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entrance, he finds it and enters the building. We come to a room where we see a clock that strikes 10 times, reminding us that time is a factor again. Marilyn appears motionless and made of marble. She has not returned to life yet. In reply to
Humphrey’s questions, she turns into gold. Humphrey fancies her and sends her a kiss that awakens her. She appears in all her splendor. They take each other's hands and the romance begins.
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210:) to be digitally duplicated. The short movie has shown that new movies could be created with actors who never played together as it was the case with Marilyn and Humphrey. Once such a celebrity has been recreated, it can be also used in an autonomous way for other purpose, e.g. Marilyn was also used as a referee for a tennis match.
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The movie begins in the hereafter, where
Humphrey is bored and longs to live again. He thinks of Marilyn; he calls her many times and begs her to return to Earth with him. The head of Marilyn grown old appears: she accepts. Humphrey then sets up a rendezvous with her for the next day at 10 o'clock at
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in
Montreal. Both actors disappear in the night while making faces at each other. They come down from a starry sky into the Bonsecours Market; we hear footsteps and the sounds of the city in the background. We do not see Humphrey but we hear him think out loud. He hesitates, he looks about for the
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At the beginning, the computer needs to know the shapes of the characters, even the detail of their hands or their thumbs. For example, a sculptor sculpted
Marilyn's and Humphrey's hands by covering real human hands with plaster, a grid was drawn, photos from various angles were taken, and the
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The movie had also a legal impact as some lawyers started to discuss the postmortem rights of digitized celebrities asking questions as: "How do you protect imaginary humans? Can they have their own right of publicity?" Such questions remain at the forefront of virtual acting today.
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information was digitized in 2D and the computer reconstituted the 3D information. For the heads and torsos, a sculptor created 3D plaster models and the process of digitizing is the same.
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and produced with a team of 10 people. Specific interactive software was developed that allowed designers to interactively use commands to generate the sequences. The main purpose of
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3D models of
Marilyn and Humphrey were created by drawing polygons and vertices on Marilyn’s and Humphrey’s sculptures and digitizing photos from these plaster models.
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Centennial
Convention, which was attended by about 3000 delegates; excerpts were shown on six television channels the same week. Outside Canada, the first show was at
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The system used for the production of the film was Human
Factory . A making of Rendez-vous in Montreal was done that explained all these pioneer methods.
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was to show that true synthetic actors can be created. This film represented a technological breakthrough both on the software side and the film itself.
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Casting Call at Forest Lawn: The
Digital Resurrection of Deceased Entertainers - A 21st Century Challenge for Intellectual Property Law
376:, Loyola Marymount University and Loyola Law School Digital Commons Loyola of Los Angeles Entertainment Law Review, 2005, p.156
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176:. It was shown throughout the summer of 1987 at Montreal's EXPOTECH, the largest scientific exhibition ever held in Canada.
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is a 1987 animated film that used advanced computer techniques to achieve such effects as modelling the film stars
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Ideas & Trends: Dead Stars, Alive Again; Yes, Marilyn May Fall in Love With Viggo
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Gesture
Generation by Imitation: From Human Behavior to Computer Character Animation
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program (NHK). The film has been shown at several festivals, including the
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Joint-Dependent Local
Deformations for Hand Animation and Object Grasping
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The Digitization of Cinematic Visual Effects: Hollywood's Coming of Age
234:, IEEE Computer Graphics and Applications, Vol.7, No 12, 1987, pp.9-19
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The Direction of Synthetic Actors in the Film Rendez-vous in Montreal
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Marilyn’s plaster model for digitizing and 3D reconstruction
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Abstract Muscle Action Procedures for Human Face Animation
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The expression level consisting of phonemes and emotions.
272:, The Visual Computer, Springer, Vol.3, 1987, pp.290-297
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The most important parts of the software developed was:
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The script level corresponding to the facial animation.
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The low level based on specialized procedures called
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The human factory system used for the production of
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Protecting Actors in the Age of Virtual Reanimation
363:, Berkeley Technology Law Journal, Vol.8, No1, 1993
255:N. Magnenat-Thalmann, R.Laperrière, D. Thalmann,
144:, in Japan, and large excerpts were shown on the
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160:, the Women Film Festival in Hollywood, the
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324:, MIT Press, 2004 - Social Science, p.283
206:are considered as the first celebrities (
311:, Rowman & Littlefield, 2013, p. 158
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419:Cultural depictions of Humphrey Bogart
294:Kathleen K. Wiegner and Julie Schlax,
132:The film premiered in May 1987 at the
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174:Stuttgart Festival Of Animated Films
230:N. Magnenat-Thalmann, D. Thalmann,
350:, Universal-Publishers, 2005, p.12
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85:The body motion control based on
337:, New York Times, August 1, 2004
285:, Scarecrow Press, 2006, p.28
170:Monte-Carlo Television Festival
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134:Engineering Institute of Canada
97:Joint-Local dependent Operators
166:Abitibi-Temiscamingue Festival
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95:The skinning system based on
404:1987 computer-animated films
281:De John Vito, Frank Tropea,
158:Montreal World Film Festival
150:Banff Mountain Film Festival
29:. The film was directed by
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414:Films about Marilyn Monroe
246:, Video, 7 minutes, 1987
298:, Forbes Magazine, 1990
204:Rendez-vous in Montreal
190:Rendez-vous in Montreal
162:Rio de Janeiro Festival
115:abstract muscles action
39:Rendez-vous in Montreal
31:Nadia Magnenat Thalmann
18:Rendez-vous in Montreal
322:Decoys and Disruptions
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109:is based on 3 levels:
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