Morphing

The Peter Tchaikovsky Story in a 1959 TV-series episode of Disneyland features a swan automaton transforming into a real ballet dancer.

[6] In 1985, Godley & Creme created a "morph" effect using analogue cross-fades on parts of different faces in the video for "Cry".

A phenakistiscope designed by its inventor Joseph Plateau was printed around 1835 and shows the head of a woman changing into a witch and then into a monster.

[7] Émile Cohl's 1908 animated film Fantasmagorie featured much morphing of characters and objects drawn in simple outlines.

A similar process was used a year later in Indiana Jones and the Last Crusade to create Walter Donovan's gruesome demise.

Both effects were created by Industrial Light & Magic, using software developed by Tom Brigham and Doug Smythe (AMPAS).

[10][11] In 1991, morphing appeared notably in the Michael Jackson music video "Black or White" and in the movies Terminator 2: Judgment Day and Star Trek VI: The Undiscovered Country.

For high-end use, Elastic Reality (based on MorphPlus) saw its first feature film use in In The Line of Fire (1993) and was used in Quantum Leap (work performed by the Post Group).

At VisionArt Ted Fay used Elastic Reality to morph Odo for Star Trek: Deep Space Nine.

The technology behind Elastic Reality earned two Academy Awards in 1996 for Scientific and Technical Achievement going to Garth Dickie and Perry Kivolowitz.

[citation needed] Morphing has also appeared as a transition technique between one scene and another in television shows, even if the contents of the two images are entirely unrelated.