• Mar 31, 1945
    (b.) - ?

Bio/Description

A computer scientist and current President of Walt Disney Animation Studios and Pixar Animation Studios, he has contributed to many important developments in computer graphics. He was born in Parkersburg, West Virginia. Early in life, he found inspiration in Disney movies such as Peter Pan and Pinocchio and dreamed of becoming a feature film animator. He even made primitive animation using so-called flip-books. However, he assessed his chances realistically and decided that his talents lay elsewhere. Instead of pursuing a career in the movie industry, he used his talent in math and studied physics and computer science at the University of Utah. After graduating, he worked as a computer programmer at The Boeing Company in Seattle for a short period of time and also at the New York Institute of Technology, before returning to Utah to attend graduate school in the fall of 1970. Back at the university he became one of Ivan Sutherland's students and part of the university's ARPA program, sharing classes with Fred Parke, James H. Clark, John Warnock and Alan Kay. He saw Sutherland's computer drawing program Sketchpad, and the new field of computer graphics in general, as a major fundament in the future of animation. This combined his love for both technology and animation, and he decided to be a part of the revolution from the beginning. From that point, his main goal and ambition was to make a computer animated movie. During his time there he made two new fundamental computer graphics discoveries: texture mapping, and bicubic patches, and invented algorithms for spatial anti-aliasing and refining subdivision surfaces. He also independently discovered Z-buffering, even though it had already been described 8 months before, by Wolfgang Straßer in his PhD thesis. In 1972 he made his earliest contribution to the film industry; an animated version of his left hand which was eventually picked up by a Hollywood producer and incorporated in the 1976 movie Futureworld, the science fiction sequel to the film Westworld and the first film to use 3D computer graphics. The sequence, known simply as A Computer Animated Hand, was selected for preservation in the National Film Registry of the Library of Congress in December 2011. In 1974, he graduated again and was hired by a company called Applicon. However, by November the same year he had been contacted by the founder of New York Institute of Technology, Alexander Schure, Schure also had a great interest in animation, and was working on a project with an animated feature called Tubby the Tuba. Frustrated with the slow progress, he had been looking for tools that could help speed up the process, which turned out to be the computer graphic facilities at the University of Utah and offered him the position as the Director of the new Computer Graphics Lab at NYIT, an offer he couldn't refuse. In his new position, he formed a talented research group working with 2D animation, mostly focusing on tools who could assist the animators in their work. Among the inventions was a paint program simply called Paint which could be seen as an early version of Disney's CAPS, the commercial animation program Tween (used in the video called 3Measure for Measure2), inspired by an experimental computer animation system created by Nestor Burtnyk and Marcelli Wein, that automated the process of producing in-between frames, the animation program SoftCel and other software. He and his team eventually left 2D animation and started to concentrate on 3D computer graphics, moving into the field of motion picture production. By the end of the 70's, the Computer Graphics Lab was starting to struggle for several reasons and felt there was a lack of actual progress despite the technological development, but their efforts had attracted the attention of some big names in Hollywood. These were George Lucas at Lucasfilm and Francis Ford Coppola. Lucas approached him in 1979 and asked him to head up a group to bring computer graphics, video editing, and digital audio into the entertainment field. Lucas had already made a deal with a computer company called Triple-I, and asked them to create a digital model of an X-Wing fighter from Star Wars, which they did. Even if Lucas decided not to use it, it showed him the potential of CGI. He and Alvy Ray Smith felt Lucas was the right man to work for, and they knew that what Triple-I had done could be done better. Smith went to California for a meeting, that turned out to be a success, and the computer research team at NYIT now had the opportunity to work with computer animation in the movie industry. He was the first to leave, and in 1979 he became the Vice President at the computer graphics division at Lucasfilm. At Lucasfilm he helped develop digital image compositing technology used to combine multiple images in a convincing way. he became the Chief Technical Officer. At Pixar later, in 1986, when Steve Jobs bought Lucasfilm's digital division and founded Pixar. He was a key developer of the RenderMan rendering system used in films such as Toy Story and Finding Nemo. After Disney acquired Pixar in January 2006, Disney Chief Executive Bob Iger put him and John Lasseter in charge of reinvigorating the Disney animation studios in Burbank. According to a Los Angeles Times article, part of this effort was to allow directors more creative control as collaborators on their projects and to give them the creative freedom to use traditional animation techniques - a reversal of former CEO Michael Eisner's decision that Disney would do only digital animation. He thought was the wrong idea of how Pixar's films did well. In 1993, the Academy of Motion Picture Arts and Sciences presented Catmull with his first Academy Scientific and Technical Award, "for the development of PhotoRealistic RenderMan software which produces images used in motion pictures from 3D computer descriptions of shape and appearance." In 1995 he was inducted as a Fellow of the Association for Computing Machinery. Again in 1996, he received an Academy Scientific and Technical Award "for pioneering inventions in Digital Image Compositing". In 2001, he received an Oscar "for significant advancements to the field of motion picture rendering as exemplified in Pixar's RenderMan." In 2006, he was awarded with the IEEE John von Neumann Medal for pioneering contributions to the field of computer graphics in modeling, animation and rendering. In the 81st Academy Awards (2008, presented in February 2009), he was awarded with the Gordon E. Sawyer Award, which honors "an individual in the motion picture industry whose technological contributions have brought credit to the industry."