Here we can see the Aries set during its construction. tewardess stayed at bottom, giving appearance of walking on wall” (Making 101). camera was locked to front of set, which rotated 180 degrees. How they did the shot is, “ oom in foreground turned-the actress walked a treadmill in separate room in background. And while we’re on the subject, some have pointed out that the food would not have slid back down the straw in zero gravity, but that’s a little nitpicky. If the layout was consistent with what we can see from the outside, the stewardess should have rotated 90 degrees to enter the cockpit instead of 180 degrees, which she does. That said, there does seem to be an inconsistency in the spatial layout of the Aries in this shot of the stewardess bringing the food trays to the pilots. As this poster gets wrong, the pilots of the Aries are not situated on the side, but instead on the top as we can see here.
TYCHO MAGNETIC ANOMALY 2 FULL
The Aries set is quite clever and the design makes full use of the concept of there being no wrong way to orient one’s self in space. And, as Johnson mentions, “there was one filed nearly every day” (Brian Johnson Interview).Īfter working on 2001, Brian Johnson would go on to do special effects for The Empire Strikes Back, The first two Alien movies, and The NeverEnding Story, to name a few. Kubrick would file an insurance claim for each and every one of those mistakes. There were often times when one frame or two would be out of sync in the process and a star would bleed into the spaceship and then the entire thing would have to be done all over again” (Brian Johnson Interview). Then it would go next to the department that made the stars themselves, and then eventually all of it would end up together on a strip of film as one single shot. It would next go to the “blobber” department, as it was called, and they would project each frame of what we had shot and then they would create the matte background that was needed for the shot so the stars could be put into the shot. “ll of the images were “held” takes so they could go from one process of the animation to another…For example, we should shoot a track-in on a spacecraft.
TYCHO MAGNETIC ANOMALY 2 TV
Special effects artist Brian Johnson explains in an interview with TV Store Online: The shots of space were quite often ruined when one or more of the background stars would appear over one of the models during the animation process. Here we see the “8 X 10 moon plate being photographed on 65mm Oxberry animation stand” (Making 104). Movement of Aries was made by visualizing its relative movement against background and translating it simply to a first-and-last frame position” (Making 104). Moon-shuttle Aries is a still photograph of model two feet in diameter shot on horizontal camera in order to get the longest track movement as it moves away. “ Moon is transparency of telescopic picture of real Moon, rephotographed on animation stand. We begin the second part of the Floyd sequence with this shot of the Aries shuttle traveling toward the moon. I explored what was available on the Internet and found tons of great information from a wide variety of sources concerning the special effects, music, costumes, set, and several of the actors.
TYCHO MAGNETIC ANOMALY 2 FOR FREE
Every bit of information in this video was available for free on the Internet and from the Bluray of the film. In Part 3, we follow Floyd to the Clavius Moon Base to investigate the Tycho Magnetic Anomaly (the monolith). Everything you’ve ever wanted to know about the making of Kubrick’s 2001: A Space Odyssey.
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