Computer animation is the process used for generating animated images by using computer graphics. The more general term computer generated imagery encompasses both static scenes and dynamic images, while ''computer animation'' only refers to moving images.

Modern computer animation usually uses 3D computer graphics, although 2D computer graphics are still used for stylistic, low bandwidth, and faster real-time renderings. Sometimes the target of the animation is the computer itself, but sometimes the target is another medium, such as film.

Computer animation is essentially a digital successor to the stop motion techniques used in traditional animation with 3D models and frame-by-frame animation of 2D illustrations. Computer generated animations are more controllable than other more physically based processes, such as constructing miniatures for effects shots or hiring extras for crowd scenes, and because it allows the creation of images that would not be feasible using any other technology. It can also allow a single graphic artist to produce such content without the use of actors, expensive set pieces, or props.

To create the illusion of movement, an image is displayed on the computer screen and repeatedly replaced by a new image that is similar to the previous image, but advanced slightly in the time domain (usually at a rate of 24 or 30 frames/second). This technique is identical to how the illusion of movement is achieved with television and motion pictures.

For 3D animations, objects (models) are built on the computer monitor (modeled) and 3D figures are rigged with a virtual skeleton. For 2D figure animations, separate objects (illustrations) and separate transparent layers are used, with or without a virtual skeleton. Then the limbs, eyes, mouth, clothes, etc. of the figure are moved by the animator on key frames. The differences in appearance between key frames are automatically calculated by the computer in a process known as tweening or morphing. Finally, the animation is rendered.

For 3D animations, all frames must be rendered after modeling is complete. For 2D vector animations, the rendering process is the key frame illustration process, while tweened frames are rendered as needed. For pre-recorded presentations, the rendered frames are transferred to a different format or medium such as film or digital video. The frames may also be rendered in real time as they are presented to the end-user audience. Low bandwidth animations transmitted via the internet (e.g. 2D Flash, X3D) often use software on the end-users computer to render in real time as an alternative to streaming or pre-loaded high bandwidth animations.

A simple example

The screen is blanked to a background color, such as black. Then, a goat is drawn on the right of the screen. Next, the screen is blanked, but the goat is re-drawn or duplicated slightly to the left of its original position. This process is repeated, each time moving the goat a bit to the left. If this process is repeated fast enough, the goat will appear to move smoothly to the left. This basic procedure is used for all moving pictures in films and television.

The moving goat is an example of shifting the location of an object. More complex transformations of object properties such as size, shape, lighting effects often require calculations and computer rendering instead of simple re-drawing or duplication.

Explanation

To trick the eye and brain into thinking they are seeing a smoothly moving object, the pictures should be drawn at around 12 frames per second (frame/s) or faster (a frame is one complete image). With rates above 70 frames/s no improvement in realism or smoothness is perceivable due to the way the eye and brain process images. At rates below 12 frame/s most people can detect jerkiness associated with the drawing of new images which detracts from the illusion of realistic movement. Conventional hand-drawn cartoon animation often uses 15 frames/s in order to save on the number of drawings needed, but this is usually accepted because of the stylized nature of cartoons. Because it produces more realistic imagery computer animation demands higher frame rates to reinforce this realism.

Movie film seen in theaters in the United States runs at 24 frames per second, which is sufficient to create the illusion of continuous movement.

History

One of the earliest steps in the history of computer animation was the 1973 movie ''Westworld,'' a science-fiction film about a society in which robots live and work among humans, though the first use of 3D Wireframe imagery was in its sequel, ''Futureworld'' (1976), which featured a computer-generated hand and face created by then University of Utah graduate students Edwin Catmull and Fred Parke.

Developments in CGI technologies are reported each year at SIGGRAPH, an annual conference on computer graphics and interactive techniques, attended each year by tens of thousands of computer professionals. Developers of computer games and 3D video cards strive to achieve the same visual quality on personal computers in real-time as is possible for CGI films and animation. With the rapid advancement of real-time rendering quality, artists began to use game engines to render non-interactive movies. This art form is called ''machinima''.

The first feature-length computer animated film was the 1995 movie ''Toy Story'' by Pixar. It followed an adventure centered around some toys and their owners. The groundbreaking film was the first of many fully computer animated films.

Computer animation helped make blockbuster films such as ''Toy Story 3'' (2010), ''Avatar (2009 film)'' (2009), and ''Shrek 2'' (2004).

Methods of animating virtual characters

In most 3D computer animation systems, an animator creates a simplified representation of a character's anatomy, analogous to a skeleton or stick figure. The position of each segment of the skeletal model is defined by ''animation variables'', or Avars. In human and animal characters, many parts of the skeletal model correspond to actual bones, but skeletal animation is also used to animate other things, such as facial features (though other methods for facial animation exist). The character "Woody" in ''Toy Story'', for example, uses 700 Avars, including 100 Avars in the face. The computer does not usually render the skeletal model directly (it is invisible), but uses the skeletal model to compute the exact position and orientation of the character, which is eventually rendered into an image. Thus by changing the values of Avars over time, the animator creates motion by making the character move from frame to frame.

There are several methods for generating the Avar values to obtain realistic motion. Traditionally, animators manipulate the Avars directly. Rather than set Avars for every frame, they usually set Avars at strategic points (frames) in time and let the computer interpolate or 'tween' between them, a process called keyframing. Keyframing puts control in the hands of the animator, and has roots in hand-drawn traditional animation.

In contrast, a newer method called motion capture makes use of live action. When computer animation is driven by motion capture, a real performer acts out the scene as if they were the character to be animated. His or her motion is recorded to a computer using video cameras and markers, and that performance is then applied to the animated character.

Each method has its advantages, and as of 2007, games and films are using either or both of these methods in productions. Keyframe animation can produce motions that would be difficult or impossible to act out, while motion capture can reproduce the subtleties of a particular actor. For example, in the 2006 film Pirates of the Caribbean: Dead Man's Chest, actor Bill Nighy provided the performance for the character Davy Jones. Even though Nighy himself doesn't appear in the film, the movie benefited from his performance by recording the nuances of his body language, posture, facial expressions, etc. Thus motion capture is appropriate in situations where believable, realistic behavior and action is required, but the types of characters required exceed what can be done through conventional costuming.

Creating characters and objects on a computer

3D computer animation combines 3D models of objects and programmed or hand "keyframed" movement. Models are constructed out of geometrical vertices, faces, and edges in a 3D coordinate system. Objects are sculpted much like real clay or plaster, working from general forms to specific details with various sculpting tools. A bone/joint animation system is set up to deform the CGI model (e.g., to make a humanoid model walk). In a process called rigging, the virtual marionette is given various controllers and handles for controlling movement. Animation data can be created using motion capture, or keyframing by a human animator, or a combination of the two.

3D models rigged for animation may contain thousands of control points - for example, the character "Woody" in Pixar's movie ''Toy Story'', uses 700 specialized animation controllers. Rhythm and Hues Studios labored for two years to create Aslan in the movie ''The Chronicles of Narnia: The Lion, the Witch and the Wardrobe'' which had about 1851 controllers, 742 in just the face alone. In the 2004 film ''The Day After Tomorrow'', designers had to design forces of extreme weather with the help of video references and accurate meteorological facts. For the 2005 remake of ''King Kong'', actor Andy Serkis was used to help designers pinpoint the gorilla's prime location in the shots and used his expressions to model "human" characteristics onto the creature. Serkis had earlier provided the voice and performance for Gollum in J. R. R. Tolkien's ''The Lord of the Rings'' trilogy.

Computer animation development equipment

Computer animation can be created with a computer and animation software. Some impressive animation can be achieved even with basic programs; however, the rendering can take a lot of time on an ordinary home computer. Because of this, video game animators tend to use low resolution, low polygon count renders, such that the graphics can be rendered in real time on a home computer. Photorealistic animation would be impractical in this context.

Professional animators of movies, television, and video sequences on computer games make photorealistic animation with high detail. This level of quality for movie animation would take tens to hundreds of years to create on a home computer. Many powerful workstation computers are used instead. Graphics workstation computers use two to four processors, and thus are a lot more powerful than a home computer, and are specialized for rendering. A large number of workstations (known as a render farm) are networked together to effectively act as a giant computer. The result is a computer-animated movie that can be completed in about one to five years (this process is not comprised solely of rendering, however). A workstation typically costs $2,000 to $16,000, with the more expensive stations being able to render much faster, due to the more technologically advanced hardware that they contain. Professionals also use digital movie cameras, motion capture or performance capture, bluescreens, film editing software, props, and other tools for movie animation.

Modeling human faces

The modeling of human facial features is both one of the most challenging and sought after elements in computer-generated imagery. Computer facial animation is a highly complex field where models typically include a very large number of animation variables. Historically speaking, the first SIGGRAPH tutorials on ''State of the art in Facial Animation'' in 1989 and 1990 proved to be a turning point in the field by bringing together and consolidating multiple research elements, and sparked interest among a number of researchers.

The Facial Action Coding System (with 46 ''action units'' such as "lip bite" or "squint") which had been developed in 1976 became a popular basis for many systems. As early as 2001 MPEG-4 included 68 facial animation parameters for lips, jaws, etc., and the field has made significant progress since then and the use of facial microexpression has increased.

In some cases, an affective space such as the PAD emotional state model can be used to assign specific emotions to the faces of avatars. In this approach the PAD model is used as a high level emotional space, and the lower level space is the MPEG-4 Facial Animation Parameters (FAP). A mid-level Partial Expression Parameters (PEP) space is then used to in a two level structure: the PAD-PEP mapping and the PEP-FAP translation model.

The future

One open challenge in computer animation is a photorealistic animation of humans. Currently, most computer-animated movies show animal characters (''A Bug's Life'', ''Finding Nemo'', ''Ratatouille'', ''Ice Age'', ''Over the Hedge'', ''Open Season'', ''Rio''), fantasy characters (''Monsters Inc.'', ''Shrek'', ''Teenage Mutant Ninja Turtles 4'', ''Monsters vs. Aliens''), anthropomorphic machines (''Cars'', ''WALL-E'', ''Robots'') or cartoon-like humans (''The Incredibles'', ''Despicable Me'', ''Up''). The movie ''Final Fantasy: The Spirits Within'' is often cited as the first computer-generated movie to attempt to show realistic-looking humans. However, due to the enormous complexity of the human body, human motion, and human biomechanics, realistic simulation of humans remains largely an open problem. Another problem is the distasteful psychological response to viewing nearly perfect animation of humans, known as "the uncanny valley." It is one of the "holy grails" of computer animation. Eventually, the goal is to create software where the animator can generate a movie sequence showing a photorealistic human character, undergoing physically plausible motion, together with clothes, photorealistic hair, a complicated natural background, and possibly interacting with other simulated human characters. This could be done in a way that the viewer is no longer able to tell if a particular movie sequence is computer-generated, or created using real actors in front of movie cameras. Complete human realism is not likely to happen very soon, but when it does it may have major repercussions for the film industry.

For the moment it looks like three dimensional computer animation can be divided into two main directions; photorealistic and non-photorealistic rendering. Photorealistic computer animation can itself be divided into two subcategories; real photorealism (where performance capture is used in the creation of the virtual human characters) and stylized photorealism. Real photorealism is what Final Fantasy tried to achieve and will in the future most likely have the ability to give us live action fantasy features as ''The Dark Crystal'' without having to use advanced puppetry and animatronics, while ''Antz'' is an example on stylistic photorealism (in the future stylized photorealism will be able to replace traditional stop motion animation as in ''Corpse Bride'', Coraline, Nightmare Before Christmas). None of these mentioned are perfected as of yet, but the progress continues.

The non-photorealistic/cartoonish direction is more like an extension of traditional animation, an attempt to make the animation look like a three dimensional version of a cartoon, still using and perfecting the main principles of animation articulated by the Nine Old Men, such as squash and stretch.

While a single frame from a photorealistic computer-animated feature will look like a photo if done right, a single frame vector from a cartoonish computer-animated feature will look like a painting (not to be confused with cel shading, which produces an even simpler look).

Detailed examples and pseudocode

In 2D computer animation, moving objects are often referred to as “sprites.” A sprite is an image that has a location associated with it. The location of the sprite is changed slightly, between each displayed frame, to make the sprite appear to move. The following pseudocode makes a sprite move from left to right:

var ''int'' x := 0, y := screenHeight / 2; while x < screenWidth drawBackground() drawSpriteAtXY (x, y) ''// draw on top of the background'' x := x + 5 ''// move to the right''

Computer animation uses different techniques to produce animations. Most frequently, sophisticated mathematics is used to manipulate complex three dimensional polygons, apply “textures”, lighting and other effects to the polygons and finally rendering the complete image. A sophisticated graphical user interface may be used to create the animation and arrange its choreography. Another technique called constructive solid geometry defines objects by conducting boolean operations on regular shapes, and has the advantage that animations may be accurately produced at any resolution.

Let's step through the rendering of a simple image of a room with flat wood walls with a grey pyramid in the center of the room. The pyramid will have a spotlight shining on it. Each wall, the floor and the ceiling is a simple polygon, in this case, a rectangle. Each corner of the rectangles is defined by three values referred to as X, Y and Z. X is how far left and right the point is. Y is how far up and down the point is, and Z is far in and out of the screen the point is. The wall nearest us would be defined by four points: (in the order x, y, z). Below is a representation of how the wall is defined

(0, 10, 0)                        (10, 10, 0)



(0,0,0)                           (10, 0, 0)

The far wall would be:

(0, 10, 20)                        (10, 10, 20)



(0, 0, 20)                         (10, 0, 20)

The pyramid is made up of five polygons: the rectangular base, and four triangular sides. To draw this image the computer uses math to calculate how to project this image, defined by three dimensional data, onto a two dimensional computer screen.

First we must also define where our view point is, that is, from what vantage point will the scene be drawn. Our view point is inside the room a bit above the floor, directly in front of the pyramid. First the computer will calculate which polygons are visible. The near wall will not be displayed at all, as it is behind our view point. The far side of the pyramid will also not be drawn as it is hidden by the front of the pyramid.

Next each point is perspective projected onto the screen. The portions of the walls ‘furthest’ from the view point will appear to be shorter than the nearer areas due to perspective. To make the walls look like wood, a wood pattern, called a texture, will be drawn on them. To accomplish this, a technique called “texture mapping” is often used. A small drawing of wood that can be repeatedly drawn in a matching tiled pattern (like desktop wallpaper) is stretched and drawn onto the walls' final shape. The pyramid is solid grey so its surfaces can just be rendered as grey. But we also have a spotlight. Where its light falls we lighten colors, where objects blocks the light we darken colors.

Next we render the complete scene on the computer screen. If the numbers describing the position of the pyramid were changed and this process repeated, the pyramid would appear to move.

Movies

CGI short films have been produced as independent animation since 1976, though the popularity of computer animation (especially in the field of special effects) skyrocketed during the modern era of U.S. animation. The first completely computer-generated television series was ''ReBoot'', in 1994, and the first completely computer-generated animated movie was ''Toy Story'' (1995). See List of computer-animated films for more.

Amateur animation

The popularity of websites which allows members to upload their own movies for others to view has created a growing community of amateur computer animators. With utilities and programs often included free with modern operating systems, many users can make their own animated movies and shorts. Several free and open source animation software applications exist as well. A popular amateur approach to animation is via the animated GIF format, which can be uploaded and seen on the web easily.

See also

Animation

Animation database

Avar (animation variable)

Blue Sky Studios

Computer-generated imagery (CGI)

Computer Graphics Lab

Computer representation of surfaces

DreamWorks Animation

Hand Over

Humanoid animation

List of computer-animated films

Morph target animation

National Centre for Computer Animation (UK)

Motion capture

Pixar

Ray Tracing

Rhythm and Hues Studios

Rich Representation Language

Skeletal animation

Sony Pictures Animation

Timeline of CGI in film and television

Virtual artifact

Wire frame model

Animated images in Wikipedia

Computer animation example

An animated pentakisdodecahedron

Animation of an MRI brain scan, starting at the top of the head and moving towards the base

References

External links

Animation lessons from Amazing-kids.org

CG101: A Computer Graphics Industry Reference, Terrence Masson. ISBN 0-7357-0046-X (Histories of early computer graphics production)

3D Tutorials WhichDimension.com GFX.3D Directory

* Category:Computer graphics Category:Animation techniques

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birth name	Catherine Mary Hicks
birth date	August 06, 1951
birth place	New York City, New York, United States
yearsactive	1976–present
occupation	Actress/Singer
spouse	Kevin Yagher (1990-present)
domesticpartner	}}

Catherine Mary Hicks (born August 6, 1951) is an American stage, film, television actress and singer. She is best known for her role as Annie Camden on the long-running television series ''7th Heaven''.

Biography

Personal life

Hicks was born in New York City, the daughter of Jackie, a homemaker, and Walter Hicks, an electronics salesman. She has Irish and English ancestry. Her family moved to Scottsdale, Arizona during her childhood. She was a cheerleader at Gerard Catholic High School in Phoenix, Arizona and a member of The National Honor Society (NHS). She graduated in 1969. After attending Saint Mary's College (Indiana), across the street from the University of Notre Dame, where she studied English Literature and Theology, Hicks won a prestigious acting fellowship to Cornell University. While at Cornell, she was a member of the Ithaca Repertory Theater Company. Hicks, whose parents were practicing Christians, is a devout Roman Catholic. She was engaged to journalist, Jeff Silverman, in the mid-1980s. The engagement ended. Catherine met her future husband, special effects make up artist, and the designer and executor of the "Chucky" doll, Kevin Yagher, on the set of the film ''Child's Play''. Catherine and Kevin were married on May 19, 1990. They currently live in the Bel Air section of Los Angeles. The two have a daughter named Catie, who was born in January 1992. Her brother-in-law is actor Jeff Yagher, and her sister-in-law is actress Megan Gallagher (Jeff's wife). Each made a guest appearance on ''7th Heaven''.

Career

1970s

After graduating from Cornell University with a Masters of Fine Arts degree, Hicks headed to New York in August 1976, where she immediately got work in television commercials. Two weeks after arriving in New York, she landed her first major TV role as the newly recovered pediatrician Dr. Faith Coleridge #3 on ABC soap opera, ''Ryan's Hope''. A year and half later, she left her role on ''Ryan's Hope'' when she was cast to star alongside Jack Lemmon (as Scottie) in Bernard Slade's 1978 Broadway play, ''Tribute'' in which she played the young model Sally Haines, who Scottie sets up with his estranged son (Robert Picardo). That same year, she starred in the CBS TV movie and TV series pilot of a detective drama called "Sparrow" as an anthropology student named Valerie who was Sparrow's neighbor and romantic interest.

1980s

When ''Tribute'' ended, Hicks moved to California and co-starred on the 1979-1980 CBS sitcom, ''The Bad News Bears'' as junior high school principal and psychologist, Dr. Emily Rappant. She had roles in a few TV movies, playing an escort, Annie, in ABC's 1979's ''Love For Rent'', and as Beth, a camp counselor and has a summer romance with Steve Guttenberg's visually impaired character in CBS's 1980 film ''To Race the Wind'', based on the Harold Krents' autobiography.

In 1980, Catherine beat out hundreds of actresses for the lead role of Marilyn Monroe in ABC's $3.5 million dollar production, ''Marilyn: The Untold Story'', based on the Norman Mailer best seller. She earned an Emmy nomination for Outstanding Lead Actress in a Mini-series or Movie for her portrayal of the legendary star.

In 1981, Hicks starred in CBS's remake of Jacqueline Susann's ''Valley of the Dolls'', as Ann Wells, an entertainment lawyer, and James Corburn's protege. She made her motion picture debut in the 1982 comedy, ''Better Late Than Never'', as Sable, the young gold-digger who catches the eye of wealthy older gentlemen, David Niven and Art Carney. That same year, she starred as Sally in the movie thriller, ''Death Valley''. She played Peter Billingsley's mother.

She took the lead role as Amanda Tucker in the 12-episode detective series ''Tucker's Witch'' opposite Tim Matheson as Rick Tucker. The program aired on CBS from October 6, 1982, sporadically into August, 1983. In 1983, she also co-starred with John Schneider in CBS's romantic comedy movie, ''Happy Endings''. Catherine played Lisa, a singer trying to get over a broken heart and finding love with her next door neighbor.

In Sidney Lumet's 1984 film, ''Garbo Talks'', Catherine was aspiring-actress Jane Mortimer. Hicks also played Bill Murray's socialite finacee, Isabel, in the 1984 remake of ''The Razor's Edge''. For her work in 1986's ''Star Trek IV: The Voyage Home'', Catherine received a Saturn Award nomination for Best Supporting Actress for her role as cetacean biologist, Dr. Gillian Taylor, who assists the Star Trek crew in their quest for two humpback whales. That same year, in Francis Ford Coppola's ''Peggy Sue Got Married'', she played Carol Heath, one of Peggy Sue's best friends.

In 1987's ''Like Father Like Son'', Hicks played Dr. Amy Larkin, a colleague of Dudley Moore's character. Also in 1987, she appeared as Jane Algernon in the HBO mystery, ''Laguna Heat'', as the victim's daughter who becomes Harry Hamlin's lover.

In 1988, she played businesswoman Ella Frazier in a Yugoslavian comedy ''Tajna manastirske rakije'' (also released under the titles ''Cognac'' and ''Secret Ingredient''). and falls for Rick Rossovich. Catherine co-starred with Christopher Plummer, as his estranged daughter, Tina Boyer, in the Showtime movie channel's 1988 movie, ''Souvenir''. She played single hard working mother Karen Barclay in the 1988 horror film, ''Child's Play''. Her performance won her a 1988 Best Actress Saturn Award.

The next year, she starred opposite Tony Danza in ''She's Out of Control'', as his girlfriend, Janet Pearson. Also in 1989, she was in the USA cable network movie, Spy, playing Angela Berk, Bruce Greenwood's ex-wife.

1990s

Catherine starred in the 1990 USA cable network's movie, ''Running Against Time'', playing a TV reporter named Laura Whittaker and Robert Hays' lover. She co-starred in the 1991 FOX-TV comedy-fantasy movie, ''Hi Honey - I'm Dead'' as Carol Stadler, the mother of Joseph Gordon-Levitt. She had a brief role as the stoned Mary Parker in Mike Figgis' 1991 film, ''Liebestraum''.

She co-starred with British actor, Trevor Eve, and June Lockhart, in the Jeff Franklin- Lorimar produced 1992 ABC comedy pilot, ''Up to No Good'' as Allison Ploutzer. She starred with John Bedford Lloyd in the 1993 ABC comedy pilot, ''The Circle Game'' as the character Nancy.

In 1994, Catherine was cast as Jeannie Barker in Aaron Spelling's short-lived prime time NBC soap opera, ''Winnetka Road''. She also made a 1994 guest appearance on the Dick Van Dyke murder mystery TV series, ''Diagnosis: Murder'' in an episode called, "Guardian Angel".

In 1995, she was in the Hallmark Hall of Fame movie, ''Redwood Curtain'', playing John Lithgow's wife, and Lea Salonga's adoptive mother, Julia Riordan. She also starred as John Dillinger's (Martin Sheen) wife, Abigail, in the direct to video ''Dillinger and Capone''. and had a role as Neil Patrick Harris' mother. Mrs. Mosk, in the 1995 independent film, ''Animal Room''.

In 1996, she was cast as Annie Camden on The WB's family drama ''7th Heaven'' (opposite fellow Star Trek alum Stephen Collins). ''7th Heaven'' was picked up by The CW Television Network for an 11th season, making it the longest-running family drama on television. The show aired its final episode in May 2007. In 1997, Catherine played flight attendant, Maggie, one of Ray Liotta's victims in ''Turbulence''. The same year, Catherine played next door neighbor, Ms. Lewis, in Michael Davis' coming-of-age film, ''Eight Days a Week''.

2000s

In 2000, she was in the CBS made-for-TV movie, ''For All Time'', playing Mark Harmon's wife, Kristen. Hicks also starred in the Lifetime channel's 2008 movie ''Poison Ivy: The Secret Society'' as Dean Elisabeth Graves. In 2009, Hicks played therapist, Dr. Rosen, in the WB's online web series, ''Pushed''. Also in the 2009 Lifetime Movie Network film, ''Stranger with My Face'', she played the widowed mother Shelley Stratton. She plays Mom in the 2009 independent short film ''You're a Wolf'', co-starring with Michael Gross and Jesse Bradford. Hicks is featured in ''My Name Is Jerry'', an independent film shot mostly in Muncie, Indiana. Catherine won the award for Best Actress in a Supporting Role from the 2009 International Filmmakers Festival for her portrayal as Dana.

2010s

In 2010, Catherine received excellent reviews for her role as Hildegarde, in playwright Christopher Durang's ''Why Torture is Wrong and the People Who Love Them'' at the Stella Adler Theater in Hollywood. Catherine supplied the voice of Snowdorable for the 2010 animated Christmas cartoon, ''Elf Sparkle and the Special Red Dress.'' She played Professor Myra Allitt in the 2010 film, ''The Genesis Code''. She was Texas family court Judge Harriet Krammer in the 2011 Hallmark Channel movie, ''A Valentine's Date'', (which was also released under the video title ''Your Love Never Fails''). She played Jean in the 2011 Lifetime Movie Network movie, ''Borderline Murder'', reuniting her with her former 7th Heaven co-star, George Stults, who played her son-in-law on the show.

Other

At the University of Notre Dame, the ''Catherine Hicks Award'' is given to a graduating senior for outstanding work in Theatre.

In 2010, Catherine made appearances in several public service announcements for CARU - the Children's Advertising Review Unit. The commercials reflected contemporary concerns about the privacy and safety of children on the Internet. She continued her commitment as a parent advocate by teaming with the National Community Pharmacists Association and Purdue Pharma for the 2010 Safeguard My Meds campaign to help prevent the abuse and misuse of prescription medication.

References

External links

Official website

Category:1951 births Category:Actors from Arizona Category:Actors from New York Category:Actors from New York City Category:Alumni of women's universities and colleges Category:American female singers Category:American film actors Category:American people of English descent Category:American people of Irish descent Category:American Roman Catholics Category:American soap opera actors Category:American stage actors Category:American television actors Category:Cornell University alumni Category:Saint Mary's College (Indiana) alumni Category:Living people Category:People from New York City Category:People from Scottsdale, Arizona

cs:Catherine Hicksová da:Catherine Hicks de:Catherine Hicks es:Catherine Hicks fr:Catherine Hicks it:Catherine Hicks hu:Catherine Hicks nl:Catherine Hicks no:Catherine Hicks pl:Catherine Hicks ro:Catherine Hicks sr:Кетрин Хикс fi:Catherine Hicks sv:Catherine Hicks tr:Catherine Hicks