A breif history of movie special effects

[cinderella man]

[img]http://img.timeinc.net/time/photoessays/2011/special_effects/special_effects1.jpg[/img]
Gertie the Dinosaur — Animation
The first animated films, created in the early 1900s, were pioneered by comic illustrators and featured characters from popular comic strips of the time. Made using the single-frame method — single images projected at a high volume of frames per second — the earliest surviving animated short is 1906's Humorous Phases of Funny Faces. But it is sketch artist Winsor McCay's Gertie the Dinosaur (1914), however, that is known as the first successful animated cartoon. Innovation in animation techniques continued to develop in shorts until the first full-length animated film, Walt Disney's Snow White and the Seven Dwarfs, was released on Dec. 21, 1937.
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Metropolis — Miniatures
In his landmark 1927 film, director Fritz Lang created the dystopian world of Metropolis using intricately detailed miniature models. Full-scale cityscapes were used alongside perspective techniques to create otherwise nonexistent environments. George Méliès' Trip to the Moon (1902) was the first to use miniatures — including a model spaceship — a technique that would continue in classic sci-fi franchises like Star Wars and Star Trek until digitally created counterparts were thrown into the mix. Unlike most effects of films past, miniatures are still used in modern cinema. While filming his Lord of the Rings trilogy, director Peter Jackson created miniature buildings and cities shot with digital backgrounds to create J.R.R. Tolkien's Middle Earth.
[img width=611 height=404]http://img.timeinc.net/time/photoessays/2011/special_effects/special_effects3.jpg[/img]
The Wizard of Oz — Matte Paintings
If you've seen a movie, you've likely seen a matte painting. An essential part of many films produced before the CGI era, matte paintings were actual projections or paintings placed behind foreground objects to trick audiences into believing the actors were in a different location. Without these pieces of art, there would be no Statue of Liberty jutting out from the sand in the shattering last scene of 1968's Planet of the Apes, no Emerald City awaiting Dorothy at the end of the yellow brick road — even the majestic mansion Tara from 1939's Gone with the Wind was half matte. Through most of the 20th century, studios housed their own matte departments, which dutifully painted around the confinements of reality until the early 1990s, when digital matting techniques became the norm.
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Jason and the Argonauts — Stop Motion
In 1963's Jason and the Argonauts, a pack of lethal skeletons rise from the ground for one heck of a heart-pounding skirmish. The dueling bones were achieved by stop-motion photography, which uses realistic puppets or models that are manipulated and photographed one frame at a time. First used in the late 1890s, stop motion was one of the earliest animation techniques. Notable uses of stop motion include 1933's King Kong, the claymation TV explosion of the 1960s and The Empire Strikes Back (1980), in which the franchise's snow-hardy AT-AT walkers were filmed in stop motion using miniatures and matte paintings.
[img width=611 height=404]http://img.timeinc.net/time/photoessays/2011/special_effects/special_effects5.jpg[/img]
The Ten Commandments — Water Effects
Without the help of digital effects, director Cecil B. DeMille managed to pull off one of the Bible's greatest miracles: the parting of the Red Sea. In 1956's The Ten Commandments, DeMille used the most advanced technologies he could find for the effect: matte paintings, rear projection, pyrotechnics, miniatures, water tanks — even a 32-ft.-high dam. Considered the most expensive special effect in history, the actual parting was created by pouring 300,000 gallons of water into a tank and then playing the shot backward.
[img width=611 height=404]http://img.timeinc.net/time/photoessays/2011/special_effects/special_effects6.jpg[/img]
The Parent Trap — Doubling
In 1961, Disney scored twice with family classic The Parent Trap. Actress Hayley Mills plays twins Sharon and Susan, who meet by chance at a summer camp after being separated by birth. The trick itself was simple. Using split-screen technology to place Mills into the same scene twice, filmmakers simply locked the camera in position and shot the scene a second time, laying half of each shot onto a single negative to create a composite. The technique has been used in some fashion since the early 20th century. Last year it was David Fincher's The Social Network that had movie fans seeing double. To create identical twins Cameron and Tyler Winklevoss, Fincher filmed actors Armie Hammer and Josh Pence and then layered Hammer's face onto Pence's body.
[img width=611 height=404]http://img.timeinc.net/time/photoessays/2011/special_effects/special_effects7.jpg[/img]
Star Wars — Motion Control
While George Lucas' Star Wars films will remain lodged in the pop-culture pantheon for a variety of reasons, the movies' advanced special effects have earned them a place in tech history. Star Wars Episode IV: A New Hope was the first film to deploy a motion-controlled camera (for which it also won the Academy Award for Best Achievement in Visual Effects). Hooked up to a computer, the Dykstraflex motion-control system (named after special-effects supervisor John Dykstra) issued a complicated series of movements to a camera, which allowed filmmakers like Lucas to create shots unlike any previously seen in movie theaters. The effect also marked the debut of Lucas' visual effects company Industrial Light & Magic.
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An American Werewolf in London — Makeup
Horror has been historically good to makeup artists. In the early years, the art was most notably used in F.W. Murnau's 1922 vampire flick Nosferatu, which featured actor Max Schreck wearing facial prosthetics and clawlike finger extensions. The first film to win the Academy Award for Best Makeup, 1981's horror-comedy An American Werewolf in London, is praised for its gritty metamorphosis of man into wolf, which notably isn't hidden by shadows or any strategically placed woodland brush. Prosthetics and robotic limbs were created by FX-makeup genius Rick Baker, who had previously worked on The Exorcist (1973) and the 1976 remake of King Kong.
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Young Sherlock Holmes — CGI
It won't come as a surprise that the earliest adopters of CGI were some of sci-fi's greatest films. Yet while Star Wars, Star Trek and Tron were all early adopters of CGI effects, it is Steven Spielberg and Pixar (a part of Lucasfilm at the time) who are credited with the very first realistic yet fully CGI-animated character, seen in 1985's Young Sherlock Holmes. Known as the "stained-glass man," the knight comes to life for a 30-second sword fight that took six months to produce.
[img width=611 height=404]http://img.timeinc.net/time/photoessays/2011/special_effects/special_effects10.jpg[/img]
Jurassic Park — Mechanical Monsters
In 1912, director George Méliès built a 23-ft.-tall puppet ice giant for his film Conquest of the Pole. Made of plaster, wood and papier-mâché and controlled by a crew of puppeteers directing pulleys, winches and capstans, Méliès' mechanical beast was the first in a long line of engineered movie monsters. By 1925, a life-size brontosaurus tail had been built for dinosaur flick The Lost World, a triumph of visual effects that sent filmmakers into a frenzy to produce better and scarier creations. The beasts of 1993's Jurassic Park were part animatronic and part CGI. Surprisingly, out of the 14 minutes of the film's dinosaur footage, only four were rendered by CGI. The rest were shot using animatronic models — including a 20-ft. T-rex that weighed more than 13,000 lb. and men in rubber velociraptor costumes.
[img width=611 height=404]http://img.timeinc.net/time/photoessays/2011/special_effects/special_effects11.jpg[/img]
Toy Story — Animated CGI
Since Disney's first major movies in the late 1930s, its animators had gone on to perfect the hand-drawn film. Then came 1995, when the company released Toy Story, the first feature-length animated film to be created with CGI. A joint project with animation studio Pixar, the film took four years to create, generated 1,000 gigabytes of data (the average computer only holds between 80 and 160 gigabytes) and required 800,000 machine hours of editing. Since the success of Toy Story, Pixar has gone on to produce 10 more critically acclaimed feature films, which have garnered the company 24 Academy Awards and more than $6 billion.
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The Matrix — Bullet Time
More than just an ode to the hacker culture of the 1990s, The Matrix was a stunning advancement in digital visual effects. Developed in the early 1900s by Austrian clergyman and physicist August Musger, slow motion has been used in film to accentuate everything from dramatic leaps to heroic game-winning moments in sports — it's even been used to capture the very, um, lively running style of TV lifeguards. With a single series of gunshots, The Matrix was able to turn previous slow-motion effects into carnival tricks. Called bullet time, the film's effect used the slowed, rotating action of the camera to show characters evading bullets.
[img width=611 height=404]http://img.timeinc.net/time/photoessays/2011/special_effects/special_effects13.jpg[/img]
The Lord of the Rings — Motion Capture
Gollum was easily the most memorable creature of Peter Jackson's Lord of the Rings trilogy. Though the precious-obsessed being was digitally created by director Peter Jackson's FX team, Gollum's performance was driven by actor Andy Serkis. Donning a specially created motion-capture suit, Gollum was digitally created by using 13 cameras pointed at different sensors attached to Serkis' costume. These sensors produced a 3-D image of Serkis' movements, allowing animators to create a more realistically moving character. This and the films' other colossal effects earned Jackson and his team Academy Awards for each of the Rings films.
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The Hurt Locker — Explosions
Fans might flock to a Michael Bay flick for the pyrotechnics, but in 2009 it was director Kathryn Bigelow who changed the landscape of film explosions with her Academy Award–winning film The Hurt Locker. Using the high-speed Phantom camera, Bigelow's team was able to break down every detail of an IED explosion with the device's 2,000-frames-per-second capability. With the HD footage slowed, the audience is able to focus on any detail of the seconds-long explosion, bringing a much celebrated degree of authenticity to the film.
[img width=611 height=404]http://img.timeinc.net/time/photoessays/2011/special_effects/special_effects15.jpg[/img]
Avatar — 3-D
In 2009, director James Cameron didn't necessarily recreate the wheel, but he did recreate the camera. For Avatar, Cameron teamed up with Sony to pioneer a specially designed camera built into a six-inch boom that allowed the facial expressions of the actors to be captured with sensors and digitally recorded for animators to use later. Tucked into tight bodysuits speckled with tiny reflectors, the actors were filmed as infrared light bounced off the reflectors, which was then captured in 3-D by up to 140 digital cameras positioned around the set. Nicknamed the "holy grail," Cameron's camera system used lightweight, dual-lens and hi-definition digital imaging to create an insanely advanced 3-D picture.

[cinderella man]

of the above i watched
metropolis
starwars
the hurt locker
avatar
the matrix
ten commandments
jurassic park
lord of the rings... ~"! ~"!

[bottu_seenu]

naku jurassic park
        matrix
        avatar
        hurt locker
        inka pixar vi anni cars, toy story, kung fu panda ice age  ^^" ^^" ^^" ^^"

[Maximus]

[img]http://i40.tinypic.com/63ygbs.gif[/img]...gud one cindu...

[cinderella man]

[quote author=Slim-Shady link=topic=159841.msg1909548#msg1909548 date=1298626332]
naku jurassic park
        matrix
        avatar
        hurt locker
        inka pixar vi anni cars, toy story, kung fu panda ice age  ^^" ^^" ^^" ^^"
[/quote]ET kuda mention cheyochu list lo

[cinderella man]

[quote author=Maximus link=topic=159841.msg1909554#msg1909554 date=1298626661]
[img]http://i40.tinypic.com/63ygbs.gif[/img]...gud one cindu...
[/quote]valo maxi h r u.. sHa_high5ing

[Maximus]

[quote author=cinderella man link=topic=159841.msg1909557#msg1909557 date=1298626801]
valo maxi h r u.. sHa_high5ing
[/quote][img]http://www.desigifs.com/sites/default/files/toliprema7.gif[/img]..valo valo.....iam gud ..howzz u..match suthunna...Aus.... sAng_banghead2 sAng_banghead2

[cinderella man]

[quote author=Maximus link=topic=159841.msg1909560#msg1909560 date=1298626919]
[img]http://www.desigifs.com/sites/default/files/toliprema7.gif[/img]..valo valo.....iam gud ..howzz u..match suthunna...Aus.... sAng_banghead2 sAng_banghead2
[/quote]mee too ireland kooda samesthandhi gaa.. F@!n F@!n

[Maximus]

[quote author=cinderella man link=topic=159841.msg1909562#msg1909562 date=1298627058]
mee too ireland kooda samesthandhi gaa.. F@!n F@!n
[/quote][img]http://i53.tinypic.com/28arh3k.gif[/img]aus ento form loki vochinaatu vundhi....

[cinderella man]

[quote author=Maximus link=topic=159841.msg1909564#msg1909564 date=1298627176]
[img]http://i53.tinypic.com/28arh3k.gif[/img]aus ento form loki vochinaatu vundhi....
[/quote]aussies form loki vachindhi anekante newzealand chetha ga aduthundhi anochu  sAng_banghead2 sAng_banghead2 sAng_banghead2

[Maximus]

[quote author=cinderella man link=topic=159841.msg1909571#msg1909571 date=1298627319]
aussies form loki vachindhi anekante newzealand chetha ga aduthundhi anochu  sAng_banghead2 sAng_banghead2 sAng_banghead2
[/quote][img]http://s5.tinypic.com/15wnqef_th.jpg[/img]..but NZ....has not been in good form...previous series lo chusava kada....

[cinderella man]

[quote author=Maximus link=topic=159841.msg1909578#msg1909578 date=1298627614]
[img]http://s5.tinypic.com/15wnqef_th.jpg[/img]..but NZ....has not been in good form...previous series lo chusava kada....
[/quote]yeah..andhuke chudali coming matches ela adatharo..