Introduction - Computer Animation: Algorithms and Techniques - page 27

representations, making them amenable to a variety of digital postprocessing techniques. The first
digital blue screen matte extraction was in Willow (1988, ILM). The first digital wire removal was
in Howard the Duck (1986, ILM). In True Lies (1994, Digital Domain), digital techniques inserted
atmospheric distortion to show engine heat. In Forrest Gump (1994, ILM), computer graphics inser-
ted a ping-pong ball in a sequence showing an extremely fast action game, inserted a new character into
old film footage, and enabled the illusion of a double amputee as played by a completely able actor.
In Babe (1995, Rhythm & Hues), computer graphics were used to move the mouths of animals and fill
in the background uncovered by the movement. In Interview with a Vampire (1994, Digital Domain),
computer graphics were used to curl the hair of a woman during her transformation into a vampire.
In this case, some of the effect was created using three-dimensional graphics, which were then inte-
grated into the scene by two-dimensional techniques. More recently, The Matrix series ( The Matrix ,
1999; The Matrix Reloaded , 2003; The Matrix Revolutions , 2003, Groucho II Film Partnership)
popularized the use of a digital visual effect used to show characters dodging bullets—slow motion
was digitally enhanced to show unfilmable events such as a flying bullets.
A popular graphical technique for special effects is the use of particle systems. One of the earliest
examples is in Star Trek II: The Wrath of Khan (1982, Lucasfilm), in which a wall of fire sweeps over
the surface of a planet. Although by today's standards the wall of fire is not very convincing, it was an
important step in the use of computer graphics in movies. Particle systems are also used in Lawnmower
Man (1992, Angel Studios, Xaos), in which a character disintegrates into a swirl of small spheres. The
modeling of a comet's tail in the opening sequence of the television series Star Trek: Deep Space Nine
(1993, Paramount Television) is a more recent example of a particle system. In a much more ambitious
and effective application, Twister (1996, ILM) uses particle systems to simulate a tornado.
More challenging is the use of computer graphics to create realistic models of creatures with which
the audience is intimately familiar. Jurassic Park (1993, ILM) is the first example of a movie that
completely integrates computer graphics characters (dinosaurs) of which the audience has fairly
specific expectations. Of course, there is still some leeway here, because the audience does not have
precise knowledge of how dinosaurs look. Jumanji (1995, ILM) takes on the ultimate task of modeling
creatures for which the audience has precise expectations: various jungle animals. Most of the action is
fast and blurry, so the audience does not have time to dwell on the synthetic creatures visually, but the
result is very effective. To a lesser extent, Batman Returns (1995, PDI) does the same thing by pro-
viding “stunt doubles” of Batman in a few scenes. The scenes are quick and the stunt double is viewed
from a distance, but it was the first example of a full computer graphics stunt double in a movie. More
recently, the Spider Man movies (2002-present, Sony) make extensive use of synthetic stunt doubles.
Use of synthetic stunt doubles in film is now commonplace.
Computer graphics show much potential for managing the complexity in crowd scenes. PDI used
computer graphics to create large crowds in the Bud Bowl commercials of the mid 1980s. In feature
films, some of the well-known crowd scenes occur in the wildebeest scene in Lion King (1994, Disney),
the alien charge in Starship Troopers (1997, Tippet Studio), synthetic figures populating the deck of the
ship in Titanic (1998, ILM), and various crowds in the Star Wars films (1977-2005, Lucasfilm) and
The Lord of the Rings trilogy (2001-2003, New Line Cinema).
A holy grail of computer animation is to produce a synthetic human characters indistinguishable
from a real person. Early examples of animations using “synthetic actors” are Tony de Peltrie
(1985, P. Bergeron), Rendez-vous a` Montre´al (1988, D. Thalmann), Sextone for President (1989,
Kleiser-Walziac Construction Company), and Don't Touch Me (1989, Kleiser-Walziac Construction