FX-Legende Douglas Trumbull, der an den Effekten von Blade Runner, 2001, Star Trek, Andromeda Strain (einer meiner liebsten SciFi-Filme, ever!) gearbeitet und Silent Running inszeniert hat, produziert grade eine Dokumentation über die Dreharbeiten an Stanley Kubriks „2001“ und der Trailer dazu sieht schonmal ziemlich fantastisch aus, da dürfte einiges an ungesehenen Behind-The-Screen-Bildern bei rauskommen, genau wie bei seiner dreiteiligen Minidoku über Blade Runner, die es auf seiner Website zu sehen gibt.
In the first of a three part series, Doug talks about the creation of various effects sequences completed for Blade Runner. In this video, he focuses on creating the opening sequence referred to as the "Hades Landscape".
Doug and his Entertainment Effects Group team created thousands of acid-etched brass miniatures lit from below with hundreds of bundles of fiber-optic lights, shot in forced-perspective through layers of smoke to create layers of light refraction, creating depth.
Doug reveals how the explosions visible in the sequence were projected on screens placed throughout the miniature and light-timed. These explosions were created through massive pyrotechnics shot in the California desert for a discarded sequence for the 1970 Michelangelo Antonioni film Zabriskie Point.
In the second of a three-part series, Doug talks about the creation of various effects sequences completed for Blade Runner, focusing on the "Spinners". In creating the UFOs and the Mothership for Close Encounters of the Third Kind, Doug and his Entertainment Effects Group team developed techniques which aided immensely in the creation, photography and compositing for the Spinners in Blade Runner.
Miniatures based on futurist artist Syd Mead's designs were fitted with extensive detail and many fiber-optic and quartz lights. Many of the lens flares, remote-controlled light sources, and multiple-pass film exposure techniques were directly inherited from the production experiences of Close Encounters.
In the third of a three-part series, Doug talks about the creation of various effects sequences completed for Blade Runner, focusing on the "Bradbury Building Blimp". The Blimp was equipped with fiber-optic light bundles directed through a remote-controlled prism, and made use of many of the same light sources, lens flares, and multiple exposure techniques created for the Mothership in Close Encounters of the Third Kind.
All of the display panels on the Blimp and many buildings were achieved through 35mm projections onto textured plastic. One of the most beautiful shots in the film is the shot through the atrium ceiling of the Bradbury Building. Doug and Richard Yuricich took stills with a 4x5 camera on the floor, cueing the shutter and a strobe-light on each floor over an extended exposure.