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357:. With the original matte shot, pieces of cardboard were placed to block the exposure of the film, which would be exposed later. Dawn combined this technique with the "glass shot." Rather than using cardboard to block certain areas of the film exposure, Dawn simply painted certain areas black to prevent any light from exposing the film. From the partially exposed film, a single frame is then projected onto an easel, where the matte is then drawn. By creating the matte from an image directly from the film, it became incredibly easy to paint an image with proper respect to scale and perspective (the main flaw of the glass shot). Dawn's technique became the textbook for matte shots due to the natural images it created.
971:
47:
381:
306:, an early motion picture pioneer, accidentally discovered the same "stop trick." According to Méliès, his camera jammed while filming a street scene in Paris. When he screened the film, he found that the "stop trick" had caused a truck to turn into a hearse, pedestrians to change direction, and men to turn into women. Méliès, the stage manager at the Theatre Robert-Houdin, was inspired to develop a series of more than 500 short films between 1896 and 1914, in the process developing or inventing such techniques as
106:
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299:, Clark instructed an actor to step up to the block in Mary's costume. As the executioner brought the axe above his head, Clark stopped the camera, had all of the actors freeze, and had the person playing Mary step off the set. He placed a Mary dummy in the actor's place, restarted filming, and allowed the executioner to bring the axe down, severing the dummy's head. Techniques like these would dominate the production of special effects for a century.
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821:(CGI), which has changed nearly every aspect of motion picture special effects. Digital compositing allows far more control and creative freedom than optical compositing, and does not degrade the image as with analogue (optical) processes. Digital imagery has enabled technicians to create detailed models, matte "paintings," and even fully realised characters with the malleability of computer software.
746:, A.S.C. and crew developed many improvements in existing effects technology. They created a computer-controlled camera rig called the "Dykstraflex" that allowed precise repetition of camera motion, greatly facilitating travelling-matte compositing. Degradation of film images during compositing was minimised by other innovations: the Dykstraflex used
251:(CGI) has come to the forefront of special effects technologies. It gives filmmakers greater control, and allows many effects to be accomplished more safely and convincingly and—as technology improves—at lower costs. As a result, many optical and mechanical effects techniques have been superseded by CGI.
376:
was a refinement of the use of painted backgrounds in the theatre, substituting moving pictures to create moving backgrounds. Lifecasting of faces was imported from traditional maskmaking. Along with make-up advances, fantastic masks could be created which fit the actor perfectly. As material science
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The success of these films, and others since, has prompted massive studio investment in effects-heavy science-fiction films. This has fuelled the establishment of many independent effects houses, a tremendous degree of refinement of existing techniques, and the development of new techniques such as
728:
The 1970s provided two profound changes in the special effects trade. The first was economic: during the industry's recession in the late 1960s and early 1970s, many studios closed down their in-house effects houses. Technicians became freelancers or founded their own effects companies, sometimes
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Practical effects also require significant pre-planning and co-ordination with performers and production teams. The live nature of the effects can result in situations where resetting due to an error, mistake, or safety concern incurs significant expense, or is impossible due to the destructive
269:
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and careful motion-control work, ensuring that the elements were precisely combined in the camera—a surprising throwback to the silent era, but with spectacular results. Backgrounds of the
African vistas in the "Dawn of Man" sequence were combined with soundstage photography via the then-new
266:
396:
Many studios established in-house "special effects" departments, which were responsible for nearly all optical and mechanical aspects of motion-picture trickery. Also, the challenge of simulating spectacle in motion encouraged the development of the use of miniatures.
268:
824:
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.
720:
technique. Scenes set in zero-gravity environments were staged with hidden wires, mirror shots, and large-scale rotating sets. The finale, a voyage through hallucinogenic scenery, was created by
Douglas Trumbull using a new technique termed
220:
and atmospheric effects: creating physical wind, rain, fog, snow, clouds, making a car appear to drive by itself and blowing up a building, etc. Mechanical effects are also often incorporated into set design and make-up. For example,
997:. Camera workers, stunt artists or doubles, directors and engineers collaborate to produce the proper effect as the action is recorded against a green screen. It is then edited and reviewed before final release to the public.
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Live special effects are effects that are used in front of a live audience, such as in theatre, sporting generation genre, concerts and corporate shows. Types of effects that are commonly used include: flying effects,
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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
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images horizontally along stock, using far more of the film per frame, and thinner-emulsion filmstocks were used in the compositing process. The effects crew assembled by Lucas was dubbed
302:
It wasn't only the first use of trickery in cinema, it was also the first type of photographic trickery that was only possible in a motion picture, and referred to as the "stop trick".
427:). Naval battles could be depicted with models in studio. Tanks and aeroplanes could be flown (and crashed) without risk of life and limb. Most impressively, miniatures and
690:, despite their "clumsy model sequences, the films were often well-photographed in colour ... and their dismal dialogue was delivered in well-designed and well-lit sets."
1247:
538:, A.S.C., multiplied the crowds of extras in the Exodus scenes with careful compositing, depicted the massive constructions of Rameses with models, and split the
228:
Optical effects (also called photographic effects) are the techniques in which images or film frames are created photographically, either "in-camera" using
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is usually involved with the production from an early stage to work closely with the
Director and all related personnel to achieve the desired effects.
1805:
793:; the latter is used to characterise post-production and optical work, while "special effects" refers more often to on-set and mechanical effects.
448:. Essentially, an optical printer is a projector aiming into a camera lens, and it was developed to make copies of films for distribution. Until
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veteran
Douglas Trumbull. In addition to developing his own motion-control system, Trumbull also developed techniques for creating intentional "
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441:
was an early special effects spectacular, with innovative use of miniatures, matte paintings, the Schüfftan process, and complex compositing.
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During the 1920s and 1930s, special effects techniques were improved and refined by the motion picture industry. Many techniques—such as the
560:
During the 1950s and 1960s numerous new special effects were developed which would dramatically increase the level of realism achievable in
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genre in Japan called the "Monster Boom", which remained extremely popular for several decades, with characters such as the aforementioned
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extended the art of stop-motion animation with his special techniques of compositing to create spectacular fantasy adventures such as
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456:. Dunn demonstrating that it could be used to combine images in novel ways and create new illusions. One early showcase for Dunn was
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created what is commonly accepted as the first-ever motion picture special effect. While filming a reenactment of the beheading of
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created the world's first "special effects" image by combining different sections of 32 negatives into a single image, making a
578:
940:
652:—the use of a human actor in a costume to play a giant monster—combined with the use of miniatures and scaled-down city sets.
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The development of color photography required greater refinement of effects techniques. Color enabled the development of such
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1935:
1910:: clips and discussion of special effects in Chinese films from before 1949, on scholarly website chinesefilmclassics.org
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781:" (the shapes created by light reflecting in camera lenses) to provide the film's undefinable shapes of flying saucers.
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to a greater degree. Cars being flipped and hauled over buildings are usually an effect built on specialised
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ushered in an era of science-fiction films with expensive and impressive special effects. Effects supervisor
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552:(whose climax, a sword battle with seven animated skeletons, is considered a landmark in special effects).
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The second was precipitated by the blockbuster success of two science-fiction and fantasy films in 1977.
707:. In this film, the spaceship miniatures were highly detailed and carefully photographed for a realistic
318:, and hand painted colour. Because of his ability to seemingly manipulate and transform reality with the
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From 1910 to 1920, the main innovations in special effects were the improvements on the matte shot by
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789:(CGI). It has also encouraged within the industry a greater distinction between special effects and
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used matte paintings, animation, and miniature work to create spectacular alien environments. In
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204:) are usually accomplished during the live-action shooting. This includes the use of mechanised
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with its use of a large, intricate stage that moves to supplement what's being acted on stage.
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817:(1983). Since the 1990s, a profound innovation in special effects has been the development of
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1883:
Larry Nile Baker, A History of
Special Effects Cinematography in the United States, 1895–1914
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1229:
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640:
519:
467:
423:
322:, the prolific Méliès is sometimes referred to as the "Cinemagician." His most famous film,
315:
1825:
T. Porter and T. Duff, "Compositing
Digital Images", Proceedings of SIGGRAPH '84, 18 (1984).
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244:. An optical effect might be used to place actors or sets against a different background.
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8:
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2007:
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refined the design and use of the optical printer, effects shots were accomplished as
185:. With the emergence of digital film-making a distinction between special effects and
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2002:
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644:(1933), Tsuburaya formulated many of the techniques that would become staples of the
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993:. Usually a team of engineers or freelance film companies provide these effects to
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401:, creating the illusion of motion, was accomplished with drawings (most notably by
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An important innovation in special-effects photography was the development of the
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1997:
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1580:. Vol. 1, no. 1. Carnegie Publications. September 1982. pp. 50–5.
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2014:
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701:, Con Pederson and Wally Veevers) rather than use an in-house effects unit for
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1363:(Frankfurt; Munich; Stuttgart; Los Angeles; Beijing; Toronto; Baton Rouge, LA)
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1987:
1965:
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is one of the most influential individuals in the history of special effects.
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One notable example of live special effects in theatre production is in the
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were retrained in the use of computer input devices. By 1995, films such as
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1977:
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and optical effects, while "special effects" refers to mechanical effects.
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1677:
Explosive Scenes: Fireballs, Furious Storms, and More Live
Special Effects
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1808:(For many years, the standard technical reference. Current edition 1985)
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in a still-impressive combination of travelling mattes and water tanks.
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835:. In 1993, stop-motion animators working on the realistic dinosaurs of
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The online companion site to the NOVA documentary (See especially the
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a flying effects company (Louisville, USA; Utrecht, the
Netherlands)
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1842:
Digital
Storytelling: The Narrative Power of Visual Effects in Film
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specialising on particular techniques (opticals, animation, etc.).
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686:'s interest in science fiction films; according to his biographer
522:. Many films became landmarks in special-effects accomplishments:
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An actor behind-the-scenes with pre-scored "bullet holes" on his
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Special effects are traditionally divided into the categories of
130:
623:, rose to prominence in the 1950s. The special-effects director
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1045:
990:
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495:
1908:
Chinese Film
Classics: Special effects in early Chinese cinema
831:(1984) used computer generated spaceships instead of physical
564:. Sci-fi special effects milestones in the 1950s included the
1913:
1591:
Millennial Monsters: Japanese Toys and the Global Imagination
876:, hordes and armies of robots and fantastic creatures in the
615:
478:' shots) were essentially created by Dunn's optical printer.
225:
can be used to make an actor look like a non-human creature.
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807:
758:, and since 1977 has spearheaded many effects innovations.
711:. The shots of spaceships were combined through hand-drawn
364:—were modifications of illusions from the theatre (such as
134:
1757:
109:
A special effect of a miniature person from the 1952 film
1792:
Movie Magic: The History of Special Effects in the Cinema
693:
In 1968, Stanley Kubrick assembled his own effects team (
1898:
Video (03:04) – Evolution of Special Effects since 1878.
502:
as a backdrop, to allow a background to be added during
30:"Creature effects" redirects here. For the company, see
1871:
The Invisible Art: The Legends of Movie Matte Painting
902:
Although most visual effects work is completed during
805:
in film dates back to the early 1980s, with the films
411:) and with three-dimensional models (most notably by
368:) and still photography (such as double exposure and
1673:
1339:(Los Angeles, USA; New York, USA; Vancouver, Canada)
1000:
906:, it must be carefully planned and choreographed in
771:
boasted a finale with impressive special effects by
660:, science fiction and fantasy, and kickstarted the
431:could be used to depict worlds that never existed.
377:advanced, horror film maskmaking followed closely.
1702:"Bregenz Festival's most spectacular water stages"
1642:
1461:
1168:
2783:
797:Introduction of computer-generated imagery (CGI)
189:has grown, with the latter referring to digital
1289:, (Los Angeles; Hollywood; Camden Town, London)
951:. Other atmospheric effects can include flame,
2461:
1929:
1345:(London, UK; New York, USA; Los Angeles, USA)
676:leading the market. Tokusatsu films, notably
129:) are illusions or visual tricks used in the
2179:
1828:The Art and Science of Digital Compositing (
1802:Techniques of Special Effects Cinematography
338:, featured a combination of live action and
1667:
974:Rig & Gimbal Mechanical Special Effects
555:
2468:
2454:
1936:
1922:
1903:How to Add Special Effects to Your Videos.
1775:Special Effects: The History and Technique
1728:"How Are Black And White Films Colorized?"
1420:Super FX, Special Effects Company (Italy)
91:Learn how and when to remove this message
1004:
969:
613:film and television, which includes the
587:
485:
379:
263:
254:
104:
54:This article includes a list of general
27:Illusions or tricks to change appearance
1839:
1327:(Universal City, USA; Hyderabad, India)
925:
888:trilogies, and the planet, Pandora, in
14:
2784:
1734:. Wattcon Technologies Private Limited
1725:
1609:
1568:
1566:
2449:
1917:
965:
631:became the driving forces behind the
156:to simulate the imagined events in a
1640:
259:
40:
2475:
1812:Special Effects: Titanic and Beyond
1563:
897:
24:
864:, a tentacle formed from water in
768:Close Encounters of the Third Kind
384:Publicity still for the 1933 film
342:, and also incorporated extensive
60:it lacks sufficient corresponding
25:
2818:
2802:Audiovisual introductions in 1857
1891:
1726:Peshin, Akash (4 December 2017).
1616:. New York: Basic Books. p.
1318:(Los Angeles, USA; Paris, France)
1274:(San Francisco, USA), founded by
1001:Visual special effects techniques
164:. It is sometimes abbreviated as
2429:
1184:(Sydney, Australia; Venice, USA)
858:, a shape-shifting character in
638:(1954). Taking inspiration from
196:Mechanical effects (also called
45:
36:Special Effects (disambiguation)
1462:Noted special effects directors
1432:(Hachimanyama, Setagaya, Tokyo)
1393:(Montreal; Munich; Los Angeles)
1169:Noted special effects companies
240:or in post-production using an
1943:
1719:
1694:
1634:
1603:
1584:
1554:
1545:
1411:, live special effects company
328:(1902), a whimsical parody of
13:
1:
1750:
1674:Danielle S. Hammelef (2015).
1307:(San Francisco, USA) home of
574:The Day the Earth Stood Still
168:, but this may also refer to
1613:Stanley Kubrick: A Biography
1438:, defunct (Los Angeles, USA)
1272:Industrial Light & Magic
1214:(London, UK; Hollywood, USA)
756:Industrial Light & Magic
481:
274:The Execution of Mary Stuart
7:
1444:, (Wellington, New Zealand)
1206:Cinema Research Corporation
870:, the T-1000 Terminator in
10:
2823:
2736:Computer-generated imagery
1840:McClean, Shilo T. (2007).
1287:Jim Henson's Creature Shop
1208:, defunct (Hollywood, USA)
1176:Adobe Systems Incorporated
1096:Motion control photography
1042:Computer-generated imagery
873:Terminator 2: Judgment Day
819:computer-generated imagery
814:Golgo 13: The Professional
787:computer-generated imagery
750:cameras that photographed
466:, where such locations as
335:From the Earth to the Moon
249:computer-generated imagery
29:
2706:
2586:
2483:
2425:
2369:
2307:
2237:
2124:
2045:
1951:
1885:, Larry Nile Baker, 1969.
1873:, Chronicle Books, 2004;
1367:Rainmaker Digital Effects
1321:Machine Shop (London, UK)
916:visual effects supervisor
656:changed the landscape of
648:genre, such as so-called
1767:American Cinematographer
1680:. Capstone. p. 18.
1645:The Animated Movie Guide
1538:
1403:Sony Pictures Imageworks
937:theatrical smoke and fog
611:Japanese science fiction
556:The science fiction boom
1373:Rhythm and Hues Studios
1248:Fireark Special Effects
549:Jason and the Argonauts
75:more precise citations.
2528:Dead-character costume
1417:(Melbourne, Australia)
1355:Moving Picture Company
1218:Creature Effects, Inc.
1157:Virtual cinematography
1026:
983:mechanical engineering
975:
922:nature of the effect.
600:
507:
393:
325:Le Voyage dans la lune
312:time-lapse photography
277:
121:(often abbreviated as
115:
32:Creature Effects, Inc.
2144:Principal photography
1781:; 2nd edition, 2007;
1610:Baxter, John (1997).
1436:Vision Crew Unlimited
1430:Tsuburaya Productions
1387:(Adelaide, Australia)
1281:Intelligent Creatures
1250:(Brisbane, Australia)
1230:Double Negative (VFX)
1008:
981:encompass the use of
973:
955:, bubbles, and snow.
885:The Lord of the Rings
855:Young Sherlock Holmes
704:2001: A Space Odyssey
591:
562:science fiction films
520:sodium vapour process
489:
392:model special effects
383:
272:
255:Developmental history
112:The Seven Deadly Sins
108:
2797:Animation techniques
2621:Infrared photography
2382:Guerrilla filmmaking
2356:Digital distribution
2299:Digital intermediate
2139:Cinematic techniques
1651:Chicago Review Press
1641:Beck, Jerry (2005).
1574:"The Making of Tron"
1399:(Lexington, AL, USA)
1301:, (Culver City, USA)
1295:, (Los Angeles, USA)
926:Live special effects
828:The Last Starfighter
531:The Ten Commandments
297:Mary, Queen of Scots
34:For other uses, see
2104:Production schedule
1528:Yoshihiro Nishimura
1385:Rising Sun Pictures
1369:(Vancouver, Canada)
1331:Matte World Digital
1268:(Vancouver, Canada)
1262:(Santa Monica, USA)
1226:(Playa Vista, USA)
1052:Digital compositing
879:Star Wars (prequel)
408:Gertie the Dinosaur
2671:Tilted plane focus
2611:Forced perspective
2518:Costumed character
2503:Air bladder effect
2417:First-dollar gross
1578:Video Games Player
1518:Yonesaburo Tsukiji
1450:(Culver City, USA)
1405:(Culver City, USA)
1375:(Los Angeles, USA)
1357:(Soho, London, UK)
1351:(Montreal, Canada)
1244:(Los Angeles, USA)
1238:(Los Angeles, USA)
1220:(Los Angeles, USA)
1116:Prosthetic make-up
1072:Matte (filmmaking)
1027:
979:Mechanical effects
976:
966:Mechanical effects
803:computer animation
679:Warning from Space
601:
508:
394:
308:multiple exposures
278:
223:prosthetic make-up
179:mechanical effects
116:
2779:
2778:
2656:Schüfftan process
2636:Multiple exposure
2548:Prosthetic makeup
2443:
2442:
2233:
2232:
2109:Shooting schedule
1855:978-0-262-13465-1
1773:Richard Rickitt:
1687:978-1-4914-2003-4
1470:, the "Father of
1381:(Berlin, Germany)
1283:(Toronto, Canada)
1202:(Munich, Germany)
1142:Schüfftan process
1111:Practical effects
1086:Miniature effects
1062:In-camera effects
1032:Bullet hit squibs
627:and the director
454:in-camera effects
362:Schüfftan process
289:combination print
270:
260:Early development
247:Since the 1990s,
238:Schüfftan process
230:multiple exposure
101:
100:
93:
16:(Redirected from
2814:
2756:Optical printing
2631:Lighting effects
2616:Front projection
2578:Theatrical blood
2538:Miniature effect
2513:Bullet hit squib
2470:
2463:
2456:
2447:
2446:
2434:
2433:
2432:
2387:Development hell
2317:Film distributor
2220:Costume designer
2197:Daily production
2177:
2176:
2171:Dailies (rushes)
2166:Daily call sheet
2094:Production board
2055:Script breakdown
1938:
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1915:
1914:
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1806:Raymond Fielding
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1558:
1552:
1549:
1523:Yoshiyuki Kuroda
1513:Teruyoshi Nakano
1488:Douglas Trumbull
1242:Flash Film Works
1152:Travelling matte
1147:Splash of colour
1106:Optical printing
960:Bregenz Festival
898:Planning and use
837:Steven Spielberg
763:Steven Spielberg
761:That same year,
718:front projection
695:Douglas Trumbull
682:(1956), sparked
525:Forbidden Planet
512:travelling matte
271:
202:physical effects
96:
89:
85:
82:
76:
71:this article by
62:inline citations
49:
48:
41:
21:
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2792:Special effects
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2661:Shutter effects
2646:Rear projection
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2477:Special effects
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2436:Film portal
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2361:Streaming media
2303:
2277:Special effects
2239:Post-production
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2099:Day out of days
2067:Shooting script
2041:
1998:film adaptation
1947:
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1779:Billboard Books
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1653:. p. 216.
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1541:
1508:Koichi Kawakita
1464:
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1426:(Berkeley, USA)
1196:(Paris, France)
1178:(San Jose, USA)
1171:
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1101:Optical effects
1003:
968:
944:
928:
904:post-production
900:
799:
684:Stanley Kubrick
658:Japanese cinema
558:
544:Ray Harryhausen
504:post-production
484:
450:Linwood G. Dunn
446:optical printer
429:matte paintings
374:Rear projection
282:Oscar Rejlander
264:
262:
257:
242:optical printer
191:post-production
183:optical effects
119:Special effects
97:
86:
80:
77:
67:Please help to
66:
50:
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39:
28:
23:
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18:Special effects
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2651:Reverse motion
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2568:Matte painting
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2225:Make-up artist
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2187:Film inventory
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2149:Cinematography
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2047:Pre-production
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2017:
2015:Film budgeting
2012:
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1961:Film treatment
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1892:External links
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1863:Mark Cotta Vaz
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1483:John P. Fulton
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1468:Eiji Tsuburaya
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1021:packets for a
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933:laser lighting
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908:pre-production
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791:visual effects
709:depth of field
625:Eiji Tsuburaya
597:Eiji Tsuburaya
557:
554:
536:John P. Fulton
534:, Paramount's
514:techniques as
483:
480:
418:The Lost World
413:Willis O'Brien
372:compositing).
366:pepper's ghost
348:matte painting
304:Georges Méliès
261:
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187:visual effects
147:amusement park
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1044:(often using
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1023:gunshot wound
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671:
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621:monster films
619:sub-genre of
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470:(and some of
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2766:Split screen
2761:Smallgantics
2751:Match moving
2558:Pyrotechnics
2508:Animatronics
2476:
2427:
2329:Film release
2309:Distribution
2276:
2252:Re-recording
2247:Film editing
2159:Videographer
2020:Film finance
1978:Step outline
1884:
1870:
1867:Craig Barron
1841:
1801:
1796:John Brosnan
1791:
1774:
1766:
1758:
1736:. Retrieved
1731:
1721:
1709:. Retrieved
1705:
1696:
1676:
1669:
1644:
1636:
1612:
1605:
1593:, pp. 47–8.
1590:
1586:
1577:
1560:Baker, 101-4
1556:
1551:Rickitt, 10.
1547:
1503:John Dykstra
1498:Stan Winston
1448:Zoic Studios
1308:
1299:Look Effects
1276:George Lucas
1266:Image Engine
1256:(London, UK)
1232:(London, UK)
1190:(London, UK)
1188:Bird Studios
1182:Animal Logic
1162:Wire removal
1067:Match moving
977:
957:
949:pyrotechnics
929:
920:
901:
889:
883:
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865:
859:
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846:
840:
833:scale models
826:
823:
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806:
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783:
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766:
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744:John Dykstra
737:
734:George Lucas
731:
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634:
629:Ishirō Honda
614:
604:
602:
572:
566:
559:
548:
529:
523:
511:
509:
500:green screen
492:period drama
472:Gregg Toland
463:Citizen Kane
461:
458:Orson Welles
443:
436:
422:
416:
406:
403:Winsor McCay
395:
385:
359:
352:
333:
323:
301:
293:Alfred Clark
279:
273:
246:
227:
218:pyrotechnics
214:animatronics
210:scale models
195:
182:
178:
176:
169:
165:
126:
122:
118:
117:
110:
102:
87:
78:
59:
2771:Stop motion
2746:Introvision
2726:Compositing
2716:Bullet time
2698:Stop motion
2686:Slow motion
2681:Fast motion
2626:Lens flares
2601:Bullet time
2573:Sugar glass
2563:Rubber mask
2497:wire-flying
2407:Film rights
2397:Filmography
2154:Videography
2082:Scenography
1993:spec script
1953:Development
1732:Science ABC
1409:Strictly FX
1397:Snowmasters
1310:MythBusters
1200:CA Scanline
1132:Stop motion
1122:Rotoscoping
1037:Bullet time
811:(1982) and
801:The use of
748:VistaVision
713:rotoscoping
688:John Baxter
595:co-creator
577:(featuring
474:'s famous '
390:stop-motion
355:Norman Dawn
330:Jules Verne
291:. In 1895,
208:, scenery,
73:introducing
2807:Stagecraft
2786:Categories
2721:Chroma key
2676:Time-lapse
2641:Filtration
2606:Dolly zoom
2533:Kitbashing
2412:Turnaround
2377:Box office
2262:Soundtrack
2257:Sync sound
2215:Editor log
2192:Production
2126:Production
2072:Storyboard
2032:Greenlight
1983:Screenplay
1971:scriptment
1945:Filmmaking
1751:References
1738:14 October
1706:CinemaLive
1660:1569762228
1627:0786704853
1493:Ken Pepiot
1478:Tom Howard
1325:Makuta VFX
1254:Framestore
1236:DreamWorks
1057:Dolly zoom
1019:fake blood
912:production
779:lens flare
752:widescreen
699:Tom Howard
650:suitmation
516:bluescreen
476:deep focus
438:Metropolis
433:Fritz Lang
154:industries
143:video game
139:television
125:or simply
56:references
2741:Go motion
2666:Slit-scan
2588:In-camera
2485:Practical
2134:Film crew
2114:one-liner
2087:Rehearsal
1472:Tokusatsu
1361:Pixomondo
1137:Go motion
995:producers
867:The Abyss
848:Toy Story
739:Star Wars
723:slit-scan
646:tokusatsu
641:King Kong
633:original
609:genre of
606:tokusatsu
583:3-D films
482:Color era
424:King Kong
399:Animation
386:King Kong
344:miniature
340:animation
316:dissolves
280:In 1857,
198:practical
151:simulator
81:June 2017
2553:Puppetry
2351:Roadshow
2267:Timecode
2202:Progress
1966:Producer
1820:glossary
1816:timeline
1770:magazine
1762:magazine
1391:Rodeo FX
1349:Modus FX
1343:The Mill
1316:Mac Guff
1260:Hydraulx
1212:Cinesite
1091:Morphing
953:confetti
765:'s film
666:Godzilla
654:Godzilla
635:Godzilla
593:Godzilla
567:Godzilla
518:and the
435:'s film
286:montaged
2730:digital
2728: (
2596:Bipacks
2542:hanging
2540: (
2495: (
2370:Related
2344:delayed
2339:limited
2077:Casting
2060:process
1988:process
1759:Cinefex
1711:6 March
1454:ZFX Inc
1442:Wētā FX
1379:Rise FX
1118:effects
1046:Shaders
1011:costume
991:gimbals
945:effects
581:), and
540:Red Sea
498:uses a
494:set in
236:or the
131:theatre
69:improve
2708:Visual
2287:visual
2008:Option
1877:
1852:
1832:
1798:(1974)
1785:
1684:
1657:
1624:
1597:
1025:stunt.
1015:squibs
947:, and
891:Avatar
861:Willow
670:Gamera
579:Klaatu
496:Vienna
468:Xanadu
350:work.
276:(1895)
234:mattes
58:, but
2282:sound
2272:Music
2207:Sound
2025:pitch
1539:Notes
662:kaiju
616:kaiju
569:films
370:matte
206:props
158:story
2392:Film
2334:wide
2322:list
2211:Cost
2003:Hook
1875:ISBN
1850:ISBN
1830:ISBN
1818:and
1783:ISBN
1740:2023
1713:2022
1682:ISBN
1655:ISBN
1622:ISBN
1595:ISBN
1074:and
1013:and
989:and
987:rigs
914:. A
910:and
882:and
808:Tron
774:2001
672:and
603:The
421:and
346:and
181:and
149:and
135:film
1804:by
1794:by
1618:200
839:'s
736:'s
415:in
405:in
332:'s
200:or
166:SFX
160:or
123:F/X
2788::
1869::
1865:;
1848:.
1844:.
1777:,
1730:.
1704:.
1649:.
1620:.
1576:.
1565:^
941:CO
939:,
935:,
894:.
725:.
697:,
668:,
585:.
571:,
490:A
460:'
314:,
310:,
232:,
216:,
212:,
174:.
145:,
141:,
137:,
133:,
127:FX
2732:)
2544:)
2499:)
2469:e
2462:t
2455:v
1937:e
1930:t
1923:v
1858:.
1836:)
1822:)
1742:.
1715:.
1690:.
1663:.
1630:.
1474:"
1048:)
943:2
506:.
94:)
88:(
83:)
79:(
65:.
38:.
20:)
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