{"id":256410,"date":"2021-05-22T16:15:09","date_gmt":"2021-05-22T13:15:09","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/how-the-special-effect-of-go-motion-works\/"},"modified":"2021-05-22T16:15:09","modified_gmt":"2021-05-22T13:15:09","slug":"how-the-special-effect-of-go-motion-works","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/how-the-special-effect-of-go-motion-works\/","title":{"rendered":"#How the Special Effect of &#8220;Go Motion&#8221; Works"},"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-6a32b993838e2\" 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-6a32b993838e2\" 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-the-special-effect-of-go-motion-works\/#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-the-special-effect-of-go-motion-works\/#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-the-special-effect-of-go-motion-works\/#Long_story_long\" >Long story long:<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<p>&#8220;<strong>#How the Special Effect of &#8220;Go Motion&#8221; Works<\/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 go-motion, the special effect pioneered by Phill Tippett, works.<\/em><\/p>\n<hr\/>\n<p>I hope you all brought your tiny toolkits and wide-brimmed hats \u2014 because we\u2019re about to do some animation archeology!<\/p>\n<p>Before the early 1990s, if you wanted to include fantastical creatures, dinosaurs, or eighth wonders of the world in your movie, you had to rely on practical effects. And look, I\u2019m a fan of man-sized suits and enormous puppets as much as the next freak. But one practical technique stands out, both as a creative medium in its own right, and one of cinema\u2019s longest-serving special effects: <strong>stop-motion animation<\/strong>.<\/p>\n<p>Nearly 150 years after its invention, stop-motion is still alive and kicking. And while I\u2019d love to sit here and sing the praises of <strong>Laika<\/strong> and <strong>Aardman Animations\u00a0<\/strong>for keeping the torch lit, it\u2019s worth remembering that a significant chunk of stop-motion\u2019s purpose didn\u2019t make it into the 21st Century. <span style=\"font-size: 1.14285rem;\">Films like <\/span><em style=\"font-size: 1.14285rem;\">Kubo and the Two Strings<\/em><span style=\"font-size: 1.14285rem;\"> (2016), <\/span><em style=\"font-size: 1.14285rem;\">Missing Link<\/em><span style=\"font-size: 1.14285rem;\"> (2019), and <\/span><em style=\"font-size: 1.14285rem;\">A Shaun the Sheep Movie: Farmageddon<\/em><span style=\"font-size: 1.14285rem;\"> (2019) are not aiming for realism. Stop-motion, as it exists today, is stylized, exaggerated, and not interested in\u00a0<em>convincing\u00a0<\/em>you that what you\u2019re looking at is anything other than animation. But this wasn\u2019t always the case. For a time, stop-motion\u2019s goal was to create <em>lifelike<\/em> animated sequences that looked and moved as if they existed in the real world.<\/span><\/p>\n<p>And this brings us to a fascinating, if doomed, decade in animation history: a period of time in which innovative minds sought (and arguably succeeded) in bringing stop-motion to a new level of realism right before CGI kicked the proverbial door down. As <em>The Big Picture Magazine<\/em> puts it, <strong>go-motion<\/strong> is <a rel=\"nofollow noopener\" target=\"_blank\" href=\"http:\/\/thebigpicturemagazine.com\/thousand-words-go-motion-animation-it-was-all-just-a-blur\/\">a \u201cnear-forgotten transitional fossil\u201d<\/a>\u2014an ambitious bridge between the uncanny tactility made famous by <strong>Ray Harryhausen<\/strong> and the kinetic fluidity we\u2019ve become accustomed to in the digital age. Let\u2019s take a look at how it worked:<\/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>By using motion-controlled articulators, go-motion allows an articulated puppet to move while the shutter of the camera is open. This creates the <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>earance of motion blur. The idea is to avoid the stuttery feel that sometimes comes with traditional stop-motion animation.<\/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>In order to fully appreciate the technical aspects of go-motion, it\u2019s important to understand why the process was invented in the first place.<\/p>\n<p>Stop-motion is a very time- and labor-intensive technique that involves photographing objects as they\u2019re moved incrementally. When this <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/watch-movies-tv-seriess\/\" data-internallinksmanager029f6b8e52c=\"8\" title=\"Watch Movies &amp; TV Series\" target=\"_blank\" rel=\"noopener\">series<\/a> of images are projected at the standard 24 frames-per-second, an optical phenomenon known as <strong>persistence of vision<\/strong> takes over and the object appears to move (more or less) fluidly.<\/p>\n<p>Whereas live-action film uses individual frames to capture movement that actually happened, stop-motion uses individual frames to capture objects frame by frame. As a consequence, stop-motion tends to create a recognizable staccato effect. This strobing takes place because the animated object is static in each frame after it is repositioned. If you were to randomly pause a stop-motion sequence, whatever frame you landed on would be perfectly sharp, which is great for grabbing screenshots but somewhat problematic for creating believable movement.<\/p>\n<p>Real moving objects captured on film have <strong>motion blur<\/strong> because they are moving while the shutter of the camera is open. If you were to pause a video of your dog zooming on a beach, odds are that any given still frame would feature a dog-colored smudge rather than a completely sharp subject. Stop-motion animation\u2019s lack of motion-blurring is part of what makes stop-motion look so distinctly <em>like<\/em> stop-motion. And look: this kind of jerky, deliberate movement is perfect for something inherently clunky like the 70 meter-tall bronze giant in Don Chaffey\u2019s <em>Jason and the Argonauts<\/em>. But, by and large, this kind of stuttering can be distracting and a tell-tale sign of stop-motion\u2019s presence. And this can be a real problem for a film hoping to seamlessly integrate live-action and stop-motion into the same sequence.<\/p>\n<p>Go-motion was developed as a way to create less choppy-looking stop-motion animation. The core idea of the process involves moving the puppet or model slightly during the exposure of each frame, which produces a realistic-looking motion blur between each static re-positioning. Whereas stop-motion animation consists of images of still, incremental movements, go-motion is made up of images of the object taken in the same instant that it moves.<br \/>Animators used a variety of techniques to simulate motion blur, many of which amount to slightly jostling the puppet during the exposure of each frame without knocking everything over or moving things too much. If you\u2019re thinking to yourself \u201cwow this sounds even harder than just taking a bunch of photographs of a posed model\u201d you would be correct.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-365393 alignnone\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/05\/Star-Wars-the-empire-strikes-back-go-motion-tauntaun.gif\" alt=\"Star Wars The Empire Strikes Back Go Motion Tauntaun\" width=\"800\" height=\"338\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/05\/Star-Wars-the-empire-strikes-back-go-motion-tauntaun.gif 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/05\/Star-Wars-the-empire-strikes-back-go-motion-tauntaun-768x324.gif 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/p>\n<p>Go-motion was pioneered by <strong>Industrial Light &amp; Magic<\/strong> and SFX wizard <strong>Phil Tippett<\/strong> during the production of<strong><em> Star Wars: Episode V \u2013 The Empire Strikes Back<\/em><\/strong> (1980). During his big break on <em>Star Wars: Episode IV \u2013 A New Hope<\/em>, Tippett\u2019s special effects tasks included a stop-motion animated effect of a gaggle of holographic figurines duking it out on a chessboard. This work opened the door for his (and Jon Berg\u2019s) innovative work on <em>Empire<\/em>, including the Battle of Hoth, in which the Rebel\u2019s ice base is assaulted by towering, all-terrain armored transports. As far as stop-motion is concerned, the sequence is as monumental as anything Willis O\u2019Brien or Harryhausen ever produced. While different techniques and different-sized models were used, the fast-moving Tauntauns and the lumbering AT-AT imperial walkers both made use of go-motion, albeit in a more rudimentary form than what Tippett and ILM would later develop. For the Tauntauns (the alliance\u2019s bipedal, camel-like creatures) puppets were moved slightly along <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/youtu.be\/rTRAkQGpAhw?t=106\">a motion-controlled track<\/a> with each opening of the camera shutter.<\/p>\n<p>\u201cStop-motion people had for years been trying to figure out ways of adding motion-blur to things, but it was too time consuming and cumbersome, and nothing ever looked very good anyhow, up until that point,\u201d Tippett explains in Heather A. Wixton\u2019s <em>Monster Squad<\/em>. \u201cWhen we got up to ILM and started to set up shop for <em>Empire<\/em>, it was very clear that one of the first things we had to do was experiment with combining motion-control <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/technology\/\" data-internallinksmanager029f6b8e52c=\"4\" title=\"Technology\" target=\"_blank\" rel=\"noopener\">technology<\/a> that they used for the space ships, and then find a way to apply it to stop-motion characters. It ended up being a very rudimentary array that we did, where it was just kind of latching together two types of technology and seeing what they could do.\u201d<\/p>\n<p>Just as computer-controlled cameras were instrumental in elevating<em> Star Wars\u2019<\/em> blue-screen optical effects to new heights, the go-motion process sought to capitalize on the potential of motion-control mechanisms for animation. At its most sophisticated, go-motion involved programming a computer to move external rods that would slightly manipulate various points on a puppet during each exposure. Each rod would be attached to stepper motors linked to a computer capable of recording the movements of the model as it was animated by the puppeteers. This exposed movement, combined with traditional hand manipulation between frames, creates articulated movement with motion blur that looks pretty dang convincing.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-365392 alignnone\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/05\/Dragonslayer-Phil-Tippett.gif\" alt=\"Dragonslayer Phil Tippett\" width=\"800\" height=\"363\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/05\/Dragonslayer-Phil-Tippett.gif 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/05\/Dragonslayer-Phil-Tippett-768x348.gif 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/p>\n<p>In one sense, the timing of Tippett\u2019s innovation was fortuitous. <em>Star Wars<\/em> exploded the demand for VFX work. And in the pre-CGI 1980s, that meant plenty of opportunities for go-motion. The technique appears in everything from <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/monsterlegacy.net\/2013\/03\/04\/eborsisk-monster-willow\/\">the two-headed Eborsisk in <em>Willow<\/em> (1988)<\/a> to <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.polygon.com\/2020\/5\/17\/21252401\/howard-the-duck-the-matrix-special-effects\">the Dark Overlord monster in <em>Howard the Duck<\/em> (1986)<\/a>. But, for my money, the most astounding display of go-motion\u2019s prowess is in Tippett\u2019s first project after <em>Empire<\/em>: the 1981 sword and sorcery flick <em><a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.ilm.com\/vfx\/dragonslayer\/\">Dragonslayer<\/a><\/em>. For all of <em>Dragonslayer<\/em>\u2019s dubious optical matting, the titular dragon (whose name, I shit you not, is Vermithrax Pejorative) looks incredible. While a variety of techniques were used to bring Pejorative to life, go-motion\u2019s boons are visible when the dragon walks on land: the enormous beast fluidly clamors through narrow caverns, scuttling furiously after our imperiled hero with none of the stuttering of his stop-motion ancestors. Engineered and animated by Tippett, Stuart Ziff, and a host of other ILM creatives, the terrestrial go-motion model of Pejorative included a complex motion control system made up of six motor-driven rods (one for each leg, one for the body, and one for the head). For proof that his movement looks identical, if not better, than any CGI dragon, we need look no further than 1991\u2019s <em>DragonHeart<\/em>, another product of Tippett\u2019s that lacks Pejorative\u2019s weighty, tactile je ne sais quoi.<\/p>\n<p>In something of a knife twist, Tippett was directly involved in the project that effectively made stop-motion (and by extension go-motion) obsolete:<strong><em> Jurassic Park<\/em><\/strong>. Originally, go-motion was going to be used extensively for the dinosaur effects in the film, but director Steven Spielberg ultimately opted to pursue the then-up-and-coming CGI. Tippett remained on the film, working closely with ILM\u2019s CGI team lending both his paleontological expertise and collaborating on the Dinosaur Input Device, a traditional stop-motion armature with motion-encoders that translated physical movement into a digital model.<\/p>\n<blockquote class=\"twitter-tweet\" data-width=\"550\" data-dnt=\"true\">\n<p lang=\"en\" dir=\"ltr\">A look back at &#8220;Jurassic Park,&#8221; the groundbreaking decision to create digital dinosaurs, and the impact it had on the future of movies. <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/t.co\/suKZykh6NC\">pic.twitter.com\/suKZykh6NC<\/a><\/p>\n<p>\u2014 The Academy (@TheAcademy) <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/twitter.com\/TheAcademy\/status\/1315695066673897475?ref_src=twsrc%5Etfw\">October 12, 2020<\/a><\/p>\n<\/blockquote>\n<p>While the last proper film of the go-motion era would come a bit later in the summer of 1993 with <em>Coneheads\u2019<\/em> toothy Garthok,<em> Jurassic Park<\/em> marked both Tippett\u2019s and the industry\u2019s career-pivot into VFX. Go-motion, and all significant efforts to wield stop-motion as a viable option for realistic animated effects, went extinct. Today, mechanical motion blur is by and large a thing of the past and can now be simulated digitally in post-production (which is its own can of worms).<\/p>\n<p>Notably, while the advent of credible CGI didn\u2019t help go-motion\u2019s survival, for its part, the technique was also prohibitively expensive. Tippett served both as <em>RoboCop\u2019<\/em>s associate producer and an animator on the film, overseeing the sequences of the menacing, stairs-adverse enforcement droid ED-209 alongside Craig Hayes, Randy Dutra, and Harry Walton. The ED-209 effect was made up of a mostly static, seven-foot-tall, 300-pound model as well as a more articulated puppet. \u201c<a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.vfxvoice.com\/robocop-crashes-30-ed-209-still-a-stop-motion-hero\/\">We couldn\u2019t afford Go-Motion<\/a>,\u201d Tippett tells <em>VFX Voice<\/em>. \u201c<a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.vfxvoice.com\/robocop-crashes-30-ed-209-still-a-stop-motion-hero\/\">And you know, in terms of believability, robots tend to lend themselves to the stop-motion process<\/a>.\u201d And, at the end of the day, this is the biggest takeaway: there are not necessarily \u201cbetter\u201d or \u201cworse\u201d techniques, only what best suits a given story (and its budget).<\/p>\n<p><span style=\"font-size: 1.85714rem; font-weight: 900;\">What\u2019s the precedent?<\/span><\/p>\n<p>The basic principle behind go-motion has supposedly been around since at least the 1920s. <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.denofgeek.com\/movies\/the-stop-motion-animation-of-ladislas-starevich\/\">Legendary Polish-Russian stop-motion animator <strong>Ladislas Starevich<\/strong><\/a> is said to have invented the technique after settling in France. Starevich is remembered today as a pioneer of puppet-based animation, a technique he all but invented with his 1921 film <strong><em>The Beautiful Lukanida<\/em><\/strong>. He is also infamous for shooting films with animal protagonists, including the use of dead bugs with articulated wire legs.<\/p>\n<p>As Mark Player notes in his 2016 article \u201c<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">Media<\/a>-Morphosis\u201d, <a rel=\"nofollow noopener\" target=\"_blank\" href=\"http:\/\/www.acta.sapientia.ro\/acta-film\/C12\/film12-09.pdf\">Starevich\u2019s stop-motion \u201cwas unusually fluid for the time period\u201d<\/a>. As far as go-motion is concerned, Starevich is said to have employed the \u201cbump\u201d technique, in which he would expose the puppet after setting it in motion to create convincing motion-blur. He is also said to have used the \u201cmove the table\u201d technique: when a character ran, he moved the set in the opposite direction. You can see the results for yourself in a number of Starevich\u2019s later films, including his 1937 picture <strong><em><a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.openculture.com\/2013\/08\/the-tale-of-the-fox.html\">The Tale of the Fox<\/a><\/em><\/strong>, his first fully animated feature film.\n<\/div>\n<p><script async src=\"\/\/platform.twitter.com\/widgets.js\" charset=\"utf-8\"><\/script><\/p>\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>\n<\/p><\/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\/how-go-motion-animation-works\/#utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=how-go-motion-animation-works\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;#How the Special Effect of &#8220;Go Motion&#8221; Works&#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 go-motion, the special effect pioneered by Phill Tippett, works. I hope you all brought your tiny toolkits and&#8230;<\/p>\n","protected":false},"author":1,"featured_media":256411,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/05\/empire-strikes-back-hoth-go-motion.jpeg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[1416,44129,30898],"class_list":["post-256410","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-animation","tag-howd-they-do-that","tag-stop-motion"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/256410","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=256410"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/256410\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/256411"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=256410"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=256410"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=256410"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}