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VisionArt
VisionArt Design & Animation was a motion picture and television visual effects company, founded in the 1980s by David Rose and Todd Hess. Though originally a small Orange County company working primarily on cable TV advertisements and flying logos, VisionArt moved to Santa Monica in 1992, winning its first major effects work with Star Trek: Deep Space Nine. The studio originated in Santa Ana, California, later moved to Santa Monica, California, where it spawned Santa Monica Studios, Santa Monica Pictures, and its VFX development arm, FutureLight. VisionArt closed in 2000, selling its assets to Digital Art Media.
The first CGI ship ever used in the Star Trek franchise was created by Dennis Blakey and Dorene Haver. It was a 3D computer model of the "Runabout" shuttle for Star Trek: The Next Generation. Previously, Star Trek had exclusively used physical models, which at the time were composited by Adam Howard and Steve Scott at Digital Magic. VisionArt's 3D model of the Runabout was primarily used for the stretching effect when it jumped to warp.
Dennis Blakey, who headed the initial development and effects work for the shape-shifting character Odo, brought VisionArt its first prime-time Emmy Award for the pilot and initial episodes. Beginning with season 1, episode 11 "Vortex," Odo morphs were animated by Ted Fay, with Blakey generating the intermediate blobular "goo" state of the shape-shifting character, and Dorene Haver providing the compositing. After Blakey's departure, Odo's "goo" was primarily animated by Carl Hooper and Daniel Kramer, with later Odo morphs animated by Richard Cook.
The USS Defiant was the first full-fledged starship in the Star Trek franchise to have a CGI model used in regular production. It was first built and animated by Daniel Kramer and Carl Hooper. The CGI Defiant was featured heavily in the Season 4 episode Starship Down, where it battled a CGI Jem'Hadar ship, designed by Robert Tom and built by Hooper, in a CGI gas giant's atmosphere. The probe in Starship Down was built by Vinh Le, with Ben Hawkins also providing animation. The gas giant atmosphere was created by Rob Bredow and Pete Shinners using Sparky, a proprietary particle system developed by VisionArt. A further contribution came in season five, with the addition of 3D model of the Jem'Hadar battle cruiser built by Tony Sansalone.
VisionArt won another Emmy Award for Best Individual Achievement in Effects for their work on Caretaker, the pilot episode of Star Trek: Voyager. Barry Safley created 3D animation for the episode's alien creature, which was revealed to have been hiding in the form of a young girl. Ted Fay animated the reveal, with compositing by Bethany Berndt-Shackelford.
VisionArt created a 3D Vulcan starship for Star Trek: First Contact. The craft was animated and built by a team led by Daniel Kramer and Carl Hooper, with textures by Robert Tom and composting by Bethany Berndt-Shackelford. The team included Todd Boyce, Rick Cook, Celine Jackson, Jeff Pierce, and others.
VisionArt pioneered the use of full-body human 3D animation for the pilot of Lois & Clark: The New Adventures of Superman for which Rob Bredow, Ted Fay, Carl Hooper, Daniel Kramer, and Pete Shinners, demonstrated the seamless morphing between a human actor and a photorealistic CGI model of the actor.
In 1993, Ted Fay created the first photorealistic talking dog for Northern Exposure, a technology that was further advanced for the film version of Dr. Dolittle. The talking dog was created for season 5, episode 12 entitled Mr. Sandman, which aired January 10, 1994. "The CBS hit series is known for its offbeat scripts and quirky guests, and next week's episode is no exception," observed E! News Daily's Bianca Ferrare, adding "The dog talking here in fluent French-Canadian is a figment of the character's imagination, but the process of giving the dog life is the brainstorm of animators at VisionArt" "Talking animals are nothing new, by 'Mr. Ed' this isn't," added Ferrare. "With 'Mr. Ed' you have the horse that you fed the peanut butter," noted animator Ted Fay, "which they did actually with the dog, but it wasn't at all convincing." "Recent CGI attempts, on the other hand, have offered the believability of being able to sync the mouth positions with dialogue, but at the expense of the photorealism." VisionArt had developed a reputation for "pushing the envelope" with CGI and morphing techniques, and the producers of Northern Exposure were "ecstatic" with the results. The 2D animation approach used a specially customized version of Elastic Reality, a morphing software that VisionArt had agreed to co-develop with ASDG in exchange for not developing their system in-house and having a site license in perpetuity, with a six-month exclusive on features contributed by VisionArt. Paul Miller, the lead developer for the Silicon Graphics version of Elastic Reality, provided Fay with new features on the afternoon that he requested them, allowing for rapid innovation of a first-of-a-kind approach on an episodic television schedule. Elastic Reality was later sold to Avid Technology.
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VisionArt
VisionArt Design & Animation was a motion picture and television visual effects company, founded in the 1980s by David Rose and Todd Hess. Though originally a small Orange County company working primarily on cable TV advertisements and flying logos, VisionArt moved to Santa Monica in 1992, winning its first major effects work with Star Trek: Deep Space Nine. The studio originated in Santa Ana, California, later moved to Santa Monica, California, where it spawned Santa Monica Studios, Santa Monica Pictures, and its VFX development arm, FutureLight. VisionArt closed in 2000, selling its assets to Digital Art Media.
The first CGI ship ever used in the Star Trek franchise was created by Dennis Blakey and Dorene Haver. It was a 3D computer model of the "Runabout" shuttle for Star Trek: The Next Generation. Previously, Star Trek had exclusively used physical models, which at the time were composited by Adam Howard and Steve Scott at Digital Magic. VisionArt's 3D model of the Runabout was primarily used for the stretching effect when it jumped to warp.
Dennis Blakey, who headed the initial development and effects work for the shape-shifting character Odo, brought VisionArt its first prime-time Emmy Award for the pilot and initial episodes. Beginning with season 1, episode 11 "Vortex," Odo morphs were animated by Ted Fay, with Blakey generating the intermediate blobular "goo" state of the shape-shifting character, and Dorene Haver providing the compositing. After Blakey's departure, Odo's "goo" was primarily animated by Carl Hooper and Daniel Kramer, with later Odo morphs animated by Richard Cook.
The USS Defiant was the first full-fledged starship in the Star Trek franchise to have a CGI model used in regular production. It was first built and animated by Daniel Kramer and Carl Hooper. The CGI Defiant was featured heavily in the Season 4 episode Starship Down, where it battled a CGI Jem'Hadar ship, designed by Robert Tom and built by Hooper, in a CGI gas giant's atmosphere. The probe in Starship Down was built by Vinh Le, with Ben Hawkins also providing animation. The gas giant atmosphere was created by Rob Bredow and Pete Shinners using Sparky, a proprietary particle system developed by VisionArt. A further contribution came in season five, with the addition of 3D model of the Jem'Hadar battle cruiser built by Tony Sansalone.
VisionArt won another Emmy Award for Best Individual Achievement in Effects for their work on Caretaker, the pilot episode of Star Trek: Voyager. Barry Safley created 3D animation for the episode's alien creature, which was revealed to have been hiding in the form of a young girl. Ted Fay animated the reveal, with compositing by Bethany Berndt-Shackelford.
VisionArt created a 3D Vulcan starship for Star Trek: First Contact. The craft was animated and built by a team led by Daniel Kramer and Carl Hooper, with textures by Robert Tom and composting by Bethany Berndt-Shackelford. The team included Todd Boyce, Rick Cook, Celine Jackson, Jeff Pierce, and others.
VisionArt pioneered the use of full-body human 3D animation for the pilot of Lois & Clark: The New Adventures of Superman for which Rob Bredow, Ted Fay, Carl Hooper, Daniel Kramer, and Pete Shinners, demonstrated the seamless morphing between a human actor and a photorealistic CGI model of the actor.
In 1993, Ted Fay created the first photorealistic talking dog for Northern Exposure, a technology that was further advanced for the film version of Dr. Dolittle. The talking dog was created for season 5, episode 12 entitled Mr. Sandman, which aired January 10, 1994. "The CBS hit series is known for its offbeat scripts and quirky guests, and next week's episode is no exception," observed E! News Daily's Bianca Ferrare, adding "The dog talking here in fluent French-Canadian is a figment of the character's imagination, but the process of giving the dog life is the brainstorm of animators at VisionArt" "Talking animals are nothing new, by 'Mr. Ed' this isn't," added Ferrare. "With 'Mr. Ed' you have the horse that you fed the peanut butter," noted animator Ted Fay, "which they did actually with the dog, but it wasn't at all convincing." "Recent CGI attempts, on the other hand, have offered the believability of being able to sync the mouth positions with dialogue, but at the expense of the photorealism." VisionArt had developed a reputation for "pushing the envelope" with CGI and morphing techniques, and the producers of Northern Exposure were "ecstatic" with the results. The 2D animation approach used a specially customized version of Elastic Reality, a morphing software that VisionArt had agreed to co-develop with ASDG in exchange for not developing their system in-house and having a site license in perpetuity, with a six-month exclusive on features contributed by VisionArt. Paul Miller, the lead developer for the Silicon Graphics version of Elastic Reality, provided Fay with new features on the afternoon that he requested them, allowing for rapid innovation of a first-of-a-kind approach on an episodic television schedule. Elastic Reality was later sold to Avid Technology.