Combining thousands of images—full-size and miniature to create the stunning
wall-to-wall special effects for this intergalactic fantasy
A
t this time, the ultimate image quality, least apparent grain, highest resolution
and accutance, and best tone range and color saturation are produced in first-generation,
or camera-original negative. Copies or generations of film derived from an original exhibit
the familiar degradation of each of these qualities. In special effect matte photography,
the most difficult and rewarding results are obtained when all components in a shot
are composited "in camera." This method, also called the "held take" technique, places all
the difficulties of color balance, exposure, film shrinkage and matte size/fit in the hands of
the miniature stage photographers. Many shots in
2001: A Space Odyssey were produced in this manner. However, in a film such as
Star Wars, where the shots pose difficulties
in miniature photography which have not been attempted in such quantity, the held
take method would preclude a realistic production schedule. Our approach was to transfer
the difficulties of composite matte photography from the miniature photographers to
the optical cameramen. This achieved an effective balance between capturing the images
on film, and finishing them into composites; it also gave the optical cameramen the
challenge of maintaining maximum second generation quality in the optical composite negative.
It was decided to use black and white three-color separations for all primary images in
the composites. The emulsion of 5235 color separation stock has a wide contrast latitude
and grain definition which is superior to 5243 color interpositive: it is the best choice for quality.
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