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Revision as of 21:35, 11 April 2022 edit2603:7080:5d35:240b:30ad:ab67:7b9c:a97f (talk) It makes absolutely no sense for Netflix to have ever used Scanimate for a logo. Netflix didn't even have animated logos until the late 2010s, decades after the technology fell out of use. Unless proper citation can be given this claim seems totally absurd. The "Blame it on the Boogie" music video was also very clearly not done in Scanimate, as was pointed over a decade ago by another user!← Previous edit Latest revision as of 02:50, 14 December 2024 edit undoUpiniona (talk | contribs)3 edits →Music videos 
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{{Short description|Analog computer animation system}} {{Short description|Analog computer animation system}}
{{about|the computer animation system|the animation effect|Barrier grid animation and stereography}} {{about|the computer animation system|the animation effect|Barrier grid animation and stereography}}
{{Multiple issues|
'''Scanimate''' is an analog ] (]) system developed from the late 1960s to the 1980s by ] of ], ].
{{More citations needed|date=December 2023}}
{{No footnotes|date=December 2023}}
}}
'''Scanimate''' is an analog ] (]) system developed from the late 1960s to the 1980s by ] of ], ]. Its predecessor was Animac, which generated its images internally, unlike Scanimate which also included TV technology. Scanimate's successor was called Caesar, and used a digital computer to control the analog system.<ref></ref>


The 8 Scanimate systems were used to produce much of the ]-based animation seen on ] between most of the 1970s and early 1980s in commercials, promotions, and show openings. One of the major advantages the Scanimate system had over ]-based animation and computer animation was the ability to create animations in ]. The speed with which animation could be produced on the system because of this, as well as its range of possible effects, helped it to supersede film-based animation techniques for television graphics. By the mid-1980s, it was superseded by digital ], which produced sharper images and more sophisticated 3D imagery. The 8 Scanimate systems were used to produce much of the ]-based animation seen on ] between most of the 1970s and early 1980s in commercials, promotions, and show openings. One of the major advantages the Scanimate system had over ]-based animation and computer animation was the ability to create animations in ]. The speed with which animation could be produced on the system because of this, as well as its range of possible effects, helped it to supersede film-based animation techniques for television graphics. By the mid-1980s, it was superseded by digital ], which produced sharper images and more sophisticated 3D imagery.
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==How it works== ==How it works==
A special high-resolution (around 800 lines) monochrome camera records high-contrast artwork. The image is then displayed on a high-resolution screen. Unlike a normal monitor, its deflection signals are passed through a special analog computer that enables the operator to bend the image in a variety of ways. The image is then shot from the screen by either a film camera or a video camera. In the case of a video camera, this signal is then fed into a colorizer, a device that takes certain shades of grey and turns it into color as well as transparency. The idea behind this is that the output of the Scanimate itself is always monochrome. Another advantage of the colorizer is that it gives the operator the ability to continuously add layers of graphics. This makes possible the creation of very complex graphics. This is done by using two video recorders. The background is played by one recorder and then recorded by another one. This process is repeated for every layer. This requires very high-quality video recorders (such as both the ] ] or ]'s ] of Scanimate's era, the IVC-9000 being used quite frequently for Scanimate composition due to its very high generational quality between re-recordings). A special high-resolution (around 945 lines) monochrome camera records high-contrast artwork. The image is then displayed on a high-resolution screen. Unlike a normal monitor, its deflection signals are passed through a special analog computer that enables the operator to bend the image in a variety of ways. The image is then shot from the screen by either a film camera or a video camera. In the case of a video camera, this signal is then fed into a colorizer, a device that takes certain shades of grey and turns it into color as well as transparency. The idea behind this is that the output of the Scanimate itself is always monochrome. Another advantage of the colorizer is that it gives the operator the ability to continuously add layers of graphics. This makes possible the creation of very complex graphics. This is done by using two video recorders. The background is played by one recorder and then recorded by another one. This process is repeated for every layer. This requires very high-quality video recorders (such as both the ] ] or ]'s ] of Scanimate's era, the IVC-9000 being used quite frequently for Scanimate composition due to its very high generational quality between re-recordings).


==Scanimate today== ==Scanimate today==
Two of the Scanimates are still in use at ] in Asheville, NC. The original "Black Swan" R&D machine has been updated with more modern power supplies and can produce material in standard or 1080P high definition video. The "white Pearl" machine is the last one produced and is being kept in its original configuration for historical purposes by David Sieg at ZFx inc. The machines are installed in a working production environment with Grass Valley switchers, Kaleidoscope effects systems and Accom digital disk recorders for layering. Two of the Scanimates are still in use at ] in Asheville, NC. The original "Black Swan" R&D machine has been updated with more modern power supplies and can produce material in standard or 1080P high definition video. The "white Pearl" machine is the last one produced and is being kept in its original configuration for historical purposes by David Sieg at ZFx inc. The machines are installed in a working production environment with ] switchers, Kaleidoscope digital video effects systems and Accom digital disk recorders for layering.


==Use in TV and films== ==Use in television, music and films==


=== TV Programs/Movies === === Music videos ===
* ] by ]
* ] by ]
* ] by ]
* ] by ]
* ] by ]

=== TV programs/movies ===
*''Aerobicise'' (opening sequence) *''Aerobicise'' (opening sequence)
*] *]
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*'']'' and '']'' *'']'' and '']''
*'']'' (1979 opening sequence) *'']'' (1979 opening sequence)
*'']'' (1978-1981 opening sequence)
*'']'' *'']''
*'']'' season 5, episode 11, "]" *'']'' season 5, episode 11, "]"
*'']'' *'']''
*'']'' *'']''
*]'s "]" music video
*'']'' *'']''
*'']'' ("Sandy Frank Presents" opening animation) *'']'' ("Sandy Frank Presents" opening animation)
*'']'' *'']''
*] (1978)<ref>http://www.scanimate.com/article.html</ref>
*]'s "]" music video
*'']'' *'']''
*'']'' *'']''
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*] (ID's, 1974) *] (ID's, 1974)
*] *]
⚫ *'']''
*'']'' *'']''
*'']'' *'']''
⚫ * ]
*'']'' (tactical display in Death Star war room) *'']'' (tactical display in Death Star war room)
*''] (opening logo animation) *'']'' (opening logo animation)
*'']'' *'']''
*'']'' (Oompa Loompa musical numbers for Augustas Gloop and Veruca Salt) *'']'' (Oompa Loompa musical numbers for Augustas Gloop and Veruca Salt)
*'']'' (show's opening sequence) *'']'' (show's opening sequence)
*'']'' (Season 4, 1975) *'']'' (Season 4, 1975)
* ] (Network Theory and Social Analysis)

=== TV Channels/Home Video/TV Productors ===


=== TV channels/home video/TV productions ===
* ] (bumpers; 1986-2005)
* City 2/] (main ID 1980-1984) * ] (various idents and break bumpers)
* ] (break bumper, March 1, 1987 – October 30, 2005)
⚫ * ] (for its "Exploding Pizza" ID, 1975-1985)
* ] (main ID 1980–1984)
⚫ * ] (for its "Exploding Pizza" ID, 1975–1985)
* ] (only for its launch) * ] (only for its launch)
* ] (3D ID) * ] (3D ID)
* ] (for main IDs from 1976 to 1982) * ] (for main IDs from 1976 to 1982)
* ] (for its "Swirling Star" logo in 1979) * ] (for its "Swirling Star" logo in 1979)
* ] (May 1, 1975-June 30, 1976 Feature Presentation ID, May 1, 1975-September 19, 1982 Special ID) * ] (May 1, 1975 – June 30, 1976 Feature Presentation ID, May 1, 1975 – September 19, 1982 Special ID)
* IBC-13/] ID (IDs from 1978 to 1987) * IBC-13/] ID (IDs from 1978 to 1987)
* ] * ]
* ] (for their flashing marquee in their second "Let's All Be There!" promo/ident from 1985 to 1986, complimented with an ] graphical mainframe)
* ] (TV Production logo) * ] (TV Production logo)
* ]/] (1982-1986) * ]/] (1982–1986)
* ] (IDs from 1979 to 1986) * ] (IDs from 1979 to 1986)
* ]
* ] (main IDs from 1981 to 1988) * ] (main IDs from 1981 to 1988)
* ] (ID) * ] (ID)
* ] (1982-1985 ID) * ] (1982–1985 ID)
* ] (for its 1976-1985 Startup/Shutdown IDs and 1977 ''Le Cinéma du Dimanche Soir'' ID by Robert Abel and Associates) * ] (for its 1976–1985 Startup/Shutdown IDs and 1977 ''Le Cinéma du Dimanche Soir'' ID by Robert Abel and Associates)
* ] (for main IDs made from 1982 until 1988 and complemented with an Ampex AVA-1 machine) * ] (for main IDs made from 1982 until 1988 and complemented with an Ampex AVA-1 machine)
* ] (1987 ID and other idents)
* ] (for 1978 Neon Mickey logo) * ] (for 1978 Neon Mickey logo)
* ] (3D ID) * ] (3D ID)
* ] (for ''The WGN 8:00 Movie'' opening) * ] (for ''The WGN 8:00 Movie'' opening)
* ] (3D ID) * ] (3D ID)


==See also== ==See also==
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==References== ==References==
{{reflist}}
* Carlson, Wayne (2003). Section 12: Analog approaches, non-linear editing, and compositing (from ''A Critical History of Computer Graphics and Animation''). Retrieved March 13, 2004 from https://web.archive.org/web/20070328205521/http://accad.osu.edu/~waynec/history/lesson12.html * Carlson, Wayne (2003). Section 12: Analog approaches, non-linear editing, and compositing (from ''A Critical History of Computer Graphics and Animation''). Retrieved March 13, 2004 from https://web.archive.org/web/20070328205521/http://accad.osu.edu/~waynec/history/lesson12.html
* Sieg, David W. (2003). Scanimation in the Analog Days by David Sieg Retrieved June 23, 2017 from http://scanimate.com/article.html * Sieg, David W. (2003). Scanimation in the Analog Days by David Sieg Retrieved June 23, 2017 from http://scanimate.com/article.html
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] ]
] ]
]

Latest revision as of 02:50, 14 December 2024

Analog computer animation system This article is about the computer animation system. For the animation effect, see Barrier grid animation and stereography.
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Scanimate is an analog computer animation (video synthesizer) system developed from the late 1960s to the 1980s by Computer Image Corporation of Denver, Colorado. Its predecessor was Animac, which generated its images internally, unlike Scanimate which also included TV technology. Scanimate's successor was called Caesar, and used a digital computer to control the analog system.

The 8 Scanimate systems were used to produce much of the video-based animation seen on television between most of the 1970s and early 1980s in commercials, promotions, and show openings. One of the major advantages the Scanimate system had over film-based animation and computer animation was the ability to create animations in real time. The speed with which animation could be produced on the system because of this, as well as its range of possible effects, helped it to supersede film-based animation techniques for television graphics. By the mid-1980s, it was superseded by digital computer animation, which produced sharper images and more sophisticated 3D imagery.

Animations created on Scanimate and similar analog computer animation systems have a number of characteristic features that distinguish them from film-based animation: The motion is extremely fluid, using all 60 fields per second (in NTSC format video) or 50 fields (in PAL format video) rather than the 24 frames per second that film uses; the colors are much brighter and more saturated; and the images have a very "electronic" look that results from the direct manipulation of video signals through which the Scanimate produces the images.

How it works

A special high-resolution (around 945 lines) monochrome camera records high-contrast artwork. The image is then displayed on a high-resolution screen. Unlike a normal monitor, its deflection signals are passed through a special analog computer that enables the operator to bend the image in a variety of ways. The image is then shot from the screen by either a film camera or a video camera. In the case of a video camera, this signal is then fed into a colorizer, a device that takes certain shades of grey and turns it into color as well as transparency. The idea behind this is that the output of the Scanimate itself is always monochrome. Another advantage of the colorizer is that it gives the operator the ability to continuously add layers of graphics. This makes possible the creation of very complex graphics. This is done by using two video recorders. The background is played by one recorder and then recorded by another one. This process is repeated for every layer. This requires very high-quality video recorders (such as both the Ampex VR-2000 or IVC's IVC-9000 of Scanimate's era, the IVC-9000 being used quite frequently for Scanimate composition due to its very high generational quality between re-recordings).

Scanimate today

Two of the Scanimates are still in use at ZFx studios in Asheville, NC. The original "Black Swan" R&D machine has been updated with more modern power supplies and can produce material in standard or 1080P high definition video. The "white Pearl" machine is the last one produced and is being kept in its original configuration for historical purposes by David Sieg at ZFx inc. The machines are installed in a working production environment with Grass Valley switchers, Kaleidoscope digital video effects systems and Accom digital disk recorders for layering.

Use in television, music and films

Music videos

TV programs/movies

TV channels/home video/TV productions

See also

References

  1. Computers for Imagemaking
  2. http://www.scanimate.com/article.html

External links

Categories: