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{{short description|Computer graphics and scanning professional}}
⚫ {{Inappropriate tone|date=June 2009}}
⚫ {{Use dmy dates|date=February 2020}}
{{Use American English|date=May 2015}}
⚫ {{Tone|date=June 2009}}
{{Infobox person {{Infobox person
| name = David B. Coons | name = David B. Coons
| image = DC4.JPG | image = David Coons (12 August 2008).jpg
| birth_date = 16 May 1960 | birth_date = {{bda|May 16, 1960}}
| birth_place = | birth_place = Pomona, California
⚫ | occupation = {{hlist|Fine-arts scanner|Computer-graphics guru|Filmmaker}}
| married to = varies
⚫ | occupation = fine-arts scanner, computer-graphics guru, filmmaker, "mad scientist," nudist
| website = http://www.artscans.com/ | website = http://www.artscans.com/
| imdb_id = http://www.imdb.com/name/nm0177796/
}} }}
'''David B. Coons''' is a ] professional and ] pioneer.
'''David B. Coons''' is an ]-winning ] professional who is perhaps best known as the inspiration for the title of ]'s '']'',<ref> at pobronson.com.</ref> but is also a longtime CGI expert of near-"Pioneer" status.

==Biogrphy==
David B. Coons was born in 1960, and grew up in Santa Monica, California. He attended ] while living in a highly unconventional family arrangement: he alternated between his uncle's apartment (where he actually had a bedroom) and his father's apartment (which was his sister's official residence), several blocks away. During his high school years he was a member of the "Olive Starlight Orchestra" (not an orchestra at all, but rather a social circle akin to Virginia Woolf's ''Bloomsbury Group''), that included other legal, creative, mathematical and scientific luminaries such as Kate Sanford, Wendy Sue Lamm, David Eadington, ], ], ], ], and entrepreneur Christophe Pettus (founder of the company ]). His did some work on films including a vampire movie entitled ''Murder in Vein'' and a short called ''The Juggler'', which starred Keith Goldfarb.

At the main Siggraph Convention every year, Coons can be identified by the job description on his badge, which invariably reads "Mad Scientist."


==Scanning and computer graphics== ==Scanning and computer graphics==
Active in the ], Coons works behind the scenes in the film and computer graphics industries. He is also the president and owner of ArtScans Studio in ], where he uses a ] of his own invention to serve a clientele of celebrity artists and fine artists. The ArtScans page describes the scanner this way: "ArtScans has been doing accurate color capture for reproduction since 1992. We own and operate a large (44" x 50") flatbed scanner that is the only one of its kind in the world. Both the scanner and its software were designed by us."<ref>http://www.artscans.com/</ref> Active in the ], Coons works behind the scenes in the film and computer graphics industries. He is also the president and owner of ArtScans Studio in ], where he uses a ] of his own invention to serve a clientele of celebrity artists and fine artists.


According to the ArtScans website: "ArtScans has been doing accurate colour capture for reproduction since 1992. We own and operate a large (44" x 50") flatbed scanner that is the only one of its kind in the world. Both the scanner and its software were designed by us."<ref>{{cite web|url=http://www.artscans.com/|title=ArtScans Studio - Fine Art Color Accurate Specialty Scanning|work=artscans.com|accessdate=26 May 2015}}</ref>
⚫ Keith Goldfarb (co-founder of ], a computer-graphics studio that works on major motion pictures—''Night at the Museum 2: Battle of the Smithsonian'' and ''The Chronicles of Riddick'' (2004),<ref>http://en.wikipedia.org/Rhythm_and_Hues_Studios/</ref>—as well as high-end commercials, has called him "the most knowledgeable person about scanning on this planet." <ref>Blogger Joy McCann documents the lives of those in "The Olive Starlight Orchestra" (http://littlemissattila.mu.nu/archives/041076.php)</ref>

⚫ Keith Goldfarb, co-founder of ], a computer-graphics studio that works on major motion pictures—''Night at the Museum 2: Battle of the Smithsonian'' and ''The Chronicles of Riddick'' (2004)— as well as high-end commercials, has called him "the most knowledgeable person about scanning on this planet."<ref>Blogger Joy McCann documents the lives of those in "The Olive Starlight Orchestra" (http://littlemissattila.mu.nu/archives/041076.php)</ref>


===Digital printing=== ===Digital printing===
David Coons was also a pioneer in the art of ] reproduction of scanned and computer generated artwork, specifically adapting the large format ], a machine designed to work solely with proprietary ] computer systems, to this task.<ref>Harald Johnson, "Mastering Digital Printing", Thompson Course Technology, 2002, ISBN 1929685653</ref> In the late 1980s Coons developed software to use an IRIS 3024 at ] to print images from Disney’s new computer 3D animation system. He also wrote software to print works created on ]s such as ] 1989 ''Transformer'' series and a 1990 photography exhibition for ] of ]. The work he did for Nash had to do with re-creating images for prints and negatives had been lost by scanning the remaining ]s at high resolution, and printing them in extremely large format.<ref>''Digital Journalism'' article on the breakthroughs Coons achieved in fine-arts scanning, with the backing and help of Graham Nash and the rest of the Nash Editions team (http://www.digitaljournalist.org/issue0105/nash_intro.htm)</ref> David Coons was also a pioneer in the art of ] reproduction of scanned and computer generated artwork, specifically adapting the large format ], a machine designed to work solely with proprietary ] computer systems, to this task.<ref>Harald Johnson, "Mastering Digital Printing", Thompson Course Technology, 2002, {{ISBN|1-929685-65-3}}</ref>
In the late 1980s Coons developed software to use an IRIS 3024 at ] to print images from Disney's new ]. He also wrote software to print works created on ]s such as ] 1989 ''Transformer'' series and a 1990 photography exhibition for ] of ]. The work he did for Nash had to do with re-creating images for prints and negatives had been lost by scanning the remaining ]s at high resolution, and printing them in extremely large format.<ref>''Digital Journalism'' article on the breakthroughs Coons achieved in fine-arts scanning, with the backing and help of Graham Nash and the rest of the Nash Editions team (http://www.digitaljournalist.org/issue0105/nash_intro.htm)</ref>
Coons's went on to became a business partner with Nash, helping found the ] company ], a fine art digital reproduction company based on a $126,000 IRIS printer Nash had purchased.<ref></ref> There Coons worked on the many technical problems with scanning and adapting the IRIS printer to fine art printing, including modifying the machines to take heavy paper stock and dealing with the poor fade resistant (]) nature of the inks.<ref></ref> Coons went on to become a business partner with Nash, helping found the ], company ], a fine art digital reproduction company based on a $126,000 IRIS printer Nash had purchased.<ref>{{cite web|url=http://www.stansherer.com/Iris_2.htm|title=New Page 2|work=stansherer.com|accessdate=26 May 2015}}</ref> There Coons worked on the many technical problems with scanning and adapting the IRIS printer to fine art printing, including modifying the machines to take heavy paper stock and dealing with the poor fade resistant (]) nature of the inks.<ref> {{webarchive|url=https://web.archive.org/web/20111008001336/http://www.photography.org/interviews/holbert.php |date=8 October 2011 }}</ref> These fine art digital prints came to be known by the name "]".<ref name="pioneers">{{cite web |url=https://www.thehopkinsgallerystore.com/the-cape-cod-chronicle-2020/pioneers-of-giclee-prints |title=Pioneers of Giclee Prints |work=The Hopkins Gallery |date=2018-04-26 |accessdate=2023-05-16 }}</ref>


In the mid-1990s, Coons split off from Nash Editions to concentrate on scanning, while Nash's team continued to work on fine art printing. The two companies still share a close relationship, and refer clients to one another. In the mid-1990s, Coons shifted his focus exclusively to scanning, while Nash Editions continued to specialize in fine art printing. The two companies maintain a close relationship and often refer clients to each other.<ref></ref>


==Film Production== ==Film production==
Coons's Academy Award is for design and development of the ] production system for film ]; as a technical Oscar, it is shared with the rest of the team that worked on CAPS. This award served to get him into the Academy, where he's regarded as a deeply involved and committed member. Coons's Academy Award is for design and development of the ] production system for film ]; as a technical Oscar, it is shared with the rest of the team that worked on CAPS. This award served to get him into the Academy, where he is regarded as a deeply involved and committed member.{{Citation needed|date=May 2015}}


Coons has been involved with motion-picture technology since he was in ], where he was one of the "Audio-Visual Team" that handled the equipment for educational films and shows (it would be quite shocking if he had not been). Coons has made a number of "amateur" films, in addition to several student-style efforts. He was also the cameraman, cinematographer, craft services and technical consultant on ]'s ''The Glendale Ogre''. He is widely regarded as a "connector" in the sense ] wrote about in ''The Tipping Point'', though some see him as a Gladwellian "maven." He is also, thanks to Bronson, a very famous ]. Coons has been involved with motion-picture technology since he was in ], where he was one of the "Audio-Visual Team" that handled the equipment for educational films and shows. Coons has made a number of "amateur" films, in addition to several student-style efforts. He was also the ], cinematographer, craft services and technical consultant on ]'s ''The Glendale Ogre''.

He is widely regarded as a "connector" in the sense ] wrote about in ''The Tipping Point'', though some see him as a Gladwellian "maven". He has also been identified as the title character (a ] programmer on the late shift who got in trouble with the security guards) in ]'s non-fiction book on Silicon Valley workers called '']''.<ref>{{Cite web |url=http://bookpage.com/reviews/596-po-bronson-nudist-late-shift-other-true-tales-silicon-valley#.VMb1ti6rhyE |title=Loretta Kalb, ''book review'' '''The Nudist on the Late Shift: And Other True Tales of Silicon Valley''' bookpage.com, July 1999 |access-date=27 January 2015 |archive-date=13 May 2015 |archive-url=https://web.archive.org/web/20150513131531/http://bookpage.com/reviews/596-po-bronson-nudist-late-shift-other-true-tales-silicon-valley#.VMb1ti6rhyE |url-status=dead }}</ref>

==CG Production System Development==
*'']'' (1987) technical director
*'']'' (1990) digital production system developer
*'']'' (1991) engineering developer
*'']'' (1992) engineering development
*'']'' (1993) engineer
*'']'' (1993) engineer
*'']'' (1994) technology development and support
*'']'' (1995) additional technology staff
*'']'' (1996) technology production supporter


==References== ==References==
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==External links== ==External links==
*{{IMDB name|0177796}} *{{IMDb name|0177796}}
* *
*{{Facebook|david.coons.79}}
*
*{{Instagram|coons.david}}


{{Authority control}}
⚫ {{Use dmy dates|date=September 2010}}


{{Persondata <!-- Metadata: see ]. -->
| NAME =Coons, David
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION =
| DATE OF BIRTH =16 May 1960
| PLACE OF BIRTH =
| DATE OF DEATH =
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Coons, David}} {{DEFAULTSORT:Coons, David}}
] ]
] ]
] ]
]

Latest revision as of 10:39, 23 June 2024

Computer graphics and scanning professional

This article's tone or style may not reflect the encyclopedic tone used on Misplaced Pages. See Misplaced Pages's guide to writing better articles for suggestions. (June 2009) (Learn how and when to remove this message)
David B. Coons
Born (1960-05-16) May 16, 1960 (age 64)
Pomona, California
Occupations
  • Fine-arts scanner
  • Computer-graphics guru
  • Filmmaker
Websitehttp://www.artscans.com/

David B. Coons is a computer graphics professional and CGI pioneer.

Scanning and computer graphics

Active in the Academy of Motion Picture Arts and Sciences, Coons works behind the scenes in the film and computer graphics industries. He is also the president and owner of ArtScans Studio in Culver City, California, where he uses a scanner of his own invention to serve a clientele of celebrity artists and fine artists.

According to the ArtScans website: "ArtScans has been doing accurate colour capture for reproduction since 1992. We own and operate a large (44" x 50") flatbed scanner that is the only one of its kind in the world. Both the scanner and its software were designed by us."

Keith Goldfarb, co-founder of Rhythm and Hues Studios, a computer-graphics studio that works on major motion pictures—Night at the Museum 2: Battle of the Smithsonian and The Chronicles of Riddick (2004)— as well as high-end commercials, has called him "the most knowledgeable person about scanning on this planet."

Digital printing

David Coons was also a pioneer in the art of digital printing reproduction of scanned and computer generated artwork, specifically adapting the large format IRIS printer, a machine designed to work solely with proprietary prepress computer systems, to this task.

In the late 1980s Coons developed software to use an IRIS 3024 at The Walt Disney Company to print images from Disney's new Computer Animation Production System. He also wrote software to print works created on desktop computers such as Sally Larsen 1989 Transformer series and a 1990 photography exhibition for Graham Nash of Crosby, Stills, and Nash. The work he did for Nash had to do with re-creating images for prints and negatives had been lost by scanning the remaining contact prints at high resolution, and printing them in extremely large format.

Coons went on to become a business partner with Nash, helping found the Manhattan Beach, California, company Nash Editions, a fine art digital reproduction company based on a $126,000 IRIS printer Nash had purchased. There Coons worked on the many technical problems with scanning and adapting the IRIS printer to fine art printing, including modifying the machines to take heavy paper stock and dealing with the poor fade resistant (fugitive) nature of the inks. These fine art digital prints came to be known by the name "giclée".

In the mid-1990s, Coons shifted his focus exclusively to scanning, while Nash Editions continued to specialize in fine art printing. The two companies maintain a close relationship and often refer clients to each other.

Film production

Coons's Academy Award is for design and development of the Computer Animation Production System production system for film animation; as a technical Oscar, it is shared with the rest of the team that worked on CAPS. This award served to get him into the Academy, where he is regarded as a deeply involved and committed member.

Coons has been involved with motion-picture technology since he was in junior high school, where he was one of the "Audio-Visual Team" that handled the equipment for educational films and shows. Coons has made a number of "amateur" films, in addition to several student-style efforts. He was also the cameraman, cinematographer, craft services and technical consultant on John P. McCann's The Glendale Ogre.

He is widely regarded as a "connector" in the sense Malcolm Gladwell wrote about in The Tipping Point, though some see him as a Gladwellian "maven". He has also been identified as the title character (a nudist programmer on the late shift who got in trouble with the security guards) in Po Bronson's non-fiction book on Silicon Valley workers called The Nudist on the Late Shift.

CG Production System Development

References

  1. "ArtScans Studio - Fine Art Color Accurate Specialty Scanning". artscans.com. Retrieved 26 May 2015.
  2. Blogger Joy McCann documents the lives of those in "The Olive Starlight Orchestra" (http://littlemissattila.mu.nu/archives/041076.php)
  3. Harald Johnson, "Mastering Digital Printing", Thompson Course Technology, 2002, ISBN 1-929685-65-3
  4. Digital Journalism article on the breakthroughs Coons achieved in fine-arts scanning, with the backing and help of Graham Nash and the rest of the Nash Editions team (http://www.digitaljournalist.org/issue0105/nash_intro.htm)
  5. "New Page 2". stansherer.com. Retrieved 26 May 2015.
  6. photography.org - The Center for Photographic Art, Interview, Mac Holbert, September 2004 Archived 8 October 2011 at the Wayback Machine
  7. "Pioneers of Giclee Prints". The Hopkins Gallery. 26 April 2018. Retrieved 16 May 2023.
  8. Excerpt from Harald Johnson's Mastering Digital Printing: Second Edition on David Coons's innovative work with Nash in fine-arts scanning
  9. "Loretta Kalb, book review The Nudist on the Late Shift: And Other True Tales of Silicon Valley bookpage.com, July 1999". Archived from the original on 13 May 2015. Retrieved 27 January 2015.

External links

Categories: