This can lead to things like, say, never showing a character sitting in bed with the covers up, and if they do get out of bed, then simply cutting away while they move the covers.Īverting this trope has long been a Holy Grail for CGI animators, which can lead to trouble. All loose fabrics will be inert, either by being drawn taut or by never having a breeze/character move them.For example, being plastic toys, computer programs, vegetables, robots that turn into animals, or ants. Films, TV episodes, or entire series would take place in settings whose inhabitants naturally lacked loose garments and billowing hair.When they did have long hair, it would be done up in buns or heavily "moussed", becoming an immobile block. Girls and women would have short hair and wear skintight gear.To circumvent these limitations, authors and graphic artists had to make a few concessions and stylistic choices. Even when technical limits and costs are slowly being pushed back, it's still hard and costly to simulate nowadays, especially in video games, where maintaining 60 FPS means there's only 16 milliseconds to calculate all that. As a result, early CGI software and hardware limitations for smaller animation studios made anything other than clunky, uncanny valley-inspiring graphics impossible. This is because accurately simulating flowing hair and fabric requires two extremely computationally expensive things: a very high polygon count that can translate into smoothly curved surfaces and individual strands of hair, and computational fluid dynamics to accurately simulate the material's motion as well as the air itself. In old or low-end CGI, the characters will never wear loose garments, have long hair or include anything that might flow or rustle in wind or when moving. Framestore animator Mike Milne, on the making of Walking with Beasts
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