HWM (Singapore) - - Feature -



10 min an­i­mated line draw­ing of a hum­ming­bird with over 30,000 im­ages con­tain­ing 25 mo­tion se­quences gen­er­ated by com­puter.


Star Trek II: The Wrath of Khan

First use of frac­tal- gen­er­ated land­scape in a film. A 60 sec­ond se­quence show­ing the “Gen­e­sis ef­fect” was cre­ated by ILM. Real-time line draw­ing was used with tex­ture map com­posit­ing to il­lus­trate the ef­fect, and a new graph­ics tech­nique called “Par­ti­cle Sys­tems” de­vel­oped.

Part of the di­vi­sion that worked on the se­quence would later be­come Pixar An­i­ma­tion Stu­dios.



First ex­ten­sive use of 3D CGI in a movie. (15-20mins of CGI footage was shown.) The graph­ics were made on a com­puter with only 2MB of RAM and 330MB of stor­age.


Ter­mi­na­tor 2: Judg­ment Day

First real­is­tic hu­man move­ments on a CGI char­ac­ter. First par­tially com­puter-gen­er­ated main char­ac­ter and first block­buster move to fea­ture mul­ti­ple mor­ph­ing ef­fects. Also, first use of a per­sonal com­puter to cre­ate ma­jor movie 3D ef­fects.


Toy Story

First CGI fea­ture- length an­i­ma­tion. The film took three years to com­plete, al­most 30 artists to an­i­mate, and about 800 com­put­ers to work on.


The Ma­trix

First use of CG in­ter­po­la­tion in Bul­let Time ef­fects, where the ac­tors were sur­rounded by still cam­eras all tak­ing pic­tures in suc­ces­sion with a frac­tion of a sec­ond de­lay be­tween each shot. Each cam­era con­trib­uted just one frame to the video se­quence, and when put to­gether, the footage sim­u­lated a cam­era run­ning at 12,000 frames per sec­ond.


Fi­nal Fan­tasy: The Spir­its Within

First fea­ture- length dig­i­tal film to be made based on pho­to­re­al­ism and live-ac­tion prin­ci­ples. First the­atri­cally- re­leased film to uti­lize mo­tion cap­ture for all its ac­tors’ ac­tions.


The Lord of the Rings: The Two Tow­ers

First vir­tual ac­tor to win an award ( Crit­ics’ Choice Movie Awards by Andy Serkis play­ing Gol­lum), in the newly cre­ated cat­e­gory Best Dig­i­tal Act­ing Per­for­mance

2003 The Ma­trix Reloaded and Ma­trix Rev­o­lu­tions

First use of “Uni­ver­sal Cap­ture”, com­bin­ing mo­tion cap­ture, tex­ture cap­ture and op­ti­cal flow of pix­els from a 7 cam­era set- up, leading to the in­tro­duc­tion of real­is­tic dig­i­tal looka­likes.



12.5 mil­lion poly­gons, 34,215 tex­ture maps, 144,341 and over 20 Ter­abytes of stor­age were used for the pro­duc­tion of this live-ac­tion film, with ve­hi­cles and air­craft loaned from Gen­eral Mo­tors and the u.S mil­i­tary to add re­al­ism.



First full- length movie us­ing per­for­mance- cap­ture to cre­ate photo- real­is­tic 3D char­ac­ters in a fully CG 3D photo- real­is­tic world. Only 25- 40% of the film was tra­di­tional live- ac­tion, with the ef­fects tak­ing over a year to com­plete and a Petabyte (1000TB) of in­for­ma­tion to ren­der.


Mr Pe­abody & Sher­man

More than 800 mil­lion data files were cre­ated re­sult­ing in 200 Ter­abytes of stor­age.

118,000 in­di­vid­ual com­puter-gen­er­ated frames and 250 bil­lion pix­els used to cre­ate the 82- minute film.

70 mil­lion ren­der hours with the servers pro­cess­ing an aver­age of 500,000 ren­der jobs per day.

15 per­cent of the an­i­ma­tion was ren­dered us­ing the cloud.

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