![]() ![]() The reflective portion of the mirror and its transparent portion are positioned at an angle between the camera and the live-action sequence. This effect requires a motion-picture camera, a mirror that has both a reflective and a transparent surface (part of the mirror from which the reflective surface has been removed), a scale model or matte painting, and live actors performing on a set. The finished result shows the actors performing against the background painting on the glass (the matte), with no indication that they were added to the film, so that the two shots appear to be one.įritz Lang’s two-hour, 33-minute 1927 film Metropolis is known for its use of the Schufftan Process. Part of the painting was blacked out, so the live action of the actors could be filmed on a second exposure of the film. Once the painting was approved, it was transferred to glass and embellished, as a matte. It showed a room in a temple, which was visible through a window. He began the effect, as always, with a painting. Each card displays the date, the effect number, a title, and the author’s byline.Įffect number 23, dated October 1911, explains how Dawn created a glass shot for The Black Pirate. ![]() Designed by Dawn himself from his own notes and records, the cards bear photographs, paintings in oil and watercolor, illustrations, and explanatory text. Some of his work is cataloged in a collection of 164 cards. Dawn created 861 special effects, many of them refinements of the in-camera matte shot. ![]() The result creates a subliminal effect that heightens the thrill. As the gun fires, the surrounding darkness illuminates enough to show the colors of the Barnes’s shirt (green) and neckerchief (red, with white polka dots). In those copies of the film that are tinted, the effect is subtle. Barnes, the bandits’ leader, aims at the camera, seeming to fire at the audience. In the first or last scene of the film (the sequence could be placed in either location, as either a prologue or an epilogue), Justus D. Porter tinted three frames red and green to suggest the firing of a gun. In some prints of his 12-minute, silent black-and-white 1903 film The Great Train Robbery, Edwin S. When they manage to stand, the scientist grabs his assistant by the arms and flings him from the room, delivering a parting kick to his posterior. Working the instrument with enthusiasm and vigor, an assistant gets carried away, and the head expands until it explodes in a thick cloud of white smoke, which knocks the assistant off his stool and the chemist off his feet. Finally, the chemist closes a valve on the pipe and detaches the bellows, allowing the head to deflate. ![]() Pumping the bellows, he forces air through the pipe, into the head, which becomes larger and larger. He attaches a bellows to a pipe connected to the underside of the smaller table. Early master of cinematographic special effects Georges Melies, playing the part of a chemist, used split-screen masking to make his head explode in his Star Film Company’s 2-minute 25-second 1902 French fantasy film The Man with the India Rubber Head.Īfter several preliminary preparations, the chemist draws a clone of his own head from a wooden box, setting it atop a small table he has placed on a larger table. ![]()
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