question: Are CGI assets reused in movies?
comment: Studios have libraries of common assets that they utilize. If you're a CGI company you'll have tons of generic assets (like cars, street signs, people, buildings, etc) that you can simply pull from the library to place in the scene you're creating. They would also have standard morphs they can apply to those assets (a building for example might allow you to define the number of floors, how many windows per floor, etc) to easily change the buildings to appear more unique. More specific assets (like the giant flying whale creatures in Avengers) are not often re-used outside of films in the same franchise, but you can bet they are going to keep it around for a situation where they can use it instead of creating something from scratch, though there's probably some contractual agreements where they aren't allowed to use such assets outside of approved films.
passages: BULLET::::- California Graduate Institute, an independent graduate school specializing in psychology
  
  BULLET::::- Catholic Guides of Ireland, a Girl Guide association
  
  BULLET::::- Chulabhorn Graduate Institute, a private graduate institute in Thailand
  
  BULLET::::- CGI Aero or RusAir, a Russian airline
  
  BULLET::::- CGI Inc., a multinational information technology and business process services company
  
  BULLET::::- Clinton Global Initiative, a forum created by former US President Bill Clinton to discuss global problems
  
  BULLET::::- Coast Guard Intelligence, the intelligence branch of the United States Coast Guard
  
  BULLET::::- Commission for the Management and Application of Geoscience Information
  
  BULLET::::- Compagnie Générale Immobiliere, a Moroccan real-estate development company
   Today there are several different computer programs that simulate things like cars and airplanes. An obvious example is a flight simulator, another would be video games where players drive cars. But neither of these tools is designed to help movie makers and content-creators to make editable, recorded animation material. None of those technologies are an aid for Maya and 3ds Max.
  
  Craft Director Tools, in contrast, records the simulations in key-frames: inside of Maya and 3ds Max.
   Arguably the biggest and most "spectacular" use of CGI is in the creation of photo-realistic images of science-fiction/fantasy characters, settings and objects. Images can be created in a computer using the techniques of animated cartoons and model animation. "The Last Starfighter" (1984) used computer generated spaceships instead of physical scale models. In 1993, stop-motion animators working on the realistic dinosaurs of Steven Spielberg's "Jurassic Park" were retrained in the use of computer input devices. By 1995, films such as "Toy Story" underscored the fact that the distinction between live-action films and animated films was no longer clear. Other landmark examples include a character made up of broken pieces of a stained-glass window in "Young Sherlock Holmes", a shape-shifting character in "Willow", a tentacle formed from water in "The Abyss", the T-1000 Terminator in "", hordes and armies of robots and fantastic creatures in the "Star Wars (prequel)" and "The Lord of the Rings" trilogies, and the planet, Pandora, in "Avatar".
   The early 2000s saw the advent of fully virtual cinematography with its audience debut considered to be in the 2003 films "The Matrix Reloaded" and "The Matrix Revolutions" with its digital look-alikes so convincing that it is often impossible to know if some image is a human imaged with a camera or a digital look-alike shot with a simulation of a camera. The scenes built and imaged within virtual cinematography are the ""Burly brawl"" and the end showdown between Neo and Agent Smith. With conventional cinematographic methods the burly brawl would have been prohibitively time consuming to make with years of compositing required for a scene of few minutes. Also a human actor could not have been used for the end showdown in Matrix Revolutions: Agent Smith's cheekbone gets punched in by Neo leaving the digital look-alike naturally unhurt.
   In recent years, many CGI-animated films have also incorporated bloopers, including a mix of faked bloopers, genuine voice-actor mistakes set to animation, and technical errors. Examples can be found in "A Bug's Life," "Toy Story 2," "Monsters, Inc.," "Valiant", some "Barbie" films, and the Indian film "Roadside Romeo".
  
  Section::::Origins.
   Disney also uses digital puppetry techniques in Stitch Encounter, which opened in 2006 at the Hong Kong Disneyland park. Disney has another version of the same attraction in Disneyland Resort Paris called Stitch Live!
  
  Section::::History and usage.:Military Simulation & Training.
   The terminal in the Pan Am (TV series) no longer existed during the filming of this 2011–2012 aired series, which was no problem as they created it in virtual cinematography utilizing automated viewpoint finding and matching in conjunction with compositing real and simulated footage, which has been the bread and butter of the movie artist in and around film studios since the early 2000s.
   Legacy Effects gained attention for a 9'9" (2.97m) cosplay robot that was unveiled at the 2013 San Diego Comic-Con. Created through a partnership between "Wired" magazine, YouTube and Stan Winston School, the robot was built by Legacy over a period of 24 days and interacted with Comic-Con attendees throughout the four-day event, operated by a combination of suit performer and radio controlled animatronics.
   Scroggins Aviation Mockup & Effects was hired to supply a CH-47 Chinook (s/n 90-00204) in the film. Scroggins made modification to the CH-47 and worked with SFX to rig it to a motion base (Gimbal), It would be the first time a real Chinook was placed on a motion base in a motion picture.
  
  Section::::Production.:Post-production.
   The "Star Wars" Anthology film, "Rogue One: A Star Wars Story" (2016) whose plot ends minutes before that of "Star Wars" (1977), digitally recreated the appearances of Peter Cushing in the role Grand Moff Tarkin (played and voiced by Guy Henry), and Carrie Fisher as Princess Leia (played by Ingvild Deila; Fisher's only line was added using archival voice footage of Carrie Fisher saying the word "Hope"). The virtual versions replicated the characters' appearances as seen in the aforementioned "Star Wars Episode IV: A New Hope". Cushing had died in 1994, while Fisher died a few days after the film's release. Industrial Light & Magic created the special effects, and noted that the technique would not be used often, noting also that the "young Han Solo film" would not use Harrison Ford's likeness.
   Section::::History.:Contract work (2013-2014).
   A CGI Mighty Mouse film was announced in 2003 although, , nothing has yet been produced. There have been rumours that Woo will direct a film version of the videogame "Metroid", however the rights he optioned have since expired.
   In 1991, "", also directed by Cameron, confident in the abilities of computer-generated effects from his experience with "The Abyss", included a mixture of synthetic actors with live animation, including computer models of Robert Patrick's face. "The Abyss" contained just one scene with photo-realistic computer graphics. "Terminator 2: Judgment Day" contained over forty shots throughout the film.
  
  In 1997, Industrial Light & Magic worked on creating a virtual actor that was a composite of the bodily parts of several real actors.
   Section::::Products and services.:Recent projects.:Space and aviation.
   In other instances, CGI and creature suits are combined, using green parts of the suit to chroma key them and add or remove appendages in post-production. This technique was used to hide suit actors' heads in the 2005 film "", replace satyr creatures' legs in the 2005 film "", and to add facial expressions to the monsters in the 2009 film "Where the Wild Things Are".
   There were originally plans to include a scene where the Great Wall of China is damaged, but the concept was removed from the script in hopes to improve the film's chances in the Chinese market.
  
  Section::::Production.:Casting.
   The largest example of CGI is Tony Jaa's dramatic leap from the top of a building to attack Madame Rose with a double knee attack. While the background was blue screen with the Australian backdrop added in post production, the long fall shown on screen was real as Jaa and a stuntperson pulled the scene off, landing on large mats below. Even in scenes like this with blue screen, normally a stunt double would be called in for the lead actor, but Jaa once again made sure he did the stunt himself.
  
  Section::::Production.:Fighting styles.
   In the closing credits, "Fortress" filmmakers make the sardonic declaration, "No B-17s were hurt in the making of this film." The statement was accurate as the low budget feature could not afford to use actual surviving B-17s, either in private collections or in museums. With principal photography undertaken in 2011, Radical 3D was responsible for the authentic computer-generated imagery (CGI) film effects. The company's involvement with Lucasfilm, Fox Television, IMAX, Warner Brothers and Disney was in feature work, including the similar productions, George Lucas’s "Red Tails" (2012) and the Tom Hanks production of "Beyond All Boundaries" (2009) (for which effects have been nominated for a VES award).
   Most recently, several CGI silhouette films have been made, which demonstrate different approaches to the technique – Jossie Malis' use already 2D, vector animation,  Michel Ocelot's "Earth Intruders" (2007) and a scene in "" ("Azur & Asmar", 2006) use 3D figures rendered as silhouettes, while Anthony Lucas' Academy Award-nominated "The Mysterious Geographic Explorations of Jasper Morello" (2005) mixes 2D characters and 3D backgrounds, both of which are combination of live action and CGI. Computer animation has also been used to make more explicit reference to shadow theatre – particularly of the Southeast Asian "wayang kulit" style – by adding visible rods to the characters which appear to be operating them (ironically, in CGI, it is the other way round). This was used in Jan Koester's "Our Man in Nirvana" (2006) and the opening of the Disney feature "The Jungle Book 2" (2003). Michel Ocelot's television series "Bergères et dragons" ("Shepherdesses and Dragons"), which, as of March 2008, is still in development,  uses a mixture of 2D and 3D computer animation to simulate the look of his earlier, analogue silhouette animation.
   Section::::Live action films.:Carolco Pictures / MGM James Cameron's "Spider-Man".
  
  21st Century's Menahem Golan still actively immersed himself mounting "his" "Spider-Man", sending the original "Doc Ock" script for production bids. In 1990, he contacted Canadian effects company Light and Motion Corporation regarding the visual effects, which in turn offered the stop-motion chores to Steven Archer ("Krull", "Clash of the Titans").
   Early computer-generated animated faces include the 1985 film "Tony de Peltrie" and the music video for Mick Jagger's song "Hard Woman" (from "She's the Boss"). The first actual human beings to be digitally duplicated were Marilyn Monroe and Humphrey Bogart in a March 1987 film "Rendez-vous in Montreal" created by Nadia Magnenat Thalmann and Daniel Thalmann for the 100th anniversary of the Engineering Institute of Canada. The film was created by six people over a year, and had Monroe and Bogart meeting in a café in Montreal, Quebec, Canada. The characters were rendered in three dimensions, and were capable of speaking, showing emotion, and shaking hands.
   Section::::History.:Recent developments (2014-Present).
   The feature films Legacy Effects has contributed practical effects to include "Avatar", "Iron Man 2", "Iron Man 3", "The Avengers", "," "Alice in Wonderland", "Snow White and the Huntsman", "Life of Pi", "Thor", "RoboCop", "Pacific Rim", "Enthiran", "2.0" and "". Legacy Effects also provided effects for the newest iterations of the "Terminator" and "Jurassic Park" franchises, "Terminator Genisys" and "Jurassic World".
  
  Legacy contributed character design for films including "Godzilla", "John Carter", "The Avengers", "The Amazing Spider-Man", "Cowboys & Aliens", "The Hunger Games" and "Avatar".
   In SIGGRAPH 2013 Activision and USC presented a real-time digital face look-alike of "Ira" utilizing the USC light stage X by Ghosh et al. for both reflectance field and motion capture. The end result, both precomputed and real-time rendered with the state-of-the-art Graphics processing unit: "Digital Ira", looks fairly realistic. Techniques previously confined to high-end virtual cinematography systems are rapidly moving into the video games and leisure applications.
  
  Section::::Further developments.
   Section::::Products and services.:Recent projects.:Government and military.
  
  In March 2015, CGI won a contract with the North Wales Police for close to $27.4 million, to provide the department with "managed ICT (information and communications technology) and associated business services." Also in March, the British Ministry of Defense (MOD) selected CGI to provide training needs analysis at the Defense College of Technical Training and to provide support for the MOD's Fire Control Battlefield Information System Application (FC BISA) and the Fire Control Application (FCA) systems.
  
  Section::::Products and services.:Recent projects.:Health insurance marketplaces in the United States.
  