La Faim/Hunger is a 1974 animated short film produced by the National Film Board of Canada (NFBC).It was directed by Peter Foldes and is one of the first computer animation films. The story, told without words, is a cautionary tale about greed and gluttony in the (then) modern society.
Two years before his death, legendary science and science fiction writer Isaac Asimov kicked off a TV pilot dedicated to exploring the faint and ever-shifting boundary separating science from science fiction. By highlighting advances in science and technology, Asimov sought to prepare viewers for the world of tomorrow by providing them with glimpses of what the future might hold.
The series never got picked up, but when Asimov died in 1992, the pilot was adapted into a 40-minute documentary titled Visions of the Future. Featured here is the documentary in its entirety.
From the introduction to the first video, featured above:
The line between science fiction and true science is often thin and sometimes difficult to define... [that boundary] is constantly moving as science redefines science fiction. The dreams of just a few years ago are today's commonplace events.It is this boundary that was the lifelong fascination of Isaac Asimov. The mission of this series is to examine that boundary — that moving target.
Isaac Asimov launched this video project two years before his death. It synthesizes his visionary concepts with his scientific roots. This first volume contains the highlights of his last major interview, and serves as both a mission statement and a tribute to one of the greatest science and science fiction writers ever known.
Asimov's ruminations on the interplay between science and science fiction echo those of Carl Sagan. "Science and science fiction have done a kind of dance over the last century, particularly with respect to Mars," Sagan said in his moving message to future explorers of Mars. He continues:
The scientists make a finding. It inspires science fiction writers to write about it, and a host of young people read the science fiction and are excited, and inspired to become scientists to find out more about Mars, which they do, which then feeds again into another generation of science fiction and science; and that sequence has played major role in our present ability to get to Mars. It certainly was an important factor in the life of Robert Goddard, the American rocketry pioneer who, I think more than anyone else, paved the way for our actual ability to go to Mars. And it certainly played a role in my scientific development.
Scanimate is the name for an analog computer animation (video synthesizer) system developed from the late 1960s to the early 1980s.
The Scanimate systems were used to produce much of the video-based animation seen on television between most of the 1970s and early 1980s in commercials, promotions, and show openings. One of the major advantage the Scanimate system had over film-based animation and computer animation was the ability to create animations in real time. The speed with which animation could be produced on the system because of this, as well as its range of possible effects, helped it to supersede film-based animation techniques for television graphics. By the mid-1980s it was superseded by digital computer animation, which produced sharper images and more sophisticated 3D imagery.
Animations created on Scanimate and similar analog computer animation systems have a number of characteristic features that distinguish them from film-based animation: The motion is extremely fluid, using all 60 fields per second (in NTSC format video) or 50 fields (in PAL format video) rather than the 24 frames per second that film uses; the colors are much brighter and more saturated; and the images have a very "electronic" look that results from the direct manipulation of video signals through which the Scanimate produces the images.
A special high-resolution (around 800 lines) monochrome camera films high-contrast artwork. The image is then displayed on a high-resolution screen. Unlike a normal monitor, its deflection signals are passed through a special analog computer that enables the operator to bend the image in a variety of ways. The image is then shot from the screen by either a film camera or a video camera. In the case of a video camera this signal is then fed into a colorizer, a device that takes certain shades of grey and turns it into color as well as transparency. The idea behind this is that the output of the Scanimate itself is always monochrome. Another advantage of the colorizer is that it gives the operator the ability to continuously add layers of graphics. This makes possible the creation of very complex graphics. This is done by using two video recorders. The background is played by one recorder and then recorded by another one. This process is repeated for every layer. This requires very high-quality video recorders (such as both the AmpexVR-2000 or IVC's IVC-9000 of Scanimate's era, the IVC-9000 being used quite frequently for Scanimate composition due to its very high generational quality between re-recordings).
Original title is "Sette uomini d'oro nello spazio". Earth is attacked by an intergalactic villain and his army of robotic androids.
Star Odyssey (Italian: Sette uomini d'oro nello spazio) is a 1979 Italian film directed by Alfonso Brescia.
The film is also known as Space Odyssey in the United States.
The third in a trilogy of low-budget Italian science fiction movies produced in the wake of Star Wars by Italian director Alfonso Brescia (under the pseudonym Al Bradley), the film takes place on Earth (now renamed "Sol 3") in the year 2312. The planet is sold to an evil despot named Kress, who soon flys to "Sol 3" to start gathering humanoid slaves to sell to his evil counterparts. Defending "Sol 3" against the new owner is the kindly Professor Maury and his ragtag band of human and robot friends. Maury and his defenders sets out to reclaim the planet from Kress and his cyborg army. Familiar faces include Gianni Garko, Malisa Longo, and Chris Avram, veterans of numerous European thrillers.