Research Spotlight: Canada’s Computer Animation Innovations

Toy Story. Up. Monsters Inc. Shrek. Finding Nemo. WALL-E. Ice Age. The Incredibles.  Ratatouille. Cars. Frozen. Inside Out.  These fully computer-animated feature films have been nominated for and won Academy Awards and have transformed animation from a medium previously reserved for Saturday morning cartoons to one used by filmmakers to tell stories for people of all ages. Canadian researchers and software companies have played a significant role in developing the tools used by animators to tell those stories. Many of those animators are graduates of renowned computer animation programs from colleges and universities across Canada.

Canadian Firsts

As noted in this month’s Impact Story, the first fully computer-animated film was not produced by a Hollywood studio, but by the National Film Board of Canada. Hunger/La Faim was directed by Hungarian-born Peter Foldes using technology invented by two Canadians: Nestor Burtnyk, an electrical engineer and Dr. Marceli Wein, a physicist.  After its release in 1974, Hunger/La Faim was nominated for an Academy Award, in the Animated Shorts category and received many other international film awards including the Prix du Jury at the Cannes Film Festival.  In 1997, Wein and Burtnyk received Technical Academy Awards in recognition of the impact of their work on computer animation in the film industry.

In 1984, The Adventures of André & Wally B., a computer-animated short produced by the Lucasfilm Computer Graphics Project, the predecessor of Pixar, was released at the annual SIGGRAPH computer graphics conference and sparked the film industry’s interest in computer-generated films. The technical lead for the film was Bill Reeves, a founding member of Pixar and a graduate of the Faculty of Mathematics at the University of Waterloo and the Dynamic Graphics Project at the University of Toronto.  

Groundbreaking research and technology

The Computer Graphics Lab at the University of Waterloo and the Dynamic Graphics Project at the University of Toronto are two of the most influential computer graphics research laboratories in Canada.  

Kellogg S. (Kelly) Booth joined the Computer Science Department at the University of Waterloo in 1977 and John Beatty in 1978, and in 1979, they began a research group in Computer Graphics and Interaction. Together with Richard Bartels who joined the department in 1981, they formed the Computer Graphics Laboratory (CGL), one of the first in Canada. Marceli Wein was an adjunct professor of computer science in the lab.

Graduates of CGL, including Rob Krieger and Paul Breslin, would go on to win Academy Awards. 

The Dynamic Graphic Project (DGP) at the University of Toronto was founded in 1967 by Leslie Mezei. In 1972, He was joined by Ron Baecker, who coined the name Dynamic Graphics Project in 1974. DGP’s alumni are now on faculty at top universities around the world and at major industrial research labs, and, like Bill Reeves, have won Academy Awards for their ground-breaking work.

Tony de Peltrie, the first computer graphics animated character with synchronized speech, was first shown at the SIGGRAPH conference in 1985.  The short film, which was produced by four young programmers at the University of Montreal, shows the first animated human character to express emotion through facial expressions and body movements and received more than 20 international awards.  John Lasseter said about the film, “Years from now Tony de Peltrie will be looked upon as the landmark piece, where real, fleshy characters were first animated by computer.” 

Daniel Langlois, one of the creators of Tony de Peltrie, was an artist and programmer trained as a designer and computer animator for film. After the completion of the film, Langlois founded the company Softimage in Montreal. Softimage’s 3D animation package became an industry-standard in the 1990s, used by major visual effects studios and in films including The Matrix and Jurassic Park.  Softimage was also used extensively in the computer gaming industry and the company, along with Tony de Peltrie, is credited as one of the reasons Montreal has become one of the global centers of the computer gaming industry.

Recognition of the quality of computer animation by the film industry first came in 1988, when Pixar’s Tin Toy, became the first computer-animated film to receive an Academy Award.  And history was made again in 1991 when computer-generated image (CGI) backgrounds were fully integrated with hand-drawn animated characters using software from Toronto’s Alias Research in the ballroom scene in Beauty and the Beast.

Alias Research was founded by Stephen Bingham, Nigel McGrath, Susan McKenna and David Springer in 1983 with initial funding from scientific research tax credits, the founders’ personal funds, and a $61,000 grant from Canada’s National Research Council.  Alias 1, the company’s first software package, was released in 1985 and in 1989, Alias 2 was used to produce The Abyss, which won the Academy Award for Best Visual Effects. In 1990, Alias’ PowerAnimator software was used to produce Terminator 2: Judgment Day, which won the Academy Award for Best Visual Effects in 1991. Alias’ industry standard product, the 3D modeling and animation package, Maya, was delivered in 1998 and is recognized as the world’s premier 3D animation software, used on every film winning the Best Visual Effects Academy Award since 1997.

Toronto is also home to Side Effects Software (SideFX), founded by Kim Davidson and Greg Hermanovic.  Davidson and Hermanovic joined Omnibus, a pioneering company in the then-emerging world of computer graphics, in 1985 and immersed themselves in production by writing their own software and creating visual effects. 

They founded SideFX in 1987 and released the PRISMS software package, which was succeeded by Houdini 3D animation software.  Houdini is used by major visual effects companies and film studios for the creation of visual effects for films including Fantasia 2000, Frozen, Zootopia and Rio.  

SideFX technology and developers, including Kim Davison, Greg Hermanovic, Paul Breslin and Mark Elendt, have been recognized by the Academy of Motion Pictures, Arts and Sciences five times for Houdini and its technology, in 1998, 2003, 2012, and in 2019, where SideFX received the Award of Merit. In 2019, SideFX was awarded a Technology & Engineering Emmy Award.

Developing the next generation of animators

In addition to producing award-winning films and industry-standard 3D animation software, Canadian colleges are renowned for their work in graduating some of the best practitioners in the visual effects and computer animation business.

Sheridan College in Ontario houses the Faculty of Animation, Arts & Design (FAAD), Canada’s largest art school. Sheridan animation alumni have a long history of success at the Academy Awards, including Domee Shi, the first female director of the Pixar short, Bao, which received the award for Best Animated Short in 2019.

The Ian Gillespie Faculty of Design + Dynamic Media at Emily Carr University of Art + Design (ECU) in British Columbia offers the Bachelor of Media Arts (BMA) Program with two animation streams: 2D + Experimental Animation and 3D Computer Animation. Graduates of these Animation BMA Programs have been recruited by major studios and organizations including DreamWorks Animation, Pixar, Industrial Light and Magic (ILM), Universal, and the National Film Board of Canada.

The Faculty of Art at Ontario College of Art and Design (OCAD U) in Toronto features an Experimental Animation Program that combines Contemporary Art with Augmented and Virtual Reality (AR/VR), 2D and 3D, Digital Compositing, and Stop Motion. 

Université Laval in Quebec is home to the Faculty of Planning, Architecture, Art and Design (FAAAD), which houses the School of Design, where two courses of animation study include the Bachelor of Animated Arts and Science (BASA) and the Certificate in the Art and Science of Animation (CASA). 

The School of the Arts, Media, Performance, and Design (AMPD) and Lassonde School of Engineering at York University in Toronto offer a Digital Media Arts (DMA) Program. Digital Media Arts is Ontario’s only degree program that integrates Art, Engineering, and Computer Science. 

The School of Creative Arts & Animation at Seneca Polytechnic has several paths to study animation including the Animation Diploma and Graduate Certificates in 3D Animation and Game Art & Animation. 

Moviegoers and animation lovers everywhere benefit from the ground-breaking accomplishments of award-winning Canadian computer scientists, artists, educators, and animators. Canada has made major contributions to the field of computer animation. From the production of the revolutionary Hunger/La Faim, to innovative research conducted in computer graphics labs in universities across the country, and software used by visual effects and film studios around the world, Canada is truly a major player in the world of computer animation.

Researcher Spotlight: Mark Jones

Mark Jones
Digital Technology Educator, Writer and Producer Photo Credit: David Goldman

As a teenager in suburban Toronto in the 1980s, Mark Jones spent his evenings participating in rehearsals for school plays and musicals or avoiding homework by programming video games on his Atari 800 computer. Today, Mark is an award-winning 25-year veteran of the creative communications and digital technologies industries who has worked as a college teacher and administrator, producer, artist, and writer. And those high school interests have endured as themes in both his education and career paths.

Mark enrolled in the Theatre Program at York University, but left after two years when he understood that his future didn’t include a career as an actor. He joined Addison-Wesley, a publisher of textbooks and computer literature, where he received training in sales, customer service, marketing, and publicity. Mark also learned how to publish, which led to the launch of CyberStage Communications, a consumer arts magazine that he founded in 1994. CyberStage evolved from a printed publication, that Mark’s parents helped to place in bookstores across Toronto, to an internationally-available digital publication that featured original material that focussed on the intersection between art and technology.

In 2000, Mark shifted his focus to digital arts education in his role as Executive Director of OnTarget, an Ontario-wide initiative that provided career development and education support programs for the digital technologies industries. He also continued his studies by completing his undergraduate degree at York University and earning an M.A. in Communication and Culture from Toronto Metropolitan and York Universities.

Through OnTarget’s partnerships with colleges, Mark started to teach courses on Interactive Media Business and Interface Design on a part-time basis at Seneca College in 2001. Mark’s background and experience in education, media, animation, and digital content and his focus on the connection between art and technology led to positions as Coordinator of the school’s Animation Centre, Associate Chair, and now Chair of the School of Creative Arts and Animation, overseeing programs in animation, new media, graphic design, photography, acting and music.

Seneca’s program features a cross-disciplinary model that recognizes the changing conditions in the industry, with a focus on developing student ability in animation art for any specialization rather than for a specific type of production. Under Mark’s direction, Seneca has worked with industry to understand the need for graduates to have traditional art skills as their foundation. The School of Creative Arts and Animation at Seneca operates as art school that teaches animation using technology as appropriate rather than a school that teaches animation software.  In addition to his role as Chair of the School of Creative Arts and Animation, Mark was also integral in founding and is Director of the Seneca Film Institute (SFI), which operates within Seneca’s Faculty of Communication, Art & Design. SFI will work with students across more than 30 programs, providing them with the skills and experiences that will allow them to thrive in Canada’s film industry. 

From his participation in theatre and computer gaming as a high school student, to his studies in and writing about culture and communication, his work at OnTarget, and his successful career at Seneca as a teacher, producer, and administrator, Mark has been immersed in the digital media industry for decades.  He is a founding board member of The Toronto Animation Arts Festival International (TAAFI) and was an executive producer of the animated short Subconscious Password, which won several awards including the Grand Prix at Annecy in 2013 and the Canadian Screen Award in 2014 for Best Animated Short. His work has been recognized by industry awards including the ITAC Hero of the Year Award and the Canadian New Media Award as Industry Advocate of the Year.  

Mark is most proud of Seneca’s happy, successful students who talk about their experience at Seneca as delivering high-quality education, and, as importantly, a supportive community.  Through his work at Seneca, he has played an extraordinary role in training animation and special effects professionals working around the world, including alumni who have worked on films including Coco, The Shape of Water, Toy Story 4, and Spider-Man: Into the Spider-Verse – all of which have won Academy Awards for animation or special effects.

Mark will continue his work in education in his new position as Dean of the Faculty of Animation, Arts & Design (FAAD), effective Aug. 28. Sheridan College, Canada’s largest art school, is internationally recognized for outstanding programs that train performers, animators, filmmakers, designers, and artists and Mark looks forward to working with the students, faculty, and staff in this role.

Mark’s career path and his experience working with students lead him to provide advice regarding careers in the digital arts. “If you’re a parent, and your son or daughter is expressing an interest in a career related to media, design, or art, support it and discover it with them. The most persistent job myth in Canada today is that a career in these industries is not a route to prosperity.”

Lily Pourzand

Lily Pourzand
Expert in Gender Equality, Diversity and Inclusion

Lily Pourzand’s childhood memories of Iran before the revolution are of vibrant colours and beautiful aromas. Her mother, Mehrangiz Kar, an award-winning human rights lawyer, writer, speaker and activist, was always dressed beautifully and smelled wonderful. Lily remembers her father, Siamak Pourzand, a journalist and film critic critical of Iranian leadership, as loving colourful ties and being especially particular about wearing perfectly polished shoes. “My childhood memories switched from full colour to black and white after the revolution, when even smelling good was a crime,” says Lily.  

She always knew she wanted to work in a field for and about women.  Although Lily had been proud to watch her mother fight for women’s rights as a lawyer and activist, she couldn’t picture herself practising law within a system that defined women as second-class citizens.  But education is very important in the Iranian culture and, although she wanted to work at anything other than law, she applied for and was accepted to the Faculty of Law at Shahid Beheshti University in Tehran.  Following in her parents’ footsteps, she started to write – and found herself called to the Morality Court of the university after publication of her first article, which questioned why black was the only acceptable colour for the hijab. She was temporarily suspended from studying and was, along with her parents, in danger of becoming a victim of the chain murders of Iran – disappearances and murders of Iranian dissident intellectuals who had been critical of the Islamic Republic.  After graduating with her law degree in 1999, Lily made her way to Canada and applied for refugee status upon arrival, leaving behind her family and many dreams. “I decided to create a home in my new country, Canada. Like many refugee/immigrant women, my journey has neither been smooth nor straightforward.”

Lily’s experiences have led to a deep understanding of systematic discrimination and her role as a fierce advocate for a more equitable and accessible world for girls and women. She graduated from York University with a Bachelor’s degree in Women’s Studies in 2007 and continued her education with a Master’s degree in law from Osgoode Hall in 2010.  In 2011, she began work as a women’s support counsellor at the Women’s Centre of York Region. Providing support to women encouraged Lily to focus again on writing and public speaking in order to tell the stories of the real challenges faced by women. She established a blog on the Huffington Post Canada website and used that platform to talk about gender equality. 

Lily’s passion for change and growth motivated her to enter politics in 2013, when she announced her candidacy for the federal Liberal nomination for the riding of Willowdale, one of Toronto’s most diverse areas. Her main goal was to run a grassroots campaign to engage more immigrant women in political discussions and debates. 

Lily joined Sandgate Women’s Shelter of York Region in 2015, where she is currently Director of Programs, responsible for overseeing the 24 hours emergency shelters for women and children fleeing abuse. She is also responsible for planning and delivering public education events and is renowned for her innovative initiatives for partnerships and collaborations.  

The Woman Life Freedom uprising, the ongoing series of protests and civil unrest against the government of Iran that began in Tehran in September, 2022, resulted in the death at the hands of the Morality Police of Mahsa Amini, a 22-year-old woman arrested for not properly wearing the hijab.  Amini’s death sparked anger and marches around the world to express solidarity with Iranian women and prompted Lily to publish an article in the Toronto Star to express the need for people to be the voice for the women of Iran. She is frequently invited to speak to politicians, influential think tank leaders, academics and the media on the remarkable courage exhibited by Iranian women over the past 44 years, living under the oppressive Gender Apartheid Regime and defying it, and the exceptional leadership demonstrated by Iranian women before and after the Woman Life Freedom uprising. 

Lily and her family have paid dearly for their activism and opposition to the Iranian government regime.  She returned to Iran in 2001, at great personal risk, to see her family and was able to help her mother, who had been arrested in 2000 for speaking out in favor of constitutional reform and secularism, travel to the United States for medical treatment.  Mehrangiz Kar was convicted in absentia by an Iranian court and has remained in exile in the US where she has been active as a writer, researcher and lecturer at universities including Harvard, the University of Virginia and Columbia University.  Following her mother’s arrival in the US, Lily’s father was kidnapped in Iran. Months later, Siamak Pourzand appeared in a forced confession TV show and was charged with spying for the United States, working for the Shah’s regime and channelling American money to the reformist press. He was put on trial in 2002 and sentenced to eleven years in prison, where received a regulated medical leave and was taken back and forth between prison and home. He died while under house arrest as a political prisoner at the age of 80 in 2011.

Lily says about her mission to support women and tell their collective and individual stories: “I survived a revolution, a war, political violence in public and private and a very difficult migration. I lived an extraordinary life, just like thousands and millions of other children who lived and grew up amidst revolution, war or political conflicts around the world. Many of them do not have the ability to tell us about their lives and survival.” Lily Pourzand’s experiences and passion for her mission make her an outstanding voice and advocate for girls and women, both in Canada and around the world. 

You can see more of Lily’s impact in the visualizations below. 

Do you have an Impact Story to share? Reach out to us at connections@profoundimpact.com for a chance to have your story featured in an upcoming newsletter!

Research Spotlight: Canada’s Automobile Industry – 120 Years of Evolution

So much has changed since Canada’s automotive industry was launched with the invention of the 1903 Redpath Messenger. Manufactured by the Redpath Motor Vehicle Company in Berlin (now Kitchener), Ontario, the one-cylinder Messenger had a shaft drive (instead of the then standard chain drive), two transmissions and a tilt steering wheel – believed to be the first in the automobile industry.  

The production of the Messenger was followed by the large-scale manufacture of automobiles in Walkerville (now part of Windsor), Ontario in 1904 when the Walkerville Wagon Works factory produced 117 Model “C” Ford vehicles.  

Today, Canada is one of the top 12 producers of light vehicles internationally. More than 1.4 million vehicles are assembled each year in Canadian plants supplied by nearly 700 parts suppliers. The automobile industry plays a vital role in Canada’s economy, providing a $12.5 billion contribution to GDP in 2020 and directly employing more than 117,200 people, with an additional 371,400 people in aftermarket services and dealership networks in 2020.  Ontario is the only place in North America where five major automakers – Honda, Toyota, Ford, General Motors, Stellantis and truck manufacturer Hino – build vehicles.

The innovations that are fundamentally transforming automobile technology are also strengthening Canada’s role as a leader in the industry. Canadian research in areas including AI, neural networks, computer vision, lithium-ion energy density and hydrogen fuel cells has provided significant contributions to the development of connected and autonomous vehicles. 

Transportation is responsible for approximately 25% of Canada’s greenhouse gas emissions. In 2021, Canada joined over 120 countries, including all other G7 nations (United Kingdom, United States, Germany, Italy, France, and Japan) in its commitment to net-zero emissions by 2050. By 2026, 20% of new passenger vehicles sold in Canada must be emission-free and that figure rises to 100% in 2035.

The Canadian automobile industry’s innovative response to the Zero-Emissions mandate is Project Arrow, a showcase for electric-drive, alternative-fuel, connected and autonomous technologies. The Project Arrow concept vehicle will also act as a blueprint for battery development and integration, tech transfer and intellectual property development.  

Launched by the Automotive Parts Manufacturers’ Association (APMA) and funded by the federal, Ontario and Quebec governments, this first, original, full-build, zero-emission concept vehicle was designed, engineered and built via a unique collaboration between more than 50 Canadian automobile parts suppliers and three universities and features:

  • Design, based on a small sport utility, by a team of students from Carleton University’s School of Industrial Design. 
  • Engineering specifications and aerodynamic testing to convert those designs into a prototype conducted within Ontario Tech University’s ACE Innovation Garage, a collaborative laboratory and office space that brings together industry, academics and students.  
  • Powertrain, which includes two 180-kilowatt electric motors, transmissions and differentials and a huge battery pack, designed and partially assembled at the University of Waterloo’s Mechatronic Vehicle Systems Laboratory.  
  • Testing and validation of connected and autonomous (CAV) technologies prior to their integration into the physical car conducted in the Virtual Reality CAVE at Invest WindsorEssex.

Investment in electric vehicle (EV) technology is now a key industrial policy strategy for the federal and Ontario governments. The federal government’s $680 million Zero Emission Vehicle Infrastructure Program (ZEVIP) provides funding to deploy EV chargers and hydrogen refuelling stations across Canada. The Canada Growth Fund (CGF) is being established by the federal government to accelerate the deployment of technologies, including carbon capture, utilization, and storage and low-carbon hydrogen, to reduce carbon emissions.

Canadian expertise in emerging technologies is attracting major investments in autonomous and connected vehicle research and development from global companies. In December, 2022, General Motors of Canada, with support from the Ontario government, opened its first full-scale EV manufacturing plant in Ingersoll, the first all-electric vehicle manufacturing facility in Canada. And in March, 2023, the Ontario government announced Volkswagen’s first EV battery manufacturing plant, to be built in St. Thomas.

From the wooden carriage-bodied 1903 Redpath Messenger, currently on display at the Canadian Automobile Museum, to Project Arrow, now on a two-year international tour of auto and technical shows, the automobile industry in Canada has been and continues to be a showcase of Canadian innovation. And thanks to government and industry investments in made-in-Canada EV and battery ecosystems, Canada is becoming a global leader in designing and building the vehicles of the future. 

Researcher Spotlight: Flavio Volpe

Flavio Volpe, President of the Automotive Parts Manufacturer’s Association (APMA)

“I’m crazy about cars!” declares Flavio Volpe, President of the Automotive Parts Manufacturer’s Association (APMA), which represents more than 200 suppliers to the automotive industry globally. That passion is evident in his role as an internationally recognized champion of Canada’s automotive industry. 

Volpe originally planned to work in land use planning or the foreign service after completing his MBA in International Business at York University. But his role as Chief of Staff at the Ontario Ministry of Economic Development and Growth, followed by work in the renewable energy semiconductor manufacturing sector, led to being recruited as President of APMA in 2014.

A major achievement in his work with APMA was his leadership, during the 2017-19 NAFTA renegotiations, which led to a significant increase in regional content for suppliers in the new USMCA. This increase benefits car manufacturing workers from all three countries and helps spur investment in the North American automotive industry.  

COVID-19 and its after-effects provided extraordinary challenges for Canada as well as the opportunity for the country’s manufacturing industry to work together. When the pandemic resulted in a dangerous shortage of medical equipment across the country, Volpe turned to APMA members to produce the largest build-orders of ventilators, PPE and test swabs in Canada’s history. He was recognized as a “Manufacturing Hero” for his leadership in this essential project.

When anti-government protestors illegally blockaded the Ambassador Bridge in Windsor in 2022, the cost to the automotive industry was $1 billion. Informed by the injunction to enforce noise and idling bylaws related to the ongoing anti-vaccine mandate protests in Ottawa, Volpe worked APMA legal counsel to secure an injunction in Ontario Superior Court to force the reopening of Canada’s most critical international border crossing. “We were facing the biggest crisis, (the) biggest acute trade and delivery crisis the industry has ever seen. And, as the trade association whose members were being impacted by $100 million in lost production per day and 100,000 people sitting at home without getting paid, we took action.”  

The combination of the vital gains resulting from the NAFTA negotiations, the unprecedented response to produce PPE in a time of national crisis, and the effective solution to the border closure have cemented APMA’s reputation as a trusted partner to the automotive industry as well as to provincial and federal governments.

Volpe is perhaps most enthusiastic about his response to the Prime Minister’s challenge for a net-zero economy by 2050. He launched Project Arrow, a zero-emissions, autonomous concept prototype inspired by the innovation story of the Avro Arrow. This all-Canadian demonstration of technology was funded with $8 million from the federal, Ontario and Quebec governments and, in an outstanding collaboration with the Canadian automotive industry, $12 million of cash, in-kind and research and development funding from APMA partners. 

Project Arrow was unveiled at the 2023 Consumer Electronics Show in Las Vegas to global coverage and was at centre stage during the opening events of the 2023 AutoShow’s media preview event in February 2023 in Toronto. “Project Arrow is a ground-breaking show of Canada’s most advanced zero emissions, lightweight, connected and autonomous automotive technology,” says Volpe. Project Arrow is currently on a two-year international tour of auto and technology shows to showcase the future automotive technologies, developed, commercialized and built in Canada.

Volpe believes that Project Arrow will inspire the next generation of the Canadian automotive industry – including students and established and start-up companies that will develop the technologies to meet Canada’s goal of net-zero emissions by 2050.

When asked about his professional future plans, Volpe notes that government and community service are the family business.  His father, Joe Volpe, served as a member of the federal parliament from 1988 to 2011 and as a cabinet minister from 2003 to 2006.  “I may consider a position in government when I’m ready to step away from industry,” says Volpe.  

In the meantime, Flavio Volpe is recognized internationally as a top industry leader, as an effective and passionate champion of Canada’s automotive industry, and an outspoken advocate for Canada’s automotive suppliers and the automotive industry as a whole.