IS 490
Computer Graphics
May 6, 1996
Table of Contents
How It Was
How It All Began
Times Were Changing6
Industry''''''''s First Attempts
The Second Wave10
How the Magic is Made11
Hollywood has gone digital, and the old ways of doing things are dying.
Animation and
special effects created with computers have been embraced by television
advertisers, and movie studios alike. Film editors, who for decades
worked by painstakingly
cutting and gluing film segments together, are now sitting in front of
computer screens.
There, they edit entire features while adding sound that is not only
stored digitally, but
also has been created and manipulated with computers. Viewers are
witnessing the results of
all this in the form of stories and experiences that they never dreamed
of before. Perhaps
the most surprising aspect of all this, however, is that the entire
digital effects and
animation industry is still in its infancy. The future looks bright.

How It Was
In the beginning, computer graphics were as cumbersome and as hard to
control as dinosaurs
must have been in their own time. Like dinosaurs, the hardware systems,
or muscles, of
early computer graphics were huge and ungainly. The machines often
filled entire buildings.

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Also like dinosaurs, the software programs or brains of computer
graphics were hopelessly
underdeveloped. Fortunately for the visual arts, the evolution of both
brains and brawn of
computer graphics did not take eons to develop. It has, instead, taken
only three decades
to move from science fiction to current technological trends. With
computers out of the
stone age, we have moved into the leading edge of the silicon era.

Imagine sitting at a
computer without any visual feedback on a monitor. There would be no
spreadsheets, no word
processors, not even simple games like solitaire. This is what it was
like in the early
days of computers. The only way to interact with a computer at that
time was through toggle
switches, flashing lights, punchcards, and Teletype printouts. How It
All Began
In 1962, all this began to change. In that year, Ivan Sutherland, a
Ph.D. student at (MIT),
created the science of computer graphics. For his dissertation, he
wrote a program called
Sketchpad that allowed him to draw lines of light directly on a cathode
ray tube (CRT). The
results were simple and primitive. They were a cube, a series of lines,
and groups of
geometric shapes. This offered an entirely new vision on how computers
could be used. In
1964, Sutherland teamed up with Dr. David Evans at the University of
Utah to develop the
world''''''''s first academic computer graphics department. Their goal was to
attract only the most
gifted students from across the country by creating a unique department
that combined hard
science with the creative arts. They new they were starting a brand new
industry and wanted
people who would be able to lead that industry out of its infancy. Out
of this unique mix of
science and art, a basic understanding of computer graphics began to
grow. Algorithms for
the creation of solid objects, their modeling, lighting, and shading
were developed. This
is the roots virtually every aspect of today''''''''s computer graphics
industry is based on.
Everything from desktop publishing to virtual reality find their
beginnings in the basic
research that came out of the University of Utah in the 60''''''''s and 70''''''''s.

During this time,
Evans and Sutherland also founded the first computer graphics company.

Aptly named Evans &
Sutherland (E&S), the company was established in 1968 and rolled out its
first computer
graphics systems in 1969. Up until this time, the only computers
available that could
create pictures were custom-designed for the military and prohibitively
expensive. E&S''''''''s
computer system could draw wireframe images extremely rapidly, and was
the first commercial
"workstation" created for computer-aided design (CAD). It found its
earliest customers in
both the automotive and aerospace industries. Times Were Changing
Throughout its early years, the University of Utah''''''''s Computer Science
Department was
generously supported by a series of research grants from the Department
of Defense. The
1970''''''''s, with its anti-war and anti-military protests, brought increasing
restriction to the
flows of academic grants, which had a direct impact on the Utah
department''''''''s ability to
carry out research. Fortunately, as the program wound down, Dr.

Alexander Schure, founder
and president of New York Institute of Technology (NYIT), stepped
forward with his dream of
creating computer-animated feature films. To accomplish this task,
Schure hired Edwin
Catmull, a University of Utah Ph.D., to head the NYIT computer graphics
lab and then
equipped the lab with the best computer graphics hardware available at
that time. When
completed, the lab boasted over $2 million worth of equipment. Many of
the staff came from
the University of Utah and were given free reign to develop both two-
and three-dimensional
computer graphics tools. Their goal was to