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In 1967, the world of computer graphics and animation witnessed a significant breakthrough with the creation of "The Stick Man," a pioneering project developed by Lee Harrison III.
This project marked the first use of motion capture, also known as digital puppetry, and real-time computer graphics, setting a foundational milestone in the evolution of digital animation and visual effects.
Lee Harrison, working out of his attic lab in Blue Bell, Pennsylvania, developed the "Animac" system. This innovative system allowed for the real-time manipulation and performance of digital figures, a concept that was groundbreaking at the time.
The Animac system used potentiometers linked in a tree structure, a concept later known as "parenting," to control the line segments that represented the stick figure. These controls were attached to a harness, enabling a person's movements to be reflected in real-time on the screen. This method was a precursor to modern motion capture techniques, providing a crude yet effective way to animate based on human movement.
The essence of digital puppetry lies in the manipulation and performance of digitally animated figures in a virtual environment, rendered in real-time by computers. In "The Stick Man," this was achieved by filming the real-time output from the Animac system onto 16mm film.
This early form of motion capture provided a dynamic way to create animations based on human movement, demonstrating the potential of computers to create and manipulate animated sequences live.
The significance of "The Stick Man" extends beyond its immediate impact. It laid the groundwork for more sophisticated motion capture systems that emerged in the 1980s and 1990s.
For example, the 1981 film 'Adam Powers, The Juggler' utilized advanced computer graphics techniques to achieve more realistic animations.
The principles established by Harrison's Animac system have influenced a wide range of applications in entertainment and beyond. These techniques allow for the creation of lifelike digital characters and complex animations that were unimaginable in Harrison's time.
Today, digital puppetry and motion capture are integral to filmmaking, television production, interactive theme park attractions, and live theater.