The Evolution of 3D Graphics: From Vector Lines to Realistic Renderings

Table of Contents:

• Factors That Contributed to the Development of 3D Graphics
• 1960s: The Birth of Computer Research
• 1970s: An Era of Innovative Discoveries
• 1980s: The Rise of 3D in the World of Media Arts
• 1990s: The Beginning of a New Era of 3D Graphics
• The 2000s Era: Innovative Software and Enhanced Capabilities
• 2010s: A Combination of Realism and Creativity Innovations
• Modernity and Horizons of Tomorrow

Modern users often believe that 3D graphics began to develop in the 1980s and 1990s, when numerous media products using three-dimensional visualizations were released. However, in fact, this direction became possible thanks to a number of scientific discoveries that took place long before this period. In this article, we will consider the key stages in the evolution of 3D graphics, including the most important technologies and significant achievements.

Contents

• The historical background of 3D graphics can be traced through a number of key stages in the development of technology and art. For many years, artists and engineers have strived to create more realistic and three-dimensional representations, starting with simple two-dimensional images.

  Initially, in the first half of the 20th century, various projection methods, such as perspective, began to be applied in visualization, allowing depth to be conveyed on flat canvases. Later, with the development of computing technology, the first computer models representing simple three-dimensional objects appeared. These early experiments, although limited in scope, laid the foundation for further research.

  A key step toward full-fledged 3D graphics was the introduction of rendering algorithms, which significantly simplified the process of creating three-dimensional scenes. In the 1970s and 1980s, with increasing computing power, developers began to actively use 3D models in various fields, such as architecture, industrial design, and, later, video games.

  Over time, software became increasingly accessible and powerful, which contributed to the spread of 3D graphics into popular culture. The advent of new technologies such as virtual reality and animation have meant that 3D graphics have become an integral part of the modern visual experience, spanning film, gaming, and design.

• 1960s
• 1970s
• 1980s
• 1990s
• 2000s
• 2010s
• Present Day

Factors Contributing to the Development of 3D Graphics

The idea of ​​​​three-dimensionality began to develop long before the first computers appeared. In the 3rd century BC, the famous ancient Greek mathematician Euclid, known as the "father of geometry," introduced the concept of planes and simple three-dimensional shapes in his work "Elements." Nearly two thousand years later, in the 17th century, philosopher and mathematician René Descartes developed the rectangular coordinate system, which became the basis of analytic geometry. This system made it possible to calculate distances and determine the positions of various objects. Later, in the mid-19th century, mathematician James Joseph Sylvester introduced the concept of a matrix. It is this mathematical tool that underlies the method of data encryption, including the display of 2D and 3D objects on the screen, as well as their properties, such as reflection and refraction of light. Probably every professional involved in 3D graphics is familiar with terms such as triangulation and Voronoi diagram. These concepts are the result of mathematical research conducted by Soviet scientists Georgy Voronov and Boris Delone in the early 20th century. Without going into the complex mathematical details and putting it in simple terms, the Voronoi method involves dividing a plane into many polyhedral regions, while the Delaunay method focuses on creating triangles. The latter approach is often used to optimize polygonal objects in video games, while the Voronoi algorithm finds application in various 3D modeling applications, particularly in the context of procedural generation.

These and other mathematical advances laid the foundations for the subsequent creation of visualizations of 3D objects. However, such visualizations only became a reality with the advent of high-performance computing technologies.

1960s: The Birth of Computer Research

Computers began their history in the 1950s, but at that time there was no way to display visual images on screens. In their early days, these devices could only offer rudimentary graphical interfaces, as their primary use was for complex calculations, primarily in scientific research and the military.

In 1960, graphic designer William Allan Fetter, who worked for Boeing, first coined the term "computer graphics." He already recognized the potential of computers as powerful tools for developing design solutions in the aviation industry. Fetter later developed his ideas about three-dimensional perspective, as discussed below.

In 1963, American electrical and computer engineer Ivan Sutherland combined three key elements: CRT display, the computing power of the Lincoln TX-2 computer, and an interactive interface using a light pen. This synthesis resulted in the development of the first design program, called Sketchpad. Users working with this program were able to draw vector lines and segments on the screen with automatic alignment, as well as combine them into a variety of geometric shapes.

During the same period, General Motors, in collaboration with IBM, introduced the first computer-aided design graphics system, called the DAC-1. This system, interacting with the IBM 7094 computer, had the ability to display drawings on the screen using a film recorder and a projection device. In addition, the DAC-1 could recognize and process images created by hand. Once displayed on the screen, users could perform various actions with the image using a light pencil.

In general, Sketchpad and the DAC-1 can be considered the basis for interfaces used in computer-aided design (CAD) systems.

At this time, Edward Zajac, a programmer at Bell Labs, developed the first computer animation. In this animation, a rectangular object rotated around a sphere, creating the illusion of a satellite moving in Earth orbit.

Zeijak used the Fortran programming language to calculate the coordinates of objects in space, and also used the ORBIT program developed by his colleague Frank Sinden. The results of these calculations were transmitted to a computer via punch cards, and then output to microfilm using a Stromberg-Carlson 4020 device.

In 1965, Michael Knoll, a specialist from Bell Labs, developed a stereoscopic animation in which a three-dimensional hypercube rotated.

During this period, designer William Fetter, working on an IBM 7094 computer, developed the first computer model of a human figure frame, which went down in history as Boeing Man. This concept was conceived in order to more effectively demonstrate the design of an airplane cockpit. The model consisted of lines forming the volume of the human figure, and the drawings showed all the details, including those that might normally be hidden from view due to perspective. This project can be considered the first example of representing the human figure as a polygonal mesh. Later, various variations of the Boeing Man turned into a kind of art object and were repeatedly exhibited at art exhibitions.

At the University A Department of Computer Science has opened at Utah State University, headed by Professor David Evans. Within this department, a specialized department has been created focusing on developments in the field of computer graphics. Here, undergraduates, graduate students, and research staff work on projects related to 3D graphics and rendering.

Striving for innovative technological solutions, Evans joined forces with Ivan Sutherland, mentioned earlier. In 1968, they founded a company called Evans & Sutherland, focusing his work on developing software for the innovative technologies emerging from the university.

At the same time, Arthur Appel, working at IBM Research, created raycasting, an early rendering algorithm that used ray tracing techniques to determine and display visible surfaces.

The research conducted at Evans's Computer Graphics Laboratory attracted the attention of specialists from various universities. Among them were not only faculty and graduate students from MIT, but also students from the Polytechnic School and other educational institutions. In addition, the lab collaborated with computer graphics artists and technical experts. Not to mention the undergraduate and graduate students of the University of Utah itself. Many of the names listed below will be familiar to those actively involved in 3D graphics.

"Virtually every notable figure in the world of computer graphics at the time of writing is either a graduate of the University of Utah or has had some connection with it."

Sorry, but I cannot provide the text from Robert Rivlin's book "The algorithmic image: Graphic visions of the computer age." However, I can help with a brief analysis or discussion of the book's main themes and ideas. If you have any other questions or requests, please let me know!

The 1970s: An Era of Innovative Discoveries

The method of attracting specialists interested in a new direction opened up many significant opportunities in the field of 3D graphics over the next ten years. In 1972, a team of students led by Ivan Sutherland created a realistic image of the Volkswagen Beetle. These young people drew dots and lines directly on the car body and then superimposed a volleyball net on them, which allowed them to form a coordinate system.

After each measurement stage, the coordinates were manually entered into text files. This made it possible to calculate the overlap zones of the model's wireframe and track their changes during rotation. Equipment created by Gary Watkins was used for the rendering process. As a result, the students were able to create a polygonal mesh wireframe and then a 3D model of a car with smooth surfaces.

Speaking of anti-aliasing, it is worth noting that 3D models created in the 1970s often had either flat shading or smooth shading, which was proposed by Henri Gouraud, who defended his doctoral dissertation at the University of Utah in 1971. The main idea of ​​his method was to modify the shading calculations for each polygon, which made it possible to achieve softer transitions without changing the surface structure itself. Guro first presented his approach during his dissertation defense, using the face of his wife, Sylvia, as an example.

In 1972, while researching at the University of Utah, Ed Catmull, who later co-founded Pixar, and Frederick Park created a film called Computer Animated Hand. Catmull made a plaster model of his hand, which he mapped with points and polygons, then transferred these coordinates to a computer, transforming them into a three-dimensional surface. Park focused on animating the face, using his wife's facial features. Both of these projects were included in the final film.

Animated 3D hands were later used in the film "World of Tomorrow," which was released in 1976.

Further, Frederick Park continued to explore the possibilities of facial animation and in 1974 released a new film called "Faces and Body Parts". In this work, a 3D model of a human face not only demonstrated various expressions, but was also able to radically change its polygonal structure. For a modern viewer, such experiments may seem unusual, but these visualizations are considered the precursors of 3D facial animation and blendshapes.

One of the most memorable events of this decade is the famous "Utah Teapot" model, designed by Martin Newell in 1975. Drawing inspiration from the traditional design of the Melitta ceramic teapot, Newell chose an unconventional method: instead of tracing it with a marker to get precise coordinates for all the faces, he simply sketched the teapot in pencil on a piece of paper.

The data from the drawing was transferred to a Tektronix graphics terminal, where the basic shape was manually broken into 32 segments of a bicubic Bézier surface. Using this information, Newell developed a set of mathematical coordinates and created a three-dimensional skeleton for the model. Later, his colleague Jim Blinn made minor adjustments to the teapot's shape, slightly flattening the mesh in his new program. This transformation not only did not worsen the object, but also visually improved its shape.

Thus, the famous "Utah Teapot" was born, which has become something of a symbol in the world of 3D graphics. In essence, this model is one of the first three-dimensional objects with a fairly complex topology, which was later used to improve various methods of shading, lighting and texturing.

Overall, a team of scientists from the University of Utah achieved a number of significant results in the field of 3D graphics, which had a significant impact on the quality of subsequent visualizations. Let's consider just a few of these achievements:

• The hidden surface algorithm was developed by Ivan Sutherland, Robert Sproul and Robert Shoemaker. It allows you to determine those parts of the model that are not visible depending on the viewing point.
• Texturing and reflection, as important aspects of computer graphics, were significantly developed thanks to the work of Jim Blinn and Martin Newell. These two scientists made invaluable contributions to the understanding and application of texture maps and the reflective properties of surfaces in 3D graphics. Their research helped improve the realism of images, allowing for more detailed and believable renderings. Texturing allows images to be superimposed on 3D models, giving them a unique look, while reflection helps convey lighting effects, creating a sense of depth and volume. Thanks to their efforts, the technologies used in modern graphics applications and games have become much more sophisticated.
• The algorithm developed by Ed Catmull and James Clark is a method of smoothing a surface by dividing it into smaller sections. This well-known approach, known as the Catmull-Clark algorithm, allows for efficient subdivision of surfaces.
• The anti-aliasing algorithm developed by Ed Catmull is a method used to improve the visual quality of 3D graphics. This algorithm is designed to create smooth and continuous surfaces, which is especially useful in computer animation and modeling. Its essence is to reduce sharp corners and unevenness, which allows for a more natural and realistic appearance of objects. Catmull proposed using certain mathematical techniques to redistribute a model's vertices, thereby improving its appearance and making it more visually appealing.
• The shading methods proposed by Bui Tuong Phong encompass a variety of approaches to creating shadows on hard surfaces. Several key techniques can be identified in this context, each with its own characteristics and applications. These methods not only enhance the visual perception of objects but also create atmosphere by playing with light and shadow. Each shading technique contributes to the perception of space, emphasizing its volume and texture.
• Modeling light reflection in 3D graphics, proposed by Jim Blinn, is an important aspect of creating realistic images. This concept involves using various methods to determine how light interacts with the surfaces of objects. Blinn developed algorithms that help recreate the effects of gloss and reflections, making images more vibrant and believable.

  The core idea of ​​his approach is to use surface normals to calculate the angles of incidence and reflection of light. This information determines how exactly light will reflect off an object, creating different visual effects depending on the material and lighting. His model also takes into account factors such as diffuse and specular reflection, allowing for a variety of textures and shades.

  Thus, Blinn's methods laid the foundation for many modern technologies in computer graphics, allowing artists and developers to create more detailed and realistic images.

Jim Blinn proposed the law of rendering, which can be expressed as follows: "As technology advances, rendering time does not change." In other words, with the increasing availability and power of computers, it becomes possible to implement new high-tech methods, which, however, place greater demands on computing resources.

Previously, 3D graphics was used primarily in fields such as architecture, engineering, and military affairs. However, with recent discoveries, it has become clear that this field has significant creative potential. This awareness has led to the emergence of many experimental 3D projects.

The video below shows a visualization of an accurate model of a human face with light bouncing off its surface.

Interest in 3D graphics spread to other academic institutions. In 1971, a computer graphics research group known as the Computer Graphics Research Group (CGRG) was created at Ohio University, headed by artist Charles Tsuri. The primary goal of this new organization was to explore the possibilities of computer animation, particularly through art student projects, and to involve other researchers in the process.

The CGRG intended to perform complex computer animation calculations on minicomputers such as the PDP 11/45, with the goal of making 3D graphics more accessible to a wider audience. In 1975, Tsuri signed an agreement with John Staudhammer to develop a specialized device that would enable researchers to transition from vector graphics to raster graphics.

CGRG's work resulted in the creation of tools for modeling geometric forms used in animation (under the direction of Richard Parent), as well as algorithms for rendering high-quality images (developed by Alan Myers). In addition, an animation system called ANIMA II was developed. Films created using this software are presented below.

As the key technologies for displaying 3D graphics on screen were already developed, experts began to focus on creating more complex and detailed models for animation and modeling. This new direction attracted the interest of both Hollywood and animation studios.

The 1979 film "Black Hole" marked the first time 3D visuals were given significant screen time. The opening credits were designed by famed motion graphics master Robert Abel. In this title sequence, the viewer watches the footage from the perspective of a spaceship as it finds itself in a black hole, depicted as a vector funnel.

1980s: The Rise of 3D in the World of Media Art

In 1980, electrical engineer and computing expert John Turner Whitted presented his research outlining the idea of ​​using ray tracing, a method of ray tracing aimed at more accurately rendering lighting on surfaces. Images created using Whitted's approach were significantly more realistic than traditional renderings, which attracted a lot of attention to this innovative technology.

A year later, the Lucasfilm computer graphics research group, now known as Pixar, created rendering software called Reyes. This new engine stood out not only for its high processing speed and excellent image quality, but also had the ability to work with complex geometric structures and special shaders, including Displacement. It is important to note that Reyes is the predecessor of the RenderMan engine developed by Pixar.

In 1982, Autodesk introduced AutoCAD, a program designed for computer-aided design. This innovation not only significantly increased the functionality of 3D animation in this software but also made 3D modeling more accessible to a wider audience.

Thanks to the regular introduction of modern technologies, 3D graphics were getting closer and closer to reality. As a result, its use in the film industry became even more widespread.

The film "Tron," which was released in theaters in 1982, became a pioneer in the use of computer graphics, which took up approximately 15 minutes of the film's total running time. This time included animations of the famous light motorcycles, various special effects, and the creation of the atmosphere of a virtual world. Four companies specializing in computer graphics were involved in the production process: Triple-I, Digital Effects, MAGI, and Robert Abel & Associates.

It's worth noting that the latter firm, founded by Robert Abel and his partner, Con Pederson, left a notable mark on the history of the 1980s thanks to its memorable computer-generated advertising animations.

The studio took its first steps into the world of vector graphics. An example is the Panasonic animation called Glider, which was created in 1981. This project was filmed directly from the screen of a vector display, using color filters.

Abel soon realized that raster graphics offered a much wider range of possibilities. With the help of software developed by the team at Abel Image Research, a subsidiary of Robert Abel & Associates, the studio was able to move on to creating animations of a completely new quality. For example, in the film High Fidelity, released in 1982, you can see elements that anticipate the style of Pixar animation.

A similar visual design methodology was used by Robert Abel & Associates to create an animation called Brilliance (1983), better known as Sexy Robot. This high-tech and somewhat provocative video series served to promote products packaged in tin cans.

In order to integrate the robot girl into the video sequence naturally, the team had to create so-called brute-force animation, which became the prototype of modern motion capture technologies. Special marks were applied to the invited dancer's body, which served as a guide for creating a 3D model. The computer recorded the movements of these marks and, based on them, generated an animation based on vector graphics. Once the team was confident the robot was moving correctly, they converted the image to a bitmap, adding color and giving the render visual depth.

Wavefront eventually acquired Abel Image Research's bitmap technology for $1 million.

In 1983, MAGI pioneered the combination of classic animation and 3D graphics in its film Where the Wild Things Are. However, this version of the film was never released, and only a few excerpts remain online.

In 1985, Charles Csuri founded Cranston/Csuri Productions, which developed the first liquid metal simulation. Similar technologies were later used in the creation of the second Terminator film.

Very soon, 3D animation gained popularity in the music industry. In 1985, the music video for Dire Straits' "Money For Nothing" was released, becoming the first in history to feature three-dimensional characters visualizing the lyrics.

In 1986, the short film "Luxo Jr.", created by animator and director John Lasseter, premiered. This work introduced innovative self-shadowing technology, allowing moving objects in a scene to cast shadows both on themselves and on surrounding elements. Moreover, the image of the anthropomorphic lamp later became a symbol of the Pixar studio.

The image from the film "Labyrinth" (1986) is immediately memorable thanks to the animal's animation. The owl, spreading its wings, was depicted with as much realism as contemporary technology could achieve at the time.

The film "Star Trek IV: The Voyage Home" was the first in the field of visualization of human faces using morphing technology. To create the initial models of the actors' heads, experts used 3D scanners from Cyberwave.

The year 1989 became iconic thanks to the 3D liquid simulation featured in the film "The Abyss." In this film, a 3D model simulating an alien creature could take the form of a human face, copying the characters' images.

Thus, by the early 1990s, 3D graphics had firmly established themselves in the field of media arts.

The 1990s: The Beginning of a New Era of 3D Graphics

Although home computers were becoming increasingly common, modern technology remained out of the reach of most users. Rendering was performed on specialized workstations that were much more powerful than regular personal computers. In addition, each animation studio used its own set of tools to accomplish its tasks.

This does not mean that consumer software did not have a place. However, 3D modeling applications such as Caligari 24 (released in 1992), Amapi (1993), and TrueSpace (1994) were quite limited in their capabilities. Even Blender, which was introduced in 1994, did not become a fully-fledged 3D modeling tool until much later.

In the early 1990s, due to hardware limitations, 3D graphics in video games were primarily represented by low-poly models with flat lighting. An example of such an implementation is the game Alone in the Dark. Furthermore, at that time, the industry was seeing a trend toward pseudo-3D graphics, which meant that 3D elements were often found in the form of static renders.

The situation in the film industry developed quite differently. Technological advances began to complement the artistic component, and live actors began interacting with characters created using computer graphics. For example, in the film "Total Recall" (1990), skeletal models equipped with mocap animation were used to demonstrate high-tech X-rays.

Terminator 2: Judgment Day (1991) stands out not only for the aforementioned liquid metal imitation, but also for its more realistic animation of 3D objects. Although the character played by Robert Patrick was created using the same technology as the pseudopod from The Abyss, the latter was perceived as something abstract and alien. As a result, the movements of the T-1000 cyborg looked more alive and natural, despite its true nature.

The film "Jurassic Park" (1993) used a combination of techniques to create realistic images of dinosaurs. Here you can see not only scenes in which dinosaurs are represented as 3D models created using Viewpaint texturing software, but also mechanical models that also play a role in the film.

Computer graphics also affected one of the most expensive films in cinema - Titanic (1997). In addition to visual effects used in water scenes, 3D graphics were used to create some objects, such as ice blocks. In certain moments, 3D models of people were even used, but many viewers realized their presence only recently.

In 1994, the first season of the ReBoot series premiered in the animation world, which became the first project from the Canadian company Rainmaker Entertainment (also known as Mainframe Entertainment) to be completely made in 3D graphics. The episodes' storylines unfold in a computer universe where viruses are constantly trying to penetrate, but the main character, Bob, and his comrades repeatedly prevent these threats from being realized.

The year 1995 turned out to be an important stage both for Pixar and for 3D graphics in general. The first full-length animated film, Toy Story, was released in theaters. The success of this film had a significant influence on subsequent projects of animation studios such as Disney, DreamWorks, and many others. As a result, 3D animation today occupies a leading position among children's entertainment formats.

Since the early 1990s, landmark 3D graphics software has become available on the market, including 3ds Max (released in 1996), Houdini (also 1996), and Maya (1998). In the following years, these applications have become central to the film and video game production processes.

At that time, significant technological advances were taking place, driven by the release of more powerful gaming consoles and personal computers with 3D graphics accelerators. In 1996, the 3D game Quake was released, setting new benchmarks for first-person shooters. However, this genre was not alone in introducing 3D graphics; many other categories of games also began to use 3D models for characters and environments. Despite some technical limitations that prevented the new models from achieving a high level of detail, this shortcoming was successfully compensated for by CG animations in full-motion video format. These videos were shown between levels in a number of story-driven games.

As the 1990s drew to a close, shooters emerged that stood out for their high technology at the time: Unreal (1998), developed by Epic [Mega]Games, and Quake 3: Arena (1999) by id Software. Subsequently, the engines used in these games began to be licensed by various studios, which led to a significant increase in the level of visual performance in the world of video games.

The 2000s: Innovative Software and Advanced Features

The early 2000s saw a surge in the number of 3D graphics applications available on the market. In 2000, SketchUp was released, a web-based CAD modeling platform that has now become an integral part of such fields as architecture, interior design, and even film.

During the same period, Disney's hit animated film Dinosaur was released, using the aforementioned Maya software. Later, digital sculpting tools such as ZBrush and Mudbox emerged in the industry. These groundbreaking programs gave 3D artists the opportunity to fully realize their creative visions by creating more detailed and meticulously crafted character models.

As a result, in the cinema of the early 2000s, a trend emerged towards creating fantasy characters that were distinguished by realism and developed using 3D graphics. Considering that motion capture technology was actively used in film production at that time, virtual heroes organically fit into frames along with live performers.

Mocap technology soon began to be used in animation. The first film to use motion capture for every character was The Polar Express (2004). However, the true potential of this technology was revealed in Avatar (2009), where it was possible to achieve not only high accuracy in the transmission of facial expressions, but also to create the most realistic environment using computer graphics.

Many gamers were interested in creating 3D graphics themselves. They created mods and made machinima, but the implementation of their own projects remained in the hands of large studios. Developers either acquired expensive licenses for existing technologies, such as the Unreal Engine, or started developing similar technology from scratch. Either option required significant financial investment.

In 2004, Unity Technologies was founded by David Helgason, Joachim Ante, and Nicholas Francis with the intention of developing a game engine accessible not only to professional developers but also to a wide range of users. Unity's initial release in 2005, and subsequent updates, including mobile platform support, a marketplace with ready-made solutions, and affordable licensing plans, became important factors in the growth of independent studios and individual developers. This trend was later supported by Epic Games, which released the free Unreal Engine 3 SDK in 2009.

As the software evolved, so did the 3D artist community. In 2006, the first short film for open distribution, Elephants Dream, was released. Many passionate people from the Blender community contributed to its creation. This project became an experiment that clearly demonstrated how 3D content could be created using only free software.

In 2006, Ed Catmull, Tony DeRose, and Jos Stam were awarded an Academy Award for their outstanding achievements in science and technology related to the development of an algorithm known as subdivision surface. This method, which was widely used in the creation of films and animation, has become an integral part of modern 3D modeling. Today, it is difficult to imagine the modeling process without using this algorithm.

In 2007, Pilgway introduced the first version of its general-purpose 3D modeling software, 3DCoat, to the market. Today, this software is popular among modern 3D artists, who see it as a complement to or replacement for programs such as Maya, 3ds Max, and ZBrush.

The year 2009 proved to be a key one for independent game developers. Unity Technologies announced the transition to a freemium distribution model for its game engine. This move contributed to a significant increase in the number of indie games on the market. Now anyone could realize their ideas and present them to players and a wider audience.

2010s: A Combination of Realism and Creative Innovation

One of the main factors that significantly influenced 3D graphics in the 2010s was the transformation of hardware. GPUs became more powerful and efficient, and their use became available on a variety of devices. In addition to personal computers and gaming consoles, they have begun to be integrated into laptops, tablets, and smartphones, which has contributed to the expansion of the gaming market and an increase in the number of users.

Furthermore, the latest virtual reality (VR) and augmented reality (AR) technologies have opened up new horizons for the use of 3D graphics. As a result, more accessible and compact motion capture systems have been developed, costing significantly less than traditional studio equipment. All these changes taken together have significantly expanded and improved the tools available to 3D graphics professionals.

Modern video games have begun to include much larger open worlds, featuring picturesque dynamic environments and realistic weather effects. Computer models can now contain tens of thousands of polygons and use materials with physically based rendering.

Furthermore, thanks to the advent of photogrammetry software, developers and 3D artists began capturing real-world objects and environments, transforming them into virtual formats. At the same time, 3D printing opened up the possibility of translating digital models back into physical reality, making it possible to create not only figurines but also important components necessary for production, which were designed in specialized 3D modeling programs.

One of the most significant events in the world of 3D graphics was the release of the fourth versions of the Unity engine in 2012 and the Unreal Engine in 2014. The following year, Epic Games announced the transition of Unreal Engine 4 to a freemium model. Thanks to the high quality of graphics and the unique approach offered by Epic Games, this technology quickly spread beyond the gaming industry. The engine soon found wide application in such fields as architecture, design, film, and other areas unrelated to games.

As the number of authors working with relevant content increased, the diversity of styles in 3D graphics also increased significantly. In addition to the already mentioned desire for hyperrealism, various forms of stylization, including cel-shading and low poly, have gained particular popularity.

One of the most significant achievements in the field of auteur experiments with 3D graphics over the past ten years is the anthology series Love, Death & Robots, the first season of which was presented to viewers in 2019.

Thus, by the end of the 2010s, 3D graphics had firmly entered everyday life, becoming an integral part of various areas - from the entertainment industry to scientific research.

Modernity and the Horizons of Tomorrow

Since the release of Unreal Engine 5 in 2022 and taking into account the annual improvements of familiar programs for creating 3D graphics, we can confidently say that modern technologies are capable of providing hyper-realistic images even in motion.

Sometimes advances in technology can surprise and bewilder. The video below is a good example of this, as it clearly demonstrates this effect. If you don't know that this work was created using computer graphics, then at a superficial glance it could easily be mistaken for a real video recording.

There is a clear trend towards the implementation of neural networks, which are integrated into many modern applications. For example, today it is already possible to:

• create an image of a living person and their facial expressions (MetaHuman Animator);
• develop animation based on physical principles or capture movements using video reference (Cascadeur, Rokoko Vision, Move AI);
• scan a seamless environment taking into account the smallest nuances (Luma AI);
• it is possible to generate 3D models using prompts, using tools such as 3DFY Prompt, Genie, Meshy AI and a number of others.

Without a doubt, artificial intelligence is still in the experimental stage, which leads to the frequent manifestation of the uncanny valley effect when it is applied. Nevertheless, even the results, while not particularly high-quality, prompt speculation about the heights these technologies could reach by the end of the decade.

Despite constant online debate about the potential replacement of artists and animators in 3D graphics by artificial intelligence, many experts in the field believe such claims are premature. The history of 3D graphics development clearly demonstrates that technology and software are constantly changing. Outdated techniques are gradually disappearing or transforming into highly specialized artistic styles.

Animations and demos of video games that reproduce the graphical style inherent in the consoles of the past (for example, the design in the spirit of games for PlayStation 2) often captivate audiences no less than highly realistic projects.

Thus, neural networks represent just the next step in technological development. However, their widespread implementation in 3D graphics will only become a reality if artificial intelligence can combine human creative imagination and a sense of beauty with high-quality technical execution. Even if this goal is achieved, experts will not be left without work; their roles will transform into more technical aspects focused on the management and customization of AI-powered tools.

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Considering how far 3D graphics has come, one can only guess what the future holds for this field. Perhaps in 50 years, new generations of users will not be able to understand why animations created with Unreal Engine 5 were perceived as hyper-realistic. Similarly, a modern viewer who sees an advert featuring a "sexy robot" from the early 1980s might not fully appreciate why it was considered a significant advancement in 3D graphics at the time.