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saga special effects ron fry pdf

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xx The Saga of Special Effects by Ron Fry PDF "Even when we know that cameras have never really filmed men on Mars, we still believe the reality of what we see on the motion picture screen. But still we want to know: How did they ever get those pictures?" The enthralling wizardry of special effects is well known to anyone who has seen King Kong, War of the Worlds, or 2001. Although some devices (breakaway furniture, double exposure, controlled conflagrations like those in Gone with the Wind and The Hellfighters) have become familiar standbys, each new picture presents a new challenge--and calls for wholly unique solutions. And because these special effects are meant to be convincing, the most ingenious of them often pass unnoticed. (How many film buffs realize that many of Citizen Kane's interiors were actually laborious composite matte shots?) Here, for the first time, The Saga of Special Effects presents the full story of the largely unknown technicians. artists, and jacks-of-all-trades who, ever since pictures first began to move, have been creating the impossible on screen. In fact, as this book documents, the history of motion pictures is the story of special effects. Thomas Edison patented his Kinetoscope in 1891, but it took Frenchman Georges Melies to invent the gloss shots, multiple exposures, and miniature sets for the first "international" hit, A Trip to the Moon. Much of Mack Sennett and Buster Keaton's slapstick success depended on innovative trick photography. And without the perfection of traveling matte shots, the silent Ben-Hur of 1925 could never have been filmed. The splendid achievements of 1920's camerawork were cut short by the technical problems of sound--a "special effect" in itself. Later, in the thirties, the development of Linwood Dunn's optical printer made possible the amazing sequences of Flying Down to Rio, the original Kong, and the best of the forties' war pictures. Of course, special effects--like the pictures they embellish--have their fads and fashions. Smellovision, 3D, and Sensurround have never really caught on because, as Fry and Fourzon point out, "at their worst, special effects are simply tacked on to provide some punch to an otherwise worthless plot." Ever since The Thief of Bagdad (1924), directors have too often substituted mindless spectacle for effective illusion. (Ironically, the "epics" of the sixties utilized a minimum of camera tricks, preferring to boost of lavish budgets that permitted most scenes to be filmed full-scale, on location.) But the more recent spate of "disaster" pictures--The Poseidon Adventure, Earthquake, The Hindenburg--required major innovations (and investments) in special effects that, in turn, have led to Star Wars and Close Encounters of the Third Kind. With over 150 unique photographs and exclusive interviews with special effects masters like George Pol, John Fulton, Roger Corman, Al Whitlock. Jim Danforth, and A. Arnold Gillespie, The Saga of Special Effects provides the definitive answers to the perennial question, "How did they get those pictures?" xx

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