James Cameron's Best Special Effects

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The Terminator, 1984
In the course of his celebrated career, director James Cameron has continuously pushed the limits of special-effects technology with a long succession of cutting-edge films. His directorial visions have often outpaced the technology readily available during the production of his movies, forcing him to either create the needed technology from scratch or wait until tech breakthroughs could catch up with his ideas. A low-budget film, produced for roughly $6.5 million, that went on to become both a box-office and critical hit, The Terminator was the film that kick-started Cameron's legacy.

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Aliens, 1986
Following up on his success with The Terminator, Cameron took the director's chair for the sequel to Ridley Scott's original film Alien. Most of the sequel's visual effects were created with traditional miniatures, combined with creative lighting and camera techniques. With computer-generated special effects still in their infancy, the signature aliens were merely stuntmen in giant suits. The famous alien queen was slightly harder to re-create. Cameron's artistic desire resulted in a monstrous 14-ft.-tall alien menace controlled by hydraulics and a team of puppeteers.
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Send In the Marines
During the making of Aliens, Cameron, then still a young director, often clashed with many of his cast and crew members, who viewed him as too inexperienced to fill the shoes of the esteemed director Ridley Scott. Because The Terminator had not yet been released in the U.K., where Aliens was made, the British crew had little knowledge of Cameron's work. Years later, Sigourney Weaver, who starred as Ellen Ripley in Aliens, would once again work with the visionary director in a little film featuring blue-skinned humanoid creatures.
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The Abyss, 1989
Because special-effects technology had not advanced enough to create the underwater environments needed to make The Abyss, Cameron did the next best thing: he shot underwater. An unfinished nuclear reactor in South Carolina provided a space large enough to allow him and his crew to submerge an entire set for the underwater scenes. To render the iconic alien water tentacle featured in the film, Cameron turned to another pioneer in the industry — George Lucas' renowned special-effects company Industrial Light & Magic.
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Old School
An underwater set meant underwater filming. Cameron, along with his director of photography and other crew members, spent countless hours submerged in the gargantuan set in order to attain the desired realism. Cameras outfitted in specially designed watertight housings were used to shoot the movie, while military-grade microphones were attached to each actor's helmet to pick up audio.
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Terminator 2: Judgment Day, 1991
Encouraged by his success with computer graphics in rendering a water tentacle for The Abyss, Cameron proceeded with his vision of a Terminator made of liquid metal — the T-1000. Portrayed by actor Robert Patrick, this polymorphic assassin could shape-shift into anyone it touched, courtesy of computer-graphics wizardry provided by Industrial Light & Magic. The T-800 Terminator role, reprised by Arnold Schwarzenegger, would require only makeup and, in the scenes where his metallic endoskeleton is revealed, prosthetic parts.
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Tag Team
Arnold Schwarzenegger and Cameron share a moment on the set of Terminator 2: Judgment Day. The director-actor pair would end up filming one more film together, the 1994 spy comedy True Lies. One would go on to pursue political ambitions, while the other would go on to sink a boat and create a planet from scratch
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Titanic, 1997
As with the making of The Abyss, special-effects technology lagged behind his vision, so to make this Oscar-winning epic, Cameron turned to a more tried-and-true method to sink a boat: he sunk one. The entire seagoing set was constructed in a 5-million-gal. tank that could be flooded and tilted to re-create the sinking of the famed ocean liner. For the chaotic scene where the ship finally sinks into the water, a nearly full-scale replica of the ill-fated Titanic was re-created as a tilting set just so stuntmen could fall to their watery cinematic demise. The more dangerous falls in the scene, however, were rendered through the use of computer graphics.
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Reprieve
After the record-breaking success of Titanic, Cameron would take a break from producing feature-length movies to pursue a series of documentary projects. One such project was Ghosts of the Abyss, a 2003 documentary film that explores the wreckage of the Titanic. It was during this break from moviemaking that he experimented with the 3-D cinematography that would play a prominent role in his return to the big screen in 2009.
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Avatar, 2009
When Cameron returned to feature-length filmmaking, he spared no expense in bringing to life the story and world he envisioned. The director had actually been contemplating the worlds depicted in Avatar before he even began working on Titanic. He waited for more than 10 years for special-effects technology to catch up to his vision. Having watched the development of creatures like Gollum in the Lord of the Rings trilogy and Davy Jones in the Pirates of the Caribbean trilogy, he felt that advances in photorealistic animation had improved enough for him to realize his dream.
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Fusion Camera System
In making Avatar, the director used numerous technologies to turn his vision into reality. He developed a special 3-D camera, called the Fusion Camera System, and employed the same company that gave life to the hobbits and elves of the Lord of the Rings trilogy — New Zealand–based Weta Digital — to handle the visual effects in the film. Industrial Light & Magic and several other companies were also brought on board in order ensure that all the special effects could be finished on time.
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Augmented Reality
A special video setup called the augmented-reality system was developed so director and actors could view their interactions with the lush computer-generated world in real time.
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Looking Back
At almost every turn, Cameron's imaginary worlds have led to the generation of real dollars. Avatar, produced on a budget estimated to be in excess of $200 million, went on to become the first film to gross more than $2 billion worldwide.

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