Computer Science 39a : Schedule

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Legend for images in this document

(red) Reading assignment
(vcr) Movie shown
(doc) Handout
(net) Online document
(mac) Computer demonstration
(who) Student Presentation

The Schedule

1. (We 97-08-27) Usual teaching staff (Prof. Brian Barsky and Dan Garcia)
Introduction, student queries. We talked about enrollment issues, looked at the post-its from previous years and began a discussion of the reasons that made them work or not work.
(net)(vcr) "Storyboard Joe" by Pei-Yiing Amy Lee (supervisor / writer), Thomas Jordan, Dan Tieu, and Tony Maul
2. (Fr 97-08-29) Usual teaching staff
We discussed camera motions and keyframing within the Post-It assignment context and the traditional animation process.
(doc) 1. General Information
(doc) 2. HW #1 due 9/5 : Post-it animation and UNIX intro
(vcr) "The Tetra-Pak Story" by Pixar
3. (We 97-09-03) Usual teaching staff
We discussed the difference between camera dolly motion and zooming, what a scene and shot are in film contexts, depth-of-field, how to fake it using layers and blurring, compositing, and what people mean by saying things are "expensive".
4. (Fr 97-09-05) Usual teaching staff
We looked at student post-it animations, discussed the next assignment.
(doc) 3. HW #2 due 9/12 : Become familiar with UNIX and Emacs
(net) HW #2 due 9/12 online turnin form
(vcr) "Celmates - three Winnepeg animators (Brad Caslor, Cordell Barker and Richard Condie)."
(vcr) "The Cat Came Back", 1988 Oscar nominee by Cordell Barker
5. (We 97-09-10) Usual teaching staff
Differences between computer animation and traditional animation (what's easier to do in one domain and more difficult in the other). We discuss what it means to be computer animation - if a computer is used at any point in the process, is it computer animation?
(doc) 4. Disney Animation : The Illusion of Life
(vcr) "The Big Snit", 1985 Oscar nominee by Richard Condie
6. (Fr 97-09-12) Usual teaching staff
We discuss the previous and next assignment, see a SPAM demo, pass around an excellent storyboard by Denise Rees, and talk about linear interpolation.
(doc) 5. The Conventional Keyframe Animation Process
(net) HW #3 online due 9/19 : Create a home page and experiment with SPAM, a forward-kinematics application
(mac) SPAM demo
7. (We 97-09-17) Usual teaching staff
We choose what the morph order for next week's morph will be, see the Award-winning film "Hunger", and discuss it.
(vcr) "Hunger" by Marceli Wein, 1974 (mwein@WatCGL.UWaterloo.CA)
8. (Fr 97-09-19) Usual teaching staff
We see how to use the Morph program to do the next homework and see "Le paysagiste", a classic pinscreen movie.
(net) HW #4 online due 9/26 : Morph yourselves to each other
(mac) Morph 2.5 demo
(vcr) "Le Paysagiste: Mindscape (pinscreen movie)" by Jacques Drouin, 1976
9. (We 97-09-24) Usual teaching staff
We will have a crash-course in three dimensions, see how to draw an articulated figures and understand hierarchies. We discuss how to do the next assignment.
(net) HW #5 online due 10/1 : An articulated figure schematic
10. (Fr 97-09-26) Ralph Guggenheim, Producer
Ralph was the producer of Toy Story. His talk will be an overview of the making of Toy Story, discussing what it takes to make a feature animated film. Not just the computer graphics, which in itself is an important part of the process, but all the other elements that combined, make for an enjoyable and entertaining experience.
(doc) 6. Hierarchical Articulated Figure
(doc) 7. Hierarchical Articulated Figure Information (Excel Spreadsheet)
11. (We 97-10-01) Usual teaching staff
We talk about and demonstrate the basics of a 3D software program: Modeling, Hierarchies, Textures, Lighting, Animation using the example program Infini-D on the Macintosh.
(mac) Infini-D Demo
(net) HW #6 online due 10/8 : Create a 3-D articulated figure
12. (Fr 97-10-03) Usual teaching staff
We learn how to animate our articulated figure using the sequencer, create a movie, flatten it using MoviePlayer and transfer it online using Fetch. Then we see how to edit our homepage to include the movie.
(mac) Infini-D / MoviePlayer / Fetch Demo
13. (We 97-10-08) Usual teaching staff
We learn how to grab clip-objects and textures from the Infini-D CDROM, discuss what Rube Goldberg animations are, which is the next assignment. We see "Luxo, Jr." and comment on the sophisticated animation techniques in this ground-breaking film. HW due 10/15: Design a Rube Goldberg scene.
(mac) Infini-D Clip-objects and Clip-texture demo
(vcr) "Luxo, Jr." by Pixar
(vcr) "Rube Goldberg demo" showing The Even More Incredible Machine intro screen
14. (Fr 97-10-10) Saty Raghavachary (Dreamworks)
Saty is the technical lead (software development) for The Prince of Egypt at Dreamworks. This talk will present the use of custom 'Houdini' plugins for surface deformation. At DreamWorks Feature Animation we use these techniques in the 'Red Sea' sequence of our upcoming feature, 'The Prince of Egypt'. We will illustrate 5 or 6 plugins, discussing background principles, user interfaces and examples of each.
15. (We 97-10-15) Usual teaching staff
Students present their Rube Goldberg designs and we discuss the way to share modeling tasks (by writing the name of the model, the machine and the student's name on the white board in 111 cory) HW due 10/22: Model all your Rube Goldberg objects.
(who) Student Rube Goldberg design presentations
16. (Fr 97-10-17) John Berton, Jr. (ILM)
John Berton is a Computer Graphics Supervisor at Industrial Light and Magic. He has been involved in computer graphics for film and video for more than 15 years, including seven years at ILM. He has been involved in such projects as "Terminator 2 - Judgment Day," "Casper," and "Star Wars - The Special Edition." He recently supervised much of the digital visual effects work on "Men in Black." John will speak about the integration of photo-realistic computer graphics with live action film, with examples from some recent ILM projects.
17. (We 97-10-22) Usual teaching staff
We learn how to use Infini-D some more. We learn how to double-click on events and edit the details of an object, how to change the composition of a surface so that the back does not contain the same as a front (like in the earlier animations), how to edit a spline object and animate it over time, how to change lights and add more lights, why not to render in ray trace mode (but only use best and low anti-aliasing), how to change the display of the key-frame window, how to animate using splines (vs. linear key-frame interpolation), how to use the paths instead of just key frames, how to use the 'auto-banking' and reverse animation assistant, and we discussed the next assignment. HW due 10/29: Animate your Rube Goldberg animation
(mac) Infini-D tutorial continued.
18. (Fr 97-10-24) Eric Enderton (ILM)
Eric Enderton, a UC Berkeley alumnus, has created computer graphics software for Industrial Light & Magic since 1990, for such films as "Terminator 2 - Judgement Day", "Jurassic Park", and the upcoming "Flubber". This talk describes the major stages in the computer graphics pipeline for 3D synthetic creatures, using examples from recent films, and surveying three categories of techniques: manual, procedural, and data capture. We discuss what makes useful software.
19. (We 97-10-29) Usual teaching staff
Through consensus, we agree to push the due date of the final animations for the Rube Goldberg piece forward a week. HW due 11/5: Choose which paper interests you from "Making them Move" and think of a final project story
(red) Scan through "Making them Move" and choose a paper
20. (Fr 97-10-31) Laurence Arcadias (Kodak Imagination Works)
(see her Interactive Works) She shows her work, starting from animations she directed when she was in France to movies she did in the US. She explains how she started as a traditional animator, how she got involved in computers and now, why she is doing more interactive animation. She talks about different issues with the new technologies and how it may influence her work in the future.
(The Toilette Zone image)"TOILETTE-ZONE" - This is a short movie financed by A2 and C.N.C. (French National Center of Cinema.) I directed it, I created the characters and the story and animated some sequences mostly at the beginning and I produced it with my company Amorce films.
(The Donor Party Image)"THE DONOR PARTY" - This movie was done in Apple's Advanced Technology Group (ATG) with "Inkwell" and sponsored by "French Minister of Foreign Affairs". Only one picture was created for each character per scene; outlines for the characters were then animated and used to warp the characters for animation. So far this movie has been shown in SIGGRAPH 93, MONTREAL: IMAGES DU FUTUR, BERLIN INTERFILM FESTIVAL and ADELAIDE FESTIVAL in AUSTRALIA. LOW RES FILM FESTIVAL. HOTWIRED. Released by VOYAGER with the winners of the contest: "NEW VOICES NEW VISION"
(Tennis Racket)"TENNIS-RACKET" - It is the movie I first did at Apple with "Inkwell" which is an experimental 2.5-dimension animation program built in ATG Graphics Group.
(Bad Dog image)"SCREEN SAVERS" : "BAD DOG" - This is my work when I was in Berkeley Systems. I created and animated Chameleons and Bad Dog and worked with Dana Muise on Mike's House
(Offensive Chameleons Image)"SCREEN SAVERS" : "OFFENSIVE CHAMELEONS" - First loop I did for "Totally Twisted Screen Saver". It was judged too offensive by the management. Check on "Chameleons After Dark" files for final version.
(I love you image)"INTERACTIVE ANIMATION" : "I LOVE YOU": That was the fee to attend a Joe's Digital Dinner Event for Valentine Day: $10 or a Digital Valentine. It's interactive, just press any key on the Keyboard.
21. (We 97-11-05) Usual teaching staff
22. (Fr 97-11-07) Dan Wexler (PDI)
Dan shows the making of Simpsons 3D, created by PDI.
23. (We 97-11-12) Usual teaching staff
We see how to use Infini-D's modeler and illustrate how to both bend that object over time as well as morph one object into another.
(mac) Infini-D modeling tutorial.
24. (Fr 97-11-14) Ken Pearce (PDI)
Film production and software development make strange bedfellows.

The budgets, time pressures and work philosophies of feature film production are often incompatible with the conditions and concerns necessary for the development of reliable and efficient systems of software. Film production tends to inadvertantly encourage the rapid development of narrow, difficult-to-use, disposable solutions that often get re-written or re-invented with every project.

So what happens when your mission is to support the immediate project-specific demands of a computer-generated feature film while simultaneously satisfying long-term corporate demands for a reliable, reusable, extensible software infrastructure?

A snapshot of one evolving relationship between Hollywood and Silicon Valley.

25. (We 97-11-19) Usual teaching staff
We see how to composite our sounds together using Avid Videoshop and create a final sound movie. We learn how to paste this movie into a Quicktime movie using Movieplayer. Finally, we learn about the three typical lighting elements (key, fill and background) and how to implement these in Infini-D.
(mac) Avid Videoshop tutorial.
(mac) Movieplayer Paste vs. Add (option-v) tutorial.
(mac) Infini-D lighting tutorial.
26. (Fr 97-11-21) Jonas de Miranda Gomes (IMPA in Rio de Janeiro)
This is a basic, introductory talk that discusses the fundamentals behind the operations of warping of arbitrary graphical objects. We will illustrate the concepts describing a generic warping technique which uses direct specification.
27. (We 97-11-26) Usual teaching staff
We see how to use Infini-D 4.0, with its new interface and the sound channel.
(mac) Infini-D 4.0 tutorial.
28. (Fr 97-11-28) No class! Thanksgiving holiday. Gobble, gobble.
29. (We 97-12-03) Usual teaching staff

(who) Student "Making them Move" presentations
  • 1) Westley, Liz, John
  • 3) Corey, Ryan
  • 4) Young, Alving and Brian
  • 10) James Pine, Eugene
  • 11) Felix, Keren, Lei
  • 12) Greg, James Park, Sabrina
  • 15) HP, Cynthia
30. (Fr 97-12-05) Usual teaching staff
We will summarize the course, suggest ideas for students who want to do more with animation, and see the final animations.

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