Raptor DID. Photo by Matt Mechtley.

How Jurassic Park’s Dinosaur Input Device Bridged The Stop-Motion And CGI Worlds

In a double-blast from the past, [Ian Failes]’ 2018 interview with [Phil Tippett] and others who worked on Jurassic Park is a great look at how the dinosaurs in this 1993 blockbuster movie came to be. Originally conceived as stop-motion animatronics with some motion blurring applied using a method called go-motion, a large team of puppeteers was actively working to make turning the book into a movie when [Steven Spielberg] decided to go in a different direction after seeing a computer-generated Tyrannosaurus rex test made by Industrial Light and Magic (ILM).

Naturally, this left [Phil Tippett] and his crew rather flabbergasted, leading to a range of puppeteering-related extinction jokes. Of course, it was the early 90s, with computer-generated imagery (CGI) animators being still very scarce. This led to an interesting hybrid solution where [Tippett]’s team were put in charge of the dinosaur motion using a custom gadget called the Dinosaur Input Device (DID). This effectively was like a stop-motion puppet, but tricked out with motion capture sensors.

This way the puppeteers could provide motion data for the CG dinosaur using their stop-motion skills, albeit with the computer handling a lot of interpolation. Meanwhile ILM could handle the integration and sprucing up of the final result using their existing pool of artists. As a bridge between the old and new, DIDs provided the means for both puppeteers and CGI artists to cooperate, creating the first major CGI production that holds up to today.

Even if DIDs went the way of the non-avian dinosaurs, their legacy will forever leave their dino-sized footprints on the movie industry.

Thanks to [Aaron] for the tip.


Top image: Raptor DID. Photo by Matt Mechtley.

Digital Master Tapes Seek Deck

As a nerdy kid in the 90s, I spent a fair bit of time watching the computer-themed cartoon Reboot. During the course of making a documentary about the show, [Jacob Weldon] and [Raquel Lin] have uncovered the original digital master tapes of the show.

This is certainly exciting news for fans of the show, but there’s a bit of a wrinkle. These digital masters are all on D-1 digital cassette tapes which the studio doesn’t have a player for anymore. The dynamic duo are on the hunt for a Bosch BTS-D1 to be able to recapture some of this video for their own film while also heavily hinting to the studio that a new box set from the masters would be well-received.

As the first CGI TV series, Reboot has a special place in the evolution of entertainment, and while it was a technical marvel for its time, it was solid enough to last for four seasons and win numerous awards before meeting a cliffhanger ending. If you’re an expert in D-1 or have a deck to lend or sell, be sure to email the creators.

Feeling nostalgic for the electromechanical era? Why not check out some hidden lyrics on Digital Compact Cassettes (DCC) or encoding video to Digital Audio Tapes (DAT)?

[via Notebookcheck]

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Hackaday Links: December 25, 2022

Looks like it’s lights out on Mars for the InSight lander. The solar-powered lander’s last selfie, sent back in April, showed a thick layer of dust covering everything, including the large circular solar panels needed to power the craft. At the time, NASA warned that InSight would probably give up the ghost sometime before the end of the year, and it looks like InSight is sticking to that schedule. InSight sent back what might be its last picture recently, showing the SEIS seismic package deployed on the regolith alongside the failed HP3 “mole” experiment, which failed to burrow into the soil as planned. But one bad experiment does not a failed mission make — it was wildly successful at most everything it was sent there to do, including documenting the largest marsquake ever recorded. As it usually does, NASA has anthropomorphized InSight with bittersweet sentiments like “Don’t cry, I had a good life,” and we’re not quite sure how we feel about that. On the one hand, it kind of trivializes the engineering and scientific accomplishments of the mission, but then again, it seems to engage the public, so in the final rinse, it’s probably mostly harmless.

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Those Bullet Effects In Terminator 2 Weren’t CGI

Remember Terminator 2? Guns were nearly useless against the murderous T-1000, played by Robert Patrick. Bullets fired at the “liquid metal” robot resulted only in a chrome-looking bullet splash that momentarily staggered the killing machine. The effects were done by Stan Winston, who died in 2008, but a video and short blurb shared by the Stan Winston School of Character Arts revealed, to our surprise and delight, that the bullet impact effects were not CGI.

How was this accomplished? First of all, Winston and his team researched the correct “look” for the splash impacts by firing projectiles into mud and painstakingly working to duplicate the resulting shapes. These realistic-looking crater sculpts were then cast in some mixture of foam rubber, and given a chromed look by way of vacuum metallizing (also known as vacuum deposition) which is a way of depositing a thin layer of metal onto a surface. Vacuum deposition is similar to electroplating, but the process does not require the object being coated to have a conductive surface.

These foam rubber splash patterns — which look like metal but aren’t — were deployed using a simple mechanical system. A variety of splashes in different sizes get individually compressed into receptacles in a fiberglass chest plate. Covering each is a kind of trapdoor, each held closed by a single pin on a cable.

To trigger a bullet impact effect, a wireless remote control pulls a cable, which pulls its attached pin, and the compressed splash pattern blossoms forth in an instant, bursting through pre-scored fabric in the process. Sadly there are no photos of the device itself, but you can see it in action in the testing video shared by the Stan Winston School, embedded below.

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Obsessively Explaining The Visual Effects In Flight Of The Navigator

[Captain Disillusion] has earned a reputation on YouTube for debunking hoaxes and spreading a healthy sense of skepticism while having some of the highest production value on the platform and pretending to be some kind of inter-dimensional superhero. You’ve likely seen him give a careful explanation of how some viral video was faked alongside a generous dose of sarcastic humor and his own impressive visual effects. VFXcool is a series on his channel that takes deep dives into movies that are historically significant in the effects industry. For this installment, [Captain Disillusion]’s “intern”, [Alan], takes over to breakdown how filmmakers brought a futuristic spaceship to life in 1986’s Flight of the Navigator.

Making a movie requires hacks upon hacks, and that goes double in the era when the technology and techniques we now take for granted were being developed even as they were being put to film. The range of topics covered here is extreme: from full-scale props to models; from robotic motion control rigs to stop motion animation; from early computer graphics to the convoluted optical compositing that was necessary before digital workflows were possible. The tools themselves may be outdated, but understanding the history and the processes allows for a deeper insight into how we accomplish these kinds of effects today. And, really, it’s just so… cool.

[Captain Disillusion]’s previous VFXcool is all about the Back to the Future trilogy, and it’s a little shorter with more information on motion control rigs. We also love seeing how people make DIY effects in their own homes. LEGO actually seems like a pretty popular option for putting together whole scenes in amateur filmmaking.

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Hackaday Links: January 24, 2021

Code can be beautiful, and good code can be a work of art. As it so happens, artful code can also result in art, if you know what you’re doing. That’s the idea behind Programming Posters, a project that Michael Fields undertook to meld computer graphics with the code behind the images. It starts with a simple C program to generate an image. The program needs to be short enough to fit legibly into the sidebar of an A2 sheet, and as if that weren’t enough of a challenge, Michael constrained himself to the standard C libraries to generate his graphics. A second program formats the code and the image together and prints out a copy suitable for display. We found the combination of code and art beautiful, and the challenge intriguing.

It always warms our hearts when we get positive feedback from the hacker community when something we’ve written has helped advance a project or inspire a build. It’s not often, however, that we learn that Hackaday is required reading. Educators at the Magellan International School in Austin, Texas, recently reached out to Managing Editor Elliot Williams to let him know that all their middle school students are required to read Hackaday as part of their STEM training. Looks like the kids are paying attention to what they read, too, judging by KittyWumpus, their ongoing mechatronics/coding project that’s unbearably adorable. We’re honored to be included in their education, and everyone in the Hackaday community should humbled to realize that we’ve got an amazing platform for inspiring the next generation of hardware hackers.

Hackers seem to fall into two broad categories: those who have built a CNC router, and those who want to build one. For those in the latter camp, the roadblock to starting a CNC build is often “analysis paralysis” — with so many choices to make, it’s hard to know where to start. To ease that pain and get you closer to starting your build, Matt Ferraro has penned a great guide to planning a CNC router build. The encyclopedic guide covers everything from frame material choice to spindle selection and software options. If Matt has a bias toward any particular options it’s hard to find; he lists the pros and cons of everything so you can make up your own mind. Read it at your own risk, though; while it lowers one hurdle to starting a CNC build, it does nothing to address the next one: financing.

Like pretty much every conference last year and probably every one this year, the Open Hardware Summit is going to be virtual. But they’re still looking for speakers for the April conference, and just issued a Call for Proposals. We love it when we see people from the Hackaday community pop up as speakers at conferences like these, so if you’ve got something to say to the open hardware world, get a talk together. Proposals are due by February 11, so get moving.

And finally, everyone will no doubt recall the Boston Dynamics robots that made a splash a few weeks back with their dance floor moves. We loved the video, mainly for the incredible display of robotic agility and control but also for the choice of music. We suppose it was inevitable, though, that someone would object to the Boomer music and replace it with something else, like in the video below, which seems to sum up the feelings of those who dread our future dancing overlords. We regret the need to proffer a Tumblr link, but the Internet is a dark and wild place sometimes, and only the brave survive.

https://commiemartyrshighschool.tumblr.com/post/640760882224414720/i-fixed-the-audio-for-that-boston-dynamics-video

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Hackaday Links: December 13, 2020

Our Sun is getting a bit frisky these days, and has rewarded us with perhaps the best screensaver image ever taken. The incredibly detailed photo of a sunspot was actually taken back in January by the Daniel K. Inouye Solar Telescope, a 4-meter instrument with adaptive optics that can image the sun from the near-infrared to visible wavelengths and resolve surface details down to 20 km. The photo, with a distinct “Eye of Sauron” look, shows the massive convection cells surrounding the dark sunspot; an accompanying animation shows the movement of plasmas along the tortured lines of magnetic flux that cause the sunspot to form. It’s fascinating to watch, and even more interesting to mull over the technology that went into capturing it.

With the dustup surrounding the youtube-dl DCMA takedown by GitHub fresh on the open-source community’s minds, GitHub Universe 2020 had an interesting discussion about maintaining open-source software projects that’s worth watching. They focused on the challenges that youtube-dl maintainers face in keeping the tool working, and the impact their effort has on the people and groups that rely on them. To underscore that point, they featured a researcher with Human Rights Watch who depends on youtube-dl in her work, and made it quite clear that keeping up with all the API changes that constantly break open source tools like youtube-dl make the role of the maintainers that much more critical.

Speaking of GitHub, here’s a frightening and fascinating new tool: Depix, the password de-pixelizer. Developer Sipke Mellema noticed that his company often used pixelization to obscure passwords in documentation, and wondered if he could undo the process. He wrote up an article describing the pixelization process using a linear box filter and his method for attacking it, which involves generating a De Bruijn sequence in the same font, text size, and colors as the original document and feeding a screenshot of that and the pixellated password into the tool. We suspect it’ll only work for a subset of obfuscated passwords, but it’s still pretty clever.

‘Tis the season for Advent calendars, and the folks at QEMU have posted theirs. Open each of 24 doors on the calendar and you’re rewarded with a downloadable QEMU disk image that implements something fun. Minesweeper, a ray tracer that fits into a boot loader, and of course Conway’s Game of Life. The GW-BASIC image on Day 3 caught our eye — brings back some memories.

For anyone who has ever watched a Pixar film and wondered how all that animation actually works, here’s a great lesson in making art with math. The video is by Inigo Quilez and goes through the basics of rendering images using raymarching SDFs, or signed distance functions. In the beginning, it seemed like it was going to be a little bit like drawing an owl, but his descriptions of the math involved and how each element of the animation is just another formula is fascinating. What’s more, there’s a real-time rendering tool where you can inspect the code and edit it. Alas, my changes only made things worse, but it was still fun and instructive to play with. Check out the video after the break!

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