![]() It was, however, the very first use of 3D computer graphics in Hollywood film. That was one of their early colleagues and competitors in computer graphics-animator Larry Cuba, on borrowed computing equipment at the University of Chicago. It was not in fact the Pixar team that made the very first computerized rendering of the Death Star. ![]() Especially after an unwelcome studio re-cut of the remake of his film-school thesis THX 1188, it was a vision to which Lucas enthusiastically aspired. Lucas sought to extend and amplify the power of the individual at filmmaking’s center, the director, with computing-much like the Force for a Jedi knight. When Lucas recruited its key members to Marin county in 1979-the lab’s director, Ed Catmull, along with Alvy Ray Smith, Tom Cunningham and others-it was, however, more for their expertise in digitally organizing the filmmaking process than in digitally rendering it. ![]() Pixar itself had begun as a small, eccentrically funded computer graphics lab at the New York Institute of Technology on Long Island, its founder’s seemingly far-off dream to make digitally animated movies. This vision relied on the ability of new technologies-computerized editing systems chief among them-to allow the filmmaker the same creative control on complex, high-budget projects that Lucas and Coppola had enjoyed as film students at USC. Lucas’s dream, together with his early mentor and collaborator Francis Ford Coppola, was of an independent artist-filmmaker, liberated from the dictates and follies of the market by a high-technology production environment.
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