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publication Dave swaddle say become Abu Sayyaf it was rather image West thank you for asking me I guess I really started at image West in about 1980 and I had been the chief engineer at the University Media Center in Mississippi and I was just kind of ready for the next big thing and I saw an advertisement in the trade journal war company in Hollywood is looking for a chief engineer they needed somebody that knew computers and that new video and at the time there were very few people that knew both so that's how I started working at image West image West Division system a place can mate keep MIT the federal images of this defense on energy capability Rosetta pave it gives it a difference Elizabeth - Paula Paula image image West had two scanner mates this is actually not one of them but it's one of the only two remaining see animates in the world that I'm aware of I have both of them it's an analog computer the advantage of an analog computer is that it can do animation in real time now your animator becomes an electronic engineer and uses these pets chords and all of those knobs to literally program a circuit that builds an animation that moves from keyframe to keyframe it's a very different experience even with today's modern digital computers they don't move quite fast enough when you turn a knob you kind of have to wait a little bit to see the response with disk animate it's instantaneous and then when you push the sequence button to go from the beginning to the end of your animation the whole thing happens in real time and so you end up putting a lot of layers on the videotape and you really have to design your animation very carefully it's a very different way of working set the filmic Americans run star wars episode cat Walker final hema to which it is a two stroke animator me come visit Oliveira two tremendous losses on this knife kills only possess or kill visibility CP assume Imola Logan's Run and star wars were both done before I came to work there but they were both done in a similar fashion the scanning mate has a CRT on which the image appears and that's photographed by another camera in the old days it was a video camera at NTSC resolution recently we've done a lot of work with High Definition where we shoot the CRT in high definition and it stands up really well but Logan's Run and Star Wars both the scenes were shot with a film camera looking at the CRT so we're kind of using some of the same techniques but High Definition in my opinion is a little better than film so ohmmeter circuit omekata Loserville omnibus beaucoup believers epic digital productions well john penny was president of omnibus and i already knew him and he called me so that was a pretty easy choice digital productions at the time had gotten some money from control data they were in the process of buying her a XMP it was just a very different way of working we were in the analog world and most of their people kind of looked down their noses at analog because they were pure digital and could do anything so it was a very very interesting time in terms of CGI the analog had the advantage that was fast it was that particularly still popular digital was painstakingly slow required the fastest computers you could get and still took forever to render so it didn't really make a lot of sense and frankly when you look at things like the first Tron and some of the CGI movies that they made with those early computers that were on the order of five and six million instructions per second it's amazing that that work Aleppo visit a vice-presidency development it have is one of the notorious super foonly f1 to gesticulate triple e f Califano tanto como esta travis rotten monster so omnibus his business plan was to set up these three facilities and john penny had made arrangements to buy the foonly f1 so-called supercomputer from circle I triple I had built it as I understand it there was a government program to build a optical character recognition system and they were gonna try to make this machine do that that contract fell through about the same time that John Whitney and Gary Deimos approached them about using their system in their computer to do computer graphics I have a picture of it and you'll see most of the expanse of grey is the f1 at least on the left hand side on the right hand side is an even older computer that was called a KA 10 I believe it is and that was the very first dec pdp-10 it was a 36 bit machine six million instructions per second computer which by today's standards is not even a I guess at 286 so it was a really really machine but at the time the only other machine we had was pdp-11 s and we had a VAX 11 780 which was one mill so this machine was six times faster it was complicated because we were still trying to figure out what all the f1 was what it could do how well it worked there were a lot of directories and files and information that had been built up over years and so he had to know whose directories to look in it was kind of strange in a way anyway omnibus built a facility at Paramount Studios that had the f1 had a vac 780 because we were also developing the UNIX based software which after the demise of omnibus went on to become a company or was bought by a company that became houdini which is still in business today Gregor manovich and Kim Davidson who were at omnibus them in Toronto Casa de vous avec des amis de santis to explore Elsa le explains divinsky Jackie autistic solution immediately pretty visit led a new component come on a fully-functioning are the rensky had worked at triple I on Tron he had digitized peter fonda space he had done looker where Cindy goes so art had a lot of experience with the f1 and knew a lot of shortcuts and tricks and ways to get things out of that machine that the rest of us didn't know because we hadn't grown up with it but we had a very very good team of people our door in ski was in charge of all the creative people Michiko Suzuki Doug McMillon Rick vallabha Jim raptly had worked with the f1 before and he helped me with a lot of the maintenance on that machine really move a differently it is a capacity of de Medici mash of cinema particular salmo Donnie's Anna Kotova lead disc utility panel colossi ho-ish a commercially together only more accurate internal question come on it is the traveiied of the technical decision the f1 was a very strange computer and very limited this space the disk drives were the size of washing machines and only held I think 47 megabytes and we had three of those and so it was all we could really do at film resolution to store the red/green/blue images for two frames and so the computer would calculate the frame and they would send it to the PFR 80 film recorder and it would begin printing that frame while the computer calculated the next frame and they took generally about the same amount of time for explorers they wanted a big fly over this landscape and of course it was all simple vector graphics by today's standards it was trivial but back then all the Z sorting of the information and perspective took a lot of time you gotta remember the f1 was only about a 5 min and it had very limited memory in fact the movie machine memory was a combination frame buffer that doubled as I think was 512 K of 36 bit words so it could store a lot but still 512 K that was considered a lot of memory in those days and the f1 itself the main memory was only 256 K so by adding the 512 K you could dump a picture into that and see it on a monitor which back in those days was even an amazing thing and then in addition to that it would use that memory when it was rendering so you would actually on the monitor for the mmm you would see all these pixels jumping around as the rendering process took place so it's kind of interesting to watch that but the Tran new software that was on the f1 didn't have anti-aliasing and so instead it calculated the picture at extremely high resolution of course by the day standards it's not that high it was like full K by 6 K but that was a higher resolution than the film recorder could image so essentially the film recorder became the anti-aliasing if you were lucky the amount of time it took to render a frame was about the same amount of that it took to print a frame onto pill and that can vary between two or three minutes and an hour a frame it didn't take that long to print at an hour a frame but then you're in in two other problems because the film recorder would drift that much in between frames and I can remember going in to watch dailies we would rent a projection room on the Paramount lot and we just have a run that had run for two or three days and it would be maybe 12 seconds so we would loop that the beginning back to the end and we'd get the projectionist to load that in the projector and it would just run and we could watch our 12 second scene over and over and I remember so vividly that even with the best projection and with the projection is taking extreme care every cycle through that projector it degraded a little bit and by the time we'd watched for maybe 10 or 15 minutes had all kinds of scratches and dirt and I remember thinking this is a terrible way to distribute content but that was filmed and that was the way it was done back then a paramour acousto thickness in managua was a us should be infinitely click do I put externally similar statistics products come over Sunday diversity one of the electricians for Paramount was hot-wiring something in a cabinet outside of the building and dropped his wrench across two of the power mains which melted the ranch and blew up half the power supplies in the f1 so we thought we had plenty of time to produce the final which was this long zoom and going through the circuit board and it all had to be one continuous thing it was like 40 seconds long something like that so back then that could take like two weeks of render time and so this wrench got dropped right in the middle of that production run and I can remember driving into work after snatching three or four hours of sleep I've been up three or four days straight and seeing a big billboard on the Hollywood Freeway that said coming next week explorers and I remember thinking well Revier you're lucky Penelope is on the flight of the navigator Josephine ma para poner fois love Johnny Masterson tears of Latinos even mortal dude with the vessel highest Kamali will fail on me love psychokinesis Bob Hoffman who had been at digital effects in New York had come to work for us and he had developed a reflection mapping scheme one of the things that was required in flight of the navigator would say one of this cloaking effect he had this scheme where it moved the normals of the reflective object until it basically showed you the background and when the ship was in front of a complicated background it worked really well it looked really cool but every time the ship was supposed to go into this cloaking mode it was in outer space so the only thing that could be reflected were stars which were just little pinpoints so the cloaking effect didn't work too well in outer space even though I was a cool effect when the ship was on earth we basically composited a lot of scenes from actual photography on locations so that we could build a spherical reflection man that's the way that reflections worked before we really were able to do ray tracing is that you had a spherical reflection map and so the Rays were calculated as they bounced stuff the object from the camera to lights or other things in the environment the ship itself was created as a plaster cast and then that was solved with a bandsaw and then we took those cross sections and digitized those on a tablet and then skinned all that together and did some spline smoothing I believe Doug McMillon and we had a French guy named Patrick Dewar and I believe that worked on those but we definitely ran out of computer power I know at one point we even worked a little bit with the san diego supercomputer center where they had a Cray and did some rendering there Sean on sushi o Meno sohcahtoa said Italian even Madhava took a year and even makhani soory know the deal are you dead on arrival Providence apparently devoted perspectiva so at any rate this was a Canadian company had New York Toronto and the Hollywood facility at Paramount Studios and along the way they decided to I think they got news that digital productions and the able were about to fold you know even in the modern day we look at Rhythm & Hues it's it's a very difficult business at a very difficult business model and it was even more difficult back then so the thought was if we had all the creative people they have it able and if we had the Cray supercomputer and the digital film printer and all the software we developed that omnibus that all of that would just meld together and be this big huge wonderful biggest thing on the planet and unfortunately he had three different design groups you had three different sales groups you had three different technical groups three different sets of software and it was just like mixing oil and water it didn't ever really work and that was the sad demise that became do a CCD specifically do WA locally today specifically opposite all the needles industry and only salt when on the bus went under it really was difficult for me I had just had my first daughter who at the time was I think 12 months old about a year old it was difficult for me I stayed home and my wife went to work she had worked for PBS station and I know a lot of people had a lot of difficult times as a result of omnibus going under well it's been a pleasure talking to you and I look forward to our next interview Metheny medieval thank you voila City Doku minimal decision interviews respective with the vapor Sisseton photos original Papa hey Missy de partager a video toodaloo issued to a Melissa locomotive wha Chuba da Noya liver polyp is our 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