78-782: Mentalism is a performing art in which its practitioners, known as mentalists , appear to demonstrate highly developed mental or intuitive abilities. Mentalists perform a theatrical act that includes special effects that may appear to employ psychic or supernatural forces but that is actually achieved by "ordinary conjuring means", natural human abilities (i.e. reading body language, refined intuition, subliminal communication, emotional intelligence ), and an in-depth understanding of key principles from human psychology or other behavioral sciences. Performances may appear to include hypnosis , telepathy , clairvoyance , divination , precognition , psychokinesis , mediumship , mind control , memory feats, deduction, and rapid mathematics. Mentalism
156-425: A car appear to drive by itself and blowing up a building, etc. Mechanical effects are also often incorporated into set design and make-up. For example, prosthetic make-up can be used to make an actor look like a non-human creature. Optical effects (also called photographic effects) are the techniques in which images or film frames are created photographically, either "in-camera" using multiple exposure , mattes or
234-715: A certain number will lead to something positive. This principle involves structuring a routine to present different experiences to the observer versus the participant. For example, a mentalist may have an audience member pick a "random" card that is actually forced by the mentalist's assistant. The participant believes they freely chose any card, while the audience knows it's manipulated. The most skilled mentalists ensure their performances seem completely natural, organic and unrehearsed even though they are carefully planned. They structure their acts, patter and effects to come across as pure luck, coincidence or chance rather than as clever illusions or tricks. This 'invisible' artistry maintains
312-415: A choice (eg a number, a playing card, a selection from a list of items) and to recall that choice when later asked to participate during the performance. Typically the spectator will believe she has a free choice, but in fact it will be a choice forced by the mentalist, This can be done in a number of ways. One popular method is a proprietary device called a Svenpad. This is a notepad in which every second page
390-595: A clipboard or other hard surface, then he asks the spectator to reveal the thought, and the mentalist at that point quickly and covertly writes or completes his prediction using a nail writer or swami gimmick. These are small devices which allow the mentalist to write unseen with his thumb under cover of a clipboard or in his pocket. Again, these traditional magicians’ devices have now been supplemented by technology. The mentalist can now buy blackboards and whiteboards which are capable of writing (apparently) handwritten messages fed to them remotely, small printers which can print
468-484: A computer-controlled camera rig called the "Dykstraflex" that allowed precise repetition of camera motion, greatly facilitating travelling-matte compositing. Degradation of film images during compositing was minimised by other innovations: the Dykstraflex used VistaVision cameras that photographed widescreen images horizontally along stock, using far more of the film per frame, and thinner-emulsion filmstocks were used in
546-410: A different way than conjuring techniques utilized in stage magic. Magicians often ask the audience to suspend their disbelief, ignore natural laws, and allow their imagination to play with the various tricks they present. They admit that they are tricksters from the outset, and they know that the audience understands that everything is an illusion. Everyone knows that the magician cannot really achieve
624-462: A human actor in a costume to play a giant monster—combined with the use of miniatures and scaled-down city sets. Godzilla changed the landscape of Japanese cinema , science fiction and fantasy, and kickstarted the kaiju genre in Japan called the "Monster Boom", which remained extremely popular for several decades, with characters such as the aforementioned Godzilla , Gamera and King Ghidorah leading
702-535: A key differentiation between a mentalist and someone who purports to be an actual psychic is that the former is open about being a skilled artist or entertainer who accomplishes their feats through practice, study, and natural means, while the latter may claim to actually possess genuine supernatural , psychic , or extrasensory powers and, thus, operates unethically. Renowned mentalist Joseph Dunninger , who also worked to debunk fraudulent mediums, captured this key sentiment when he explained his impressive abilities in
780-553: A landmark in special effects). During the 1950s and 1960s numerous new special effects were developed which would dramatically increase the level of realism achievable in science fiction films . Sci-fi special effects milestones in the 1950s included the Godzilla films , The Day the Earth Stood Still (featuring Klaatu ), and 3-D films . The tokusatsu genre of Japanese science fiction film and television, which includes
858-411: A mind-reading stunt might also involve the magical transposition of two different objects. Such hybrid feats of magic are often called mental magic by performers. Magicians who routinely mix magic with mental magic include David Copperfield , David Blaine , The Amazing Kreskin , and Dynamo . Mentalism techniques have, on occasion, been allegedly used outside the entertainment industry to influence
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#1732863219807936-428: A playing card in their mind. Similarly, asking them to "visualize the card clearly in your mind" can put the image of a particular card in their imagination. Also known as diversion, this technique aims to divert the audience's attention away from the secret method or process behind a mentalism effect. Magicians and mentalists frequently use grand gestures, animated movement, music, and chatter to distract attention from
1014-412: A result, many optical and mechanical effects techniques have been superseded by CGI. In 1857, Oscar Rejlander created the world's first "special effects" image by combining different sections of 32 negatives into a single image, making a montaged combination print . In 1895, Alfred Clark created what is commonly accepted as the first-ever motion picture special effect. While filming a reenactment of
1092-440: A single frame is then projected onto an easel, where the matte is then drawn. By creating the matte from an image directly from the film, it became incredibly easy to paint an image with proper respect to scale and perspective (the main flaw of the glass shot). Dawn's technique became the textbook for matte shots due to the natural images it created. During the 1920s and 1930s, special effects techniques were improved and refined by
1170-681: A sneaky maneuver that sets up the trick. For example, a mentalist may engage in lively conversation while secretly writing something on his palm. Or he may dramatically throw his jacket on a chair to cover up a hidden assistant in the audience. This technique involves making calculated guesses and drawing logical conclusions about a person by carefully observing their appearance, responses, mannerisms, vocal tones, and other unconscious reactions. Mentalists leverage these cues along with high probability assumptions about human nature to come up with surprisingly accurate character insights and details about someone. They can then present this as if they magically knew
1248-454: A spectator’s chosen number and feed the printed paper into an (apparently) sealed jar, and a host of other technological gadgets which make it appear that the mentalist predicted the spectator’s thought, when in fact he simply waited for it to be disclosed by the spectator and then created the evidence of his “prediction”. Many mentalism effects rely on pre-show work. This involves the mentalist or his assistant interacting with certain members of
1326-416: A spectator’s phone a fake version of a popular website such as Google Images, which allows him to know an image which the spectator believes has been chosen secretly. Where a mind-reading performance does not involve the spectator writing the secret thought down, generally the method employed is that the mentalist purports to predict the secret thought by (apparently) writing an unseen prediction, often behind
1404-762: A tentacle formed from water in The Abyss , the T-1000 Terminator in Terminator 2: Judgment Day , hordes and armies of robots and fantastic creatures in the Star Wars (prequel) and The Lord of the Rings trilogies, and the planet, Pandora, in Avatar . Although most visual effects work is completed during post-production , it must be carefully planned and choreographed in pre-production and production . A visual effects supervisor
1482-418: Is an example of dual reality (discussed below) in mentalism. This technique involves implanting an idea, thought, or impression in the mind of the spectator or participant. The mentalist does this by using subtle verbal cues, gestures, body language, and sometimes visual aids to influence their thoughts. For instance, asking someone to "think of any card in a normal deck" automatically plants the general idea of
1560-746: Is commonly classified as a subcategory of magic and, when performed by a stage magician, may also be referred to as mental magic . However, many professional mentalists today may generally distinguish themselves from magicians, insisting that their art form leverages a distinct skillset. Instead of doing "magic tricks", mentalists argue that they produce psychological experiences for the mind and imagination, and expand reality with explorations of psychology, suggestion, and influence. Mentalists are also often considered psychic entertainers, although that category also contains non-mentalist performers such as psychic readers and bizarrists . Some well-known magicians, such as Penn & Teller , and James Randi , argue that
1638-415: Is imperceptibly shorter. The long pages each have written on them an item from a list of choices (eg film stars, holiday destinations etc), but the short pages each have the same item - the force choice - written on them. When riffled from front to back only the long pages are visible, showing the full range of different choices. But when riffled from back to front only the short pages are visible, each bearing
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#17328632198071716-508: Is impossible due to the destructive nature of the effect. Live special effects are effects that are used in front of a live audience, such as in theatre, sporting generation genre, concerts and corporate shows. Types of effects that are commonly used include: flying effects, laser lighting , theatrical smoke and fog , CO 2 effects , and pyrotechnics . Other atmospheric effects can include flame, confetti , bubbles, and snow. One notable example of live special effects in theatre production
1794-565: Is in the Bregenz Festival with its use of a large, intricate stage that moves to supplement what's being acted on stage. Mechanical effects encompass the use of mechanical engineering to a greater degree. Cars being flipped and hauled over buildings are usually an effect built on specialised rigs and gimbals . Usually a team of engineers or freelance film companies provide these effects to producers . Camera workers, stunt artists or doubles, directors and engineers collaborate to produce
1872-413: Is today a huge range of electronic, computer and other gimmicks available to the mentalist. These include dice which secretly transmit the numbers thrown, decks of cards which secretly transmit the cards chosen, notepads which secretly transmit what has been written etc. Smartphones have added an additional range of possibilities. For example, the mentalist can use concealed NFC tags to covertly download onto
1950-463: Is usually involved with the production from an early stage to work closely with the Director and all related personnel to achieve the desired effects. Practical effects also require significant pre-planning and co-ordination with performers and production teams. The live nature of the effects can result in situations where resetting due to an error, mistake, or safety concern incurs significant expense, or
2028-405: The kaiju sub-genre of monster films , rose to prominence in the 1950s. The special-effects director Eiji Tsuburaya and the director Ishirō Honda became the driving forces behind the original Godzilla (1954). Taking inspiration from King Kong (1933), Tsuburaya formulated many of the techniques that would become staples of the tokusatsu genre, such as so-called suitmation —the use of
2106-507: The James Randi Educational Foundation for many years to investigate and debunk fake psychics. He is clear with the public that the effects and experiences he creates through his stage performance are the result of his highly developed performance skills and magic techniques, combined with psychological principles and tactics. Max Maven often presented his performances as creating interactive mysteries and explorations of
2184-480: The Schüfftan process or in post-production using an optical printer . An optical effect might be used to place actors or sets against a different background. Since the 1990s, computer-generated imagery (CGI) has come to the forefront of special effects technologies. It gives filmmakers greater control, and allows many effects to be accomplished more safely and convincingly and—as technology improves—at lower costs. As
2262-503: The cinematograph , the prolific Méliès is sometimes referred to as the "Cinemagician." His most famous film, Le Voyage dans la lune (1902), a whimsical parody of Jules Verne 's From the Earth to the Moon , featured a combination of live action and animation , and also incorporated extensive miniature and matte painting work. From 1910 to 1920, the main innovations in special effects were
2340-473: The theatre , film , television , video game , amusement park and simulator industries to simulate the imagined events in a story or virtual world . It is sometimes abbreviated as SFX , but this may also refer to sound effects . Special effects are traditionally divided into the categories of mechanical effects and optical effects . With the emergence of digital film-making a distinction between special effects and visual effects has grown, with
2418-451: The theatrical trickery employed by stage magicians. Many mentalists claim not to be magicians at all, arguing that it is a different art form altogether. The argument is that mentalism invokes belief and imagination that, when presented properly, may allow the audience to interpret a given effect as "real" or may at least provide enough ambiguity that it is unclear whether it is actually possible to somehow achieve. This lack of certainty about
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2496-405: The ability to master magic techniques and showmanship, read body language , and influence audiences with psychological principles, such as suggestion . In this vein, Brown explains that he presents and stages "psychological experiments" through his performances. Mentalist and psychic entertainer Banachek also rejects that he possesses any supernatural or actual psychic powers, having worked with
2574-699: The actions of prominent people for personal and/or political gain. Famous examples of accused practitioners include: In Albert Einstein 's preface to Upton Sinclair's 1930 book on telepathy, Mental Radio , he supported his friend's endeavor to test the abilities of purported psychics and skeptically suggested: "So if somehow the facts here set forth rest not upon telepathy, but upon some unconscious hypnotic influence from person to person, this also would be of high psychological interest." As such, Einstein here alluded to techniques of modern mentalism. Special effect Special effects (often abbreviated as F/X or simply FX ) are illusions or visual tricks used in
2652-408: The actor perfectly. As material science advanced, horror film maskmaking followed closely. Many studios established in-house "special effects" departments, which were responsible for nearly all optical and mechanical aspects of motion-picture trickery. Also, the challenge of simulating spectacle in motion encouraged the development of the use of miniatures. Animation , creating the illusion of motion,
2730-402: The audience before the performance begins. This can be in a pre-show reception, or in the auditorium itself as the audience take their seats, or even in the queue outside the performance venue before the performance. Pre-show work can take a number of forms. One type involves the mentalist talking to a spectator whom he will later, during his performance, involve in one of his effects. In this case
2808-496: The audience to decide, creating what has been described as "a wonderful sense of ambiguity about whether they possess true psychic ability or not." Contemporary mentalists often take their shows onto the streets and perform tricks to a live, unsuspecting audience. They do this by approaching random members of the public and ask to demonstrate so-called supernatural powers. However, some performers such as Derren Brown who often adopt this method of performance tell their audience before
2886-492: The beheading of Mary, Queen of Scots , Clark instructed an actor to step up to the block in Mary's costume. As the executioner brought the axe above his head, Clark stopped the camera, had all of the actors freeze, and had the person playing Mary step off the set. He placed a Mary dummy in the actor's place, restarted filming, and allowed the executioner to bring the axe down, severing the dummy's head. Techniques like these would dominate
2964-415: The billet. Typically the mentalist will fill up the other 3 quadrants of the billet with writing so that only the bottom right-hand quadrant is left clear. Once the thought is written and the billet folded, the mentalist will hold the billet up to the light to demonstrate that no writing can be seen through the paper. In the course of this action he is able, unobserved by the audience, to slip his thumb between
3042-410: The centre part of the billet which bears the written thought, and later finds an opportunity to read it covertly. Alternatively the mentalist may covertly peek at the written thought. There are a large number of detailed choreographies used by mentalists to achieve a peek. One popular version - known as the "acidus novus" peek - requires the spectator to write her thought on the bottom right-hand corner of
3120-584: The compositing process. The effects crew assembled by Lucas was dubbed Industrial Light & Magic , and since 1977 has spearheaded many effects innovations. That same year, Steven Spielberg 's film Close Encounters of the Third Kind boasted a finale with impressive special effects by 2001 veteran Douglas Trumbull. In addition to developing his own motion-control system, Trumbull also developed techniques for creating intentional " lens flare " (the shapes created by light reflecting in camera lenses) to provide
3198-511: The design and use of the optical printer, effects shots were accomplished as in-camera effects . Dunn demonstrating that it could be used to combine images in novel ways and create new illusions. One early showcase for Dunn was Orson Welles ' Citizen Kane , where such locations as Xanadu (and some of Gregg Toland 's famous ' deep focus ' shots) were essentially created by Dunn's optical printer. The development of color photography required greater refinement of effects techniques. Color enabled
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3276-413: The development of computer-generated imagery (CGI), which has changed nearly every aspect of motion picture special effects. Digital compositing allows far more control and creative freedom than optical compositing, and does not degrade the image as with analogue (optical) processes. Digital imagery has enabled technicians to create detailed models, matte "paintings," and even fully realised characters with
3354-485: The development of such travelling matte techniques as bluescreen and the sodium vapour process . Many films became landmarks in special-effects accomplishments: Forbidden Planet used matte paintings, animation, and miniature work to create spectacular alien environments. In The Ten Commandments , Paramount's John P. Fulton , A.S.C., multiplied the crowds of extras in the Exodus scenes with careful compositing, depicted
3432-416: The film's undefinable shapes of flying saucers. The success of these films, and others since, has prompted massive studio investment in effects-heavy science-fiction films. This has fuelled the establishment of many independent effects houses, a tremendous degree of refinement of existing techniques, and the development of new techniques such as computer-generated imagery (CGI). It has also encouraged within
3510-566: The film, he found that the "stop trick" had caused a truck to turn into a hearse, pedestrians to change direction, and men to turn into women. Méliès, the stage manager at the Theatre Robert-Houdin, was inspired to develop a series of more than 500 short films between 1896 and 1914, in the process developing or inventing such techniques as multiple exposures , time-lapse photography , dissolves , and hand painted colour. Because of his ability to seemingly manipulate and transform reality with
3588-538: The folds of the billet and expose a view of the bottom right-hand quadrant. He then gestures with the billet, bringing it at eye-level across his field of vision, and in so-doing is able secretly to peek at the spectator's written thought. This is only one of a number of such peek choreographies. Some involve placing the billet in a gimmicked wallet, which allows the mentalist covertly to see the writing. Others employ sleights of hand derived from card or coin magic. In addition to these traditional magicians' techniques, there
3666-416: The following way: "Any child of ten could do this – with forty years of experience." Like any performing art, mentalism requires years of dedication, extensive study, practice, and skill to perform well. Much of what modern mentalists perform in their acts can be traced back directly to "tests" of supernatural power that were carried out by mediums, spiritualists , and psychics in the 19th century. However,
3744-434: The force selection. Other forcing methods include trick decks of cards, where all the cards are the same. During the performance itself, when the mentalist involves the spectator in his effect, he will usually aim by careful use of language to avoid any mention of the pre-show interaction to the wider audience, either by himself or the chosen spectator. His aim is to suggest that he and the spectator have not previously met. When
3822-526: The history of mentalism goes back even further. Accounts of seers and oracles can be found in the Old Testament of the Bible and in works about ancient Greece . Paracelsus reiterated the theme, so reminiscent of the ancient Greeks, that three principias were incorporated into humanity: the spiritual, the physical, and mentalistic phenomena. The mentalist act generally cited as one of the earliest on record in
3900-542: The impossible feats shown, such as sawing a person in half and putting them back together without injury, but that level of certainty does not generally exist among the mentalist's audience. Still, other mentalists believe it is unethical to portray their powers as real, adopting the same presentation philosophy as most magicians. These mentalists are honest about their deceptions, with some referring to this as "theatrical mentalism". However, some magicians do still mix mentally-themed performance with magic illusions. For example,
3978-422: The improvements on the matte shot by Norman Dawn . With the original matte shot, pieces of cardboard were placed to block the exposure of the film, which would be exposed later. Dawn combined this technique with the "glass shot." Rather than using cardboard to block certain areas of the film exposure, Dawn simply painted certain areas black to prevent any light from exposing the film. From the partially exposed film,
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#17328632198074056-441: The industry a greater distinction between special effects and visual effects ; the latter is used to characterise post-production and optical work, while "special effects" refers more often to on-set and mechanical effects. The use of computer animation in film dates back to the early 1980s, with the films Tron (1982) and Golgo 13: The Professional (1983). Since the 1990s, a profound innovation in special effects has been
4134-487: The information through psychic powers. Hot reading refers to the practice of gathering background information about the audience or participants before doing a mentalism act or seance. Mentalists can then astonish spectators by revealing something they could not possibly have known otherwise. However, doing hot readings without informing the audience is considered unethical. Ethical mentalists only do hot readings if they explicitly disclose it, or do it for entertainment with
4212-587: The late 1960s and early 1970s, many studios closed down their in-house effects houses. Technicians became freelancers or founded their own effects companies, sometimes specialising on particular techniques (opticals, animation, etc.). The second was precipitated by the blockbuster success of two science-fiction and fantasy films in 1977. George Lucas 's Star Wars ushered in an era of science-fiction films with expensive and impressive special effects. Effects supervisor John Dykstra , A.S.C. and crew developed many improvements in existing effects technology. They created
4290-433: The latter referring to digital post-production and optical effects, while "special effects" refers to mechanical effects. Mechanical effects (also called practical or physical effects ) are usually accomplished during the live-action shooting. This includes the use of mechanised props , scenery, scale models , animatronics , pyrotechnics and atmospheric effects: creating physical wind, rain, fog, snow, clouds, making
4368-399: The limits of what is real may lead individuals in an audience to reach different conclusions and beliefs about mentalist performers' claims – be they about their various so-called psychic abilities, photographic memory, being a "human calculator", power of suggestion, NLP , or other skills. In this way, mentalism may play on the senses and a spectator's perception or understanding of reality in
4446-445: The malleability of computer software. Arguably the biggest and most "spectacular" use of CGI is in the creation of photo-realistic images of science-fiction/fantasy characters, settings and objects. Images can be created in a computer using the techniques of animated cartoons and model animation. The Last Starfighter (1984) used computer generated spaceships instead of physical scale models . In 1993, stop-motion animators working on
4524-554: The market. Tokusatsu films, notably Warning from Space (1956), sparked Stanley Kubrick 's interest in science fiction films; according to his biographer John Baxter , despite their "clumsy model sequences, the films were often well-photographed in colour ... and their dismal dialogue was delivered in well-designed and well-lit sets." In 1968, Stanley Kubrick assembled his own effects team ( Douglas Trumbull , Tom Howard , Con Pederson and Wally Veevers) rather than use an in-house effects unit for 2001: A Space Odyssey . In this film,
4602-501: The massive constructions of Rameses with models, and split the Red Sea in a still-impressive combination of travelling mattes and water tanks. Ray Harryhausen extended the art of stop-motion animation with his special techniques of compositing to create spectacular fantasy adventures such as Jason and the Argonauts (whose climax, a sword battle with seven animated skeletons, is considered
4680-400: The mentalist onto the billet to make sure she writes in the middle. She is then instructed to fold the billet up so that the writing cannot be seen by the mentalist. The mentalist then takes the billet and tears it into small pieces, which he may then burn or throw away or return to the spectator's hand "for safe-keeping". Secretly, during the tearing process, the mentalist tears out and secretes
4758-426: The mentalist sets up the trick by covertly obtaining information from the spectator which he will later reveal during the performance. The interaction with the spectator may be made to seem like a casual “meet the audience” conversation, with no warning that the spectator is later to be involved in the performance. Alternatively, the mentalist may tell the spectator that he intends to involve her in his show. In that case
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#17328632198074836-401: The mentalist then secretly to access the written-down information. There are various techniques which the mentalist can use. A classic method is the "centre tear". The spectator is asked to commit her thought to writing on a small piece of paper (referred to by mentalists as a "billet"). She is told to write the thought in the centre of the billet, and sometimes a circle or a line will be added by
4914-400: The mentalist's misdirection - and the true method being employed is classic magicians' trickery. A characteristic feature of "mind-reading" by a mentalist is that the spectator must write the thought down. Various justifications are given for this - in order to enable the spectator to focus on the thought, or in order to show it to other audience members etc. - but the real reason is to enable
4992-466: The modern era was performed by diplomat and pioneering sleight-of-hand magician Girolamo Scotto in 1572. The performance of mentalism may utilize conjuring principles including sleights, feints, misdirection , and other skills of street or stage magic . Nonetheless, modern mentalists also now increasingly incorporate insights from human psychology and behavioral sciences to produce unexplainable experiences and effects for their audiences. Changing with
5070-504: The motion picture industry. Many techniques—such as the Schüfftan process —were modifications of illusions from the theatre (such as pepper's ghost ) and still photography (such as double exposure and matte compositing). Rear projection was a refinement of the use of painted backgrounds in the theatre, substituting moving pictures to create moving backgrounds. Lifecasting of faces was imported from traditional maskmaking. Along with make-up advances, fantastic masks could be created which fit
5148-401: The mysterious dimensions of the human mind. He is described as a "mentalist and master magician" as well as a "mystery theorist." Other mentalists and allied performers also promote themselves as "mystery entertainers". There are mentalists, including Maurice Fogel , Kreskin , Chan Canasta , and David Berglas , who make no specific claims about how effects are achieved and may leave it up to
5226-479: The mystique around mentalist performances. Styles of mentalist presentation can vary greatly. In this vein, Penn & Teller explain that "[m]entalism is a genre of magic that exists across a spectrum of morality." In the past, at times, some performers such as Alexander and Uri Geller have promoted themselves as genuine psychics. Some contemporary performers, such as Derren Brown , explain that their results and effects are from using natural skills, including
5304-424: The participant's consent. Master mentalists have an in-depth understanding of human psychology which allows them to subtly manipulate thoughts, emotions, and behaviors. They use verbal suggestion, social pressure, visual cues and mental framing to influence perceptions and reactions. This lets them guide participants towards the responses, outcomes or choices they want. For instance, a mentalist may hint that choosing
5382-407: The pre-show interaction is usually characterised as preparation “to save time during the show” or similar. Either way, the mentalist will use the occasion to obtain information from the spectator covertly for later revelation, either by traditional sleight of hand methods such as a billet peek, or by using electronic gimmickry such as a Parapad. Alternatively, the mentalist may ask the spectator to make
5460-477: The production of special effects for a century. It wasn't only the first use of trickery in cinema, it was also the first type of photographic trickery that was only possible in a motion picture, and referred to as the "stop trick". Georges Méliès , an early motion picture pioneer, accidentally discovered the same "stop trick." According to Méliès, his camera jammed while filming a street scene in Paris. When he screened
5538-539: The realistic dinosaurs of Steven Spielberg 's Jurassic Park were retrained in the use of computer input devices. By 1995, films such as Toy Story underscored the fact that the distinction between live-action films and animated films was no longer clear. Other landmark examples include a character made up of broken pieces of a stained-glass window in Young Sherlock Holmes , a shape-shifting character in Willow ,
5616-507: The spaceship miniatures were highly detailed and carefully photographed for a realistic depth of field . The shots of spaceships were combined through hand-drawn rotoscoping and careful motion-control work, ensuring that the elements were precisely combined in the camera—a surprising throwback to the silent era, but with spectacular results. Backgrounds of the African vistas in the "Dawn of Man" sequence were combined with soundstage photography via
5694-403: The spectator’s covertly obtained information or forced choice is revealed, this greatly enhances the effect from the point of view of the wider audience. It will usually seem that the mentalist has elicited a wholly uncommunicated thought from a random audience member. The chosen spectator herself, having participated in the pre-show encounter, perceives a different and less spectacular effect. This
5772-416: The then-new front projection technique. Scenes set in zero-gravity environments were staged with hidden wires, mirror shots, and large-scale rotating sets. The finale, a voyage through hallucinogenic scenery, was created by Douglas Trumbull using a new technique termed slit-scan . The 1970s provided two profound changes in the special effects trade. The first was economic: during the industry's recession in
5850-433: The times, some mentalists incorporate an iPhone into their routine. Mentalists typically seek to explain their effects as manifestations of psychology, hypnosis, an ability to influence by subtle verbal cues, an acute sensitivity to body language, etc. These are all genuine phenomena, but they are not sufficiently reliable or impressive to form the basis of a mentalism performance. These are in fact fake explanations - part of
5928-476: The trick starts that everything they see is an illusion and that they are not really "having their mind read." This has been the cause of a lot of controversy in the sphere of magic as some mentalists want their audience to believe that this type of magic is "real" while others think that it is morally wrong to lie to a spectator. Professional mentalists generally do not mix "standard" magic tricks with their mental feats. Doing so associates mentalism too closely with
6006-625: Was accomplished with drawings (most notably by Winsor McCay in Gertie the Dinosaur ) and with three-dimensional models (most notably by Willis O'Brien in The Lost World and King Kong ). Naval battles could be depicted with models in studio. Tanks and aeroplanes could be flown (and crashed) without risk of life and limb. Most impressively, miniatures and matte paintings could be used to depict worlds that never existed. Fritz Lang 's film Metropolis
6084-465: Was an early special effects spectacular, with innovative use of miniatures, matte paintings, the Schüfftan process, and complex compositing. An important innovation in special-effects photography was the development of the optical printer . Essentially, an optical printer is a projector aiming into a camera lens, and it was developed to make copies of films for distribution. Until Linwood G. Dunn refined
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