![]() This turned out to be wishful thinking, however, and shooting became very painstaking and laborious work. The mammoth device designed to produce this effect we nicknamed the “Sausage Factory,” because we expected the machine to crank out shots at a very fast rate. To produce exactly the same movement on each successive exposure, all movement drives and film advances were selsyn synchronized. Then the photo and the rear-projected image could be shot as separate exposures onto the same negative. For this effect the foreground spacecraft was a still photograph mounted on glass and, using a hi-pack camera, the masters of the background image could be printed with a white backing behind the still photo – the photo silhouette producing its own matte. For example, each scene of the Discovery spacecraft required a different angle and speed of star movement, and a different positioning and action of the miniature rear-projected image in the cockpit.Īll moving images in the windows of the various spacecraft were rear projected either at the time of photography of the model, although as a separate exposure, or later after the model image had been duped using Technicolor Yellow-C y a n-Magenta Masters, or “YCM’s.”Ī few scenes show a miniature rear-projected image in the window of a spacecraft as the spacecraft is matted over an image of the moon. It was necessary to keep such an accurate record so that work could begn on other elements of the same shot. As each element of a shot was completed, a frame clip of the 35mm rush print would be unsqueezed and blown up to storyboard size with prints distributed to all of the people concerned. This change would often influence subsequent scenes. Each of these terms called to mind a certain scene which related in some way to the name.Įarly in production we began to realize that storyboards were useful only to suggest the basic scene idea, and as soon as a particular model or effect would come before the camera, something new would suggest itself and the scene would be changed. For example, all scenes in the Jupiter sequence were named after football plays – “deep pass,’ “kickoff,” “punt return,” etc. For the purpose of being able to discuss a shot without referring to a storyboard picture, each scene had a name as well as a number. With a half-dozen cameras shooting simultaneously, some on 24-hour shifts, and different aspects of many sequences being executed at once, the problem of keeping apprised of each shot’s progress was difficult at best. To handle all of this information, a “control room,” constantly manned by several people and with walls covered by pert charts, flow diagrams, progress reports, jog sheets, punch cards, and every conceivable kind of filing system, was used to keep track of all progress on the film. ![]() ![]() ![]() One of the most serious problems that plagued us throughout the production was simply keeping track of all ideas, shots, and changes and constantly re-evaluating and updating designs, storyboards, and the script itself. Probably the most important aspect of the film is its special effects, and in this article I shall try to relate some of the specific problems encountered in a production of this type, some of the techniques we used to create the effects, and a few other interesting points about the production as a whole. “2001: A Space Odyssey” was an extremely complex and difficult film to make, and naturally there are many interesting stories connected with the production. Do it right – then do it better – then do it all over again.
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