For a sequence in which Deckard uses a computerized Esper terminal to study a holographic snapshot, EEG was tasked with providing appropriate footage to be filmed off a video monitor during the live-action shoot. The effect of moving through the threedimensional still image was created by taking a progressive series of still photographs - with five-second time exposure so actor Rutger Hauer could move his head toward the camera, as caught unaware by candid shutterbug. These stills were then linked together on an animation stand by camerman Don Baker, who used flash-and-fade technique and superimpsed graphic readouts as his subjectiv camera appeared to powl through room. (Cinefex Magazine - 1982)
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For a sequence in which Deckard uses a computerized Esper terminal to study a holographic snapshot, EEG was tasked with providing appropriate footage to be filmed off a video monitor during the live-action shoot. The effect of moving through the threedimensional still image was created by taking a progressive series of still photographs - with five-second time exposure so actor Rutger Hauer could move his head toward the camera, as caught unaware by candid shutterbug. These stills were then linked together on an animation stand by camerman Don Baker, who used flash-and-fade technique and superimpsed graphic readouts as his subjectiv camera appeared to powl through room. (Cinefex Magazine - 1982)

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    The Style of Blade Runner. Excelente explicación de cómo se logró el efecto de la imagen que Deckard amplía con la...
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