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<ul class="summary-list"><li><keyword id="128682" type="COMPANY" weightage="60" keywordseo="Netflix">Netflix</keyword>'s new action <a href="https://www.insider.com/category/movies">film</a> "<keyword id="6406346" type="UNKNOWN" weightage="60" keywordseo="extraction">Extraction</keyword>" stars <a href="https://www.insider.com/category/chris-hemsworth">Chris Hemsworth</a> as mercenary Tyler Rake.</li><li>The film's standout action sequence is shot to look like one long continuous take, which is stitched together with invisible cuts.</li><li>To capture the non-stop flow of the action, director <keyword id="4806728" type="PERSON" weightage="60" keywordseo="Sam-Hargrave">Sam Hargrave</keyword> did everything from strapped himself to the hood of a car, jumped off a balcony, and chased after Hemsworth on foot through narrow hallways.</li><li><a href="https://www.insider.com/?hprecirc-bullet">Visit Insider's homepage for more stories</a>.</li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>.Narrator: That's not just any stunt cameraman. That's Sam Hargrave, the director of Netflix's action movie "Extraction."To create this one shot required a complicated maneuver. First he unstrapped himself from the hood of a car, then he ran over to another car to film inside, and then he had to repeat the same shot from two different positions precisely to allow for a seamless final edit.The result was this: a shot that goes smoothly from outside a fast-moving vehicle to inside the car without any visible interruption. And that's just three seconds of a 12-minute-long sequence filmed to look like a single shot, which required camera moves by foot and by harness, complex stunts, invisible cuts, and a cast that could endure extended fight scenes.The director wanted the audience to see the complicated act of mercenary Tyler Rake extracting the kidnapped Ovi happen in real time and felt that one long take was the way to do it. The entire sequence consists of a car chase, then a chase up some stairs, a fight in a building, a jump from one rooftop to another, a tumble off an awning, a fight in the street, and one final car chase, which amounts to about 36 different segments attached together, creating an impressive 12-minute, seemingly continuous scene.From planning to shooting, it took approximately four to five months to bring this one sequence to life. First they looked at large maps of the location in India and highlighted routes where they would be shooting the scene. Then they choreographed the chase shots using toy cars, labeling each one carefully.Sam Hargrave: One of the logistics, 'cause it's not just me and a camera and, you know, <keyword id="6369639" type="DEFINITION" weightage="60" keywordseo="Chris-Hemsworth">Chris Hemsworth</keyword> in a car. There's hundreds of people involved in making this happen, so where do you stage them? It was a really intense, technical puzzle to solve.Narrator: Hargrave is no stranger to big, one-take action scenes. On top of being a stuntman and coordinator for multiple Marvel movies, he famously choreographed the memorable 10-minute, one-take fight scene in "Atomic Blonde."While most movies might require one or two location scouts, this movie required seven to eight. During scouting, the crew needed to find the most narrow and claustrophobic streets possible as well as buildings that provided passageways for easy, continuous shooting.Sometimes they would alter the location to fit the sequence, and other times the location would alter what the script looked like. For example, while this one building offered the perfect balcony for Chris Hemsworth and Randeep Hooda to start fighting, it did not have an awning that allowed their characters to tumble off the building, so the crew constructed one.Before actually shooting the scene, all of the stunts were rehearsed and filmed on location.Hargrave: We were testing and proving everything so that when we got there, there were no unanswered questions. We knew exactly where stitches were gonna happen, how were we going to, you know, throw this person over a balcony and capture that.Narrator: The sequence beings with a car chase. This is when Hargrave strapped himself to the hood of a vehicle. The small vehicle allowed him to squeeze through some tight spaces, like this tunnel. Most movies film car chases using a pursuit arm, which is a camera mounted to a vehicle meant to follow action. You can see one used during the chase scenes though the streets of Busan in "Black Panther."So, why do this instead? Stylistically, it allowed them to switch more seamlessly to a handheld style when they needed to. Practically, it allowed for mobility for shots where the camera switches perspective from outside Tyler Rake's car to inside.Hargrave's vehicle had to pull up directly alongside Rake's car, then Hargrave unclipped himself and put the camera as far inside the car as possible. Then, once he could get inside the car, he leaned out the window and then pulled the camera back in to reshoot the same action and the same background. This allowed the two shots to be stitched together. Hargrave said that he had to replicate it precisely, and if he was off by even a few degrees, they would have to shoot it all over again.Eventually, they have to get the two main characters out of the car and onto the street. In order to get the camera to leave the car without a cut, the window needed to shatter during this crash.The camera was hard-mounted inside the car and then put onto a slide, where it could then be pushed through the now empty window space so Hargrave could grab it and continue the shot up a flight of stairs as he chased a group of cops and then eventually met back up with the two main characters.That's where things got complicated. Because the hallways were only about three and a half feet wide, he had to avoid stepping over fallen bodies or running directly into the fight. And when you see the camera back up and eventually follow Ovi away, Hargrave had to count the exact number of steps he was walking backwards so he wouldn't crash into a wall.Hargrave: To get that right, I think we had to do, I think it was 21 takes.Narrator: And because the crew was so mobile, they had to rely on natural light as much as possible to light scenes. Lighting kits were only used when necessary, like inside cars and inside the truck.While this was all one long, continuous take, they still needed to call "Cut!" at some point. So the sequence is full of invisible stitches, like when the window was shattered.Hargrave: Sometimes, the places, the locations, weren't right next to each other and they weren't sequentially, you weren't able to shoot and move through them sequentially.Narrator: When Ovi ducks into a room and starts throwing objects, that doorframe was used as a stitch point. In reality, they recreated the room in another building down the street.Hargrave: It was, like, you know, 10 blocks away because the room had more access, had more space to shoot.Narrator: If not done correctly, this can create a continuity nightmare. So to successfully cobble these shots together, they had to recreate the first doorframe in the second location, so they looked exactly the same in both places.Hargrave: That actual location where he comes out is another place where we had to stitch, and that was just a couple doors down from that location 'cause what we're trying to, you know, get the person to believe is he goes in that door, goes down the room, and comes out, you know, not far away where Chris still was.Narrator: Stitches were also necessary for some of the more dangerous stunts. When Tyler jumps from one roof to another, they had to switch from Hemsworth to his stunt double. So they put in a stitch right here, as the shot switches to the back of the character's head, allowing Hemsworth to swap out with his double.Stunt doubles came in again when Hemsworth and Hooda's characters tumble off a balcony and into the street. Director: Three, two, one, go!Narrator: Here's Hemsworth watching as his double, Bobby Holland Hanton, took the fall. This was one of the hardest shots to capture and was as much a stunt for Hargrave as it was for the actors. Hargrave said that, normally, a shot like this might have anywhere from four to five cameras. Hargrave: Whatever they'd give me, as many as they could, so that you could, if something goes wrong or if the pacing's off, you could cut around it.Narrator: With just one camera...Hargrave: Because I wanted to be close to them to feel the impact of the fall but also wide enough to see the fall.Narrator: So to get the shot, Hargrave jumped off the balcony and over the awning with them, roped into a pulley system. It allowed him to hop right behind them as they fell and then got on the ground right on time. After five tries, they got it right.Then the two actors continued to duke it out in the middle of the street. Because there are no visible cuts and the camera had to keep rolling and rolling, the fight scenes were especially challenging for the actors. Because they couldn't cut to different angles, there was no way for them to fake it. The actors would also have to be ready to move as a small vehicle goes right between them during the fight, a detail they incorporated after location scouting.In the final stretch of the sequence, Tyler and Ovi steal a truck for one last big chase. They actually did use a special vehicle with a pursuit arm for this part. This was the only way they could physically keep up with the one-unbroken-take illusion.Hargrave: We had a camera vehicle so that we could race up beside the truck and get into the car deeper than I could. When I was safety-ed in, my arms only go so far. But we could get this action vehicle in a little deeper to the car.Narrator: CGI came in handy for the moment where Tyler and Ovi jump out of the truck. According to Hargrave, the jump was originally just hinted at. However, in the editing room, they decided they wanted to actually show it, but this location was no longer available. So first they had to rebuild the street and tunnel on an airport tarmac in Thailand. There, they had the stunt doubles leap out. After that, they worked backwards by having the two actual actors recreate the moment before the characters jumped out of the truck in front of a green screen. So this shot of them about to leap out of the truck and them actually falling out is two different shots in two completely different locations connected seamlessly.When the truck flips over, the continuous take ends.While it was important to keep the momentum going and always have something exciting happening on screen, Hargrave also found the best way to keep the audience engaged throughout was by pulling back. In the moments before Tyler and Ovi jump off the roof, there was supposed to be a huge fight on the roof, but Hargrave decided to scrap it.Hargrave: There's been so much action before, and there's about to be so much more. And we can't make this decision in the editing room. We can't just, you know, cut around and say, "Well, let's speed this up." We said, "I think right now we're overloading the audience with action. We need to take a break, we need to, like, insert a little joke here." Narrator: So they settled with this unscripted moment of comic relief.Tyler: All right, kid, you trust me?Ovi: No.Tyler: Good.Ovi: No!Read the original article on <a href="https://www.insider.com/netflix-extraction-chris-hemsworth-one-take-fight-scene-2020-5">Insider</a>

How Netflix's 'Extraction' filmed a 12-minute fight scene to look like one take

<ul class="summary-list"><li>Chris Hemsworth is back as Tyler Rake in "Extraction 2" and this time he's upping the ante.</li><li>The action star spoke about filming a 21-minute fight scene that took "about six weeks" to film.</li></ul>Chris Hemsworth is back as mercenary Tyler Rake in the sequel to the <a href="https://www.insider.com/most-popular-netflix-movies-based-on-watch-time-2022-9">popular Netflix flick "Extraction,"</a> which sees the commando trying to rescue a family of an imprisoned gangster. At one point during the film, Hemsworth embarks on a 21-minute fight sequence that took "about six weeks" to shoot, the actor said <a href="https://twitter.com/GMA/status/1668597100735520771" target="_blank" rel="noopener">Tuesday on "Good Morning America,"</a> and included "3- to 400 extras." During that particular shoot, Hemsworth was even lit on fire at one point."We would shoot for 14 hours a day," the actor said of the action-packed film, which also stars Idris Elba. "It was by far the most exhausting, physically draining, taxing experience I've ever had."In a separate interview with <a href="https://people.com/chris-hemsworth-got-lit-on-fire-extraction-2-injuries-premiere-exclusive-7511426">People magazine</a>, Hemsworth admitted that many of the stunts went wrong during filming, yet he was still excited to try them. "Initially, when [director] Sam [Hargrave] pitched it to me, I was kind of shaking my head going, 'Hang on, hang on, how is this even possible?' And then the excitement kicks in," the actor told the magazine."On the day, it's like being a kid," Hemsworth continued. "It's like being involved in the most crazy sporting experience you've ever been a part of.""Extraction 2" launches on Netflix this Friday.

Chris Hemsworth says the 21-minute fight scene in 'Extraction 2' took 'about 6 weeks' to film with 400 extras

<keyword id="2370" type="COMPANY" weightage="20" keywordseo="hollywood">Hollywood</keyword> star <keyword id="6369639" type="PERSON" weightage="20" keywordseo="Chris-Hemsworth">Chris Hemsworth</keyword> has cancelled his plans to visit India to promote his upcoming action film "Extraction" due to the global coronavirus outbreak. The "Thor" star was scheduled to visit Mumbai along with director Sam Hargrave on March 16. The event has been called off due to the coronavirus scare, travel advisory issued and the risk factor involved in travel. "Extraction", which was initially titled "Dhaka", also stars Indian actors Randeep Hooda and <keyword id="475128" type="PERSON" weightage="20" keywordseo="Pankaj-Tripathi">Pankaj Tripathi</keyword>. It revolves around Tyler Rake (essayed by Hemsworth), a fearless, black market mercenary, who embarks on the most deadly extraction of his career when he is enlisted to rescue the kidnapped son of an imprisoned international crime lord. The film is scheduled to release on April 24. Hemsworth shot for the <keyword id="128682" type="COMPANY" weightage="20" keywordseo="Netflix">Netflix</keyword> film in India in 2018. He shot in Ahmedabad and Mumbai. Earlier, in an interview to IANS, Hemsworth opened up about shooting in India, saying he felt like a rockstar while doing so. "I love the place and the people. Shooting there... There were thousands of people on the streets every day and I have never experienced that on set. It was sort of intimidating as it was exciting because there were so many people," he said. "After every take (when the director) called 'cut', there was loud cheer. We felt like rock stars in a stadium. But the warmth and support we got while shooting there, no matter how disruptive we were to their daily lives, it was so good. People were so positive. I have huge appreciation to that," added Hemsworth, whose daughter is named India.

Coronavirus impact: Chris Hemsworth won't be coming to India to promote his movie Extraction

<ul class="summary-list"><li>"Avengers: Endgame" codirector Joe Russo, who wrote the screenplay for "<keyword id="6406346" type="UNKNOWN" weightage="60" keywordseo="extraction">Extraction</keyword>," has closed a deal to write the sequel.</li><li>Russo told Deadline "we're not committing yet to whether that story goes forward, or backward in time."</li><li><keyword id="128682" type="COMPANY" weightage="60" keywordseo="Netflix">Netflix</keyword> is projecting "Extraction" to be its biggest movie premiere ever with 90 million households watching in the first four weeks of release. </li><li><a href="https://www.businessinsider.com/?hprecirc-bullet">Visit Business Insider's homepage for more stories</a>.</li></ul>Netflix's new action movie "Extraction," starring Chris Hemsworth, is a smash hit, and a sequel is already in the works. "Avengers: Endgame" codirector Joe Russo, who wrote the screenplay for "Extraction," is writing the sequel. The hope is that director Sam Hargrave and Hemsworth will return, though a deal isn't in place yet, according to <a href="https://deadline.com/2020/05/extraction-netflix-sequel-chris-hemsworth-joe-russo-screenplay-script-sam-hargrave-1202925594/">Deadline</a>."The deal is closed for me to write 'Extraction 2,' and we are in the formative stages of what the story can be," Russo told Deadline. "We're not committing yet to whether that story goes forward, or backward in time. We left a big loose ending that leaves question marks for the audience.""Extraction," in which Hemsworth plays a mercenary tasked with rescuing a kidnapped child, <a href="https://www.netflix.com/title/80230399">debuted on Netflix</a> on April 24. The <keyword id="572624" type="PERSON" weightage="60" keywordseo="Streaming">streaming</keyword> giant said on Friday that the movie was <a href="https://www.businessinsider.com/extraction-pacing-to-be-netflix-biggest-movie-premiere-ever-2020-5">pacing to be its biggest movie premiere ever</a> with a projected 90 million households watching in the first four weeks of release.The movie hasn't been quite as big of a hit with critics, but has a respectable 68% critic score on Rotten Tomatoes. Some reviews were harsher than others. The AV Club called it "a glorified direct-to-video action movie — albeit one that lacks the momentum and efficiency that defines the best entries in the DTV category."But others praised it as an entertaining popcorn movie. <a href="https://variety.com/2020/film/reviews/extraction-review-chris-hemsworth-netflix-1234586996/">Variety</a> wrote: "Check your brain going in. But if the only exercise you're getting is from the couch to the kitchen these days, it's liable to get your heart racing just a little, and that's not a bad thing."Read the original article on <a href="https://www.businessinsider.com/netflixs-hit-action-movie-extraction-is-getting-a-sequel-2020-5">Business Insider</a>

Netflix is making a sequel to 'Extraction,' which the streamer says is pacing to be its biggest movie ever

<ul class="summary-list"><li>One take scenes are shot in long, unedited segments and then stitched together.</li><li><a href="https://www.insider.com/category/movies">Movies</a> like "<keyword id="6406346" type="UNKNOWN" weightage="60" keywordseo="extraction">Extraction</keyword>," "<keyword id="4275121" type="PERSON" weightage="60" keywordseo="Atomic-Blonde">Atomic Blonde</keyword>," and "<keyword id="302094" type="ORGANIZATION" weightage="60" keywordseo="SPECTRE">Spectre</keyword>" often hide the cuts by having characters walk through doorways or even walk in front of the camera.</li><li>In order to travel light and capture characters on the move, <a href="https://www.insider.com/category/oscars">Oscar</a> winners "<a href="https://www.insider.com/category/1917">1917</a>" and "<keyword id="1025564" type="PERSON" weightage="60" keywordseo="Birdman">Birdman</keyword>" relied on small cameras and natural light.</li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>: Abby Tang: This epic trench battle from "<keyword id="3012877" type="PERSON" weightage="60" keywordseo="1917">1917</keyword>" was shot to look like one long take. And it was a huge challenge for both the cast and crew. It involved multiple cranes, speeding trucks, and perfectly timed handoffs. But this is just one example of a one-take scene, or a "oner," that pushed filmmakers to their limits and required impressive technical innovations. Here's how eight movie and TV scenes were shot to look like one long take.One-take scenes are naturally suited for intense action, as you can see in this fight scene in "Atomic Blonde." Despite shooting in a real building, the crew still had to alter the set to accommodate the oner. For example, they built this elevator, which helped create a natural stitch point, a way to hide the moment the camera cuts and keep the continuous illusion going. They also used another stitching technique called body crossing, in which a cut is hidden when a performer blocks the camera, as seen here with this henchman. Because the fight was shot to look like one take, it needed to be shot in chronological order. So the effects team had to constantly apply new makeup to Charlize Theron and the other characters as the fighting continued and injuries increased. Charlize did her own stunts for a large part of this sequence. However, for some of the riskier moves, the crew subbed in her stunt double, Monique Ganderton. For example, the director used motion blur when Charlize had to fall down the stairs and slam into a wall. That's actually Monique tumbling down the stairs before switching back to Charlize hitting the wall.Unlike "Atomic Blonde," Netflix's "Extraction" hops from location to location, as opposed to just one building. The entire sequence goes on for about 12 minutes and consists of approximately 36 segments cobbled together. The nonstop action required director Sam Hargrave to do some stunts of his own. For this car chase, he strapped himself to the hood of another vehicle and then had to quickly unstrap himself and place the camera inside the other car. He then had to replicate the same shot backwards by leaning out the car once he was inside. This helped create a natural transition point. If Sam's position was off even slightly, they'd have to shoot it all over again. Then for this shot, where Chris Hemsworth's stunt double tumbles off an awning, Sam roped himself into a pulley system to get up close to the action. The sequence also fools the eye in many other ways. For instance, when Ovi runs through this doorway, he is actually running into a room in a different building 10 blocks away. The crew had to change locations to one where there was more space to pull off the upcoming action. And like with "Atomic Blonde," they frequently swapped out Chris with his stunt double, Bobby Holland Hanton. The first shot you see here is Chris' face. They could then pan to his double without anyone noticing by shooting the back of his head.For the Day of the Dead parade scene in "Spectre," cinematographer Hoyte van Hoytema wanted to start big and then go small and intimate. That meant starting wide with parade shots, then getting in closer to the marchers before following Bond into a hotel room. To pull this off, Hoyte used a technocrane. The crane started high and then lowered down into the crowd without cutting. A Steadicam operator then jumped off, pushed farther into the crowd, and followed actor Daniel Craig up to the hotel room. While the street scenes were shot in Mexico, the hotel room was actually set in the UK. The crowd scenes featured 1,500 extras. According to ILM VFX supervisor Mark Bakowski, since they couldn't get a perfect shot where every extra looked the right way at the right time, the VFX team inserted digital masks over their faces.Sometimes oners are limited by the space they're shot in, which means the crew needs to be a bit more creative. In the season two premiere of "The <keyword id="7948567" type="UNKNOWN" weightage="60" keywordseo="Marvelous-Mrs-Maisel">Marvelous Mrs. Maisel</keyword>," cinematographer M. David Mullen had to lead the camera through a fictional department store, through a mail slot, and then into the small room where Midge Maisel works as a switchboard operator. Unlike other continuous shots, there were no wide spaces for the camera to pass through -- just five feet of space between these two rows of actresses. For both cameraperson and performer, it was about precise timing. The space was so tight that the actresses had to lean back so they wouldn't get hit by the camera. Then, when the camera went through the center of the room, actresses wheeled around in their chairs so they wouldn't block the shot.For "Birdman," it wasn't just one scene, but the entire movie that needed to look like one long take. According to director Alejandro González Iñárritu, some of the takes were up to 20 minutes long. Because of the amount of movement in the film, "Birdman" was shot using small handheld cameras and Steadicams. These allowed the crew to more easily follow the cast as they walked through New York's crowded streets. This also meant the crew couldn't use typical large light kits. So, according to cinematographer Emmanuel Lubezki, they instead relied on natural and practical lights in the scene, like these colorful light bulbs above Michael Keaton and even the lights emitting from Times Square. "Birdman" wasn't just a challenge for the crew; it was also a huge endeavor for the cast. According to Emma Stone, if she flubbed even a single word, she'd have to start again from the very top.Like "Birdman," "1917" was also filmed to look like one single take over its entire two-hour running time. But it was even more complicated due to its epic battle sequences. Pulling this film off involved the most careful planning imaginable. Every set was precisely measured out and could be no longer than the length the camera could travel. Since the crew was constantly on foot, they relied almost entirely on natural light. Look at the scene where Schofield runs through a destroyed city. It was lit up by flares in the sky. Because the flares were the main light for part of the scene, the crew needed to time exactly how long the flares needed to be in the air. They figured this out in preproduction, where they ran a light above a mini model of the set to see where exactly all the shadows would fall. Of course, the film also relied on stitch points, like here, when Blake and Schofield walk through a black curtain. But most of its magic was accomplished using innovations in technology. For example, Schofield's journey downriver was captured by a drone. Meanwhile, lighter and smaller cameras allowed the crew to move through trenches and difficult terrain with ease. Then, to get across no man's land, cinematographer Roger Deakins and the crew attached cameras to a cable system above the set. This shot, where Schofield runs through a destroyed city and jumps off a ledge and into a river, was too dangerous to do in real life. So the part of him running was shot on set, while the jump was actually shot using CGI with a swapped background that allowed for a seamless transition. Shooting continuous takes means it's hard to call "cut," so it's not ideal for making mistakes. But this moment here, where actor George MacKay runs alongside the trench and then trips, was not intentional. But in the end it felt natural, so it stayed in the movie.The entire set for this episode of "The Haunting of Hill House" had to be built specifically to accommodate a single shot. Take a look at this elevator. It was designed to lower the cameraperson down to the next floor and allow them to capture the shot of Olivia and Hugh running down the stairs without a break. Because the camera goes between Hill House and the funeral home in the episode, the two stages were actually built adjacent to each other and connected by a hallway. This allowed the camera to follow Hugh as he walked directly from the funeral home into the house. Oners are frantic by nature, and they involve a lot of movement and setup changes. The "Hill House" set had places throughout for the crew and their equipment to hide whenever the camera turned in their direction. Like with "Birdman" and "1917," "Hill House" also demonstrated the challenges of lighting a oner. If an actor missed a cue, they wouldn't be lit properly. So series creator Mike Flanagan came up with a unique solution. When he clapped these two wood blocks together, the cast member knew what to do. [blocks clapping]One-take scenes aren't just used to show movement from place to place. They can also be really useful in showing the passage of time. This scene from the Showtime series "Kidding" shows the character Shaina watching "Mr. Pickles' Puppet Time" on her TV as her life progresses and improves around her. The shot captures five years of her life over the course of one minute and 42 seconds. Because the camera had to circle constantly around the room as it changed, this endeavor was an absolute mad rush for the cast and crew. To show the passage of time, the camera operators circled around the room. Each area of the room would show a new development in Shaina's life. So whenever the camera wasn't focused on them, the 50 crew members had to swap out furniture and bring in new props. Then this wall slid over into the kitchen. While that was happening, actress Riki Lindhome had to go through multiple costume changes, some of which involved using a body double.What are some of your favorite one-take scenes? Let us know in the comments.

How 8 TV and movie scenes were shot to look like one take

<ul class="summary-list"><li>This episode of "<keyword id="9060219" type="UNKNOWN" weightage="60" keywordseo="movies-insider">Movies Insider</keyword>" looks at how the <a href="https://www.insider.com/best-car-chases-in-movie-history-ranked">car chase</a> has changed over eight decades of filmmaking.</li><li>We trace the evolution of the Hollywood chase sequence from <a href="https://www.businessinsider.com/bullitt-ford-mustang-auctioned-most-expensive-2020-1">"Bullitt"</a> to the <a href="https://www.insider.com/main-fast-and-furious-franchise-reportedly-ending">"Fast &amp; Furious"</a> franchise.</li></ul>Following is the transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>.Narrator: This is a chase scene from 1924. It's from the movie "Sherlock Jr.," and in it, Buster Keaton seems to almost get hit by a train. With extremely limited special effects, the filmmakers had to come up with an innovative way to create the illusion. So they shot the sequence backwards, then reversed the film.Since then, Hollywood has developed countless ways to make <keyword id="2303313" type="PERSON" weightage="60" keywordseo="car-chases">car chases</keyword> feel more real and visceral to audiences, from modifying <keyword id="20632" type="ORGANIZATION" weightage="60" keywordseo="Cars">cars</keyword> to placing cameras right in the seat of the action. And without each of these innovations, we wouldn't have gotten to the ultimate spectacle that is the "<keyword id="1745113" type="ENTERTAINMENT" weightage="60" keywordseo="Fast-Furious">Fast &amp; Furious</keyword>" franchise.Let's take a look at how the car chase has evolved over 100 years in Hollywood.This is the scene that set the standard for all modern car chases. It's from the 1968 Steve McQueen movie "<keyword id="353334" type="ENTERTAINMENT" weightage="60" keywordseo="Bullitt">Bullitt</keyword>," and it's iconic partly because of the characters --Bullitt: Look, Chalmers, let's understand each other. I don't like you. Narrator: But also because of their cars. This mean-looking Dodge Charger is a muscle car, a type of car that exploded in popularity during the late '60s in the US.This new, sleeker generation was basically built for informal drag racing, with big V-8 engines and rear-wheel drive.The hero car in "Bullitt" was a Ford Mustang, the first major pony car -- a more compact, sporty take on the muscle car. And it's this combination of streamlined design and V-8 engines that made these cars powerful and maneuverable enough to pull off daring stunts, like racing through the hills of San Francisco at 110 miles per hour."Bullitt" also had another advantage, smaller and more rugged cameras, which allowed shooting to happen in actual streets. Before this movie, most directors shot chase scenes on studio sets, since they were dealing with cameras that looked like this.To fill in the backdrop, filmmakers would use rear projection, where you project a moving image onto a screen behind the actor. Like in this chase scene from the first Bond movie, "Dr. No," where Sean Connery's steering doesn't seem to match the movement of his convertible."Bullitt" was one of the first big Hollywood <keyword id="406" type="ENTERTAINMENT" weightage="60" keywordseo="Movies">movies</keyword> to rely on the lighter Arriflex 35 II camera, so the crew could shoot entirely on location and also take audiences inside the cars. They mounted cameras on the hood, sides, and interiors of each vehicle, so viewers could feel every bump and lurch.This dynamic camera style was most famously used in the chase from the movie "The French Connection." The filmmakers mounted cameras on the hood, front bumper, and dashboard of Gene Hackman's Pontiac. These multiple angles, along with handheld-camera work from the backseat of the car, showed all the action from the driver's perspective.The result makes that Bond chase look like a casual spin.[Bond theme plays]But higher-stakes car cases can also be more dangerous. "The French Connection" chase was filmed on uncleared streets in New York, without permits, among other drivers and passersby.These barely avoided collisions?They happened for real. And this crash was entirely unplanned. At the wheel of the white Ford was a civilian driver who was uninvolved in the shoot.All this happened even with actors sometimes driving slower than what you see on film, a standard trick used to reduce risk.See how some cars' exhaust pipes are blowing smoke faster than normal? That's because filmmakers on "French Connection" used a technique known as undercranking, where they film some of the scene at a lowered frame rate.Capturing fewer frames makes movement look faster -- basically the opposite of slow motion.You can also see this in "Vanishing Point," released the same year. Barry Newman's character bets he can drive his Dodge Challenger from Denver to San Francisco in 15 hours. That'd require a constant pace of some 80 miles an hour. But in many sequences, like this hot race with a Jaguar, the actors were only driving at 50. So the filmmakers created the illusion of speed by undercranking the camera to half its normal frame rate, making the cars look like they're flying.[engines roar]Undercranking is still used today, most notably in the 2015 movie "Mad Max: Fury Road."But heavy undercranking works best for settings that don't have a lot of people moving around. "Mad Max" and "Vanishing Point" were perfect fits, with scenes that take place in the desert. In scenes that have lots of pedestrians, the effect can make human movement look jerky and fake, like what you see in old silent comedies. So city chase scenes can only use the technique sparingly.The Paris chase in the 1998 thriller "Ronin," where Robert De Niro's Peugeot pursues a BMW, didn't use undercranking at all. To actually drive at these daredevil speeds, you pretty much always need a stunt driver. So the filmmakers have to find ways to make it look like the actor, not the stunt driver, is controlling the car.In "Ronin," they had right-hand-drive cars fitted with fake left-side steering wheels. The actor, in this case Robert De Niro, would pretend to drive for the close-ups, while the stunt driver to their right did all the actual maneuvering on a steering wheel positioned out of shot.But having the stunt performer in the other seat limits the angles you can shoot. And what if the stunt driver can't be in the vehicle at all?The solution came from a movie with exactly zero car chases: "Seabiscuit." The stunt team on that movie built a special rig for filming horse-race scenes.Eventually, that rig evolved into a smaller, more versatile version designed specifically for filming car chases. Known as the Biscuit, it's basically a vehicle that you can put other vehicles on, one that can be reassembled into different configurations, like a giant Lego truck.The rig makes it look like an actor is doing the driving, while a stunt person actually steers from the driver's pod. This pod can be mounted anywhere on the platform, so filmmakers can basically get any angle they want.The Biscuit rig made it possible to film some of Hollywood's most famous car scenes over the past two decades, from this scene in "The Hangover" to the many chases in "Baby Driver."Take this scene in the movie "Drive," where a guy chasing Ryan Gosling's character hits the back of his Mustang to make it spin out. After shooting the whole thing with two stunt drivers to get all the exterior shots, they filmed it again with Ryan in the car and the car on the Biscuit rig to get the close-up and interior angles.A stunt driver drove the Biscuit while talking to Ryan through a radio to help him mimic all the movements on his steering wheel. In the resulting scene, it looks like Ryan is in control of the vehicle. And because he is immersed in the action, we as the audience are too.Finding ways to make chase scenes feel more and more immersive calls for increasingly creative rig systems. Like in the movie "Extraction," with a 12-minute fight and chase sequence designed to look like one continuous take.To pull this off, director Sam Hargrave strapped himself with his camera to the hood of a chase vehicle. From there, he could follow the action from behind, unclip himself, and then move the action into the car for a seamless outside-to-inside shot.This progression of bigger and bigger chase spectacles has led to the "Fast &amp; Furious" franchise, where each movie tries to top the car stunts in the last.[engines roar]Today's filmmakers build on all the tools we've previously seen but have to deal with a whole other set of challenges.First, cities have become more restrictive about productions filming risky chase sequences in their streets, so it's become commonplace to shoot chases in an entirely different city than they're set in. "Fast and Furious: Tokyo Drift" was, despite its title, mostly filmed in LA. The movie's VFX team created an entirely CG Shibuya Crossing, the focal point of a major chase in the movie, and used computer simulation to create fake crowds and traffic.Similarly, the zombie chase in "Fate of the Furious" was set in New York City but filmed mostly in Cleveland, with digital set extensions adding detailed architecture to disguise the city streets.The cars themselves are another common hurdle. Chase cars aren't built the same way today. Since the decline of the muscle car beginning in the late '70s, models have been getting safer and safer. Today's cars have onboard computers that make them shut down if they start to drift or do a power slide or J-turn -- basically, all moves that would be dangerous for your average driver but make up the basic ingredients of a Hollywood chase scene."Black Panther"'s filmmakers ran into this problem when filming the Busan chase scene. They had to have Lexus send them a computer programmer to tweak the cars' computer systems on set, overriding the many safety features.This happened on "Baby Driver," too. The team had to fly in a technician from Germany to make the Mercedes-Benz slide around and crash through a fence without shutting downThis customization goes beyond computer programs. Cars have always been reinforced and modified for stunts, but recent movies take customization much further.For cars used in production for the "Fast &amp; Furious" movies, the crew removes the airbags from the cars and disables features like traction control and the antilock braking system. They also fortify the frames and bodies of the vehicles so they can withstand heavy-duty stunt work.This can also mean building new cars from scratch, like the flip car that Luke Evans' character uses as a weapon in the London chase from "Fast 6." The Formula 1-style car has a special ramp design, so that when it drives into other cars it makes them go flying. They also designed the car with both front and rear hydraulic steering, which made it possible for the car to change direction at high speeds and look like it's gliding over the road.But just as it took 100 years to get the tech to where we are now, it can still take months to build up an epic car shot, even a short one.For the upcoming "F9" movie, director Justin Lin said this four-second shot with a Toyota 86 took eight months of prep, four days of production, and over 100 crew members.So even if these cars are going fast, it's the slow work of production that's gotten chase scenes to where they are today.[car engine sputters][tires squeal]

The evolution of how car chase scenes are filmed for movies

<ul class="summary-list"><li>Hollywood uses many tricks and techniques to make even the most unimaginable <a href="https://www.insider.com/category/stunts">stunts</a> come to life.</li><li>"<a href="https://www.insider.com/category/baby-driver">Baby Driver</a>" and "Elf" used a Texas switch to swap an actor and their double without having to cut.</li><li>A tuning fork made characters like Maleficent and <a href="https://www.insider.com/category/captain-marvel">Captain Marvel</a> look like they were flying.</li></ul>Following is a full transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>.Narrator: In this shot from "Central Intelligence," a man on a motorcycle does a backflip and then knocks The Rock's character over.But look behind the scenes and you'll see nobody was injured that day, because this shot was actually two separate takes.This is a stunt trick known as a camera lock-off. And it's just one of many tried-and-true techniques Hollywood uses in films and <keyword id="6355065" type="UNKNOWN" weightage="60" keywordseo="TV">TV</keyword> shows, making even the most unimaginable <keyword id="2902" type="PERSON" weightage="60" keywordseo="Stunts">stunts</keyword> come to life.In this scene in "Baby Driver," Ansel Elgort's character pulls into a parking spot and then runs out moments later. In reality, that's a stunt driver driving into the spot.The driver's side gets covered by this pillar, which is also hiding Elgort. So as Elgort runs out, it looks like he's the one getting out of the car in the first place.This is a trick known as a Texas switch, an in-camera effect in which the actor and their double will actually switch places midway through the action. The move involves close collaboration between the stunt crew, camera crew, and director.Daniel Hargrave: Whether it's a whip off of the actual actor to something to come right back to them, you can't just go focused on that person and then put another person in.Narrator: And the set needs a natural hiding place for the switch to occur, like this rock that Sean Connery is hiding behind in "From Russia With Love."The Texas switch isn't just for action. It's even become a comedic staple, in everything from "The Naked Gun"... to "Scott Pilgrim vs. the World."Knives Chau: Is Scott here?Wallace Wells: Oh, you know what?[glass shattering]He just left.Narrator: In this scene in "Elf," for example, Buddy needs to put a star on top of a very tall Christmas tree. First, Will Ferrell runs off camera. Then the double runs out and launches himself on top of the tree.[tree crashing]"Maleficent: Mistress of Evil" contained many moments where Angelina Jolie had to perform dialogue in midair. So how exactly did they make it look like she was flying while allowing for her to comfortably and safely act in the scene?They used this device, called a tuning fork, which consists of two prongs that lock into both sides of the performer's body. The rig is controlled by a steering wheel that is driven by stuntpeople in blue or green suits who are erased in postproduction.Tuning forks were especially useful for the shots where Maleficent hovers in the air, and the steering wheel makes 360-degree turns possible. This was key for scenes where the Fey twist and turn in the air in "Maleficent," or when Mulan performs full spins in the air in the live-action remake.You can also see it in action in "Captain <keyword id="47501" type="COMPANY" weightage="60" keywordseo="Marvel">Marvel</keyword>" when Carol Danvers realizes her full potential. But the fork isn't a complete replacement for wires, which are still crucial for flight.According to stunt coordinator Monique Ganderton, wirework helped give the character more mobility in "Captain Marvel" and "Endgame."Monique Ganderton: She had two wires on her hips only, 'cause I like them to have freedom in their upper body. And then a guy in a blue suit behind just kind of puppeteer the leg up, so her body could go side to side and then come back up into an upright position.Narrator: In "Men in Black: International," a menacing alien tosses Agent H down a staircase. To achieve this violent-looking motion, filmmakers use a trick called a ratchet pull.During a ratchet pull, a performer is tied to cables powered by an air-pressure cylinder, which pulls them either backwards, forwards, or upwards. The more pressure you use, the farther they'll go.In "Twilight: Eclipse," for example, Monique Ganderton was ratcheted 20 feet forward after a CG wolf attacked her character.Sometimes a simplified version of a ratchet pull called a dead man will do. Instead of tying a performer to a complex rigging system off camera, the performer is tied to a solid, stationary object in-frame.Monique: What happens is, when you fully commit, you run, and you jump, and you hit the end of that line, and it just whips you back onto the ground.Narrator: You can see it performed during the battle of Wakanda in "Infinity War."Monique: It gives for this violent, this really simple but violent action.Narrator: The dead man can also be used to pull somebody off a horse, like you see here in this cut sequence from "Chaos Walking."And when Thor gets hit by Thanos in "Endgame," both a traditional ratchet pull and a dead man were actually needed so Chris Hemsworth's double, Bobby Holland Hanton, could be pulled forward and then thrown to the ground.Getting a stunt performer to go through glass, like in this scene from "The Hunt," requires a lot more force than just a person's body weight. When a character needs to jump or fall out a window, productions use tempered glass, which shatters into tiny, harmless bits instead of sharp shards.But the glass itself is so strong actors would simply bounce off it, as you can see in this gag. So in these moments, the special effects team rigs the glass with explosives timed to go off the exact moment the performer falls through.Daniel: By cracking it, you weaken the whole system.Narrator: In "The Hunt," the doubles were attached to a wire that pulled them backwards just as the explosives go off. Exploding glass also helped hoist stuntman Daniel Hargrave out a window in "The Accountant." If you look on the ground, you can see how tiny the broken glass pieces actually are.Stuntpeople are finding efficient ways to update this trick too. In "John Wick 2," the character is thrown through a glass sculpture.Daniel: Basically the performers had to hit the glass and let the computerized system do its thing. They put four charges that were pressurized into the glass, so it was on a pressure system. As soon as that glass pushed against the charger, it had, like, maybe a eighth of an inch of pressure on it, so as soon as you'd push through, it would blow.[glass shattering]Narrator: This risky stunk from "Central Intelligence," in which The Rock's Bob Stone is hit in the head by a motorcycle, was made possible by clever camerawork and visual effects.In a trick known as a camera lock-off, two actions are shot separately from a camera that is locked into the exact same place both times. Then those two shots are combined using visual effects. First, filmmakers shot a motorcyclist doing a backflip. Then, in another shot from the same angle, stunt double Tanoai Reed was pulled back on a ratchet to imitate impact. The wires were erased and the two shots layered together into a seamless whole.For moments like this, stuntpeople can actually get hit by cars. But lock-offs can lessen the pain of vehicular hits.Take this moment in "Atomic Blonde," where Gascoigne, played by Sam Hargrave, is hit by a car and then smashed into a van in front of him.Daniel: Sam was on a ratchet, so he ran to his mark, and we ratcheted him into the van. So no car hit him. And then I was driving the car, and we just, same thing, lock-off, I slid in as if I hit him, and then they merged together. And then he just turns, and you see a wide shot of him getting hit and flipped into this car.[grunts]Narrator: In "Underworld," the werewolf Lucian has to run at superhuman speed. And this isn't the work of CGI or camera tricks. It's actually a practical effect called a magic carpet.For this stunt, the crew will attach a large tarp to a vehicle. The performer will start running on the smooth surface as the car drives, allowing them to run much faster than a normal human would. "Underworld" stunt coordinator Brad Martin had actor Michael Sheen and his stunt double run on an 80-foot tarp attached to a car, creating the appearance of running at 35 miles per hour. It was so successful that Martin used it again in "Underworld: Awakening."It can make just about any type of character look like they have superhuman speed. Without a magic carpet, the actors in 2001's "Planet of the Apes" would never look as fast as apes on all fours.And it's also why Black Panther looks so fast when he runs and jumps onto the back of a car in "Captain America: Civil War."However, this really only works on flat surfaces like asphalt. For off-road terrain, stunt crews may use a weighted wire system attached to a winch, basically a giant spool, to physically lift and propel them.Look at the start of the battle of Wakanda in "Avengers: Infinity War" when Captain America sprints past his fellow Avengers, who are also running at full speed.Stunt double Daniel Hargrave was clipped into a harness and attached to wires above his head. The winch was then weighted to counteract his body weight, helping him move up and forward. With the extra help, he could run up to 24 miles per hour.Daniel: I was about 50% on my feet, so I still had to run and move my feet as fast as possible, but I wasn't actually doing all the propelling myself.Narrator: And it's helpful with Marvel villains as well. In "The Incredible Hulk," a similar weighted system helped Emil outrun several soldiers after taking the superserum, launching actor Tim Roth to speeds ranging from 30 to 40 miles per hour.Some of Hollywood's most daring car stunts need trained stunt drivers to pull them off safely. But what if you still want to make it appear as if the actor is the one driving? A much more dynamic way to capture chases is by using a Biscuit.It's a vehicle that you can put other vehicles on. So while the actors appear to be driving on camera, the real work is being done by a stunt driver sitting in a driver's pod just out of frame. But because the stunt driver isn't seen in a Biscuit rig, the camera can capture way more dynamic angles.These rigs allowed the audience to see Christian Bale up close in "Ford v Ferrari," and some seemingly impossible car moves in "Baby Driver."In the movie "Drive," they actually shot this part twice, where Ryan Gosling's character gets hit by another car. First they shot the exteriors with two actual stunt drivers, then they shot Gosling on the Biscuit, able to mimic every move to get the inside of the car. Director: And ready, and action.Narrator: CGI can be used to create big, safe fires. But fire is still one of the hardest elements to create with visual effects. It's easier to set a real stuntperson ablaze. So, how do they do it without causing any harm?Stunt performers often wear three layers of fireproof underwear, which is soaked in a flame-retardant material called Zel Jel. They then add on three more layers: a rain suit, a fire suit, and a thin cotton suit. Even more Zel Jel will go on any exposed skin.According to "Game of Thrones" stunt coordinator Rowley Irlam, timing is key for fire stunts. A stunt performer can't be fully engulfed in flames for more than 15 seconds.Crew: Fire! One, two, three, four, five, six, seven, eight. Out, out, out!Narrator: And you often have to account for multiple stunt actors. Over 73 performers were set on fire for the loot train attack in "Game of Thrones."Full fire burns also come with acting challenges. Performers need to hold their breath while engulfed in flames in order to not breathe in any of the fire. What stunt tricks do you want to hear more about? Let us know in the comments.Monique: Daniel and I did a winch drop that was almost 600 feet together on "Hunger Games." It wasn't a hard gag for us, but it's like, if something goes wrong, you die, because it's, like, 600 feet. But we had a great time. We just, for three days, we just went up, and down, and up, and down.[laughing]

8 stunt tricks used over and over in movies

<ul class="summary-list"><li>Even with the COVID-19 pandemic slowing down production, <keyword id="2370" type="COMPANY" weightage="60" keywordseo="hollywood">Hollywood</keyword> managed to put out a slew of exciting new projects full of ambitious stunts and special effects.</li><li>From the massive battle scenes in <a href="https://www.insider.com/disney-live-action-mulan-movie-review">"Mulan"</a> to the gripping <a href="https://www.businessinsider.com/inside-wild-stunts-and-fights-of-birds-of-prey-2020-2">fight sequences</a> in <a href="https://www.insider.com/birds-of-prey-movie-review-2020-2">"Birds of Prey,"</a><a href="https://www.insider.com/netflix-extraction-chris-hemsworth-one-take-fight-scene-2020-5">"Extraction,"</a> and <a href="https://www.insider.com/the-old-guard-fight-coordinator-charlize-theron-injuries-2020-7">"The Old Guard,"</a> this year's action films pushed actors and stunt performers to undergo extensive weapons and <a href="https://www.insider.com/how-the-airplane-fight-in-the-old-guard-was-done-2020-7">combat training</a>.</li><li>With Pixar's <a href="https://www.insider.com/how-pixar-revolutionized-way-clothes-are-animated-digital-cloth-technology-2020-3">"Onward"</a> and Netflix's "<a href="https://www.insider.com/netflix-over-the-moon-review">Over the Moon,"</a> 3D-animated films found innovative ways to animate and <a href="https://www.insider.com/netflix-over-the-moon-animators-light-scenes-in-animated-movies-2020-11">light</a> their characters and worlds, the likes of which we've never seen before.</li><li>Boundary-pushing digital effects made <keyword id="406" type="ENTERTAINMENT" weightage="60" keywordseo="Movies">movies</keyword> like <a href="https://www.insider.com/dolittle-movie-review-robert-downey-jr-2020-1">"Dolittle,"</a> <a href="https://www.insider.com/every-version-sonic-the-hedgehog-1991-today-evolution-2020-2">"Sonic the Hedgehog,"</a> and <a href="https://www.insider.com/call-of-the-wild-real-life-dog-2020-4">"The Call of the Wild"</a> possible by combining CG animals with live-action humans and environments. </li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>.Narrator: 2020 was in many ways a rough year for Hollywood, with the COVID-19 pandemic pushing back some of the year's most anticipated movies. But the industry rallied by releasing no shortage of ambitious and exciting new projects, which brought their own set of breakthroughs in the world of special effects.From massive battle and fight sequences to some of the most realistic practical effects we've ever seen, here's a behind-the-scenes glimpse at the biggest films of the year. Three, two, one!To play the legendary warrior <keyword id="3026859" type="PERSON" weightage="60" keywordseo="Mulan">Mulan</keyword> in Disney's live-action film, Liu Yifei spent three months training for up to seven hours a day. This demanding regimen paid off. The film's cinematographer, Mandy Walker, told insider that Yifei was able to execute about 90% of her own stunt work.In preparation for the film's acrobatic fight sequences, Yifei and her castmates were schooled in everything from weapons handling and archery to military marching and horseback riding. The performers did their most dramatic midair stunts while attached to wires or beams so that it looked like their characters were flying or spinning through the air.All in all, the film's action sequences required 90 horses, 80 trick riders, 4,000 prop weapons, 281 sets of armor for the Chinese army, and 730 pieces of armor for the Rouran army.How do you create a terrifying monster out of nothing? It turns out, with a lot of clever camera and stunt work. This scene from "<keyword id="920693" type="ENTERTAINMENT" weightage="60" keywordseo="the-Invisible-Man">The Invisible Man</keyword>," where the titular villain throws Elisabeth Moss' character across the table, is actually a bunch of shots stitched together.First, the crew filmed Elisabeth as she was about to be thrown. Next, they swapped in the actor's stunt double and filmed her being thrown by another stunt performer in a green suit. Then they swapped in Elisabeth again. In postproduction, VFX artists combined the plates, then digitally erased the green-suit performer and the ropes used for the stunt.For it all to match up perfectly, the crew had to shoot the whole thing with a motion-controlled camera, which could be programmed to perform precise, repeatable camera movements.That wasn't the only bit of camera trickery in the film. On the last day of shooting, when filming this scene, the camera team had to get what they called "an impossible shot" -- one that involved passing a camera out of a moving car into another moving car, all in one smooth handoff."Extraction" marked the directorial debut of Sam Hargrave, the veteran stunt coordinator behind "Atomic Blonde" and a number of Marvel movies. Naturally, then, the Netflix thriller was full of daredevil stunt work -- just as much from the camera crew as from the actors and stunt performers.The centerpiece of the film was what the crew referred to as "the oner" -- an extended fight scene made to look like one continuous shot. Sam is familiar with big, long action sequences from working on the famous one-shot fight in "Atomic Blonde." But this one for "Extraction" required Sam to take us right into the middle of the action, even strapping himself to the hood of a chase vehicle. Just to get this one smooth shot taking us from outside to inside a car, he had to unstrap himself from that one car, run over to the other vehicle, and then repeat the same shot twice. This is what you call a stitch point, one of the invisible cuts that joined about 36 different segments into what looks like one long, seamless 12-minute take.For the third installment in the "Bill &amp; Ted" franchise, special effects legend Kevin Yagher created special bodysuits for scenes where Bill and Ted meet future versions of themselves.The process began with lifecasts of Alex Winter and Keanu Reeves' bodies, which were then used to sculpt the shape of the actors' suits, both the muscle suits they wear in the prison scene and Keanu's fat suit worn in a different scene. Kevin and his team sculpted and spray-painted tiny details like pores and veins onto the muscle suits and added bags of beads into Keanu's fat suit to get just the right jiggle in his belly.[beads shaking]The rollout of the "<keyword id="163980" type="COMPANY" weightage="60" keywordseo="Sonic">Sonic</keyword>" movie got off to a rough start when the first trailer was met with backlash from fans who objected to this Sonic's disturbingly realistic appearance. In response, the VFX artists gave the character an overhaul, making his eyes bigger, his mouth more animated, and his nose and limbs more cartoonish, more like the original design in the video games.Just about everyone liked the redesign better, including the man behind the hedgehog, actor and comedian Ben Schwartz. Ben not only lent his voice to Sonic, but also provided facial motion capture to inform the character's animation. On set, they used different stand-ins for Sonic to give costars like James Marsden something tangible to interact with, whether it was a blue stuffy or just a ball on a tripod.We saw CGI turn man into hedgehog. What about turning man into dog?In this year's remake of "The Call of the Wild," veteran motion-capture performer Terry Notary provided an incredible mo-cap performance for the movie's canine protagonist, Buck. Having Terry on set provided a raw-size reference for the other actors and gave costars someone to interact with emotionally.For Buck's design, the filmmakers used the reference of a real-life shelter dog, whose own name happens to be Buckley. To help guide the animation of the many dog and wolf characters in the film, the team brought in five other dogs for a mo-cap playtime session. But don't worry; no pups were involved in the filming of this scene, where Buck and John Thornton navigate a treacherous river.The filmmakers enlisted a stuntperson to shoot the real deal on a river in British Columbia. They then combined the on-location shots with blue-screen footage of Harrison Ford paddling on a canoe gimbal, filmed on a motion-controlled camera that allowed for some particularly cinematic, sweeping shots. Finally, VFX artists digitally added Harrison's canine friend into the mix in postproduction.The character in "Onward" that presented Pixar with the most challenges was this guy, known simply as Dad. He's introduced when Ian, voiced by Tom Holland, carries out a spell to conjure up his late father, but only half of his body appears.Pixar's animators spent a lot of time on Dad's first scene to make sure it would capture the force and unpredictability of magic. They even took turns blasting each other with a leaf blower to get a feel for what the conjuring effect should look like.From there, the challenge was giving life to a pair of pants, a task that forced Pixar to bring its cloth technology to a new level. The studio used a process called simulation to program how a character's clothing should respond to his or her movements and the different forces acting on them. But because Dad's upper half is all clothes and no body, simulation played an even bigger role than usual.To figure out how a person would move if he were missing his top half, Pixar's animators took turns putting on green suits with khakis and moving around in front of a green screen. Later, they digitally removed their top halves and used the footage as reference for what Dad's body language might look like."The Call of the Wild" wasn't the only film where CG animals figured prominently. The majority of scenes in "Dolittle" feature live-action humans and CG animals interacting in some way.The tricky part of that: making sure the humans were looking in the right places during filming. Nailing the eyelines was especially challenging with a character like Betsy the giraffe. To help guide the actors on set, the crew used stuffy props as stand-ins for the CG animals and got creative from there.Like with Betsy, for instance. They ended up sticking a giraffe head on a long pole, which got driven around on a motor cart. In another scene, Robert Downey Jr. needed to ride the ostrich Plimpton into Buckingham Palace. So they devised a gimballed riding rig that they could later replace with a CG creature, voiced by Kumail Nanjiani.The action-heavy "<keyword id="3367480" type="PERSON" weightage="60" keywordseo="Birds-Of-Prey">Birds of Prey</keyword>" involved a lot of physical preparation, with each actor's training program tailored to her particular character. Since Harley Quinn is a whimsical and unpredictable fighter, Margot Robbie's stunt work involved a lot of gymnastics.Black Canary's fighting style was supposed to be more grounded with a lot of legwork, so Jurnee Smollett-Bell's preparation combined tae kwon do and kickboxing. And Mary Elizabeth Winstead adopted judo, jujitsu, and karate to play Huntress, the deadly-accurate assassin who's all about precision.Early on in Netflix's "Project Power," there's an unforgettable scene where Machine Gun Kelly's character spontaneously bursts into flames. To figure out how to turn MGK into a human fireball, the effects team first set stuntpeople on fire in a series of camera tests.Then they came up with a breakthrough: an LED suit that would be embedded within layers of burn prosthetics. The LEDs were programmed to illuminate the actor as his character is seen exploding in flames. The gruesome prosthetics helped hide the LED strips, along with all the wires and battery packs.For MGK, this meant spending five hours in the makeup chair every day of shooting to get hundreds of prosthetic pieces glued on over 95% of his body. The process was so intensive that the rapper started just sleeping in his body prosthetics, and did so for five days straight, even wearing them for a night out on the town with costar Jamie Foxx.For Netflix's "Jingle Jangle," the biggest challenge was creating a fantastical world where magic and spontaneous musical numbers would feel right at home.To make Jeronicus fly in this scene, the crew attached Forest Whitaker to wire rigs, later removed in postproduction.Another particularly fun sequence, the kids' factory escape, was shot in front of a blue screen, with the two young actors rigged to the wooden chest. VFX artists later added in the tunnel and the giant fan and fireball.In this comic-book adaptation, Charlize Theron's character is supposed to have 6,000 years of martial arts experience, ranging from Greco-Roman wrestling to Filipino stick work. Charlize had to do intense combat training so she could look effortless handling both modern and ancient weapons.Of course, the star is no stranger to this kind of hardcore training, having done a lot of her own stunts for "Atomic Blonde" and "Mad Max." The "Old Guard" fight coordinator, Danny Hernandez, told Insider that Charlize and Kiki Layne spent four months training for the film's major fight sequence, where their characters engage in epic hand-to-hand combat inside a plane mid-flight.The payoff? The actors were able to pull off 90% of the fight themselves, without stunt doubles.How does this shot become this? Through the process of CG lighting, which was especially important to building the magical worlds of Netflix's animated film "Over the Moon."Creative lighting helped emphasize the dreamy light coming from the moon, which plays a central role in the story. In this shot, the lighting team is perfecting the big, bright moon reflections in Fei Fei's eyes. And in this shot, they're balancing the different light sources coming from the moon, the kitchen, and the colorful lanterns.These decisions about the intensity and placement of lights are laid out early on in color scripts, which are like artistic blueprints, expressing the mood of any given scene.For the scenes set on Lunaria, the artists wanted the light to be overpowering and the colors vibrant and bold to give an otherworldly aura to the moon kingdom and invoke a sense of awe in the audience.The horror movie slash political satire "The Hunt" follows a group of liberals hunting conservatives for sport, so there were lots of opportunities for practical gore <keyword id="37533" type="ENTERTAINMENT" weightage="60" keywordseo="Behind-the-scenes">behind the scenes</keyword>.But the most talked-about sequence was the climactic kitchen fight between Betty Gilpin and Hilary Swank. To make the head-to-head between these two characters feel as messy as possible, the crew designed a special set that was made to be destroyed.The set included foam floors, a chimney rigged with squibs, and a bunch of household-item breakaway props that were built to be broken, just like this glass window, which shatters in this scene. It was like a twisted jungle gym, meant to serve as the ideal backdrop for all the chaotic violence.So, did we miss anything? And what do you think were the most impressive effects of 2020?Let us know in the comments.

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