ABSTRACT
This chapter explores Beckett’s entry into the visual effects industry, as he had transitioned from student, to teacher, to freelance studio. He contributed two scenes to John and Faith Hubley’s Everybody Rides the Carousel. His stunning Knotte Grosse experiments are examined, as the existing footage references computer graphics in its exacting control of repeated imagery. His technical prowess in animation and optical printing and in creating innovative images garnered attention, as studios competed to pioneer new effects. He was recruited by the cutting-edge broadcast graphics studio Robert Abel and Associates, where he joined Richard Winn Taylor and Richard Edlund to explore new techniques. He was soon whisked away to head the rotoscoping and animation team on the first Star Wars movie, working alongside fellow pioneers, including John Dykstra, Richard Edlund, Dennis Muren, and fellow CalArts alumnus Robert Blalack. His contributions and experience, what he expected, and what actually happened are thoroughly examined. This chapter looks at the rebirth of visual effects at that time and the connection of experimental animation through the work of Beckett and his CalArts peers (Larry Cuba, Chris Casady, Dave Berry, Peter Kuran, Byron Werner, Jon Seay, and more).
