Maybe you never saw the 1982 movie TRON. Maybe you’d only ever seen the remake or maybe not even that because you heard that except for the Daft Punk sound track it wasn’t that good. But maybe you’ve stood inside the legendary TRON arcade game The Discs of TRON, the black light transforming you into a digital creature. Maybe you loved the sound of identity discs banking off glowing blue walls and maybe you felt your stomach fall as your avatar tumbled from the last reamining circular platform, derezzing into the microprocessor void, another victim fo the Master Control Program. Maybe when you finally saw the 1982 masterpiece its unique blend of computer generated images, blacklight animation, genre-defining production design, and live-action convincing abdolutely blew your mind. And maybe you knew in your meatworld bones that if you could ever venture inside TRON you’d absolutely rule at those lightcycles. Here’s an exploration of how the unique 1982 marvel was made, from The Guardian:
Tron’s distinctive glowing circuitry was achieved through a technique called backlight animation, which involves making a negative of each frame and hand-painting the glowing areas. There were 75,000 frames to do; more than half a million pieces of artwork. Nobody knew how it would come together until the last minute, and reshoots were virtually impossible.
Tron’s CGI elements were an entirely separate process. Computer graphics had been used in movies before Tron, but only in brief snippets. In 1973’s Westworld there is a clip of a robot’s-eye pixellated view, for example. Star Wars and Alien both feature 3D wireframe graphics projected on screens. Only a few companies could produce such images, each of which had their own room-sized computer and their own custom-built software. The process was still cumbersome. “We had to figure out how to position and render objects 24 times to make one second of perceived movement on the screen,” says Bill Kroyer, Tron’s head of computer animation. Tron’s animators had to map out the CGI scenes on graph paper, then calculate the coordinates and angles for each element in each frame. Computer engineers would then input all the numbers manually. And there was no way of seeing the results until the images were printed on to 35mm film and projected in the theatre.
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