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Essay / Research Paper Abstract
A 7 page research paper that argues that the computer-generated special effects and 3D animation of today is a definitive improvement over filmmaking of just a decade ago. This examination of computer graphics in film shows that this new and rapidly advancing field represents a giant-leap forward for cinema, both in the quality of the image and in safety. Bibliography lists 6 sources.
Page Count:
7 pages (~225 words per page)
File: D0_khcggood.rtf
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Unformatted sample text from the term paper:
stunt doubles, were sometimes risking their lives simply to provide a form of entertainment. Likewise, animated features, such as Disneys classic films, were being meticulously produced with talented artists drawing
them one frame at a time. Yet, despite this artistry and craftsmanship, these films were still "flat," that is 2-dimensionally and obviously "not real." In the last decade, advances in
computer graphics have rapidly replaced the "real" with computer-generated (CG) images. While occasionally one may run into a purist in cinematic literature who either bemoans the decline of hand-drawn animation
or considers stuntmen (and women) to be demigods, an examination of computer graphics in film shows that this new and rapidly advancing field represents a giant-leap forward for the cinema,
both in the quality of the image and in safety. At 2:30 am, director John Landis was shooting a segment of a movie, "Twilight Zone, the Movie," a cinematic
version of the popular 1960s TV series. The segment starred actor Vic Morrow in a scenario set in Vietnam, where his character was rescuing two Vietnamese orphans, played by 6-year-old
Renee Chen and 7-year-old Myca Dinh Le (Fretts 72). Tragedy struck when a special effects explosion caused a helicopter, which was also in the scene, to crash (Fretts
72). Morrow and the two children were killed instantly. While tighter safety precautions were immediately instituted by the film industry, today, the entire scenario would probably never occur as the
helicopter would be CGs into the scene after the principal photography had already captured the image of the actors. As this suggests, computer-generated special effects have become so detailed,
so "real," that the average viewer often cannot tell the difference between an actual set and one that has been constructed on within the virtual world of the computer. For
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