{"id":208800,"date":"2021-03-23T14:16:07","date_gmt":"2021-03-23T11:16:07","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/how-they-shot-the-stargate-sequence-in-2001-a-space-odyssey\/"},"modified":"2021-03-23T14:16:07","modified_gmt":"2021-03-23T11:16:07","slug":"how-they-shot-the-stargate-sequence-in-2001-a-space-odyssey","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/how-they-shot-the-stargate-sequence-in-2001-a-space-odyssey\/","title":{"rendered":"#How They Shot the Stargate Sequence in &#8216;2001: A Space Odyssey&#8217;"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_85 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a2fce851f867\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a2fce851f867\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-shot-the-stargate-sequence-in-2001-a-space-odyssey\/#Howd_they_do_that\" >How\u2019d they do that?<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-shot-the-stargate-sequence-in-2001-a-space-odyssey\/#Long_story_short\" >Long story short:<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-shot-the-stargate-sequence-in-2001-a-space-odyssey\/#Long_story_long\" >Long story long:<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-shot-the-stargate-sequence-in-2001-a-space-odyssey\/#Whats_the_precedent\" >What\u2019s the precedent?<\/a><\/li><\/ul><\/nav><\/div>\n<p>&#8220;<strong>#How They Shot the Stargate Sequence in &#8216;2001: A Space Odyssey&#8217;<\/strong>&#8221;<\/p>\n<div>\n<aside class=\"mashsb-container mashsb-main mashsb-stretched\">\n                <\/aside>\n<p><!-- Share buttons by mashshare.net - Version: 3.7.9--><em>Welcome to <strong>How\u2019d They Do That?<\/strong> \u2014 a monthly column that unpacks moments of movie magic and celebrates the technical wizards who pulled them off. This entry explains how they shot the <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/trip-and-travel\/\" data-internallinksmanager029f6b8e52c=\"10\" title=\"Trip &amp; Travel\" target=\"_blank\" rel=\"noopener\">trip<\/a>py \u201cstargate\u201d sequence at the end of 2001: A Space Odyssey.<\/em><\/p>\n<hr\/>\n<p>It is difficult to speak about <em><strong>2001: A Space Odyssey <\/strong><\/em>without careening into hyperbole. <strong>Stanley Kubrick<\/strong>\u2018s masterpiece is one of the most significant pieces of <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/sciencee\/\" data-internallinksmanager029f6b8e52c=\"5\" title=\"Science\" target=\"_blank\" rel=\"noopener\">science<\/a> fiction filmmaking. It towers over the genre like a jet-black monolith of influence, reputation, cult, and technical achievement.<\/p>\n<p>In the film, humanity discovers a mysterious object buried on the moon. It\u2019s sending signals to Jupiter. So the powers that be dispatch a crew of scientists on an ill-fated mission to investigate.<\/p>\n<p>When released in 1968, it shattered all notions of what a science fiction film should and <em>could <\/em>look like. Indeed, the special effects in <em>2001\u00a0<\/em>are just as astonishing today as they were back then. Achieved before sophisticated astrophotography, let alone CGI, Kubrick\u2019s vision of the cosmos is unsettlingly convincing. And yet, for all its evocative hypotheticals, one of the most memorable set pieces in the film is infamously abstract.<\/p>\n<p>In the film\u2019s final act, only Dr. David Bowman (Keir Dullea) survives. The ship\u2019s murderous AI has killed his crewmates. And now, with HAL 9000 destroyed, Bowman is truly alone. With no clear motive, he abandons his ship. Perhaps he spotted the enormous floating monolith orbiting Jupiter and went out to retrieve it. Or maybe, in a final act of violence, the ship\u2019s AI sabotaged the vessel, rendering it inhospitable. Whatever his reasons, as Bowman ventures out into the unknown, the planets literally align. The starry void stretched out before the astonished doctor erupts into a kaleidoscope of color. He hurtles through the illuminated tunnel, warping through time and space itself. As the lights accelerate, Bowman\u2019s stunned awe slips into an outright terror trip.<\/p>\n<p>There is no real-world precedent for transit into another dimension. No fuzzy satellite pictures, no first-hand accounts from astronauts. As such, the stargate scene in <em>2001<\/em> is one of the most shocking, perplexing, and imaginative effects out there. So how on earth did they do it?<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-364330 alignnone\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/2001-A-Space-Odyssey-stargate-effect-1.gif\" alt=\"A Space Odyssey Stargate Effect\" width=\"800\" height=\"360\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/2001-A-Space-Odyssey-stargate-effect-1.gif 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/2001-A-Space-Odyssey-stargate-effect-1-768x346.gif 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/p>\n<hr\/>\n<h2><span class=\"ez-toc-section\" id=\"Howd_they_do_that\"><\/span>How\u2019d they do that?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<h3><span class=\"ez-toc-section\" id=\"Long_story_short\"><\/span>Long story short:<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>The stargate sequence was accomplished by mounting colored transparencies to the back of a mechanical rig. These illuminated patterns were visible through a narrow slit on the opposite side. While the camera moved towards the slit, the transparencies were passed in front of the light. Each dolly-in exposed half of a single frame. To complete the sequence, technicians had to repeat the process over and over again.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Long_story_long\"><\/span>Long story long:<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>As described in Michael Benson\u2019s <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.goodreads.com\/book\/show\/35297381-space-odyssey\"><em>Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece<\/em><\/a>, the initial creative process that led to the stargate sequence was, in <strong>Christine Kubrick<\/strong>\u2018s words, \u201cabsolutely disgusting.\u201d Which makes sense because how else do you describe an abandoned bra factory full of vats of moldy chemicals?<\/p>\n<p>Gr<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">app<\/a>ling with the financial reality that <i>2001 <\/i>had to go into production, Stanley Kubrick set out to complete a handful of preliminary test shots. Hiring a small VFX outfit called <strong>Effects-U-All<\/strong><em>,\u00a0<\/em>he rented an abandoned brassiere factory and turned it into a chemical lab. The team set up tanks of black ink and isoamyl acetate, a noxious World War II-era paint thinner infamous for smelling like bananas.<\/p>\n<p>The effects team surrounded the tanks with high-intensity film lights, shooting in reverse and over-cranking the camera. Technicians dripped blobs of white paint and lacquer into the vats with toothpicks. Reacting with the thinner, the blobs produced shapes mimicking massive cosmic events: galactic tendrils, dying stars, and explosive nebulas. Unfortunately, the hot lights also had the unpleasant side effect of engendering bacterial growth. Kubrick shot some of these \u201cdrip\u201d effects himself in a small darkroom in New York City. And some of that footage made it into the final stargate sequence.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-364332 alignnone\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/2001-A-Space-Odyssey-stargate-paints.jpg\" alt=\"A Space Odyssey Stargate Paints\" width=\"800\" height=\"354\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/2001-A-Space-Odyssey-stargate-paints.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/2001-A-Space-Odyssey-stargate-paints-768x340.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/p>\n<p><strong>Douglas Trumbull<\/strong>, then just twenty-three, was working under contract on pre-production research for the film. When the project moved to England, Trumbull cold-called Kubrick and asked if he could continue to work on the project. Kubrick hired Trumbull, who spent the next two-and-a-half years as one of the film\u2019s four visual effects supervisors.<\/p>\n<p>Kubrick\u2019s vision for the stargate sequence vaguely amounted to wanting \u201cthe camera to go through something.\u201d After seeing the tests of what Trumbull was planning to do (which can \u2014 <em>maybe <\/em>\u2014 be glimpsed in <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/youtu.be\/b6xeHpmm1ag\">this trailer<\/a>), Kubrick authorized Trumbull to move forward.<\/p>\n<p>The stargate sequence was accomplished with the use of a rig that combined elements of stop-motion animation, a \u201c<strong>slit-scan<\/strong>,\u201d and the basic principles of <strong>streak photography<\/strong>.<\/p>\n<p>Imagine taking a long-exposure photograph of a moving car at night. In the resulting image, headlights would appear as a long, illuminated bar. If, instead of a car, you were taking a long exposure of a vertical florescent tube, instead of a bright streak you would have a solid plane of light. Furthermore, if you were able to manipulate this tube, and turn it on and off, you could produce a photograph of a <em>patterned\u00a0<\/em>plane of light. This is the basic idea behind the stargate effect.<\/p>\n<p>As outlined in <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/imgur.com\/a\/HUT6O\">Trumbull\u2019s own description<\/a>, a long-exposure camera was mounted onto a track pointed directly towards a sheet masked in black with the exception of a thin slit. According to <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/cinefex.com\/backissues\/issue85.htm\"><em>Cinefex <\/em>magazine\u00a0#85<\/a>, the final build consisted of a six-foot-tall rotatable rectangle of sheet metal with a narrow opening cut into it. This sheet stood in front of a mechanized twelve-foot-long glass panel. This panel was backlit and affixed with various light-transmitting materials, namely transparencies and celluloid gels. The stargate artwork \u2014 as specified in Jerome Agel\u2019s essential 1970 text <em><a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.goodreads.com\/en\/book\/show\/471388.The_Making_of_Kubrick_s_2001\">The Making of Kubrick\u2019s<\/a><\/em><a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.goodreads.com\/en\/book\/show\/471388.The_Making_of_Kubrick_s_2001\"><em> 2001<\/em><\/a>\u2014 included high contrast negatives of everything from optical art paintings to architectural drawings to prints of electrical circuits.<\/p>\n<p>\u201cThe room was painted totally black,\u201d recalls Trumbull to <em>Cinefex<\/em>. \u201cWe erected our slit with a light source directly behind it. Then we built a track leading up to the slit and mounted a 65mm camera on it with a shutter that could stay open on one frame of film. To modulate the lighting coming through the slit, we used high-contrast negative transparencies that would slide behind the slit as the camera moved toward it.\u201d<\/p>\n<p>Trumbull continues: \u201cBy having this artwork move behind the slit, backlit, we were able to effectively turn light on and off. As we did that, we moved the camera along fourteen feet of track toward the slit \u2014 a full fourteen feet for each exposure. It took about forty-five seconds to a minute per exposure, and each frame was made up of two exposures.\u201d<\/p>\n<p>As Trumbull underlines, the camera was basically automatic. This included a brake system that kept the camera from bulldozing through the glass plane. A small accelerator motor gradually increased the speed of the stargate over the course of the sequence. \u201cOftentimes that camera would run for thirty-six hours continuously to shoot one take,\u201d Trumbull recalls. \u201cAll together, we spent at least six months working on the slit-scan footage.\u201d<\/p>\n<p>In other words, Trumbull\u2019s rig was turning a camera inside-out; externalizing the shutter as a physical slit in the real world. The effect was, as Trumbull himself put it in <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/youtu.be\/FBaZQojd1_s\">a lecture at the TIFF Bell Lightbox<\/a>, \u201ccompletely breaking the concept of what a camera is supposed to do.\u201d<\/p>\n<p>By tracking the camera <em>towards\u00a0<\/em>the light source with a long exposure, the resulting streaks of light appear to move <em>towards\u00a0<\/em>the camera from a single point. In short, this is the ultimate boon of slit-scan, as described by special photographic effects supervisor <strong>Con Pederson<\/strong> in a 1965 letter to Kubrick: that it can \u201csimulate smooth, continuous motion variations from a single initial element, in two, or three-dimensional configurations.\u201d<\/p>\n<p>In that same letter, Pederson supposes that the technique might prove helpful with respect to sussing out the film\u2019s ending. Indeed, the matter of how to introduce the stargate sequence was never quite clear. For example, in one scenario, Dave\u2019s shuttle was going to pass through the monolith itself. In the end, projections of slit-scan footage that began total blackness combined with a starscape provided a solution. The transition \u201clooked terrific\u201d Trumbull recalls.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-364331 alignnone\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/2001-A-Space-Odyssey-stargate-effect-2.gif\" alt=\"A Space Odyssey Stargate Effect\" width=\"800\" height=\"360\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/2001-A-Space-Odyssey-stargate-effect-2.gif 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/2001-A-Space-Odyssey-stargate-effect-2-768x346.gif 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/p>\n<p>As <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/youtu.be\/KhRo2WbWnKU\">the fine folks at Filmmaker IQ have remarked<\/a>, the time and space-bending aspects of slit-scan photography poetically mirror the on-screen experience of Dr. Bowman as he hurtles through the stargate. And speaking of Bowman, it\u2019s worth noting that the intercut stills of the surviving astronaut actually serve a formal purpose. Namely: to bridge the slit-scan footage\u2019s flips from a vertical axis to a horizontal one.<\/p>\n<p>Manipulated areal footage of Scotland and Monument Valley make up the oddly-colored landscapes that conclude the sequence. By randomly mixing up the three-strip technicolor process in an optical printer, the effects technicians were able to produce evocative color combinations.<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Whats_the_precedent\"><\/span>What\u2019s the precedent?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p>Slit-scan photography has been around in some variation since the mid-1800s. The technique involves placing a sliding slit between the subject and the photographic plane. This gradually exposes the photographic medium as the slit travels from one side of the frame to the other. Trumbull placing the slit <em>outside<\/em> the camera in the\u00a0<em>2001\u00a0<\/em>stargate sequence was an innovation. In fact, in 2009, the Society of Camera Operators <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/issuu.com\/cameraoperators\/docs\/soc_co_2009awards\/51\">awarded Trumbull with a technical achievement<\/a> specifically for his work on slit-scan motion picture photography.<\/p>\n<p>One of the first uses of the slit-scan technique was in panoramic photography. The mid-19th century saw multiple cameras featuring \u201cswing-lenses\u201d which would gradually expose images onto rigid glass plates. However, as more flexible film stock became accessible, slit-scan\u2019s popularity increased. This in turn evolved into strip photography, a process whereby the slit remained stationary as the film passed underneath. This was especially useful in determining winners at racetracks; a record of temporal relationships rather than spatial ones, like the bastard child of the panorama and the time-lapse.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-364329 alignnone\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/To-The-Moon-And-Beyond-Slit-Screen-effect.gif\" alt=\"To The Moon And Beyond Slit Screen Effect\" width=\"800\" height=\"579\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/To-The-Moon-And-Beyond-Slit-Screen-effect.gif 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/To-The-Moon-And-Beyond-Slit-Screen-effect-768x556.gif 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/p>\n<p>Slit-scan photography found its way into motion picture film at the 1964 New York World\u2019s Fair. <strong><em>To The Moon and Beyond<\/em><\/strong>\u00a0was created by <a rel=\"nofollow noopener\" target=\"_blank\" href=\"http:\/\/scienceandfilm.org\/articles\/2656\/graphic-films-and-the-inception-of-2001-a-space-odyssey\">Graphic Films<\/a>, a company run by former Disney animator <strong>Lester Novros <\/strong>that made technical <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/watch-movies-tv-seriess\/\" data-internallinksmanager029f6b8e52c=\"8\" title=\"Watch Movies &amp; TV Series\" target=\"_blank\" rel=\"noopener\">movies<\/a> for NASA. The special effects team\u2019s convincing visuals impressed Kubrick, who contracted the Graphic Films team (including Trumbull) to work on preliminary concepts for <em>2001.<\/em><\/p>\n<p>Trumbull cites avant-garde animator <strong>John Whitney<\/strong>\u00a0as a direct inspiration for the <em>2001 <\/em>stargate sequence. Readers may be familiar with Whitney\u2019s work on <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.artofthetitle.com\/title\/vertigo\/\">the opening title sequence of Alfred Hitchock\u2019s <em><strong>Vertigo<\/strong><\/em><\/a>, which happens to be one of the first instances of computer animation in a film (the computer in question was a World War II anti-aircraft targeting system).<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-364327 alignnone\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/Vertigo-John-Whitney.jpg\" alt=\"Vertigo John Whitney\" width=\"800\" height=\"429\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/Vertigo-John-Whitney.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/Vertigo-John-Whitney-768x412.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/p>\n<p>During the 1960s, Whitney experimented with long exposures of artwork set in motion by mechanized devices, (<a rel=\"nofollow noopener\" target=\"_blank\" href=\"http:\/\/drawn.ca\/films\/catalog\">evocatively<\/a> <a rel=\"nofollow noopener\" target=\"_blank\" href=\"http:\/\/drawn.ca\/films\/catalog\">executed<\/a><a rel=\"nofollow noopener\" target=\"_blank\" href=\"http:\/\/drawn.ca\/films\/catalog\">\u00a0in 1961\u2019s <strong><em>Catalog<\/em><\/strong><\/a>). Whitney\u2019s experiments with mechanized long-exposure, combined with slit-scan, form the basis of Trumbull\u2019s approach for the stargate effect in <em>2001<\/em>.\n<\/div>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/social-media\/\" target=\"_blank\" rel=\"noopener\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/filmschoolrejects.com\/2001-a-space-odyssey-stargate\/#utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=2001-a-space-odyssey-stargate\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;#How They Shot the Stargate Sequence in &#8216;2001: A Space Odyssey&#8217;&#8221; Welcome to How\u2019d They Do That? \u2014 a monthly column that unpacks moments of movie magic and celebrates the technical wizards who pulled them off. This entry explains how they shot the trippy \u201cstargate\u201d sequence at the end of 2001: A Space Odyssey. It&#8230;<\/p>\n","protected":false},"author":1,"featured_media":208801,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/03\/2001_A_Space_Odyssey_Stargate.jpeg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[58230,44129,7786],"class_list":["post-208800","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-2001-a-space-odyssey","tag-howd-they-do-that","tag-stanley-kubrick"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/208800","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=208800"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/208800\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/208801"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=208800"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=208800"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=208800"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}