Lip Sync
Same As It Ever Was
Emru Townsend · From fps #6 · February 6, 2006 | I've been a fan of computer animation for a long time—not just watching it, but creating it. In fact, I don't remember which I did first.

By the time I got my first computer in 1980, the diminutive but sleek Sinclair ZX80, I'd already done a few minor animation experiments. But the ZX80 was, for me, revolutionary: it was astonishingly easy to position text or a pixel exactly where I wanted with a short line of code.

Frankly, it looked atrocious. Text was, well, computerlike, and the pixels were huge black blocks. But the feedback was immediate, unlike my pencil-and-paper work.

Then came the Apple II and the Commodore 64, both of which had better resolution, more colour, and the ability to synchronize sound effects. And although I liked animating figures (Commodore 64 enthusiasts remember the tap-dancing mouse exercise; I immediately made him breakdance), I was also taken by math-generated and abstract animation.

Want to read the rest of this editorial?

You'll find it and many other articles in the January 2006 issue of fps, available for only 99 cents US.
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