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Speaker 1: Hello, Stuff you should know. Listeners, if you want to

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Speaker 1: come see us live, You've only got a couple of

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Speaker 1: more cities this year that still have tickets, and that

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Speaker 1: is Orlando and New Orleans.

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Speaker 2: Yep. We'll be in Orlando on October ninth at the

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Speaker 2: Plaza Live, and we'll be in New Orleans at the

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Speaker 2: Civic Theater the following night, October tenth. And friends, like

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Speaker 2: Chuck said, you better go get your tickets. Go to

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Speaker 2: s y sklive dot com for info and ticket links

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Speaker 2: and everything you need to come see us.

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Speaker 3: Welcome to Stuff You Should Know, a production of Iheartradios

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Speaker 3: How Stuff Works.

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Speaker 2: Hey, and welcome to the podcast. I'm Josh Clark. There's

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Speaker 2: Charles W Chuck Bryant wearing his Stone Temple Pilot's hat,

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Speaker 2: and there's Jerry over there. She's not wearing any hat.

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Speaker 2: She's got really cool hair.

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Speaker 1: It's not Stone Temple Pilots.

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Speaker 2: It is too. I've seen the Stone Temple Pilots hats

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Speaker 2: before and that's.

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Speaker 1: What it is. STP. Because I bought two hats at

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Speaker 1: Auto Zone yesterday.

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Speaker 2: I have a Champion spark Plug hat. Yeah, they have

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Speaker 2: good hats, they really do.

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Speaker 1: I was getting a battery, and I was like, I

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Speaker 1: want these two hats. It was a good Year Akron,

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Speaker 1: Ohio Goodyear hat nice, which is where Emily's from. Sure,

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Speaker 1: so I wanted that. And then I saw this stp

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Speaker 1: hat Stone Temple Pilot. But I would get a Champion

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Speaker 1: spark plug hat too. Those are That's great.

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Speaker 2: Okay, I'll let you borrow mine anytime you want. I

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Speaker 2: just got to give it back.

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Speaker 1: If I've ever seen you in a baseball cap.

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Speaker 2: It's a weird jam, is it, now? What you want

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Speaker 2: to see?

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Speaker 1: I've seen you in shorts like twice in twelve years.

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Speaker 2: I keep the legs covered.

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Speaker 1: And I think one of them was when you came

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Speaker 1: over to borrow my lawnmower. I remember that, Yeah, like

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Speaker 1: nine years ago.

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Speaker 2: Sure, I've got a mo the lawn sometimes.

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Speaker 1: Now things have changed. You can buy a lawnmower. Yeah,

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Speaker 1: and we now we can afford lawmowers.

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Speaker 2: I can wear shorts too. I actually have one of

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Speaker 2: those plugin lawnmowers.

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Speaker 1: I have a battery power lawmower. Dude, look at us,

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Speaker 1: stupid liberal hippies.

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Speaker 2: Well mine's mine's battery powered, but you have to plug

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Speaker 2: it in and charge it.

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Speaker 1: Oh yeah, yeah, what kind do you have I have

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Speaker 1: the green one.

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Speaker 2: Yeah, I think they're all green.

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Speaker 1: No, there's a blue one.

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Speaker 2: Oh, I've got the green one to the sun Joe.

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Speaker 1: No, but I have a sun Joe pressure washer.

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Speaker 2: Do you really is it battery operated?

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Speaker 1: No? You plug that in?

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Speaker 2: I was gonna say, but it just goes like tinkles

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Speaker 2: out water.

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Speaker 1: But they do make plug in lawnmowers, Like, it's not

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Speaker 1: a battery. You just like have a cord that you.

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Speaker 2: Walk around and run over with your lawnmower.

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Speaker 1: I guess they're called electric. Sure, but yeah, I got

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Speaker 1: the batter room because I have so little grass now

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Speaker 1: and we may be done period with grass.

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Speaker 2: Oh yeah, that's why you're zero escaping.

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Speaker 1: Well, we're definitely doing the front, but the back it

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Speaker 1: just got smaller and smaller. And my last lawnmower broke,

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Speaker 1: so I was paying a guy to come cut it.

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Speaker 1: It's like, why am I paying this guy to cut

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Speaker 1: to do a seven minute.

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Speaker 2: Mo There's just that one blade of grass that sees

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Speaker 2: the lawnmower coming.

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Speaker 1: Like yeah, But then I went and got the batteryom

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Speaker 1: because lawnmowers are terrible for the environment.

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Speaker 2: Yeah, that's why I got it.

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Speaker 1: They're one of the worst los.

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Speaker 2: Yeah, we're both also aware that we are charging our

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Speaker 2: battery powered lawnmowers with coal fired power.

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Speaker 1: Yes, and we understand that.

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Speaker 2: We know.

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Speaker 1: I'm just talking about exhaustpiums.

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Speaker 2: I don't even need one. I live in a condo,

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Speaker 2: but I'm so dissatisfied with the landscapers that take care

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Speaker 2: of the condo that I yes, I bought a lawnmower

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Speaker 2: just to do the little patch out in front of

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Speaker 2: our buildings. Now, poor Momo doesn't get long grass against

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Speaker 2: her junk when she's pot of you.

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Speaker 1: Is a great way to start this episode.

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Speaker 2: So we're talking special effects.

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Speaker 1: Obviously, this has been lawn talk.

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Speaker 2: We're talking special effects, Chuck.

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Speaker 1: Yes, movie special effects, which, uh boy, I mean we

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Speaker 1: could do ten parts on this. This is kind of

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Speaker 1: a big summation because movie special effects can be everything

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Speaker 1: from the movie that you walk out of saying, oh

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Speaker 1: that movie had no special effects, when in fact it did.

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Speaker 2: Yeah wrong.

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Speaker 1: Yeah, just tiny little things that you may not even notice, dude,

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Speaker 1: Things that are almost whole cloth special effects like Skycaptain

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Speaker 1: in the World.

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Speaker 2: Of Tomorrow, Yeah, or Sin City.

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Speaker 1: Yeah. I like both of those.

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Speaker 2: Yes. Did you know since city every single bit of

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Speaker 2: the set was cgi.

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Speaker 1: Yeah, and that Sky Captain did it first, yeah, a

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Speaker 1: year before huh yeah, every bit of that was. It

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Speaker 1: was a green screen movie.

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Speaker 2: I never saw. It was a good. Uh.

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Speaker 1: It was interesting. Like the look of it was amazing

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Speaker 1: and very much ahead of its time.

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Speaker 2: Like real art deco.

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Speaker 1: Right. Yeah, for sure. I colored black and white, but

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Speaker 1: it wasn't. It was just this really washed out color. Yeah,

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Speaker 1: but it looked awesome and.

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Speaker 2: Was not bad. Nice. I'll have to check it out.

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Speaker 1: And I think the dudes that made that kind of

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Speaker 1: quit making movies after that. It's very unique story.

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Speaker 2: Have you ever seen This has nothing to do with anything,

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Speaker 2: but have you seen the Changeling?

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Speaker 1: Yeah? Sure, Oh my god, did you just see that?

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Speaker 2: Yes? And I have to tell you, I don't think

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Speaker 2: I've ever gotten chills more frequently from a movie than

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Speaker 2: I did with that one.

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Speaker 1: Changed.

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Speaker 2: It is great, genuinely, it's a genuinely scary ghost story. Yeah,

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Speaker 2: Like it is wonderful.

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Speaker 1: Yeah. I miss Georgie Scott too.

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Speaker 2: Yeah, he's a good actor. And I don't remember who

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Speaker 2: the female lead was in there, but she was great too.

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Speaker 1: It's been a while. I haven't seen it in many

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Speaker 1: many years.

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Speaker 2: So anyway, special effects, let's try this again. Yeah, we're

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Speaker 2: gonna get derailed like every five sets. Okay.

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Speaker 1: Effects are divided, and this is by the grab story

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Speaker 1: helped us out with this. AD's a big movie guy

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Speaker 1: and horror movie sci fi guy, so he probably enjoyed

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Speaker 1: writing this one up. They're divided into three general categories.

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Speaker 1: And this all has to do with where the effect

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Speaker 1: is happening. It can be practical, which is in front

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Speaker 1: of the camera, and that means it's a physical thing

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Speaker 1: that's happening.

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Speaker 2: I think that's what most people think of when they

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Speaker 2: think special effects. You think sure, okay, by most people,

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Speaker 2: I mean me.

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Speaker 1: In camera effects that happened inside the camera, and then

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Speaker 1: post production effects. And many times you're using one or

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Speaker 1: all three of these.

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Speaker 2: Right, So with like practical effects, that's things like makeup

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Speaker 2: and prosthetics, like ed uses the example of David Lynch's

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Speaker 2: The Elephant Man, like the prosthetic makeup that was used

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Speaker 2: to turn John Hurt or John Hurd which one hurt

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Speaker 2: into Joseph Merrick. Yes, that's a special effect. An explosion

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Speaker 2: on set, that's a special effect. A blood packet to

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Speaker 2: make it look like somebody just got shot in the

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Speaker 2: chest a squib. That's a special effect. All three of

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Speaker 2: those are practical effects. They're actually happening in the physical

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Speaker 2: world in front of you on set, being captured on film.

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Speaker 2: That's a practical special effect. Yeah.

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Speaker 1: And the other one I wanted to mention there that

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Speaker 1: you might not think of as stuff like if there

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Speaker 1: is a fire like a fireplace in a scene and

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Speaker 1: then you flip the camera around to show the people

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Speaker 1: and you see that fire shimmering on the wall. That's

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Speaker 1: a practical effect too. Little things like that.

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Speaker 2: But it's lighting. It's a lighting effect, yeah.

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Speaker 1: Or it's a fire like you know, those aren't real fires. Yeah,

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Speaker 1: I mean it's real fire.

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Speaker 2: Somebody should put that out.

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Speaker 1: But it's not like someone lights a bunch of wood.

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Speaker 1: They put fake wood and they have these fire bars

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Speaker 1: that it's like what you have under your grill basically, right,

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Speaker 1: or they hide those and then that's your fire.

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Speaker 2: Sure, because it has to look perfect.

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Speaker 1: You can't just chance somebody not being able to start

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Speaker 1: a fire or looking wonky. That's why movie fires look perfect. Yeah,

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Speaker 1: because they're fake.

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Speaker 2: They are kind of dreamy. They're so good. So in

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Speaker 2: camera effects is just basically messing with the way the

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Speaker 2: film is being produced inside the camera, not what's going

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Speaker 2: on in reality the film is capturing, but how the

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Speaker 2: film is actually capturing this stuff.

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Speaker 1: Yeah, slow motion is a special effect in camera special effect.

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Speaker 2: Yeah, or fast motion too, which is ten times more

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Speaker 2: hilarious than fast motion if you ask me, like, where

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Speaker 2: would the Monsters be without fast motion? Yeah?

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Speaker 1: Or Benny Hill for God's sake, Sure that lived and

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Speaker 1: breathed on fast motion? What else can you do there?

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Speaker 1: You can? And we'll see this some some of the

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Speaker 1: early special effects, like stopping the film, changing something, starting

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Speaker 1: it again.

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Speaker 2: Like Bewitched appearing out of nowhere.

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Speaker 1: Yeah, that's a special in camera special effect.

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Speaker 2: Yeah. One thing that struck me about all this from

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Speaker 2: researching this is how the basis the foundation for special

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Speaker 2: effects was laid immediately upon like motion pictures being created. Yeah,

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Speaker 2: like the whole industry, not even the industry before the

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Speaker 2: industry existed, but basically after the invention of motion pictures,

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Speaker 2: and that it stayed virtually the same until the nineties. Uh. Yeah,

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Speaker 2: people refined it and got better at it, and techniques

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Speaker 2: got more the same.

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Speaker 1: General crafts yeah, were used very much so, which is

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Speaker 1: why craft service is called craft service? Oh yeah, because

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Speaker 1: of each department is their own craft. I didn't know

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Speaker 1: they're there to serve them pizza rolls, yeah, man, or whatever.

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Speaker 2: You can put on some weight and film and something.

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Speaker 2: I'll tell you that for you can.

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Speaker 1: Oh my god, so stop motion animation. That is an

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Speaker 1: in camera effect. You're moving a little clay figure or whatever,

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Speaker 1: a doll or a King Kong of raisin, one a

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Speaker 1: California raisin, one frame at a time, twenty four frames

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Speaker 1: per second.

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Speaker 2: Can you imagine? Didn't you do that with your brother

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Speaker 2: with g I Joe? I did?

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Speaker 1: And then years later I did a little Star Wars

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Speaker 1: thing when I got a high eight video camera and

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Speaker 1: spent like three days working on something that ended up

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Speaker 1: being nine seconds long, and I said, I'm done.

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Speaker 2: What's funny is you're going to get a seasoned desist

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Speaker 2: later from Lucasfilm after talking about this in the.

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Speaker 1: Podcast Night and then we have post production effects, and

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Speaker 1: that is I think that's what a lot of people

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Speaker 1: think of as special effects these days, really, because that's

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Speaker 1: all the CGI stuff that you will see is all

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Speaker 1: happens in post production.

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Speaker 2: Okay, all right, yes, these days I got youa like,

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Speaker 2: almost all special effects happen impost these days.

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Speaker 1: Right, Well, no, they still combined some of the old

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Speaker 1: crafts as well. But yeah, surely a lot of it

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Speaker 1: is CGI.

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Speaker 2: I mean, computers can do some amazing stuff.

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Speaker 1: They can.

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Speaker 2: I mean, stuff that used to take months to do

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Speaker 2: a computer can do in hours now and do it

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Speaker 2: a million times better. Yeah, so depending on your taste,

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Speaker 2: I should say, that's right. So those are the big

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Speaker 2: three practical in camera and post production. And like I

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Speaker 2: was saying, like the basis of special effects was founded,

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Speaker 2: like in the nineteenth century, there were just some people

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Speaker 2: who had kind of followed in a tradition of still photography.

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Speaker 2: Still photographers by that time had already figured out some

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Speaker 2: cool stuff that you could do messing around with cameras,

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Speaker 2: something like double exposure, where you take a picture of

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Speaker 2: one thing and then take a picture of another thing

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Speaker 2: with the previously exposed film, and all of a sudden,

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Speaker 2: it looks like there's a ghost looming behind you. Stuff

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Speaker 2: like that. So out of the gate, when motion pictures

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Speaker 2: were beat started to become a little widespread and people

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Speaker 2: could afford them and try messing around with them. They

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Speaker 2: had a basis of trickery to begin with. But there's

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Speaker 2: a lot of stuff you can do with motion picture

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Speaker 2: cameras that you can't do with still photo cameras. And

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Speaker 2: they figured this out right away.

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Speaker 1: Yeah. That first guy who's credited as the first special

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Speaker 1: effect is Alfred Clark. And they don't have the year

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Speaker 1: exactly right. It's either ninety three, that's eighteen ninety three, yeah,

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Speaker 1: or eighteen ninety five. He made a short film called

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Speaker 1: The Execution of Mary, Queen of Scott's, and he did

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Speaker 1: that little stop trick, like I was saying, you shoot something,

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Speaker 1: you stop the camera, you replace it, or you remove something,

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Speaker 1: and then you start the camera and in real time

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Speaker 1: when you go to play it back, it's seamless, right.

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Speaker 1: And in his case, did you look at it?

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Speaker 2: Did you want to? Did you see that one?

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Speaker 1: It's he uses a stop trick with Mary getting beheaded,

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Speaker 1: and right when the acts fought is going to fall,

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Speaker 1: you know, he switches her out for a dummy, then

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Speaker 1: starts the camera back up and he chops the dummy's

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Speaker 1: head off, and it's it looks pretty good, like you

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Speaker 1: can't there's no big weird jump. He did for eighteen

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Speaker 1: ninety three did a really good job.

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Speaker 2: Yeah, and the key to that is just making sure

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Speaker 2: that no one touches the camera or even breathes on it,

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Speaker 2: don't move, and then getting the dummy in the same

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Speaker 2: position as the actor.

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Speaker 1: Yeah. And in fact, as we'll talk about later with

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Speaker 1: Matt Paintings, it's so crucial that the camera not move

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Speaker 1: that one technique was they used to bury the camera

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Speaker 1: tripod like a couple of feet into the earth, just

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Speaker 1: to make sure, like, no dumb dumb pa bumps into it.

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Speaker 1: Not me. So.

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Speaker 2: Alfred Clark is credited with the first special effect, but

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Speaker 2: a guy named George may Leise did they get it?

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Speaker 2: May Lee?

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Speaker 1: We should go ask Casey Pegram.

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Speaker 2: Oh yeah, he would know.

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Speaker 1: I think it's uh Milliere.

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Speaker 2: Oh nice, I think he just nailed it. Georgier. At

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Speaker 2: any rate, this guy is known as the father of

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Speaker 2: special effects.

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Speaker 1: Yeah.

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Speaker 2: He was very early on doing stuff that no one

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Speaker 2: else was doing. You know. Granted there were very few

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Speaker 2: people working in this.

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Speaker 1: Field, and none of the five people did.

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Speaker 2: But he was an illusionist and he said, oh man,

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Speaker 2: I can really do some amazing tricks with this camera.

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Speaker 2: And he really put it to good use from a

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Speaker 2: very early like I mean turned to the last century.

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Speaker 1: Yeah, he actually stumbled upon that little stop trick by accident.

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Speaker 1: When he was shooting a street traffic scene in Paris

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Speaker 1: in eighteen ninety six. The camera jams while I think

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Speaker 1: a bus was coming across frame. He's like, mad, fixes

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Speaker 1: the camera. Can we say that?

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Speaker 2: Sure?

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Speaker 1: All right?

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Speaker 2: We don't have any French people sitting?

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Speaker 1: Yeah, that's true, starts the camera back up, and of

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Speaker 1: course there's different things happening, and then when he went

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Speaker 1: back to look at it, it's he kind of just

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Speaker 1: stumbled upon this weird little substitution splice that became part

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Speaker 1: of filmmaking.

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Speaker 2: Yeah, because by the time the camera had started up again,

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Speaker 2: the bus was replaced by a hearse. So it looked

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Speaker 2: like when he went back and watched it, the bus

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Speaker 2: suddenly transformed into a hearse And.

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Speaker 1: He said, wait till they get a load of bewitched

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Speaker 1: seventy something years from now. So or no, I guess

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Speaker 1: what was that in the fifties, sixties, sixties.

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Speaker 2: All right, So you may not recognize George Meliais, Oh

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Speaker 2: I got at that time, I think so name, but

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Speaker 2: you probably have heard of his work, like A Trip

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Speaker 2: to the Moon. Yeah, what's very widely sighted. Is like

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Speaker 2: one of the first actual movies. I think it was

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Speaker 2: in the twenty something minute range. But it was about

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Speaker 2: some explorers in the Victorian era getting in a rocket

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Speaker 2: and traveling to the moon and the rocket lands and

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Speaker 2: the man in the Moon's eye. Everybody's seen that. I

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Speaker 2: don't care who you are. If you say you haven't,

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Speaker 2: you have. This was the guy who made that. And

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Speaker 2: this is a very early movie. It was from nineteen

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Speaker 2: oh two, but he was doing all sorts of a

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Speaker 2: man stuff. He was using extensive costuming, masks, all sorts

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Speaker 2: of in camera techniques.

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Speaker 1: His painting on film frames.

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Speaker 2: Yeah, and this is nineteen oh two, and like I

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Speaker 2: was saying, this stuff was refined, but it was the

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Speaker 2: basis of special effects for the next century to come.

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Speaker 1: Should we take a quick break? I think so, all right,

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Speaker 1: let's take a quick break and we will talk a

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Speaker 1: little bit about the MAT technique right after this.

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Speaker 2: I'm actually pretty psyched about this, all right, Chuck, As

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Speaker 2: I said, I'm very psyched about the MAT.

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Speaker 1: Yeah. So this isn't This is a little confusing the

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Speaker 1: way it's laid out here, because what Ed's talking about

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Speaker 1: here with Norman Down is called original negative matte painting.

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Speaker 1: If you hear of a matte painting, that is a

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Speaker 1: piece of glass where you have and I'm going to

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Speaker 1: talk about the most common way you might see it

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Speaker 1: employed is you take a big piece of glass and

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Speaker 1: you paint like a city scape on it, like really realistic,

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Speaker 1: and then you put that in a scene and shoot it.

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Speaker 1: So it's instead of having someone in front of a

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Speaker 1: city and this was pre blue screen and green screen technology,

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Speaker 1: you would just put Kurt Russell and Escape from New

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Speaker 1: York in a field and there's a matte painting of

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Speaker 1: New York City behind him and it looks great. And

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Speaker 1: James Cameron painted that and Escape from New York. He

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Speaker 1: was a matte painter.

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Speaker 2: Oh, I didn't know that.

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Speaker 1: That was like his first job.

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Speaker 2: It's nat like if you, if you even if you

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Speaker 2: do know what Chuck's talking about, go to the internet

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Speaker 2: and just look up like matte paintings.

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Speaker 1: It's amazing.

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Speaker 2: There's a lot of really wonderful ones, one you've seen before,

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Speaker 2: ones you haven't. But basically, anytime you've seen a movie

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Speaker 2: pre nineteen ninety three, maybe nineteen ninety where somebody walks

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Speaker 2: into this enormous place or this amazingly elaborate future city

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Speaker 2: or something like that. What you're actually looking at is

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Speaker 2: an expertly painted painting that has been messed with in

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Speaker 2: post production or using an in camera technique to make

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Speaker 2: it look like it's alive or actually, you know, bustling

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Speaker 2: or energetic or there. But it's really it's a painting.

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Speaker 2: It's a painting that some amazing human being painted by hand.

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Speaker 1: Yeah, and we should point out they still do this today,

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Speaker 1: they just do it digitally and digital matte painters are

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Speaker 1: super talented as well. Sure, but it's kind of neat

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Speaker 1: to think about that old craft and James Cameron painting

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Speaker 1: a piece of glass, yeah, and sticking that behind Kurt Russell.

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Speaker 2: And I mean it was used in everything like I

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Speaker 2: for my money, matt painting is the single most important

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Speaker 2: and widespread special effect ever. Maybe hard to argue that,

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Speaker 2: thank you, Like it was in Mary Poppins. When Mary

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Speaker 2: Poppins is coming into the City of London floating, that's

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Speaker 2: a matte painting. When Superman walks into the where's the

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Speaker 2: what's the name of the place where he's from, the

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Speaker 2: Crystal Cave.

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Speaker 1: Where Fortress of Solitude?

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Speaker 2: Yeah, is that where he talks with with Marlon Brando,

390
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Speaker 2: his dad. Uh yeah, I think so, okay, that's a

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Speaker 2: matte painting, and.

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Speaker 1: I think the Fortress of Solitude are the remnants of Krypton. Okay,

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Speaker 1: I'm boy, Superman. People are so mad at me right now.

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Speaker 2: People still I thought everybody's on the marble train.

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Speaker 1: No, people love Superman the comics.

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Speaker 2: Oh okay, because I was gonna say, I mean, you've

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Speaker 2: seen what they've done Superman lately, right and Batman?

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Speaker 1: Yeah? So, uh, that's the matte painting. And what that

399
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Speaker 1: is it's called set extension. So that basically means you're

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Speaker 1: just sort of extending the life set to make something

401
00:19:02,720 --> 00:19:06,560
Speaker 1: bigger and more opulent, or maybe not more obvious, just

402
00:19:06,560 --> 00:19:10,840
Speaker 1: bigger and more. But here's the thing, relying on that

403
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Speaker 1: mate painter and having the glass there, and glass can

404
00:19:13,640 --> 00:19:17,879
Speaker 1: break and it can you know, on set with lighting

405
00:19:17,960 --> 00:19:21,200
Speaker 1: can be weird. So that's all can get a little hinky.

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Speaker 1: So that's why this technique called original negative matt painting

407
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Speaker 1: was developed by Norman Don and that is when nowadays

408
00:19:29,080 --> 00:19:32,440
Speaker 1: he'll use what's called the mat box, which is literally

409
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Speaker 1: like black I don't think it's cardboard these days, but

410
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Speaker 1: whatever they make out of a cardboard thing that you

411
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Speaker 1: put over the lens to block out whatever you want

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Speaker 1: to block out. Back in the day, they would paint

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Speaker 1: cardboard and hold it in front of the lens, or

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Speaker 1: they would actually paint the lens. And what you're essentially

415
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Speaker 1: doing is painting away. It was early green screen. You're

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Speaker 1: painting away what you don't want in the frame or

417
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Speaker 1: what you want in the future, and then adding that

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Speaker 1: later on.

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Speaker 2: Right, And because it's black or because it's covered, there's

420
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Speaker 2: light is not hitting that part of the film. That

421
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Speaker 2: part of the film, the actual film strip itself that

422
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Speaker 2: you're recording onto or filming onto, that's unexposed. All that

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Speaker 2: gets exposed is the part of the lens or the

424
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Speaker 2: camera that is not covered that has say, your actor

425
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Speaker 2: like doing the herky jerky dance, right. And then so

426
00:20:26,560 --> 00:20:28,800
Speaker 2: what you do after that is you take that film

427
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Speaker 2: that has your actor doing the herky jerky dance projected

428
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Speaker 2: onto a screen so you see where the actor is, yes,

429
00:20:35,440 --> 00:20:38,719
Speaker 2: and on the screen, you literally paint the background that

430
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Speaker 2: you want. Then you film the whole thing a second time,

431
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Speaker 2: and now you have your actor in the set that

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Speaker 2: you originally wanted.

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Speaker 1: Right, The only difference there, which is something that wasn't

434
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Speaker 1: quite right here, is they don't like project it. They

435
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Speaker 1: just develop a few frames of it and project it

436
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Speaker 1: like a slidetch. So it's not like the camera the

437
00:21:00,040 --> 00:21:02,879
Speaker 1: film is moving through on the wall, right, because in

438
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Speaker 1: the article here says and then you just stop it,

439
00:21:05,640 --> 00:21:08,879
Speaker 1: and what happens if you do that is the bulb

440
00:21:08,960 --> 00:21:11,679
Speaker 1: burns the film. Okay, so you can't just stop a

441
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Speaker 1: pretty projector.

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Speaker 2: You produced like a slide of him project that.

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Speaker 1: Yeah, and then you paint in the castle or the

444
00:21:17,080 --> 00:21:19,600
Speaker 1: mountain or the whatever you want, and then you go

445
00:21:19,680 --> 00:21:22,560
Speaker 1: back and expose it again. Yep, pretty neat.

446
00:21:22,840 --> 00:21:25,119
Speaker 2: You just open your trench coat. There you go.

447
00:21:25,920 --> 00:21:30,399
Speaker 1: And the big innovator with the original negative matte painting

448
00:21:30,480 --> 00:21:35,520
Speaker 1: was Norman don and he really like really led the way.

449
00:21:35,960 --> 00:21:39,640
Speaker 2: But I mean again, most of the stuff that does

450
00:21:39,680 --> 00:21:42,800
Speaker 2: this now is done by computers imposed. But this is

451
00:21:42,840 --> 00:21:45,480
Speaker 2: like the links people were going to to make movies

452
00:21:45,520 --> 00:21:47,920
Speaker 2: at the time, and you watch them today and you're like, god,

453
00:21:47,960 --> 00:21:50,720
Speaker 2: it looks terrible. But if you stop and think about

454
00:21:50,760 --> 00:21:54,280
Speaker 2: the effort that they were going to they were inventing this, yeah,

455
00:21:54,640 --> 00:21:57,600
Speaker 2: it's just mind boggling. That they managed to get it,

456
00:21:57,920 --> 00:21:58,960
Speaker 2: you know to this point.

457
00:21:59,160 --> 00:22:01,919
Speaker 1: Yeah, Norman Don tried to patent that technique as well,

458
00:22:02,680 --> 00:22:06,120
Speaker 1: but they said, no, you did not invent this, You

459
00:22:06,359 --> 00:22:09,000
Speaker 1: popularized it, and you can't patent something that you made

460
00:22:09,040 --> 00:22:09,720
Speaker 1: super popular.

461
00:22:10,720 --> 00:22:13,240
Speaker 2: There are some other stuff too. There's like rear projection

462
00:22:13,400 --> 00:22:17,040
Speaker 2: in front projection, which is basically like projecting the background

463
00:22:17,040 --> 00:22:21,000
Speaker 2: and moving background onto a screen behind the actors. Yeah,

464
00:22:21,200 --> 00:22:23,800
Speaker 2: basically you know all those hokey driving scenes. Yeah, yeah,

465
00:22:23,840 --> 00:22:26,240
Speaker 2: the person's great, the car is being rocked or whatever

466
00:22:26,320 --> 00:22:28,680
Speaker 2: the road behind them, that's front of rear projection.

467
00:22:28,960 --> 00:22:32,600
Speaker 1: Yeah, and people still will use that as homage, like

468
00:22:32,600 --> 00:22:36,840
Speaker 1: in pulp fiction, very famously Bruce Willis or I guess not, Yeah,

469
00:22:36,920 --> 00:22:38,840
Speaker 1: when Bruce Willis gets in the cab after the fight.

470
00:22:39,240 --> 00:22:39,640
Speaker 2: Yeah.

471
00:22:39,680 --> 00:22:42,760
Speaker 1: And if it looks old fashioned, this because QT used

472
00:22:42,840 --> 00:22:46,440
Speaker 1: rear screen projection for that. And there's also a technique

473
00:22:46,480 --> 00:22:49,160
Speaker 1: that's not in here that I just remembered, so I'm

474
00:22:49,160 --> 00:22:52,600
Speaker 1: actually having to look up what it's called. When you're

475
00:22:52,600 --> 00:22:55,960
Speaker 1: in a car scene but you're not doing a rear

476
00:22:56,000 --> 00:22:59,600
Speaker 1: screen projection. So what happens here is you're sitting in

477
00:22:59,640 --> 00:23:01,359
Speaker 1: a car in a still car on the set but

478
00:23:01,400 --> 00:23:04,359
Speaker 1: they're not projecting anything behind you. What you've got is

479
00:23:05,400 --> 00:23:07,399
Speaker 1: two people shaking the car at a frame.

480
00:23:07,720 --> 00:23:09,080
Speaker 2: What do you make grips?

481
00:23:09,520 --> 00:23:12,280
Speaker 1: Yeah, usually a grip, but I've shaken cars and trains before.

482
00:23:12,600 --> 00:23:15,080
Speaker 1: It's because I'm just a body on the set, like

483
00:23:15,119 --> 00:23:17,399
Speaker 1: get in there and shake that thing. In fact, one

484
00:23:17,480 --> 00:23:19,200
Speaker 1: job I was on there was a faked subway train

485
00:23:19,280 --> 00:23:22,400
Speaker 1: and the hydraulics broke early on and they're like, bring

486
00:23:22,440 --> 00:23:24,719
Speaker 1: out the PA's you're gonna shake this train for twelve hours.

487
00:23:25,000 --> 00:23:26,840
Speaker 2: Like you got rhythm, get in there.

488
00:23:27,119 --> 00:23:29,040
Speaker 1: Yeah. Oh, we couldn't have too much rhythm because we

489
00:23:29,119 --> 00:23:32,880
Speaker 1: got yelled at for that because it looked too rhythmic.

490
00:23:33,760 --> 00:23:35,320
Speaker 1: So we're like, I don't know what, I don't know

491
00:23:35,320 --> 00:23:35,879
Speaker 1: how to do this.

492
00:23:36,040 --> 00:23:37,680
Speaker 2: Who are you working for? Oh?

493
00:23:37,720 --> 00:23:40,399
Speaker 1: It was just a commercial director that said that our

494
00:23:40,800 --> 00:23:43,639
Speaker 1: movement of the train looked to rhythmic and not believable.

495
00:23:44,240 --> 00:23:47,840
Speaker 2: So anyway, this Fruit of the Loom's commercial was totally unbelievable.

496
00:23:48,440 --> 00:23:50,720
Speaker 1: You sit in the car, you're acting like you're driving.

497
00:23:51,000 --> 00:23:54,120
Speaker 1: There's someone else shaking the car. There might be someone

498
00:23:54,160 --> 00:23:59,120
Speaker 1: else off camera, like flashing a light through the car

499
00:23:59,359 --> 00:24:01,719
Speaker 1: like you're going by a street light. Or a headlight

500
00:24:01,760 --> 00:24:04,360
Speaker 1: goes across their face, and there may be fake rain

501
00:24:04,400 --> 00:24:07,120
Speaker 1: in the background. And this is sometimes like six seven

502
00:24:07,200 --> 00:24:10,159
Speaker 1: eight people working in concert to make it look like

503
00:24:10,200 --> 00:24:12,000
Speaker 1: you're driving at night in the rain or something like that.

504
00:24:12,040 --> 00:24:15,040
Speaker 2: Right, so there's really an obvious background trees or rode

505
00:24:15,080 --> 00:24:17,440
Speaker 2: or whatever, but maybe there's headlights coming up behind you.

506
00:24:17,520 --> 00:24:20,600
Speaker 1: Is dark, yeah, but there are people with a spotlight.

507
00:24:20,760 --> 00:24:20,960
Speaker 2: Yeah.

508
00:24:21,000 --> 00:24:23,919
Speaker 1: It's really really cool, old fashioned, but people still use

509
00:24:23,960 --> 00:24:26,960
Speaker 1: that stuff. And I wish I could remember the full

510
00:24:27,040 --> 00:24:28,880
Speaker 1: name of that technique.

511
00:24:28,720 --> 00:24:32,320
Speaker 2: The shaken shimmy.

512
00:24:33,240 --> 00:24:34,840
Speaker 1: I'm gonna be so mad later on.

513
00:24:35,320 --> 00:24:36,720
Speaker 2: What was this called the shake and shimmy?

514
00:24:36,800 --> 00:24:37,640
Speaker 1: Okay, that's right.

515
00:24:38,880 --> 00:24:41,840
Speaker 2: So you talked about green screen, and that's actually super

516
00:24:41,880 --> 00:24:47,120
Speaker 2: old too. There's a really convoluted explanation about how originally

517
00:24:47,240 --> 00:24:53,360
Speaker 2: green screen employed sodium vapor lights, yeah, which would actually

518
00:24:53,480 --> 00:24:59,680
Speaker 2: mess with the yellow exposure on pan chromatic film, and

519
00:24:59,720 --> 00:25:02,320
Speaker 2: my brain I started bleeding out of my ear. I

520
00:25:02,320 --> 00:25:04,960
Speaker 2: cannot tell you how many times I read descriptions about

521
00:25:04,960 --> 00:25:08,399
Speaker 2: this and I can't quite get it. So suffice to

522
00:25:08,440 --> 00:25:11,679
Speaker 2: say that that was one technique for green screen. What

523
00:25:12,280 --> 00:25:15,639
Speaker 2: really kind of changed the industry is when they figured

524
00:25:15,640 --> 00:25:19,960
Speaker 2: out that again, if you if you film in black,

525
00:25:20,920 --> 00:25:25,680
Speaker 2: the film is not going to be exposed, so anything

526
00:25:25,720 --> 00:25:29,200
Speaker 2: you go and re expose it to it will cover

527
00:25:29,280 --> 00:25:32,600
Speaker 2: over that stuff like it's transparent. So for example, in

528
00:25:32,680 --> 00:25:36,320
Speaker 2: The Invisible Man from I think nineteen thirty thirty three, yeah,

529
00:25:36,720 --> 00:25:41,960
Speaker 2: Claude Rains wore a black bodysuit and the background was black.

530
00:25:42,240 --> 00:25:44,399
Speaker 2: It was a black screen, like a black green screen.

531
00:25:46,520 --> 00:25:49,199
Speaker 2: But he wore clothes and everything in bandages and sunglasses

532
00:25:49,240 --> 00:25:51,399
Speaker 2: and I think he smoked a cigarette or whatever. But

533
00:25:51,520 --> 00:25:54,000
Speaker 2: when he took the bandages off and we took his

534
00:25:54,040 --> 00:25:57,240
Speaker 2: sunglasses and closed off, there was nothing there. It was

535
00:25:57,280 --> 00:26:00,760
Speaker 2: a black bodysuit and a black background. So when they

536
00:26:00,880 --> 00:26:05,399
Speaker 2: filmed the background later on, all you could see was

537
00:26:05,440 --> 00:26:08,240
Speaker 2: the background in the clothes and the bandages. It looked

538
00:26:08,280 --> 00:26:10,560
Speaker 2: like there was nothing there because as far as the

539
00:26:10,640 --> 00:26:13,240
Speaker 2: film was concerned, when they were filming it, there wasn't

540
00:26:13,280 --> 00:26:16,160
Speaker 2: anything there. So the film wasn't exposed in those sections

541
00:26:16,200 --> 00:26:16,879
Speaker 2: on each frame.

542
00:26:17,080 --> 00:26:19,800
Speaker 1: That's right, and that's called the Williams process. And a

543
00:26:19,880 --> 00:26:22,440
Speaker 1: key part of the Williams process is the optical printer,

544
00:26:22,960 --> 00:26:25,480
Speaker 1: and that is a projector that actually prints an image

545
00:26:25,480 --> 00:26:28,560
Speaker 1: directly onto the film that runs through the camera while

546
00:26:28,560 --> 00:26:30,120
Speaker 1: that printer and camera are synced up.

547
00:26:30,280 --> 00:26:32,920
Speaker 2: Yes, so this is to me the optical printer is

548
00:26:32,960 --> 00:26:38,919
Speaker 2: the second most widespread and useful special effect technique in

549
00:26:39,000 --> 00:26:39,840
Speaker 2: the history of film.

550
00:26:40,440 --> 00:26:43,400
Speaker 1: You just waved your hand.

551
00:26:41,800 --> 00:26:44,760
Speaker 2: I suddenly had an ass gotten a ver aon.

552
00:26:45,720 --> 00:26:48,080
Speaker 1: Yeah. Hard to argue that too. But all this stuff

553
00:26:48,119 --> 00:26:50,479
Speaker 1: was just precursor to what was blue screen early on

554
00:26:51,359 --> 00:26:54,320
Speaker 1: Chroma Key blue and then later became Chroma Key green.

555
00:26:55,000 --> 00:26:57,760
Speaker 1: I'm not sure why they made the switch actually, other

556
00:26:57,800 --> 00:27:01,359
Speaker 1: than maybe the green or less use. I think so.

557
00:27:01,560 --> 00:27:04,399
Speaker 1: Probably maybe the blue was because you know what, you

558
00:27:04,440 --> 00:27:09,119
Speaker 1: don't want anything close to that color will disappear against

559
00:27:09,119 --> 00:27:09,840
Speaker 1: the green screen.

560
00:27:10,080 --> 00:27:13,000
Speaker 2: Anyone who's ever done the weather on the newscast can

561
00:27:13,040 --> 00:27:13,360
Speaker 2: tell you.

562
00:27:13,359 --> 00:27:15,679
Speaker 1: That, Yeah, there have been. There are blueper reels of

563
00:27:15,720 --> 00:27:18,480
Speaker 1: weather people disappearing when they wear like a green jacket

564
00:27:18,560 --> 00:27:18,879
Speaker 1: or something.

565
00:27:18,960 --> 00:27:21,560
Speaker 2: Right, it looks like the weather's going on through their body.

566
00:27:22,160 --> 00:27:24,719
Speaker 2: Same thing. So I want to say one more thing

567
00:27:24,760 --> 00:27:28,000
Speaker 2: about optical printers, or another little bit about it. Sure, So,

568
00:27:28,320 --> 00:27:31,239
Speaker 2: what you have is a projector projecting a film on

569
00:27:31,960 --> 00:27:36,320
Speaker 2: to a screen, and you have a camera recording what's

570
00:27:36,320 --> 00:27:39,399
Speaker 2: being projected. Right, that's right. That's the optical printer, and

571
00:27:39,440 --> 00:27:41,359
Speaker 2: you could do all sorts of stuff with that. So

572
00:27:41,440 --> 00:27:43,920
Speaker 2: let's say you have a shot where you have one

573
00:27:44,000 --> 00:27:47,600
Speaker 2: mat in the foreground and live actor and then another

574
00:27:47,640 --> 00:27:50,320
Speaker 2: mat in the background that has a bunch of different

575
00:27:50,320 --> 00:27:53,399
Speaker 2: people in it or something like that, or stormtroopers three. Okay,

576
00:27:53,480 --> 00:27:56,360
Speaker 2: so you got three different elements to that shot. What

577
00:27:56,400 --> 00:27:59,800
Speaker 2: you would do is using the same film film each.

578
00:28:00,640 --> 00:28:03,840
Speaker 2: So you go film that, like the actor, the live

579
00:28:03,880 --> 00:28:06,240
Speaker 2: action actor, you've got that on the film, and you

580
00:28:06,320 --> 00:28:10,119
Speaker 2: project that, and you take film where you're filming the

581
00:28:10,200 --> 00:28:14,520
Speaker 2: mat and you project that and film that. I just

582
00:28:14,640 --> 00:28:17,119
Speaker 2: totally have screwed this up. Oh my god, this is

583
00:28:17,240 --> 00:28:22,360
Speaker 2: just like ohn, No, it's worse than that. Was it

584
00:28:22,920 --> 00:28:27,639
Speaker 2: false false positives? Do you remember that time where I

585
00:28:27,760 --> 00:28:29,560
Speaker 2: was like I took a pretty simple thing and just

586
00:28:29,680 --> 00:28:33,920
Speaker 2: completely walk the dog with it. Yeah, okay, well I'll

587
00:28:34,000 --> 00:28:36,159
Speaker 2: just do that again. Everyone. I want you to go

588
00:28:36,200 --> 00:28:38,480
Speaker 2: look up optical printers, read a little bit about them,

589
00:28:38,640 --> 00:28:40,160
Speaker 2: and then you'll say, oh, Josh.

590
00:28:40,040 --> 00:28:42,680
Speaker 1: Is yeah this tough stuff.

591
00:28:43,640 --> 00:28:46,720
Speaker 2: It is essentially you're filming a projection and you can

592
00:28:46,720 --> 00:28:49,600
Speaker 2: do that multiple times with the same film, and it

593
00:28:49,680 --> 00:28:52,680
Speaker 2: adds up to where you have the shot you wanted,

594
00:28:52,680 --> 00:28:54,600
Speaker 2: where it makes it look like all these things that

595
00:28:54,640 --> 00:28:58,239
Speaker 2: you film three separate times are all happening together in

596
00:28:58,320 --> 00:28:59,040
Speaker 2: one space.

597
00:28:59,280 --> 00:29:02,520
Speaker 1: Yes, you're mayor bringing separate images together onto a single

598
00:29:02,520 --> 00:29:03,120
Speaker 1: piece of film.

599
00:29:03,200 --> 00:29:06,280
Speaker 2: Right. You couldn't do that with before optical printers, which

600
00:29:06,320 --> 00:29:09,200
Speaker 2: is a projector in a camera working together.

601
00:29:09,960 --> 00:29:14,400
Speaker 1: That's right, Okay, I think I needed that We should

602
00:29:14,400 --> 00:29:18,840
Speaker 1: mention briefly motion controlled cameras. This is a system that

603
00:29:18,960 --> 00:29:23,880
Speaker 1: allows it's basically taking the person out of the equation.

604
00:29:24,440 --> 00:29:26,280
Speaker 1: There is not a person pushing a dolly. There is

605
00:29:26,320 --> 00:29:28,840
Speaker 1: not a person moving the camera. It is a machine

606
00:29:28,840 --> 00:29:33,800
Speaker 1: that is programmed to move a camera through space very

607
00:29:33,920 --> 00:29:36,720
Speaker 1: very precisely and exactly the same every single time.

608
00:29:36,800 --> 00:29:39,160
Speaker 2: Yeah, so you can do the exact same motion over

609
00:29:39,200 --> 00:29:39,560
Speaker 2: and over.

610
00:29:39,480 --> 00:29:41,480
Speaker 1: Again, over and over, and a lot of times if

611
00:29:41,520 --> 00:29:43,720
Speaker 1: you're on a TV commercial, as boring as that is,

612
00:29:43,800 --> 00:29:46,560
Speaker 1: you will see stuff like this, for like a food shoot,

613
00:29:47,560 --> 00:29:51,240
Speaker 1: because food shoots are notoriously tricky because everything's super close

614
00:29:51,320 --> 00:29:53,840
Speaker 1: up and has to be perfect and you can't be

615
00:29:53,920 --> 00:29:55,320
Speaker 1: off a little bit with a camera because a lot

616
00:29:55,320 --> 00:29:57,880
Speaker 1: of times you'll sub in stuff later and post and

617
00:29:57,920 --> 00:30:00,920
Speaker 1: that's The whole reason for a moment control is to

618
00:30:01,440 --> 00:30:04,760
Speaker 1: replicate moves with exact precision.

619
00:30:05,120 --> 00:30:08,920
Speaker 2: So I was reading about industrial light and magic using

620
00:30:08,960 --> 00:30:11,840
Speaker 2: this to really great effect with the first Star Wars,

621
00:30:12,200 --> 00:30:15,320
Speaker 2: which is episode four, right, the New Hope. That's the

622
00:30:15,320 --> 00:30:17,720
Speaker 2: first one, right right.

623
00:30:18,000 --> 00:30:20,200
Speaker 1: I'm not confirming or denying anything. I'm just gonna let

624
00:30:20,200 --> 00:30:20,560
Speaker 1: that stand.

625
00:30:20,640 --> 00:30:23,520
Speaker 2: Episode four is the first Star Wars movie that ever

626
00:30:23,600 --> 00:30:24,360
Speaker 2: came out.

627
00:30:24,680 --> 00:30:28,480
Speaker 1: Correct, The Star Wars A New Hope is the first

628
00:30:28,560 --> 00:30:31,280
Speaker 1: episode okay, that I ever saw in a movie theater.

629
00:30:31,320 --> 00:30:33,520
Speaker 2: Because it's the first one that ever came out. Anyway.

630
00:30:33,520 --> 00:30:35,880
Speaker 2: When they were making this, you know, is it a

631
00:30:35,920 --> 00:30:41,000
Speaker 2: Star Destroyer, the big the big daddy ships Okay, oh man,

632
00:30:41,000 --> 00:30:45,520
Speaker 2: we're gonna get murdered everything. All of the ships and

633
00:30:45,560 --> 00:30:48,760
Speaker 2: Star Wars were models, yes, fairly small models. Actually they

634
00:30:48,760 --> 00:30:50,760
Speaker 2: were at that part base Okay, I think it was

635
00:30:50,800 --> 00:30:55,280
Speaker 2: episode four, I'm almost positive. Okay, So those models were

636
00:30:55,280 --> 00:30:58,360
Speaker 2: not moving in these shots and these enormous like huge

637
00:30:58,600 --> 00:31:02,880
Speaker 2: panoramic shots where like there's Tie fighters flying around shooting

638
00:31:02,960 --> 00:31:06,840
Speaker 2: everything and X Wing fighters shooting the tie fighters. None

639
00:31:06,880 --> 00:31:10,440
Speaker 2: of those models were moving. What happened was they figured

640
00:31:10,440 --> 00:31:13,520
Speaker 2: out how to use motion controlled cameras so that the

641
00:31:14,200 --> 00:31:18,040
Speaker 2: camera would go through the shot and around the model

642
00:31:18,360 --> 00:31:21,000
Speaker 2: and make it look like the model was moving, and

643
00:31:21,040 --> 00:31:24,960
Speaker 2: plus it was moving the shot through space. Right. The

644
00:31:25,040 --> 00:31:27,720
Speaker 2: thing is is, let's say you have five different ships.

645
00:31:28,560 --> 00:31:32,040
Speaker 2: You film those five ships separately, but those five ships

646
00:31:32,080 --> 00:31:34,120
Speaker 2: are all going to be in the same shot. So

647
00:31:34,840 --> 00:31:37,840
Speaker 2: you have to film that same shot the exact same

648
00:31:37,880 --> 00:31:40,800
Speaker 2: way five different times and then run it through an

649
00:31:40,840 --> 00:31:43,600
Speaker 2: optical printer so that you can get all of them,

650
00:31:43,760 --> 00:31:46,840
Speaker 2: all five shots onto the same strip of film. But

651
00:31:47,040 --> 00:31:52,080
Speaker 2: that's one of the ways that motion controlled cameras were

652
00:31:52,120 --> 00:31:54,960
Speaker 2: really put to good use, and it was extremely groundbreaking

653
00:31:55,480 --> 00:31:58,800
Speaker 2: because not one of those ships were moving in reality

654
00:31:58,840 --> 00:32:00,480
Speaker 2: when they were filming Star Wars Wars.

655
00:32:00,680 --> 00:32:01,880
Speaker 1: Can you name five Star.

656
00:32:01,760 --> 00:32:04,840
Speaker 2: Warships Tie Fighter, X, wing Fighter.

657
00:32:06,200 --> 00:32:08,240
Speaker 1: You already said one my tie fighter too.

658
00:32:09,000 --> 00:32:12,280
Speaker 2: Uh huh. The deuce is what the people in the

659
00:32:12,320 --> 00:32:12,920
Speaker 2: no call.

660
00:32:12,760 --> 00:32:17,720
Speaker 1: It s the Uh you already said star destroyer. So

661
00:32:17,760 --> 00:32:20,520
Speaker 1: star destroyer was right, Yeah, there's a star destroyer. Okay,

662
00:32:20,560 --> 00:32:22,640
Speaker 1: you made a face like I was just totally off.

663
00:32:23,840 --> 00:32:26,600
Speaker 1: You could make the case that Indoor was a ship

664
00:32:26,640 --> 00:32:27,680
Speaker 1: even though it was a planet.

665
00:32:28,640 --> 00:32:33,880
Speaker 2: Uh, there was the the the forest Speeder uh huh,

666
00:32:33,920 --> 00:32:41,800
Speaker 2: the the pod racer. Yeah, and doctors.

667
00:32:41,800 --> 00:32:44,360
Speaker 1: Ayas that's right, he's a final ship.

668
00:32:44,480 --> 00:32:50,840
Speaker 2: Yeah. Uh do you have many people? Boy, their calf

669
00:32:50,920 --> 00:32:53,240
Speaker 2: muscles just popped right out of the back to their leg.

670
00:32:53,320 --> 00:32:55,720
Speaker 1: Olly Fry is like hyperventilating somewhere in the office and

671
00:32:55,800 --> 00:32:59,920
Speaker 1: she doesn't know why. So, as I said earlier, it's

672
00:33:00,040 --> 00:33:04,240
Speaker 1: it's usually a combination of these different techniques to create

673
00:33:04,280 --> 00:33:08,840
Speaker 1: one overall special effect using these different crafts. And a

674
00:33:08,880 --> 00:33:13,440
Speaker 1: great example is Jurassic Park in the scene with the

675
00:33:13,520 --> 00:33:17,400
Speaker 1: Veloci raptors in the kitchen, that great, great sequence when

676
00:33:17,440 --> 00:33:20,520
Speaker 1: it was playing cat and mouse with those children. There

677
00:33:20,520 --> 00:33:25,360
Speaker 1: were puppets, there were actors in costumes, there were animatronic

678
00:33:25,480 --> 00:33:29,880
Speaker 1: raptor heads, and there were full cgi raptors and you

679
00:33:30,680 --> 00:33:32,840
Speaker 1: throw this all in a hat, mix it all up,

680
00:33:33,000 --> 00:33:35,160
Speaker 1: and it comes out to be like a really believable

681
00:33:35,200 --> 00:33:35,880
Speaker 1: looking scene.

682
00:33:36,000 --> 00:33:37,640
Speaker 2: Yeah, it comes out as an oscar.

683
00:33:40,000 --> 00:33:42,120
Speaker 1: Yeah. I'm sure they won Oscars, right.

684
00:33:43,040 --> 00:33:45,560
Speaker 2: They had two of I don't know, but there's just

685
00:33:45,640 --> 00:33:46,240
Speaker 2: no way.

686
00:33:46,480 --> 00:33:51,440
Speaker 1: It was groundbreaking. I remember being just gobsmacked in the

687
00:33:51,480 --> 00:33:54,320
Speaker 1: movie theater. Yeah, when I first saw those dinosaurs walking

688
00:33:54,320 --> 00:33:55,320
Speaker 1: across the screen.

689
00:33:55,120 --> 00:33:56,960
Speaker 2: And that was nineteen ninety three. I believe for the

690
00:33:56,960 --> 00:34:00,760
Speaker 2: first Jurassic Park, right, Jurassic Park, A new hope, the

691
00:34:00,760 --> 00:34:05,080
Speaker 2: first one that came out. So, but that was five

692
00:34:05,160 --> 00:34:08,440
Speaker 2: years after the first OSCAR had been awarded for special effects.

693
00:34:08,480 --> 00:34:11,000
Speaker 2: As far as I know, uh, really, I believe that

694
00:34:11,440 --> 00:34:14,840
Speaker 2: The Abyss was the first one to win an OSCAR

695
00:34:14,920 --> 00:34:18,520
Speaker 2: for special effects. Maybe or they're no, No, I'm sorry,

696
00:34:18,600 --> 00:34:22,160
Speaker 2: I'm way off, way off. The Abyss was the first

697
00:34:22,880 --> 00:34:26,120
Speaker 2: movie to win a special effect for a CGI effect.

698
00:34:26,320 --> 00:34:30,000
Speaker 1: Okay, remember the water Sure still looks pretty good.

699
00:34:30,120 --> 00:34:33,040
Speaker 2: It looks amazing. Yeah, this is nineteen eighty seven we're

700
00:34:33,080 --> 00:34:33,680
Speaker 2: talking about.

701
00:34:33,760 --> 00:34:34,879
Speaker 1: Wow was that when that came out?

702
00:34:35,000 --> 00:34:36,920
Speaker 2: Yeah? I was surprised to see that too, because that

703
00:34:37,000 --> 00:34:39,400
Speaker 2: holds up. I thought it was. Yeah, it's a good movie.

704
00:34:39,239 --> 00:34:40,720
Speaker 1: I really like that movie.

705
00:34:40,800 --> 00:34:45,200
Speaker 2: How do you not like Ed Harris? You don't like what?

706
00:34:45,239 --> 00:34:46,360
Speaker 2: Did you not like it? Hair? No?

707
00:34:46,480 --> 00:34:48,080
Speaker 1: I like him as an actor. I think a lot

708
00:34:48,160 --> 00:34:50,520
Speaker 1: of people might have problems with Ed Harris as a person.

709
00:34:50,560 --> 00:34:52,360
Speaker 1: He's notoriously cantankerous.

710
00:34:52,960 --> 00:34:55,319
Speaker 2: I've never heard that. I believe it.

711
00:34:55,400 --> 00:34:58,719
Speaker 1: Sure, he looks like he could yell somebody down, didn't he?

712
00:34:58,840 --> 00:35:02,040
Speaker 2: Sure? But he also keeps a cool head when he's

713
00:35:02,040 --> 00:35:05,040
Speaker 2: an actor as a seventies or sixties NASA guy.

714
00:35:05,239 --> 00:35:08,560
Speaker 1: Hey, I love it, Harris. All right, let's take another break, okay,

715
00:35:08,719 --> 00:35:11,480
Speaker 1: and we're going to come back and talk a little

716
00:35:11,480 --> 00:35:41,280
Speaker 1: bit about Star Wars episode whatever right after this. Okay,

717
00:35:41,360 --> 00:35:43,600
Speaker 1: we're back, and we should talk. We should mention the

718
00:35:43,640 --> 00:35:47,799
Speaker 1: garbage Matt, real quick, because that is a big deal.

719
00:35:47,840 --> 00:35:49,920
Speaker 1: A lot of times you have wire work or you

720
00:35:49,960 --> 00:35:55,360
Speaker 1: have you have things hanging from wires. It doesn't have

721
00:35:55,400 --> 00:35:57,920
Speaker 1: to be a person. It can be like a model

722
00:35:57,960 --> 00:36:00,759
Speaker 1: plane or a tie fighter or whatever. You got to

723
00:36:00,760 --> 00:36:03,719
Speaker 1: get rid of those wires unless you're ed. Would you

724
00:36:03,719 --> 00:36:04,920
Speaker 1: can't have fishing line.

725
00:36:05,200 --> 00:36:07,799
Speaker 2: No, you're supposed to not, but yes.

726
00:36:07,560 --> 00:36:09,680
Speaker 1: Or if you're Charlie's thrown in mad Max Ferry Road,

727
00:36:09,719 --> 00:36:12,319
Speaker 1: you got to get rid of that arm. Or if

728
00:36:12,360 --> 00:36:13,920
Speaker 1: you're in Forrest Gump, you got to get rid of

729
00:36:14,000 --> 00:36:16,120
Speaker 1: Lieutenant Dan's legs. Man.

730
00:36:16,200 --> 00:36:19,040
Speaker 2: That was amazing. That was the first time anybody's ever

731
00:36:19,080 --> 00:36:21,080
Speaker 2: done really something like that throughout.

732
00:36:21,719 --> 00:36:24,800
Speaker 1: Yeah. I have my problems with that movie for sure,

733
00:36:24,920 --> 00:36:27,719
Speaker 1: and one of them is I think he way over it.

734
00:36:27,760 --> 00:36:29,800
Speaker 1: He was like a kidney candy store and way overdid

735
00:36:29,840 --> 00:36:32,640
Speaker 1: the like and now Forrest is in the White House

736
00:36:32,640 --> 00:36:35,640
Speaker 1: and using archival footage and sticking Forest in it.

737
00:36:36,000 --> 00:36:38,959
Speaker 2: Yeah, that whole half hour dialogue he has with Peter

738
00:36:39,080 --> 00:36:44,280
Speaker 2: Cushing's ghost, it was uncanny.

739
00:36:45,520 --> 00:36:48,240
Speaker 1: But I get it. I get why these filmmakers get excited,

740
00:36:48,239 --> 00:36:51,240
Speaker 1: these really technical wizards. Well, you get a new technique

741
00:36:51,239 --> 00:36:52,160
Speaker 1: and they just hammer it.

742
00:36:52,320 --> 00:36:55,319
Speaker 2: The guy from Industrial and Magic when they made the

743
00:36:55,360 --> 00:36:59,560
Speaker 2: first Star Wars call it what you will. His name

744
00:36:59,640 --> 00:37:05,160
Speaker 2: was John Dykstra, and this motion controlled camera assembly that

745
00:37:05,200 --> 00:37:09,080
Speaker 2: they created was called Diystra Flex super Groundbreaking, and they

746
00:37:09,160 --> 00:37:11,480
Speaker 2: really did amazing stuff with it. Well, he's like a

747
00:37:11,600 --> 00:37:14,640
Speaker 2: legend in this industry now. And I saw an interview

748
00:37:14,640 --> 00:37:17,120
Speaker 2: with him recently and he was like, I'm so tired

749
00:37:17,719 --> 00:37:21,480
Speaker 2: of seeing just whole cities leveled and like just the

750
00:37:21,480 --> 00:37:25,760
Speaker 2: most amazing stuff you can possibly think of being done

751
00:37:25,880 --> 00:37:29,400
Speaker 2: just because we can do it. He put it really,

752
00:37:29,520 --> 00:37:33,319
Speaker 2: really well. I think it's an embarrassment of riches. You know,

753
00:37:34,000 --> 00:37:36,440
Speaker 2: like it can be done, so it's being done, everybody's

754
00:37:36,480 --> 00:37:39,800
Speaker 2: doing it. It's just you know, like and it makes

755
00:37:39,840 --> 00:37:43,440
Speaker 2: it less amazing, not necessarily because it looks bad. It

756
00:37:43,480 --> 00:37:46,040
Speaker 2: just keeps looking better and better every time. Like if

757
00:37:46,120 --> 00:37:50,360
Speaker 2: you if you look at Charlie's Theren's prosthetic arm or

758
00:37:50,440 --> 00:37:53,600
Speaker 2: missing army compared with Lieutenant Dan's missing.

759
00:37:53,480 --> 00:37:54,960
Speaker 1: Legs looks radically different.

760
00:37:55,160 --> 00:37:58,319
Speaker 2: It does. So it's getting better. There's just too much

761
00:37:58,320 --> 00:38:01,200
Speaker 2: of it, I think is the point to just to

762
00:38:01,200 --> 00:38:02,640
Speaker 2: be all Ed harrisy on this.

763
00:38:02,920 --> 00:38:06,319
Speaker 1: No, I have long predicted a return to practical effects, really,

764
00:38:06,320 --> 00:38:08,120
Speaker 1: and it's starting to happen a little bit more and more.

765
00:38:08,280 --> 00:38:11,319
Speaker 2: Yeah, I could see starting with indie filmmakers, Yeah, for sure,

766
00:38:11,400 --> 00:38:17,680
Speaker 2: which is funny because finally computer generated effects have trickled

767
00:38:17,680 --> 00:38:20,160
Speaker 2: down enough. Yeah, like you or I could just walk

768
00:38:20,200 --> 00:38:22,640
Speaker 2: out of the studio and probably get on any one

769
00:38:22,640 --> 00:38:25,759
Speaker 2: of those macs out there and use stuff that ten

770
00:38:25,800 --> 00:38:28,840
Speaker 2: to fifteen years ago, when we've lost five hundred thousand

771
00:38:28,840 --> 00:38:30,680
Speaker 2: dollars to set up a rig like that.

772
00:38:30,920 --> 00:38:33,520
Speaker 1: Yeah. And that's how some young filmmakers have gotten noticed

773
00:38:33,600 --> 00:38:37,360
Speaker 1: is by making these short films with like zero money

774
00:38:37,440 --> 00:38:40,279
Speaker 1: on their computer that get a lot of action on

775
00:38:40,320 --> 00:38:43,200
Speaker 1: YouTube because it looks so amazing, and the studio will

776
00:38:43,200 --> 00:38:45,920
Speaker 1: be like, sign that person up. Yeah, I can't remember

777
00:38:45,920 --> 00:38:48,160
Speaker 1: the guy's name, but that's happened a couple of times

778
00:38:48,200 --> 00:38:53,319
Speaker 1: in recent years to Ed Harris. We should talk about

779
00:38:53,360 --> 00:38:56,880
Speaker 1: a few of the groundbreaking people over the years. Oh yes,

780
00:38:58,200 --> 00:38:59,759
Speaker 1: we'll go through these a little quicker than what we

781
00:38:59,800 --> 00:39:02,080
Speaker 1: have in front of us, I think, But we should

782
00:39:02,120 --> 00:39:07,440
Speaker 1: mention Lon Cheney. Sure, one of the original superstars of

783
00:39:07,520 --> 00:39:10,280
Speaker 1: film in the Silent era, the Man of a Thousand Faces.

784
00:39:10,960 --> 00:39:14,280
Speaker 1: He was. He was very talented doing his own makeup

785
00:39:14,320 --> 00:39:17,000
Speaker 1: and changing his face. That's why he's called the Man

786
00:39:17,000 --> 00:39:18,160
Speaker 1: of a Thousand Faces.

787
00:39:18,719 --> 00:39:22,040
Speaker 2: Right, He's like, here's nine hundred and ninety seven.

788
00:39:22,440 --> 00:39:23,640
Speaker 1: What about Willis O'Brien.

789
00:39:24,080 --> 00:39:27,720
Speaker 2: He was one of the pioneers of stop motion photography. Again,

790
00:39:27,760 --> 00:39:30,720
Speaker 2: if you're a California Racins fan, you have a lot

791
00:39:30,760 --> 00:39:32,239
Speaker 2: to thank Willis O'Brien for.

792
00:39:32,440 --> 00:39:32,840
Speaker 1: Yeah.

793
00:39:32,880 --> 00:39:36,359
Speaker 2: He also this dude, the stuff he did. I mean,

794
00:39:36,400 --> 00:39:38,320
Speaker 2: if you look back, he did King Kong, the nineteen

795
00:39:38,360 --> 00:39:40,560
Speaker 2: thirty three King Kong. Yeah, and if you look back

796
00:39:40,600 --> 00:39:44,719
Speaker 2: at this, you're like, this is this is cool? But

797
00:39:44,800 --> 00:39:48,359
Speaker 2: if you research what was done to create this, you're

798
00:39:48,480 --> 00:39:49,799
Speaker 2: just blown away by it.

799
00:39:50,000 --> 00:39:55,120
Speaker 1: Yeah. Again, many processes coming together to create that nineteen

800
00:39:55,160 --> 00:39:58,000
Speaker 1: thirty three version of King Kong, and that fight looks

801
00:39:58,040 --> 00:40:01,279
Speaker 1: good still, I mean it doesn't realistic, but consider the

802
00:40:01,360 --> 00:40:02,160
Speaker 1: year it looks awesome.

803
00:40:02,280 --> 00:40:04,799
Speaker 2: It does, and it's about three and a half minutes long,

804
00:40:04,880 --> 00:40:09,320
Speaker 2: King Kong fighting the Tyrannosaurus Rex. But it took seven

805
00:40:09,360 --> 00:40:13,480
Speaker 2: weeks to film. Yeah, because there's twenty four frames shot

806
00:40:13,600 --> 00:40:18,279
Speaker 2: per second in a film, and for every frame, they

807
00:40:18,680 --> 00:40:22,480
Speaker 2: moved the models a little bit here or there. Yeah,

808
00:40:22,560 --> 00:40:25,520
Speaker 2: so that's why it took seven weeks just for that

809
00:40:25,560 --> 00:40:27,759
Speaker 2: fight scene. I think it was fifty five weeks for

810
00:40:27,880 --> 00:40:30,799
Speaker 2: all of the stop motion photography that was done in

811
00:40:30,840 --> 00:40:31,320
Speaker 2: that movie.

812
00:40:31,800 --> 00:40:33,280
Speaker 1: Yeah, that's impressive.

813
00:40:33,400 --> 00:40:35,840
Speaker 2: It really is impressive, especially when you realize the trouble

814
00:40:35,880 --> 00:40:37,400
Speaker 2: they went to when you go back and watch it,

815
00:40:37,520 --> 00:40:38,720
Speaker 2: like this is pretty nuts.

816
00:40:38,920 --> 00:40:42,400
Speaker 1: Yeah. Ray Harry Housen continued the work of Willis O'Brien

817
00:40:43,040 --> 00:40:45,360
Speaker 1: and very famously in like the fifties and sixties with

818
00:40:45,440 --> 00:40:47,600
Speaker 1: movies like Jason and the Argonauts.

819
00:40:47,080 --> 00:40:49,840
Speaker 2: And Clash of the Titans. Yeah, I remember Medusa Sure,

820
00:40:50,120 --> 00:40:51,000
Speaker 2: Scary Lady.

821
00:40:51,160 --> 00:40:52,839
Speaker 1: Yeah, that had to be toward the end of his career,

822
00:40:52,840 --> 00:40:54,040
Speaker 1: I guess, because that was in the eighties.

823
00:40:54,200 --> 00:40:57,359
Speaker 2: Yeah, I think like eighty one maybe remember The Minute

824
00:40:57,360 --> 00:40:59,480
Speaker 2: Tar two Man. That was cool movie.

825
00:40:59,560 --> 00:41:01,399
Speaker 1: That was a bit big movie for me as a kid.

826
00:41:01,600 --> 00:41:04,319
Speaker 2: Yeah, and I was like when La Law came along,

827
00:41:04,360 --> 00:41:07,080
Speaker 2: I was like, I know that guy. That's right, there's

828
00:41:07,120 --> 00:41:08,319
Speaker 2: the Titans guy.

829
00:41:09,880 --> 00:41:12,920
Speaker 1: We we should shout out Millicent Patrick. This is a

830
00:41:12,960 --> 00:41:16,719
Speaker 1: very interesting story. She was one of the only, well

831
00:41:16,800 --> 00:41:19,480
Speaker 1: first and only women working in special effects back in

832
00:41:19,520 --> 00:41:23,080
Speaker 1: the day. And she created the very famous mask of

833
00:41:23,280 --> 00:41:26,239
Speaker 1: the gill Man from Creature from the Black Lagoon in

834
00:41:26,320 --> 00:41:31,560
Speaker 1: the mid nineteen fifties and was unceremoniously fired, not.

835
00:41:31,640 --> 00:41:33,760
Speaker 2: Just fired, stricken from the credits.

836
00:41:34,000 --> 00:41:36,520
Speaker 1: Yeah, this guy named Bud Wes Moore. He assisted her

837
00:41:37,120 --> 00:41:40,279
Speaker 1: and then basically had her fired rather than give her

838
00:41:40,320 --> 00:41:42,920
Speaker 1: the credit for the mask, which he would take credit for.

839
00:41:42,840 --> 00:41:45,040
Speaker 2: Because I think he was the supervisor in charge of

840
00:41:45,080 --> 00:41:46,719
Speaker 2: effects or costume or something.

841
00:41:46,800 --> 00:41:49,000
Speaker 1: Oh I thought, I guess he assisted her, but he

842
00:41:49,120 --> 00:41:49,720
Speaker 1: was her boss.

843
00:41:50,000 --> 00:41:53,399
Speaker 2: Yeah, okay, But like she very clearly on her own

844
00:41:53,480 --> 00:41:56,000
Speaker 2: came up with the gill Man for yeah, the creature

845
00:41:56,000 --> 00:41:56,200
Speaker 2: from the.

846
00:41:56,320 --> 00:41:58,840
Speaker 1: And this has only come out in the last few years.

847
00:41:59,000 --> 00:42:03,080
Speaker 1: They've kind of dug up the original stuff. And yeah,

848
00:42:03,120 --> 00:42:07,360
Speaker 1: sexism just basically pushed her out of the industry altogether. Yeah,

849
00:42:07,440 --> 00:42:07,919
Speaker 1: very sad.

850
00:42:08,120 --> 00:42:10,279
Speaker 2: She's starting to get her due now though, which is good.

851
00:42:10,480 --> 00:42:11,359
Speaker 1: Yeah, that is very good.

852
00:42:12,480 --> 00:42:14,880
Speaker 2: There's Dick Smith is amazing.

853
00:42:15,120 --> 00:42:16,080
Speaker 1: He created the squib.

854
00:42:16,840 --> 00:42:20,040
Speaker 2: Oh really, yeah, he's a he's a very famous makeup artist.

855
00:42:20,040 --> 00:42:22,040
Speaker 2: He's really good at making people look aged.

856
00:42:22,719 --> 00:42:26,239
Speaker 1: Yeah. He made forty seven year old Marlon Brando look

857
00:42:26,680 --> 00:42:30,400
Speaker 1: much over five than The Godfather. Oh yeah, yeah, he

858
00:42:30,440 --> 00:42:32,480
Speaker 1: was only he was a year younger than me. Brando.

859
00:42:33,040 --> 00:42:33,960
Speaker 2: I never thought about that.

860
00:42:33,960 --> 00:42:34,399
Speaker 1: That nuts.

861
00:42:34,400 --> 00:42:36,960
Speaker 2: Wow, he really is good. He also did Death Becomes Her,

862
00:42:37,000 --> 00:42:38,759
Speaker 2: which is one of the all time great.

863
00:42:38,520 --> 00:42:43,000
Speaker 1: Movies, yeah, for sure. And The Exorcists yep, and Scanners.

864
00:42:42,680 --> 00:42:45,759
Speaker 2: And have you ever seen Ghost Story from nineteen eighty one?

865
00:42:45,800 --> 00:42:49,120
Speaker 2: Oh yeah, yeah, very scary movie. The old dudes he did,

866
00:42:49,360 --> 00:42:49,759
Speaker 2: he did that?

867
00:42:50,840 --> 00:42:53,960
Speaker 1: What else? Very famously aged Dustin Hoffman a little big

868
00:42:53,960 --> 00:42:55,920
Speaker 1: man by many many years.

869
00:42:56,120 --> 00:42:56,400
Speaker 2: Sure.

870
00:42:56,960 --> 00:43:02,040
Speaker 1: And then in the last like twenty five thirty years,

871
00:43:03,160 --> 00:43:05,200
Speaker 1: Rick Baker and stan Winston.

872
00:43:05,280 --> 00:43:07,680
Speaker 2: Stan Winston's He's got my vote.

873
00:43:07,800 --> 00:43:12,440
Speaker 1: Yeah, I mean these two guys were both just creative

874
00:43:12,520 --> 00:43:17,040
Speaker 1: leaders in the industry and trailblazers in the industry, and

875
00:43:17,520 --> 00:43:20,879
Speaker 1: as Ed says in here, like mentored a generation of

876
00:43:21,080 --> 00:43:25,560
Speaker 1: special effects employees, employees, creators, artists.

877
00:43:25,800 --> 00:43:29,280
Speaker 2: Sure, all three of those lord gig workers.

878
00:43:30,040 --> 00:43:33,080
Speaker 1: Rick Baker, American Werewolf in London in nineteen eighty one,

879
00:43:33,080 --> 00:43:36,719
Speaker 1: which still holds up. The thriller video in nineteen eighty three,

880
00:43:36,840 --> 00:43:40,360
Speaker 1: star Wars Moss Isley Cantina. He made all those.

881
00:43:40,440 --> 00:43:43,440
Speaker 2: Yeah, did you know that about the Moss Eisley Cantina. Sure,

882
00:43:43,600 --> 00:43:47,279
Speaker 2: I didn't know that. He was almost single handily responsible. Yeah,

883
00:43:47,320 --> 00:43:47,839
Speaker 2: for all of them.

884
00:43:47,880 --> 00:43:50,080
Speaker 1: And then Stan Winston. You got to talk about movies

885
00:43:50,120 --> 00:43:53,200
Speaker 1: like The Thing and Predator and Terminator and they both

886
00:43:53,239 --> 00:43:55,640
Speaker 1: have set up, you know, foundations and schools and things

887
00:43:55,680 --> 00:43:55,920
Speaker 1: like that.

888
00:43:56,280 --> 00:44:00,759
Speaker 2: Stan Winston also did the makeup for what I think

889
00:44:00,880 --> 00:44:03,960
Speaker 2: is maybe the best slash film of all time, Friday

890
00:44:03,960 --> 00:44:04,919
Speaker 2: the Thirteenth Part two.

891
00:44:05,920 --> 00:44:09,080
Speaker 1: Yeah, two is when Jason comes along, right, Yes.

892
00:44:08,920 --> 00:44:11,560
Speaker 2: It's Jason before he got his mask. He gets his

893
00:44:11,640 --> 00:44:14,200
Speaker 2: mask in three. I think the Fire the Thirteenth franchise

894
00:44:14,280 --> 00:44:15,880
Speaker 2: is as good as it gets for horror movies.

895
00:44:16,160 --> 00:44:18,000
Speaker 1: I dropped off at a certain point. Did you see

896
00:44:18,040 --> 00:44:18,520
Speaker 1: all those?

897
00:44:18,800 --> 00:44:20,640
Speaker 2: No? No, I still haven't seen all of them, but

898
00:44:20,760 --> 00:44:24,960
Speaker 2: even just putting like the first five or six up, Yeah,

899
00:44:25,040 --> 00:44:27,600
Speaker 2: I think it's like watching him again as an adult.

900
00:44:27,600 --> 00:44:30,520
Speaker 2: I'm like, these are really good, Yeah, scarcier films, like

901
00:44:30,560 --> 00:44:34,200
Speaker 2: even better than I remember for Me and a Kid. Yeah,

902
00:44:34,239 --> 00:44:36,880
Speaker 2: And the reason Stan Winston filled in for Friday the

903
00:44:36,920 --> 00:44:39,200
Speaker 2: Thirteenth Part two is because the guy who did Frida

904
00:44:39,320 --> 00:44:43,040
Speaker 2: Thirteenth the first one, Tom Savini, was unavailable. He was

905
00:44:43,040 --> 00:44:46,600
Speaker 2: off doing creep Show, I believe. But Tom Savini's another legend.

906
00:44:46,800 --> 00:44:49,000
Speaker 1: I think they're redoing creep Show, are they?

907
00:44:49,600 --> 00:44:50,080
Speaker 2: Okay?

908
00:44:50,120 --> 00:44:53,080
Speaker 1: I'd watched that different stories? Oh even better, I think

909
00:44:53,719 --> 00:44:56,160
Speaker 1: if I'm not mistaken. Nice, But yeah, Savini is well

910
00:44:56,200 --> 00:44:59,600
Speaker 1: known for being sort of the godfather of Gore.

911
00:44:59,760 --> 00:45:01,920
Speaker 2: Yeah, he did Maniac Do you ever see that?

912
00:45:02,160 --> 00:45:02,399
Speaker 1: Yeah?

913
00:45:02,560 --> 00:45:05,680
Speaker 2: That was off the Rocker movie.

914
00:45:06,320 --> 00:45:11,000
Speaker 1: And then these days there are companies ILM and WETA.

915
00:45:11,440 --> 00:45:15,319
Speaker 1: ILM Industrial Light and Magic is Lucas's company, and they're

916
00:45:15,360 --> 00:45:21,200
Speaker 1: cool because they invented this stuff because Lucas needed stuff

917
00:45:21,200 --> 00:45:23,440
Speaker 1: to be done that couldn't be done and he was like,

918
00:45:23,560 --> 00:45:25,719
Speaker 1: go figure out how to do it, and they did,

919
00:45:25,840 --> 00:45:29,799
Speaker 1: they really did. And then WETA is Peter Jackson's company,

920
00:45:29,840 --> 00:45:32,440
Speaker 1: and he's the one that has really pioneered the mo

921
00:45:32,600 --> 00:45:34,720
Speaker 1: cap the motion capture techniques.

922
00:45:35,160 --> 00:45:37,920
Speaker 2: Where a person's wearing like a suit and the suit

923
00:45:37,960 --> 00:45:40,480
Speaker 2: has a bunch of different kind of like almost ping

924
00:45:40,560 --> 00:45:43,640
Speaker 2: pong balls. All over it. Yeah, at like joints and

925
00:45:43,680 --> 00:45:47,680
Speaker 2: crucial places where the body moves and the actor, stunt

926
00:45:47,719 --> 00:45:50,839
Speaker 2: person or dance or whoever wearing the suit goes through

927
00:45:50,840 --> 00:45:52,239
Speaker 2: the motions, and.

928
00:45:52,160 --> 00:45:54,080
Speaker 1: Then they're just going through the motions.

929
00:45:54,120 --> 00:45:57,759
Speaker 2: Sure, and that those motions that what's captured is fed

930
00:45:57,800 --> 00:46:00,680
Speaker 2: into a computer and the computer generates a care doing

931
00:46:00,719 --> 00:46:03,120
Speaker 2: all those same motions, creating the performance. But it's a

932
00:46:03,160 --> 00:46:05,040
Speaker 2: computer generated character. Yeah.

933
00:46:05,080 --> 00:46:07,560
Speaker 1: I don't think he was the first, but the Gollum

934
00:46:07,680 --> 00:46:11,160
Speaker 1: character in those Lord of the Rings movies was really

935
00:46:11,160 --> 00:46:15,680
Speaker 1: one of the first, really terrific looking fully CGI character.

936
00:46:16,040 --> 00:46:19,280
Speaker 2: Yeah, I found, from what I could tell, the first

937
00:46:19,840 --> 00:46:23,600
Speaker 2: full CGI character ever in a movie. You want to guess,

938
00:46:23,680 --> 00:46:24,839
Speaker 2: you'll never guess.

939
00:46:25,360 --> 00:46:27,560
Speaker 1: Well, I mean it's touted as Indiana Jones in The

940
00:46:27,640 --> 00:46:31,680
Speaker 1: Last Crusade. Wrong, really, what is it going to be?

941
00:46:31,760 --> 00:46:36,480
Speaker 2: It's another Spielberg movie. Okay, it's young Sherlock Holmes. Well

942
00:46:36,560 --> 00:46:38,759
Speaker 2: you remember the Stained Glass Night that comes to life

943
00:46:38,800 --> 00:46:41,560
Speaker 2: and tries to slash one of them with his sword.

944
00:46:41,719 --> 00:46:41,959
Speaker 1: Huh.

945
00:46:42,440 --> 00:46:44,960
Speaker 2: First full CGI character in a movie?

946
00:46:45,080 --> 00:46:45,279
Speaker 1: Well?

947
00:46:45,280 --> 00:46:49,120
Speaker 2: Why, I don't know, but that's what I could find,

948
00:46:49,160 --> 00:46:50,640
Speaker 2: and that one's from nineteen eighty five.

949
00:46:51,520 --> 00:46:56,239
Speaker 1: Well, it says maybe there's it's in the nitpicky language

950
00:46:56,280 --> 00:47:01,440
Speaker 1: because in the Last Crusade when Walter Donovan's face melts

951
00:47:01,600 --> 00:47:04,040
Speaker 1: and turns to dust when he drinks from the jalice.

952
00:47:04,040 --> 00:47:07,239
Speaker 2: That's in. That's in writers of the Lost Arc, isn't it?

953
00:47:07,360 --> 00:47:08,160
Speaker 2: Oh No, you're right, you're right.

954
00:47:09,440 --> 00:47:12,400
Speaker 1: It says here it was the first ever digital composite

955
00:47:12,800 --> 00:47:14,719
Speaker 1: of a full screen live action image.

956
00:47:15,800 --> 00:47:17,239
Speaker 2: There's something in the language there.

957
00:47:17,280 --> 00:47:20,080
Speaker 1: Yeah, it was a full screen or something. This was

958
00:47:20,160 --> 00:47:20,960
Speaker 1: the gotcha.

959
00:47:21,080 --> 00:47:25,200
Speaker 2: This was the first CGI, but it wasn't the first

960
00:47:25,560 --> 00:47:29,360
Speaker 2: CGI image. This is the first moving CGI image. The

961
00:47:29,360 --> 00:47:33,000
Speaker 2: first CGI image was in Looker. Remember that movie.

962
00:47:33,120 --> 00:47:36,719
Speaker 1: I totally saw Looker. Yeah, that was a big HBO movie.

963
00:47:36,440 --> 00:47:39,360
Speaker 2: For me for sure. Same here it was Looker Runaway.

964
00:47:39,560 --> 00:47:42,959
Speaker 1: Uh huh Krall Runaway. It's Tom Selleck, yeah, and Gene

965
00:47:42,960 --> 00:47:45,759
Speaker 1: Simmons yea in the band. That's right, that's all Kroll

966
00:47:45,840 --> 00:47:49,279
Speaker 1: a lot too. Oh yeah, lookerhead Albert Finnie, right, if

967
00:47:49,280 --> 00:47:50,359
Speaker 1: I remember correctly.

968
00:47:50,040 --> 00:47:53,480
Speaker 2: Albert Finnie and Susan Day. Yeah, Susan Day, yeah right,

969
00:47:53,560 --> 00:47:54,760
Speaker 2: written by Michael Crichton.

970
00:47:54,760 --> 00:47:56,759
Speaker 1: I think that was the first full body three D

971
00:47:56,960 --> 00:48:00,600
Speaker 1: human but it did not move. It was static. Yeah,

972
00:48:00,640 --> 00:48:05,240
Speaker 1: and the very first computer generated effects period, funny enough,

973
00:48:05,960 --> 00:48:09,919
Speaker 1: were used to replicate computer screens. So whenever you would

974
00:48:09,920 --> 00:48:13,200
Speaker 1: see a computer screen in like Westworld or Aliens or

975
00:48:13,239 --> 00:48:15,800
Speaker 1: Star Wars, and they were like, what is the computer

976
00:48:16,120 --> 00:48:19,560
Speaker 1: going to look like? You know? Not? Now, that was

977
00:48:19,640 --> 00:48:22,520
Speaker 1: the first time they used computer generated imaging was to yeah,

978
00:48:22,880 --> 00:48:24,360
Speaker 1: make a fake computer screen.

979
00:48:24,719 --> 00:48:29,080
Speaker 2: And the first full CGI scene ever done was in

980
00:48:29,080 --> 00:48:31,480
Speaker 2: The Wrath of Khan, which I believe came out in

981
00:48:31,560 --> 00:48:35,360
Speaker 2: nineteen eighty two. But there's a genesis like Earth being

982
00:48:35,480 --> 00:48:38,400
Speaker 2: you know, like cooling and turning into the Earth, and

983
00:48:38,400 --> 00:48:41,880
Speaker 2: there's this amazing shots around it. That's all CGI. And

984
00:48:41,920 --> 00:48:45,719
Speaker 2: that was the first one, and Tron I thought for

985
00:48:45,760 --> 00:48:49,040
Speaker 2: sure Tron would have been among the first. Apparently most

986
00:48:49,040 --> 00:48:52,640
Speaker 2: of that was animated by humans, not computers. That's right,

987
00:48:53,040 --> 00:48:56,520
Speaker 2: The like all the glowing lines, all that stuff animated,

988
00:48:56,760 --> 00:48:59,440
Speaker 2: which makes it nuts that they were able to create that.

989
00:48:59,719 --> 00:49:03,719
Speaker 1: Yeah. Now the big thing is is de aging technique

990
00:49:03,719 --> 00:49:05,040
Speaker 1: that they're getting better and better.

991
00:49:05,239 --> 00:49:06,040
Speaker 2: Yeah, they really are.

992
00:49:06,520 --> 00:49:09,719
Speaker 1: Yeah. So the new Scorsese picked the Irishman I think

993
00:49:09,800 --> 00:49:12,120
Speaker 1: d ages and it has taken a long time to

994
00:49:12,160 --> 00:49:14,319
Speaker 1: get out because it's the d aging didn't look good

995
00:49:14,400 --> 00:49:18,120
Speaker 1: enough for Scorsese, so they have d aged de Naro.

996
00:49:18,160 --> 00:49:21,839
Speaker 1: And then I saw this new Angle movie, Gemini Man,

997
00:49:22,440 --> 00:49:26,560
Speaker 1: where Will Smith of now he plays an assassin and

998
00:49:26,600 --> 00:49:31,480
Speaker 1: he has to go kill his younger self Looper. Uh yeah,

999
00:49:31,560 --> 00:49:34,080
Speaker 1: sort of like Looper, I guess. But this Gemini Man

1000
00:49:34,120 --> 00:49:36,120
Speaker 1: script has been in development for like twenty five years

1001
00:49:36,200 --> 00:49:38,160
Speaker 1: with various people attached, but they could never do.

1002
00:49:38,160 --> 00:49:39,400
Speaker 2: It because of the technology.

1003
00:49:39,719 --> 00:49:42,279
Speaker 1: Yeah, huh, it's finally here. But here's the thing I

1004
00:49:42,280 --> 00:49:45,080
Speaker 1: didn't know. Like, I've seen this trailer and I'm like, man,

1005
00:49:45,120 --> 00:49:47,600
Speaker 1: that the aging looks great. They didn't d agent. It

1006
00:49:47,719 --> 00:49:50,879
Speaker 1: is a fully cgi Will Smith. Oh, and it looks

1007
00:49:50,960 --> 00:49:53,600
Speaker 1: that really the younger version is yeah wow. So I

1008
00:49:53,600 --> 00:49:54,640
Speaker 1: was like, man, they're getting.

1009
00:49:54,400 --> 00:49:56,440
Speaker 2: So good at the d that's amazing.

1010
00:49:56,520 --> 00:49:59,680
Speaker 1: So he mowapped his whole performance motion captured yea, and

1011
00:49:59,719 --> 00:50:03,120
Speaker 1: they just used fresh prints photos and.

1012
00:50:03,400 --> 00:50:05,960
Speaker 2: They just basically deep fake them sort of.

1013
00:50:07,280 --> 00:50:09,000
Speaker 1: Have you seen the Bill Hayter deep fake that's going

1014
00:50:09,000 --> 00:50:13,200
Speaker 1: around now. It's pretty cool, yeah, because he goes from

1015
00:50:13,280 --> 00:50:17,640
Speaker 1: Hater to Tom Cruise to seth Rogan back to Tom Cruise.

1016
00:50:17,640 --> 00:50:18,960
Speaker 1: It's like kind of all over the place.

1017
00:50:19,239 --> 00:50:20,920
Speaker 2: It's really really well done.

1018
00:50:21,719 --> 00:50:23,840
Speaker 1: And then you know, like we said, they use CGI

1019
00:50:24,239 --> 00:50:27,560
Speaker 1: for so many movies, little mistakes that can be corrected,

1020
00:50:28,000 --> 00:50:30,200
Speaker 1: little things that it's just much cheaper to add digitally

1021
00:50:30,280 --> 00:50:33,759
Speaker 1: later on. It could be a movie that, like I said,

1022
00:50:33,840 --> 00:50:37,000
Speaker 1: looks like it has no CGI whatsoever, and it's cheaper

1023
00:50:37,000 --> 00:50:39,680
Speaker 1: to put a plate of food in the background digitally

1024
00:50:39,760 --> 00:50:43,239
Speaker 1: than cook the food and put it on set, which

1025
00:50:43,280 --> 00:50:46,279
Speaker 1: is that's a bad example. Or you can color grate

1026
00:50:46,320 --> 00:50:49,000
Speaker 1: a movie you completely change, like the movie Oh Brother,

1027
00:50:49,040 --> 00:50:53,000
Speaker 1: where Art Thou has that yellow hue for everything, all

1028
00:50:53,000 --> 00:50:54,759
Speaker 1: that stuff is green. You know, they're in the Deep

1029
00:50:54,800 --> 00:50:56,319
Speaker 1: South in the summertime.

1030
00:50:56,120 --> 00:50:58,600
Speaker 2: And they used to have to like film it at

1031
00:50:58,640 --> 00:51:02,040
Speaker 2: some weird exposure and then projected at another exposure to

1032
00:51:02,120 --> 00:51:04,960
Speaker 2: some filter and then record the whole thing on an

1033
00:51:05,000 --> 00:51:08,560
Speaker 2: optical negative. Yeah, now they can just do it all

1034
00:51:08,600 --> 00:51:10,200
Speaker 2: with a computer, easypasy.

1035
00:51:10,320 --> 00:51:14,279
Speaker 1: It's great. Anything else. I'm kind of looking around, but

1036
00:51:15,040 --> 00:51:18,360
Speaker 1: this is like one eighth of this topic.

1037
00:51:18,520 --> 00:51:22,360
Speaker 2: Yeah, hopefully it made you appreciate movies more. Yeah, you

1038
00:51:22,400 --> 00:51:26,640
Speaker 2: specifically me, I know you love the movies.

1039
00:51:26,880 --> 00:51:27,200
Speaker 1: Sure.

1040
00:51:27,960 --> 00:51:30,080
Speaker 2: If you want to know more about movies, go listen

1041
00:51:30,120 --> 00:51:32,680
Speaker 2: to Chuck's podcast Movie Crush you'll love it. Hey. Thanks,

1042
00:51:33,280 --> 00:51:35,879
Speaker 2: And since I said movie crush, it's time for listener mail.

1043
00:51:38,680 --> 00:51:40,600
Speaker 1: And actually, since you said movie crush, we're about to

1044
00:51:40,640 --> 00:51:43,160
Speaker 1: release an episode on The Matrix. Oh, I hadn't seen

1045
00:51:43,160 --> 00:51:45,319
Speaker 1: that movie. It's been twenty years since it came out.

1046
00:51:45,440 --> 00:51:46,680
Speaker 2: You've never seen The Matrix.

1047
00:51:46,719 --> 00:51:48,920
Speaker 1: No, I hadn't seen it in a long time. Gotcha,

1048
00:51:49,160 --> 00:51:51,440
Speaker 1: But I didn't realize this is the twenty year anniversary.

1049
00:51:51,480 --> 00:51:56,759
Speaker 1: Watched it last night. Still totally holds up, really looks great. Fun. Yeah,

1050
00:51:57,680 --> 00:51:59,520
Speaker 1: well acted by most of the cast.

1051
00:51:59,360 --> 00:52:02,920
Speaker 2: Members who didn't act well, Oh.

1052
00:52:02,840 --> 00:52:05,239
Speaker 1: You know, can't it always gets picked on. I love

1053
00:52:05,280 --> 00:52:10,319
Speaker 1: that guy, I know, Kung Fu. He's perfect in that role.

1054
00:52:10,360 --> 00:52:12,920
Speaker 2: Though. Yeah, he's great. I can't imagine anybody else and

1055
00:52:12,960 --> 00:52:16,360
Speaker 2: it'd be too just too serious. I think, like imagine

1056
00:52:16,400 --> 00:52:17,960
Speaker 2: Tom Cruise in that in the Matrix.

1057
00:52:18,040 --> 00:52:21,880
Speaker 1: Yeah, you're right. He adds a little like something light, doesn't.

1058
00:52:21,640 --> 00:52:23,440
Speaker 2: He Yeah, it makes it a little more every man,

1059
00:52:23,480 --> 00:52:25,480
Speaker 2: almost a little more believable in a weird way.

1060
00:52:25,719 --> 00:52:27,800
Speaker 1: So do you see those John Wick movies.

1061
00:52:29,200 --> 00:52:31,200
Speaker 2: I've seen some of it. It's just like a little

1062
00:52:31,239 --> 00:52:34,520
Speaker 2: too video gamy for me. Yeah, but I mean it's fine.

1063
00:52:35,080 --> 00:52:36,520
Speaker 2: I respect that people like it.

1064
00:52:36,640 --> 00:52:40,480
Speaker 1: Sure, here we go. Okay, this is about three D

1065
00:52:41,640 --> 00:52:44,360
Speaker 1: three D. It's about solar panels. I got movies on

1066
00:52:44,400 --> 00:52:46,160
Speaker 1: the three D. You got the well they are in

1067
00:52:46,160 --> 00:52:49,080
Speaker 1: three D. I guess I got movies on the brain. Hey, guys.

1068
00:52:49,320 --> 00:52:51,120
Speaker 1: Being a roofer my entire life, I never thought I'd

1069
00:52:51,160 --> 00:52:53,760
Speaker 1: have much input until now it's my time to shine.

1070
00:52:54,520 --> 00:52:57,080
Speaker 1: One thing that wasn't mentioned in the solar panel episode

1071
00:52:57,120 --> 00:52:59,400
Speaker 1: is that people really need to consider the age of

1072
00:52:59,440 --> 00:53:01,600
Speaker 1: their existing roof before installing solar panels.

1073
00:53:01,600 --> 00:53:02,439
Speaker 2: Oh, that's a good point.

1074
00:53:02,719 --> 00:53:05,480
Speaker 1: A new residential shingle roof should last about thirty years.

1075
00:53:06,000 --> 00:53:08,080
Speaker 1: But if the roof isn't nearly new, I would not

1076
00:53:08,200 --> 00:53:10,320
Speaker 1: suggest installing solar panels.

1077
00:53:10,000 --> 00:53:13,759
Speaker 2: And definitely don't install it if the roof the roof

1078
00:53:13,840 --> 00:53:14,520
Speaker 2: is on fire.

1079
00:53:14,960 --> 00:53:18,279
Speaker 1: Once the panels are installed, roof repairs or replacement is

1080
00:53:18,480 --> 00:53:21,480
Speaker 1: very difficult and much more expensive. If the life of

1081
00:53:21,520 --> 00:53:24,879
Speaker 1: the roof ends before the solar panels die, you can

1082
00:53:24,920 --> 00:53:27,960
Speaker 1: easily add fifty to seventy five percent or more to

1083
00:53:28,000 --> 00:53:31,000
Speaker 1: the cost of the reroofing due to the added labor

1084
00:53:31,080 --> 00:53:34,399
Speaker 1: costs to remove and reinstall the panels. Yeah, I didn't

1085
00:53:34,400 --> 00:53:37,279
Speaker 1: think about that, so you should align it ideally with

1086
00:53:37,560 --> 00:53:41,200
Speaker 1: your new roof. Sure, I do mostly commercial roofing. Can't

1087
00:53:41,239 --> 00:53:42,800
Speaker 1: tell you the number of customers so I talked to

1088
00:53:42,920 --> 00:53:45,480
Speaker 1: had solar panels on an old roof and are now

1089
00:53:45,520 --> 00:53:49,800
Speaker 1: paying through the nose for repairs or replacement. Reputable solar

1090
00:53:49,800 --> 00:53:54,040
Speaker 1: panel specialists should have this roof conversation with a potential

1091
00:53:54,040 --> 00:53:57,240
Speaker 1: customer before installing the panels. If I'm afraid it doesn't

1092
00:53:57,280 --> 00:54:02,239
Speaker 1: always happen or customers underestimate the added reroofing costs once

1093
00:54:02,280 --> 00:54:03,000
Speaker 1: they're installed.

1094
00:54:03,320 --> 00:54:05,080
Speaker 2: Man, this is a great PSA.

1095
00:54:05,360 --> 00:54:07,239
Speaker 1: It is thanks again for what you guys do. I'm

1096
00:54:07,239 --> 00:54:09,600
Speaker 1: in my truck a lot driving to different job sites

1097
00:54:09,920 --> 00:54:13,200
Speaker 1: and it's always easier on Tuesday through Thursday. I want

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00:54:13,200 --> 00:54:15,160
Speaker 1: to have a new stuff you should know and that

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00:54:15,280 --> 00:54:18,000
Speaker 1: is from Owen Sinsinik.

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00:54:18,719 --> 00:54:22,840
Speaker 2: Great name first and last. Yep, love the name Owen.

1101
00:54:23,680 --> 00:54:27,399
Speaker 2: Stephen King's kids name one of them. Yeah, Owen King,

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00:54:27,880 --> 00:54:30,360
Speaker 2: thanks a lot, Owen. We appreciate that big time. That

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00:54:30,520 --> 00:54:33,680
Speaker 2: was a great email. I would have never thought about that, and.

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00:54:33,640 --> 00:54:36,000
Speaker 1: He didn't even send his business and to be plugged.

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00:54:36,080 --> 00:54:38,400
Speaker 1: So just google his name and roofing and if he

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00:54:38,480 --> 00:54:40,560
Speaker 1: happens to live near you use him.

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00:54:40,680 --> 00:54:42,440
Speaker 2: That's how dedicated this guy is.

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00:54:42,480 --> 00:54:43,200
Speaker 1: He sounds honest.

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00:54:43,760 --> 00:54:46,080
Speaker 2: Well, if you want to be a cool person like Owen,

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00:54:46,160 --> 00:54:47,440
Speaker 2: you can get in touch with us. You can go

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00:54:47,480 --> 00:54:49,200
Speaker 2: on to stuff you Should Know dot com and check

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00:54:49,200 --> 00:54:51,520
Speaker 2: out our social links. You can also send us an

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00:54:51,560 --> 00:54:57,640
Speaker 2: email to stuff podcast at iHeartRadio dot com.

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Speaker 3: Stuff you Should Know is a production of Iheartradios. Stuff Works.

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Speaker 3: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

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Speaker 3: or wherever you listen to your favorite shows.