Classic examples include Disney films like Mary Poppins and Who Framed Roger Rabbit? Hand-drawn animated people and animals were added after the fact, while actors would have to play against props standing in for living counterparts. There’s a great deal of famous examples of films which have animated characters interacting with the “real” world in the movie. Below are some of the more common visual effects used in live action feature films, and how the filmmaker can approach mastering the art of “see you later.” There’s a lot of ways to do this, but it varies depending on the techniques being employed. And as always, the director must always be cognizant of what the final edited scene will look like, this time with nothing on set to look at. The camera must record a negative space it does not yet know. But ultimately, actors need to play against characters and events which are not happening. Regardless of how special visual effects are accomplished, one central challenge has always been consistently presented to filmmakers: how can a scene be filmed when much of it cannot be seen at all? Again – digital film has narrowed this challenge to a great degree. Despite the fact that the digital age has made many of these traditional techniques much less common, virtually all of them are still in use today. But as far back as the 1890s, filmmakers were using clever methods to add elements to films via in-camera tricks, clever editing, and double exposures. These days, it’s common knowledge that there’s a little CGI (Computer Generated Imagery) in almost every Hollywood movie out there. The present and the not-yet-here will eventually share the screen. Deep into film’s history, various techniques have been employed to insert imagery which was not filmed on set with things which were. Enter the very broad area of Special Visual Effects. When that hot moment finally arrives – filming on set – you’re seeing your scenes once and for all, right? Well, not quite… A director must review props and wardrobe, audition and cast actors, scout and approve locations, and so forth. After production gets into swing, it all gets real. It’s a revelation to register this with the eyes for the first time. Sequences are graphically plotted out, providing key frames to the movie’s progress. At this point, the first spark of what lies inside the artist’s mind comes to life. First the screenplay must be written, a necessary text exercise which does not allow for initial images. This happens in filmmaking all along the way. Before a thing exists, it must be visualized in the mind.
From the very beginning of the creative process, imagination is in play.
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