The Evolution of Computer Generated Images and Special Effects Design in the Jurassic Park Trilogy

Based on Michael Crichton’s unpublished novel, The Andromeda Strain, the awe-inspiring Jurassic Park trilogy (1993-2001) emerged from Steven Spielburg’s determination to make extinct characters come to life again. Early on in their careers, Crichton and Spielburg met at Universal Studios while working on Duel (1971) with ambitions to direct a film that would completely immerse their audience into a dinosaur-encompassing world. About five years later, Spielberg attempted to form a digital rendering for his film Close Encounters of the Third Kind (1977), but later concluded that “‘The technology wasn’t there yet\u27” (Mottram 20). Fast-forward to 1990, Spielburg was fixated on seeing real-looking dinosaurs on screen; prompting him to contact Phil Tippett, “the stop-motion animator famed for bringing to life numerous creatures from George Lucas’s original Star Wars trilogy” (Mottram 21) and special makeup effects expert, Stan Winston, “Hollywood’s leading expert in prosthetics, makeup, and creature effects. . .” (Mottram 22). Eager to win this position to work with Spielburg, Winston called in Mark “Crash” McCreely to create concept art for Jurassic Park (1993). Despite the work of the Tippett and Winston Studios, Steve “Spaz” Williams and Mark Dippé at Industrial Light & Magic (ILM) “had been refusing to take no for an answer. . . [and] were convinced that they had the capabilities to build a realistic digital dinosaur, and they set out to do just that” (Mottram 48). Among this race to create the most realistic dinosaurs from scratch, Tippett’s stop-motion production was dropped for ILM’s photorealistic digital rendering. Throughout the eight years of filming the Jurassic Park trilogy, both the special effects designs and computer-generated imagery became exponentially more convincing by the end of each film. The gradual transition from using mostly animatronics in Jurassic Park (1993) to intermixing scenes with CGI by the end of Jurassic Park III (2001), allowed time for the software to upgrade and become malleable to the needs of the directors and producers. Production designer, Rick Carter, also had an influence on the utilization of foreground and background film plates to recreate more difficult long shot (LS) scenes with CGI dinosaurs and real actors in the frame. To answer the question: “How has the evolution of Computer Generated Images (CGI) and Special Effects (SPFX) shaped the immersive reality of production design in the Jurassic Park trilogy? A historical analysis of the evolution of CGI and SPFX are provided alongside a ¼” model rendition of the scene in the first film, where a Brachiosaurus is grazing on exceedingly tall trees in front of the characters, Dr. Alan Grant, Dr, Ellie Sattler, and John Hammond. This scene reveals the early stages of combining SPFX and CGI when the software was still brand new. In comparison to its later films, ILM’s technology set forth techniques that would impact the future of special effects in film

Computing phonological generalization over real speech exemplars

Though it has attracted growing attention from phonologists and phoneticians Exemplar Theory (e g Bybee 2001) has hitherto lacked an explicit production model that can apply to speech signals An adequate model must be able to generalize but this presents the problem of how to generate an output that generalizes over a collection of unique variable-length signals Rather than resorting to a priori phonological units such as phones we adopt a dynamic programming approach using an optimization criterion that is sensitive to the frequency of similar subsequences within other exemplars the Phonological Exemplar-Based Learning System We show that PEBLS displays pattern-entrenchment behaviour central to Exemplar Theory s account of phonologization (C) 2010 Elsevier Ltd All rights reserve

Investigating the Design and Manufacture of PneuNet Actuators as a Prosthetic Tongue for Mimicking Human Deglutition

The number of Total Glossectomy cases in the United States is seeing an increasing trend as per the Nationwide Inpatient Sample Database. Patients, who have undergone such aggressive surgical procedures, have extensive limitations performing basic oral functions such as swallowing (deglutition), eating and speaking. Current rehabilitation prostheses do little in restoring the functionality of the original tongue. This is true especially in deglutition, which is necessary to transfer a bolus to the esophagus. Such patients need advanced prosthetic devices and through this research, investigations into potential solutions for prosthetic tongues to aid in deglutition were carried out. The process began with an extensive literature review that provided tongue position, motion, and pressure data during the swallowing stages. Several potential designs were considered such as using linkages and pneumatic networks (PneuNets). Based on a decision matrix, PneuNets were adopted as the foundational basis for generating prosthetic designs. Several prototypes were fabricated using Fused Filament Disposition for mold development and silicone Eco-flex 00-30 for actuator development. Each iteration involved tackling several design and manufacturing challenges especially when scaling these actuators from an initial experiment to an anatomical shape and size of a human tongue. A tongue of dimensions 1.8 inches wide, 2.4 inches long and 0.24 inches thick was developed. The PneuNet actuator was powered by a pneumatic system and kinematic data was collected using a tracking software. The data gathered provided validation comparisons between position trends exhibited in the literature. Theoretical deflection models were generated for analyzing the deflection of the front, middle and back sections of the tongue prototype. Details from literature review, design iterations, simulations, validation processes, research challenges and conclusions will be discussed in depth

An investigation into the construction of an animatronic model.

This thesis investigates the development of an animatronic robot with the objective of showing how modern animatronic models created as special effects have roots in models created during the scientific and mechanical revolution of the 17th and 18th centuries. It is noted that animatronic models that are available today have not been described in any great detail and most are covered by industrial secrecy. This project utilises technologies developed during the latter part of the 20th century and into the beginning of the 21st century to create the design of the animatronic robot. The objective of the project is to bring effective designs for animatronic robots into the public domain. The project will investigate a large variety of different mechanisms and apply them to various functioning parts of the model, with the design and method of each of these functions discussed. From this, one main part of the project, the jaw, will receive the focus of construction. Once the construction is complete this will be evaluated against what improvements and changes could be made for future iterations, with a revised design produced based on what has been learned

The eroticism of artificial flesh in Villiers de L'Isle Adam's L'Eve Future

Villiers de L'Isle Adam's 'L'Eve Future' published in 1886 features a fictional version of the inventor Thomas Edison who constructs a complex, custom-made android for Englishman Lord Ewald as a substitute for his unsatisfactory lover. Hadaly, the android, has a number of literary and cultural precursors and successors. Her most commonly accepted ancestor is Olympia in E. T. A. Hoffmann's 'The Sandman' (1816) and among her fascinating descendants are Oskar Kokoschka's 'Silent Woman'; Model Borghild, a sex doll designed by German technicians during World War II;‘Caracas' in Tommaso Landolfi's short story ‘Gogol's Wife' (1954); a variety of gynoids and golems from the realms of science fiction, including Ira Levin's 'Stepford Wives' (1972); and, most recently, that silicon masterpiece - the Real Doll. All, arguably, have their genesis in the classical myth of Pygmalion. This essay considers the tension between animation and stasis in relation to this myth, and explores the necrophiliac aesthetic implicit in Villiers's novel

MIRO: A robot “Mammal” with a biomimetic brain-based control system

We describe the design of a novel commercial biomimetic brain-based robot, MIRO, developed as a prototype robot companion. The MIRO robot is animal-like in several aspects of its appearance, however, it is also biomimetic in a more significant way, in that its control architecture mimics some of the key principles underlying the design of the mammalian brain as revealed by neuroscience. Specifically, MIRO builds on decades of previous work in developing robots with brain-based control systems using a layered control architecture alongside centralized mechanisms for integration and action selection. MIRO’s control system operates across three core processors, P1-P3, that mimic aspects of spinal cord, brainstem, and forebrain functionality respectively. Whilst designed as a versatile prototype for next generation companion robots, MIRO also provides developers and researchers with a new platform for investigating the potential advantages of brain-based control

Dragon Slayer Short Film Modeling and Rigging a Quadruped Dragon

This thesis is a look at the design and implementation of a quadrupedal dragon, as specified by the needs of the short film Dragonslayer. It looks at the modeling of the three dimensional creature from artistic and technical points of view. The dragon is a worldwide fantasy and cultural icon, and this thesis focuses on the creation of one grounded in the western fantasy of the middle ages. The western dragons have four legs, a pair of wings, horns, and a relatively stout body in comparison to the eastern dragons, which more closely resemble serpents and possess antlers instead of horns. The distinction of the dragon as being quadrupedal is significant, since many rigs or models in industry use a wyvern, bipedal dragon, model instead. A wyvern is a much simpler design and very closely resembles the actual anatomy of a bat. Because the quadrupedal dragon is a creature that does not exist or have comparable anatomy to any known animals on Earth, its anatomy was based on a combination of real animal physiology and some educated inferences to fill in any anatomical weaknesses. Since the dragon is such a recognized character from mythos, it is important that this dragon be an anatomically sound creature that does little to damage the suspended disbelief of a viewer. The dragon is also rigged to be versatile, machine efficient, and intuitively manipulated by an animator for use in film, video games, television, or even academic exercises

Perception and Hierarchical Dynamics

In this paper, we suggest that perception could be modeled by assuming that sensory input is generated by a hierarchy of attractors in a dynamic system. We describe a mathematical model which exploits the temporal structure of rapid sensory dynamics to track the slower trajectories of their underlying causes. This model establishes a proof of concept that slowly changing neuronal states can encode the trajectories of faster sensory signals. We link this hierarchical account to recent developments in the perception of human action; in particular artificial speech recognition. We argue that these hierarchical models of dynamical systems are a plausible starting point to develop robust recognition schemes, because they capture critical temporal dependencies induced by deep hierarchical structure. We conclude by suggesting that a fruitful computational neuroscience approach may emerge from modeling perception as non-autonomous recognition dynamics enslaved by autonomous hierarchical dynamics in the sensorium