Building the “Normally This Weird” Death Ray Weapon part 4

Here is the challenge: how to construct a detailed prop with virtually no budget. Well, there are some strategies for accomplishing such a task. 

If you have a lot of money, time and resources every part can be meticulously designed, rendered or blueprinted . You can take the designs and manufacture every item on your prop by hand or subcontract it out.  Or you can do as our little team did for the Death Ray prop built for “Normally This Weird,” the Sci FI web series. Read the rest of this entry »

Building the “Normally This Weird” Death Ray Weapon part 2

As I began working on the Death Ray weapon for the web series, “Normally This Weird” I quickly had a number of realizations. The most sobering was that this was not going to be as easy as I thought!

I had forgotten how important a well tooled and supplied workshop can be to efficient model and prop building! I had taken for granted the quality of the shop when I was at Cascade Pictures, or the one in my own studio. Unfortunately when I went to work on Star Trek and got immersed in the digital world, I let my tools go to others.  Now, what should have been straight forward tool cuts became laborious chew-it-out-with-my-teeth kind of endeavors.  Read the rest of this entry »

Phil Kellison makes forced perspective easier

Phil Kellison was one of the unsung greats in the visual effects business. He was a visual effects supervisor and designer long before that position was acknowledged in movie credits. He had an almost 40-year career that ranged from the George Pal Puppetoons to industrial films, commercials, and feature films. He had that unusual aptitude of being both the right-brained artist and the left-brained engineer.

Phil was the supervisor and boss at Cascade Picture of California when I began working there in 1969-70. I learned a lot by watching and listening to him. Phil loved the challenge of doing visual effects in-camera and his specialty was forced perspective (more correctly known now as “mixed scale”.) To market the technique to the T.V. commercial business, he dubbed it “Magnascope”.

The Jolly Rancher as seen through the camera.

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Ogg and the Pink Baby Dinosaur

This is a frame from the first commercial I was paid to work on; my first professional job in 1969 at Cascade Pictures. This is from a Kellogg’s Cocoa Krispies cereal commercial featuring a caveman named Ogg. (His wife was “Kell” … for Kell-Oggs.)  These characters were used until about 1975.  (see link below)

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How to use a Perspective Cube

New visual effects students often have difficulty with the concept and application of the “perspective cube.”  A perspective cube is a well constructed box with accurate parallel edges and right angles.  Usually it is white with black lines along the edges. Typical construction materials would be white foam core and one inch black paper tape along the edges. 

The cube size is somewhat to taste and per your transportation restrictions but it should not be too small. Most appear to be 12″ x 12″ x 12″   or 18″ x 18″ x 18″.   I suggest using whole inch measurements and make all side equal as that facilitates quicker set up and ease of reproduction in a Computer Generated Imagery (CGI) environment if needed. 

The perspective cube can be used for multiple reasons. Today we will use the perspective cube to find a horizon line that can’t be seen.  

Suppose you are on location where mountains or vegetation blocks your view of a horizon line and you have no other man-made structures to run perspective lines from to find a vanishing point and horizon line. 

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