Computer Animation Industries - demo from 1972 

Exactly

There was still HEART here.

Its beautiful in everyway

My mom would’ve been 7 years old😭

Windows 11 might.... We just need to hope. LOL

Microsoft has always been sh*t

Around the 7 min mark actually reminds me of Windows Media Player visualizations from the early 2000s.

@@trashyraccoon2615 youre right! MICROSOFT IS A PILE OF SHIT

Screen savers where very popular in the 1990s but does anyone care about them now.

It's probably now 50

@@VTSGsRock over 50 now

Its sad actually. Decadism is the stealth destroyer of worlds. I love the 1970s 😢

the 80s is overrated, nobody talks about the 70s

Early to mid 80s tv shows and commercials used the exact same Graphics and computers as the 70/

Your perception of the 80s is just slightly off. This is totally 70s. I was there when this type of stuff of on TV, and it was the 70s.

The music in a lot of these are very 70s but i always assume that things are newer than they are i am young so i always assumed 80s tv looked like this nice its computer generated but very different from the stuff i grew up with in the 90s but 80s tv looked more similar to the 90s tv that i am used to.

1980's computer graphics were on another level. Hell, Pixar were around. In the 1970's it was 90% wireframe, mostly basic stuff.

I think it's something to do how this was digitalized? I honestly don't know! I'd love a comment explaining why these frames are there because it seems very interesting?

The "ready" is on the IBM disc drive. Big giant boxes with 1 foot diameter discs. The fast one-frame cuts were just to be interesting and let you know that some technology was behind it all. And, NO, much of this pre-dates "Scanimate".

@@jmitchhopper5091 3:36 it sounds like THX

The novelty of experimental tech wore off and fell into the thrall of the forgives-no-mistakes-and-demands-playing-it-safe stockholders, that's how.

Creativity died in lieu of profit like with almost everything else

@@LendriMujina All I gotta say to that is fuck a stockholder. They ruin everything.

I think the 1970s are the start of what i call the early digital age that ends around the year 2000 its kind of like a proto version of the look of the 80s and 90s so it all looks very weird so perfect for vaporwave.

@@belstar1128 yeah that’s about what I was thinking the crazy geometric patterns accompanied by someone going absolutely wild on a Moog synthesizer is my kind of aesthetic (tbf the 70’s always felt like a prototype of the 80’s as well in a way I can’t describe)

@@Null_Protogen i dont know how much you know about quads, but back then it was nearly impossible to do 1 frame edits accurately. They exposed film a frame at a time and they had much better control over exposure on film. They later transferred the film to quad. I have never come across any computer animation that was direct to video in the early 70s.

@@Null_Protogen then as you known scanmate was a direct to film process. They used film because scanmate displayed to a CRT that was a special design. They used film because they could control every single frame. Scanmate did not have standard frame rates at the time so it would have been impossible for a quad to record it. Quads are vert sensitive to input signals I restore/redesign Ampex quad machines now for a museum. I work on every machine from the 1000 to the ACR-25 Back in the day I worked in the NYC broadcast market for the longest on-air television station. I operated every machine Ampex made, later on, i worked in the largest post house on the east coast.

@@rty1955 Scanimate was not just direct-to-film, although it was used that way for a few productions. All of the Scanimate systems were also video-capable for output, equipped with a standard B&W 525-line NTSC "rescanning" video camera pointing at the special hi-res (945-line) CRT that the artwork was displayed on, fed by a 945-line video camera aimed at the artwork to be animated, usually a back-lit Kodalith transparency (with the hi-res CRT being manipulated by the Scanimate hardware), rescanning the image to make it compatible with standard NTSC video, with video colorization circuitry downstream from the rescanning camera's monochrome video output to provide color. Film cameras were used in place of the rescanning video camera, with any colorization being done optically in the film lab, for the few times the Scanimate was used for film work. The Scanimate could always do real-time 60-field/second video animations due to the analog nature of the system, via the rescanning camera installed. Now early digital CGI animation from the 70s (like CAI's animations shown here, I'd reckon) and 80s that was rendered digitally via computer (and not an analog system like Scanimate) was recorded to film a frame at a time in non-real time fashion (usually with a CRT-based film recorder connected to the computer's graphics hardware or frame buffer output), because computing power was quite a bit less than it is today; it took quite a bit of CPU time (minutes, sometimes hours depending on the resolution and number of polygons to be rendered in each frame) for the host computer to render each frame of the animation into a frame buffer to make it ready for display on a monitor or output to a CRT-based film recorder. Most film recorders were triggered by the host computer to take a frame of the graphics rendered, intervalometer-style, once the whole frame was rendered into the frame buffer's memory. Later CGI in the 80s and 90s used 1" Type C-format helical VTRs (and later digital VCRs like D1 and D2) to record the animation, that could accurately record 1 frame at a time, also triggered by the host computer & frame buffer, due to the helical nature of the video tracks recorded to tape. As you mentioned, the segmented transverse layout of the video tracks for 2" quad tape did make single-frame recording quite difficult for the format, requiring 15 separate segmented transverse tracks on a 2" quad tape to record & play back one field of video (in contrast to helical video recording's 1 diagonal track per field on the tape), as you probably already know, considering your expertise with working and restoring Ampex broadcast VTRs. Almost all of the Scanimate's works were direct to video for television post-production, especially those done at Image West, the former studio operated by Computer Image Corporation, the company that developed Scanimate (and later systems like CAESAR and VersEFX,). Dolphin Productions in NYC was also another studio in the 70s that had a Scanimate system used for video/television work. There are demo reels for both Image West and Dolphin Productions here on YT, and they're all video work they did for television, whether commercials, program intros, station IDs, or production company logos. The only Scanimate work I've seen myself that went direct to film is some of the animated lyrics displayed with the "Oompa-loompa" song during the scene with Veruca Salt in "Willy Wonka & the Chocolate Factory": ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-APj2ArUy6v4.htmlsi=wdZUiqP9c-8KLopT

I actually think those were mixed techniques: computer animation, scanimation, traditional animation mixed together - most of computer animations seems to be mostly math functions, remember at the time output was majority on the time on vector screens so supposedly they did photographies of the frame and put it together with traditional animation techniques, before TBC and single frame recorders

@@simonebernacchia5724 they could also be done a frame at s time as well, so not so much in real time. The displays had long persistence phosphors so the animation device would draw one frame and they recorded on film a frame at a time. We would get all our logos, movie intros & some bumpers from a film house. We would also get slides to be used at sign on & sign off for the news

@@Null_Protogen In the description it says, computer generated images recorded frame-by-frame to film. So a computer would generate thousands of images, and the film would capture each drawn image. Scanimates were real time animation recorded to video. Not computer generated. 100% analog.

1974? Damn. You're 30 years older than me!

@@user-yx3mx3xr6n A simple "Ok, Boomer" would have been enough but you had twist the knife while it's in the wound. Now i feel old. 😆

for my dad it's the same

I was -23

This is obviously done so to show the contrast between the natural and the artificial, between landscape and computer graphics. As an introduction.

In 1970s media they where really slow to get to the point i noticed.

Darude - Sandstorm

⁠@@felipefidelistobias1905Absolutely not! This is not Sandstorm by Darude! That song didn’t exist in 1972 (it was released in 1999)!

The instrumental of The white ship by Chad Michelle

​@@larrywhitneyThat is correct!

​@@felipefidelistobias1905You're wrong! The music that appears at 5:32 is a instrumental version of The White Ship by Chad Mitchell, released in 1969.

20 years before I was born, and also five years before one of my aunts was born, who is now a grandmother with a 7 year old granddaughter and 3 year old grandson. April 17, 2023 12:27 am

pretty sure this isn't supposed to be for tv

5 years for me.

In the middle, 20 years for me.

1963

The instrumental of The white ship by Chad Michelle

Scanimate

何

I got some early Pink Floyd vibes. And I know there were other bands with similar sound at the time, but I can barely name any. Would gladly learn about them.

I have found one similar song to that. Most likely, it's just an instrumental version of Chad Mitchell's "The White Ship".

@@2GWs Thanks mate. It's exactly this, Chads 1969 cover of H.P. Lovecraft's The White Ship (1967) from his album 'Chad'. I've hit a wall tracking down that groovy instrumental version though :(

It permanently closed its doors! 😔

You mean 2:26?

Es el logotipo de CAI

the ABC CBS and NBC are unused

I hope three bumpers from the computer animation industry might air

Why not?