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Image Future
Lev Manovich
The Lab for Cultural Analysis, CAL-IT2, at the University of California, San Diego; University of California, San Diego, Visual Arts Department, 9500 Gilman Drive MC 0084, La Jolla, CA 92093–0084, USA lev{at}manovich.net
Today the techniques of traditional animation, cinematography, and computer graphics are often used in combination to create new hybrid moving image forms. This article discusses this process using the example of a particularly intricate hybrid – the Universal Capture method used in the second and third films of The Matrixtrilogy. Rather than expecting that any of the present ‘pure’ forms will dominate the future of visual and moving image cultures, it is suggested that the future belongs to such hybrids.
Key Words: animation • cinematography • computer animation • computer graphics • motion capture • motion graphics • virtual cinematography
References
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- Borshukov, Georgi (2004) ‘Making of the Superpunch’, presentation at Imagina 2004, available at [ww.virtualcinematography.org/publications/acrobat/Superpunch.pdf].
- Borshukov, Georgi, Piponi, Dan, Larsen, Oystein, Lewis, J.P. and Tempelaar-Lietz, Christina (2003) ‘Universal Capture – Image-Based Facial Animation for "The Matrix Reloaded"’, SIGGRAPH 2003 Sketches and Applications Program, available at [http://www.virtualcinematography.org/publications/acrobat/UCap-s2003.pdf].
- Feeny, Catherine (2004) ‘"The Matrix" Revealed: An Interview with John Gaeta’, VFXPro, 9 May [www.uemedia.net/CPC/vfxpro/article_7062.shtml]
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Animation, Vol. 1, No. 1,
25-44 (2006)
DOI: 10.1177/1746847706065839
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[Abstract]
[PDF]
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