Then I would have to come back and wrestle with the optical printer, and I would consider that to be sumo wrestling. “It was so facile and there were so many possibilities in the digital world. “You could go into a Harry session with a sow’s ear and come out with a silk purse,” comments Edlund. In this excerpt from Masters of FX, Edlund explains how the sequence was put together, quickly.Įdlund says he noticed the first real major shift to digital effects when Boss Film’s commercial division began using Quantel’s “Harry” video-compositing system in the mid-1980s. When Richard Edlund was called upon in an incredibly short space of time to help craft the end sequence to Ghost – the moment when Patrick Swayze’s character ascends to heaven – video effects were deemed a suitable approach for the ethereal-looking shots. But video effects were fast becoming something used more and more. Ghost was released 30 years ago back in 1990, optical compositing with an optical printer was still the main way that effects would be composited. A look back at Boss Film’s end Heaven sequence.
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