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Wilmington, North Carolina once had a thriving Black middle class and an elected interracial government. In 1898 white supremacists used violence to overthrow that government, kill Black residents and drive many others from the city.
MORE →Reflects the personal views, recollections, and perspective of the author, Mike Davis.
This is a personal recollection on the Move fire on May 13, 1985
| Digital Effects Inc. | |
|---|---|
| Industry | Computer animation |
| Founded | 1978 |
| Founder | Jeff Kleiser Judson Rosebush |
| Defunct | 1986 |
| Headquarters | |
Digital Effects Inc. was an early and innovative computer animation studio at 321 West 44th Street in New York City. It was the first computer graphics house in New York City when it opened in 1978, and operated until 1986. It was founded by Judson Rosebush, Jeff Kleiser, Don Leich, David Cox, Bob Hoffman, Jan Prins, and others. Many of the original group came from Syracuse University, where Rosebush taught computer graphics. Rosebush developed the animation software APL Visions and FORTRAN Visions. Kleiser later went on to found Kleiser-Walczak Construction Company, which experimented with creating synthespians and made the animation for Monsters of Grace.
The company's original animation system consisted of a Tektronix display with a 1200 baud modem connection to a remote Amdahl V6 in Bethesda, Maryland, with rendering done on an IBM System 370, recording on an Information International Inc. (III) film recorder in Los Angeles, and final processing and optical printing completed back in New York. The V6 ran APL, and could render at a rate of one polygon per second. The company later built one of the first frame buffers and video paint systems (the Video Palette), acquired a Harris mini-mainframe computer, and a Dicomed 35mm color film recorder.
Digital Effects was one of the first companies in the world to produce "flying logos" for television and advertising, but they aggressively and rapidly expanded their capabilities to include motion capture, form morphing, raster effects, and so forth. Among their early works were historic animated sequences of Times Square, commercials for Scientific American, and a set of MTV-style demonstration reels. But they are perhaps best remembered for their contribution to the 2D computer animation in the 1982 film Tron — among other things, they were responsible for creating the main title, and for the animation of the Bit, including one that accompanies Kevin Flynn in his reconstructed Recognizer.
The name of the company has entered the popular language as a noun which refers to visual effects which are both synthetic as well as image-altering and which occur in the realm of both 2D and 3D graphics and animation. Besides pure 3D computer modeling and animation, digital effects include scene-to-scene transition devices, deformations such as morphing, and color manipulation.
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Digital Effects Inc. was an early and innovative computer animation studio at 321 West 44th Street in New York City. It was the first computer graphics house in New York City when it opened in 1978, and operated until 1986. It was founded by Judson Rosebush, Jeff Kleiser, Don Leich, David Cox, Bob Hoffman, Jan Prins, and others. Many of the original group came from Syracuse University, where Rosebush taught computer graphics. Rosebush developed the animation software APL Visions and FORTRAN Visions. Kleiser later went on to found Kleiser-Walczak Construction Company, which experimented with creating synthespians and made the animation for Monsters of Grace. The company's original animation system consisted of a Tektronix display with a 1200 baud modem connection to a remote Amdahl V6 in Bethesda, Maryland, with rendering done on an IBM System 370, recording on an Information International Inc. (III) film recorder in Los Angeles, and final processing and optical printing completed back in New York. The V6 ran APL, and could render at a rate of one polygon per second. The company later built one of the first frame buffers and video paint systems (the Video Palette), acquired a Harris mini-mainframe computer, and a Dicomed 35mm color film recorder. Digital Effects was one of the first companies in the world to produce "flying logos" for television and advertising, but they aggressively and rapidly expanded their capabilities to include motion capture, form morphing, raster effects, and so forth. Among their early works were historic animated sequences of Times Square, commercials for Scientific American, and a set of MTV-style demonstration reels. But they are perhaps best remembered for their contribution to the 2D computer animation in the 1982 film Tron — among other things, they were responsible for creating the main title, and for the animation of the Bit, including one that accompanies Kevin Flynn in his reconstructed Recognizer. The name of the company has entered the popular language as a noun which refers to visual effects which are both synthetic as well as image-altering and which occur in the realm of both 2D and 3D graphics and animation. Besides pure 3D computer modeling and animation, digital effects include scene-to-scene transition devices, deformations such as morphing, and color manipulation.
An effects unit, effects processor, or effects pedal is an electronic device that alters the sound of a musical instrument or other audio source through audio signal processing. Common effects include distortion/overdrive, often used with electric guitar in electric blues and rock music; dynamic effects such as volume pedals and compressors, which affect loudness; filters such as wah-wah pedals and graphic equalizers, which modify frequency ranges; modulation effects such as chorus, flangers and phasers; pitch effects such as pitch shifters; and time effects such as reverb and delay, which create echoing sounds and emulate the sound of different spaces. Most modern effects use solid-state electronics or digital signal processors. Some effects, particularly older ones such as Leslie speakers and spring reverbs, use mechanical components or vacuum tubes. Effects are often used as stompboxes, typically placed on the floor and controlled with footswitches. They may also be built into guitar amplifiers, instruments (such as the Hammond B-3 organ), tabletop units designed for DJs and record producers, and rackmounts, and are widely used as audio plug-ins in such common formats as VST, AAX, and AU. Musicians, audio engineers, and record producers use effects units during live performances or in the studio, typically with electric guitar, bass guitar, electronic keyboard or electric piano. While effects are most frequently used with electric or electronic instruments, they can be used with any audio source, such as acoustic instruments, drums, and vocals.
Virtual Studio Technology (VST) is an open source audio plug-in software interface that integrates virtual instruments and effects units into digital audio workstations. VST and similar technologies use digital signal processing to simulate traditional recording studio hardware in software. Thousands of plugins exist, both commercial and freeware, and many audio applications support VST under license from its creator, Steinberg.
Nickelodeon Digital, often shortened to Nick Digital and originally known as Nickelodeon Creative Labs, is an American animation studio based in New York City which opened in 1994. It is a division of Nickelodeon Animation Studio. Nickelodeon Digital produces some of Nickelodeon's animated series and creates digital content and motion graphics for the Nickelodeon Group. The company's Burbank, California branch creates CGI and visual effects for Nickelodeon's animated series. Nick Digital has also worked on shows for other Viacom networks, including TV Land, Noggin, and Spike TV.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
MORE →Madam C.J. Walker
