting galaxy, nicknamed Milkomeda or Milkdromeda.

Van Dyke has displayed his computer- generated imagery work at SIGGRAPH, and continues to work with LightWave 3D. CGI animation of Dick van Dyke dancing to Michael Jackson's Billy Jean, created by himself In 2010, Van Dyke appeared on a children's album titled Rhythm Train, with Red Hot Chili Peppers drummer Chad Smith and singer Leslie Bixler. Van Dyke raps on one of the album's tracks. In 2017, Van Dyke released his first solo album since 1963's Songs I Like.

"The 37's" is the first time in Star Trek canon that a starship is landed on a planet's surface. This was accomplished with a combination of computer- generated imagery (CGI) and physical modeling. Overhead views of the ship as it descended were CGI because it allowed the ship to descend "to a virtual pinpoint". Because the initial description of the ship described its landing capability, four small hatches on the ventral hull were included on both the ship miniature and model.

An accompanying music video was directed by Higashi Hiroaki and released on Amuro's YouTube channel, showing the singer inside a large castle holding several corridors and mystical rooms. Furthermore, the main chorus sections feature Amuro in a large white ballroom with LED screens. Like "Dear Diary", the visuals are heavily developed with computer generated imagery. In order to promote the track, "Fighter" was broadcast on several Japanese television shows and was included on the singers 2016–17 Live Style tour in Japan.

His script positioned the film as a reboot of the series, distancing it from the 2003 film to give the new version its own identity. Norton was ultimately not credited for his writing. Filming took place from July to November 2007, primarily in Toronto, Canada, with additional filming in New York City and Rio de Janeiro. Over 700 visual effects shots were created in post-production using a combination of motion capture and computer-generated imagery to complete the film.

Whilst the main body of the alien was created using computer-generated imagery a prosthetic version of the cut wound in the side of the alien was available for the actors to interact with on set. Actor Eve Myles describes it as being like filming within a "blood soaked, soppy big sponge". The opening of the creature's eye was created using green screen. Owen felt having to react to this to be the most unusual acting experience he'd had whilst filming Torchwood.

The film's transformation sequences impressed the child, who would grow an interest in visual effects. He left home at 17 for college, earning a Ph.D in computer graphics at the University of California, Berkeley in 1985. In 1988, he went to Industrial Light & Magic as some friends of his were hired to do the computer-generated imagery for The Abyss. Dippé wrote most of the code that created a photorealistic pseudopod built out of seawater, which was mostly animated by Steve 'Spaz' Williams.

Post-production was also a painstaking process with literally years worth of footage to fit into a 100 min. film. Parés and Sáez did not finish editing their film until 40 minutes before its theatrical premiere requiring it to be played back on a laptop. The third and final chapter of the series, Plaga Zombie: Revolución Tóxica, was released in 2012. Unlike the first two films which used traditional special effects, the filmmakers employed computer- generated imagery for the first time.

The Wish List is the fifth and final of five EPs by recording artist Tinchy Stryder. It was released on 24 December 2011 by Takeover Entertainment as a free downloadable EP prior to the release of Stryder's cancelled fourth solo studio album, Full Tank. The EP's cover art is a graphic image of Stryder with, computer-generated imagery as a background of the broken portrait standing on top of a building. The image was made during the Full Tank promo shoot.

Sonic Boom is an American-French computer-animated CGI television series, produced by Sega of America, Inc. and Technicolor Animation Productions in collaboration with Lagardère Thématiques and Jeunesse TV, respectively for Cartoon Network, Canal J and Gulli. Based on the video game franchise Sonic the Hedgehog created by Sega, the series is the fifth animated television series based on the franchise and the first to be produced in computer- generated imagery animation and in high definition. The series premiered in November 2014.

In computer-generated imagery and real-time 3D computer graphics, portal rendering is an algorithm for visibility determination. For example, consider a 3D computer game environment, which may contain many polygons, only a few of which may be visible on screen at a given time. By determining which polygons are currently not visible, and not rendering those objects, significant performance improvements can be achieved. A portal system is based on using the partitioning of space to form generalizations about the visibility of objects within those spaces.

Several of the special effects used in the episode were created in a "low-stress" manner that did not rely wholly on Computer- generated imagery. During the childbirth scene, gas-burners were set a distance away from a fire-proof bed. The scene was then filmed with a long lens to give the effect that the fire was mere inches away from the bed. Producer John Shiban said that the film crew made "a big deal out of the eyes" to make the scene frightening.

Animation World Network (often just "AWN") is an online publishing group that specializes in resources for animators, with an extensive website offering news, articles and links for professional animators and animation fans. Specifically, AWN covers animator profiles, independent film distribution, major animation studio activities, licensing, CGI and other animation technologies, as well as current events in all fields of animation. AWN also publishes print magazines. The magazines are Animation World, dedicated to animation in general, and VFX World, which focuses on special effects and computer-generated imagery.

The film began shooting in Buffalo, New York, partially supported by an Indiegogo campaign launched by Qualiana with a fundraising goal of $3,000. Production was met with minor weather-related difficulties, including overcoming cold temperatures and the task of preventing snow from gathering on the lens of the film camera. Aside from instances of blood shown onscreen, the film's visual effects were created without the use of computer-generated imagery. John Renna, who portrays the character Ethan, constructed a full-size shark head to use during filming.

The CAVE was first studied by the University of Illinois's Electronic Visualization Lab in 1992, which allows huge screens to involve a large number of audiences. Sherman and Craig define CAVE as a theater-like VR venue, which is visually created by computer-generated imagery. Most of the CAVEs today contain 3-6 walls (including ceiling and floor), shaped as a cube or cylinder. It is supported with multisensory channels for human-content interaction, mainly visual, also produces other sensory engagements such as tactile, audio and smell.

The first Bond film to use computer generated imagery, GoldenEye was also the final film of special effects supervisor Derek Meddings's career, and was dedicated to his memory. The film accumulated a worldwide gross of over US$350 million, considerably better than Dalton's films, without taking inflation into account. It received positive reviews, with critics viewing Brosnan as a definite improvement over his predecessor. It also received award nominations for "Best Achievement in Special Effects" and "Best Sound" from the British Academy of Film and Television Arts.

Secrets of the Dead, produced by WNET 13 New York, is an ongoing PBS television series which began in 2000. The show generally follows an investigator or team of investigators exploring what modern science can tell us about some of the great mysteries of history. Most programs incorporate primary source material, first-hand accounts, dramatic reenactments, and computer-generated imagery (CGI) to tell the story. The series originated in a series of the same name in the United Kingdom first shown by Channel 4 in 1999.

Except for the eyes and ears, the face of the fox was generated by computers Post- production was primarily located in Warsaw, Poland, and Gothenburg, Sweden. Over the time of two months, the Poles contributed with about 4,000 hours of work and the Swedes 500. The film features 80 shots with computer-generated imagery, provided by the Polish company Platige Image. Most of these shots consist of digitally removed details such as the collar and leash used to lead the deer, but some were more complicated.

The making video of the film was revealed on 25 August 2017. The film, which contains approximately 1,000 visual effects shots according to producers, was delayed numerous times while the computer-generated imagery (CGI) work was being completed by numerous effects studios. The film was finally slated to be released in cinemas on 29 November 2018. The teaser of 2.0 was released on Ganesh Chaturti, 13 September 2018, in both 3D and 2D. The 3D version was positively received, while some expressed disappointment with the 2D.

Michelle Comens, who originally worked on the pilot as a coordinator oversaw the updates for the visual effects as part of the 2009 Final Cut. This included supplementing Death Glider sequence from the end of the pilot with new computer-generated imagery, including a second Death Glider and adding a Cargo Ship to, retconning the Death Glider from being used as a transport, which had only been done in the pilot. New scenic shots for the alien planets of Abydos & Chulak were also created.

According to Anderson, if he was to build the sets in Los Angeles they would have cost $20 million. However, in Prague they cost $2 million, an important factor when the film's budget was less than $50 million. Third scale miniatures several meters in height were created to give the film the effect of realism, rather than relying on computer generated imagery (CGI). For the whaling station miniatures and life-sized sets, over 700 bags of artificial snow were used (roughly 15–20 tons).

To avoid confusion with the Velociraptor as featured in the movie, Dilophosaurus was presented as only tall, instead of its assumed true height of about . Nicknamed "the spitter", the Dilophosaurus of the movie was realized through puppeteering, and required a full body with three interchangeable heads to produce the actions required by the script. Separate legs were also constructed for a shot where the dinosaur hops by. Unlike most of the other dinosaurs in the movie, no computer-generated imagery was employed when showing the Dilophosaurus.

Mac Guff (also known as Mac Guff Ligne) is a French visual effects company based in both Los Angeles, USA and Paris, France, where it is headquartered. Mac Guff specializes in the creation of computer-generated imagery for commercials, music videos and feature films. 270 graphic designers, VFX supervisors and producers, computer engineers and administrators are usually working on 100+ million files (for Despicable Me). In mid-2011, the company was split in two, and the animation department has been acquired by Illumination Entertainment (Universal Studios).

The Toronto Film Critics' Association stated that Ryan was "an historic achievement in Canadian animation". David Kehr stated in an article in The New York Times that Ryan is a "work of art that exists on its own highly original terms". F.C. Luz stated that Ryan is an example of the "new visual and narrative forms" enabled by computer-generated imagery. Rick Baumgartner of Animation World Network described Ryan as a "3D hand-animated symphony of creativity and color" with a "visceral graphic style".

On August 4, actors Josh Gad, Peter Dinklage and Ashley Benson were spotted in Toronto filming scenes for the film on Bay Street, which was transformed into a city block in Washington, D.C., and littered with wrecked vehicles and giant holes in the pavement. The Ontario Government Buildings was doubled to transform into a federal office building in Washington. Actors were aiming at aliens, which could not be seen, but were added later with computer-generated imagery. On August 26, 2014, filming took place in Cobourg.

Yuen promptly accepted the offer. Yuen drew on seemingly outdated wuxia fighting styles like the Deadly Melody and Buddhist Palm. He remarked that despite the comedic nature of the film, the shooting process was a serious matter due to the tight schedule. Most of the special effects in the film, created by Hong Kong computer graphics company Centro Digital Pictures Limited, which had previously worked on films such as Shaolin Soccer and Kill Bill, included a combination of computer-generated imagery and wire work.

He used Eastman Kodak 5246 250ASA Vision film stock for all of the daylight scenes and tungsten- balanced 5279 Vision 500T film stock for the night scenes. Despite the intense weather conditions, Kivilo believed that the overcast skies created a "gray, somber, stark look." He also chose not to use any lighting for daytime exterior scenes. For exterior scenes shot during sunnier filming days, computer-generated imagery (CGI) was used to re-create the overcast skies and counter any inconsistencies caused by the falling snow.

The Last Starfighter is a 1984 American space opera film directed by Nick Castle. The film tells the story of Alex Rogan (Lance Guest), a teenager recruited by an alien defense force to fight in an interstellar war. It also features Robert Preston, Dan O'Herlihy, Catherine Mary Stewart, Norman Snow, and Kay E. Kuter. The Last Starfighter, along with Disney's Tron, has the distinction of being one of cinema's earliest films to use extensive computer- generated imagery (CGI) to depict its many starships, environments and battle scenes.

The single was a triple re-release from the A Best and I Am... album, and the Ayu Trance compilation remix album, on a vinyl and CD Maxi single format. The re-released single was remixed by Above & Beyond, and was served as Ayu's second, first, and sixth international single in Germany, Spain, and North America. The accompanying music video for the remix single was shot in Tokyo by Masato Okazaki; it features several images and video shots of Hamasaki performance, whilst including different computer generated imagery.

By June 2001, Dimension Films acquired the film rights, with Goyer back on board as writer and director. Goyer hinted scheduling conflicts might ensue with a film adaptation of Murder Mysteries, and promised not to be highly dependent on computer-generated imagery. However, by August 2001, Miramax acquired the film rights from Dimension, and by March 2002, Goyer had dropped out of the project. A 2005 release date was announced the next March, while in June 2004, a script still had yet to be written.

Scientists study the battles of prehistoric creatures, such as dinosaurs, before they became extinct. Each episode features a forensic-styled breakdown of a prehistoric battle. Based on fossil evidence and paleontologic analysis, a computer-generated imagery rendering of the battle, based on the evidence and the imagination of George Blasing (the show's host) is the final act of each episode. In most cases, the battles are based on actual fossil finds, although in several episodes, scientists simply put two contemporaneous prehistoric animals against each other.

"Market Forces" is the fourth episode of the animated television series The Spectacular Spider-Man, which is based on the comic book character Spider-Man, created by Stan Lee and Steve Ditko. In the episode, Spider-Man is hunted by Shocker, whose suit allows him to fire intense sonic blasts. "Market Forces" was written by Andrew Robinson and directed by Dan Fausett. It incorporated computer-generated imagery in the sonic blasts used by Shocker, which mixed in with the other, traditional animation style used in the show.

For example, prosthetic makeup can be used to make an actor look like a non-human creature. Optical effects (also called photographic effects) are techniques in which images or film frames are created photographically, either "in-camera" using multiple exposure, mattes or the Schüfftan process or in post-production using an optical printer. An optical effect might be used to place actors or sets against a different background. Since the 1990s, computer-generated imagery (CGI) has come to the forefront of special effects technologies.

Nolan prefers shooting on film to digital video and advocates for the use of higher-quality, larger- format film stock. He also favours practical effects over computer-generated imagery, and is a proponent of theatrical exhibition. His work explores existential and epistemological themes such as subjective experience, materialism, distortion of memory, human morality, the nature of time, causality, and the construction of personal identity. His characters are often emotionally disturbed, obsessive, and morally ambiguous, facing the fears and anxieties of loneliness, guilt, jealousy, and greed.

Michael Fish presents a weather forecast in 1974. As computational capability improved, so did graphics technology. Early hand-drawn maps gave way to magnetic symbols, which in turn gave way to bluescreen (CSO) computer- generated imagery technology, each of which allowed the presenter greater control over the information displayed. Early magnetic symbols tended to adhere poorly to the maps, and occasional spelling errors (such as the presenter writing 'GOF' instead of 'FOG') marred some broadcasts, but allowed the presenter to show how weather would change over time.

On 18 October, the band shared a third song, "Ich weiß es nicht", along with a remix of the song by American industrial metal band Ministry. On 21 October, they shared a music video for "Ich weiß es nicht", featuring black-and-white computer-generated imagery crafted by artificial intelligence. On 29 October, the band shared a 40-second snippet of the song "Allesfresser" on their YouTube channel. On 1 November, the song "Knebel" was released, along with an accompanying, uncensored music video on www.

The George Lucas Director's Cut includes completely new footage, such as this shot of the factory where THX works. In 2004, The George Lucas Director's Cut of the film was released. Under Lucas' supervision, the film underwent an extensive restoration and digital intermediate process by Lowry Digital and Industrial Light & Magic (ILM), where the film's original negative was scanned, digital color correction was applied, and a brand new digital master was created. Computer-generated imagery and audio/video restoration techniques were also applied to the film.

Favouring make-up effects over computer-generated imagery, the film quickly found respect among horror fans. It was released in the US as High Tension, after some editing. The film was nominated for the grand prize at the Amsterdam Fantastic Film Festival, and earned Aja awards for Best Direction and Best Fantasy Film at the Sitges - Catalan International Film Festival. After seeing High Tension, American director Wes Craven asked Aja to come up with a concept for the remake of his 1977 film The Hills Have Eyes.

For scenes involving visual effects, Thomas Haden Church was super-imposed onto the screen, where computer- generated imagery was then applied. With sand as a possible hazard in scenes that buried actors, ground-up corncobs were used as a substitute instead. Because of its resemblance to the substance, sand from Arizona was used as the model for the CG sand. In a fight where Spider-Man punches through Sandman's chest, amputee martial arts expert Baxter Humby took Tobey Maguire's place in filming the scene.

Monsters We Met is a documentary produced by the BBC that later aired on Animal Planet in 2004 (under the title, Land of Lost Monsters) which also included footage from Walking with Beasts and Walking with Cavemen (both also made by the BBC). The show used computer-generated imagery to recreate the life of the giant animals that lived during the last ice age and explains how early humans encountered them. It also features humans as the main reason for the extinction of all great animals.

One real-life example of hubless wheels are those used in the replica Tron: Legacy light cycle. The illuminated, street-legal motorcycle was sold through Hammacher Schlemmer, inspired by the computer-animated vehicle from the 2010 film Tron: Legacy. Designed for casual cruising and slow ride-bys at shows, it is made from a steel frame covered by a fiberglass cowling that replicates the sleek look of its computer-generated imagery counterpart. Electroluminescent wire strips built into the tire cowlings, wheel rims, and body illuminate the cycle.

The AlloSphere is a research facility in a theatre-like pavilion in a spherical shape, of opaque material, used to project computer-generated imagery and sounds. Included are GIS, scientific, artistic, and other information. Located at the University of California, Santa Barbara (UCSB) the AlloSphere grew out of the schools of electrical engineering and computer science, and the Media Arts & Technology program at UCSB. The AlloSphere is housed at UCSB California NanoSystems Institute building, "CNSI," or Elings Hall, a facility that opened in 2007.

Instead of relying primarily on computer-generated imagery, the interior body shots tend to involve miniature effects and motion control photography. Many of the sets are dressed with a variety of unscripted props that allow Laurie to physically improvise, revealing aspects of his character and the story. The pilot episode was filmed in Vancouver; primary photography for all subsequent episodes took place on the Fox lot in Century City, Los Angeles. Bryan Singer chose the hospital near his hometown, West Windsor, New Jersey, as the show's fictional setting.

Joseph Kosinski (born May 3, 1974) is an American television commercial and feature film director best known for his computer graphics and computer- generated imagery (CGI) work, and for his work in action films. He made his big-screen directorial debut with the 2010 science fiction film Tron: Legacy, the sequel to the 1982 film Tron. His previous work has primarily been with CGI-related television commercials including the "Starry Night" commercial for Halo 3Official website work portfolio. and the award-winning "Mad World" commercial for Gears of War.

With computer- generated imagery looking to make up so much of the commercial, Kleinman attempted to use film of real elements wherever possible. To this end, 200 mudskippers were brought to the studio from South Africa for the final scene, arriving via Singapore. An entire afternoon was set aside for filming the mudskipper sequence. The footage obtained formed the major part of the final cut of the scene, with only one or two post-production changes: the addition of tail fins and animation of the expression of disgust that closes the piece.

Tim Burton avoided using too many digital effects because he wanted the younger actors to feel as if they were working in a realistic environment. As a result, forced perspective techniques, oversized props and scale models were used to avoid computer-generated imagery (CGI) wherever possible. Deep Roy was cast to play the Oompa-Loompas based on his previous collaborations with Burton on Planet of the Apes and Big Fish. The actor was able to play various Oompa-Loompas using split screen photography, digital and front projection effects.

The film would combine computer- generated imagery and live action. It would be directed by Jones based on a script by Jones and Gavin Scott, and in addition to the Python members it would also star Simon Pegg, Kate Beckinsale and Robin Williams (in his final film role). The plot revolves around a teacher who discovers aliens (voiced by the Pythons) have given him magical powers to do "absolutely anything". Eric Idle responded via Twitter that he would not, in fact, be participating, although he was later added to the cast.

Tarantino also said he would have set it in the 1960s and would have only made it with Pierce Brosnan as Bond. In February 2005, Martin Campbell was announced as the film's director. Later in 2005, Sony led a consortium that purchased MGM, allowing Sony to gain distribution rights starting with the film. Eon believed that it had relied too heavily on computer-generated imagery effects in the more recent films, particularly Die Another Day, and was keen to accomplish the stunts in Casino Royale "the old fashioned way".

The screenplay gave a backstory of Casper being the ghost of Casper McFadden, a boy who died of pneumonia at 12, though some of the comics, particularly in the 1960s, portrayed him as born a ghost to ghost parents. Extensive use of computer-generated imagery is used to create the ghosts, and it is the first feature film to have a fully CGI character in a leading role. In the mirror scene, Dr. Harvey was also supposed to transform into Spielberg. According to director Silberling, the cameo was filmed, but was cut for pacing reasons.

Martial arts films contain many characters who are martial artists and these roles are often played by actors who are real martial artists. If not, actors frequently train in preparation for their roles or the action director may rely more on stylized action or film making tricks like camera angles, editing, doubles, undercranking, wire work and computer-generated imagery. Trampolines and springboards used to be used to increase the height of jumps. The minimalist style employs smaller sets and little space for improvised but explosive fight scenes, as seen by Jackie Chan's films.

For the opening scenes, in which many landmarks in Singapore were destroyed, computer- generated imagery (CGI) was used to create the explosions. Neo's insistence to use real weapons and pyrotechnics for the shooting of the CGI-war sequences, despite the high cost, was due to him wanting to provide a "new feel" for the audience. The film features Dolby Atmos surround sound, the first South-East Asian film to do so. The visual effects were done by Vividthree Productions Pte Ltd and spearheaded by VFX Director Jay Hong.

Often with his films, Aronofsky alternates between extreme closeups and extreme wide shots to create a sense of isolation. With The Fountain, Aronofsky restricted the use of computer-generated imagery. Henrik Fett, the visual effects supervisor of Look Effects, said, "Darren was quite clear on what he wanted and his intent to greatly minimize the use of computer graphics ... and I think the results are outstanding." He used more subtle directing in The Wrestler and Black Swan, in which a less-visceral directing style better showcases the acting and narratives.

Pyrotechnics stunt exhibition by "Giant Auto Rodéo", Ciney, Belgium A stunt is an unusual and difficult physical feat or an act requiring a special skill, performed for artistic purposes usually on television, theaters, or cinema. Stunts are a feature of many action films. Before computer generated imagery special effects, these effects were limited to the use of models, false perspective and other in-camera effects, unless the creator could find someone willing to jump from car to car or hang from the edge of a skyscraper: the stunt performer or stunt double.

An example of computer animation which is produced from the "motion capture" technique Computer animation is the process used for digitally generating animated images. The more general term computer-generated imagery (CGI) encompasses both static scenes and dynamic images, while computer animation only refers to moving images. Modern computer animation usually uses 3D computer graphics to generate a two-dimensional picture, although 2D computer graphics are still used for stylistic, low bandwidth, and faster real-time renderings. Sometimes, the target of the animation is the computer itself, but sometimes film as well.

A music video directed by textile design artist Bart Hess was released on to YouTube on December 19 to promote the single. Despite often being described as making heavy-use of computer-generated imagery, Hess has said on his Facebook account that the video was made "without the use of any CGI." The video is inspired by the snake-on-a- staircase scene from Beetlejuice, with the "snake" imagery based on textured fabric designs Hess had previously created. The music video features dancer Amy Gilson and Burlesque artist Olivia Bellafontaine.

The Tiger God (voiced by Frank Welker) is a giant head of a tiger made of sand and the neutral guardian of the Cave of Wonders. Its job is to protect the Genie's lamp and give it to those who are worthy while eliminating those who aren't. The treasures hoarded inside the cave are used to test those who are worthy to enter as touching them will also cause the Tiger God to eliminate them as well. It was portrayed by computer-generated imagery, following reference drawings by animator Eric Goldberg.

Amuro found the dressing room scene to be difficult, as she had to rehearse dress-changes within a specific time frame so Furuya could be directed correctly. The music video was completed during one take by Furuya, and no additional computer generated imagery or further video editing was included in the final cut. The video starts with a pink telephone ringing, where Amuro answers it. The scene pans out, and has Amuro exit her home (which is near a flower bouquet stand) with her friends surprising her on her birthday.

In contrast, the San Francisco Chronicles Carla Meyer was highly critical of the special effects, writing, "[The Wachowskis] computer-generated imagery goes from dazzling to deadening in action scenes that favor heavy, clanking weaponry over the martial-arts moves that thrilled viewers of The Matrix and The Matrix Reloaded." Nevertheless, the film grossed a healthy $427 million worldwide, although less than the two previous films. Something's Gotta Give, a romantic comedy, was Reeves' last release of 2003. He co-starred with Jack Nicholson and Diane Keaton, and played Dr. Julian Mercer in the film.

The Child is mostly a work of animatronics and puppetry, although accentuated with computer-generated imagery (CGI). Legacy Effects, the special effects studio started by protégés of special make-up effects creator Stan Winston, designed the Child puppet and supplied the puppeteers to animate it during filming. The puppet cost about $5 million to make, and is relatively heavy due to the amount of wires and animatronic technology inside it. It is controlled by two technicians, one who operates the eyes and mouth and another who controls other facial expressions.

Circle 7 Animation (or Disney Circle 7 Animation) was a short lived division of Walt Disney Feature Animation specializing in computer-generated imagery (CGI) animation, and was originally intended to create sequels, to the Disney owned properties of Pixar, leading rivals, and animators, to derisively nickname the division “Pixaren’t”. The studio did not release any films during its existence, nor were any of its scripts used by Pixar. The division was named after the street where its studio was located. Circle Seven Drive, in Glendale, California, is also home to KABC-TV.

The film is directed by Ted Berman and Richard Rich, who had directed Disney's previous animated film The Fox and the Hound in 1981, the first Disney animated film to be recorded in Dolby Stereo. It features the voices of Grant Bardsley, Susan Sheridan, Freddie Jones, Nigel Hawthorne, John Byner, and John Hurt. It was the first Disney animated film to receive a PG rating as well as the first Disney animated film to feature computer-generated imagery. The film was distributed theatrically through Buena Vista Distribution on July 26, 1985.

Instead, "LOST" is in black, and the background is white. The Swan construction site was built in the same place the Hatch was shown in seasons 1 and 2, in He'eia. Due to being in a state park area, the producers had to get permits and work with geologists to excavate and build the set, as well as restoring the location to how it was before. The base of the statue where Jacob lives was a live-action set, but the stone foot was built with computer- generated imagery.

He has since performed the song live on various occasions, including at the Glastonbury Festival and the Billboard Music Awards in 2015. It was universally praised by music critics and ranked by numerous sites, including Rolling Stone and NME, as one of the best tracks of 2013. The song's accompanying music video was directed by Nick Knight and features computer-generated imagery of West, with interactive options including "screen grabbing" and adjusting the speed of his vocals. The video was released in July 2013 and has received positive reviews from critics.

Ko debuted in the TV drama Love Tomorrow in 1993 and quickly established herself as a representative star of her generation. She made her film debut opposite Jung Woo-sung in The Fox with Nine Tails in 1994, which was the first Korean film to use computer-generated imagery. However, it failed to make an impression on audiences or critics. Ko first achieved wide recognition through her role in Beat (again with Jung Woo- sung), a film that caught the imagination of many South Korean high school students.

Muren has been an important voice for pioneering new technologies in special effects. Muren spearheaded ILM's move from models and miniatures to CGI for the film Terminator 2: Judgment Day. Muren, along with Steve Williams and Mark A.Z. Dippé, helped to usher in a new age of computer generated imagery with the CG dinosaurs of Jurassic Park (1993). Steven Spielberg had intended to use go- motion for the dinosaurs, but quickly changed his mind when shown a test of a CG T. rex (with Marin County as the backdrop).

Alien Planet is a 94-minute docufiction, originally airing on the Discovery Channel, about two internationally built robot probes searching for alien life on the fictional planet Darwin IV. It was based on the book Expedition, by sci-fi/fantasy artist and writer Wayne Douglas Barlowe, who was also executive producer on the special. It premiered on May 14, 2005. The show uses computer- generated imagery, which is interspersed with interviews from such notables as Stephen Hawking, George Lucas, Michio Kaku and Jack Horner. The show was filmed in Iceland and Mono Lake in California.

In the early months of 2009, Rourke (Vanko), Rockwell, and Johansson filled out the supporting cast. Filming took place from April to July 2009, mostly in California like the first film except for a key sequence in Monaco. Unlike its predecessor, which mixed digital and practical effects, the sequel primarily relied on computer-generated imagery to create the Iron Man suits. Iron Man 2 premiered at the El Capitan Theatre on April 26, 2010, and was released in the United States on May 7, as part of Phase One of the MCU.

Walt Disney Animation Studios' 1986 film The Great Mouse Detective, co-directed by John Musker and Ron Clements, paid homage to Cagliostro with the film's climactic Big Ben sequence. The two-minute climax scene used computer-generated imagery (CGI), making it the first Disney film to extensively use computer animation, a fact that Disney used to promote the film during marketing. In turn, The Great Mouse Detective paved the way for the Disney Renaissance. Another reference to the clock-tower fight is in "The Clock King" episode of Batman: The Animated Series.

In design, Creative Visualization refers to the process by which computer generated imagery, digital animation, three-dimensional models, and two- dimensional representations, such as architectural blueprints, engineering drawings, and sewing patterns are created and used in order to visualize a potential product prior to production. Such products include prototypes for vehicles in automotive engineering, apparel in the fashion industry, and buildings in architectural design. Raad, J. M., McCartan, S., Tovey, M., and Woodcock, A., Co-operative Animation: Beyond Creative Visualization in Automotive Design. In Cooperative Design, Visualization, and Engineering.

Industrial Light & Magic was the main special effects company for the movie. While Spielberg had used computers to help visualize sequences in pre-production before, Spielberg said, "This is the first film I really tackled using the computer to animate all the storyboards." He decided to employ the technique extensively after a visit to his friend George Lucas. In order to keep the realism, the usage of computer-generated imagery shots and bluescreen was limited, with most of the digital effects being blended with miniature and live-action footage.

The film received a budget of $25 million at first, but its final budget was about $30 million. For The Imaginarium of Doctor Parnassus, Gilliam and his cinematographer Nicola Pecorini went wider than ever before on focal length with a new 8mm Zeiss lens, unusual even for a Gilliam movie which are usually trademarked by wide-angle imagery. The widest lens that had been employed before on a Gilliam film had been a 9.8mm Kinoptic. Production of the remaining computer generated imagery effects shots were carried out in Vancouver.

The phrase was coined in 1960 by computer graphics researchers Verne Hudson and William Fetter of Boeing. It is often abbreviated as CG, or typically in the context of film as computer generated imagery (CGI). Some topics in computer graphics include user interface design, sprite graphics, rendering, ray tracing, geometry processing, computer animation, vector graphics, 3D modeling, shaders, GPU design, implicit surface visualization, image processing, computational photography, scientific visualization, computational geometry and computer vision, among others. The overall methodology depends heavily on the underlying sciences of geometry, optics, physics, and perception.

It portrays the deaths using live-action recreations of the events along with expert and sometimes witness testimony, also using graphic computer-generated imagery animations, similar to those used in the popular TV show CSI, to illustrate the ways people have died, similar to the "X-Ray moves" of the 2011 reboot of Mortal Kombat and Mortal Kombat X, due to them showing bones being fractured and organs being damaged. A narration provides background information within each death-story, which all end with titles that are puns on popular figures of speech.

Roger Ebert gave a positive review, explaining, "Ang Lee is trying to actually deal with the issues in the story of the Hulk, instead of simply cutting to brainless visual effects." Ebert also liked how the Hulk's movements resembled King Kong. Although Peter Travers of Rolling Stone felt Hulk should have been shorter, he heavily praised the action sequences, especially the climax and cliffhanger. Paul Clinton of CNN believed the cast gave strong performances, but in an otherwise positive review, heavily criticized the computer-generated imagery, calling the Hulk "a ticked-off version of Shrek".

With Steven Spielberg as executive producer of the film, he hired Brad Silberling to direct, making it Brad's first feature film as a director. The film stars Christina Ricci and Bill Pullman, with Malachi Pearson voicing in the title role. This film was set in Friendship, Maine and makes extensive use of computer-generated imagery to make the ghosts such as Casper and his uncles the Ghostly Trio come to life and have them interacted with the live actors. This was also the first film to feature a CGI character in a lead role.

Einzig was born in Los Angeles, California and grew up in the suburbs of Minneapolis, Minnesota. Attended the University of Wisconsin-Madison in the 1980s and then moved to New York City in 1990 to become an artist and studied photography at New York University/International Center of Photography, focusing on computer-generated imagery and filmmaking. She worked for Associated Press in New York City from 1998 to 2002 then as a self-employed event photographer. She was a member of the first incarnation of the In-Public street photography collective, from 2002.

There are a number of DVDs available which contain all the series. Even though it is advertised as complete, the series 1–4 DVD set is missing the episode "Snow Business", although the episode of series two "Snow Business" is on a separate DVD. Episodes from series five through eight are available on DVD but some are missing. Starting with series six, HIT Entertainment abandoned the stop motion animation for computer-generated imagery (CGI) animation and changed the location of Pontypandy from the hills of Wales to the Welsh coastal area.

Mike Henry wrote the episode. The episode was written by main cast member Mike Henry, who provides the voice for the Family Guy character Cleveland Brown, among others, and it was directed by series regular Greg Colton. In animating the Cripple-Tron sequence, Colton largely utilized computer technology to create the sequence, in addition to traditional animation and computer-generated imagery. "No Meals on Wheels", along with the four other episodes from Family Guys fifth season, were released on a three- disc DVD set in the United States on October 21, 2008.

RCTV's logo from 9 November 1996 to 16 April 2007 During the first years of the 1990s, RCTV developed a series of made-for-TV-movies. Some were based on real life events. Among the most highlighted were La Madamme (with Mimí Lazo), Cuerpos Clandestinos (with María Conchita Alonso), Volver a Ti (with Ruddy Rodríguez), and Buen Corazón (with Coraima Torres), among many others."Por estas calles": primera telenovela urbana. rctv.net (March 5, 2005) In 1990, RCTV became the second TV network in Venezuela to use computer- generated imagery for its on-air idents.

When The Message failed to attract the studios, Feldman re-wrote it as a spec script, which ultimately led to the making of the film. The extraterrestrial aspect of Sil's character was created by H. R. Giger, who was also responsible for the beings from the Alien franchise. The effects combined practical models designed by Giger collaborator Steve Johnson and XFX, with computer-generated imagery done by Richard Edlund's Boss Film Studios. Giger felt that the film and the character were too similar to Alien, so he pushed for script changes.

As with the filming crew, the post- production crew of the film included both Indian and overseas personnel. Prime Focus carried out the film's 3-D conversion, with London-based colorist Richard Fearon performing the color grading. Red Chillies VFX partnered with a number of visual effects studios around the world, and undertook the incorporation of the visual effects under the supervision of Jeffrey Kleiser. Nvidia provided the information technology–based software utilised for the effects, while Edwark Quirk supervised over the computer-generated imagery used in the film.

Jackson's Weta Digital created the visual effects, which included computer-generated imagery, as well as scale models (which were necessary to make Wellington look American), prosthetic makeup and practical effects with help from Weta Workshop. Visual effects supervisor Richard Taylor explained that effects work on The Frighteners was complex due to Weta's inexperience with computer technology in the mid-1990s. Prior to this film, Weta worked largely with physical effects. With so many ghosts among its main cast, The Frighteners required more digital effects shots than almost any movie made up till that time.

Formerly the set of Titanic (1997), Rosarito was the ideal location to recreate the death throes of the battleships in the Pearl Harbor attack. A large-scale model of the bow section of mounted on the world's largest gimbal produced an authentic rolling and submerging of the doomed battleship. Production Engineer Nigel Phelps stated that the sequence of the ship rolling out of the water and slapping down would involve one of the "biggest set elements" to be staged. Matched with computer generated imagery, the action had to reflect precision and accuracy throughout.

Computer animation is the art, technique, and science of creating moving images via the use of computers. It is becoming more common to be created by means of 3D computer graphics, though 2D computer graphics are still widely used for stylistic, low bandwidth, and faster real- time rendering needs. Sometimes the target of the animation is the computer itself, but sometimes the target is another medium, such as film. It is also referred to as CGI (Computer-generated imagery or computer-generated imaging), especially when used in films.

At that time, the computer-generated imagery of the tiger was at its early stage and far from perfect, so Sunder had to envisage the tiger while composing for these scenes. The composition of score was completed on 11 September 2016. The DTS pre- mixing of the music was done on 17 September at G Studio in AVM, Chennai. The first music video from the film, "Kaadaniyum Kalchilambe" sung by Yesudas and Chithra, was released via YouTube on 14 September 2016—the day of the Hindu festival Thiruvonam.

Herzog was not familiar with Favreau's previous work, nor had he ever seen a Star Wars film, but was impressed with the screenplays for The Mandalorian as well as the filmmaking style of the show. Herzog particularly enjoyed filming scenes with the animatronic puppet of The Child, subsequently strongly urging Favreau to solely use the puppet for the character and not computer-generated imagery as had originally been intended for later scenes, calling them "cowards" for considering using CGI in its place. The character and Herzog's performance have received positive reviews from critics.

Fractal landscape Not only do animated images form part of computer-generated imagery, natural looking landscapes (such as fractal landscapes) are also generated via computer algorithms. A simple way to generate fractal surfaces is to use an extension of the triangular mesh method, relying on the construction of some special case of a de Rham curve, e.g. midpoint displacement. For instance, the algorithm may start with a large triangle, then recursively zoom in by dividing it into four smaller Sierpinski triangles, then interpolate the height of each point from its nearest neighbors.

Because computer-generated imagery reflects only the outside, or skin, of the object being rendered, it fails to capture the infinitesimally small interactions between interlocking muscle groups used in fine motor control, like speaking. The constant motion of the face as it makes sounds with shaped lips and tongue movement, along with the facial expressions that go along with speaking are difficult to replicate by hand. Motion capture can catch the underlying movement of facial muscles and better replicate the visual that goes along with the audio, like Josh Brolin's Thanos.

During filming, the actors were free to create their own dialogue because pre-production was focused on the story and action. Rubber and metal versions of the armor, created by Stan Winston's company, were mixed with computer-generated imagery to create the title character. Iron Man premiered in Sydney on April 14, 2008, and was released in the United States on May 2, as the first film in Phase One of the MCU. It grossed over $585 million on its $140 million budget, becoming the eighth-highest grossing film of 2008.

The modern scenes on the research vessel were shot on board the Akademik Mstislav Keldysh, which Cameron had used as a base when filming the wreck. Scale models, computer- generated imagery, and a reconstruction of the Titanic built at Baja Studios were used to re-create the sinking. The film was co-financed by Paramount Pictures and 20th Century Fox; the former handled distribution in North America while the latter released the film internationally. It was the most expensive film ever made at the time, with a production budget of $200 million.

The show was cancelled after that season. However, one of the more successful and most artistically ambitious series of this period was Babylon 5. Produced and largely written by J. Michael Straczynski with creative input by Harlan Ellison, this show attempted to create a series-long epic tale that avoided many of the clichés of the television genre. The series was highly acclaimed for its writing and its innovative visuals as the first television series to extensively use computer-generated imagery to create spectacular visual effects for an economical price.

He also attributed the game's popularity and modifiability to the continued development of fan mods. Engadgets David Lumb retrospectively likened the game's graphical innovations to the computer-generated imagery used in the 1995 film Toy Story. GamesTM rated it No. 4 on their retrospective "Top Five FPS" list for its truly 3D environment combined with the six degrees of freedom, and Rock, Paper, Shotgun ranked it No. 13 on its list of "The best space games on PC", citing the game's numerous innovations, speed, labyrinthine level structures, and the free range of motion.

Scott's historical drama Gladiator (2000) proved to be one of his biggest critical and commercial successes. It won five Academy Awards, including Best Picture, Best Actor for the film's star Russell Crowe, and saw Scott nominated for the Academy Award for Best Director. Scott worked with British visual effects company The Mill for the film's computer-generated imagery, and the film was dedicated to Oliver Reed who died during filming – The Mill created a digital body double for Reed's remaining scenes. Some have credited Gladiator with reviving the nearly defunct "sword and sandal" historical genre.

Walking with Beasts (Walking with Prehistoric Beasts in North American releases) is a 2001 six-part television documentary miniseries, produced by the BBC Natural History Unit. It is the second installment of the Walking With... series and a sequel to Walking with Dinosaurs. Beasts takes place after the extinction of the non-avian dinosaurs 65 million years ago depicted in Walking with Dinosaurs, and recreates animals of the Cenozoic with computer-generated imagery and animatronics. Like Dinosaurs, its narrative is presented in the style of a traditional nature documentary.

It achieved success in Japan, peaking at number two on the Oricon Singles Chart and Billboard's Japan Hot 100 chart. It was certified gold, twice, by the Recording Industry Association of Japan (RIAJ) for physical and digital shipments of 100,000 units. An accompanying music video was shot by Kazuaki Seki; it shows the girls performing the song in a black room, with additional computer generated imagery (CGI). With additional promotion through Japanese commercials, the song has been performed on several concert tours by Perfume, including their 2008 Budoukan and their 2013 Perfume World Tour.

Former Capcom Production Studio 2 game designer and producer Keiji Inafune and Flagship co-founder Noboru Sugimura served as executive supervisors. Inafune referred to the story as a "gaiden" – or side-story – for fans of the Resident Evil series. The film marked director Koichi Ohata's first experience with computer-generated imagery (CGI), after his previous work on original video animations such as MD Geist, Cybernetics Guardian and Genocyber. The CGI rendering was handled by the company Visual Science Laboratory, with the creature designs provided by 3D artist Gouta Nanami.

Similar controls can be applied to animate an entire human-like model. Human image synthesis is technology that can be applied to make believable and even photorealistic renditionsPhysics-based muscle model for mouth shape control on IEEE Explore (requires membership)Realistic 3D facial animation in virtual space teleconferencing on IEEE Explore (requires membership) of human-likenesses, moving or still. It has effectively existed since the early 2000s. Many films using computer generated imagery have featured synthetic images of human-like characters digitally composited onto the real or other simulated film material.

A third series, narrated by Monty Python actor Michael Palin, was broadcast in the UK from 15 June 2015 on the BBC's CBeebies TV channel, gaining hugely successful viewing figures, following on from a short special broadcast by the BBC earlier that year. The new programmes are still made using stop-motion animation (instead of the computer-generated imagery which had replaced the original stop-motion animation in revivals of other children's shows such as Fireman Sam, Thomas & Friends and The Wombles). Clangers won a BAFTA in the Best Pre-School Animation category in 2015.

Hickman p. 77 The unique contortions of the Gangers were achieved through computer-generated imagery done by The Mill.Hickman p. 76 It was originally planned that Jennifer would eat Buzzer, but The Mill decided only the shadows of the action would be shown on the wall. All of this was cut from the final episode, with the exception of Jennifer's elongated mouth as she advanced towards him. The pile of discarded Jennifer Gangers was originally intended to just be a pile of bodies, but it was decided that would be "too grim".

The action scenes prioritised practical effects and stunts, while employing computer-generated imagery made by five different companies. Spectre was estimated to have cost around $245 million--with some sources listing it as high as $300 million--making it the most expensive Bond film and one of the most expensive films ever made. Spectre was released on 26 October 2015 in the United Kingdom on the same night of the world premiere at the London Royal Albert Hall. It was followed by a worldwide release, including IMAX screenings.

171–172 The missile silo used for the episode's climactic scene was incomplete when the scene was filmed, as the crew did not have enough time or money left to complete the set. The crew built the incomplete silo on a sound stage around a completed spacecraft prop, and were able to digitally extend the set with computer generated interiors to give the impression of a much larger silo. Exterior shots of the silo building were also enhanced digitally, with various buildings and machinery created with computer generated imagery and composited into the exterior shots.

He has received eminent prizes and fellowships from the French and Flemish government, as well as from various foundations. CREW Eric Joris is participating in the prestigious program 2020 3D Media, which has secured the backing of the European Commission. CREW is also artistic partner in the EU-funded multidisciplinary research consortium Dreamspace, which develops tools that enable creative professionals to combine live performances, video and computer generated imagery in real time. He is a mentor of the Forecast Platform 2015-2016, an international platform that promotes emerging talents.

Paul Gerrard is a British concept designer best known for his designs of characters and monsters for films such as Wrath of the Titans, Battle Los Angeles and Teenage Mutant Ninja Turtles. Specializing in computer-generated imagery (CGI), Gerrard's common themes include fusion of organic tissue with machines and plant life. Gerrard is based in the North East of England and is active in the CGI community, having worked as a concept artist for the 2015 film Seventh Son and the 2016-17 television series The Shannara Chronicles.

Filming locations included a refugee camp in Rome, a full-size reproduction of the Sistine Chapel interior created at the Cinecittà studios in Rome, an area outside Castel Gandolfo (the pope's summer palace), various locations in Rome as stand-ins for scenes at the Vatican, and poor areas of Buenos Aires. The St. Peter's Square plaza was recreated using computer-generated imagery. Some scenes were shot in Royal Palace of Caserta and in villa Farnese in Caprarola, near Rome. The poster image is the hunting lodge of villa Farnese.

Whilst she had produced prints in conjunction with her abstract paintings in her earlier works, printmaking soon became her primary medium, and through her production of postcards and books she sought to challenge ideas of commodification and elitism. Between 1981-1986, Wight was printmaking lecturer at the University of Southern Queensland, Toowoomba. Wight later became interested in computer-generated imagery. In 2000, she collaborated with the Victorian Tapestry Workshop on their first portrait commission, a portrait of Dame Elisabeth Murdoch, AC, DBE for the National Portrait Gallery, Canberra.

Terminator 2 was one of the most expensive films to be produced, costing at least $94 million. Despite the challenging use of computer-generated imagery (CGI), the film was completed on time and released on July 3, 1991. Terminator 2 broke box office records (including the opening weekend record for an R-rated film), earning over $200 million in the North America and being the first to earn over $300 million worldwide. It won four Academy Awards: Best Makeup, Best Sound Mixing, Best Sound Editing, and Best Visual Effects.

The music video (directed by Godley and Creme) shows the band standing while going through video-created abstract effects. It was one of the first music videos to utilize computer-generated imagery. Eighteen different variations of the video were made (the first one, for instance, simply had the band upside-down, but motionless for the whole song), with the eleventh one chosen as the "standard" version, and has remained the "official" video. A half-hour documentary on the making of the video was broadcast on MTV in 1984.

Among the anthropomorphic cast of Bryan Talbot's graphic novel Grandville, there is a white Wire Fox Terrier named "Snowy Milou". In a drug-induced delirium, he describes the dreams he has had, with close parallels to the various adventures of the Tintin books. From a computer-generated imagery point of view, Snowy was the most difficult character to film during production of the 2011 motion capture film The Adventures of Tintin: The Secret of the Unicorn. Fur is generally difficult to render, with white being the most difficult colour and curly fur being the most difficult shape.

In order to emulate the creature effects of the first film, Heisserer revealed that traditional practical effects would be used on the creatures whenever possible. The film's computer-generated imagery was created by Image Engine, the effects house who worked on Neil Blomkamp's 2009 film District 9. Computer Graphics were used to digitally create extensions on some of the practical animatronic effects, as well as for digital matte paintings and set extensions. Alec Gillis stated that the advancement of animatronic technology since 1982 combined with digital effects allowed the effects team to expand upon the possible creature conceptions.

The production team became very enthusiastic as nothing similar had previously been achieved, and Spielberg was convinced to write the scene into the script, and to also use computer graphics for other dinosaur shots in the movie instead of stop motion. The Gallimimus were animated by tracing frames from footage of ostriches, and footage of herding gazelles was also referenced. Kielan- Jaworowska, who discovered the holotype specimen, called it a "beautiful scene". The movie's dinosaurs were one of the most widely publicised applications of computer-generated imagery in film, and were considered more lifelike than what had been previously accomplished with special effects.

According to Owen, "Right in the thick of it are me and the camera operator because we're doing this very complicated, very specific dance which, when we come to shoot, we have to make feel completely random." Cuarón's initial idea for maintaining continuity during the roadside ambush scene was dismissed by production experts as an "impossible shot to do". Fresh from the visual effects-laden Harry Potter and the Prisoner of Azkaban, Cuarón suggested using computer-generated imagery to film the scene. Lubezki refused to allow it, reminding the director that they had intended to make a film akin to a "raw documentary".

In computer-generated imagery and real-time 3D computer graphics, antiportal rendering is a way to reduce overdraw (the rendering of detail which will not be in the final image), and in this way to optimize draw speed. Antiportals are related to portals, and are the inverse. An antiportal (or occluder) works by defining a plane or volume which can never be seen through, normally by placing it within an opaque object. The renderer uses this to quickly calculate which objects/faces/vertices lie behind the antiportal, and so are out of line of sight, so do not need to be rendered.

Critical Path was praised for its superior graphics and computer-generated imagery, but criticized for being little more than a 30-minute movie whose puzzles mostly consisted of pushing the right button at the right time. Computer Gaming World stated in February 1994 that the video and sound "makes the game intense and creates a fast-paced and captivating experience". The game sold approximately 300,000 units: 125,000 retail sales and 175,000 bundled in other hardware and software packages. Media Vision's rights to Critical Path were acquired by Virgin Interactive in 1994 when they purchased Media Vision's publishing group.

Often used in cosmetic and weight loss commercials, these adverts portray false and unobtainable results to the consumer and give a false impression of the product's true capabilities. If retouching is not discovered or fixed, a company can be at a competitive advantage with consumers purchasing their seemingly more effective product, thereby leaving competitors at a loss. Advertisers for weight loss products may also employ athletes who are recovering from injuries for "before and after" demonstrations. Cosmetics advertisements often use photo manipulation or computer-generated imagery to promote products, which do not reflect the real effect of the products.

The studio also pioneered the art of storyboarding, which is now a standard technique used in both animated and live-action filmmaking. The studio's catalog of animated features is among Disney's most notable assets, with the stars of its animated shorts – Mickey Mouse, Minnie Mouse, Donald Duck, Daisy Duck, Goofy and Pluto – becoming recognizable figures in popular culture and mascots for The Walt Disney Company as a whole. Walt Disney Animation Studios is currently managed by Jennifer Lee (Chief Creative Officer) and Clark Spencer (President), and continues to produce films using both traditional animation and computer-generated imagery (CGI).

Simulated child pornography produced without the direct involvement of children in the production process itself includes modified photographs of real children, non-minor teenagers made to look younger (age regression), fully computer-generated imagery,Virtueel filmpje geldt ook als porno, AD, 11 March 2008 and adults made to look like children.Paul, B. and Linz, D. (2008). "The effects of exposure to virtual child pornography on viewer cognitions and attitudes toward deviant sexual behavior ," Communication Research, 35(1), 3–38 Drawings or animations that depict sexual acts involving children but are not intended to look like photographs may also be regarded as child pornography.

The animators found the sequences between Sudeep and the fly much more difficult to execute because the latter had to express emotions only though its slender arms rather than its face. Some of the special effects could not be designed in India, so Makuta VFX engaged animation consultants in Armenia, China, Iran, Israel, Russia, the United Kingdom, and the United States. The company's 30-member team underwent a training programme on acting theory and insect formats. Eega is the first Indian film to use computer-generated imagery for nearly 90 minutes of its length; the film had 2,234 live-action animation shots.

For season three, a storyline was planned where Livia would be called to testify against her son in court, giving evidence on stolen airline tickets she had received from him, but Marchand died on June 18, 2000, before it could be filmed. Existing footage and computer-generated imagery was used to create a final scene between Tony and Livia in the season three episode "Proshai, Livushka" before the character, too, died. The cost was approximately $250,000. Based on her conversations with Tony, Dr. Melfi speculates that Livia might suffer from some form of borderline or narcissistic personality disorder.

"Small Victories" surpassed "Nemesis" as the biggest visual-effects-heavy Stargate SG-1 episode and remained one of biggest visual effects works of the season. Nevertheless, the limited budget required the major Computer-generated imagery (CGI) moments to be chosen well. The opening sequence of the Asgard ship flying over the ocean until its crash into the water was completely computer-generated, as was the Asgard homeworld at a later point in the episode. The finetuning of the lighting of the Asgard homeworld, which was blended with a matte painting of Asgard space ships in the sky, was the most difficult job.

Like the Western genre, spy-movies, as well as urban-action films, were starting to parody themselves, and with the growing revolution in CGI (computer generated imagery), the "real-world" settings began to give way to increasingly fantastic environments. This new era of action films often had budgets unlike any in the history of motion pictures. The success of the many Dirty Harry and James Bond sequels had proven that a single successful action film could lead to a continuing action franchise. Thus, the 1980s and 1990s saw a rise in both budgets and the number of sequels a film could generally have.

Set in a futuristic post-climate change society, A.I. tells the story of David (Osment), a childlike android uniquely programmed with the ability to love. Development of A.I. originally began with producer-director Stanley Kubrick, after he acquired the rights to Aldiss' story in the early 1970s. Kubrick hired a series of writers until the mid-1990s, including Brian Aldiss, Bob Shaw, Ian Watson, and Sara Maitland. The film languished in protracted development for years, partly because Kubrick felt computer-generated imagery was not advanced enough to create the David character, whom he believed no child actor would convincingly portray.

If a scene is to look relatively realistic and predictable under virtual lighting, the rendering software must solve the rendering equation. The rendering equation doesn't account for all lighting phenomena, but instead acts as a general lighting model for computer-generated imagery. In the case of 3D graphics, scenes can be pre-rendered or generated in realtime. Pre-rendering is a slow, computationally intensive process that is typically used for movie creation, where scenes can be generated ahead of time, while real-time rendering is often done for 3D video games and other applications that must dynamically create scenes.

Types of simulated child pornography include: modified photographs of real children, non-minor teenagers made to look younger (age regression), fully computer-generated imagery,Virtueel filmpje geldt ook als porno, AD, March 11, 2008 and adults made to look like children.Paul, B. and Linz, D. (2008). "The effects of exposure to virtual child pornography on viewer cognitions and attitudes toward deviant sexual behavior ," Communication Research, 35(1), 3-38 Drawings or animations that depict sexual acts involving children but are not intended to look like photographs may also be considered by some to be simulated child pornography.

The Helm's Deep set used some computer-generated imagery; some parts were constructed as full size sets; some shots used a 1/4 scale physical model, while more distant shots used a 1/85 scale model. In the final battle scene, Weta's "Massive" crowd simulation software and "Grunt" rendering software were used, with thousands of Orcs modelled using Alias/Wavefront's "Maya" software. It has been described as one of the greatest battle scenes in film, combining "technical mastery, sweeping spectacle and tonal balance". In the film, 30,000 Orcs lay siege to the fortress, defended by around 300 Rohirrim.

Unlike the previous film, which was animated in 2D Adobe Flash, the film was animated entirely in computer- generated imagery, according to producer Jose Garcia de Letona. Animation production is handled by Discreet Arts Productions in India, which previously collaborated with Ánima's past CG project, Guardians of Oz. The animation process was an 'important' step for the entire company. Producer Garcia de Letona has admitted that, despite the studio's interest for 2D animated productions, they wanted to reach a wider market focused on CG distribution. "[It's] a style that catches the attention of distributors," he said.

In 2014, a re-review of the episode by James Hunt provided the realization that the opening scene of "A Matter of Perspective", where the character Data analyzes paintings, was a preview of the episode's theme. It highlights one of the concepts in the episode, that people can interpret the same event in different ways. The space station design model in the show is from the feature films Star Trek II: The Wrath of Khan and Star Trek: The Motion Picture. In this era the original effects were physical models and not computer-generated imagery (CGI).

Roger Allers and Jill Culton, the directors of the film, at the 34th Annie Awards The ideas for Open Season came from cartoonist Steve Moore, who is known for his comic strip In the Bleachers. Moore and producer John Carls submitted the story to Sony in June 2002, and the film immediately went into development. On February 29, 2004, Leap Year Day, Sony Pictures Animation announced the beginning of the production on its first computer-generated imagery animated film, Open Season. The film location was inspired by the towns of Sun Valley, Idaho and McCall, Idaho, and the Sawtooth National Forest.

Sherwood likened the film's visual style to that of an art film, comparing it to "Badlands with gore". In addition to the brutal murders in the screenplay, additional kills were inserted by directors Bustillo and Maury during filming, with the one resulting in Leatherface's flesh mask cited by Sherwood as his personal favourite. Practical effects were primarily used to bring the killings, corpses, and gore to life; much of the budget was spent on building a lifelike cow carcass, intended to seem realistic. The crew utilised computer-generated imagery as necessary, albeit to a much lesser extent.

The film was titled Sivaji and was released in the summer of 2007, following two years of filming and production. It became the first Tamil film to be charted as one of the "top- ten best films" of the United Kingdom and South Africa box offices upon release. Rajinikanth received a salary of , for his role in the film, which made him the second highest-paid actor in Asia after Jackie Chan. During the production of Sivaji, Soundarya Rajinikanth announced her intention of producing a computer-generated imagery film starring an animated version of her father titled Sultan: The Warrior.

Hammer at the left In 2010, Hammer's breakthrough film role was in David Fincher's The Social Network, about the creation of Facebook. He portrayed the identical twins Cameron and Tyler Winklevoss, with actor Josh Pence serving as a body double during filming. The filmmakers utilized computer-generated imagery during post-production to superimpose Hammer's face over Pence's as well as the use of split-screen photography in certain scenes. In preparation for the film, Hammer stated that he had to learn how to row on both sides of a boat in order to play the twins, who are rowing champions.

To that end, they decided to remove the one- line quipping Freddy, who had become less scary and more comical over the years, and bring back his darker nature. The writers developed the character to be a child molester, something that Craven wanted to do originally in 1984 but changed to a child killer instead. Freddy's physical appearance was changed with the use of computer-generated imagery to be closer to that of a burn victim. Because of the positive experiences Platinum Dunes' producers had in the area, A Nightmare on Elm Street was filmed primarily in Illinois.

Williams had before experimented with shots animated by hand to move in three dimensions with characters, including several shots in Roger Rabbit's opening sequence. With The Thief, Williams began planning several sequences to feature a greater use of this animation technique, including Tack and the Thief's palace chase—which was achieved without computer-generated imagery. According to rumors, Williams approached The Thief with a live-action point of view coming off of Roger Rabbit. Williams was creating extra footage and extending sequences to trim down later and that he would have edited down the workprint he later assembled.

Nearby stands a mannequin pushing a wheelbarrow full of bricks, symbolizing the reparative work of AiG. The second series of rooms depict a literal interpretation of the Book of Genesis, arranged around the concept of "The Seven C's of History": creation, corruption, catastrophe, confusion, Christ, cross, and consummation. At the entrance to this area, a flat panel television displays a computer-generated imagery (CGI) animation of millions of particles converging to create an adult human male, the biblical Adam. Subsequent creation dioramas show Adam naming animals in the Garden of Eden and Eve being created from Adam's rib.

Season six episode "Change of Heart" depicts a runabout traversing an asteroid field, then landing on a planet.Kaplan, Visual Effects, pp. 57-8 This was the first episode in which runabout sequences were done completely with computer-generated imagery: complex scenes where the ship weaved through the dense asteroid field were achieved without weeks of miniature effect work, and camera movements during the landing sequence allowed the runabout to be shown from multiple angles in the same scene, as there was no need to conceal a 'mounting point' for the miniature. The CGI model for the Danube class was developed by Digital Muse.

The music video for the song was directed by British director Richard Heslop in late 1995, who had earlier directed the band's video for "Beautiful Life". The video includes computer-generated imagery and mirror effects designed to make the video feel like a funhouse, much like the video for ABBA's "SOS". In the USA the video was never released as Arista Records was dissatisfied with the video and opted not to release one to accompany the single release. In March 1996,Swedish Singles Chart (Retrieved October 21, 2012) several months after the video had been filmed, the single was at last released.

It was followed by Lavender Castle, a children's sci-fi fantasy series combining stop-motion animation and computer-generated imagery. In the meantime, the biography, which had been set aside since Archer's death, had been picked up again and was completed by Stan Nicholls from Archer's original notes and manuscript, finally being published in 1996 shortly before Lavender Castle went into production. Around this time Anderson was reunited with his elder son, Gerry Jr., Anderson reportedly experienced powerful feelings of animosity toward his ex-wife Sylvia at the idea she had been responsible for his enforced estrangement from his son.

In August 2013, The Force Awakens cinematographer Daniel Mindel and Episode VIII director Rian Johnson each stated that Abrams would use little computer-generated imagery (CGI) and more practical, traditional special effects in order to recreate the visual realism and authenticity of the original Star Wars film. To that end, the droid BB-8 was a physical prop developed by Disney Research, created by Neal Scanlan and operated live on set with the actors. Seven BB-8 puppets were constructed for filming. The most prominent was a rod puppet, controlled by puppeteers Dave Chapman and Brian Herring.

The exception were those responsible for creating the Giant himself, who was created using computer-generated imagery due to the difficulty of creating a metal object "in a fluid-like manner." They had additional trouble with using the computer model to express emotion. The Giant was designed by filmmaker Joe Johnston, which was refined by production designer Mark Whiting and Steve Markowski, head animator for the Giant. Using software, the team would animate the Giant "on twos" (every other frame, or twelve frames per second) when interacting with other characters, to make it less obvious it was a computer model.

Because the bells would chime at every quarter-hour, the team completed their research in one hour. Back at the Feature Animation building, animators Phil Nibbelink and Tad Gielow spent months designing the interior of Big Ben, with each gear produced as wire- frame graphics on a computer that was printed out and traced onto animation cels onto which the colors and characters were added. The two-minute climax scene thus used computer-generated imagery (CGI), making it the first Disney film to extensively use computer animation, a fact that Disney used to promote the film during marketing.

This was aided with reluctant help from Sony, who had hoped to keep Square's direct involvement limited to a standard API package, but they eventually relented and allowed the team direct access to the hardware specifications. Final Fantasy VII features two types of cutscenes: real-time cutscenes featuring polygon models on pre-rendered backgrounds, and FMV cutscenes. The game's computer-generated imagery (CGI) FMVs were produced by Visual Works, a then-new subsidiary of Square that specialized in computer graphics and FMVs creation. Visual Works had created the initial movie concept for a 3D game project.

A recent and profound innovation in special effects has been the development of computer generated imagery (CGI), which has changed nearly every aspect of motion picture special effects. Digital compositing allows far more control and creative freedom than optical compositing, and does not degrade the image as with analog (optical) processes. Digital imagery has enabled technicians to create detailed models, matte "paintings," and even fully realized characters with the malleability of computer software. Arguably the biggest and most "spectacular" use of CGI is in the creation of photo-realistic images of science-fiction/fantasy characters, settings and objects.

Director Jeunet wanted to display Ripley's new powers, including a scene in which Ripley throws a basketball through a hoop while facing the opposite direction. Weaver trained for ten days and averaged one out of six baskets, although the distance required for filming was farther than she had practiced. Jeunet was concerned about the time being spent on the shot and wanted to either use a machine to throw the ball or to insert it later using computer-generated imagery (CGI). Weaver, however, was determined to make the shot authentic, and insisted on doing it herself.

Now on the Piccadilly line, Hounslow Town was a terminus station between 1 May 1883 and 1 May 1909, when it was replaced by the station currently known as Hounslow East. Between Whitechapel and Aldgate East was St. Mary's station from 3 March 1884 to 30 April 1938, closing when Aldgate East station moved. Walford East is a fictional District line station in the BBC television soap opera EastEnders, and since February 2010 episodes have used Computer- generated imagery (CGI) of District line trains running into the station. The production tube map situates this station in place of Bromley-by-Bow.

The film narrates two love stories taking place in parallel universes and how they come to coincide, with the lead actors both playing double roles. Talking about the film, the director noted that he tried to readdress the problem of the "concept of pure love being lost to today's generation" and incorporated elements of mysticism, Sufism and a Zen feel to the story. By October 2013, the team revealed that all post-production work including computer generated imagery which took months was finally over and the content was locked and ready for release.Irandam Ulagam locked. Sify.

She was taken to a hospital as a precautionary measure and released on the same day with no serious injuries, allowing filming to resume. Salt's escape after being captured in St. Bartholomew's originally involved her jumping off a building into a window cleaning machine, but budgetary constraints caused the scene to be changed into a car chase. Computer-generated imagery (CGI) was used extensively throughout the film to create environments and elements, such as bullet holes and flames. More dangerous objects such as a taser or the handcuffs used to strangle Winter were also made from CGI.

The song had originally been intended for Belle's father Maurice. However, "Be Our Guest" had to be entirely re-written as the story evolved in order to return its focus to Belle. "Be Our Guest" has garnered universal acclaim from both film and music critics who, in addition to dubbing the song a show-stopper, praised its catchiness and Orbach's vocal performance while applauding the scene's unprecedented use of computer-generated imagery. "Be Our Guest" has since been extolled as one of Disney's most celebrated and popular songs, establishing itself as one of the studio's greatest and most iconic.

Demorest was the editor for Walt Disney Television Animation's “Mickey's Twice Upon a Christmas” where he worked for months alongside world-renowned animator Andreas Deja in crafting the first Computer-generated imagery animation versions of Disney characters: Mickey Mouse, Minnie Mouse, Donald Duck, and Goofy. Demorest was a contributing editor for the animated film “Brother Bear 2” starring Mandy Moore and Patrick Dempsey. Demorest edited the Universal Animation Studios' Emmy Award-nominated children's series for PBS “Curious George (TV series)” starring William H. Macy. He also was the editor for the DVD release of “The Adventures of Brer Rabbit”.

Tippett Studio was founded in 1984 by Phil Tippett and Jules Roman, Phil's wife and the president of the company. The studio began as a stop motion animation company (by means of its particular stop motion animation variant, the so-called go motion animation technique). It also designed and built live action props for films, such as RoboCop, RoboCop 2, Honey, I Shrunk the Kids and Ghost. In 1991, the studio shifted its focus to computer-generated imagery to work on Jurassic Park, (released in 1993, with Industrial Light and Magic) by developing the Digital Input Device (DID).

The film Hamburg Cell is a docudrama on the planning and execution of the attacks. A co-production between Channel 4 in the UK and CBC in Canada, it was shown in the UK during September 2004, amid criticism that this was too close to the anniversary of the attack. Using computer-generated imagery, the film's producers were able to show the twin towers of the World Trade Center, before the attack, in the background. Ziad Jarrah is featured calling his girlfriend, Aysel Sengün, from a public telephone at the airport, repeating the words 'I love you' over and over.

Lindelof described Walt's abilities as "mythological magic," writing that he "had these kind of psychic abilities in a Stephen King kind of way. Birds are smashing into windows, and we are calling an episode 'Special'." According to writer Nikki Stafford, two situations imply Walt summons animals – he causes a bird to fly into a window while reading a book on birds, and he makes a polar bear attack him after reading a comic book about such a bear. The polar bear was mostly depicted through computer generated imagery, with an animatronic head and puppeteers wearing bear arms being used for close-ups.

The weather was uncharacteristically cold and snowy for Atlanta, complicating outdoor shoots and suspending production for a few days. Location scouting was carried out by location manager Ryan Schaetzle to find settings that would not be anachronistic and would require the least amount of modification to match the period setting. Strategic framing of shots was also used to avoid anachronisms, as was computer-generated imagery to turn an Urban Outfitters location into a rug store. Scenes set at a Las Vegas hotel hosting COMDEX attendees in the season's penultimate episode were filmed at the American Cancer Society Center in downtown Atlanta.

The risers were transported in custom dollies, enabling them to be shipped via air cargo for significant cost savings. Above the B-stage, an "automation grid" featured a Smart Winch and six Nav Hoists by Tait to vertically move props, such as an LED ring, a light bulb, and a mirror ball. The AR segment of the show was viewed using the "U2 Experience" mobile app for iOS and Android devices, which overlaid computer generated imagery over footage captured by a phone's camera. The AR event was triggered by pointing the camera at the "barricage" video screens while they were displaying charcoal drawings.

Boy in Darkness was made into a short film in 2000. Created by the BBC Drama Lab, it utilized computer generated imagery and was set in a virtual world. The film starred Jack Ryder (of EastEnders fame) as Titus, with Terry Jones (of Monty Python's Flying Circus) narrating. Boy in Darkness was adapted for the stage by theatre company Curious Directive and performed at the 2009 Edinburgh Festival Fringe, at Zoo Venues. The Stage heralded it as a "Must See" saying the production was "Dark, haunting and uniquely inventive... Curious Directive’s adaptation of Mervyn Peake’s story is nothing short of phenomenal".

Stokdyk chose to design the miniature instead of using computer-generated imagery so damage done to the building could be portrayed realistically and timely without guesswork involving computer models. In addition to Sony Pictures Imageworks, Cafe FX provided visual effects for the crane disaster scene when Spider-Man rescues Gwen Stacy, as well as shots in the climactic battle. To understand the effects of sand for the Sandman, experiments were done with twelve types of sand, such as splashing, launching it at stuntmen, and pouring it over ledges. The results were mimicked on the computer to create the visual effects for Sandman.

The film is both an homage to, and a self-parody of, Disney's animated features, making numerous references to Disney's past works through the combination of live-action filmmaking, traditional animation, and computer-generated imagery. It marks the return of traditional animation to a Disney feature film after the company's decision to move entirely to computer animation in 2004. Composer Alan Menken and lyricist Stephen Schwartz, who had written songs for previous Disney films, wrote and produced the songs of Enchanted, with Menken also composing its score. The animated sequences were produced at James Baxter Animation in Pasadena.

Toy Story was the first feature-length film to be made entirely using computer-generated imagery. The first two films of the franchise were directed by John Lasseter, the third by Lee Unkrich, who acted as the co-director of the second film (together with Ash Brannon), and the fourth by Josh Cooley. Toy Story is the 20th-highest-grossing franchise worldwide, the fourth-highest-grossing animated franchise, and is among the most critically acclaimed franchises of all time. The films, produced on a total budget of $520 million, have grossed more than $3 billion worldwide.

Developed by Haines and producer Jasper James, Walking with Dinosaurs recreated extinct species through the combined use of computer-generated imagery and animatronics that were incorporated with live action footage shot at various locations. The Guinness Book of World Records reported that the series was the most expensive documentary series per minute ever produced. A re-edited version of Walking with Dinosaurs aired on Discovery Kids for the first season of Prehistoric Planet. It was made more appropriate for children by removing most of the graphic content and trimming down some footage to fit the run time.

The only creatures in the pilot that are not shown in the series are Cetiosaurus and Scaphognathus. Since an extensive amount of computer-generated imagery would be necessary in creating the numerous full- size dinosaurs that the project demanded, Haines initially approached Industrial Light & Magic (ILM), the company responsible for creating the visual effects in Jurassic Park. ILM projected a cost of $10,000 per every second of footage featuring a CGI shot, an estimate which BBC deemed too expensive for a television budget. Instead, Haines contracted Framestore, a local British visual effects company to create the CGI elements.

The film won more than twenty awards, including three Academy Awards for its technical achievements in visual effects and sound design. Jurassic Park is considered a landmark in the development of computer- generated imagery and animatronic visual effects. The film was followed by four commercially successful sequels: The Lost World: Jurassic Park (1997), Jurassic Park III (2001), Jurassic World (2015), and Jurassic World: Fallen Kingdom (2018), with a fifth sequel, Jurassic World: Dominion, scheduled for a 2022 release. In 2018, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Wonderful Days (also known as Sky Blue) is a South Korean animated science fiction film, released in 2003, written and directed by Kim Moon-saeng. It features backdrops rendered using photo-realistic computer-generated imagery, comparable to those in the film Final Fantasy: The Spirits Within, along with the use of highly detailed models for some of the backdrops into which the cel animated characters were then animated. However, convincing CGI animation of humans (especially human movement) was not attempted. The backgrounds in the film were shot with traditional motion control techniques, then processed to look like CG. The vehicles were all rendered, and the characters were cel animated.

Entertainment portal Tupai gives the film an overall rating of 3 out of 5 The portal's review applauds its cinematography that attempts to imitate the feel of the series it was based on, and the acting by the three lead actors were lauded for successfully moving the audience. On the other hand, the film's plot was criticized for seemingly unable to find a resolution, making for a "scattered" pay-off. The review also pointed out on the difficulty of audiences following the story without watching the preceding TV series. The use of computer generated imagery in some scenes were commented to be not handled well and a distraction to the audience.

Titan A.E. is a 2000 American animated post-apocalyptic science fiction adventure film directed by Don Bluth and Gary Goldman and starring the voices of Matt Damon, Bill Pullman, Drew Barrymore, John Leguizamo, Nathan Lane, Janeane Garofalo, Ron Perlman and Tone Loc. Its title refers to the spacecraft central to the plot with A.E. meaning "After Earth". The animation of the film combines 2D traditional hand-drawn animation with the extensive use of computer-generated imagery. Produced by Fox Animation Studios as its second and final project, the film was theatrically released on June 16, 2000 by 20th Century Fox in the United States.

Though evolved from the field of realistic medical illustrations (such as those created by Flemish anatomist Andreas Vesalius in the 16th century), medical animations are also indebted to motion picture technology and computer-generated imagery. The term medical animation predates the advent of computer-generated graphics by approximately three decades. Though the first computer animation was created at Bell Telephone Labs in 1963, the phrase "medical animation" appears in scholarly contexts as early as 1932 in the Journal of Biological Photography. As discussed by Clarke and Hoshall, the term referred to two-dimensional illustrated motion pictures produced for inclusion in films screened for medical students.

Many critics commended the composition of the track, Nakata's production, and the group's "vocoder" vocals. "Polyrhythm" was a commercial success, reaching number seven on Japan's Oricon Singles Chart and stayed in the top 300 for 58 weeks, the group's longest spanning charting single to date. "Polyrhythm" has sold over 77,000 units in Japan and was certified gold by the Recording Industry Association of Japan (RIAJ) for digital and physical shipments of 100,000 units in that region, tallying up to 200,000 shifted units. A music video was shot for "Polyrhythm"; it features Perfume singing the song in a white room, with additional computer-generated imagery of various objects and living figures.

The realistic modeling of human facial features is both one of the most challenging and sought after elements in computer-generated imagery. Computer facial animation is a highly complex field where models typically include a very large number of animation variables. Historically speaking, the first SIGGRAPH tutorials on State of the art in Facial Animation in 1989 and 1990 proved to be a turning point in the field by bringing together and consolidating multiple research elements and sparked interest among a number of researchers. The Facial Action Coding System (with 46 "action units", "lip bite" or "squint"), which had been developed in 1976, became a popular basis for many systems.

Many films using computer generated imagery have featured synthetic images of human-like characters digitally composited onto the real or other simulated film material. Towards the end of the 2010s deep learning artificial intelligence has been applied to synthesize images and video that look like humans, without need for human assistance, once the training phase has been completed, whereas the old school 7D-route required massive amounts of human work. The website This Person Does Not Exist showcases fully automated human image synthesis by endlessly generating images that look like facial portraits of human faces. The website was published in February 2019 by Phillip Wang.

A two-track CD single featuring a demo version of the song as a b-side was released on 16 March. The music video to "It's Possible" was directed by David Nord and Boris Nawratil, and uploaded onto Vimeo on 3 April. It consists of behind-the-scenes footage of Marie Fredriksson and Per Gessle during photography sessions for the Travelling artwork, and contains computer-generated imagery created by Jonas Dahlbäck of the band travelling on an airplane. A 12-track promotional EP – containing previously released singles, live recordings and remixes – was released exclusively in Oriflame outlets throughout Russia and Ukraine at the beginning of June 2012.

In March 2014, Anime News Network reported that a new Gamera production was planned, with no release date specified. On October 8, 2015, Kadokawa Daiei Studio's senior managing director Tsuyoshi Kikuchi and producer Shinichiro Inoue screened a proof-of-concept trailer at the New York Comic Con, revealing plans to commemorate the Gamera franchise's 50th anniversary by producing a new film reboot of the series, set to be directed by Katsuhito Ishii. The proof-of-concept trailer featured a newly designed Gamera, a swarm of newly designed Gyaos and a new, as of yet unnamed monster, all of which were created and rendered through the use of computer-generated imagery.

The most common approach to the production of 3D films is derived from stereoscopic photography. In it, a regular motion picture camera system is used to record the images as seen from two perspectives (or computer-generated imagery generates the two perspectives in post-production), and special projection hardware and/or eyewear are used to provide the illusion of depth when viewing the film. Some methods of producing 3D films do not require the use of two images. 3D films are not limited to feature film theatrical releases; television broadcasts and direct-to-video films have also incorporated similar methods, especially since the advent of 3D television and Blu-ray 3D.

"Star Trekkin'" is a 1987 song by British novelty band The Firm. It parodies the first television series of Star Trek, and prominently features comical voice caricatures of the original Trek characters, provided by members of the band, a studio technician, and the wife of one of the songwriters. One of the song's phrases, "It's life, Jim, but not as we know it", originated with "Star Trekkin'", but has been subsequently misattributed to the TV series. The song's promotional video was created by a team of art students called The Film Garage, featuring a combination of puppetry, stop motion animation and computer-generated imagery.

Director and co-writer Sandra Wollner has referred to the film as an "antithesis to Pinocchio". Wollner initially intended to cast a 20-year-old actress in the role of the android Elli, but after removing some of the more explicit elements from the film's script, she instead chose 10-year-old actress Lena Watson (a stage name inspired by Emma Watson) for the part. The scenes in which the android Elli is depicted nude were accomplished using computer-generated imagery. Watson also wore a silicone mask and wig, which served to both conceal her identity and help her resemble another actress who appears later in the film.

Location filming began on June 2, 2017, and principal photography locations including at the Mosfilm Studios are produced together with a team of professional stuntmen, special effects masters and artists, promise to make the Cosmoball fans across the Galaxy as the most technologically complex work, with shots taking place at Mosfilmovskaya Street in Moscow, and will last until mid-September 2017. The film required a wide use of computer-generated imagery to portray the rare alien races and space monsters. Cosmoball is scheduled to be released in Russia by the STV Film Company on August 27, 2020, in 2D, RealD 3D formats and distributors will perform "Nashe Kino".

The fictional comic book team known as the Teenage Mutant Ninja Turtles created by Kevin Eastman and Peter Laird have appeared in six feature-length films since their debut. The first film, titled Teenage Mutant Ninja Turtles, was released in 1990 at the height of the franchise's popularity and was a commercial success. The success of the film garnered two direct sequels, Teenage Mutant Ninja Turtles II: The Secret of the Ooze in 1991 and Teenage Mutant Ninja Turtles III in 1993. A computer-generated imagery (CGI) film titled TMNT was released in 2007 and built on the success of the 2003–2009 TV series.

Mayday, entitled Air Crash Investigation in Australia, New Zealand, South Africa, United Kingdom, Asia, and some European countries, and Air Emergency, Air Disasters, and Mayday: Air Disaster in the United States, is a Canadian documentary television program examining air crashes, near-crashes, hijackings, bombings, and other disasters. Mayday uses re-enactments and computer-generated imagery to reconstruct the sequence of events leading up to each disaster. In addition, survivors, aviation experts, retired pilots, and crash investigators are interviewed, to explain how the emergencies came about, how they were investigated, and how they might have been prevented. Cineflix started production on , with a C$2.5 million budget.

Two-dimensional slice through 3D Perlin noise at z=0 Perlin noise is a type of gradient noise developed by Ken Perlin in 1983 as a result of his frustration with the "machine-like" look of computer-generated imagery (CGI) at the time. He formally described his findings in a SIGGRAPH paper in 1985 called An image Synthesizer. In 1997, Perlin was awarded an Academy Award for Technical Achievement for creating the algorithm.Original source code of Ken Perlin's 'coherent noise function' Perlin did not apply for any patents on the algorithm, but in 2001 he was granted a patent for the use of 3D+ implementations of simplex noise for texture synthesis.

Then, in early 2003, Nolan and Goyer began work on Batman Begins. Aiming for a darker, more realistic tone compared to the previous films, a primary goal for their vision was to engage the audience's emotional investment in both the Batman and Bruce Wayne identities of the lead character. The film, which was principally shot in the United Kingdom, Iceland and Chicago, relied heavily on traditional stunts and miniature effects, with computer-generated imagery being used in a minimal capacity compared to other action films. Comic book storylines such as The Man Who Falls, Batman: Year One and Batman: The Long Halloween served as inspiration.

Baby Geniuses is a 1999 American family comedy film directed by Bob Clark and written by Clark and Greg Michael based on a story by Clark, Steven Paul, Francisca Matos, and Robert Grasmere, and starring Kathleen Turner, Christopher Lloyd, Kim Cattrall, Peter MacNicol, and Ruby Dee. The film has the distinction of being the first full-length feature to use computer- generated imagery for the synthesis of human visual speech. 2D warping techniques were used to digitally animate the mouth viseme shapes of the babies which were originally shot with their mouths closed. The viseme shapes were sampled from syllables uttered by the babies on the set.

Science fiction films, which were once the domain of B movies, frequently require a big budget to accommodate their special effects, but low-cost do-it-yourself computer-generated imagery can make them affordable, especially when they focus on story and characterization. Plot devices like shooting as found footage can lower production costs, and scripts that rely on extended dialogue, such as Reservoir Dogs or Sex, Lies, and Videotape, can entertain audiences without many sets. The money flow in filmmaking is a unique system because of the uncertainty of demand. The makers of the film do not know how well the film they release will be received.

The show parodies many things about popular culture, primarily being a spoof of shows such as Jackass; whereas they perform stunts designed to injure and/or humiliate an individual, the Fist team do things that would obviously kill them. Such as jumping off cliffs, being hit by trucks, getting shot in the head, etc. These dangerous stunts and outlandish actions are usually achieved with the use of computer generated imagery. One of the most innovative and noteworthy features of Double the Fist is its extensive and imaginative use of CGI, especially considering that the programme was produced for a very low budget, even by Australian standards ($250,000 for all 8 episodes).

Davies felt that there was no need to create a new monster, as the Autons met these criteria. The Auton sequences were difficult to film because the costumes were uncomfortable for the actors; which meant that frequent breaks from filming were needed. Computer-generated imagery (CGI) was used in post-production to cover up the zipper on the back of the necks of the Auton costumes. Davies wanted to recreate the scene of the Autons breaking out of shop windows from their first appearance in Spearhead from Space, although he had the budget to actually smash the glass instead of just cutting around it like in Spearhead.

Filming began in Shreveport, Louisiana, in mid-July 2012. Because Olympus Has Fallen was filmed so far from its actual setting of Washington, D.C., the entire production relied heavily upon visual effects, particularly computer-generated imagery. For example, computers were used to create nearly all of the opening sequence in which the First Lady is killed in a car accident, with chroma key greenscreen technology used to composite the actors into the computer- generated snowy scenery. For scenes where actors walked in or out of the White House, a first-floor façade and entrance were built; computers added the second floor, roof, and downtown D.C. cityscape.

More computer-generated imagery was used in this commercial than in the prior ads. The sand and sky of the initial beach scene and the entire mountain backdrop were added in post-production; wires were painted out, as were seams where two scenery pieces came together; fish were added to the aquarium; chocolate was added to a fondue fountain in the living room, and a stick of fondue foods was added to Mustafa's hand. Two 15-second spots were produced, entitled "Fiji" and "Komodo" after two of the scents in the product line. In "Fiji", a beach scene is shown as Mustafa's voice is heard.

With the introduction of advanced editing techniques and of filming outdoors, modern films have a much wider palette of possibilities for depicting violence, including single combat, brawls, and melees as well as large-scale battles. From the 2000s, computer animation has come to play an important part in cinematic visualization of battle scenes, chiefly through the use of computer-generated imagery to simulate very large battles appearing to involve thousands of individual combatants and coordinated activities, which would otherwise be logistically difficult or prohibitively expensive to depict (see MASSIVE and crowd simulation). Many battlefield CGI techniques were pioneered from 2001 by The Lord of the Rings film trilogy.

The 20th anniversary version of the film replaces the guns used by the federal agents with walkie-talkies. An extended version of the film, dubbed the "Special Edition" (currently out of circulation), including altered dialogue and visual effects, premiered at the Shrine Auditorium in Los Angeles on March 16, 2002; it was released on home media six days later. Certain shots of E.T. had bothered Spielberg since 1982, as he did not have enough time to perfect the animatronics. Computer-generated imagery (CGI), provided by Industrial Light & Magic (ILM), was used to modify several shots, including ones of E.T. running in the opening sequence and being spotted in the cornfield.

Prateek Mathur was born in Bhopal, Madhya Pradesh, India. Initially training as an engineer, Prateek’s passion for animation led him to study the world of 3D and computer generated imagery. Since, he has worked for different companies on a variety of projects, including feature films such as Harry Potter and the Deathly Hallows – Part 2, Green Lantern and Men in Black 3. His long list of projects also include the virtual reality (VR), augmented reality (AR) industry, developing the look and design of 360 applications and producing 360 content, as well as imputing his boundless creativity in music videos for artists such as The Courteeners, Larkins and Band of Skulls.

Del Toro shares Jackson's passion for scale models and background paintings, though he wanted to increase the use of animatronics; "We really want to take the state- of-the-art animatronics and take a leap ten years into the future with the technology we will develop for the creatures in the movie. We have every intention to do for animatronics and special effects what the other films did for virtual reality." Spectral Motion (Hellboy, Fantastic Four) was among those del Toro wanted to work with again. Some characters would have been created by mixing computer-generated imagery with animatronics and some would have been created solely with animatronics or animation.

Kaa appears in the 1994 live-action adaptation as a large Burmese Python, though most of his appearances are created using both animatronics and computer-generated imagery. Kaa is depicted as a far more menacing predator who lives in Monkey City with King Louie, guarding the orangutan's treasure from intruders. Kaa attacks Mowgli and tries to drown him in a moat, but Mowgli wounds him with a bejeweled dagger, forcing him to flee in a cloud of blood. Louie summons Kaa again after Mowgli defeats Captain Boone and Boone begins stealing treasure; Kaa scares Boone into the moat, where the stolen treasure weighs him down to the bottom.

Joaquin Gerardo Gil Quesada (born May 1, 1952) is a filmmaker (producer, director, writer, editor and special-effect/animation artist) known for the creation of "animation-rich" feature films, where live actors interact on animated, usually computer-generated imagery environments. He had worked on films such as Starship Troopers, Contact and Godzilla as part of Sony Imageworks before starting the creation of his own "niche" films in the year 2000. A graduate of the Film M.F.A. program at California Institute of the Arts (1997), Kino studied visual arts with Jules Engel, Ed Emshwiller, Vibeke Sorensen and Michael Scroggins. His Electro-acoustic Music studies were under Morton Subotnick and Mark Waldrep.

Before the film's release, its title was changed from Rapunzel to Tangled, reportedly to market the film gender-neutrally. Tangled spent six years in production at a cost that has been estimated at $260 million, which, if accurate, would make it the most expensive animated film ever made and one of the most expensive films of all time. The film employed a unique artistic style by blending together features of computer- generated imagery (CGI) and traditional animation while using non- photorealistic rendering to create the impression of a painting. Composer Alan Menken, who had worked on prior Disney animated features, returned to score Tangled.

Following Murphy's first draft, Tzudiker, White, and Dave Reynolds were brought in to reconstruct the third act and add additional material to the screenplay. English recording artist Phil Collins was recruited to compose and record songs integrated with a score by Mark Mancina. Meanwhile, the production team embarked on a research trip to Uganda and Kenya to study the gorillas. The animation of the film combines 2D hand-drawn animation with the extensive use of computer-generated imagery, and it was done in California, Orlando, and Paris, with the pioneering computer animation software system Deep Canvas being predominantly used to create three-dimensional backgrounds.

Later, while completing work on the Bat, Fox discovers that Wayne had fixed the autopilot function months before and may have escaped before the bomb detonated. In designing the Bat, Nathan Crowley approached it as if it were an actual military project, emphasising the need for it to "fit into the same family" as the Tumbler and the Batpod. The final version of the Bat takes its design cues from the Harrier Jump Jet, Bell Boeing V-22 Osprey and the Boeing AH-64 Apache. Chris Corbould described the Bat's size and shape as presenting a major challenge for filming given Christopher Nolan's emphasis on practical effects over computer-generated imagery.

Knight, p. 144 The crew was required to design all of the external airplane shots in "Phantom Traveler" from scratch using computer-generated imagery (CGI).Knight, p. 34 As well, they created a time-manipulation effect for the titular villain in "Bloody Mary" by altering the capture frame rate of the camera.Knight, p. 37 Randy Shymkiw acted as special effects supervisor, and the department found the episode "Asylum" to be quite a challenge because one scene has the vengeful spirit collapse into dust. They made casts of the character's torso and hands, and had to find the perfect mixture in order to have the casts remain solid but disintegrate when needed.

John Turman, a Hulk comic book fan, was brought to write the script in 1994, getting approval from Lee. Turman wrote ten drafts and was heavily influenced by the Tales to Astonish issues, and pitted the Hulk against General Ross and the military, the Leader, Rick Jones, the atomic explosion origin from the comics, and Brian Banner as the explanation for Bruce's inner anger. Universal had mixed feelings over Turman's script, but nonetheless future screenwriters would use many elements. Hurd brought her husband Jonathan Hensleigh as co-producer the following year and Industrial Light & Magic was hired to use computer-generated imagery to create the Hulk.

It marked return appearances of former guest stars Amy Ryan as Holly Flax and Idris Elba as Charles Miner. Actress Jenna Fischer is not as talented a volleyball player as she is portrayed in the episode, so some of her scenes were modified with computer- generated imagery. The scene in which Jim and Pam discover the pregnancy includes no dialogue, and is a homage to a similar scene in the original British version of The Office, where Tim Canterbury silently proclaims his love for Dawn Tinsley. The episode also features a sketch about the history of Dunder Mifflin which parodies the film Slumdog Millionaire.

Into the Universe with Stephen Hawking is a 2010 science documentary television mini-series written by British physicist Stephen Hawking. The series was created for Discovery Channel by Darlow Smithson Productions and features computer generated imagery of the universe created by Red Vision. The series premiered on 25 April 2010 in the United States and started on 9 May 2010 in the United Kingdom with a modified title, Stephen Hawking's Universe (not to be confused with the 1997 PBS series by the same name). An original soundtrack was composed for the series by television and film composer Sheridan Tongue, combining symphonic orchestral recordings with electronic and sampled elements.

Visual effects (abbreviated VFX) is the process by which imagery is created or manipulated outside the context of a live action shot in filmmaking. The integration of live action footage and CG elements to create realistic imagery is called VFX. VFX involves the integration of live action footage (special effects) and generated imagery (digital or optics, animals or creatures) which look realistic, but would be dangerous, expensive, impractical, time-consuming or impossible to capture on film. Visual effects using computer-generated imagery (CGI) have recently become accessible to the independent filmmaker with the introduction of affordable and relatively easy-to-use animation and compositing software.

Circle 7 Animation, or Disney Circle 7 Animation, was a short-lived division of Walt Disney Feature Animation specializing in computer generated imagery (CGI) animation and was originally going to work on making sequels to the Disney-owned Pixar properties, leading rivals and animators to derisively nickname the division "Pixaren't". The company released no movies during its tenure. Steve Jobs, Pixar CEO, announced in January 2004 that Pixar would not renew their agreement with Disney and would seek out other distributors for releases starting in 2006. In 2004, Disney Circle 7 Animation was formed as a CG animation studio to create sequels to the Disney-owned Pixar properties.

She said: "I literally think that he had forgotten that it's not a real-live creature and he had fallen in love with it." Chow added: "You can't come up with a better matchup than Werner Herzog and Baby Yoda", a reference to the Child's popular nickname among fans and reviewers. Herzog strongly urged the Mandalorian filmmakers to use the puppet for the character and not computer-generated imagery. Favreau and executive producer Dave Filoni shot scenes for the Child both with and without the puppet, so they could replace the character with a CGI effect in post-production if the puppet did not look satisfactory.

Weir, Peter Biziou and Dennis Gassner researched surveillance techniques for certain shots. The overall look was influenced by television images, particularly commercials: Many shots have characters leaning into the lens with their eyeballs wide open, and the interior scenes are heavily lit, because Weir wanted to remind viewers that "in this world, everything was for sale". Those involved in visual effects work found the film somewhat difficult to make, because 1997 was the year many visual effects companies were trying to convert to computer-generated imagery. CGI was used to create the upper halves of some of the larger buildings in the film's downtown set.

A frame from the "Beauty and the Beast" ballroom dance sequence. The background was animated using computer generated imagery which, when the traditionally animated characters are composited against it using Pixar's CAPS system, gives the illusion of a dollying film camera. Production of Beauty and the Beast was to be completed on a compressed timeline of two years rather than the traditional four-year Disney Feature Animation production schedule; this was due to the loss of production time spent developing the earlier Purdum version of the film. Most of the production was done at the main Feature Animation studio, housed in the Air Way facility in Glendale, California.

That same year, Steven Spielberg's film Close Encounters of the Third Kind boasted a finale with impressive special effects by 2001 veteran Douglas Trumbull. In addition to developing his own motion- control system, Trumbull also developed techniques for creating intentional "lens flare" (the shapes created by light reflecting in camera lenses) to provide the film's undefinable shapes of flying saucers. The success of these films, and others since, has prompted massive studio investment in effects- heavy science-fiction films. This has fueled the establishment of many independent effects houses, a tremendous degree of refinement of existing techniques, and the development of new techniques such as computer-generated imagery (CGI).

For the 1989 NBA Finals, CBS completely revamped the opening montage. The computer-generated imagery (once again set in and around a virtual arena) was made to look more realistic (live-action footage was incorporated in the backdrops). Also, the familiar theme music was rearranged to sound more intricate and to have a more emotional impact, along the lines of the network's later World Series coverage. Between the 1989 NBA Finals and the 1990 NBA Finals' intros, the theme music was slightly revised; the 1989 Finals intro incorporated more of a guitar riff, while the 1990 Finals intro featured a little more usage of trumpets.

A small number of shots contain computer-generated imagery, most notably the cracking alien head once the sprinklers cause thermal shock. Other CGI elements include shadows cast by the rod puppet alien, and airborne debris in outdoor scenes. David Fincher wanted the alien to be, "more of a puma, or a beast" as opposed to the upright, humanoid posture of the previous films, so the designer of the original alien, H. R. Giger, was contacted to generate new sketch ideas. His revisions included longer, thinner legs, the removal of "pipes" around the spine, and an idea for a sharp alien "tongue" in place of the secondary jaws.

" Puig also described the film as having "clashing tones" that veer from "lightheartedness to heavy-handedness." Puig also criticized the film's computer-generated imagery, describing it as being "cheesy" and felt that it broke "no ground." Kirt Honeycutt, of the Hollywood Reporter, described the film as telling "a fundamentally different story" which is "one that is not without its tension, humor and compelling details", but that "it's also a simpler, more button-pushing tale that misses the joy and heartbreak of the original." Honeycutt also described Jackson as having transformed Sebold's "startling, unique novel about the aftermath of a terrible murder" into a story that's more "focused on crime and punishment.

In digital photography, computer-generated imagery, and colorimetry, a grayscale or image is one in which the value of each pixel is a single sample representing only an amount of light; that is, it carries only intensity information. Grayscale images, a kind of black-and-white or gray monochrome, are composed exclusively of shades of gray. The contrast ranges from black at the weakest intensity to white at the strongest. Grayscale images are distinct from one-bit bi-tonal black-and-white images, which, in the context of computer imaging, are images with only two colors: black and white (also called bilevel or binary images).

Action scenes were primarily performed with practical stunts, computer-generated imagery being used mostly for creating digital environments. The film had a panel at the San Diego Comic-Con on July 22 and was released in North America on July 23, 2010, and in the United Kingdom on August 18, 2010. Salt grossed $294 million at the worldwide box office and received generally positive reviews, with praise for the action scenes and Jolie's performance, but drawing criticism on the writing, with reviewers finding the plot implausible and convoluted. The DVD and Blu-ray Disc were released December 21, 2010, and featured two alternate cuts providing different endings for the film.

The plot wrapup was planned by the series' production team since the beginning of the season, partly because they were not certain at the time whether the series was going to be renewed for another season. The visual effect of Gus Fring's massive facial wounds took months to prepare, with assistance from Greg Nicotero and the special effects team from fellow AMC drama The Walking Dead. The effect was produced using elaborate makeup on Giancarlo Esposito's face, combined with computer-generated imagery that combined two separate shots. The episode's title "Face Off" was also meant to be a reference to Gus losing half of his face in the explosion.

28 August 2007 The idea of a graveyard for elephants was popularised in films such as Trader Horn and MGM's Tarzan films, in which groups of greedy explorers attempt to locate the elephants' graveyard, on the fictional Mutia Escarpment, in search of its riches of ivory. Osamu Tezuka's Kimba the White Lion episode "A Friend in Deed" centred around it. Disney's 1994 animated musical film The Lion King; as well as the Broadway/West End musical adaptation; and its 2019 computer generated imagery remake has a reference to this motif. In "Fearful Symmetry", an episode from The X-Files which revolves around a mysterious invisible elephant, a character refers to this.

Later, while completing work on the Bat, Fox discovers that Wayne had fixed the autopilot function months before and may have escaped before the bomb detonated. In designing the Bat, Nathan Crowley approached it as if it were an actual military project, emphasising the need for it to "fit into the same family" as the Tumbler and the Batpod. The final version of the Bat takes its design cues from the Harrier Jump Jet, Bell Boeing V-22 Osprey and the Boeing AH-64 Apache. Chris Corbould described the Bat's size and shape as presenting a major challenge for filming given Christopher Nolan's emphasis on practical effects over computer-generated imagery.

He felt the need to strike a balance between the two films by retaining the buoyant spirit of the 1967 film, including some of its memorable songs while crafting a film with more realism and peril. He also stressed the importance of nature and realized how things have shifted during Kipling's time and now, "In Kipling's time, nature was something to be overcome. Now nature is something to be protected". He was encouraged by Walt Disney Studios chairman Alan Horn to take advantage of the film's setting and story as an opportunity to use the latest advancements in photorealistic rendering, computer-generated imagery, and motion capture technologies.

Sonnenfeld wanted to capture that same sense of ambiguous time and place, and he and his team worked to try to define a set of subjective rules of what elements could be included. Sonnenfeld brought on Bo Welch, production designer for Edward Scissorhands, which Handler considered to capture the same sense of a "familiar but completely imaginary" suburban setting he had in mind for his books. While the production team used computer-generated imagery where needed, they attempted to avoid this use where possible, such as by using large painted backdrops, by key scenic artist John E. Wilcox, rather than employing green screen filming.

Director Lewis Schoenbrun was researching stock computer-generated imagery for the production of a low-budget horror mockbuster of Spider-Man, starring a female protagonist. When discussing with a producer the idea of making a comic book film featuring large amounts of green screen, he instead decided to create a parody of the character the Hulk. Schoenbrun stated that he never initially intended to make a bad film, but retroactively considered the film a parody. Many of the characters have blatant parallels with Marvel Comics characters associated with the Hulk mythos; Henry Howard with Bruce Banner, General Darwin with General Ross, and the Bulk with the Hulk.

Folded paper: SketchUp drawing rendered using V-Ray, demonstrating shading and global illumination Render created using V-Ray for Rhinoceros 3D, demonstrating the advanced effects V-Ray is capable of, such as reflection, depth of field, and the shape of the aperture (in this case, a hexagon) V-Ray is a biased computer-generated imagery rendering software application developed by Bulgarian Chaos Group (Bulgarian: Хаос Груп), that was established in Sofia in 1997. V-Ray is a commercial plug-in for third-party 3D computer graphics software applications and is used for visualizations and computer graphics in industries such as media, entertainment, film and video game production, industrial design, product design and architecture.chaosgroup.com. About Chaos Group. September 22, 2014.

Square Enix has expanded the Final Fantasy series into various media. Multiple anime and computer- generated imagery (CGI) films have been produced that are based either on individual Final Fantasy games or on the series as a whole. The first was an original video animation (OVA), Final Fantasy: Legend of the Crystals, a sequel to Final Fantasy V. The story was set in the same world as the game, although 200 years in the future. It was released as four 30-minute episodes, first in Japan in 1994 and later in the United States by Urban Vision in 1998. In 2001, Square Pictures released its first feature film, Final Fantasy: The Spirits Within.

Many of these filmmakers were championed in their early career by the London Film Makers Cooperative and their work was the subject of detailed theoretical analysis in the journal Screen Education. Peter Greenaway was an early pioneer of the use of computer generated imagery blended with filmed footage and was also one of the first directors to film entirely on high definition video for a cinema release. With the launch of Channel 4 and its Film on Four commissioning strand, Art Cinema was promoted to a wider audience. However, the Channel had a sharp change in its commissioning policy in the early 1990s and Greenaway and others were forced to seek European co-production financing.

Young Tom in his fifth year at Hogwarts as played by Christian Coulson in Harry Potter and the Chamber of Secrets. Voldemort appears in seven Harry Potter films, namely Harry Potter and the Philosopher's Stone, Harry Potter and the Chamber of Secrets, Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince, Harry Potter and the Deathly Hallows – Part 1 and Harry Potter and the Deathly Hallows – Part 2. Several actors have portrayed him in his varying incarnations and ages. In Harry Potter and the Philosopher's Stone, Voldemort's manifestation is as a face on the back of Quirrell's head, an effect achieved by computer generated imagery.

After his death, Blanc's voice continued to be heard in newly released productions, such as recordings of Dino the Dinosaur in the live-action films The Flintstones (1994) and The Flintstones in Viva Rock Vegas (2000). Similarly, recordings of Blanc as Jack Benny's Maxwell were featured in Looney Tunes: Back in Action (2003). More recently, archive recordings of Blanc have been featured in new computer-generated imagery-animated "Looney Tunes" theatrical shorts; I Tawt I Taw a Puddy Tat (shown with Happy Feet Two) and Daffy's Rhapsody (shown with Journey 2: The Mysterious Island). For his contributions to the radio industry, Blanc has a star on the Hollywood Walk of Fame at 6385 Hollywood Boulevard.

Wynter called it her favourite of all her films, being an unresolved love story.p.303 Weaver, Tom I Was a Monster Movie Maker 2001 McFarland Though originally planned to be filmed in Britain with Jean Simmons as the female lead, The Sixth of June (the working title of the film) was made on the Fox backlot with naval scenes filmed at the Long Beach Naval Shipyard, featuring the hospital ship USS Haven (AH-12), whilst the beach landing was made at Point Dume California.D-Day the Sixth of June (1956) - Overview - TCM.com Before the days of computer-generated imagery director Henry Koster had to make his landing look convincing on his limited budget with two LCVPs and eighty soldiers.p.

Post-production was contracted to The Mill, who were given the brief to make it appear as though no computer-generated imagery or other visual effects had been used at all. The majority of the visual effects work was done using the Autodesk software Flame and Maya. This included simple work such as removing anachronistic yellow road markings, satellite dishes, and replacing PVC windows. More complex work included the removal of several buildings with modern architectural styles or features, the creation of a CGI colliery, a Spitfire and a Concorde jet aeroplane (which was later cut in editing), crowd multiplication for the striking miners and suffragettes, and the recreation of the Millennial fireworks display.

General Grievous is a fictional character and a major antagonist in the Star Wars franchise created by George Lucas. He was introduced as a villain in the 2003 animated series Star Wars: Clone Wars, voiced by John DiMaggio in the second season and Richard McGonagle in the third season, before making his live-action debut in Star Wars: Episode III – Revenge of the Sith (2005), where he was created using computer-generated imagery and voiced by Matthew Wood. Wood reprised his role in the 2008 canonical animated series Star Wars: The Clone Wars, where Grievous is one of the main antagonists. Grievous served as the Supreme Commander of the Confederacy of Independent Systems' Droid Army during the Clone Wars.

Angel employed a philosophy he called the "three P's" (passion, patience, and perseverance), which meant that he would not accept any offer simply because it came his way; instead, he opted for projects that showcased his team and their technology. According to Angel Studios employees, Angel treated them like family, paying them well, giving them plenty of vacation time, and occasionally sharing a bottle of Patrón tequila, dubbed "Sippy Wippy", on Friday afternoons. Much of the 3D work produced by Angel Studios were films and music videos. It was most successful with the computer-generated imagery and visual effects in the film The Lawnmower Man and the music video for Peter Gabriel's "Kiss That Frog", both released in 1992.

Dogfights is a military aviation themed TV series depicting historical re- enactments of air-to-air combat that took place in World War I, World War II, the Korean War, and the Vietnam War, as well as smaller conflicts such as the Gulf War and the Six-Day War. The program consists of former fighter pilots sharing their stories of actual dogfights in which they took part, combined with computer-generated imagery (CGI) to give the viewer a better perspective of what it is like to engage in aerial combat.Mavis, Paul. Dogfights — The Complete Season One review, DVD Talk, April 20, 2007 Dogfights originally aired on the History Channel from November 2006 to May 2008.

Once a vehicle's motions are known, they can be used to determine the constantly-changing viewpoint for computer-generated imagery of objects in the landscape such as buildings, so that these objects change in perspective while themselves not appearing to move as the vehicle- borne camera goes past them. The movement of a kinematic chain, whether it is a robot or an animated character, is modeled by the kinematics equations of the chain. These equations define the configuration of the chain in terms of its joint parameters. Forward kinematics uses the joint parameters to compute the configuration of the chain, and inverse kinematics reverses this calculation to determine the joint parameters that achieve a desired configuration.

Battle for Terra, originally screened as Terra, is a 2007 American 3D computer animated action-adventure science fiction film, based on the short film Terra, about a race of beings on a peaceful alien planet who face destruction from colonization by the displaced remainder of the human race. The film was directed by Aristomenis Tsirbas who conceived it as a hard-edged live action feature with photo-real Computer-Generated Imagery (CGI) environments. The close collaboration with producing partner and investor Snoot Entertainment redirected the project to become fully animated and appeal to younger audiences. The film features the voices of Evan Rachel Wood, Luke Wilson, Brian Cox and James Garner among others.

In designing the Bat, Nathan Crowley approached it as if it were an actual military project, emphasising the need for it to "fit into the same family" as the Tumbler and the Batpod. The final version of the Bat takes its design cues from the Harrier Jump Jet, Bell Boeing V-22 Osprey and the Boeing AH-64 Apache. Chris Corbould described the Bat's size and shape as presenting a major challenge for filming given Christopher Nolan's emphasis on practical effects over computer-generated imagery. In order to make the Bat "fly", it was variously supported by wires, suspended from cranes and helicopters, and mounted on a purpose-built vehicle with hydraulic controls to simulate movement.

Shortly before the interchange opened, filmmakers had access to use it for the 1994 motion picture Speed. In one of the movie's best-known scenes, the bus must jump across an unfinished construction gap in an uncompleted elevated freeway-to- freeway ramp while still under construction. The fifth-level HOV flyover (I-110 SB to I-105 WB) that the bus jumped had already been completed, so a gap was added in the editing process using computer-generated imagery. For a full weekend in 2015, the left-side connector ramps between the I-105 HOV lanes and the I-110 HOT ExpressLanes were closed for filming the opening musical number of La La Land.

In the early 1990s, Rare invested in Silicon Graphics computers, which they used to prototype full computer-generated imagery rendering. Excited about this work, Nintendo purchased a quarter stake in Rare, which eventually expanded to 49%, and offered their cast of characters to the company. The Stampers chose Donkey Kong, and their resulting Donkey Kong Country (1994) was immensely successful and a best-seller on the Super Nintendo Entertainment System. Rare's success continued with the Killer Instinct fighting game series and a series of games for Nintendo's Nintendo 64 console in the mid- to late-1990s, including Banjo- Kazooie, Blast Corps, Diddy Kong Racing, Jet Force Gemini, Donkey Kong 64 and GoldenEye 007.

The Planets is a 2019 BBC/PBS television documentary series about the Solar System presented by Professor Brian Cox in the UK version and Zachary Quinto in the US version. First broadcast on BBC Two beginning Tuesday 28 May 2019, the five-episode series looks at each planet in detail, examining scientific theories and hypotheses about the formation and evolution of the Solar System gained by unmanned missions to the planets. Originally released in the UK, it was changed to cater more to the American audience watching on PBS's series Nova. Cox presents segments to camera from various locations around the world alongside extensive computer-generated imagery and footage from space missions.

The program was created using computer-generated imagery (CGI) animation. The show was narrated by Rik Mayall. The Jellikins are jelly-made people that live in the Jelly Land, (made of jelly) which is the magical land at the end of the rainbow, where their main job is to make rainbows. (for which they have a machine called the Jelliscope, a computer/teleporter/rainbow generator which is constantly monitoring weather conditions around the world) Although each Jellikin has its own vehicle to drive around in, their main use of travelling long distances around Jelly Land is on the "Jelly Train", a train that only consists of a cab (no actual locomotive) and one passenger car.

To gain inspiration in how the shapes would move, Hunt and his associates visited San Diego Zoo, a butterfly farm, and observed slow motion footage of bats.Supplemental Features: Symphony No. 5: Creating Symphony No. 5 at 01:14–01:24 The segment combines hand drawn backgrounds using pastels and paint that were scanned into the Computer Animation Production System (CAPS), and computer-generated imagery (CGI) of abstract shapes and effects, which were layered on top.Supplemental Features: Symphony No. 5: Creating Symphony No. 5 at xx:xx–xx:xx Hunt explained that scanning each drawing "was a one-shot deal" as the platen that pressed onto it would alter the pastel once it had been scanned.Culhane 1999, p. 35.

TMNT (also known as TMNT 2007 or Teenage Mutant Ninja Turtles 2007) is a 2007 American computer-animated martial arts superhero film written and directed by Kevin Munroe. Based on the Teenage Mutant Ninja Turtles comic book series, the film stars the voices of James Arnold Taylor, Nolan North, Mikey Kelley, Mitchell Whitfield, Chris Evans, Sarah Michelle Gellar, Mako, Kevin Smith, Patrick Stewart, and Zhang Ziyi with narration by Laurence Fishburne. It is the first Teenage Mutant Ninja Turtles film made with computer-generated imagery (CGI) created by Imagi Animation Studios as well as the first feature film in the franchise in 14 years. It is loosely connected to the original 1990–1993 trilogy.

Many praised the overall interesting structure, the consistent pace of the movie and the unexpected twist at the end of the movie, with many stating how its originality and thoughtfulness elevated the movie's overall experience and enjoyability. In addition, numerous critics praised how the movie created an abundance of tension through numerous camera and film techniques. Furthermore, another positive of the movie was its interesting film and camera technique and special effects despite its substantially low budget for a horror movie of this scale. They stated that the blending of the computer-generated imagery and the camera shots used in such a tight and cramped location was quite impressive and better than many big budget movies.

The practical models were made by Steve Johnson and his company XFX, which had already worked with Giger's designs in Poltergeist II: The Other Side. Giger had envisioned more stages of Sil's transformation, but the film only employed the last one, where she is "transparent outside and black inside—like a glass body but with carbon inside," with XFX doing the translucent skin based on what they had done for the aliens of The Abyss. Sil's alien form had both full-body animatronics with replaceable arms, heads and torsos, and a body suit. Richard Edlund's Boss Film Studios was hired for over 50 shots of computer-generated imagery, which included one of the earliest forms of motion capture effects.

The voice cast consists of Val Kilmer in a dual role, Ralph Fiennes, Michelle Pfeiffer, Sandra Bullock, Jeff Goldblum, Danny Glover, Patrick Stewart, Helen Mirren, Steve Martin, and Martin Short. Jeffrey Katzenberg had frequently suggested an animated adaptation of the 1956 film The Ten Commandments while working for The Walt Disney Company, and he decided to put the idea into production after co- founding DreamWorks Pictures in 1994. To make this inaugural project, DreamWorks employed artists who had worked for Walt Disney Feature Animation and Amblimation, totaling a crew of 350 people from 34 different countries. The film has a blend of traditional animation and computer-generated imagery, created using software from Toon Boom Animation and Silicon Graphics.

As at Disney's, character animators were grouped into teams by character: for example, Kristof Serrand, as the supervising animator of Older Moses, set the acting style of the character and assigned scenes to his team. Consideration was given to depicting the ethnicities of the ancient Egyptians, Hebrews, and Nubians properly. There are 1,192 scenes in the film, and 1,180 contain work done by the special effects department, which animates everything in an animated scene which is not a character: blowing wind, dust, rainwater, shadows, etc. A blend of traditional animation and computer-generated imagery was used in the depictions of the ten plagues of Egypt and the parting of the Red Sea.

In June 2015, Ancona began playing the role of Paula, in the new West End musical Bend It Like Beckham. In 2016, Ancona made a guest appearance in an episode of the long running television series Celebrity Antiques Road Trip (Series 6, episode 10) Her partner in the episode was antiques expert James Braxton. In April 2017 Ancona appeared as a guest on ITV's The Nightly Show presented by Jason Manford in which they both performed impersonations of famous people and each tasked with identifying the impersonation while visually screened from each other. During this, the audience were made more visually aware of the person being impersonated by the use of Computer Generated Imagery (CGI).

Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a gigantic metallic robot who fell from outer space. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant. The film's development began in 1994 as a musical with the involvement of The Who's Pete Townshend, though the project took root once Bird signed on as director and hired McCanlies to write the screenplay in 1996. The film was animated using traditional animation, with computer-generated imagery used to animate the titular character and other effects.

To help create a world with no people, some scenes were shot very early on a Sunday morning, including a sequence where Al Sadiq drives his car at speed around the city centre. Producer Hugh Warren said this approach reduced the amount of computer-generated imagery required and allowed the budget to be spent on effects such as when the city starts to flood and burn. Other locations included a house near Helmshore in Lancashire, which doubled as the survivors' main base; the disused Earth Centre in the village of Denaby Main near Doncaster; and the Jaguar Cars test track in Nuneaton, which stood in for deserted motorways. The series was shot using 35 mm film.

In television studios, blue or green screens may back news-readers to allow the compositing of stories behind them, before being switched to full-screen display. In other cases, presenters may be completely within compositing backgrounds that are replaced with entire "virtual sets" executed in computer graphics programs. In sophisticated installations, subjects, cameras, or both can move about freely while the computer-generated imagery (CGI) environment changes in real time to maintain correct relationships between the camera angles, subjects, and virtual "backgrounds". Virtual sets are also used in motion picture filmmaking, usually photographed in blue or green screen environments (other colors are possible but less common), as for example in Sky Captain and the World of Tomorrow.

Mental Images GmbH (stylized as mental images) was a German computer generated imagery (CGI) software firm based in Berlin, Germany, and was acquired by NVIDIA in 2007, then rebranded as NVIDIA Advanced Rendering Center (ARC), and is still providing similar products and technology. The company provides rendering and 3D modeling technology for entertainment, computer-aided design, scientific visualization and architecture. The company was founded by the physicists and computer scientists Rolf Herken, Hans-Christian Hege, Robert Hödicke and Wolfgang Krüger and the economists Günter Ansorge, Frank Schnöckel and Hans Peter Plettner as a company with limited liability & private limited partnership (GmbH & Co. KG) in April 1986 in Berlin, Germany. The Mental Ray software project started in 1986.

Due to the difficulties of recording sounds on locations, it is common for nature documentary makers to record sounds in post-production using Foley and to use sound effect libraries. Compositing and computer-generated imagery are also sometimes used to construct shots. Wild animals are often filmed over weeks or months, so the footage must be condensed to form a narrative that appears to take place over a short space of time. Such narratives are also constructed to be as compelling as possible—rather than necessarily as a reflection of reality—and make frequent use of voice-overs, combined with emotional and intense music to maximise the audience's engagement with the content.

Taking advantage of the computer generated imagery used to create the show, the Batsuit worn in Beware the Batman is more detailed than previous versions. Like the suits seen in most of the live-action films, the new Batsuit is entirely black and sports a raised bat-emblem on the chest without the yellow-ellipse, as well as a more helmet- like cowl, and it is very similar to the outfits from The New Batman Adventures, Justice League and Justice League Unlimited. The suit's utility belt was also redesigned for the show, and an actual model was built by Glen Murakami in order to make it as realistic and practical as possible.

Written for junior readers, the book described the past of Reptile's fictional race through the eyes of other series characters. Reptile later appears in the 1995 film Mortal Kombat as a bipedal lizard, camouflaging himself until found by Liu Kang. After being thrown into a statue, Reptile transforms into a human-looking ninja and battles Liu Kang, but is defeated and then crushed after reverting to his original form. Reptile's lizard form was rendered with the use of computer-generated imagery, while the character's human form is portrayed by Keith Cooke, clothed similar to Scorpion and Sub- Zero in the film, but green and with a fanged open mouth imprinted on his face mask.

"Cog" needed only limited post-production work, as the decision had been made early on to eschew computer-generated imagery wherever possible. To further reduce the work required, "Barnsley", a specialist in the Flame editing tool (real name, Andrew Wood),"The Mill Promotes Flame Artist Barnsley to Board", Broadcast, 9 July 1999. from The Mill, spent a lot of time on set during filming, where he advised the film crew on whether particular sections could be accomplished more easily by re-filming or by manipulating the image afterwards. Even so, the constant movement of the components on-camera made it difficult to achieve a seamless transition between the two 60-second shots.

Kenneth Branagh also recognised Nolan's ability to provide a harmonious work environment, comparing him with Danny Boyle and Robert Altman: "These are not people who try to trick or cajole or hector people. They sort of strip away the chaos." Nolan chooses to minimise the amount of computer- generated imagery for special effects in his films, preferring to use practical effects whenever possible, and only using CGI to enhance elements which he has photographed in camera. For instance, his films Batman Begins, Inception, and Interstellar featured 620, 500, and 850 visual-effects shots, respectively, which is considered minor when compared with contemporary visual-effects epics, which may have upwards of 1,500 to 2,000 VFX shots.

Andrew Lau's wuxia comic-book adaptation The Storm Riders (1998) earned a record-breaking gross and ushered in an era of computer-generated imagery, previously little used in Hong Kong film. Tsui Hark's lavish CGI-enhanced efforts Time and Tide (2000) and The Legend of Zu (2001), however, were surprisingly unsuccessful. Comedy megastar and director Stephen Chow used digital effects to push his typical affectionate parody of martial arts conventions to cartoonish levels in Shaolin Soccer (2001) and Kung Fu Hustle (2004), each of which also set a new box office record. Striking a different note were a series of crime films more restrained and actor-driven than the earlier, John Woo-inspired examples.

The third season showed even more creatures, and many of them in full view of the camera. However, realism was better-maintained with human-like creatures, such as in "Zombies" and "Reptilian". Even non-human-like animals were shown more frequently, though this led to some negative criticism among fans as many of the creatures in the third season were less convincing with low budget animatronics and computer-generated imagery, such as in "Kraken" and "Q: The Serpent God", or even simply people in costumes, as in "Devil Monkey" and "Yeti". While most episodes feature the titular cryptid as the antagonist, in some episodes they benefit the people that the story follows.

The production team used the episode to expand Rhys' role in the series, due to their appreciation of actor Kai Owen's performances in the first series and the contention of executive producer Russell T Davies that the character should be seen as less of a "sap" in the second series. The alien "space whale" seen in the episode was created using computer-generated imagery, with the exception of a cut section wound where the humans had been carving meat from. Tregenna characterised the monster as resembling "a giant kebab". A more elaborate design was previously considered, but both Tregenna and Davies felt that this would detract from the alien's suitability to the plot.

The visual effects were provided by Moving Picture Company, Framestore and Rise FX, with the help of Rising Sun Pictures and Rodeo FX. At Rodeo, to achieve the effects for the opening sequence of the train travelling through the country, augmented aerial footage was merged with matte paintings and computer-generated imagery. They would also do the effects of Holt's amputated arm by digitally recreating the character's costumes and the backgrounds obstructed by the sleeve. The Third Floor, Inc., tasked primarily with creating the animals of the film, achieved the effects of humans flying on Dumbo using a 3D mold of the character and an animatronic mounted on a 6-axis gimbal.

Casper is a 1995 American fantasy comedy-drama film directed by Brad Silberling, in his feature directorial debut, based on the Harvey Comics cartoon character Casper the Friendly Ghost created by Seymour Reit and Joe Oriolo. The film stars Christina Ricci, Bill Pullman, Cathy Moriarty, Eric Idle, and introducing Malachi Pearson as the voice of Casper. The film makes extensive use of computer-generated imagery to create the ghosts, and it is the first feature film to have a fully CGI character in the lead role. It goes for a much darker interpretation of the Friendly Ghost in comparison to the comics, cartoons, and films of the previous years, especially with its theme of death, most notably providing the character a tragic backstory that addresses his death.

Animatronics were first introduced by Disney in the 1964 film Mary Poppins which featured an animatronic bird. Since then, animatronics have been used extensively in such movies as Jaws, and E.T. the Extra-Terrestrial, which relied heavily on animatronics. Directors such as Steven Spielberg and Jim Henson have been pioneers in using animatronics in the film industry; a film co-directed by the latter, The Dark Crystal, was promoted as the first to feature no human characters, and showcased groundbreaking puppets designed by Brian Froud and created by Henson's then recently established Creature Shop in London. The 1993 film Jurassic Park used a combination of computer-generated imagery in conjunction with life-sized animatronic dinosaurs built by Stan Winston and his team.

Running period: 2002 – 2007 Production company: ECA2 "Magical Sentosa" was the fifth and final show staged on the fountain and arguably the most recognisable. The show was created in 2000, when Yves Pépin (designer of the Songs of the Sea show and its upcoming replacement show Wings of Time) designed a show to fit the Imbiah Lookout zone's theme of fantasy. After using ideas from an earlier production in France and restoring the fountain again which took about two years, engineers installed new equipment to create an all-new nighttime show that placed Kiki the Hyperactive Monkey of Sentosa, the official mascot of Sentosa Island at that time, as the host. It was also the first time that the audience saw him in CGI—Computer Generated Imagery.

This has many applications, from linguistics to video production. Autism patients, who typically have a different array of expressions that are apart from the norm, may be able to have their moods more easily monitored by parents or caretakers. For production purposes, computer generated imagery of faces (and presumably android projects) will be able to be more realistic in the art of subtlety. Leading Affectiva's Emotion Science team; the company applies computer vision, machine learning and data science to leverage the company's facial emotion repository, which has now grown to nearly 6 million faces analyzed in 75 countries with 5,313,751 face videos, for a total of 38,944 hours of data, representing nearly 2 billion facial frames analyzed, to understand people's feelings and behaviors.

Although Lawrence Livermore Labs in California is mainly known as a centre for high-level research in science, it continued producing significant advances in computer animation throughout this period. Notably, Nelson Max, who joined the Lab in 1971, and whose 1976 film Turning a sphere inside out is regarded as one of the classic early films in the medium (International Film Bureau, Chicago, 1976).Nelson Max, "Turning a Sphere Inside Out", International Film Bureau, Chicago, 1977 (video) He also produced a series of "realistic-looking" molecular model animations that served to demonstrate the future role of CGI in scientific visualization ("CGI" = Computer-generated imagery). His research interests focused on realism in nature images, molecular graphics, computer animation, and 3D scientific visualization.

Fuller was the first modern dance choreographer to try out and to use new technology within her performance work. In 1911, Fuller, a dancer, conducted an experiment where she used film footage and projected it onto diaphanous robes. In the performance, as Fuller danced the robes in which she was wearing became a sort of ‘screen’ where multi – coloured lights were projected upon it. This was one of the first pieces of theatre where film footage was integrated into becoming a part of a live theatre performance. From the early 1960s, computer generated imagery had then began to emerge as a distinctive art form, and in John Whitney's film Catalog (1961) viewers witnessed one of films’ first ever uses of computer transformations.

The Black Cauldron is notable for being Disney's first animated feature film to incorporate computer-generated imagery in its animation for bubbles, a boat, a floating orb of light, and the cauldron itself. Though The Black Cauldron was released a year before The Great Mouse Detective, both films were in production simultaneously for some time and the computer graphics for the latter were done first. When producer Joe Hale heard about what was being done, the possibilities made him excited and he made the crew from The Great Mouse Detective project create some computer animation for his own movie. For other effects, animator Don Paul used live action footage of dry ice mists to create the steam and smoke coming out of the cauldron.

The series features re-enactments, interviews, eyewitness testimony, computer-generated imagery, and in nearly all of the episodes, voice-actor readings of cockpit voice recorder (CVR) transcripts to reconstruct the sequence of events for the audience. Several passengers and crew members (whether they survived the incident or not) are picked and actors/actresses play the roles of those passengers and crew throughout the flight, usually starting from boarding of the flight. The flight routines in the air traffic control, cockpit, and cabin are recreated on screen starting from departure up to the moment of the emergency. At the moment of the emergency, external views of the aircraft from different angles are recreated to show the effect and what had happened to the aircraft.

An accompanying music video for "Passion" was directed by Utada's ex-husband Kazuaki Kiriya, where it was filmed at the Gung-Ho Films studios in Beijing, China. At the start of the video, an animation sequence was created and produced by Kōji Morimoto, whom helmed a design-based campaign for the singers album Exodus, which was recognized as Fluximation-style animations. The remaining additions of computer generated imagery were generated by the company N-Design. Several workers had hand-made the scenery including the infrastructure of the grand-hall (seating for the drummers, floor design, etc.) and the cathedral (the walls, platform for Utada, floor); Kiriya placed a blue screen behind these structures in order to expand them to higher lengths.

Horatio Nelson bust in Monmouth Museum, produced using photogrammetry Gibraltar 1 Neanderthal skull 3D wireframe model, created with 123d Catch Photogrammetry is used in fields such as topographic mapping, architecture, engineering, manufacturing, quality control, police investigation, cultural heritage, and geology. Archaeologists use it to quickly produce plans of large or complex sites, and meteorologists use it to determine the wind speed of tornados when objective weather data cannot be obtained. Photograph of person using controller to explore a 3D Photogrammetry experience, Future Cities by DERIVE, recreating Tokyo. It is also used to combine live action with computer-generated imagery in movies post-production; The Matrix is a good example of the use of photogrammetry in film (details are given in the DVD extras).

Mayday, known as Air Crash Investigation(s) outside of the United States and Canada and also known as Air Emergency or Air Disasters (Smithsonian Channel) in the United States, is a Canadian documentary television series produced by Cineflix that recounts air crashes, near-crashes, fires, hijackings, bombings, and other mainly flight-related disasters and crises. It reveals the events that led to each crisis or disaster, their causes as determined by the official investigating body or bodies, and the measures they recommended to prevent a similar incident from happening again. The programs use re- enactments, interviews, eyewitness testimony, computer-generated imagery, cockpit voice recordings, and official reports to reconstruct the sequences of events. This includes five Science of Disaster specials, each examining multiple crashes with similar causes.

Formerly, the output data from a computer simulation was sometimes presented in a table or a matrix showing how data were affected by numerous changes in the simulation parameters. The use of the matrix format was related to traditional use of the matrix concept in mathematical models. However, psychologists and others noted that humans could quickly perceive trends by looking at graphs or even moving- images or motion-pictures generated from the data, as displayed by computer- generated-imagery (CGI) animation. Although observers could not necessarily read out numbers or quote math formulas, from observing a moving weather chart they might be able to predict events (and "see that rain was headed their way") much faster than by scanning tables of rain-cloud coordinates.

Consequently, in recent times the term "computer-generated holography" is increasingly being used to denote the whole process chain of synthetically preparing holographic light wavefronts suitable for observation. Computer-generated holograms have the advantage that the objects which one wants to show do not have to possess any physical reality at all (completely synthetic hologram generation). On the other hand, if holographic data of existing objects is generated optically, but digitally recorded and processed, and brought to display subsequently, this is termed CGH as well. Ultimately, computer-generated holography might serve all the roles of current computer-generated imagery: holographic computer displays for a wide range of applications from CAD to gaming, holographic video and TV programs, automotive and communication applications (cell phone displays) and many more.

The Mysterious Knight is a trick film in which motifs from the European Medieval period are used satirically as a setting for cinematic special effects. This was one of two Medieval-themed genres in the silent cinema, both of which were developed and codified by Méliès himself; the other was a less overtly whimsical, more plot- oriented genre of narrative film telling medieval stories, such as Méliès's 1900 epic Joan of Arc. Both types of Medieval film invented by Méliès were extensively influential, quickly spreading to the United States and other filmmaking countries. The medieval trick film genre was a particularly decisive influence, leading eventually to the development of animated medieval films as well as to medieval epics that use computer-generated imagery for spectacular purposes.

Replacing Crazy Frog's own song "Axel F" at No. 1 on 24 September 2005, the track remained at the top spot for 7 weeks (with its best weekly sales of 71,777 copies in its second week). Being certified Diamond status just three months after its release by the SNEP, as of August 2014, this version of "Popcorn" is the 40th best-selling single of the 21st century in France, with 458,000 copies sold. The track also topped the charts in Belgium, New Zealand and Spain. The music video was animated using computer-generated imagery, the music video was produced by Kaktus Film and Erik Wernquist of TurboForce3D, where Crazy Frog is seen causing chaos at the underwater sea labs of the drones.

Morphogenetic Creations computer-generated digital art exhibition by Andy Lomas at Watermans Arts Centre, west London, in 2016. Computer-generated imagery (CGI) is the application of computer graphics to create or contribute to images in art, printed media, video games, films, television programs, shorts, commercials, videos, and simulators. The images may be dynamic or static, and may be two-dimensional (2D), although the term "CGI" is most commonly used to refer to the 3-D computer graphics used for creating characters, scenes and special effects in films and television, which is described as 'CGI animation'. The evolution of CGI led to the emergence of virtual cinematography in the 1990s where the vision of the simulated camera is not constrained by the laws of physics.

Radioland Murders also features numerous small roles and cameo appearances, including Michael McKean, Bobcat Goldthwait, Jeffrey Tambor, Christopher Lloyd, George Burns (in his final film appearance), Billy Barty and Rosemary Clooney. George Lucas began development for the film in the 1970s, originally attached as director for Willard Huyck and Gloria Katz's script. Universal Pictures commenced pre-production and both Steve Martin and Cindy Williams had already been approached for the two leads before Radioland Murders languished in development hell for over 20 years. In 1993, Lucas told Universal that advances in computer-generated imagery from Industrial Light & Magic (owned by Lucasfilm), particularly in digital mattes, would help bring Radioland Murders in for a relatively low budget of about $10 million, which eventually rose to $15 million.

In November 1995, aged 44, Mardji was euthanized at the University of California, Davis because of an untreatable and painful bone condition in her front legs. Mardji had been having difficulty walking due to the ailments, and had undergone two major surgeries for treatment in the years prior to her death. When Lucas revised Star Wars and released a new Special Edition version in 1997, he decided to retain the original shots of the elephant, rather than replacing the bantha with computer-generated imagery. The bantha costume used in Star Wars was on display at Marine World Africa USA for a time after Mardji's death, but elements of it deteriorated because it was not sufficiently protected, and it was later destroyed.

Although the format had since declined, director George Lucas specifically requested that the CinemaScope version of the fanfare be used for the opening titles of Star Wars (1977). Additionally, the film's main theme was composed by John Williams in the same key as the fanfare (B major), serving as an extension to it of sorts. In 1981, the logo was slightly altered with the re-straightening of the "0" in "20th". In 1994, after a few failed attempts, Fox in-house television producer Kevin Burns was hired to produce a new logo for the company, this time using the then-new process of computer-generated imagery (CGI) adding more detail and animation, with the longer 21-second Fox fanfare arranged by David Newman used as the underscore.

Knowles described it as more "graphic" when compared to the previous six videos; its motive was to "take Sasha [Fierce] to the next level". In the video, Knowles' alter ego is symbolized by the golden robot suit she wears; it was designed by French fashion designer Thierry Mugler. A green-screen and computer-generated effects were used for the video to create a minimal and performance-based clip. The computer-generated imagery (CGI) was employed to create a context-less void; the CGI effects were used to delete the background and setting before creating a void-like digital canvas for the dance routine that is executed by Knowles and her dancers Saidah Nairobi and Ashley Everett, who all sport numerous flashy and symmetrical costumes throughout the video.

The standout visual effects sequence from the episode for visual effects supervisor Mark Kolpack and many fans of the series depicted a hatch opening underwater to reveal a rocket silo for launching "Project Insight", all created through computer-generated imagery. Kolpack first created storyboards of the sequence, before designing the rocket with his team; the design was based on actual rockets from the "1970s era", including Apollo 11. Extensive research was done on actual rockets to depict the launch accurately, down to "the deflected flames that then transitioned to the huge plume of smoke". Long simulations were run to create the water pouring into the silo from outside the hatch, while the shot where the hatch first opens under the water was even more difficult.

Lucas had planned a prequel trilogy (as well as a sequel trilogy) before the release of the original film, but halted major Star Wars films beyond the original trilogy by 1981. With the subsequent advances of computer-generated imagery, Lucas revived plans for the prequels by the early 1990s. The trilogy consists of Star Wars: Episode I – The Phantom Menace (1999), Episode II – Attack of the Clones (2002), and Episode III – Revenge of the Sith (2005). The films follow the training of the powerful youth Anakin Skywalker (the father of the original trilogy protagonists Luke Skywalker and Leia Organa) as a Jedi under the tutelage of Jedi Masters Obi-Wan Kenobi and Yoda, his fall to the dark side of the Force and birth as Darth Vader.

The lobby entrance scene was filmed in the Solomon R. Guggenheim Museum in New York, but for the shooting sequences a wide, life-size replica, including an audio visual exhibition with works of Julian Rosefeldt, was built in Germany. This set was too large for the studio, so it was instead built in a disused locomotive warehouse outside Berlin; its construction took ten weeks. Having filmed in the real museum interior and on the sound stage in Germany, the film crew had to track the lights and camera angles carefully throughout to ensure continuity. The scene includes a sequence in which the protagonist sends a huge art-chandelier hanging from the ceiling crashing to the ground; the entire stunt was created using computer generated imagery.

Filming took place in California and Hawaii between August and November 1992, and post-production rolled until May 1993, supervised by Spielberg in Poland as he filmed Schindler's List. The dinosaurs were created with groundbreaking computer-generated imagery by Industrial Light & Magic (ILM) and with life- sized animatronic dinosaurs built by Stan Winston's team. To showcase the film's sound design, which included a mixture of various animal noises for the dinosaur roars, Spielberg invested in the creation of DTS, a company specializing in digital surround sound formats. The film also underwent an extensive $65 million marketing campaign, which included licensing deals with over 100 companies. Jurassic Park premiered on June 9, 1993, at the Uptown Theater in Washington, D.C., and was released on June 11 in the United States.

During his work on the Star Trek franchise, he worked on a great number of visual effects shots including the breakapart model of the Borg Cube seen in the two-part episode "The Best of Both Worlds", the design of the USS Defiant and the blending of old and new footage required for "Trials and Tribble-ations". He also produced renderings for several non-canon Star Trek novels, although he was known as being reluctant to use computer generated imagery and preferred to work with physical models where possible. Hutzel co- wrote The Magic of Tribbles: The Making of Star Trek Deep Space Nine – "Trials and Tribbles-ations" alongside Terry J. Erdmann and Paula M. Block. Following the end of Deep Space Nine, Hutzel worked on the film Red Planet and the Spy Kids franchise.

The Disney Renaissance was prompted by competition with Don Bluth's animated productions, along with the evolution of overseas animation, most notably the Studio Ghibli anime productions from Japanese animator Hayao Miyazaki. His Lupin the Third film adaptation, Castle of Cagliostro (1979), influenced the climax of The Great Mouse Detective, which in turn paved the way for the Disney Renaissance. The two-minute climax scene used computer-generated imagery (CGI), making it the first Disney film to extensively use computer animation, a fact that Disney used to promote the film during marketing. Glen Keane, a leading animator for Disney films such as The Little Mermaid, Beauty and the Beast, and Aladdin, has also credited Miyazaki's work as a "huge influence" on Disney's animated films ever since The Rescuers Down Under.

Much of the film was shot in a tank using bluescreens for effects. Still, Collet-Serra wanted to avoid the "more stylized look" of similar films using the set up and estimated that 10% of the film was shot on location in order to "trick" the audience into believing the setting was real: he explains: "Every scene has one shot that is real, and the other 99% is not – but the one real shot tricks you". The shark was made entirely through computer-generated imagery, which was only completed close to the start of the marketing campaign for the film. /Film noted that the use of CGI was unusual for Collet-Serra, as he typically used practical effects as opposed to the digital ones required by the shoot.

In 1975 a small group of artists and technicians (including Richard Edlund who was to receive two Academy Awards for his work), revived the long-dormant format to create the special effects shots for George Lucas's space epic Star Wars. A retooled VistaVision camera dubbed the Dykstraflex was used by the group (later called Industrial Light & Magic) in complex process shots. For more than two decades after this, VistaVision was often used as an originating and intermediate format for shooting special effects since a larger negative area compensates against the increased grain created when shots are optically composited. By the early 21st century computer-generated imagery, advanced film scanning, digital intermediate methods and film stocks with higher resolutions optimized for special effects work had together rendered VistaVision mostly obsolete even for special effects work.

Sound stages were used for apartments and offices, while sequences on Mars and Antarctica were shot against green screens. Ten visual effects companies, Sony Pictures Imageworks and Intelligent Creatures among them, came on board to work on the film, which ended up having 1,100 shots featuring effects, a quarter of them being computer-generated imagery. alt=A case with two handguns, both with a stamped Smiley Face - one of the guns has "To Edward Blake, With Gratitude" around the Smiley, while the other has "Richard Nixon - 1976" -, dogtags, and a circular plaque, written by Richard Nixon, stating they are a gift to the Comedian in recognition for his services. Comic book artists Adam Hughes and John Cassaday were hired to work on character and costume designs for the film.

Calahan worked in Spokane as an art director at KXLY-TV, KREM (TV), and at documentary film company Pinnacle Productions. Calahan was part of the early years of the computer-generated imagery (CGI) industry's expansion into television and feature films, as lighting director making commercials and TV programs for Pacific Data Images (later PDI/DreamWorks), until she joined Pixar in 1994, first as a lighting supervisor on Toy Story (1995). The first time Pixar used the title Director of Photography (DP) on a film was on Calahan's next project, A Bug's Life, representing a recognition that the processes and thinking behind computer generated film production had more in common with live action film than with cel animation. At Pixar it became an established goal to make films that looked like live action, not cartoons.

The special effects for the creature are a combination of computer generated imagery, as well as puppetry and animatronics designed by Jim Henson's Creature Shop. The film received generally positive critical reviews, highlighting its high production values, cinematography, performances and Gans' atmospheric direction. At a $29 million budget, it was an international box office success, grossing over $70 million in worldwide theatrical release. The film also enjoyed commercial success in the United States; Universal Pictures paid $2 million to acquire the film's North American distribution rightsALISON JAMES, "$30 million 'Adventurer' venture: Gallic helmer Gans goes English for actioner," Variety (14 May 2001) and went on to gross $11.3 million in limited theatrical release, making it the second-highest-grossing French-language film in the United States since 1980.

Changes from Holmes on Homes include decreased emphasis on Mike Holmes during the construction process, as crew supervisor Damon Bennett (who has held the title since season 6 of Holmes on Homes) takes control of most of the construction activity (deferring to Mike only on major decisions); Damon is also present in front of the camera for meetings with the homeowners (unlike Holmes on Homes, where only Mike appears). There is also the use of 3D computer-generated imagery to illustrate problems and solutions. Holmes Inspection is entirely shot in the Greater Toronto area, and only involves homes which were purchased within 18 months. As the series is heavily focused on home inspections gone wrong, only homes with issues not accounted for in a home inspection report done with a home inspection service are considered.

In June 2012, a television advertisement for the Orange San Diego mobile phone, containing an Intel processor, was broadcast on British television and featured a fast car in computer generated imagery. Richard Noble claimed that the car was a representation of Thrust SSC and thus these companies had used his intellectual property without permission, putting the future of the Bloodhound SSC project in doubt. The Advertising Standards Authority rejected the Bloodhound team's complaint, claiming that intellectual property disputes were not in its remit. According to BBC News technology correspondent Rory Cellan-Jones, Intel and Orange responded that their production team had researched different styles of "superfast vehicles" and developed their own Orange-branded land speed car, and that the advertisement and phone were not connected to Noble or Bloodhound SSC.

The music video was directed by British director Howard Greenhalgh and relies heavily on computer-generated imagery, like all of his videos for the Very singles. It begins with a red Statue of Liberty, and then depicts a grey city where the communist domination is evident on the basis of Soviet imagery (such as red stars and red flags, Yuri Gagarin Monument and Monument to the Conquerors of Space). Troops of identical Soviet men march up a staircase stretching into the clouds, seemingly toward a Western society, with the Statue of Liberty, now appearing as a black diva looming in the distance (played by backing-vocalist Sylvia Mason-James). Tennant and Lowe appear throughout; Tennant carries a blue-and-yellow striped arrow staff, and Lowe travels on a flying surfboard.

Most shaders are coded for (and run on) a graphics processing unit (GPU), though this is not a strict requirement. Shading languages are used to program the GPU's rendering pipeline, which has mostly superseded the fixed-function pipeline of the past that only allowed for common geometry transforming and pixel-shading functions; with shaders, customized effects can be used. The position and color (hue, saturation, brightness, and contrast) of all pixels, vertices, and/or textures used to construct a final rendered image can be altered using algorithms defined in a shader, and can be modified by external variables or textures introduced by the computer program calling the shader. Shaders are used widely in cinema post-processing, computer-generated imagery, and video games to produce a range of effects.

On October 20, 2009, Ubisoft announced a series of short films, to be broadcast via YouTube, that would provide additional back story and the introduction of some of the characters found in the game. The shorts, collectively called Assassin's Creed: Lineage, came in three parts and were developed by Ubisoft's Hybride Technologies, who previously worked on the films 300 and Sin City. The series focused on Ezio's father, Giovanni Auditore, and contained live-action and computer-generated imagery. The first of the films was released on October 27, 2009, with the remaining two released on November 13, 2009. On November 12, 2009, Ubisoft released Assassin's Creed II themed virtual items on PlayStation Home to promote the release of the game, as well as the game Assassin's Creed: Bloodlines for PSP.

In 2009, Isthmus film critic Mark Savlov wrote that the computer-generated imagery in Terminator Salvation "still can't hold a candle to the stop-motion and very endearing goofiness of Stuart Gordon's 1990 Robot Jox." Critic Alex Fitch praised Gordon's work in 2010, citing Robot Jox as an example of how Gordon "can mix satire with special effects to great aplomb." Writing for The Encyclopedia of Science Fiction in 2012, Kim Newman noted that Gordon's style gave the film "a pleasantly uncluttered comic- bookish look", while Haldeman's influences could be seen "in his distinctive blend of military-hardware expertise and anti-war attitudes". After the trailer for Guillermo del Toro's film Pacific Rim was released in December 2012, online critics and bloggers began to revisit the film, noting the similarities between the two films.

Hanrahan received the 2003 SIGGRAPH Steven A. Coons Award for Outstanding Creative Contributions to Computer Graphics, for "leadership in rendering algorithms, graphics architectures and systems, and new visualization methods for computer graphics", and the 1993 SIGGRAPH Computer Graphics Achievement Award. He was inducted into the 2018 ACM SIGGRAPH Academy Inaugural Class. He received the 2006 Career Award for Visualization Research from the IEEE Technical Committee on Visualization and Graphics (VGTC) at the IEEE Visualization Conference, He became a member of the National Academy of Engineering in 1999, a Fellow of the American Academy of Arts and Sciences in 2007 and of the Association for Computing Machinery in 2008, and received three university teaching awards at Stanford. Hanrahan shared the 2019 ACM A.M. Turing Award with Catmull for their pioneering efforts on computer-generated imagery.

The series uses a combination of computer- generated imagery and stop-motion animation; the stop frame animation was initially provided by Cosgrove Hall Films, the producer of Noddy's Toyland Adventures, the 2004 Postman Pat series, and many other shows produced by said company, and latterly by Chapman Entertainment's own in-house studio. The series was originated by David Jenkins, who spent four years working in senior management at Brands Hatch Race Circuit. The idea was conceived while watching the Grand Prix on television with his then-18-month-old son, Tom. It was designed and developed by Keith Chapman, creative director of Chapman Entertainment and the creator of Bob the Builder (both 1998 and the later 2015 series), Fifi and the Flowertots, and later, PAW Patrol, and the series executive producer is Greg Lynn.

Other filming locations include Road Atlanta in Braselton, Georgia, on May 12, 2013, the 13th Street Bridge in Columbus, Georgia and Phenix City, Alabama, and Campus Martius in Detroit, Michigan, beginning on June 1, 2013. Other production locations include sections of California's Highway 1 north of Point Arena, California, the Point Arena Lighthouse, and Highway 253 between Boonville, California and Ukiah, California; and also Highway 128, between the town of Navarro and the Navarro Bridge linking Highway 128 North to Highway 1 South to Point Arena, California. For the film's chase sequences, the filmmakers decided against the use of computer-generated imagery, instead employing practical effects, which required the cast to receive extensive driving lessons. All of the exotic cars seen in the film (with the exception of the Mercedes-Benz SLR McLaren 722 roadster) were kit car replicas.

Developed for Disney by Pixar, which had grown into a commercial computer animation and technology development company, CAPS/ink & paint would become significant in allowing future Disney films to more seamlessly integrate computer-generated imagery and achieve higher production values with digital ink and paint and compositing techniques. The Little Mermaid was the first of a series of blockbusters that would be released over the next decade by Walt Disney Feature Animation, a period later designated by the term Disney Renaissance. Accompanied in theaters by the Mickey Mouse featurette The Prince and the Pauper, The Rescuers Down Under (1990) was Disney's first animated feature sequel and the studio's first film to be fully colored and composited via computer using the CAPS/ink & paint system. However, the film did not duplicate the success of The Little Mermaid.

The advent of virtual cinematography in the early 2000s (decade) has led to an explosion of movies that would have been impossible to shoot without it. Classic examples are the digital look-alikes of Neo, Smith and other characters in the Matrix sequels and the extensive use of physically impossible camera runs in The Lord of the Rings (film series) trilogy. The terminal in the Pan Am (TV series) no longer existed during the filming of this 2011–2012 aired series, which was no problem as they created it in virtual cinematography utilizing automated viewpoint finding and matching in conjunction with compositing real and simulated footage, which has been the bread and butter of the movie artist in and around film studios since the early 2000s. Computer-generated imagery is "the application of the field of 3D computer graphics to special effects".

The scenes set in Hoboken were filmed in Atlanta, while the rest was computer generated imagery to show the chaos of the blast. The size of the squid was not clear from the limited series as it only appears in a few panels, but Lindelof wanted the creature to be as tall as a five-story building. The effects team took much of the imagery from the limited series to incorporate into this sequence, such as tentacles from the squid appearing embedded in buildings, while keeping it to a realistic look. With the squid sequence planned, Lindelof came onto the idea that it would have long-lasting emotional effects on people like PTSD, which would have been a necessary element of Veidt's plan to prevent the nations from regressing back to a nuclear war long after the event.

In film production, the slang term "money shot" is used to refer to the most expensive scene of a film, such as a special effects sequence, especially in films from before the era of pre-Computer Generated Imagery, when special effects were done with explosives and stuntpeople rather than computer software. In a 1950s action-adventure film about Pearl Harbor, for example, a costly sequence which depicts the bombing and sinking of US destroyers by exploding and sinking actual, decommissioned vessels would be called the "money shot" of the film. The audiences would expect to see this sequence, given the title of the film, and the financial outcome of the movie would depend on whether the sequence was well done. In 2008 the French singer Camille released the song "Money Note," which references Dolly Parton, Whitney Houston, Celine Dion, and Mariah Carey.

In June 1993, Pet Shop Boys re-invented their image and made a strong return to the UK Singles Chart with "Can You Forgive Her?". Taking its title from the Anthony Trollope novel of the same name, the single reached number 7 on the UK Singles Chart, while its iconic music video featured the duo in orange body suits and tall dunce caps, in a world of computer-generated imagery. The theme was continued with the follow-up single, often considered as their signature song, a cover of the Village People single "Go West", which reached number 2 in the UK, with another computer-generated music video, this time inspired by the Soviet Union. The tune was adopted into a football chant at Arsenal Football Club (which Chris Lowe supports) and is heard at grounds throughout Europe to this day.

Animation, for example, which involves the display of rapid movement in an art work, is one of these techniques that particularly appeals to younger audiences. The advent of computer-generated imagery (CGI) in the 21st century made it "possible to do spectacle" more cheaply and "on a scale never dreamed of" by Cecil B. DeMille. From the 1930s to 1950s, movies and radio were the "only mass entertainment" but by the second decade of the 21st century, technological changes, economic decisions, risk aversion and globalisation reduced both the quality and range of films being produced. Sophisticated visual effects and CGI techniques, for example, rather than humans, were used not only to create realistic images of people, landscapes and events (both real and fantastic) but also to animate non-living items such as Lego normally used as entertainment as a game in physical form.

World of Sport had a theme tune and opening credits which featured the ITV Sport logo and the programme name as trailing banners from white Piper Super Cub light aircraft. The long running theme "World Of Sport March", used between 1968 and 1983, was composed by Don Harper, a re-recorded version of the tune was introduced in the early 1980s accompanied by a new title sequence opening with a view of the Earth eclipsing the sun. The advent of computer- generated imagery saw a new opening title sequence appear in 1983 together with a more contemporary theme tune composed by Jeff Wayne, this lasted until the series ended in 1985. Wayne also composed a new theme tune for the opening and closing credits to the Results Service during its period as a standalone programme between 1985 and 1992.

In 1991, Tippett was hired to create the dinosaur effects for the Steven Spielberg blockbuster Jurassic Park using his go motion technique made famous in the film Dragonslayer. However, Dennis Muren and his CGI team at Industrial Light & Magic created animated test footage of a T. rex that Spielberg loved. When Tippett was told that Jurassic Park dinosaurs would be computer-generated, he was shocked, exclaiming "I've just become extinct" (a line Spielberg borrows and uses in the movie).2Shay, Don and Duncan, Jody. Ballantine Books 1993 "The Making of Jurassic Park" Softcover page 53, first paragraph Far from being extinct, Tippett evolved as stop-motion animation gave way to computer-generated imagery or CGI, and because of Tippett's background and understanding of animal movement and behavior, Spielberg kept Tippett on to supervise the animation on 50 dinosaur shots for Jurassic Park.

The 1990s saw major growth in the use of computer-generated imagery to enhance both animated sequences and live-action special effects, allowing elaborate computer-animated sequences to dominate both. This new form of animation soon dominated Hollywood special effects; the films Terminator 2: Judgment Day and Jurassic Park included Oscar-winning special effects sequences which made extensive use of CGI. After decades of existing as related-but-separate industries, the barrier between "animation" and "special effects" was shattered by the popularization of computerized special effects—to the point where computer enhancement of Hollywood feature films became second-nature and often went unnoticed. The Academy Award-winning Forrest Gump (1994) depended heavily on computerized special effects to create the illusion of Tom Hanks shaking hands with Presidents John F. Kennedy and Lyndon B. Johnson, and to make Gary Sinise convincingly appear to be a double amputee, winning a special-effects Oscar.

Price, p. 15 The clips were later used on a TV monitor in the 1976 science-fiction thriller Futureworld, about a futuristic theme park where androids are programmed to grant every guest’s wish. Catmull would later go on to form his own Computer Graphics Lab, later contacted by George Lucas of Lucasfilm to bring computer graphics into the entertainment field. The Graphics Group, one third of the computer division at Lucasfilm, was later purchased in 1986 by Apple Computer co-founder Steve Jobs, and it was renamed Pixar.Price, p. 7 Pixar produced the world's first computer-animated feature film, Toy Story, in 1995, and has since become the world's dominant animation studio, producing a string of immensely commercially and critically successful films.Price, p. 5 Catmull has won four Academy Awards for his technical feats and helped create some of the key computer-generated imagery software animators rely on today.

British rock band Dire Straits released their album Brothers in Arms in May, one of the first ever albums to be released on compact disc and the format's first million-seller. It went on to become the UK's best-selling album of the entire decade and remains one of the top ten best-selling albums of all time in the UK. Four singles were released from the album, including the UK number 4 hit and US number 1 "Money for Nothing", which referenced American music channel MTV and had a groundbreaking video featuring early computer-generated imagery. When a European version of MTV launched in 1987, it was the first video ever played on the channel. Jennifer Rush entered the top 75 in June with the power ballad "The Power of Love", which remained in the chart for months without entering the top 40.

The punchline of the commercial is Mustafa's non sequitur final statement: "I'm on a horse", delivered as the camera zooms out to reveal to the viewer that Mustafa is now sitting atop a horse. Allen and Kallman confirmed that the commercial was filmed in a single uninterrupted take requiring three days of shooting and numerous attempts to achieve a successful take. Minimal computer- generated imagery (CGI) was used, consisting of overlaying a separately shot artificial hand during the segment where diamonds flow from Mustafa's palm and the body wash rises through the pile of diamonds with a separately filmed shot of the hand. The remaining effects were practical and achieved on-set, including a crane lifting the bathroom set from above, a crew member dropping a pre-formed shirt over Mustafa's head from above, and a cart that carried Mustafa from the boat set onto the back of a horse.

Next year's Pong by Atari, Inc., with very simple two-dimensional graphics, was a huge success. Since the 1970s digital image processing and computer generated imagery, including early 3D wire-frame model animations, were occasionally used in commercials as well as for the representation of futuristic computer technology in big Hollywood productions (including Star Wars). Since 1974 the annual SIGGRAPH conventions have been organised to demonstrate current developments and new research in the field of computer graphics. 3D animation started to have more cultural impact during the 1980s, demonstrated for instance in the 1982 movie Tron and the music video for Money for Nothing (1985) by the Dire Straits. The concept even spawned a popular faux 3D-animated AI character: Max Headroom. During the 1990s 3D animation became more and more mainstream, especially in video games, and eventually had a big breakthrough in 1995 with Pixar's feature film hit Toy Story.

The Matrix trilogy (The Matrix, The Matrix Reloaded, and The Matrix Revolutions) used early Virtual Cinematography techniques to develop virtual "filming" of realistic computer-generated imagery. The result of John Gaeta and his crew at ESC Entertainment's work was the creation of photo-realistic CGI versions of the performers, sets, and actions. Their work was based on Paul Debevec et al.'s findings on the acquisition and subsequent simulation of the reflectance field over the human face acquired using the simplest of light stages in 2000. Famous scenes that would have been impossible or exceedingly time consuming to produce within the context of traditional cinematography include the burly brawl in The Matrix Reloaded (2003) where Neo fights up-to-100 Agent Smiths and the beginning of the final showdown in The Matrix Revolutions (2003), where Agent Smith's cheekbone gets punched in by NeoGeorge Borshukov, Presented at Imagina’04.

Mizuguchi worked for Japanese game publisher, Sega, from 1990 to 2003 and began his career – not on a game – but by designing arcade cabinets and an interactive 'ride' titled Megalopolis, combining then-embryonic 3D polygonal graphics and CGI (Computer-generated imagery) with the physical experience of Sega's hydraulic 'AS-1' motion simulator. He went on to develop the acclaimed racing simulator, Sega Rally Championship, which was influential in the racing space, inspiring future racing game franchises like Colin McRae Rally (another rally simulator) and the rally segments of Gran Turismo. After forming his own division within Sega, Sega AM Annex, he continued in the racing genre with Sega Rally Championship 2 and Sega Touring Car Championship. During one trip to Zurich in 1998, Mizuguchi witnessed a music festival in which he observed how people were moving toward the music and how the music, sounds, colors, and dancing would change accordingly.

Six companies dealt with the 1,700 visual effects shots, under the supervision of Pete Travers. The main studios were Sony Pictures Imageworks, with 300 shots that included the climactic Times Square sequence and all the proton beams, Moving Picture Company (MPC), with 250 shots that centered around the final battle which included Rowan's monster form, and Australian company Iloura, with 500 shots encompassing various ghosts. While the majority of the work involved computer-generated imagery, there was an attempt to use various practical effects akin to the original movies, with Travers explaining it was done "not to pay homage, but because it was the best way to achieve the effect." Stand-ins for the ghosts were created on the set for the actors to interact with, including actresses suspended by wires, drones as references for flying ghosts, a Slimer puppet and giant balloons for a Stay Puft Marshmallow Man parade balloon.

As a subtle in-joke, Dennis Muren (who had just finished working on Star Wars) put a small R2-D2 model onto the underside of the mothership. The model of the mothership is now on display in the Smithsonian Institution's Air and Space Museum Udvar-Hazy Annex at Washington Dulles Airport in Chantilly, Virginia. Since Close Encounters was filmed anamorphically and the visual effects sequences were shot on 70 mm film, which has greater resolution than the 35 mm film used for the rest of the production, so that when the miniature effects were combined with full-sized elements through an optical printer, the effects footage would still appear clear and sharp despite having lost a generation's worth of visual data. A test reel using computer-generated imagery was created for the UFOs, but Spielberg found it would be too expensive and ineffective since CGI was in its infancy in the mid-1970s.

While Allers decided to raise the camera in order to view the dancing couple from the overhead chandelier, Chapman decided to rotate the camera around Belle's skirt as the couple danced past it. Regarded as an example of "a pronounced use of height and of vertical movement in sets and settings, in virtual camera movement ... and in the actions of characters" by Epics, Spectacles and Blockbusters: A Hollywood History author Sheldon Hall, Beauty and the Beast was one of the first feature-length animated films to use computer-generated imagery, which is prominently exhibited throughout the film's "elaborate" ballroom sequence. Light Science: Physics and the Visual Arts author Thomas D. Rossing believes that the filmmakers aimed to achieve "a moving perspective that would follow the dancers around the room, giving visual expression to the soaring emotions of the scene". CGI supervisor Jim Hillin was hired by Hahn to oversee the design of the scene's graphics.

Zeman's use of unorthodox and seamless production techniques ensured that the film was free of jerky stop-motion sequences and grainy splicing of stop-motion with real-time footage that characterised Hollywood's animated films until the advent of computer- generated imagery. Filming took place on the Morava river near Bzenec town in the Czech Republic at the nature reserve named (in Czech) Osypané břehy and on studio sets. Zeman was heavily influenced by the palaeo-art of the celebrated Czech artist Zdeněk Burian (1905-1981), and much of the film's imagery was inspired by Burian reconstructions that had been painted under the guidance of Czech palaeontologist Josef Augusta (1903-1968). In some scenes, 2-D 'profile' images of animals originally depicted by Burian were filmed in real time (as in the Styracosaurus sequences), whilst other well-known Burian scenes were recreated in stop-motion using a combination of 2-D and 3-D models (as in the Deinotherium and Uintatherium sequences).

An example of normal mapping used to add detail to a low poly (500 triangle) mesh A combination of the game engine or rendering method and the computer being used defines the polygon budget; the number of polygons which can appear in a scene and still be rendered at an acceptable frame rate. Therefore, the use of low poly meshes are mostly confined to computer games and other software a user must manipulate 3D objects in real time because processing power is limited to that of a typical personal computer or games console and the frame rate must be high. Computer generated imagery, for example, for films or still images have a higher polygon budget because rendering does not need to be done in real-time, which requires higher frame rates. In addition, computer processing power in these situations is typically less limited, often using a large network of computers or what is known as a render farm.

As tests for Draco were being done by the Creature Shop, Universal believed it would be better to wait as Industrial Light & Magic (ILM) were doing computer-generated imagery (CGI) tests for Jurassic Park that could potentially benefit Dragonheart. Additionally, according to Johnson, Universal saw the Creature Shop test footage as the pretext for the quality of the final film, and went behind his back trying to remove him from the project and give it to an A-list director since Johnson only had one film to his name at the time. Raffaella De Laurentiis tried to negotiate the budget to one the studio would accept at around $21 million but Universal wouldn't accept an amount lower than $23 million, and would ironically end up spending roughly triple the amount on the film. When Universal ended his contract, Johnson was only paid and given credit as executive producer and for writing the story.

Sea Monsters (full title Sea Monsters: A Walking with Dinosaurs Trilogy), marketed as Chased by Sea Monsters in the United States, is a 2003 three-part nature documentary television miniseries created by Impossible Pictures and produced by the BBC Natural History Unit, the Discovery Channel and ProSieben. Following in the footsteps of The Giant Claw (2002) and Land of Giants (2003), special episodes of the nature documentary series Walking with Dinosaurs, Sea Monsters stars British wildlife presenter Nigel Marven as a "time-travelling zoologist" who travels to seven different periods of time in prehistory, diving in the "seven deadliest seas of all time" and encountering and interacting with the prehistoric creatures who inhabit them. The series is narrated by Karen Hayley. As with previous documentaries in the Walking with... franchise, Sea Monsters recreated extinct animals through a combination of computer-generated imagery and animatronics, incorporated into live action footage shot at various locations.

The Legend of Korra was produced mainly as traditional animation, with most frames drawn on paper in South Korea by the animators at Studio Mir and scanned for digital processing. Each episode comprises about 15,000 drawings. The series makes occasional use of computer-generated imagery for complex scenes or objects, most noticeably in the animations of the pro-bending arena or the mecha-suits of the later seasons. While The Legend of Korra was produced in the United States and therefore not a work of Japanese animation ("anime") in the strict sense, The Escapist magazine argued that the series is so strongly influenced by anime that it would otherwise easily be classified as such: its protagonists (a superpowered heroine, her group of talented, supporting friends, a near-impervious villain who wants to reshape the world), its themes (family, friendship, romance, fear, and death) and the quality of its voice acting as well as the visual style are similar to those of leading anime series such as Fullmetal Alchemist: Brotherhood, Bleach or Trigun.

In 1994, the death of Disney President and Chief Operating Officer Frank Wells, and the departure of studio chairman Jeffrey Katzenberg to co- found DreamWorks, left Michael Eisner in full control of the company. At the turn of the century, films such as Atlantis: The Lost Empire, Treasure Planet, and Home on the Range failed to meet the critical and commercial expectations set by the 1990s phenomena, in spite of exceptions such as Lilo & Stitch and The Emperor's New Groove. At the same time, the high level of popular acclaim bestowed upon Toy Story, the first film animated entirely using computer- generated imagery (CGI), sparked an industry trend. Based on the commercial success of Pixar's computer-generated animated films and other CGI fare (especially DreamWorks' Shrek, which contained numerous jabs at Katzenberg's former workplace and boss), Disney came to believe that CGI was what the public wanted—so it ceased producing traditional two-dimensional animation after Home on the Range, and switched exclusively to CGI starting with 2005's Chicken Little.

This presentation used dance in combination with pre-recorded and real-time computer/video image processing to explore varying perceptions of time from both an American and Asian viewpoint. It was a performance that New York Times dance critic, Jennifer Dunning called one of the most successful integration of video imagery and modern dance. At the time, Mr. Rocco clarified, "The formal concerns of movement in dance could accentuate the effects of my equipment on the flow of time, providing a suitable format for the beauty and complexity of this subtle video processor". This performance was funded by a 1984 Inter-Arts Grant from The National Endowment for the Arts and the Sony Corporation, and may well have been the first live, on-stage application of computer generated imagery for dance. Other media projects in-residence at Canada’s Banff Center in Alberta, involved musician David Hykes, of The Harmonic Choir. Together they developed a computer assisted laser/video work, which generated kinetic cycles of visual phenomena from Mr. Hykes’s music.

This was inevitable due to the changing nature of cinematic styles that relied increasingly on location shooting and the reduced financial involvement of EMI in its own film productions, thus rendering a permanent production staff employed full-time at the facility redundant. Films shot at the facility over the next few years included the Agatha Christie mystery film Murder on the Orient Express (1974), directed by Sidney Lumet; Ken Russell's Valentino (1977; Stanley Kubrick's The Shining (1980); Fred Zinnemann's drama film Julia (1977); and most significantly for the studio's immediate survival through a deal brokered by Andrew Mitchell, George Lucas with Star Wars (1977). This led to subsequent Lucas productions such as the Star Wars sequels and Indiana Jones franchise being made at Elstree and also brought in directors Steven Spielberg and Jim Henson. This was the golden era of the construction picture, which essentially required large studio facilities to fulfill the filmmakers' vision, before computer-generated imagery technology and Elstree became synonymous with this kind of picture due to the success of the Star Wars and Indiana Jones films.

Politika The review penned by B92's Gavrilo Petrović was more of the same, extolling the film's "magical look that brings certain French blockbusters to mind" with "brilliant photography, grandiose sequences and costumes, opulent cinematography, mostly impeccable editing, and computer generated imagery that stands up to anything seen in other great-looking movies" while criticizing "the way dramaturgy takes a back seat to aggressive spectacle sometime into the film with two initially likeable heroines suddenly turning into detached fashion models while all that is required from the multitude of supporting actresses is to look good in slow-motion".b92.net NIN magazine's Saša Janković was very critical, calling the film "an example of Serbian megalomania" and adding that "its screenplay is incomplete while the direction is at times fairly arbitrary"."Čarlston - malo drame, mnogo reklame" :: Mondo On the other hand, the film got its most glowing review from Blics Milan Vlajčić, who called it "an extraordinary moment for new Serbian film". In between praises for the whole cast, Vlajčić especially notices director and writer Uroš Stojanović, "whose debut showed maturity in stylistic composition of a comedy that contains patterns of quite a few genres—from melodrama to fantasy".

More than a dozen years later, computer animated films at other studios, such as How to Train Your Dragon (DreamWorks, 2010) and Frozen (Disney, 2013) still did not credit a director of photography. Calahan said that on any kind of production, whether entirely made of computer-generated imagery, or a typical modern feature that is usually a hybrid of live action shots with large amounts of added CGI, or a pre-computer era movies shot entirely on film, the director of photography "sets the visual tone" and will "create and realize an artistic vision for the composition, lighting and look of the movie as a whole," meaning that there is little real difference between a traditional director of photography credit and the new labels that were tested during CGI's infancy, virtual cinematographer, director of imaging, or computer graphics director of photography. In a Pixar production, a team of about 30 to 65 lighting artists is overseen by the DP, whose lighting director guides master lighters, who both pre-light each scene and oversee shot lighters who light each shot individually. This takes place in constant collaboration with the layout department, and with teams doing concept art, storyboarding, and previsualization.

Code Lyoko is a French animated series featuring both conventional animation and computer-generated imagery, produced by Antefilms during the first season and MoonScoop during the second, in association with the France 3 television network and Canal J. Code Lyoko is about a group of four boarding school students enrolled at Kadic Junior High School, named Jeremie, Odd, Ulrich, and Yumi. The students try to help a virtual girl named Aelita leave the virtual world of Lyoko (found inside a supercomputer housed in the basement of an abandoned factory near their school), and enter the real world. A highly malevolent and rogue artificial intelligence (also referred to as a multi- agent system) named X.A.N.A., bent on world domination, has taken over the quantum supercomputer in charge of the virtual reality/world of Lyoko. If the group is able to get Aelita to the activated tower(s) out of the more than forty scattered about four of Lyoko's five tropical regions, she can neutralize Xana's violently destructive attack on the real world; then the supercomputer can reverse time to just before the attack, leaving no one except the group to remember any of the events that transpired.