car@pte.UUCP (Chris Rende) (09/15/88)
The cover of the book "The Unix Operating System" by Kaare Christian features a scenic view of a lake and some mountains. The book describes picture as "a single frame of a one-minute sequence known as the _Genesis Effect_, which was created in 1982 for the motion picture _Star Trek II: The Wrath of Khan_". The book goes on to explain that the computer group at Lucasfilm used computer graphics to create the one-minute 1620 frame sequence. No artwork or physical models were used. And of course what operating system was used? UNIX. It took up to 5 hours and 50 programs to produce a single frame. car. -- Christopher A. Rende Multics,DTSS,Shortwave,Scanners,StarTrek uunet!edsews!rphroy!pte!car TRS-80 Model I: Buy Sell Trade Motorola VME 1131 M68020 System V Release 2 v2.2 Precise Technology & Electronics, Inc.
bdw@rwing.UUCP (Brian Wright) (09/19/88)
I thought they used matte paintings on that one. It sure looked good, from
what I saw!
--
Brian Wright
UUCP: {backbones}!uw-beaver!tikal!toybox!rwing!bdw
" "!camco!eskimo!bdw
"I'd buy that for a dollar!" --Robocopwtr@moss.ATT.COM (09/19/88)
In article <277@pte.UUCP> car@pte.UUCP (Chris Rende) writes: >The cover of the book "The Unix Operating System" by Kaare Christian features >a scenic view of a lake and some mountains. The book describes picture as >"a single frame of a one-minute sequence known as the _Genesis Effect_, which >was created in 1982 for the motion picture _Star Trek II: The Wrath of Khan_". >The book goes on to explain that the computer group at Lucasfilm used computer >graphics to create the one-minute 1620 frame sequence. No artwork or physical >models were used. > >Christopher A. Rende Multics,DTSS,Shortwave,Scanners,StarTrek is anyone familiar with a story that "got out" about a certain modification they had to do to the generation programs? [... as rumor has it ] the fly-by course was pre-plotted onto the world, but after a good portion of the scene was done, the folks at lucasfilm "looked up" to see that a rather large "hard" mountain was growing up in their path! solution: make a quick cut in the mountain to pass through! (yes, true environmental engineering! :-) i'll have to go back this week and look at my friends copy of ST-II and go over that scene again, this time looking for that canyon. until later, ===================================================================== Bill Rankin Bell Labs, Whippany NJ (201) 386-4154 (cornet 232) email address: ...![ att ulysses allegra ]!moss!wtr ...![ att akgua watmath ]!clyde!wtr =====================================================================
david@epicb.UUCP (David P. Cook) (09/19/88)
In article <277@pte.UUCP> car@pte.UUCP (Chris Rende) writes: >The cover of the book "The Unix Operating System" by Kaare Christian features >a scenic view of a lake and some mountains. The book describes picture as >"a single frame of a one-minute sequence known as the _Genesis Effect_, which >was created in 1982 for the motion picture _Star Trek II: The Wrath of Khan_". >The book goes on to explain that the computer group at Lucasfilm used computer >graphics to create the one-minute 1620 frame sequence. No artwork or physical >models were used. > >And of course what operating system was used? UNIX. It took up to 5 hours and >50 programs to produce a single frame. What's your point??? (Pro or Anti UNIX???) The system used to generate the Genesis Effect was a novel application of the original particle system developed by ILM/PIXAR... it is well described in Siggraph liturature. I doub't UNIX played any part of this footage except to shuttle stuff back and forth, and generally, to make the process longer than needed... Somehow, I think this was your point!!! The article describing the particle system is fantastic, and filled with lots of 'goodies'. Including the method they used by which they could go generate any frame of the genesis explosion... even though it was filled with millions of 'random' particles... they could say... go to frame 1:00:30 (in time) and the system would automatically generate the frame exactly... even though the frame was not stored in memory, but recalculated... incredible... and useful... -- | David P. Cook Net: uunet!epicb!david | | Truevision Inc. | "Specialization is for insects" | | Indianapolis, IN | -- Timothy Leary | -----------------------------------------------------------
tim@dretor.DRETOR.UUCP (Tim Pointing) (09/20/88)
In article <367@rwing.UUCP> bdw@rwing.UUCP (Brian Wright) writes: > >I thought they used matte paintings on that one. It sure looked good, from >what I saw! In fact, they did use "paintings" for the last portion of that scene. There was an "invisible" switch from CGI to HPI (human painted imagery) as the "camera" backed away from the Genesis planet. Another interesting note is that the CGI was originally done at quite a high resolution but that looked "too good". It was filtered to produce a lower-resolution image that "looked like it was computer generated." -- Tim Pointing, DCIEM {decvax|ihnp4|watmath}!utzoo!dciem!dretor!tim or uunet!mnetor!dciem!dretor!tim or tim%dretor@zorac.arpa
rfpfeifle@violet.waterloo.edu (Ron Pfeifle) (09/20/88)
In article <33421@clyde.ATT.COM> wtr@moss.UUCP (Bill Rankin) writes: >[... as rumor has it ] >the fly-by course was pre-plotted onto the world, but after a good >portion of the scene was done, the folks at lucasfilm "looked up" >to see that a rather large "hard" mountain was growing up in their >path! solution: make a quick cut in the mountain to pass through! There was somebody here from LF in 1982 who showed us some stills, and in the (one or two) frames where the eyepoint passes through the "split" in the mountain, a number of names are visible, "etched" onto the side of the cleft. Really!
tlhingan@unsvax.UUCP (The Human Barometer) (09/21/88)
david@epicb.UUCP (David P. Cook) says: | David P. Cook Net: uunet!epicb!david | | Truevision Inc. | "Specialization is for insects" | | Indianapolis, IN | -- Timothy Leary | ----------------------------------------------------------- Didn't Robert A Heinlein say that? You will curse the day you did not do all that the Phantom asked of you! ******************************************************** Eugene Tramaglino tlhingan@unsvax.uns.edu Box 71176 USS Mahagonny, NCC-1929 Las Vegas, NV 89170-1176 +1 702 731 4064 ********************************************************
ahoffman@skat.usc.edu (Alan M. Hoffman) (10/08/88)
An interesting sidebar to the "Genesis Effect" article is that all of those
funky "particle" sequences--the random "flames" and the wave effect--were
generated using fractical math.
Fractals, as you know, are the hot new computer technique that "randomly"
produces realistic-looking mountains, vegetation, coastlines, and
other real-world pictures.
The reason each frame takes so long is that EVERY POINT in the array need
to be calculated in relation to surrounding points, and then a ray traced
back to the "observer" which determines whether it can be seen, what color
it is, and what kind of surface it has. Last I heard, they were using a
version of the Cray 2 called an XMP, designed especially for graphics work,
to do the number crunching. The final image is printed on a film recorder.
Wish I could do that on my XT!
----------------------------------- OOO OOO OOOOO OOOOO ----------------
Alan M. Hoffman OOO OOO OOO OOO
ARPA: AHOFFMAN@skat.usc.edu OOO OOO OOO OOO "The Rose Bowl 1989!"
--------------------------------- OOOOOO OOOOO OOOOO ------------------dave@viper.Lynx.MN.Org (David Messer) (10/09/88)
In article <12672@oberon.USC.EDU> ahoffman@skat.usc.edu (Alan M. Hoffman) writes: >An interesting sidebar to the "Genesis Effect" article is that all of those >funky "particle" sequences--the random "flames" and the wave effect--were >generated using fractical math. Sorry, they were generated with a "particle system". This has nothing to do with fractals other than the fact that both use random numbers and can be used for "data-base enhancement." >Last I heard, they were using a >version of the Cray 2 called an XMP, designed especially for graphics work, >to do the number crunching. The XMP is a version of the Cray-1 not the -2. >Wish I could do that on my XT! What you need is the new Cray XMPC. :-) -- If you can't convince | David Messer - (dave@Lynx.MN.Org) them, confuse them. | Lynx Data Systems -- Harry S Truman | | amdahl --!bungia!viper!dave | hpda / Copyright 1988 David Messer -- All Rights Reserved This work may be freely copied. Any restrictions on redistribution of this work are prohibited.
loren@pixar.UUCP (Loren Carpenter) (10/10/88)
This message is in need of some commentary... In article <12672@oberon.USC.EDU> ahoffman@skat.usc.edu (Alan M. Hoffman) writes: >An interesting sidebar to the "Genesis Effect" article is that all of those >funky "particle" sequences--the random "flames" and the wave effect--were >generated using fractical math. The particle system effects (volcanoes & flames) didn't use any fractal math at all. They were, however, stochastically modelled (deterministically repeatable random processes). The fractal code was used on the mountains and the cooling/molten surface after the flame passed by. >Fractals, as you know, are the hot new computer technique that "randomly" >produces realistic-looking mountains, vegetation, coastlines, and >other real-world pictures. The "Genesis Demo" was computed in the Winter of 1981-1982. The fractal programs were an anti-aliased version of those I used in 1979 to make "Vol Libre". >The reason each frame takes so long is that EVERY POINT in the array need >to be calculated in relation to surrounding points, and then a ray traced >back to the "observer" which determines whether it can be seen, what color >it is, and what kind of surface it has. Last I heard, they were using a >version of the Cray 2 called an XMP, designed especially for graphics work, >to do the number crunching. The final image is printed on a film recorder. The frames took about 20-40 minutes each on a VAX 11/780 (with fpa). There was absolutely no "ray tracing" anywhere in there. Rendering was done with the A-buffer hidden surface method. Frames were computed at 512x480 32-bits (8 each rgb, plus 8 bits alpha matte). Completed frames (stars + flames, etc) were shot off a Barco monitor with a high quality 35mm movie camera. The director liked the "video" effect. Now we use a film recorder. We borrowed time on a couple of Cray XMP's to compute the character parts of "The Adventures of Andre and Wally B.". Neither we, nor Lucasfilm, have, or ever had, a Cray of any flavor. Not that we didn't want one. ;-) >Wish I could do that on my XT! You can. It might take a few hours per frame. All you need is a C compiler and a bunch of SIGGRAPH proceedings. That's how we did it. >----------------------------------- OOO OOO OOOOO OOOOO --------------- > Alan M. Hoffman OOO OOO OOO OOO > ARPA: AHOFFMAN@skat.usc.edu OOO OOO OOO OOO "The Rose Bowl 1989! >--------------------------------- OOOOOO OOOOO OOOOO ----------------- Loren Carpenter ...{ucbvax,sun}!pixar!loren
u-jmolse%sunset.utah.edu@utah-gr.UUCP (John M. Olsen) (10/10/88)
dave@viper.Lynx.MN.Org (David Messer) writes: <ahoffman@skat.usc.edu (Alan M. Hoffman) writes: < >An interesting sidebar to the "Genesis Effect" article is that all of those < >funky "particle" sequences--the random "flames" and the wave effect--were < >generated using fractical math. <Sorry, they were generated with a "particle system". This has <nothing to do with fractals other than the fact that both use <random numbers and can be used for "data-base enhancement." <[...] <Copyright 1988 David Messer -- All Rights Reserved <This work may be freely copied. Any restrictions on <redistribution of this work are prohibited. Well, if you define the life cycle of your particles recursively, then it could easily be classified as fractal. I don't think this is the case with the Genesis Effect, however. As a simple example, a particle can evolve into two similar child particles, which would work nicely for certain types of dynamic systems like flames and explosions, or static systems like plant branches. You just need to limit the number of generations to prevent pangalactic-sized particle systems. :^) Particle systems also usually rely heavily on random number generators, so most particle system fractals would tend to be random most of the time, like branches of a fruit tree instead of things like fern leaves. But I would have to agree with Dave that the Genesis Effect doesn't look like a fractal system. Neither is "white sand", a particle system picture of some desert grass that is on the cover of Geometric Modeling, by Michael E Mortenson. I don't know where the picture came from originally. /\/\ /| | /||| /\| | John M. Olsen, 1547 Jamestown Drive /\/\ \/\/ \|()|\|\_ |||.\/|/)@|\_ | Salt Lake City, UT 84121-2051 \/\/ /\/\ | u-jmolse%ug@cs.utah.edu or ...!utah-cs!utah-ug!u-jmolse /\/\ \/\/ "DUMP: Date of last level 0 dump: the epoch" -UN*X \/\/
loren@pixar.UUCP (Loren Carpenter) (10/11/88)
In article <2908@utah-gr.UUCP> u-jmolse%sunset.utah.edu.UUCP@utah-gr.UUCP (John M. Olsen) writes: >But I would have to agree with Dave that the Genesis Effect doesn't look >like a fractal system. Neither is "white sand", a particle system picture >of some desert grass that is on the cover of Geometric Modeling, by Michael >E Mortenson. I don't know where the picture came from originally. "White Sands" was made by Alvy Ray Smith at Lucasfilm in about 1983. I know, because I was looking over his shoulder. >/\/\ /| | /||| /\| | John M. Olsen, 1547 Jamestown Drive /\/\ >\/\/ \|()|\|\_ |||.\/|/)@|\_ | Salt Lake City, UT 84121-2051 \/\/ >/\/\ | u-jmolse%ug@cs.utah.edu or ...!utah-cs!utah-ug!u-jmolse /\/\ >\/\/ "DUMP: Date of last level 0 dump: the epoch" -UN*X \/\/ Loren Carpenter ...{ucbvax,sun}!pixar!loren
hjespersen@trillium.waterloo.edu (Hans Jespersen) (10/12/88)
In article <1486@viper.Lynx.MN.Org> dave@viper.Lynx.MN.Org (David Messer) writes: >In article <12672@oberon.USC.EDU> ahoffman@skat.usc.edu (Alan M. Hoffman) writes: > >An interesting sidebar to the "Genesis Effect" article is that all of those > >funky "particle" sequences--the random "flames" and the wave effect--were > >generated using fractical math. > >Sorry, they were generated with a "particle system". This has >nothing to do with fractals other than the fact that both use >random numbers and can be used for "data-base enhancement." The portion of "The Genesis Effect" that DOES include fractals is the landscape. It was (fractally) generated using triangular recursive subdivision. Loren Carpenter led the team that produced the computer generated portions in the movie. He is best known for his short fractal film "Vol Libre". ------------------------------------------------------------------------------ Hans Jespersen UUCP : attcan!{uunet|utgpu}!watmath!trillium!hjespersen University of Waterloo USENET : hjespersen@trillium.waterloo.edu Waterloo, Ontario VOICENET: (519)747-1721 MAILNET : 20 Dunbar St. N, Waterloo, Ont., N2L 2C7 ------------------------------------------------------------------------------
sch@tachyon.UUCP (Steve Holzworth) (10/14/88)
In article <2534@pixar.UUCP>, loren@pixar.UUCP (Loren Carpenter) writes: > This message is in need of some commentary... > ...miscellaneous about how it was REALLY done...> > > Loren Carpenter > ...{ucbvax,sun}!pixar!loren Thanks for clearing it all up Loren! I really wanted to comment that the sequence was shot off a monitor, particularly after some statements others made about film recorders, et. al. But, I knew I had no demonstrable proof, other than having heard about it while at Ikonas. (The knowledge to noise ratio of the net approaches the signal to noise ratio at times (low)). Now, can we move on? Sincerely, Steve Holzworth (former Ikonas Graphics Systems employee) rti!tachyon!sch
ksbooth@watcgl.waterloo.edu (Kelly Booth) (10/15/88)
In article <2537@pixar.UUCP> loren@pixar.UUCP (Loren Carpenter) writes: >In article <2908@utah-gr.UUCP> u-jmolse%sunset.utah.edu.UUCP@utah-gr.UUCP (John M. Olsen) writes: > >But I would have to agree with Dave that the Genesis Effect doesn't look > >like a fractal system. Neither is "white sand", a particle system picture > >of some desert grass that is on the cover of Geometric Modeling, by Michael > >E Mortenson. I don't know where the picture came from originally. > >"White Sands" was made by Alvy Ray Smith at Lucasfilm in about 1983. I know, >because I was looking over his shoulder. > > Loren Carpenter The paper "Plants, fractals, and formal languages" by A. R. Smith in the SIGGRAPH '84 proceedings (Computer Graphics, 18:3, July 1984, pp. 1-10) has a copy of "White Sands" on page 10. From the caption, it seems to be a "mixed media" work of fractals (or graftals) and particle systems. Read the paper for the complete story. Did you look inside the book for a credit? Most reputable authors request permission to use images and then cite the artist/scientist who created the images. The credit is probably there if you looked.