A miniature effect is a special effect created for motion pictures and television programs using scale models. Scale models are often combined with high speed photography or matte shots to make gravitational and other effects appear convincing to the viewer. The use of miniatures has largely been superseded by computer-generated imagery in contemporary cinema.
Where a miniature appears in the foreground of a shot, this is often very close to the camera lens — for example when matte-painted backgrounds are used. Since the exposure is set to the object being filmed so the actors appear well-lit, the miniature must be over-lit in order to balance the exposure and eliminate any depth of field differences that would otherwise be visible. This foreground miniature usage is referred to as forced perspective. Another form of miniature effect uses stop motion animation.
The use of scale models in the creation of visual effects by the entertainment industry dates back to the earliest days of cinema. Models and miniatures are copies of people, animals, buildings, settings, and objects. Miniatures or models are used to represent things that do not really exist, or that are too expensive or difficult to film in reality, such as explosions, floods, or fires. [1]
French director Georges Méliès incorporated special effects in his 1902 film Le Voyage dans la Lune (A Trip to the Moon) — including double-exposure, split screens, miniatures and stop-action. [2]
Some of the most influential visual effects films of these early years such as Metropolis (1927), Citizen Kane (1941), Godzilla (1954) The Ten Commandments (1956). [3] The 1933 film King Kong made extensive use of miniature effects including scale models and stop-motion animation of miniature elements.
The use of miniatures in 2001: A Space Odyssey [4] was a major development. In production for three years, the film was a significant advancement in creating convincing models.
In the early 1970s, miniatures were often used to depict disasters in such films as The Poseidon Adventure (1972), Earthquake (1974) and The Towering Inferno (1974).
The resurgence of the science fiction genre in film in the late 1970s saw miniature fabrication rise to new heights in such films as Close Encounters of the Third Kind , (1977), Star Wars (also 1977), Alien (1979), Star Trek: The Motion Picture (1979) and Blade Runner (1982). Iconic film sequences such as the tanker truck explosion from The Terminator (1984) and the bridge destruction in True Lies (1994) were achieved through the use of large-scale miniatures.
The release of Jurassic Park (1993) was a turning point in the use of computers to create effects for which physical miniatures would have previously been employed.
While the use of computer-generated imagery (CGI) has largely overtaken their use since then, they are still often employed, especially for projects requiring physical interaction with fire, explosions, or water. [5]
Independence Day (1996), Titanic (1997), Godzilla (1998), the Star Wars prequel trilogy [6] [7] [8] (1999–2005), The Lord of the Rings trilogy (2001–3), Casino Royale (2006), The Dark Knight [9] (2008), Inception (2010), and Interstellar [10] (2014) are examples of highly successful films that have utilized miniatures for a significant component of their visual effects work.
Science fiction first appeared in television programming in the late 1930s, during what is called the Golden Age of Science Fiction. Special effects and other production techniques allow creators to present a living visual image of an imaginary world not limited by the constraints of reality.
Special effects are illusions or visual tricks used in the theatre, film, television, video game, amusement park and simulator industries to simulate the imagined events in a story or virtual world. It used to be called SFX but this short form has also expanded to include “sound effects” as well.
Science fiction is a film genre that uses speculative, fictional science-based depictions of phenomena that are not fully accepted by mainstream science, such as extraterrestrial lifeforms, spacecraft, robots, cyborgs, mutants, interstellar travel, time travel, or other technologies. Science fiction films have often been used to focus on political or social issues, and to explore philosophical issues like the human condition.
Visual effects is the process by which imagery is created or manipulated outside the context of a live-action shot in filmmaking and video production. The integration of live-action footage and other live-action footage or CGI elements to create realistic imagery is called VFX.
John Charles Dykstra, A.S.C. is an American special effects artist, pioneer in the development of the use of computers in filmmaking and recipient of three Academy Awards, among many other awards and prizes. He was one of the original employees of Industrial Light & Magic, the special effects and computer graphics division of Lucasfilm. He is well known as the special effects lead on the original Star Wars, helping bring the original visuals for lightsabers, space battles between X-wings and TIE fighters, and Force powers to the screen. He also led special effects on many other movies, including Batman Forever, Batman & Robin, Stuart Little, X-Men: First Class, Spider-Man and Spider-Man 2.
Gabriel Charles Köerner is a visual effects artist and well-known Star Trek fan ("Trekkie"). Köerner appeared as a profilee in the documentary Trekkies (1997) and its sequel Trekkies 2 (2004), and went on to make guest appearances on The Drew Carey Show, as the "Star Trek Geek" on Beat the Geeks, and as an aficionado of Star Trek memorabilia in season 5 of Storage Wars. As a VFX artist, he fulfilled his lifelong Star Trek dream by working on the series finale of Star Trek: Enterprise. He was a member of the teams that earned a Visual Effects Society Award nomination for Outstanding Models and Miniatures and a 2005 Emmy Award nomination for modeling work on the Sci-Fi Channel remake of Battlestar Galactica (2004). He also worked on the live-action film Speed Racer (2008).
Serenity is a fictional spacecraft that appears in Joss Whedon's Firefly television series and related works. Set in the 26th century, the series follows the nine-person crew of the Firefly-class vessel, a small transport ship, as they earn a living through various legal and illegal means. The ship is the main setting; it appears in all fourteen episodes, the film, and several comics.
James Danforth is an American stop-motion animator, known for model-animation, matte painting, and for his work on When Dinosaurs Ruled the Earth (1970), a theme-sequel to Ray Harryhausen's One Million Years B.C. (1967). He later went on to work with Ray Harryhausen on the film Clash of the Titans (1981) to mainly do the animation of the winged horse Pegasus.
Battlestar Galactica is an American science fiction television series created by Glen A. Larson that aired on the ABC network from September 17, 1978, to April 29, 1979. It stars an ensemble cast led by Lorne Greene, Richard Hatch, and Dirk Benedict. The series follows a group of humans fleeing the destruction of their homeworlds aboard the titular spacecraft, searching for a new home as they are pursued by the Cylons.
Albert J. Whitlock Jr. was a British-born motion picture matte artist best known for his work with Disney and Universal Studios.
Foundation Imaging, Inc. was a CGI visual effects studio, computer animation studio, and post-production editing facility.
Previsualization is the visualizing of scenes or sequences in a movie before filming. It is a concept used in other creative arts, including animation, performing arts, video game design, and still photography. Previsualization typically describes techniques like storyboarding, which uses hand-drawn or digitally-assisted sketches to plan or conceptualize movie scenes.
Space warfare is a main theme and central setting of science fiction that can trace its roots back to classical times, and to the "future war" novels of the 19th century. With the Modern Age, directly with franchises as Star Wars and Star Trek, it is considered one of the most popular general sub-genres and themes of science fiction. An interplanetary, or more often an interstellar or intergalactic war, has become a staple plot device. Space warfare, represented in science fiction, has a predominant role, it is a central theme and at the same time it is considered parent, overlapping genre of space opera, military science fiction and Space Western.
Greg Jein was a Chinese American model designer who created miniatures for use in the special effects portions of many films and television series, beginning in the 1970s. Jein was nominated for an Academy Award for Best Visual Effects for his work on the films Close Encounters of the Third Kind (1977) and 1941 (1979), and also nominated for an Outstanding Special Visual Effects Emmy for his work on Angels in America.
Craig Barron is an American visual effects artist and creative director at Magnopus, a media company that produces visual development and virtual production services for motion pictures, television, museums and multimedia platforms.
Bill George is a visual effects supervisor who is known for his work for Industrial Light & Magic on, amongst others, the Star Trek franchise.
Doug Drexler is an Oscar winning visual effects artist, designer, sculptor, illustrator, and a makeup artist who has collaborated with such talents as Al Pacino, Dustin Hoffman, James Caan, Meryl Streep, and Warren Beatty. He began his career in the entertainment industry working for makeup artist Dick Smith on such films as The Hunger and Starman. He has also contributed to Three Men and a Little Lady, The Cotton Club, FX, Manhunter and Dick Tracy. Dick Tracy earned Drexler an Oscar, as well as The British Academy Award and the Saturn Award for his special makeup effects on characters such as Big Boy Caprice and Mumbles. Two Emmy nominations in the same field followed for three years working on Star Trek: The Next Generation, where he performed such tasks as aging Captain Picard for "The Inner Light". His final make-up job for the series was the Mark Twain makeup worn by Jerry Hardin in the two part episode "Times Arrow"
Steve Gawley is a visual effects artist who was nominated at the 62nd Academy Awards in the category of Best Visual effects for his work on the film Back to the Future Part II. His nomination was shared with John Bell, Michael Lantieri and Ken Ralston.
Gary Dean Hutzel was an American visual effects supervisor from Ann Arbor, Michigan who worked on the television series Star Trek: The Next Generation, Star Trek: Deep Space Nine, and Battlestar Galactica, among others. He was nominated more than 20 times for Emmy Awards, winning on four occasions.
The Empire Strikes Back is a 1980 American epic space opera film directed by Irvin Kershner, with a screenplay by Leigh Brackett and Lawrence Kasdan, based on a story by George Lucas. It is the sequel to Star Wars (1977), the second film in the Star Wars film series, and the fifth chronological chapter of the Skywalker Saga. Set three years after the events of Star Wars, its story follows the battle between the Galactic Empire led by Emperor Palpatine and the Rebel Alliance led by Princess Leia. Meanwhile, Luke Skywalker trains to master the Force so he can confront the Sith lord Darth Vader. The ensemble cast includes Mark Hamill, Harrison Ford, Carrie Fisher, Billy Dee Williams, Anthony Daniels, David Prowse, Kenny Baker, Peter Mayhew, and Frank Oz.