IN FILM AND TELEVISION

SPECIALEFFECTS

by Jake Hamilton

IN MINIATURESpecial effects (SFX) is the art of making the impossible into a fantastic reality. Special effects has always pushed the boundaries of human imagination. It keeps todays movie and television audiences glued to their seats in starry-eyed wonder.

The art of miniature model-making has always been an important part of special effects in movies. Some movie stories have big, spectacular, action-filled scenes. They may call for fights between dinosaurs, explosions on the Golden Gate Bridge, or an armed force charging through the desert. Movie- makers can save time and money by making models for these scenes. This article tells the story of the building of a miniature landscape for a television show.

Matte box reduces lens flares.

400-foot (120 m) film magazine with running time of 4 14 minutes at normal speed

Prime lens interchangeable with the zoom lens

Cardboard representation of early reptile

Final model landscape will be in three main sectionswhite areas show where the divides are between the main sections.

2 Getting LargerThe movie-makers study this concept model to decide on the size and shape of the finished product. Then they make a larger and more detailed prototype model. This gives them a clearer picture of how the finished product will look. The prototype comes in sections that are fitted together like puzzle pieces. This 2 ft x 2 ft (0.6 m x 0.6 m) prototype is fully painted and fitted with bushes and trees. Now the team can work on the final product.

Concept model is 1 ft x 1 ft (0.3 m x 0.3 m) 1 A General IdeaA special effects team must

build a prehistoric world in a workshop. The teams first step is to make a concept model of this mini-world. The model will give a general view of what the finished product will look like. This model shows that the landscape will include a fallen tree and a circular lake.

Cameramans eyepiece

Camera door is opened to thread the film past the gate.

Rebuilding the landscape is just like putting a huge jigsaw puzzle together.

Miniature trees and bushes are modeled with plastic and paint, as well as real pieces of greenery.

RebuildingThe model is cut into sections so it can be taken on trucks to the television studio. Since the model is so large and detailed, each section is numbered. That way, when the pieces reach the studio they can be reassembled easily.

4 Carving It OutHere, the model-makers are cutting out the area of the huge circular lake at the heart of the model. They will then add more surface detail and mark out other features in the landscape.

Getting StartedThe full-size miniature model will be 24 ft x 24 ft (7.2 m x 7.2 m). Building it will

take real cooperation among all the SFX team members. The models base is made of the kind

of plastic used in fast food cups and boxes. Model-makers carve the plastic surface to make hills and valleys and rivers and lakes. They use

references such as pictures of trees and rocks to guide them. These model-makers are using

photographs of a dry riverbed as a guide.

Model-makers carve details in ground of models front section.

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Technicians head pops up between two of the main landscape sections.

6 Foaming the ModelAt the studio, the model is put back together, and the miniature trees, rocks, and other surface details are all put

in place. Then a technician wearing a special protective suit sprays the model. He uses a light foam

made from toxic chemicals. The foam gives the surface of the model a smooth, natural look. He also adds bumps and dips to the surface. This makes it look just like a real landscape.

To protect against toxic fumes, the technician wears a respirator.

7 In the StudioPutting the miniature landscape back together takes a great deal of attention to detail. Every last tree, bush, and rock must be exactly in place. A huge painted back- drop of blue sky streaked with clouds has been placed on the far wall. Lights positioned over-head will give the landscape more texture and shadow.

Computer Generated ImageryMany future movies will be created or enhanced on screen, using computer generated imag- ery (CGI). This 3-D animated dragon has been created as a wire frame image before being fleshed out, enhanced, and lit carefullyall on a computer.

8 Fixing in PlaceModel-makers use a special glue to make sure the sections will not come apart. The glue is carefully dried by hand. Technicians use the same kind of blow-dryer people use on their hair. That way they can aim the hot wind just right so it will not disturb any delicate details on the landscapes surface.

Appropriate large potted plants are used for the foreground.

Foam latex model of a Lystrosaur

The model-maker sprays the model with plastic sealer to make it possible to release the fiberglass of the mold from the clay later on. A dividing wall of clay is then placed around the model (right) so that when the mold is made it can be split into two halves.

REPTILE MODELINGEarly reptiles were needed to inhabit the prehistoric scene, so miniature models were prepared. After it was

agreed which reptiles to model, including Moschops (left), each one was sculpted carefully in nondrying clay, which is easy to shape. The model is attached to metal leg stands, and the smallest details are

added at this stage, including horned backbones, razor-

sharp claws, and scaled reptile skin.

Water makes Lystrosaur glisten on film. The final image of one reptile perched on a fallen log in the min-iature landscape looks incredibly realistic. The crea-ture has also been given small eyes, pointed claws, and fanged teeth.

The mold is filled with foam latex and the result is this white-

faced reptile. The model- makers can now paint its skin with different textures

of green and yellow. The creature is hollow in the middle so that SFX technicians can get their arms up and inside to operate it without the viewer seeing.

Large, potted trees are used for fore-ground section.

Model-makers refer to television monitor for cameras eye view.

Real log is used in foreground of landscape.

Tricks of the TradeThe model-makers go to great

lengths to make a miniature look as realistic as possible. Here, they are working on a slight depression in

the surface that was carved out for a lake. It is filled with water to a depth

of just 1.5 in. (4 cm). The model-makers are layering the shallow

water with fabric to make it look more like a deep lake.

Miniature trees are planted in the section behind muslin-coated pond.

Landscape is supported on timber platform.

Sand used on ground of minia-ture and to cover cracks in model surface.

Finally ReadyIt has taken most of the day to reassemble the entire miniature landscape. Now the scene is ready for filming. During filming, SFX team members beneath the plat- form can reach up and move the reptile models around from below. Notice how the trees in the back-ground section of the landscape are much smaller than the trees in the foreground section. This makes the scene seem to roll back away rapidly into the distance. The large painted backdrop and studio lighting add to the effect of a vast prehistoric landscape roamed by early reptiles.

Spielberg decides where to position the camera for the desert shot.

Miniature models of tents, tanks and other vehicles are used.

Toy SoldiersDirector Steven Spielberg used a miniature model to plan shots for the film Raiders of the Lost Ark. Directors often use miniature models to plan the way a scene should look, including actors movements, the scenery, and any special lighting or camera angles.

Sand dunes are constructed from polystyrene and beach sand.

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