WEBVTT - Selects: Special Effects: A Short History 0:00:01.080 --> 0:00:04.000 Hey, everybody, it's Josh. For this week's select, I've chosen 0:00:04.040 --> 0:00:08.080 our episode on Special Effects from September twenty nineteen. It's 0:00:08.160 --> 0:00:11.320 just a nice, straight ahead sysk app from Chuck the 0:00:11.360 --> 0:00:14.400 Grabster and me. If you're into movies, this is gonna 0:00:14.400 --> 0:00:18.720 be a good one for you, so enjoy. 0:00:20.360 --> 0:00:29.320 Welcome to Stuff you should Know, a production of iHeartRadio. 0:00:30.000 --> 0:00:32.720 Hey, and welcome to the podcast. I'm Josh Clark. There's 0:00:32.840 --> 0:00:35.880 Charles w Chuck Bryant wearing his Stone Temple Pilot's hat, 0:00:36.520 --> 0:00:38.920 and there's Jerry over there. She's not wearing any hat. 0:00:39.000 --> 0:00:40.800 She's got really cool hair. 0:00:41.200 --> 0:00:42.600 It's not Stone Temple Pilots. 0:00:42.680 --> 0:00:45.920 It is too. I've seen the Stone Temple Pilots hats 0:00:45.920 --> 0:00:46.640 before and that's. 0:00:46.520 --> 0:00:51.080 What it is. STP. Because I bought two hats at 0:00:51.080 --> 0:00:52.120 AutoZone yesterday. 0:00:53.360 --> 0:00:54.800 I have a Champion spark Plug hat. 0:00:54.880 --> 0:00:55.080 Yeah. 0:00:55.080 --> 0:00:56.600 They have good hats, they really do. 0:00:56.720 --> 0:00:58.000 I was getting a battery and I was like, oh, 0:00:58.040 --> 0:01:00.120 on these two hats. It was a good Year you're 0:01:00.120 --> 0:01:03.720 in Ohio Goodyear hat nice, which is where Emily's from. Sure, 0:01:04.000 --> 0:01:06.160 so I wanted that, and then I saw this STP. 0:01:06.080 --> 0:01:07.440 Hat Stone Temple Pilot. 0:01:07.720 --> 0:01:09.560 But I would get a Champion spark plug hat too. 0:01:09.560 --> 0:01:11.240 Those are that's great. 0:01:11.480 --> 0:01:13.760 Okay, I'll let you borrow mine anytime you want. I 0:01:13.920 --> 0:01:14.759 just got to give it back. 0:01:14.800 --> 0:01:16.000 I don't know if I've ever seen you in a 0:01:16.000 --> 0:01:16.680 baseball cap. 0:01:17.520 --> 0:01:19.960 It's a weird jam, is it now? What you want 0:01:20.000 --> 0:01:20.399 to see? 0:01:20.520 --> 0:01:23.080 I've seen you in shorts like twice in twelve years. 0:01:24.000 --> 0:01:25.160 I keep the legs covered. 0:01:25.840 --> 0:01:28.560 And I think one of them was when you came 0:01:28.600 --> 0:01:31.240 over to borrow my lawnmower. I remember that, Yeah, like 0:01:31.360 --> 0:01:32.040 nine years ago. 0:01:32.200 --> 0:01:34.119 Sure, I've got to mow the lawn sometimes. 0:01:34.240 --> 0:01:38.959 Now things have changed. You can buy a lawnmower. Yeah, 0:01:39.080 --> 0:01:40.840 and now we can afford lawnmowers. 0:01:40.880 --> 0:01:42.960 I can wear shorts too. I actually have one of 0:01:42.959 --> 0:01:44.399 those plugin lawnmowers. 0:01:44.760 --> 0:01:47.480 I have a battery power lawnmower. Dude, look at us, 0:01:47.520 --> 0:01:48.680 stupid liberal hippies. 0:01:48.840 --> 0:01:51.480 Well mine's battery power too, but you have to plug 0:01:51.520 --> 0:01:52.320 it in and charge it. 0:01:52.480 --> 0:01:54.720 Oh yeah, yeah, what kind do you have? I have 0:01:54.800 --> 0:01:55.480 the green one? 0:01:55.880 --> 0:01:57.000 Yeah, I think they're all green. 0:01:57.440 --> 0:01:58.360 Now there's a blue one. 0:01:58.480 --> 0:01:59.520 Oh, I've got the green one too. 0:01:59.520 --> 0:02:02.160 The sun Oh no, but I have a sun Joe 0:02:02.200 --> 0:02:02.920 pressure watcher. 0:02:03.080 --> 0:02:04.720 Do you really is it battery operated. 0:02:05.280 --> 0:02:06.240 No, you plug that in. 0:02:06.360 --> 0:02:08.120 I was gonna say, I bet it just goes like 0:02:08.240 --> 0:02:09.240 tinkles out water. 0:02:09.760 --> 0:02:12.760 But they do make a plug in lawnmowers, Like it's 0:02:12.800 --> 0:02:15.160 not a battery. You just like have a cord that 0:02:15.200 --> 0:02:16.040 you walk around. 0:02:15.960 --> 0:02:17.160 And run over with your lawnmower. 0:02:17.200 --> 0:02:20.919 I guess they're called electric sure, but yeah, I got 0:02:20.919 --> 0:02:23.840 the batterym because I have so little grass now and 0:02:23.880 --> 0:02:25.720 we may be done period with grass. 0:02:25.960 --> 0:02:27.600 Oh yeah, that's why you're zero escaping. 0:02:27.840 --> 0:02:30.560 Well, we're definitely doing the front, but the back it 0:02:30.680 --> 0:02:34.360 just got smaller and smaller. And my last lawnmower broke, 0:02:34.440 --> 0:02:35.880 so I was paying a guy to come cut it. 0:02:36.320 --> 0:02:38.079 It's like, why am I paying this guy to cut 0:02:38.440 --> 0:02:39.600 to do a seven minute mo? 0:02:39.840 --> 0:02:43.920 There's just that one bladed grass that sees the lawnmower coming. 0:02:43.840 --> 0:02:45.960 Like yeah, But then I went and got the battery 0:02:46.120 --> 0:02:48.240 because lawnmowers are terrible for the environment. 0:02:48.400 --> 0:02:49.600 Yeah, that's why I got it. 0:02:49.639 --> 0:02:51.280 They're one of the worst polluters too. 0:02:51.760 --> 0:02:55.160 Yeah, we're both also aware that we are charging our 0:02:55.880 --> 0:02:58.880 battery powered lawnmowers with coal fired power. 0:02:58.960 --> 0:03:00.280 Yes, we understand that. 0:03:00.320 --> 0:03:00.520 We know. 0:03:00.560 --> 0:03:01.840 I'm just talking about exhaustiums. 0:03:02.120 --> 0:03:04.040 I don't even need one. I live in a condo, 0:03:04.520 --> 0:03:07.880 but I'm so dissatisfied with the landscapers that take care 0:03:07.919 --> 0:03:11.600 of the condo that I yes, I bought a lawnmower 0:03:11.680 --> 0:03:13.520 just to do the little patch out in front of 0:03:13.560 --> 0:03:17.919 our buildings. Now, poor Momo doesn't get long grass against 0:03:17.960 --> 0:03:19.160 her junk when she's pot of you. 0:03:21.000 --> 0:03:22.680 Is a great way to start this episode. 0:03:22.919 --> 0:03:24.320 So we're talking special effects. 0:03:24.360 --> 0:03:25.960 Obviously this has been lawn talk. 0:03:27.639 --> 0:03:29.400 We're talking special effects, Chuck. 0:03:29.840 --> 0:03:34.360 Yes, movie special effects, which, uh boy, I mean we 0:03:34.360 --> 0:03:36.960 could do ten parts on this. This is kind of 0:03:36.960 --> 0:03:40.800 a big summation because movie special effects can be everything 0:03:41.440 --> 0:03:43.800 from the movie that you walk out of saying, oh, 0:03:43.880 --> 0:03:46.120 that movie had no special effects, when in fact it 0:03:46.160 --> 0:03:48.800 did yeah wrong, Yeah, just tiny little things that you 0:03:48.840 --> 0:03:52.040 may not even notice, to things that are almost whole 0:03:52.080 --> 0:03:55.280 cloth special effects like Skycaptain in the World. 0:03:55.040 --> 0:03:56.600 Of Tomorrow Yeah, or Sin City. 0:03:57.080 --> 0:03:58.119 Yeah. I like both of those. 0:03:58.240 --> 0:04:00.720 Yes, did you know sin City? Every single bit of 0:04:00.760 --> 0:04:02.200 the set was CGI. 0:04:02.720 --> 0:04:06.160 Yeah, and that Skycaptain did it first yeah, year before 0:04:06.240 --> 0:04:08.000 huh yeah, every bit of that was. It was a 0:04:08.040 --> 0:04:09.080 green screen movie. 0:04:09.200 --> 0:04:10.320 I never saw it. Was he good? 0:04:10.920 --> 0:04:13.119 It was interesting, like the look of It was amazing 0:04:13.360 --> 0:04:15.200 and very much ahead of its time. 0:04:15.040 --> 0:04:16.000 Like real art deco. 0:04:16.160 --> 0:04:18.520 Right, Yeah, for sure. I call it black and white, 0:04:18.560 --> 0:04:21.880 but it wasn't. It was just this really washed out color. Yeah, 0:04:22.120 --> 0:04:24.120 but it looked awesome and was not bad. 0:04:24.440 --> 0:04:25.920 Nice. I'll have to check it out. 0:04:26.000 --> 0:04:27.440 And I think the dudes that made that kind of 0:04:27.520 --> 0:04:29.760 quit making movies after that. It's very unique story. 0:04:30.040 --> 0:04:32.640 Have you ever seen This has nothing to do with anything, 0:04:32.640 --> 0:04:35.400 but have you seen the Changeling? George? 0:04:35.520 --> 0:04:39.040 Yeah? Sure, Oh my god, did you just see that? Yes? 0:04:39.560 --> 0:04:41.440 And I have to tell you, I don't think I've 0:04:41.440 --> 0:04:45.640 ever gotten chills more frequently from a movie than I 0:04:45.640 --> 0:04:46.280 did with that one. 0:04:46.360 --> 0:04:46.600 Changed. 0:04:46.640 --> 0:04:51.880 It is great, genuinely, it's a genuinely scary ghost story. Yeah, 0:04:51.920 --> 0:04:53.280 like it is wonderful. 0:04:53.360 --> 0:04:54.760 Yeah, I missed Georgie Scott too. 0:04:54.880 --> 0:04:58.200 Yeah, he's a good actor. And I don't remember who 0:04:58.240 --> 0:05:02.000 that the lead was in there, but she was great too. 0:05:02.440 --> 0:05:04.360 It's been a while. I haven't seen it in many, 0:05:04.360 --> 0:05:04.880 many years. 0:05:05.640 --> 0:05:10.120 So anyway, special effects, let's try this again. Yeah, we're 0:05:10.160 --> 0:05:12.240 gonna get derailed like every five sets. 0:05:12.240 --> 0:05:15.400 Okay, effects are divided, and this is by the grab 0:05:15.400 --> 0:05:17.880 story helped us out with this. Ed's a big movie 0:05:17.960 --> 0:05:20.080 guy and horror movie sci fi guy. Sure, so he 0:05:20.120 --> 0:05:23.520 probably enjoyed writing this one up. They're divided into three 0:05:23.839 --> 0:05:27.040 general categories. And this all has to do with where 0:05:27.080 --> 0:05:30.719 the effect is happening. Right. It can be practical, which 0:05:30.760 --> 0:05:32.240 is in front of the camera, and that means it's 0:05:32.279 --> 0:05:34.159 a physical thing that's happening. 0:05:34.240 --> 0:05:36.040 I think that's what most people think of when they 0:05:36.040 --> 0:05:39.320 think special effects. You think, sure, okay, by most people, 0:05:39.360 --> 0:05:39.800 I mean. 0:05:39.720 --> 0:05:44.719 Me in camera effects that happen inside the camera, and 0:05:44.760 --> 0:05:48.320 then post production effects. And many times you're using one 0:05:48.400 --> 0:05:49.400 or all three of these. 0:05:49.520 --> 0:05:55.360 Right, Right, So with like practical effects, that's things like 0:05:55.360 --> 0:05:59.599 like makeup and prosthetics, like ed uses. The example of 0:05:59.720 --> 0:06:04.159 Dave Lynch is the elephant man, like the prosthetic makeup 0:06:04.200 --> 0:06:06.880 that was used to turn John Hurt or John Hurd 0:06:08.080 --> 0:06:15.640 which one hurt into Joseph Merrick. Yes, that's a special effect. 0:06:16.200 --> 0:06:21.040 An explosion on set that's a special effect. A blood 0:06:21.120 --> 0:06:23.320 packet to make it look like somebody just got shot 0:06:23.320 --> 0:06:25.520 in the chest, a squib that's a special effect. All 0:06:25.560 --> 0:06:28.359 three of those are practical effects. They're actually happening in 0:06:28.400 --> 0:06:31.400 the physical world in front of you on set. Being 0:06:31.480 --> 0:06:34.840 captured on film. That's a practical special effect. 0:06:34.920 --> 0:06:36.640 Yeah. And the other one I wanted to mention there 0:06:36.760 --> 0:06:38.720 that you might not think of as stuff like if 0:06:38.760 --> 0:06:43.560 there is a fire like a fireplace in a scene 0:06:44.080 --> 0:06:46.040 and then you flip the camera around to show the 0:06:46.120 --> 0:06:48.799 people and you see that fire shimmering on the wall, 0:06:49.360 --> 0:06:51.440 that's a practical effect too, Little things like that. 0:06:51.640 --> 0:06:53.719 But it's lighting. It's a lighting effect, yeah. 0:06:53.800 --> 0:06:56.520 Or it's a fire like you know, those aren't real fires. Yeah, 0:06:56.560 --> 0:06:59.080 I mean it's real fire. Somebody should put that out, 0:06:59.160 --> 0:07:01.320 but it's not like someone lights a bunch of wood. 0:07:01.400 --> 0:07:06.040 They put fake wood and they have these fire bars 0:07:06.080 --> 0:07:08.880 that it's like what you have under your grill basically, right, 0:07:09.000 --> 0:07:11.760 or like the hide those and then that's your fire. Sure, 0:07:12.160 --> 0:07:14.120 because that has to look perfect. You can't just chance 0:07:14.840 --> 0:07:17.400 somebody not being able to start a fire or looking wonky. 0:07:17.720 --> 0:07:20.480 That's why movie fires look perfect. Yeah, because they're fake. 0:07:20.720 --> 0:07:24.480 They are kind of dreamy. They're so good. So in 0:07:24.560 --> 0:07:28.840 camera effects is just basically messing with the way the 0:07:28.920 --> 0:07:33.440 film is being produced inside the camera, not what's going 0:07:33.480 --> 0:07:36.440 on in reality the film is capturing, but how the 0:07:36.480 --> 0:07:38.560 film is actually capturing this stuff. 0:07:38.720 --> 0:07:41.840 Yeah. Slow motion is a special effect in camera special effect. 0:07:41.920 --> 0:07:44.640 Yeah, or fast motion too, which is ten times more 0:07:44.720 --> 0:07:47.320 hilarious than fast motion if you ask me, like, where 0:07:47.320 --> 0:07:50.560 would the monsters be without fast motion? Yeah? You know? 0:07:50.760 --> 0:07:53.960 Or Benny Hill for God's sake, sure that lived and 0:07:53.960 --> 0:07:58.160 breathed on fast motion? What else can you do there? 0:07:58.240 --> 0:08:00.520 You can? And we'll see this some some of the 0:08:00.560 --> 0:08:05.520 early special effects, like stopping the film, changing something, starting 0:08:05.560 --> 0:08:06.160 it again. 0:08:06.360 --> 0:08:08.760 Right, like Bewitched appearing out of nowhere. 0:08:08.960 --> 0:08:11.440 Yeah, that's a special in camera special effect. 0:08:11.680 --> 0:08:14.120 Yeah. One thing that struck me about all this from 0:08:14.160 --> 0:08:19.000 researching this is how the basis, the foundation for special 0:08:19.000 --> 0:08:25.520 effects was laid immediately upon like motion pictures being created. Yeah, 0:08:25.760 --> 0:08:28.440 like the whole industry, not even the industry before the 0:08:28.480 --> 0:08:32.040 industry existed, but basically after the invention of motion pictures, 0:08:32.440 --> 0:08:37.640 and that it stayed virtually the same until the nineties. Uh. Yeah, 0:08:37.720 --> 0:08:40.240 people refined it and got better at it, and techniques 0:08:40.280 --> 0:08:40.959 got more. 0:08:41.280 --> 0:08:44.040 The same general crafts Yeah, were used very much so, 0:08:44.360 --> 0:08:47.560 which is why craft service is called craft service. Oh yeah, 0:08:47.600 --> 0:08:49.680 because of each department is their own craft. 0:08:50.240 --> 0:08:50.960 Oh I didn't know. 0:08:51.040 --> 0:08:53.200 They're there to serve them pizza. 0:08:52.920 --> 0:08:56.520 Roles, yeah, man or whatever you can put on some 0:08:56.600 --> 0:08:58.520 weight and film and something. I'll tell you that for 0:08:58.679 --> 0:08:58.920 you can. 0:08:59.200 --> 0:09:02.240 Oh my god, so stop motion animation. That is an 0:09:02.280 --> 0:09:06.640 in camera effect. You're moving a little clay figure or whatever, 0:09:06.720 --> 0:09:09.360 a doll or a King Kong of raisin one a 0:09:09.440 --> 0:09:12.840 California raisin, one frame at a time, twenty four frames 0:09:12.840 --> 0:09:13.320 per second. 0:09:13.360 --> 0:09:15.319 Can you imagine? Didn't you do that with your brother 0:09:15.400 --> 0:09:16.200 with g I Joe? 0:09:16.360 --> 0:09:18.080 I did? And then years later I did a little 0:09:18.120 --> 0:09:20.880 Star Wars thing when I got a high eight video 0:09:20.960 --> 0:09:24.720 camera and spent like three days working on something that 0:09:24.800 --> 0:09:28.480 ended up being nine seconds long, and I said, I'm done. 0:09:28.880 --> 0:09:30.880 What's funny is you're going to get a seasoned desist 0:09:30.960 --> 0:09:33.040 later from Lucasfilm after talking about this in. 0:09:33.040 --> 0:09:36.199 The podcast Night and then we have post production effects, 0:09:36.200 --> 0:09:38.960 and that is I think that's what a lot of 0:09:38.960 --> 0:09:41.880 people think of as special effects these days, really, because 0:09:41.880 --> 0:09:44.679 that's all the CGI stuff that you will see is 0:09:44.720 --> 0:09:45.920 all happens in post production. 0:09:46.240 --> 0:09:48.840 Okay, all right, yes these days I got youa like, 0:09:48.960 --> 0:09:52.199 almost all special effects happens in post these days, right. 0:09:52.360 --> 0:09:55.080 Well, no, they still combined some of the old crafts 0:09:55.080 --> 0:09:57.640 as well, but yeah, surely a lot of it is CGI. 0:09:57.800 --> 0:09:59.960 I mean, computers can do some amazing stuff. 0:10:00.080 --> 0:10:00.440 They can. 0:10:00.760 --> 0:10:03.319 I mean stuff that used to take months to do 0:10:03.800 --> 0:10:06.240 a computer can do in hours now and do it 0:10:06.320 --> 0:10:11.319 a million times better. Yeah, So depending on your taste, 0:10:11.480 --> 0:10:14.160 I should say that's right. So those are the big 0:10:14.160 --> 0:10:18.560 three practical in camera and post production. And like I 0:10:18.679 --> 0:10:23.800 was saying, like the basis of special effects was founded, 0:10:25.280 --> 0:10:28.920 like in the nineteenth century, there were just some people 0:10:28.960 --> 0:10:32.760 who had kind of followed in a tradition of still photography. 0:10:33.120 --> 0:10:35.640 Still photographers by that time had already figured out some 0:10:35.679 --> 0:10:38.760 cool stuff that you could do messing around with cameras, 0:10:39.200 --> 0:10:41.640 something like double exposure, where you take a picture of 0:10:41.679 --> 0:10:43.360 one thing and then take a picture of another thing 0:10:43.400 --> 0:10:46.360 with the previously exposed film, and all of a sudden, 0:10:46.400 --> 0:10:49.280 it looks like there's a ghost looming behind you. Stuff 0:10:49.320 --> 0:10:52.520 like that. So out of the gate, when motion pictures 0:10:52.520 --> 0:10:55.880 were started to become a little widespread and people could 0:10:55.920 --> 0:10:58.440 afford them and try messing around with them, they had 0:10:58.480 --> 0:11:02.240 a basis of tri career to begin with. But there's 0:11:02.280 --> 0:11:04.640 a lot of stuff you can do with motion picture 0:11:04.679 --> 0:11:07.680 cameras that you can't do with still photo cameras. And 0:11:07.720 --> 0:11:09.560 they figured this out right away. 0:11:10.080 --> 0:11:13.360 Yeah. That first guy who's credited as the first special 0:11:13.360 --> 0:11:17.760 effect is Alfred Clark. And they don't have the year 0:11:18.000 --> 0:11:21.760 exactly right. It's either ninety three, that's eighteen ninety three, yeah, 0:11:21.880 --> 0:11:24.760 or eighteen ninety five. He made a short film called 0:11:24.760 --> 0:11:27.640 The Execution of Mary, Queen of Scott's, and he did 0:11:27.640 --> 0:11:29.960 that little stop trick, like I was saying, you shoot something, 0:11:30.600 --> 0:11:33.920 you stop the camera, you replace it, or you remove something, 0:11:34.200 --> 0:11:36.480 and then you start the camera and in real time 0:11:36.480 --> 0:11:39.880 when you go to play it back, it's seamless, right. 0:11:40.160 --> 0:11:41.880 And in his case, did you look at it? Did 0:11:41.880 --> 0:11:42.080 you want? 0:11:42.360 --> 0:11:43.280 Did you see that one? 0:11:43.720 --> 0:11:48.000 It's he uses a stop trick with Mary getting beheaded, 0:11:48.720 --> 0:11:51.400 and right when the axe is going to fall, you know, 0:11:51.440 --> 0:11:53.800 he switches her out for a dummy, then starts the 0:11:53.840 --> 0:11:55.719 camera back up and he chops the dummy's head off, 0:11:56.400 --> 0:11:58.720 and it's it looks pretty good, like you can't there's 0:11:58.720 --> 0:12:01.920 no big weird jump he did for eighteen ninety three. 0:12:01.960 --> 0:12:02.880 He did a really good job. 0:12:02.960 --> 0:12:04.960 Yeah, And the key to that is just making sure 0:12:05.000 --> 0:12:08.360 that no one touches the camera or even breathes on it, 0:12:08.640 --> 0:12:11.120 don't move, and then getting the dummy in the same 0:12:11.160 --> 0:12:12.920 position as the actor. 0:12:13.240 --> 0:12:15.080 Yeah, and in fact, as we'll talk about later with 0:12:15.200 --> 0:12:19.120 Matt Paintings, it's so crucial that the camera not move. 0:12:19.200 --> 0:12:21.920 That one technique was they used to bury the camera 0:12:22.000 --> 0:12:25.760 tripod like a couple of feet into the earth, just 0:12:25.760 --> 0:12:30.040 to make sure, like no dumb dumb pa bumps into it. Me. 0:12:31.320 --> 0:12:35.319 So, Alfred Clark is credited with the first special effect, 0:12:35.400 --> 0:12:41.359 but a guy named George may lese did they get it? Meylee? 0:12:41.840 --> 0:12:43.200 We should go ask Casey Pegram. 0:12:43.480 --> 0:12:44.400 Oh, yeah, he would know. 0:12:44.600 --> 0:12:48.200 I think it's uh Melie, Oh. 0:12:48.080 --> 0:12:52.800 Nice, I think he just nailed it, George Mellie. At 0:12:52.840 --> 0:12:55.240 any rate, this guy is known as the father of 0:12:55.280 --> 0:12:56.120 special effects. 0:12:56.200 --> 0:12:56.600 Yeah. 0:12:56.640 --> 0:13:00.840 He was very early on doing stuff that no one 0:13:00.880 --> 0:13:03.880 else was doing. You know. Granted there were very few 0:13:03.960 --> 0:13:05.520 people working in this. 0:13:05.640 --> 0:13:07.520 Field, and none of the five people did. 0:13:07.600 --> 0:13:10.080 But he was an illusionist and he said, oh man, 0:13:10.160 --> 0:13:12.640 I can really do some amazing tricks with this camera. 0:13:12.720 --> 0:13:15.040 And he really put it to good use from a 0:13:15.160 --> 0:13:18.680 very early like I mean, turn to the last century. 0:13:18.800 --> 0:13:21.520 Yeah, he actually stumbled upon that little stop trick by 0:13:21.559 --> 0:13:25.840 accident when he was shooting a street traffic scene in 0:13:25.880 --> 0:13:29.680 Paris in eighteen ninety six. The camera jams while I 0:13:29.679 --> 0:13:33.680 think a bus was coming across frame. He's like, mad, 0:13:34.160 --> 0:13:36.760 fixes the camera. Can we say that? Sure? 0:13:36.840 --> 0:13:39.520 All right, we don't have any French people sitting. 0:13:39.280 --> 0:13:43.360 Yeah, that's true, starts the camera back up, and of 0:13:43.400 --> 0:13:45.959 course there's different things happening, And then when he went 0:13:46.040 --> 0:13:48.280 back to look at it, it's he kind of just 0:13:48.280 --> 0:13:51.840 stumbled upon this weird little substitution supplice that became part 0:13:51.880 --> 0:13:52.400 of filmmaking. 0:13:52.480 --> 0:13:55.640 Yeah, because by the time the camera had started up again, 0:13:55.840 --> 0:13:58.000 the bus was replaced by a first So it looked 0:13:58.040 --> 0:14:00.760 like when he went back and watched it, bus suddenly 0:14:00.760 --> 0:14:02.319 transformed into a hearse and. 0:14:02.280 --> 0:14:04.240 He said, wait till they get a load of bewitched 0:14:05.679 --> 0:14:09.080 seventy something years from now. So or no, I guess 0:14:09.120 --> 0:14:11.800 what was that in the fifties, sixties, sixties. 0:14:11.440 --> 0:14:15.800 All right, So you may not recognize George Meliaise, oh 0:14:15.800 --> 0:14:19.080 I got at that time, I think so name, but 0:14:19.280 --> 0:14:21.280 you probably have heard of his work like A Trip 0:14:21.320 --> 0:14:21.840 to the Moon. 0:14:21.960 --> 0:14:23.200 Yeah, what's very. 0:14:23.040 --> 0:14:25.680 Widely cited is like one of the first actual movies. 0:14:25.720 --> 0:14:28.360 I think it was in the twenty something minute range, 0:14:28.760 --> 0:14:32.520 but it was about some explorers in the Victorian era 0:14:32.920 --> 0:14:35.000 getting in a rocket and traveling to the moon and 0:14:35.080 --> 0:14:37.720 the rocket lands and the man in the moon's eye. 0:14:38.040 --> 0:14:39.880 Everybody's seen that. I don't care who you are. If 0:14:39.920 --> 0:14:43.960 you say you haven't, you have. This was the guy 0:14:44.000 --> 0:14:46.800 who made that. And this is a very early movie. 0:14:46.800 --> 0:14:49.400 It was from nineteen oh two. But he was doing 0:14:49.480 --> 0:14:54.760 all sorts of amazing stuff. He was using extensive costuming, masks, 0:14:55.680 --> 0:14:58.280 all sorts of in camera techniques. 0:14:57.840 --> 0:14:59.320 His painting on film frames. 0:14:59.560 --> 0:15:02.160 Yeah, and this is nineteen oh two, and like I 0:15:02.200 --> 0:15:05.960 was saying, this stuff was refined, but it was the 0:15:06.000 --> 0:15:09.040 basis of special effects for the next century to come. 0:15:10.040 --> 0:15:11.120 Should we take a quick break? 0:15:11.200 --> 0:15:11.640 I think so. 0:15:11.680 --> 0:15:13.880 All right, let's take a quick break and we will 0:15:13.920 --> 0:15:18.120 talk a little bit about the Matt technique right after this. 0:15:18.440 --> 0:15:45.000 I'm actually pretty psyched about this, all right, Chuck. As 0:15:45.240 --> 0:15:47.720 I said, I'm very psyched about the Matt. 0:15:49.480 --> 0:15:53.960 Yeah. So this isn't this is a little confusing the 0:15:54.000 --> 0:15:58.120 way it's laid out here, because what Ed's talking about 0:15:58.120 --> 0:16:01.920 here with Norman Don is called original negative matte painting. 0:16:02.920 --> 0:16:06.720 If you hear of a matte painting, that is a 0:16:06.720 --> 0:16:09.840 piece of glass where you have and I'm gonna talk 0:16:09.880 --> 0:16:12.200 about the most common way you might see it employed 0:16:12.640 --> 0:16:15.280 is you take a big piece of glass and you 0:16:15.360 --> 0:16:18.480 paint like a city scape on it, like really realistic, 0:16:19.200 --> 0:16:22.560 and then you put that in a scene and shoot it. 0:16:22.920 --> 0:16:26.000 So it's instead of having someone in front of a city, 0:16:26.520 --> 0:16:29.400 and this was pre blue screen and green screen technology, 0:16:30.000 --> 0:16:33.160 you would just put Kurt Russell and Escape from New 0:16:33.200 --> 0:16:36.080 York in a field and there's a matte painting of 0:16:36.120 --> 0:16:38.560 New York City behind him and it looks great. And 0:16:38.680 --> 0:16:41.560 James Cameron painted that and Escape from New York. He 0:16:41.600 --> 0:16:42.200 was a matte painter. 0:16:42.360 --> 0:16:43.200 Oh, I didn't know that. 0:16:43.360 --> 0:16:44.480 That was like his first job. 0:16:44.760 --> 0:16:47.520 It's Nate. Like, if you, if you even if you 0:16:47.560 --> 0:16:49.480 do know what Chuck's talking about, go to the internet 0:16:49.520 --> 0:16:51.520 and just look up like great matte paintings. 0:16:51.600 --> 0:16:52.120 It's amazing. 0:16:52.360 --> 0:16:55.520 There's a lot of really wonderful ones, one you've seen before, 0:16:55.560 --> 0:16:59.040 ones you haven't. But basically, anytime you've seen a movie 0:16:59.240 --> 0:17:05.879 pre nineteen ninety three, maybe nineteen ninety where somebody walks 0:17:05.920 --> 0:17:10.040 into this enormous place or this amazingly elaborate future city 0:17:10.119 --> 0:17:12.720 or something like that, what you're actually looking at is 0:17:12.760 --> 0:17:16.639 an expertly painted painting that has been messed with in 0:17:16.800 --> 0:17:19.760 post production or using an in camera technique to make 0:17:19.800 --> 0:17:22.560 it look like it's alive or actually, you know, bustling 0:17:22.680 --> 0:17:26.000 or energetic or there. But it's really it's a painting. 0:17:26.359 --> 0:17:30.440 It's a painting that some amazing human being painted by hand. 0:17:30.560 --> 0:17:32.840 Yeah, and we should point out they still do this today. 0:17:32.920 --> 0:17:36.040 They just do it digitally and digital matte painters are 0:17:36.280 --> 0:17:39.560 super talented as well. Sure, but it's kind of neat 0:17:39.600 --> 0:17:41.879 to think about that old craft and James Cameron painting 0:17:41.880 --> 0:17:45.600 a piece of glass, yeah, and sticking that behind Kurt Russell. 0:17:45.359 --> 0:17:47.960 And I mean it was used in everything like I 0:17:48.240 --> 0:17:53.920 for my money, matt painting is the single most important 0:17:53.960 --> 0:17:56.480 and widespread special effect ever. 0:17:57.760 --> 0:18:00.600 Maybe hard to argue that, thank you. 0:18:00.119 --> 0:18:02.560 Like it was in Mary Poppins. When Mary Poppins is 0:18:02.600 --> 0:18:05.080 coming into the City of London floating, that's a matte painting. 0:18:05.280 --> 0:18:09.639 When Superman walks into the uh, where's the what's the 0:18:09.720 --> 0:18:12.840 name of the place where he's from, the Crystal Cave. 0:18:12.560 --> 0:18:15.240 Where Fortress of Solitude? 0:18:15.480 --> 0:18:18.959 Yeah, is that where he talks with with Marlon Brando 0:18:19.080 --> 0:18:22.879 his dad. Uh? Yeah, I think so, okay, that's a 0:18:22.960 --> 0:18:23.640 matte painting. 0:18:23.840 --> 0:18:26.000 And I think the Fortress of Solitude are the remnants 0:18:26.040 --> 0:18:29.000 of Krypton. Okay, I'm boy Superman. People are so mad 0:18:29.040 --> 0:18:29.600 at me right now? 0:18:30.520 --> 0:18:32.440 People still I thought everybody's on the marble train. 0:18:32.600 --> 0:18:36.200 No, people love Superman the comics. 0:18:36.480 --> 0:18:40.120 Oh okay, because I was gonna say, I mean, you've 0:18:40.119 --> 0:18:42.400 seen what they've done Superman lately, right and Batman? 0:18:42.640 --> 0:18:46.199 Yeah? So, uh, that's the matte painting and what that 0:18:46.359 --> 0:18:48.920 is it's called set extension. So that basically means you're 0:18:48.960 --> 0:18:52.160 just sort of extending the real life set to make 0:18:52.240 --> 0:18:56.879 something bigger and more opulent, or maybe not more obvious, 0:18:56.960 --> 0:19:01.040 just bigger and more right, But here's the thing relying 0:19:01.080 --> 0:19:03.480 on that mat painter and having the glass there, and 0:19:03.560 --> 0:19:07.840 glass can break and it can you know, on set 0:19:07.880 --> 0:19:11.000 with lighting can be weird. So that's all can get 0:19:11.040 --> 0:19:14.360 a little hinky. So that's why this technique called original 0:19:14.400 --> 0:19:18.040 negative matt painting was developed by Norman Don and that 0:19:18.160 --> 0:19:21.040 is when nowadays he'll use what's called the mat box, 0:19:21.080 --> 0:19:24.960 which is literally like black I don't think it's cardboard 0:19:25.000 --> 0:19:27.800 these days, but whatever they make out of a cardboard 0:19:28.600 --> 0:19:30.880 thing that you put over the lens to block out 0:19:30.920 --> 0:19:33.440 whatever you want to block out. Back in the day, 0:19:33.440 --> 0:19:36.040 they would paint cardboard and hold it in front of 0:19:36.080 --> 0:19:38.479 the lens, or they would actually paint the lens. And 0:19:38.520 --> 0:19:43.160 what you're essentially doing is painting away. It was early 0:19:43.400 --> 0:19:45.919 green screen. You're painting away what you don't want in 0:19:45.960 --> 0:19:49.399 the frame or what you want in the future, and 0:19:49.440 --> 0:19:51.639 then adding that later on. 0:19:51.960 --> 0:19:54.600 Right, And because it's black or because it's covered, there's 0:19:55.200 --> 0:19:58.560 light is not hitting that part of the film, That 0:19:58.680 --> 0:20:01.639 part of the film that act actual film strip itself 0:20:01.760 --> 0:20:06.960 that you're recording onto or filming onto that's unexposed. All 0:20:07.000 --> 0:20:10.000 that gets exposed is the part of the lens or 0:20:10.000 --> 0:20:13.160 the camera that is not covered that has say, your 0:20:13.200 --> 0:20:16.880 actor like doing the herky jerky dance, right. And then 0:20:16.880 --> 0:20:18.959 so what you do after that is you take that 0:20:19.000 --> 0:20:21.680 film that has your actor doing the herky jerky dance, 0:20:22.160 --> 0:20:24.520 project it onto a screen so you see where the 0:20:24.560 --> 0:20:28.520 actor is, and on the screen you literally paint the 0:20:28.560 --> 0:20:31.880 background that you want. Then you film the whole thing 0:20:32.240 --> 0:20:35.800 a second time, and now you have your actor in 0:20:35.880 --> 0:20:37.840 the set that you originally wanted. 0:20:38.320 --> 0:20:42.200 Right. The only difference there, which is something that wasn't 0:20:42.600 --> 0:20:44.719 quite right here, is they don't like project it. They 0:20:44.760 --> 0:20:47.760 just develop a few frames of it and project it 0:20:47.800 --> 0:20:50.439 like a slidetcha. So it's not like the camera the 0:20:50.440 --> 0:20:53.359 film is moving through on the wall, right because in 0:20:53.440 --> 0:20:55.560 the article here says and then you just stop it, 0:20:56.160 --> 0:20:59.359 and what happens if you do that is the bulb 0:20:59.440 --> 0:21:03.879 burns the Okay, So you can't just stop a prety projector. 0:21:03.560 --> 0:21:05.439 You produced like a slide of him project that. 0:21:05.600 --> 0:21:07.200 Yeah, and then you paint in the castle or the 0:21:07.560 --> 0:21:10.080 mountain or the whatever you want, and then you go 0:21:10.160 --> 0:21:13.080 back and expose it again. Yep, pretty neat. 0:21:13.320 --> 0:21:15.560 You just open your trench coat. There you go. 0:21:16.440 --> 0:21:20.879 And the big innovator with the original negative matte painting 0:21:20.960 --> 0:21:26.000 was Norman Don and he really like really led the way. 0:21:26.440 --> 0:21:30.120 But I mean again, most of the stuff that does 0:21:30.200 --> 0:21:33.320 this now is done by computers imposed. But this is 0:21:33.359 --> 0:21:35.960 like the links people were going to to make movies 0:21:36.000 --> 0:21:38.440 at the time, and you watch them today and you're like, god, 0:21:38.440 --> 0:21:41.240 it looks terrible. But if you stop and think about 0:21:41.240 --> 0:21:44.760 the effort that they were going to they were inventing, yeah, 0:21:45.119 --> 0:21:48.120 it's just mind boggling that they managed to get it, 0:21:48.400 --> 0:21:49.480 you know to this point. 0:21:49.680 --> 0:21:52.399 Yeah, Norman Don tried to patent that technique as well, 0:21:53.200 --> 0:21:56.640 but they said no, you did not invent this, You 0:21:56.840 --> 0:21:59.480 popularized it, and you can't patent something that you made 0:21:59.480 --> 0:22:00.000 super populs. 0:22:01.200 --> 0:22:03.720 There are some other stuff too. There's like rear projection 0:22:03.880 --> 0:22:07.520 in front projection, which is basically like projecting the background 0:22:07.560 --> 0:22:11.520 and moving background onto a screen behind the actors. Yeah, 0:22:11.680 --> 0:22:14.280 basically you know all those hokey driving scenes. Yeah, yeah, 0:22:14.320 --> 0:22:16.760 the person's great, the car is being rocked or whatever 0:22:16.800 --> 0:22:19.160 the road behind them, that's front of rear projection. 0:22:19.440 --> 0:22:23.080 Yeah, and people still will use that as homage, like 0:22:23.119 --> 0:22:27.320 in pulp fiction, very famously Bruce Willis or I guess not, Yeah, 0:22:27.400 --> 0:22:29.359 when Bruce Willis gets in the cab after the fight. 0:22:29.720 --> 0:22:30.120 Yeah. 0:22:30.160 --> 0:22:33.280 And if it looks old fashioned, this because QT used 0:22:33.320 --> 0:22:36.960 rear screen projection for that. And there's also a technique 0:22:36.960 --> 0:22:39.639 that's not in here that I just remembered, so I'm 0:22:39.640 --> 0:22:43.080 actually having to look up what it's called. When you're 0:22:43.080 --> 0:22:46.440 in a car scene but you're not doing a rear 0:22:46.480 --> 0:22:50.119 screen projection. So what happens here is you're sitting in 0:22:50.119 --> 0:22:51.879 a car, in a still car on the set, but 0:22:51.880 --> 0:22:54.840 they're not projecting anything behind you. What you've got is 0:22:55.920 --> 0:22:58.399 two people shaking the car at a frame. What do 0:22:58.520 --> 0:23:01.760 they grips Oh yeah, usually a grip. But I've shaken 0:23:01.800 --> 0:23:04.359 cars and trains before. It's because I'm just a body 0:23:04.359 --> 0:23:06.960 on the set, like get in there and shake that thing. 0:23:07.400 --> 0:23:08.800 In fact, one job I was on there was a 0:23:08.800 --> 0:23:12.080 faked subway train and the hydraulics broke early on and 0:23:12.119 --> 0:23:14.159 they're like, bring out the PA's you're gonna shake this 0:23:14.160 --> 0:23:15.560 train for twelve hours. 0:23:15.520 --> 0:23:17.360 Like you got rhythm, get in there. 0:23:17.640 --> 0:23:19.560 Yeah. Oh, we couldn't have too much rhythm because we 0:23:19.600 --> 0:23:23.360 got yelled at for that because it looked too rhythmic. 0:23:23.480 --> 0:23:23.880 Gotcha. 0:23:24.240 --> 0:23:25.800 So we're like, I don't know what, I don't know 0:23:25.800 --> 0:23:26.359 how to do this. 0:23:26.560 --> 0:23:27.800 Who are you working for? 0:23:28.000 --> 0:23:30.719 Oh? It was just a commercial director that said that 0:23:30.760 --> 0:23:34.119 our movement of the train looked to rhythmic and not believable. 0:23:34.720 --> 0:23:38.320 So anyway, this fruit of the Looms commercial is totally unbelievable. 0:23:38.920 --> 0:23:41.199 You sit in the car, you're acting like you're driving. 0:23:41.480 --> 0:23:44.639 There's someone else shaking the car. There might be someone 0:23:44.640 --> 0:23:49.640 else off camera, like flashing a light through the car 0:23:49.880 --> 0:23:52.199 like you're going by a street light, or a headlight 0:23:52.280 --> 0:23:54.840 goes across their face, and there may be fake rain 0:23:54.920 --> 0:23:57.600 in the background. And this is sometimes like six seven, 0:23:57.680 --> 0:24:00.639 eight people working in concert to make it look like 0:24:00.680 --> 0:24:02.480 you're driving at night in the rain or something like that. 0:24:02.520 --> 0:24:05.520 Right, so there's like an obvious background trees or rode 0:24:05.560 --> 0:24:07.920 or whatever, but maybe there's headlights coming up behind you. 0:24:08.040 --> 0:24:11.480 Is dark, yeah, but there are people with a spotlight. Yeah, 0:24:11.520 --> 0:24:14.399 it's really really cool, old fashioned, but people still use 0:24:14.440 --> 0:24:17.199 that stuff. Yeah, And I wish I could remember the 0:24:17.200 --> 0:24:19.400 full name of that technique. 0:24:19.240 --> 0:24:22.840 The shaken shimmy. 0:24:23.720 --> 0:24:25.359 I'm gonna be so mad later on. 0:24:25.840 --> 0:24:27.200 What was this called the shake and shimmy? 0:24:27.280 --> 0:24:28.160 Okay, that's right. 0:24:29.400 --> 0:24:32.320 So you talked about green screen, and that's actually super 0:24:32.400 --> 0:24:37.600 old too. There's a really convoluted explanation about how originally 0:24:37.720 --> 0:24:43.840 green screen employed sodium vapor lights, yeah, which would actually 0:24:43.960 --> 0:24:50.359 mess with the yellow exposure on panchromatic film, and my 0:24:50.560 --> 0:24:53.199 brain I started bleeding out of my ear. I cannot 0:24:53.200 --> 0:24:55.520 tell you how many times I read descriptions about this 0:24:55.600 --> 0:24:59.200 and I can't quite get it. So suffice to say 0:24:59.280 --> 0:25:03.119 that that was one technique for green screen. What really 0:25:03.280 --> 0:25:06.320 kind of changed the industry is when they figured out 0:25:06.359 --> 0:25:11.480 that again, if you if you film in black, the 0:25:13.720 --> 0:25:16.359 film is not going to be exposed. So anything you 0:25:16.400 --> 0:25:20.000 go and re expose it to it will cover over 0:25:20.040 --> 0:25:23.080 that stuff so like it's transparent. So for example, in 0:25:23.160 --> 0:25:26.560 The Invisible Man from I think nineteen thirty thirteen thirty three, 0:25:26.640 --> 0:25:30.959 Ye Claude Rains wore a black bodysuit and the background 0:25:31.440 --> 0:25:34.200 was black. It was a black screen, like a black 0:25:34.200 --> 0:25:38.960 green screen. But he wore clothes and everything in bandages 0:25:39.000 --> 0:25:41.439 and sunglasses and I think he smoked a cigarette or whatever. 0:25:41.840 --> 0:25:44.400 But when he took the bandages off and he took 0:25:44.440 --> 0:25:47.639 his sunglasses and closed off, there was nothing there. It 0:25:47.680 --> 0:25:51.080 was a black bodysuit and a black background. So when 0:25:51.119 --> 0:25:55.800 they filmed the background later on, all you could see 0:25:55.840 --> 0:25:58.439 was the background in the clothes and the bandages, it 0:25:58.480 --> 0:26:00.960 looked like there was nothing there because as far as 0:26:01.000 --> 0:26:03.440 the film was concerned, when they were filming it, there 0:26:03.520 --> 0:26:06.200 wasn't anything there. So the film wasn't exposed in those 0:26:06.200 --> 0:26:07.359 sections on each frame. 0:26:07.560 --> 0:26:10.280 That's right, And that's called the Williams process. And a 0:26:10.359 --> 0:26:12.920 key part of the Williams process is the optical printer, 0:26:13.440 --> 0:26:15.960 and that is a projector that actually prints an image 0:26:15.960 --> 0:26:19.040 directly onto the film that runs through the camera while 0:26:19.040 --> 0:26:20.600 that printer and camera are synced up. 0:26:20.800 --> 0:26:23.399 Yes, so this is to me The optical printer is 0:26:23.440 --> 0:26:29.440 the second most widespread and useful special effect technique in 0:26:29.480 --> 0:26:30.320 the history of film. 0:26:30.920 --> 0:26:32.720 You just waved your hand. 0:26:33.240 --> 0:26:35.240 They suddenly had an ass gotten a arre on. 0:26:36.200 --> 0:26:38.560 Yeah, hard to argue that too. But all this stuff 0:26:38.640 --> 0:26:41.000 was just precursor to what was blue screen early on 0:26:41.840 --> 0:26:44.800 Chroma key blue and then later became Chroma Key green. 0:26:45.520 --> 0:26:48.240 I'm not sure why they made the switch actually, other 0:26:48.320 --> 0:26:51.560 than maybe the green less prevalent or less use I 0:26:51.560 --> 0:26:54.719 think so. Probably maybe the blue was because you know what, 0:26:54.800 --> 0:26:59.080 you don't want anything close to that color will disappear 0:26:59.280 --> 0:27:00.360 against the green. 0:27:00.600 --> 0:27:03.280 Anyone who's ever done the weather on the newscast I 0:27:03.320 --> 0:27:03.920 can tell you. 0:27:03.840 --> 0:27:06.159 That, Yeah, there have been. There are blooper reels of 0:27:06.200 --> 0:27:08.920 weather people disappearing when they wear like a green jacket 0:27:09.040 --> 0:27:09.359 or something. 0:27:09.440 --> 0:27:12.080 Right, it looks like the weather's going on through their body. 0:27:12.640 --> 0:27:15.240 Same thing. So I want to say one more thing 0:27:15.240 --> 0:27:18.520 about optical printers, or another little bit about it. Sure, So, 0:27:18.800 --> 0:27:21.760 what you have is a projector projecting a film on 0:27:22.440 --> 0:27:26.800 to a screen, and you have a camera recording what's 0:27:26.840 --> 0:27:29.879 being projected. Right, that's right, that's the optical printer. And 0:27:29.920 --> 0:27:31.840 you could do all sorts of stuff with that. So 0:27:31.920 --> 0:27:34.400 let's say you have a shot where you have one 0:27:34.480 --> 0:27:38.080 mat in the foreground and live actor and then another 0:27:38.119 --> 0:27:41.399 mat in the background that has a bunch of different people. 0:27:41.160 --> 0:27:43.520 In it or something like that, or stormtroopers three. 0:27:43.560 --> 0:27:46.560 Okay, so you got three different elements to that shot. 0:27:46.680 --> 0:27:49.879 What you would do is using the same film film 0:27:50.080 --> 0:27:53.960 each thing. So you go film that, like the actor, 0:27:54.000 --> 0:27:56.280 the live action actor, You've got that on the film, 0:27:56.480 --> 0:28:00.000 and you project that, and you take film where you're 0:28:00.080 --> 0:28:03.560 filming the mat and you project that and film that. 0:28:04.720 --> 0:28:07.280 I just totally have screwed this up. Oh my god, 0:28:07.320 --> 0:28:11.520 this is just like Ohn, No, it's worse than that. 0:28:12.560 --> 0:28:17.840 Was it false false positives? Do you remember that time 0:28:17.880 --> 0:28:19.720 where I was like I took a pretty simple thing 0:28:19.760 --> 0:28:24.040 and just completely walk the dog with it. Yeah, okay, 0:28:24.119 --> 0:28:26.399 well I'll just do that again. Everyone. I want you 0:28:26.480 --> 0:28:28.479 to go look up optical printers, read a little bit 0:28:28.480 --> 0:28:30.840 about them, and then you'll say, oh, Josh is right. 0:28:31.320 --> 0:28:33.159 Yeah, this tough stuff. 0:28:34.119 --> 0:28:37.200 It is essentially you're filming a projection and you can 0:28:37.240 --> 0:28:40.120 do that multiple times with the same film, and it 0:28:40.200 --> 0:28:43.160 adds up to where you have the shot you wanted 0:28:43.200 --> 0:28:45.080 where it makes it look like all these things that 0:28:45.160 --> 0:28:48.720 you filmed three separate times are all happening together in 0:28:48.800 --> 0:28:49.560 one space. 0:28:49.760 --> 0:28:53.000 Yes, you are marrying separate images together onto a single 0:28:53.000 --> 0:28:53.840 piece of film, right. 0:28:53.960 --> 0:28:56.880 You couldn't do that with before optical printers, which is 0:28:56.920 --> 0:28:59.680 a projector in a camera working together. 0:29:00.480 --> 0:29:04.840 That's right, Okay, I think I needed that we should 0:29:04.920 --> 0:29:09.320 mention briefly motion controlled cameras. This is a system that 0:29:09.440 --> 0:29:14.360 allows it's basically taking the person out of the equation. 0:29:14.960 --> 0:29:16.760 There is not a person pushing a dolly. There is 0:29:16.800 --> 0:29:19.320 not a person moving the camera. It is a machine 0:29:19.320 --> 0:29:24.280 that is programmed to move a camera through space very 0:29:24.400 --> 0:29:27.200 very precisely and exactly the same every single time. 0:29:27.320 --> 0:29:29.640 Yeah, So you can do the exact same motion over 0:29:29.680 --> 0:29:30.120 and over. 0:29:29.960 --> 0:29:32.000 Again, over and over, and a lot of times if 0:29:32.000 --> 0:29:34.200 you're on a TV commercial, as boring as that is, 0:29:34.280 --> 0:29:37.040 you will see stuff like this, for like a food shoot, 0:29:38.040 --> 0:29:41.720 because food shoots are notoriously tricky because everything's super close 0:29:41.800 --> 0:29:44.320 up and has to be perfect, and you can't be 0:29:44.400 --> 0:29:45.800 off a little bit with a camera because a lot 0:29:45.840 --> 0:29:48.360 of times you'll sub in stuff later and post. And 0:29:48.400 --> 0:29:52.560 that's the whole reason for motion control is to replicate 0:29:53.760 --> 0:29:55.280 moves with exact precision. 0:29:55.640 --> 0:29:59.400 So I was reading about industrial light and magic using 0:29:59.440 --> 0:30:02.360 this to really great effect with the first Star Wars, 0:30:02.680 --> 0:30:05.800 which is episode four, right, the New Hope. That's the 0:30:05.840 --> 0:30:08.200 first one, right right. 0:30:08.520 --> 0:30:10.719 I'm not confirming or denying anything. I'm just gonna let 0:30:10.720 --> 0:30:11.000 that stand. 0:30:11.160 --> 0:30:14.040 Episode four is the first Star Wars movie that ever 0:30:14.080 --> 0:30:14.880 came out. 0:30:15.160 --> 0:30:19.040 Correct, The Star Wars A New Hope is the first 0:30:19.040 --> 0:30:21.520 episode okay, that I ever saw in a movie theater, 0:30:21.840 --> 0:30:22.440 because it's the. 0:30:22.440 --> 0:30:24.480 First one that ever came out. Anyway, when they were 0:30:24.480 --> 0:30:28.640 making this, you know, is it a Star Destroyer, the 0:30:28.680 --> 0:30:31.880 big the big daddy ships. Okay, oh man, we're gonna 0:30:31.880 --> 0:30:36.560 get murdered. Everything. All of the ships and Star Wars 0:30:36.600 --> 0:30:39.560 were models, yes, fairly small models. Actually they were at 0:30:39.920 --> 0:30:42.640 the base, Okay, I think it was episode four, I'm 0:30:42.640 --> 0:30:46.480 almost positive. Okay, So those models were not moving in 0:30:46.560 --> 0:30:50.400 these shots and these enormous, like huge panoramic shots where 0:30:50.680 --> 0:30:55.000 like there's tie fighters flying around shooting everything and X 0:30:55.000 --> 0:30:58.120 wing fighters shooting the tie fighters. None of those models 0:30:58.160 --> 0:31:01.400 were moving. What happened was they figured out how to 0:31:01.480 --> 0:31:05.560 use motion controlled cameras so that the camera would go 0:31:05.640 --> 0:31:09.479 through the shot and around the model and make it 0:31:09.560 --> 0:31:12.080 look like the model was moving, and plus it was 0:31:12.160 --> 0:31:16.000 moving the shot through space right right. The thing is is, 0:31:16.080 --> 0:31:19.800 let's say you have five different ships. You film those 0:31:19.840 --> 0:31:23.120 five ships separately, but those five ships are all going 0:31:23.160 --> 0:31:25.920 to be in the same shot, So you have to 0:31:26.000 --> 0:31:29.640 film that same shot the exact same way five different 0:31:29.680 --> 0:31:32.560 times and then run it through an optical printer so 0:31:32.600 --> 0:31:35.120 that you can get all of them, all five shots 0:31:35.160 --> 0:31:38.840 onto the same strip of film. But that's one of 0:31:38.840 --> 0:31:43.200 the ways that motion controlled cameras were really put to 0:31:43.200 --> 0:31:47.080 good use, and it was extremely groundbreaking because not one 0:31:47.120 --> 0:31:49.840 of those ships were moving in reality when they were 0:31:49.840 --> 0:31:50.840 filming Star Wars. 0:31:51.200 --> 0:31:55.320 Can you name five Star warships tie Fighter, X, wing Fighter. 0:31:56.680 --> 0:31:58.880 You already said one, the tie Fighter, two. 0:32:00.840 --> 0:32:03.200 The deuce is what the people in the no call 0:32:03.240 --> 0:32:05.480 it s the Uh. 0:32:06.320 --> 0:32:07.520 You already said star destroyer. 0:32:08.120 --> 0:32:09.280 So star destroyer was right. 0:32:09.360 --> 0:32:10.480 Yeah, there's a star Destroyer. 0:32:10.640 --> 0:32:13.120 Okay, you made a face like I was just totally off. 0:32:14.360 --> 0:32:17.120 You can make the case that Indoor was a ship 0:32:17.160 --> 0:32:21.680 even though it was a planet. Uh. There was the 0:32:21.320 --> 0:32:30.240 the forest Speeder, uh huh, the the pod Racer yeah, and. 0:32:31.880 --> 0:32:38.440 Doctors as that's right, he's the final ship. Yeah. Uh. 0:32:38.960 --> 0:32:41.959 Do you know many people. Boy, their calf muscles just 0:32:42.080 --> 0:32:43.760 popped right out of the back to their legs. 0:32:43.800 --> 0:32:46.200 Olly Fry is like hyperventilating somewhere in the office, and 0:32:46.280 --> 0:32:50.400 she doesn't know why. So, as I said earlier, it's 0:32:50.480 --> 0:32:54.720 it's usually a combination of these different techniques to create 0:32:54.760 --> 0:32:59.320 one overall special effect using these different crafts. And a 0:32:59.360 --> 0:33:03.800 great example Jurassic Park in the in the scene with 0:33:03.840 --> 0:33:07.320 the veloscer raptors in the kitchen, a great, great sequence 0:33:07.720 --> 0:33:10.760 when it was playing cat and mouse with those children. Yeah, 0:33:10.840 --> 0:33:15.080 there were puppets, there were actors in costumes, there were 0:33:15.160 --> 0:33:20.239 animatronic raptor heads, and there were full cgi raptors, and 0:33:20.280 --> 0:33:23.080 you throw this all in a hat, mix it all 0:33:23.160 --> 0:33:25.080 up and it comes out to be like a really 0:33:25.120 --> 0:33:26.400 believable looking scene. 0:33:26.480 --> 0:33:28.160 Yeah, it comes out as an oscar. 0:33:30.520 --> 0:33:32.640 Yeah, I'm sure they won Oscars, right. 0:33:33.520 --> 0:33:36.040 They had two of I don't know, but there's just 0:33:36.160 --> 0:33:36.719 no way. 0:33:36.960 --> 0:33:41.920 It was groundbreaking. I remember being just gobsmacked in the 0:33:41.960 --> 0:33:44.800 movie theater. Yeah, when I first saw those dinosaurs walking 0:33:44.840 --> 0:33:45.800 across the screen. 0:33:45.600 --> 0:33:47.440 And that was nineteen ninety three, I believe, for the 0:33:47.480 --> 0:33:51.240 first Jurassic Park, right, Jurassic Park A New Hope, the 0:33:51.280 --> 0:33:55.560 first one that came out. So, but that was five 0:33:55.640 --> 0:33:58.920 years after the first OSCAR had been awarded for special effects. 0:33:58.960 --> 0:34:02.000 As far as I know, really, I believe that The 0:34:02.080 --> 0:34:05.480 Abyss was the first one to win an OSCAR for 0:34:05.520 --> 0:34:09.279 special effects. Maybe or they're no, No, I'm sorry, I'm 0:34:09.320 --> 0:34:13.720 way off, way off. The Abyss was the first movie 0:34:13.760 --> 0:34:16.600 to win a special effect for a CGI effect. 0:34:16.800 --> 0:34:20.279 Okay, remember the water Sure still looks pretty good. 0:34:20.600 --> 0:34:23.560 It looks amazing. Yeah, this is nineteen eighty seven we're 0:34:23.560 --> 0:34:24.200 talking about. 0:34:24.239 --> 0:34:25.359 Wow was that when that came out? 0:34:25.480 --> 0:34:27.440 Yeah? I was surprised to see that too, because that 0:34:27.480 --> 0:34:29.600 holds up. I thought it was. Yeah, it's a good movie. 0:34:29.760 --> 0:34:31.200 Yeah, I really like that movie. 0:34:31.280 --> 0:34:35.040 How do you not like Ed Harris? If you don't 0:34:35.080 --> 0:34:36.840 like what? Did you not like it? Hair? No? 0:34:36.960 --> 0:34:38.640 I like him as an actor. I think a lot 0:34:38.640 --> 0:34:41.040 of people might have problems with Ed Harris as a person. 0:34:41.040 --> 0:34:42.879 He's notoriously cantankerous. 0:34:43.640 --> 0:34:45.799 I've never heard that, I believe it. 0:34:45.920 --> 0:34:49.279 Sure he looks like he could yell somebody down, doesn't he? 0:34:49.360 --> 0:34:52.520 Sure, but he also keeps a cool head when he's 0:34:52.520 --> 0:34:55.560 an actor as a seventies or sixties NASA guy. 0:34:55.719 --> 0:34:59.040 Hey, I love Ed Harris. All right, let's take another break, okay, 0:34:59.200 --> 0:35:01.919 and we're going to come back and talk a little 0:35:01.960 --> 0:35:31.719 bit about Star Wars episode whatever right after this. Okay, 0:35:31.880 --> 0:35:34.719 we're back, and we should talk. We should mention the garbage, Matt, 0:35:34.760 --> 0:35:38.560 real quick, because that is a big deal. A lot 0:35:38.560 --> 0:35:42.640 of times you have wire work or you have you 0:35:42.760 --> 0:35:46.040 have things hanging from wires. It doesn't have to be 0:35:46.080 --> 0:35:48.960 a person. It can be like a model plane or 0:35:49.000 --> 0:35:51.560 a tie fighter or whatever. You got to get rid 0:35:51.600 --> 0:35:54.520 of those wires unless you're ed would you can't have 0:35:54.560 --> 0:35:55.160 fish in line. 0:35:55.719 --> 0:35:58.359 No, you're supposed to not, but yes, Or if. 0:35:58.280 --> 0:36:00.520 You're Charlie's thrown and mad Max Ferry, you got to 0:36:00.520 --> 0:36:03.560 get rid of that arm. Or if you're in Forrest Gump, 0:36:03.600 --> 0:36:06.600 you got to get rid of Lieutenant Dan's legs. Man. 0:36:06.680 --> 0:36:09.520 That was amazing. That was the first time anybody's ever 0:36:09.560 --> 0:36:11.560 done really something like that throughout. 0:36:12.239 --> 0:36:15.280 Yeah. I have my problems with that movie for sure, 0:36:15.400 --> 0:36:18.200 and one of them is I think he way over it. 0:36:18.280 --> 0:36:20.000 He was like a Kidney candy store and way over 0:36:20.080 --> 0:36:22.799 did the like. And now Forrest is in the White 0:36:22.840 --> 0:36:26.120 House and using archival footage and sticking Forest in it. 0:36:26.480 --> 0:36:29.439 Yeah, that whole half hour dialogue he has with Peter 0:36:29.560 --> 0:36:36.160 Cushing's ghost. It was uncanny, but. 0:36:36.719 --> 0:36:38.720 I get it. I get why these filmmakers get excited, 0:36:38.719 --> 0:36:41.720 these really technical wizards. Well, you get a new technique 0:36:41.719 --> 0:36:42.640 and they just hammer it. 0:36:42.800 --> 0:36:45.200 The guy from Industrial LIGHTE and Magic when they made 0:36:45.680 --> 0:36:49.759 the first Star Wars call it what you will. His 0:36:49.880 --> 0:36:53.759 name was I think John Dykstra, and this motion controlled 0:36:53.960 --> 0:36:58.200 camera assembly that they created was called distra flex. It 0:36:58.320 --> 0:37:01.480 was super groundbreaking and they really did amazing stuff with it. Well, 0:37:01.520 --> 0:37:04.360 he's like a legend in this industry now, and I 0:37:04.400 --> 0:37:06.480 saw an interview with him recently and he was like, 0:37:06.600 --> 0:37:11.200 I'm so tired of seeing just whole cities leveled and 0:37:11.239 --> 0:37:14.239 like just the most amazing stuff you can possibly think 0:37:14.280 --> 0:37:18.759 of being done just because we can do it. He 0:37:19.200 --> 0:37:22.239 put it really really well. I think it's an embarrassment 0:37:22.239 --> 0:37:22.760 of riches. 0:37:22.960 --> 0:37:24.799 Yeah, you know, total like it. 0:37:24.760 --> 0:37:27.439 Can be done, So it's being done, everybody's doing it. 0:37:27.440 --> 0:37:31.640 It's just you know, like and it makes it less amazing, 0:37:32.400 --> 0:37:34.600 not necessarily because it looks bad. It just keeps looking 0:37:34.640 --> 0:37:37.080 better and better every time. Like if you if you 0:37:37.080 --> 0:37:41.919 look at Charlie Stern's prosthetic arm or missing arm. Yeah, 0:37:42.080 --> 0:37:46.040 compared with Lieutenant Dan's missing legs looks radically different. It does. 0:37:46.120 --> 0:37:49.040 So it's getting better. There's just too much of it, 0:37:49.080 --> 0:37:52.200 I think is the point just to be all ed 0:37:52.280 --> 0:37:53.560 heresy on this now. 0:37:53.600 --> 0:37:56.759 I have long predicted a return to practical effects, really, 0:37:56.840 --> 0:37:58.640 and it's starting to happen a little bit more and more. 0:37:58.760 --> 0:38:01.839 Yeah, I could see starting with indie filmmakers, Yeah, for sure, 0:38:01.880 --> 0:38:08.160 which is funny because finally computer generated effects have trickled 0:38:08.200 --> 0:38:10.680 down enough. Yeah, like you or I could just walk 0:38:10.719 --> 0:38:13.120 out of the studio and probably get on any one 0:38:13.120 --> 0:38:16.279 of those backs out there and use stuff that ten 0:38:16.360 --> 0:38:19.840 fifteen years ago when we lost five hundred thousand dollars 0:38:19.880 --> 0:38:21.120 to set up a rig like that. 0:38:21.400 --> 0:38:24.000 Yeah. And that's how some young filmmakers have gotten noticed 0:38:24.080 --> 0:38:27.840 is by making these short films with like zero money 0:38:27.960 --> 0:38:30.759 on their computer that get a lot of action on 0:38:30.800 --> 0:38:33.680 YouTube because it looks so amazing, and the studio will 0:38:33.719 --> 0:38:36.399 be like, sign that person up. Yeah, I can't remember 0:38:36.400 --> 0:38:38.680 the guy's name, but that's happened a couple of times 0:38:38.680 --> 0:38:43.920 in recent years. Ed Harris, we should talk about a 0:38:43.960 --> 0:38:47.360 few of the groundbreaking people over the years. Oh, yes, 0:38:48.680 --> 0:38:50.279 we'll go through these a little quicker than what we 0:38:50.360 --> 0:38:52.600 have in front of us, I think, But we should 0:38:52.600 --> 0:38:57.920 mention Lon Cheney. Sure, one of the original superstars of 0:38:58.000 --> 0:39:01.960 film in the Silent era, the man with faces. He was. 0:39:02.640 --> 0:39:05.280 He was very talented doing his own makeup and changing 0:39:05.280 --> 0:39:07.600 his face. That's why he's called the Man of a 0:39:07.640 --> 0:39:08.719 thousand Faces. 0:39:09.200 --> 0:39:12.520 Right, He's like, here's nine hundred and ninety seven. 0:39:12.920 --> 0:39:14.120 What about Willis O'Brien. 0:39:14.560 --> 0:39:18.200 He was one of the pioneers of stop motion photography. Again, 0:39:18.239 --> 0:39:21.200 if you're a California Racins fan, you have a lot 0:39:21.239 --> 0:39:25.640 to thank Willis O'Brien for. He also this, dude, the 0:39:25.680 --> 0:39:27.640 stuff he did. I mean, if you look back, he 0:39:27.680 --> 0:39:30.240 did King Kong, the nineteen thirty three King Kong. Yeah, 0:39:30.280 --> 0:39:33.399 and if you look back at this, you're like, this 0:39:33.480 --> 0:39:37.239 is this is cool. But if you research what was 0:39:37.320 --> 0:39:40.319 done to create this, you're just blown away by it. 0:39:40.480 --> 0:39:45.600 Yeah. Again, many processes coming together to create that nineteen 0:39:45.640 --> 0:39:48.480 thirty three version of King Kong. And that fight looks 0:39:48.520 --> 0:39:51.640 good still. I mean, it doesn't look realistic, but consider 0:39:51.719 --> 0:39:52.680 the year it looks awesome. 0:39:52.760 --> 0:39:54.759 It does, and it's about three three and a half 0:39:54.800 --> 0:39:59.239 minutes long. King Kong fighting the Tyrannosaurs recks. But it 0:39:59.280 --> 0:40:02.359 took seven weeks the film. Yeah, because there's twenty four 0:40:02.400 --> 0:40:06.399 frames shot per second in a film, that's right, and 0:40:06.960 --> 0:40:11.680 for every frame they moved the models a little bit 0:40:11.760 --> 0:40:15.360 here or there. Yeah, so that's why it took seven 0:40:15.360 --> 0:40:17.080 weeks just for that fight scene. I think it was 0:40:17.160 --> 0:40:20.600 fifty five weeks for all of the stop motion photography 0:40:20.719 --> 0:40:21.880 that was done in that movie. 0:40:22.320 --> 0:40:23.760 Yeah, that's impressive. 0:40:23.880 --> 0:40:26.360 It really is impressive, especially when you realize the trouble 0:40:26.400 --> 0:40:27.880 they went to when you go back and watch it, 0:40:28.000 --> 0:40:29.240 like this is pretty nuts. 0:40:29.400 --> 0:40:33.759 Yeah. Ray Harryhausen continued the work of Willis O'Brien and 0:40:33.920 --> 0:40:36.240 very famously in like the fifties and sixties with movies 0:40:36.239 --> 0:40:38.080 like Jason and the Argonauts. 0:40:37.560 --> 0:40:40.320 And Clash of the Titans. Yeah, I remember Medusa, Sure, 0:40:40.640 --> 0:40:41.520 Scary Lady. 0:40:41.640 --> 0:40:43.319 Yeah, that had to be toward the end of his career, 0:40:43.320 --> 0:40:44.560 I guess because that was in the eighties. 0:40:44.680 --> 0:40:47.839 Yeah, I think like eighty one maybe remember The Minute 0:40:47.880 --> 0:40:48.640 Tar two Man. 0:40:48.760 --> 0:40:51.279 That was cool movie. That was a big movie for 0:40:51.320 --> 0:40:51.919 me as a kid. 0:40:52.120 --> 0:40:54.799 Yeah, and I was like when La Law came along, 0:40:54.840 --> 0:40:57.560 I was like, I know that guy. That's right, there's 0:40:57.600 --> 0:40:59.040 the Titans guy. 0:41:00.400 --> 0:41:03.640 We should shout out Millicent Patrick. This is a very 0:41:03.640 --> 0:41:07.600 interesting story. She was one of the only, well first 0:41:07.600 --> 0:41:10.319 and only women working in special effects back in the day. 0:41:10.840 --> 0:41:14.080 And she created the very famous mask of the gill 0:41:14.200 --> 0:41:17.080 Man from Creature from the Black Lagoon in the mid 0:41:17.160 --> 0:41:22.000 nineteen fifties and was unceremoniously fired. 0:41:21.920 --> 0:41:24.280 Not just fired, stricken from the credits. 0:41:24.480 --> 0:41:27.719 Yeah, this guy named Bud Wesmore he assisted her and 0:41:27.760 --> 0:41:30.880 then basically had her fired rather than give her the 0:41:30.920 --> 0:41:33.400 credit for the mask, which he would take credit for. 0:41:33.360 --> 0:41:35.560 Because I think he was the supervisor in charge of 0:41:35.560 --> 0:41:37.240 effects or costume or something. 0:41:37.320 --> 0:41:39.680 Oh thought, I guess he assisted her, but he was 0:41:39.719 --> 0:41:40.200 her boss. 0:41:40.480 --> 0:41:43.879 Yeah, okay, but like she very clearly on her own 0:41:43.960 --> 0:41:46.480 came up with the gil Man for yeah, the creature 0:41:46.480 --> 0:41:46.680 from the. 0:41:46.840 --> 0:41:49.320 And this has only come out in the last few years. 0:41:49.480 --> 0:41:53.560 They've kind of dug up the original stuff. And yeah, 0:41:53.600 --> 0:41:57.840 sexism just basically pushed her out of the industry altogether. Yeah, 0:41:57.960 --> 0:41:58.440 very sad. 0:41:58.640 --> 0:42:00.799 She's starting to get her due now though, which is good. 0:42:00.960 --> 0:42:01.879 Yeah, that is very good. 0:42:02.960 --> 0:42:08.360 There's Dick Smith was amazing. He created the squib Oh really, Yeah, 0:42:08.400 --> 0:42:10.880 he's a he's a very famous makeup artist. He's really 0:42:10.920 --> 0:42:12.560 good at making people look aged. 0:42:13.239 --> 0:42:16.719 Yeah. He made forty seven year old Marlon Brando look 0:42:17.160 --> 0:42:20.920 much over five than the Godfather. Oh yeah, yeah he 0:42:20.920 --> 0:42:23.000 was only he was a year younger than me. Brando. 0:42:23.520 --> 0:42:24.360 I never thought about it. 0:42:24.480 --> 0:42:24.879 That nuts. 0:42:24.880 --> 0:42:27.440 Wow, he really is good. He also did Death Becoms Her, 0:42:27.480 --> 0:42:29.360 which is one of the all time great movies. 0:42:29.440 --> 0:42:32.319 Yeah, yeah for sure. And The Exorcist yep, and. 0:42:32.360 --> 0:42:35.840 Scanners and have you ever seen Ghost Story from nineteen 0:42:35.840 --> 0:42:38.719 eighty one? Oh yeah, yeah, very scary movie. The old 0:42:38.760 --> 0:42:40.359 dudes he did, he did that. 0:42:41.360 --> 0:42:44.439 What else? Very famously aged Dustin Hoffman a little big 0:42:44.480 --> 0:42:46.400 man by many many years. 0:42:46.600 --> 0:42:46.920 Sure. 0:42:47.440 --> 0:42:52.520 And then in the last like twenty five thirty years, 0:42:53.640 --> 0:42:55.640 Rick Baker and stan Winston. 0:42:55.760 --> 0:42:58.200 Stan Winston's He's got my vote. 0:42:58.280 --> 0:43:02.920 Yeah, I mean these two guys were both just creative 0:43:03.000 --> 0:43:07.520 leaders in the industry and trailblazers in the industry, and 0:43:08.000 --> 0:43:11.359 as Ed says in here, like mentored a generation of 0:43:11.600 --> 0:43:16.040 special effects employees, employees, creators, artists. 0:43:16.320 --> 0:43:20.200 Sure, all three of those Lord gig workers. 0:43:20.520 --> 0:43:23.600 Rick Baker American Werewolf in London in nineteen eighty one, 0:43:23.600 --> 0:43:27.000 which still holds up. The thriller video in nineteen eighty 0:43:27.000 --> 0:43:30.600 three Star Wars, Moss Isley Cantina. He made all those. 0:43:30.920 --> 0:43:33.919 Yeah, did you know that about the Moss Eisley Cantina. Sure, 0:43:34.120 --> 0:43:37.759 I didn't know that. He was almost single handily respondib Yeah, 0:43:37.800 --> 0:43:38.319 for all of them. 0:43:38.400 --> 0:43:40.560 And then stan Winston, you got to talk about movies 0:43:40.600 --> 0:43:43.719 like The Thing and Predator and Terminator and they both 0:43:43.719 --> 0:43:46.120 have set up you know, foundations and schools and things 0:43:46.160 --> 0:43:46.440 like that. 0:43:46.760 --> 0:43:51.279 Stan Winston also did the makeup for what I think 0:43:51.360 --> 0:43:54.399 is maybe the best slash film of all time, Friday 0:43:54.440 --> 0:43:55.439 the Thirteenth Part two. 0:43:56.440 --> 0:43:59.000 Yeah, two is when Jason comes along, right. 0:43:59.000 --> 0:44:02.040 Yes, it's before he got his mask. He gets his 0:44:02.120 --> 0:44:04.840 mask in three. I think the Fria thirteenth franchise is 0:44:04.840 --> 0:44:06.400 as good as it gets for horror movies. 0:44:06.640 --> 0:44:08.520 I dropped off at a certain point. Did you see 0:44:08.520 --> 0:44:09.040 all those? 0:44:09.280 --> 0:44:11.120 No? No, I still haven't seen all of them, but 0:44:11.280 --> 0:44:15.440 even just putting like the first five or six up, Yeah, 0:44:15.520 --> 0:44:18.040 I think it's like watching him again as an adult. 0:44:18.120 --> 0:44:19.560 I'm like, these are really good. 0:44:19.680 --> 0:44:19.879 Yeah. 0:44:20.000 --> 0:44:22.400 Splisher films like even better than I remember for me 0:44:22.440 --> 0:44:26.399 and a kid. Yeah, And the reason stan Winston filled 0:44:26.440 --> 0:44:28.960 in for Friday the Thirteenth Part two is because the 0:44:28.960 --> 0:44:31.719 guy who did Friday thirteenth, the first one. Tom Savini 0:44:32.080 --> 0:44:35.000 was unavailable. He was off doing Creep Show, I believe. 0:44:35.320 --> 0:44:37.120 But Tom Savini's another legend. 0:44:37.280 --> 0:44:40.799 I think they're redoing Creep Show, are they? Okay? I'd 0:44:40.800 --> 0:44:44.319 watched that different stories? Oh even better, I think, if 0:44:44.320 --> 0:44:45.040 I'm not mistaken. 0:44:45.239 --> 0:44:45.479 Nice. 0:44:45.480 --> 0:44:48.319 But yeah, Savini is well known for being sort of 0:44:48.360 --> 0:44:50.120 the godfather of Gore. 0:44:50.320 --> 0:44:52.920 Yeah, he did Maniac Did you ever see that? Yeah, 0:44:53.080 --> 0:44:56.200 that was off the Rocker movie. 0:44:56.840 --> 0:45:01.440 And then these days there are companies I and Wetta, 0:45:01.920 --> 0:45:05.840 ILM Industrial Light and Magic is Lucas's company, and they're 0:45:05.840 --> 0:45:11.680 cool because they invented this stuff because Lucas needed stuff 0:45:11.719 --> 0:45:13.640 to be done that couldn't be done right, and he 0:45:13.760 --> 0:45:15.279 was like, go figure out how to do it. 0:45:15.760 --> 0:45:17.040 And they did, they really did. 0:45:17.480 --> 0:45:20.480 And then WETA is Peter Jackson's company. Oh okay, and 0:45:20.560 --> 0:45:23.359 he's the one that has really pioneered the mo cap, 0:45:23.400 --> 0:45:25.200 the motion capture techniques. 0:45:25.640 --> 0:45:28.400 Where a person's wearing like a suit and the suit 0:45:28.440 --> 0:45:30.960 has a bunch of different kind of like almost ping 0:45:31.040 --> 0:45:34.040 pong balls all over it. Yeah, at like joints and 0:45:34.160 --> 0:45:38.200 crucial places where the body moves and the actor stunt 0:45:38.200 --> 0:45:41.319 person or dance or whoever wearing the suit goes through 0:45:41.360 --> 0:45:42.719 the motions and. 0:45:42.640 --> 0:45:44.560 Then they're just going through the motions. 0:45:44.600 --> 0:45:48.239 Sure, and that those motions that what's captured is fed 0:45:48.280 --> 0:45:51.160 into a computer and the computer generates a character doing 0:45:51.200 --> 0:45:53.640 all those same motions, creating the performance. But it's a 0:45:53.640 --> 0:45:55.520 computer generated character. Yeah. 0:45:55.560 --> 0:45:58.040 I don't think he was the first, but the Gollum 0:45:58.160 --> 0:46:01.640 character in those Lord of the Rings movies was really 0:46:01.680 --> 0:46:06.200 one of the first, really terrific looking fully CGI character. 0:46:06.520 --> 0:46:09.800 Yeah. I found, from what I could tell, the first 0:46:10.360 --> 0:46:14.080 full CGI character ever in a movie. You want to guess, 0:46:14.160 --> 0:46:14.960 you'll never guess. 0:46:15.880 --> 0:46:18.040 Well, I mean it's touted as Indiana Jones in The 0:46:18.120 --> 0:46:22.200 Last Crusade. Wrong, really, what is it going to be? 0:46:22.239 --> 0:46:26.960 It's another Spielberg movie. Okay, it's young Sherlock Holmes. Well 0:46:27.040 --> 0:46:29.279 you remember the Stained Glass Night that comes to life 0:46:29.280 --> 0:46:32.040 and tries to slash one of them with his sword. 0:46:32.920 --> 0:46:37.640 First full CGI character in a movie, Well, why, I 0:46:37.680 --> 0:46:39.840 don't know, but that's what I could find, and that 0:46:39.840 --> 0:46:41.120 one's from nineteen eighty five. 0:46:42.040 --> 0:46:46.719 Well, it says maybe there's it's in the nitpicky language 0:46:46.760 --> 0:46:51.960 because in the Last Crusade when Walter Donovan's face melts 0:46:52.080 --> 0:46:54.120 and turns to dust when he drinks from the chalice. 0:46:54.520 --> 0:46:57.719 That's in Writers of the Lost Arc, isn't it? 0:46:57.840 --> 0:47:00.640 Oh No, you're right, You're right lastad okay, Yeah, says here. 0:47:00.719 --> 0:47:03.759 It was the first ever digital composite of a full 0:47:03.800 --> 0:47:05.200 screen live action image. 0:47:06.280 --> 0:47:07.880 There's something in the language there. 0:47:07.760 --> 0:47:09.920 Yeah, because it was a full screen or something. 0:47:10.160 --> 0:47:14.480 This was the gotcha. This was the first CGI, but 0:47:14.560 --> 0:47:18.560 it wasn't the first CGI image. This is the first 0:47:18.560 --> 0:47:22.240 moving CGI image. Is the first CGI image was in Looker? 0:47:22.480 --> 0:47:23.480 Remember that movie. 0:47:23.640 --> 0:47:26.600 I totally saw Looker. Yeah, that was a big HBO 0:47:26.680 --> 0:47:27.080 movie for. 0:47:27.080 --> 0:47:29.840 Me for sure. Same here it was Looker Runaway. 0:47:30.080 --> 0:47:33.120 Uh huh, Kroll Runaway. It's Tom Selleck yeah. 0:47:32.960 --> 0:47:33.840 And Gene Simmons. 0:47:33.960 --> 0:47:36.400 Yeah, in the bad Guy's right. That's all Kroll a 0:47:36.400 --> 0:47:39.719 lot too. Oh yeah. Looker had Albert Finnie, right, if 0:47:39.760 --> 0:47:40.839 I remember correctly. 0:47:40.520 --> 0:47:41.959 Albert Finnie and Susan Day. 0:47:42.080 --> 0:47:43.799 Yeah. Susan Day Yeah. 0:47:44.080 --> 0:47:45.240 Written by Michael Crichton. 0:47:45.280 --> 0:47:47.279 I think that was the first full body three D 0:47:47.440 --> 0:47:51.080 human but it did not move. It was static. Yeah, 0:47:51.120 --> 0:47:55.720 and the very first computer generated effects period, funny enough, 0:47:56.440 --> 0:48:00.239 were used to replicate computer screens, so whenever where you 0:48:00.239 --> 0:48:03.560 would see a computer screen in like Westworld or Aliens 0:48:03.640 --> 0:48:06.280 or Star Wars, and they're like, what is the computer 0:48:06.600 --> 0:48:09.799 going to look like? You know? Not now that that 0:48:09.960 --> 0:48:12.319 was the first time they used computer generated imaging was 0:48:12.360 --> 0:48:14.880 to yeah, make a fake computer screen. 0:48:15.200 --> 0:48:19.560 And the first full CGI scene ever done was in 0:48:19.600 --> 0:48:21.960 The Wrath of Khan, which I believe came out in 0:48:22.040 --> 0:48:25.880 nineteen eighty two. But there's a genesis like Earth being 0:48:25.960 --> 0:48:28.880 you know, like cooling and turning into the Earth, and 0:48:28.920 --> 0:48:32.400 there's this amazing shots around it. That's all CGI. And 0:48:32.440 --> 0:48:36.200 that was the first one, and Tron I thought for 0:48:36.239 --> 0:48:39.520 sure Tron would have been among the first. Apparently most 0:48:39.560 --> 0:48:43.160 of that was animated by humans, not computers. That's right, 0:48:43.520 --> 0:48:47.000 The like all the glowing lines, all that stuff animated, 0:48:47.239 --> 0:48:49.960 which makes it nuts that they were able to create that. 0:48:50.239 --> 0:48:54.160 Yeah. Now the big thing is is the aging technique 0:48:54.200 --> 0:48:55.520 that they're getting better and better? 0:48:55.719 --> 0:48:56.520 Yeah, they really are. 0:48:57.000 --> 0:49:00.239 Yeah. So the new Scorsese pick the Irishman I think 0:49:00.320 --> 0:49:02.640 d ages and it has taken a long time to 0:49:02.640 --> 0:49:04.839 get out because it's the d aging didn't look good 0:49:04.880 --> 0:49:08.120 enough for Scorsez, so they have d aged de Naro. 0:49:08.640 --> 0:49:12.360 And then I saw this new Angle movie Jemini Man, 0:49:12.920 --> 0:49:17.080 where Will Smith of now he plays an assassin and 0:49:17.120 --> 0:49:21.960 he has to go kill his younger self Looper. Uh yeah, 0:49:22.040 --> 0:49:24.560 sort of like Looper, I guess. But this Gemini Man 0:49:24.640 --> 0:49:26.680 script has been in development for like twenty five years 0:49:26.680 --> 0:49:28.640 with various people attached, but they could never do. 0:49:28.640 --> 0:49:29.880 It because of the technology. 0:49:30.200 --> 0:49:32.759 Yeah, huh, it's finally here. But here's the thing I 0:49:32.760 --> 0:49:35.560 didn't know. Like, I've seen this trailer and I'm like, man, 0:49:35.600 --> 0:49:37.960 that the aging looks great. They didn't d age him. 0:49:38.040 --> 0:49:41.120 It is a fully CGI Will Smith. Oh, and it 0:49:41.120 --> 0:49:43.399 looks that really the younger version is yeah. 0:49:43.440 --> 0:49:43.760 Wow. 0:49:43.840 --> 0:49:45.200 So I was like, man, they're getting so good at 0:49:45.239 --> 0:49:48.759 the d that's amazing. So he mowcapped his whole performance 0:49:48.840 --> 0:49:53.800 motion captured and they just used fresh Prince photos. 0:49:53.480 --> 0:49:57.240 And they just basically deep faked them sort of Prince. 0:49:57.760 --> 0:49:59.480 Have you seen the Bill Hayder deep fake that's going 0:49:59.520 --> 0:50:03.680 around now. It's pretty cool. Yeah, because he goes from 0:50:03.800 --> 0:50:08.120 Hater to Tom Cruise to seth Rogan back to Tom Cruise. 0:50:08.160 --> 0:50:09.440 It's like kind of all over the place. 0:50:09.760 --> 0:50:11.440 It's really well done. 0:50:12.200 --> 0:50:14.320 And then, you know, like we said, they use CGI 0:50:14.760 --> 0:50:18.040 for so many movies little mistakes that can be corrected, 0:50:18.480 --> 0:50:20.720 little things that it's just much cheaper to add digitally 0:50:20.800 --> 0:50:24.279 later on. It could be a movie that, like I said, 0:50:24.360 --> 0:50:27.480 looks like it has no CGI whatsoever, and it's cheaper 0:50:27.520 --> 0:50:30.200 to put a plate of food in the background digitally 0:50:30.239 --> 0:50:33.400 than cook the food and put it on set, right, 0:50:33.520 --> 0:50:36.600 which is that's a bad example. Or you can color 0:50:36.600 --> 0:50:39.520 grate a movie you completely change, like the movie Oh Brother, 0:50:39.560 --> 0:50:43.480 where Art Thou has that yellow hue for everything. All 0:50:43.520 --> 0:50:45.239 that stuff is green. You know, they're in the Deep 0:50:45.280 --> 0:50:46.799 South in the summertime. 0:50:46.600 --> 0:50:49.120 And they used to have to like film it at 0:50:49.160 --> 0:50:52.480 some weird exposure and then project it at another exposure 0:50:52.480 --> 0:50:57.400 to some filter and then the optical the negative. Yeah, 0:50:57.560 --> 0:50:59.720 now they can just do it all with a computer, 0:51:00.040 --> 0:51:00.640 easy peasy. 0:51:00.800 --> 0:51:04.759 It's great. Anything else, I'm kind of looking around, but 0:51:05.520 --> 0:51:08.880 this is like one eighth of this topic. 0:51:09.040 --> 0:51:12.840 Yeah, hopefully it made you appreciate movies more. Yeah, you 0:51:12.920 --> 0:51:18.600 specifically me, I know you love the movies. Sure, if 0:51:18.680 --> 0:51:20.680 you want to know more about movies, go listen to 0:51:20.760 --> 0:51:22.600 Chuck's podcast movie Crush. You'll love it. 0:51:22.640 --> 0:51:22.799 Hey. 0:51:22.840 --> 0:51:25.680 Thanks, And since I said movie Crush, it's time for 0:51:25.760 --> 0:51:26.719 listener mail. 0:51:29.200 --> 0:51:31.080 And actually, since you said movie crush, we're about to 0:51:31.120 --> 0:51:33.640 release an episode on The Matrix. Oh, I hadn't seen 0:51:33.640 --> 0:51:35.839 that movie. It's been twenty years since it came out. 0:51:35.920 --> 0:51:37.160 You've never seen The Matrix. 0:51:37.200 --> 0:51:39.440 No, I hadn't seen it in a long time. Gotcha, 0:51:39.640 --> 0:51:41.920 But I didn't realize this is the twenty year anniversary. 0:51:41.960 --> 0:51:47.400 Watched it last night. Still totally holds up, really looks great. Fun. Yeah, 0:51:48.160 --> 0:51:52.160 well acted by most of the cast members who didn't 0:51:52.200 --> 0:51:55.200 act well. Oh, you know Ken. It always gets picked on. 0:51:55.400 --> 0:52:00.440 I love that guy, I know, kung Fu. He's perfect 0:52:00.440 --> 0:52:01.040 in that role. Though. 0:52:01.160 --> 0:52:03.680 Yeah, he's great. I can't imagine anybody else and it'd 0:52:03.719 --> 0:52:07.040 be too just too serious. I think, like, imagine Tom 0:52:07.120 --> 0:52:08.840 Cruise in that in the major Yeah. 0:52:08.719 --> 0:52:12.200 You're right. He adds a little like something light, doesn't he. 0:52:12.280 --> 0:52:14.240 Yeah, it makes it a little more every man, almost 0:52:14.400 --> 0:52:16.120 a little more believable in a weird way, I think. 0:52:16.200 --> 0:52:18.280 So do you see those John Wick movies. 0:52:19.680 --> 0:52:21.719 I've seen some of it. It's just like a little 0:52:21.760 --> 0:52:24.719 too video gamy for me. Yeah, but I mean it's fine. 0:52:25.600 --> 0:52:27.040 I respect that people like it. 0:52:27.160 --> 0:52:32.480 Sure, here we go. Okay, it's about three D. Three D. 0:52:32.560 --> 0:52:35.440 It's about solar panels. I got movies on the three D. 0:52:35.520 --> 0:52:37.080 You got the well they are in three D. I 0:52:37.120 --> 0:52:39.600 guess oat, I got movies on the brain. Hey, guys. 0:52:39.800 --> 0:52:41.439 Being a roof for my entire life, I never thought 0:52:41.440 --> 0:52:44.240 I'd have much input until now it's my time to shine. 0:52:45.000 --> 0:52:47.560 One thing that wasn't mentioned in the solar panel episode 0:52:47.600 --> 0:52:49.920 is that people really need to consider the age of 0:52:49.920 --> 0:52:52.040 their existing roof before installing solar pains. 0:52:52.080 --> 0:52:52.960 Oh that's a good point. 0:52:53.200 --> 0:52:55.960 A new residential shingle roof should last about thirty years, 0:52:56.480 --> 0:52:58.600 but at the roof isn't nearly new. I would not 0:52:58.680 --> 0:53:01.000 suggest installing solar paanpeanels. 0:53:00.480 --> 0:53:04.280 And definitely don't install it if the roof the roof 0:53:04.320 --> 0:53:05.120 is on fire. 0:53:05.440 --> 0:53:08.799 Once the panels are installed, roof repairs or replacement is 0:53:08.960 --> 0:53:12.000 very difficult and much more expensive. If the life of 0:53:12.000 --> 0:53:15.359 the roof ends before the solar panels die, you can 0:53:15.400 --> 0:53:18.440 easily add fifty to seventy five percent or more to 0:53:18.480 --> 0:53:21.480 the cost of the reroofing due to the added labor 0:53:21.560 --> 0:53:24.880 costs to remove and reinstall the panels. Yeah, don't you 0:53:24.920 --> 0:53:27.759 think about that? So you should align it ideally with 0:53:28.040 --> 0:53:31.719 your new roof. Sure, I do mostly commercial roofing can't 0:53:31.719 --> 0:53:33.319 tell you the number of customers. So I talk to 0:53:33.440 --> 0:53:35.920 add solar panels on an old roof and are now 0:53:36.000 --> 0:53:40.280 paying through the nose for repairs or replacement. Reputable solar 0:53:40.320 --> 0:53:44.520 panel specialists should have this roof conversation with a potential 0:53:44.560 --> 0:53:48.560 customer before installing the panels. I'm afraid it doesn't always happen, 0:53:49.440 --> 0:53:53.480 or customers underestimate the added reroofing costs once they're installed. 0:53:53.800 --> 0:53:55.560 Man, this is a great PSA. 0:53:55.840 --> 0:53:57.719 It is thanks again for what you guys do. I'm 0:53:57.719 --> 0:54:00.160 in my truck a lot driving to different job sites 0:54:00.440 --> 0:54:03.719 and it's always easier on Tuesday through Thursday. I want 0:54:03.719 --> 0:54:05.640 to have a new stuff you should know and that 0:54:05.760 --> 0:54:08.480 is from Owen Sinsinig. 0:54:09.200 --> 0:54:13.320 Great name, first day and last yep, love the name Owen, 0:54:14.200 --> 0:54:15.640 Stephen King's kids name. 0:54:16.960 --> 0:54:17.879 Yeah, Owen King. 0:54:18.360 --> 0:54:20.880 Thanks a lot, Owen. We appreciate that big time. That 0:54:21.000 --> 0:54:24.160 was a great email. I would have never thought about that, and. 0:54:24.160 --> 0:54:26.480 He didn't even send his business and to be plugged. 0:54:26.560 --> 0:54:28.920 So just google his name and roofing and if he 0:54:28.960 --> 0:54:30.919 happens to live near you, use him. 0:54:31.200 --> 0:54:32.920 That's how dedicated this guy is. 0:54:32.960 --> 0:54:33.680 He sounds honest. 0:54:34.239 --> 0:54:36.560 Well, if you want to be a cool person like Owen, 0:54:36.640 --> 0:54:37.960 you can get in touch with us. You can go 0:54:37.960 --> 0:54:39.680 on to stuff you Should Know dot com and check 0:54:39.680 --> 0:54:42.040 out our social links. You can also send us an 0:54:42.040 --> 0:54:48.000 email to stuff podcast at iHeartRadio dot com. 0:54:48.160 --> 0:54:51.040 Stuff you Should Know is a production of iHeartRadio. For 0:54:51.120 --> 0:54:55.319 more podcasts my heart Radio, visit the iHeartRadio app, Apple Podcasts, 0:54:55.440 --> 0:54:57.280 or wherever you listen to your favorite shows.