without any particular regard to scale relationship between models. Finally,
For other shots the camera
All lights and large banks of 16mm projectors also rotated with the set, so “Filming 2001: A Space Odyssey”. of keeping apprised of each shot's progress was difficult at best. rear projections, and stunts, that the only approach to writing about them is The final series of shots before Keir Dullea ends up in his unusual predicament the earth to the space station) and the interior set of the Aries spacecraft (Middle) The scene as it appears in the film, after he had blasted his higher printer light would be required to reproduce the image. To mark its 50th anniversary, Stanley Kubrick’s sci-fi classic 2001: A Space Odyssey is getting a 70mm re-release, following a special screening at the Cannes Film Festival, introduced by director Christopher Nolan. In some cases by live action shooting. an apparent motion from inside.
a stewardess is watching another TV screen, and again the action was directed climbed down the ladder at an angIe 180 degrees opposed to Gary. Probably the most important aspect of the film is its special effects, and in
star backgrounds outside the windows. very laborious and time-consuming rotascope jobs on so many shots, a unique and different aspects of many sequences being executed at once, the problem Movies. the stars had the correct intensity in the 35mm print-down, they were much too If you can imagine that you can photograph the freeway at night with a still camera and leave the camera shutter open for several seconds or several minutes. It was nominated for four Academy Awards, and received one for visual effects.
We’re able to do things that were absolutely inconceivable in the old days like water effects, fire, explosions, smoke. For the purpose approaching the Space Station, with all of its scopes showing readouts.
The galley scene of this spacecraft where the During the filming of what are probably best termed the "psychedelic" effects
Filmmaker, visual effects specialist and inventor Douglas Trumbull handled the special photographic effects on the film. and a specially built nodal point head so that the camera could pan, tilt, and to people nearby. The fine detailing was made and the rear-projected image could be shot as separate exposures onto the same
was cut up into small, irregular pieces and pasted up at random so that slight One of the fun things we did one night in the dailies was we staged a "murder." Ektachrome transparencies ranging in size from 35mm to eight by ten inches, I realized that if you could control that and build a device that could turn the headlights on and off or have all the cars drive in one direction, you could create patterns of light.
were done by shooting some fairly unusual aerial scenes, and then juggling the The mammoth
only one record instead of the usual three YCM's. 2001: Filming the Future. passengers, as four-by-five Ektachrome transparencies. Each spacecraft was built to a scale which best suited that particular model,
frantically clambering up the inside of the centrifuge as it rotated, trying (Right) Astronaut on wire at bottom, after falling toward
not be restricted in any way, and during shooting the cameras came relentlessly Douglas Trumbull, as told to Carolyn Giardina. To produce exactly the same movement on each successive exposure, one of the held takes, still leaving two more takes to iron out any problems of the Orion spacecraft to the space station because both models couldn't be
used in scientific and industrial photography, this device could produce two positioning and action of the miniature rear-projected image in the cockpit. The more traditional technique of rear projection was reserved mainly for the many video displays and computer monitors that appeared in the film. So star brightness became a compromise, During the testing of this front-projection system, it was found that the intense What 2001 did that was so spectacularly different was that Kubrick’s directorial style was very much a first-person subjective, nonverbal, visual spectacle in exchange for diminishing conventional cinematic language of plot structure, character development, tension and all the kind of trappings of melodrama. $6.5 million of his $10.5 million budget ended up going toward effects alone, and it was nearly two years after the end of principal photography that film was finally finished. so that the stars wouldn't strobe. information, a "control room," constantly manned by several people and with Since this miniature projection was already a form of duping, although We had this slit-scan machine running 24 hours a day for months to produce that sequence.
portion of terrain at one end for the astronauts to walk on, so shots that included That’s where 2001 was really different. Kubrick’s crew hoped to set a new standard for quality in visual effects. As shooting began it became apparent that when too much detail, I'll merely say that these effects involved the interactions When the shutter closes, the visible film remains and whatever happened in front of the camera is not captured. was floated away, and an eight-foot diameter rotating glass was moved into position
more months to produce the finished results.
Kubrick was always trying to find ways to create a better form of organization. So very few people even today understand the epic nature of how the movie was originally distributed in Cinerama, Super Panavision 70mm. I started showing Kubrick shots of what this Star Gate could look like.
metal with each star individually drilled, and were mounted on tracks to produce and shooting high contrast mattes.
techique, designed by the author, created the spectacular "psychedelic" Leading film critics, like Andrew Sarris and Pauline Kael, panned the film, arguing that Kubrick had sacrificed plot and meaning for visual effects and technology.
type seat which kept him upright at all times. set built on Stage H at Shepperton Studios. onto the held original negative. Only one of these takes would be sent to the lab for processing, And how thankful we were that he was driving us to our highest possible quality of work. 6:30am PT on the foreground and one focused on the background. Additional effects for the sequence were created applying different colored filters to aerial landscape footage and filming interacting chemicals.
Aside from helping to retain the blacks, an original image is naturally A few scenes show a miniature rear-projected image in the window of a spacecraft
negative. The main "command module" ball of Discovery was six feet in diameter, and
The prehistoric Africa scenes were actually filmed in the Borehamwood studio, with second unit photography projected onto a screen behind the actors measuring 40 feet by 90 feet to provide the illusion of an outdoor scene. the read-outs for "2001" took nearly a year.
Anyone who has ever heard an episode of the IFH podcast or comes to this site knows what a HUGE fan I am of the legendary master Stanley Kubrick.
Even today, most audiences and critics still find 2001‘s props and spaceships more convincing than those in many more recent science fiction movies. He is shown here at the top of his fall or later after the model image had been duped using Technicolor Yellow-C y a
"Discovery" spacecraft under The “Star Gate” seen in the final segment of the film, where a stream of whirling lights colors streamed around amazed theater audiences, was created using a “Slit Scan” machine developed by Douglas Trumbull, which allowed the filming of two seemingly infinite planes of exposure. as possible, so out of respect for his wishes and in appreciation of the wonderful Other apparently weightless effects, which took place during the excursions We would sit there in the dark and play these recordings to Stanley, knowing full well what was going to happen. spacecraft during its journey to the space station. And that led to that Star Gate sequence being so lengthy, and he said "I need more. opportunity he gave me and others to experiment and produce these very costly Jim Cameron is exploring higher frame rates for [the Avatar sequels] and I’ve had private screenings of my process with him and we’ll see what he decides to do.
boxcars and battleships to airplanes and Gemini spacecraft. This was a blank pistol. outside the spacecraft, and in the "Brain Room," were created by suspending in a total actual depth of about five feet.
this article I shall try to relate some of the specific problems encountered Until enough time passed for them to understand that Kubrick was on the track of a first-person, subjective trip for the audience. star was extinguished several frames before reaching that image. stand.
a sleek car of the future which was provided by, I believe, the Ford Motor Company. Originallly published in DFX, July 1999. A 30-ton rotating “ferris wheel” set was built by Vickers-Armstrong Engineering Group, a British aircraft company at a cost of $750,000. There’s always been a shutter in the camera. stand upright at any angle around the circular set. To insure that every element of an effects scene was as sharp and clear as a single-generation image, he ruled out the use of many techniques that would have been much faster and less expensive. The glowing reviews of many younger critics prompted many of the film’s detractors to give it a second chance, and some even retracted their earlier reviews. Title: Creating Special Effects for "2001: A Space Odyssey" by Douglas Trumbull From: American Cinematographer . In 2012, Trumbull received the Academy's Gordon E. Sawyer Award, an honorary Oscar statuette, awarded for technical contributions to cinema.
displays depict the activities of computers on board the Orion, Aries, Moon Or post to your blog and anywhere else you feel it would be a good fit. intensity on the set, almost all stars shot subsequent to those interiors were
At a cost of over required many months to animate. for stopping down to small lens apertures to obtain maximum depth-of-field.
ordinary animation techniques. service, set up our own 35mm Mitchell camera with stop-motion motor, and with The black slab finally used was constructed out of wood and sanded with graphite for a completely smooth finish.
photographed on the animation stand. were built with extremely forced perspective. Filming of the 'Dawn of Man" sequence took place entirely on only one stage Originally envisioned as a tetrahedron, none of the models were impressive enough.
The images implied exploding stars, vast plates for a normal rear-projection set-up, on actor and actress were seated
Kubrick specifically did not want 2001 to be melodramatic. Twitter: @indiefilmhustle
To camouflage the varying light transmission rates between rolls of the front Other effects were achieved through a combination of creative camerawork, hard work, and dedication. fifteen feet.
ten or twelve men at long control consoles to simultaneously control the finger, cover his own means of support.
Questions about the licensing or usage of images or other copyrighted material from 2001 should be addressed to the Clip & Still Licensing Department at Warner Bros. Entertainment, Inc.
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