Today the techniques of traditional animation, cine- matography, and computer graphics are often used in combi- nation to create new hybrid moving image forms. This article discusses this process using the example of a particularly intri- cate hybrid – the Universal Capture method used in the second and third films of The Matrixtrilogy. Rather than expecting that any of the present ‘pure’ forms will dominate the future of visual and moving image cultures, it is suggested that the future belongs to such hybrids.
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