LO1: Visual & Special Effects
Definitions (Visual Effects)
- Visual Effects - Effects/imagery which are created/manipulated in post-production for a diegetic purpose within an audio visual product. These can be the lifeblood of some movies with ambitious settings or set-pieces such as the biggest box office movie: Avatar (2009) which uses motion capture to transform the human actors into the Na'vi through visual effects.
- Digital Compositing - Using two or more pieces of imagery to create an effect which forms a singular image; combining different sources into that image. During post production, with a green or blue screen, VFX artists can create imagery which appears on screen (e.g. a weatherman standing in front of a greenscreen which shows the weather). An example of this would be in the 2005 film 'Constantine' where John Constantine, the protagonist, visits Hell where a green screen background is used so visual effect artists can create the hellscape John walks through.
- Blue/Green Screen - A background of flat colour (blue or green) which can be used in post-production to edit something into the space using chromakey via digital compositing. This therefore, gives VFX artists a defined space to create their effects and interact with the rest of the production. An example of a green/blue screen being used can be seen in The Witcher Netflix series (2019) where the audience is introduced to Geralt of Rivia in a dark and decrepit swamp in which he fights a CGI monster. This would've been accomplished through a large green/blue screen so that VFX artists could create the scene the producers wanted portrayed.
- Chromakey - Using colour gradients/information to isolate tones to composite images or video streams together or remove a background. An example of this would be in the 2013 comedy film, Anchorman. The character 'Brick' uses a green screen in the film and the chromakey turns the matching colour of his green pants into the weather map during editing.
- Computer Generated Imagery (CGI) - Special created effects by a computer software. These can be used to create animated characters and diverse landscapes/settings which would not be possible/impractical to film otherwise (i.e. sci-fi and high-fantasy). An example would include 2023's 'Ant Man & The Wasp: Quantumania' and the presentation of the character MODOK who just wouldn't be possible to film without the impressive technology of CGI. The use of CGI allows the cast to interact with seemingly nothing during filming however, in post-production, they're talking to a CGI character.
- Mattes - The foundation of compositing through combining multiple images into one through allowing the software to do so. This creates significant creative freedom for the filmmakers as they can use a matte background to realise an otherwise impossible world, similarly to CGI. An example of this would be the scene which introduces Rick Deckard in the 1982 sci-fi movie, 'Bladerunner'. The establishing shot of the city the film takes place introduces the audience to the world the protagonist lives in and the matte background placed onto an LA landscape allows for this.
- Morphing - Turning one object or thing to something else through visual effects/transitions. This can be used for body horror or thriller moments such as within Terminator 2: Judgement Day (1991) when John Connor's mother is revealed to be the T-1000 (antagonist) when they transform their hand into a knife and back again. (https://youtu.be/MT_u9Rurrqg?si=Kx4sltfMPPxRz8U1&t=87)
- Rotoscoping & 3D Graphics - Using key-frames to trace or draw over a pre-existing image/video with visual effects; often to create an animated/CGI style. An example would include the fight between Dark Helmet and Lone Starr and their use of the rotoscoped 'Schwartz' which creates a thrilling and intense fight scene through the use of CGI.
Definitions (Special Effects)
- Mechanised Props - These are props which are made to moved around during filming to create a certain effect such as a boulder dropping, a large machine door opening/moving or creating a physical entity for the characters/cast to interact with during filming, typically via hydraulics. A recent example would be the Alien Xenomorph and 'face-huggers' from Alien: Romulus (2024) which were used during filming to give the cast a significantly more real experience therefore, generating a better performance. (https://youtube.com/shorts/f_68LZV2zLI?si=suBEyoft8jlA-5ep)
- Stunt Props - These are pieces of equipment which crew and actors (including stunt doubles) can use to further the intensity of a scene through action which occurs in real life. An example of this would be in John Wick 3 (2019) within the scene where John uses knives (within a knife shop) to take down armed assailants who use prop handguns which make a noise and flash when the trigger is pulled to give the effect of shooting.
- Scale Models - These are models which are made for sets in a similar vein to animatronics; creating set pieces and characters through physically made means. An example of this would be in the 1979 sci-fi thriller: Alien when the crew of the ship Nostromo, visit an alien planet and uncover an ancient crypt with a large husk of a creature stationary in the middle known as the 'Space Jockey'. This scene creates immense spectacle due to the size of the scale model (and director Ridley Scott using child actors in the spacesuits to make the scene even larger).
- Make-up - Make-up is an additive which can further the representations within a product or immerse audiences in a fictional setting. An example of this can be seen in Joker (2019) where the protagonist finally dons his iconic make-up which creates the iconography the character is known for and creating excitement for the audience. Towards the end of the film however, after Joker/Arthur is arrested, his face is beaten and bloody, further accentuating his make-up and creating symbolism for how his character has changed come the end of the film.
- Pyrotechnics - These benefit action settings especially through the use of explosive devices to create spectacle for a scene. An example of this would be in The Dark Knight (2008) where The Joker has set explosives inside a hospital in Gotham and sets them off. The crew set pyrotechnics within scale model buildings and set them off (in front of an audience) to create a devastating spectacle for the film.
How was Aliens enhanced through special effects?
Aliens was a hallmark piece for Ridley Scott in comparison to the first entry in the series, Alien, which the director had directly stated 'I don't think of Alien as an "effects" film. It's not.' The claustrophobic, low-key and depressing atmosphere of the tight corridors and rooms of The Nostromo were designed with this in mind. To create a greater sense of realism. This set a precedent for how the series would continue: practical effects which would be masked and structured according to the scenes to entirely immerse an audience. Scott had apotheosized meticulous planning: 'For example, it helps tremendously if the effects man knows how a sequence is going to go. He is able to very carefully structure around that, knowing what things he can legitimately hide.' Following Alien's debut in 1979, Ridley Scott would go onto create another iconic sci-fi film inspired by the novel 'Do Robots Dream of Electric Sheep'. This film would be Bladerunner which released in 1982. Bladerunner however, was different to Alien. Labyrinths of cramped hallways became vast, cyberpunk city-scapes; this meant Ridley would have to venture into special effects. Something he would combine diligently into his (alongside its director James Cameron) now action-led thriller, Aliens (1986).
The director's strict approach to filming would continue on throughout the rest of the series; even to modern cinema where special effects have become so commonplace, especially within the sci-fi genre. A scene which siphons both practical and special effects within the movie is in the 'Hudson's Death Scene'. The tension and build-up toward a horrifying climax is created through the motion tracker which is made from a drill, camera equipment and a Casio calculator to create an iconic model of futuristic technology that has become iconographic to the series and conveys the (as of the 70/80's) contemporary-sci-fi art direction of the film corroborated by Scott. This piece of technology uses a special effects interface which is integral to the suspense of the scene: the countless flickering dots of movement and their constant encroach; further denoted by red number which continually ticks down signifying the enigma and their ensuing end in a metaphorical, horrifying countdown. This creates a tonal juxtaposition to the characters who are all (except Ripley and Newt) specially trained soldiers, equipped with futuristic guns (stunt props) but are instead budding with sweat (make-up) to create connotations of fear which are directly reflected onto the audience.
As the sound from the motion tracker continues to quicken in a high-pitched drone, all other sounds are silent. Hicks opens the ceiling and uses his flashlight to see in the compact darkness. This is where it's revealed that dozens of Aliens/Xenomorphs are crawling through their to reach them; this horrifying shot is achieved through practical effects, much the same as Alien, through combining scale models and mechanized props of the Aliens as they crawl through a set-piece which is the overhead area. The effect this has on an audience gives gratification to the build up signified by the motion tracker and denoted fear from the characters' confusion/appearance to create an iconically terrifying shot. The Aliens in this scene are mechanized and puppeteered by the crew. This would therefore, give visceral pleasure to the audience (Rick Altman 1999). The scene furthers this through the use of the stunt props, pyrotechnics, scale models & visual effects to convey the action-led thriller genre.
The survivors are forced to fight the Aliens where the (stunt prop) guns are used to shoot the Aliens, controlled by costumes/scale models and mechanical props/animatronics. There is a binary opposition (Levi Strauss 1958) of constant panning shots to signify the action between the Aliens and soldiers, and as they fight the scene becomes gradually more destroyed through controlled explosions via pyrotechnics; the visual effects of gunfire as they shoot furthering the visceral feel of the action. The horror of this scene is emphasized through the low-key lighting which uses a constant harsh red light (to signify the enigma) that illuminates the industrial, cramped hallways of the facility, which is also a scale model/set-piece that's used to immerse audiences further, rather than using green screens or mattes which could take away from that.
Alien's use of effects to emphasize terror is also significant in its penultimate scene 'Bishop, goddamn you!' where Ripley and Newt are fleeing from the detonating facility. Pyrotechnics are used in combination with more set-pieces/scale models to create a constant sense of rush as the scene becomes gradually more engulfed in flames; some of these are also created through CGI when used on (practically small) scale models. CGI is also used to emphasize the enigma of the Xenomorph Queen as it chases Ripley: erratic bolts of electricity from exposed wires engulfing it as it approaches closer. This would create significantly more tension through masking the queen's appearance and eventually illuminating it's face to create terror in its grotesque appearance.
This is furthered through how this effect conveys the facilities worsening conditions as it climaxes to another binary opposition where Ripley holds Newt to a digitally composited matte (via green screen) of the complex in flames; signifying their downfall. Fortunately Bishop comes in to save them in a scale-model ship and they fly away in a juxtaposing calm, blue hue backdrop, created through CGI.
Overall, Aliens is successful at further engaging its audience through prioritizing immersion through practical effects, whilst creating a sense of scale and spectacle by way of special effects to create a horrifying action experience.
