Tampilkan postingan dengan label History. Tampilkan semua postingan
Tampilkan postingan dengan label History. Tampilkan semua postingan
Senin, 24 Oktober 2011
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Gblack
The history of Carrara started in 1989 when a group of individuals founded Ray Dream, Inc. with the idea of creating graphic software for the new Mac computers with color displays. Two years later the first version of their new 3D graphics program which they named Ray Dream Studio was released.
In the years that followed Ray Dream Studio became a successful product having at one time over 200,000 users. In 1996 Ray Dream Inc. was sold to Fractal Design Corporation (developer of Painter, Poser). Fractal Design Corporation was in turn acquired by MetaTools (developer of Bryce, KPT) shortly thereafter. The combination of the two companies was given the new name MetaCreations. Around the same time another 3D graphics program named Infini-D was acquired from Specular International. Now owning two 3D graphics programs, MetaCreations decided to merge Ray Dream and Infini-D into one application giving it the new name Carrara.
Around the year 2000 Metacreations divested itself of most of its products including Carrara, which was sold to a new company named Eovia founded by former MetaCreations employee Antoine Clappier. Eovia developed Carrara for several versions culminating with version 5 released in 2005. Eovia also developed a new 3D modeling application named Hexagon which shipped in 2005.
In 2006 DAZ 3D (developers of DAZ Studio and a line of articulated 3D figures) acquired Eovia along with Carrara and Hexagon. Several programmers formerly employed by Eovia now work for DAZ and continue development on Carrara.
May 2010 DAZ 3D launched the current version of Carrara 8.0 to the public. DAZ 3D works in an "Open Development" environment, releasing early and turning to the users for input and feature input. The last 2 releases of Carrara have been done using this development cycle.
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Blender was developed as an in-house application by the Dutch animation studio NeoGeo and Not a Number Technologies (NaN). It was primarily authored by Ton Roosendaal, who had previously written a ray tracer called Traces for Amiga in 1989. The name "Blender" was inspired by a song by Yello, from the album Baby.[3]
Roosendaal founded NaN in June 1998 to further develop and distribute the program. The program was initially distributed as shareware until NaN went bankrupt in 2002.
The creditors agreed to release Blender under the terms of the GNU General Public License, for a one-time payment of €100,000 (US$100,670 at the time). On July 18, 2002, a Blender funding campaign was started by Roosendaal in order to collect donations and on September 7, 2002 it was announced that enough funds had been collected and that the Blender source code would be released. Today, Blender is free, open-source software and is, apart from the two half-time employees and the two full-time employees of the Blender Institute, developed by the community.[4]
The Blender Foundation initially reserved the right to use dual licensing, so that, in addition to GNU GPL, Blender would have been available also under the "Blender License", which did not require disclosing source code but required payments to the Blender Foundation. However, this option was never exercised and was suspended indefinitely in 2005.[5] Currently, Blender is solely available under GNU GPL.
Minggu, 23 Oktober 2011
About 1966, several members of ASIFA-Hollywood (The Los Angeles branch of ASIFA, the International Animated Film Association) decided to put together an international animation program to be shown at theLos Angeles County Museum of Art. It was almost impossible to see quality animation in the US at that time. Prescott Wright became active with the group when he joined the American Film Institute in 1969 and, having worked previously in film distribution, he was asked to head the project when it was decided to show the program in other cities.
Under Wright's guidance, the program became known as the "International Tournée of Animation" and, by late 1970, he began to book the program at the San Francisco Museum of Modern Art, university campuses, and other cultural institutions around the US.
The animators were offered a generous contract as part of their agreement to enter their films in the Tournée. As producers, Wright and his associates received 50% of the gross, while the remaining 50% was split among the artists. About half of the money going to the animators was split evenly between each filmmaker and the remaining amount was split based the length of each short film. This meant that a very short film got slightly less one which was a minute or two longer.
Stop motion animation has a long history in film. It was often used to show objects moving as if by magic. The first instance of the stop motion technique can be credited to Albert E. Smith and J. Stuart Blackton for The Humpty Dumpty Circus (1897), in which a toy circus of acrobats and animals comes to life. In 1902, the film Fun in a Bakery Shop used the stop-trick technique in the "lightning sculpting" sequence. French trick film maestro Georges Méliès used true stop motion to produce moving title-card letters for one of his short films, but never exploited the process for any of his other films[dubious ]. The Haunted Hotel (1907) is another stop motion film by J. Stuart Blackton, and was a resounding success when released. Segundo de Chomón (1871–1929), from Spain, released El Hotel Eléctrico later that same year, and used similar techniques as the Blackton film. In 1908, A Sculptor's Welsh Rarebit Nightmare was released, as was The Sculptor's Nightmare, a film by Billy Bitzer. Italian animator Roméo Bossetti impressed audiences with his object animation tour-de-force, The Automatic Moving Company in 1912. The great European stop motion pioneer was Wladyslaw Starewicz (1892–1965), who animated The Beautiful Lukanida (1910), The Battle of the Stag Beetles (1910), The Ant and the Grasshopper (1911).
One of the earliest clay animation films was Modelling Extraordinary, which dazzled audiences in 1912. December 1916 brought the first of Willie Hopkins' 54 episodes of "Miracles in Mud" to the big screen. Also in December 1916, the first woman animator, Helena Smith Dayton, began experimenting with clay stop motion. She would release her first film in 1917, an adaptation of William Shakespeare's Romeo and Juliet.
In the turn of the century, there was another well known animator known as Willis O' Brien (known by others as O'bie). His work on The Lost World from 1925 is known, but he is most admired for his work on King Kong, a milestone of his films made possible by stop motion animation.
Main article: History of computer animation
One of the earliest steps in the history of computer animation was the 1973 movie Westworld, a science-fiction film about a society in which robots live and work among humans, though the first use of 3D Wireframe imagery was in its sequel, Futureworld (1976), which featured a computer-generated hand and face created by then University of Utah graduate students Edwin Catmull and Fred Parke.
Developments in CGI technologies are reported each year at SIGGRAPH, an annual conference on computer graphics and interactive techniques, attended each year by tens of thousands of computer professionals. Developers of computer games and 3D video cards strive to achieve the same visual quality on personal computers in real-time as is possible for CGI films and animation. With the rapid advancement of real-time rendering quality, artists began to use game engines to render non-interactive movies. This art form is called machinima.
The first feature-length computer animated film was the 1995 movie Toy Story by Pixar. It followed an adventure centered around some toys and their owners. The groundbreaking film was the first of many fully computer animated films.
Computer animation helped make blockbuster films such as Toy Story 3 (2010), Avatar (2009 film) (2009), and Shrek 2 (2004).
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