SherbyNet - /page/wikibook/entry.mu

Micron Document

<!DOCTYPE html>

<title>Introvision</title>

</head>

<span id="openzim-page-title" class="mw-page-title-main"><span class="mw-page-title-main">Introvision</span></span>

</h1>

</header>

/* start https://en.wikipedia.org/ */

.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}

/* end https://en.wikipedia.org/ */

</style><style data-mw-deduplicate="TemplateStyles:r1248332772">

/* start https://en.wikipedia.org/ */

.mw-parser-output .multiple-issues-text{width:95%;margin:0.2em 0}.mw-parser-output .multiple-issues-text>.mw-collapsible-content{margin-top:0.3em}.mw-parser-output .compact-ambox .ambox{border:none;border-collapse:collapse;background-color:transparent;margin:0 0 0 1.6em!important;padding:0!important;width:auto;display:block}body.mediawiki .mw-parser-output .compact-ambox .ambox.mbox-small-left{font-size:100%;width:auto;margin:0}.mw-parser-output .compact-ambox .ambox .mbox-text{padding:0!important;margin:0!important}.mw-parser-output .compact-ambox .ambox .mbox-text-span{display:list-item;line-height:1.5em;list-style-type:disc}body.skin-minerva .mw-parser-output .multiple-issues-text>.mw-collapsible-toggle,.mw-parser-output .compact-ambox .ambox .mbox-image,.mw-parser-output .compact-ambox .ambox .mbox-imageright,.mw-parser-output .compact-ambox .ambox .mbox-empty-cell,.mw-parser-output .compact-ambox .hide-when-compact{display:none}

/* end https://en.wikipedia.org/ */

</style>

<p><b>Introvision</b> was a variation on a <a href="Front_projection_effect" title="Front projection effect">front-projection</a> process that allowed film makers to view a finished composite of <a href="Live_action" title="Live action">live action</a> and plate photography through the camera's viewfinder on set and in real time. During its heyday, starting with the feature film, <i><a href="Outland_(film)" title="Outland (film)">Outland</a></i> in 1981, Introvision enjoyed the novelty of visual effect compositing in-camera, thus eliminating the need to wait for photo-chemical compositing to determine if the effect shot was successful.

</p><p>Another benefit to the Introvision process was the ability to place an actor 'inside' a plate, meaning an actor could walk vertically or laterally inside a two-dimensional background image and seemingly go behind objects within any given environment. The actual background on the set was black, so the actor would have to pantomime walking through and around certain objects. Done well, the illusion was nearly perfect, particularly with precise lighting and careful miniature set construction (or previously photographed images, which was done in <i><a href="The_Fugitive_(1993_film)" title="The Fugitive (1993 film)">The Fugitive</a></i> with a train superimposed behind actor <a href="Harrison_Ford" title="Harrison Ford">Harrison Ford</a>).

</p><p>The system faded from use around 1994, due to the widespread adoption of <a href="Digital_compositing" title="Digital compositing">Digital compositing</a> and <a href="Matchmoving" class="mw-redirect" title="Matchmoving">Matchmoving</a>, which allowed live action characters to be placed in fully or partially computer-generated backgrounds, or computer-generated characters to be combined with live action characters—and sometimes both at the same time.

</p>

<div class="mw-heading mw-heading2"><h2 id="The_Introvision_system">The Introvision system</h2></div>

<p>The front <a href="Projection_screen" title="Projection screen">projection screen</a> - custom made from thousands of <a href="Pentagonal" class="mw-redirect" title="Pentagonal">pentagonal</a>-shaped Scotchlite pieces to eliminate seam lines which might show on the finished film - sits at the far end of the stage. Despite its formidable size, a four-man crew could mount the screen on its tubular steel frame and erect the system in about two hours. On the opposite end of the stage is the compact projector/camera unit. As with other front-projection systems, Introvision made use of the light reflectance characteristics of the Scotchlite screen, which returns light to its source virtually undiminished, but only directly in line with that source. At oblique angles, the <a href="Luminance" title="Luminance">light intensity</a> drops off drastically and the image dissipates. Therefore, in order to apply this phenomenon photographically, both projector and camera must be positioned along precisely the same axis - a physical impossibility sidestepped by the employment of a <a href="Beam_splitter" title="Beam splitter">beam splitter</a>. The beam splitter, mounted at a 45-degree angle to the projector axis, aligns the projected image directly to the camera's <a href="Cardinal_point_(optics)" title="Cardinal point (optics)">focal plane</a>, even though the camera and projector are actually positioned at <a href="Angle" title="Angle">right angles</a> to each other. The mirrored beam-splitter kicks part of the projected image up onto the screen, but being semi-transparent, also allows the camera to see through it, and thereby record the image reflected back.

</p><p>Actors and set pieces were placed directly in front of the screen, because the projected image was so brilliant, the intensity of light needed to balance 'live' elements to the screen obliterated the projected image from anything in the foreground. Since the projector and camera were in perfect alignment, the foreground elements themselves blocked any unwanted shadows that they may have cast on the screen.

</p>

<div class="mw-heading mw-heading2"><h2 id="Origins_of_the_Introvision_process">Origins of the Introvision process</h2></div>

<p>Introvision was created by John Eppolito, who was a stage magician and hypnotist. He spent most of his adult life working as a <a href="Radio_producer" title="Radio producer">radio producer</a> and director for ABC, and then in the early 1970s transitioned to <a href="Film_production" class="mw-redirect" title="Film production">film production</a>. Along with USC film student Les Robley, Eppolito set up shop in a garage tinkering with front projection. Introvision International was formed, expanded, and operated from 1980 to 2000 by President Tom Naud, Visual Effects Supervisor William Mesa, and Studio Facility Builder, Set Builder and Studio Manager Issachar Issy Shabtay.

</p>

<div class="mw-heading mw-heading2"><h2 id="Notable_uses">Notable uses</h2></div>

<p>Introvision was used to create the well-known rolling boulder scene in <i><a href="Raiders_of_the_Lost_Ark" title="Raiders of the Lost Ark">Raiders of the Lost Ark</a></i> (1981).<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> It was also used in <i><a href="Army_of_Darkness" title="Army of Darkness">Army of Darkness</a></i> (1992) and <i><a href="The_Fugitive_(1993_film)" title="The Fugitive (1993 film)">The Fugitive</a></i> (1993).<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> In <i><a href="Fearless_(1993_film)" title="Fearless (1993 film)">Fearless</a></i> (1993), a scene with an imploding airplane interior was created using a <a href="Miniature_effect" title="Miniature effect">minature set</a> in Introvision's own studios.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup>

</p>

<ul><li><a href="StageCraft" title="StageCraft">The Volume</a></li></ul>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

/* start https://en.wikipedia.org/ */

.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}

/* end https://en.wikipedia.org/ */

</style><div class="reflist">

/* start https://en.wikipedia.org/ */

.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("./mw/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("./mw/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("./mw/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("./mw/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}

/* end https://en.wikipedia.org/ */

</style><cite id="CITEREFKoster2013" class="citation book cs1">Koster, Robert (2013). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=_0_SU7e9gxAC&dq=Introvision&pg=PA196"><i>The Budget Book for Film and Television</i></a>. Taylor & Francis. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-136-04585-1</bdi>.</cite></span>

</li>

<li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><cite id="CITEREFGraham-Lowery2023" class="citation magazine cs1">Graham-Lowery, Nathan (2023). <a rel="nofollow" class="external text" href="https://screenrant.com/army-darkness-fugitive-vfx-technique-introvision-experts-response/">"How One Evil Dead Sequel & Harrison Ford Action Classic Revolutionized CGI Explained By VFX Artists"</a>. <i>Screen Rant</i>.</cite></span>

</li>

<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><cite id="CITEREFWolf2000" class="citation book cs1">Wolf, Mark J. P. (2000). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Khw1Nc1_0tsC&dq=Introvision&pg=PA119"><i>Abstracting Reality: Art, Communication, and Cognition in the Digital Age</i></a>. University Press of America. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-7618-1668-3</bdi>.</cite></span>

</li>

</ol></div></div></div><div><div class="zim-footer">

This article is issued from <a class="external text" title="Last edited on 2025-07-12" href="https://en.wikipedia.org/wiki/?title=Introvision&oldid=1300067734">Wikipedia</a>. The text is available under <a class="external text" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en">Creative Commons Attribution-Share Alike 4.0</a> unless otherwise noted. Additional terms may apply for the media files.

</div>

</div></div>

</div>

</main>

</div>

</body></html>