From: Brian Weaver <briancom@u.washington.edu>
Subject: CULTURE: Lawnmowerman
Date: Sat, 11 Apr 1992 11:33:01 -0700 (PDT)


Dear folks;
	The current issue of the American Cinematographer (April 1992) has
an article on the movie.
	Highlights of the article are that the movie contains 20min of digital
based effects as well as other postproduction work.
	The movie used a number of companies in the production work that were
seeking "a showpiece". Companies enlisted were XAOS, inc. in SF, Angel Studios
in San Diego and The Gosney Company, Homer & Associates in LA.
	Mark Malmberg of XAOS reports that various software imagry
programs were created in-house as well as images generated from scratch with
live-action transferred from film to D-1 and then manipulated.
	There is no discussion of workstations used in the film.
	The same magazine has an article called "The Dawning of the Digital
Age" by Bob Fisher, that discusses the use of digital effects in
production and post-production as well as digital sound. Companies
discussed are: Boss Film, ILM, Ultimatte, Eastman Kodak, R/Greenberg &
Associates, Digital Productions, Apogee Productions, Rhythm & Hues, and
Pacific Title & Art.
	It's clear from the article that like Al Jolson in The Jazz Singer;
" You ain't seen nothin' yet!"
	Digital imaging is altering the movies as much or more than
the industry was altered in the '20's by the advent of sound.
	Further: It is clear that from now on the use of the photo and film as
evidence is over. 
	Example: That nice flying motorcycle with Arnold on board in T2 was 
done by the use of heavy cables. The cables were simply digitally painted
out in post-production. Investigation of the film itself does not reveal this.
	We could claim: It really did happen!
		
	
  							Aloha
						    Brian Weaver