{"id":411768,"date":"2022-03-03T15:16:59","date_gmt":"2022-03-03T12:16:59","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/how-they-made-the-glowing-costumes-in-the-original-tron\/"},"modified":"2022-03-03T15:16:59","modified_gmt":"2022-03-03T12:16:59","slug":"how-they-made-the-glowing-costumes-in-the-original-tron","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/how-they-made-the-glowing-costumes-in-the-original-tron\/","title":{"rendered":"#How They Made the Glowing Costumes in the Original TRON"},"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-6a3bf177a0e68\" 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-6a3bf177a0e68\" 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-1'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-made-the-glowing-costumes-in-the-original-tron\/#%E2%80%9CHow_They_Made_the_Glowing_Costumes_in_the_Original_TRON%E2%80%9D\" >&#8220;How They Made the Glowing Costumes in the Original TRON&#8221;<\/a><ul class='ez-toc-list-level-2' ><li class='ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-made-the-glowing-costumes-in-the-original-tron\/#The_glowing_costumes_in_Tron\" >The glowing costumes in Tron<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-made-the-glowing-costumes-in-the-original-tron\/#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-4\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-made-the-glowing-costumes-in-the-original-tron\/#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-5\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-made-the-glowing-costumes-in-the-original-tron\/#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-6\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-made-the-glowing-costumes-in-the-original-tron\/#Whats_the_precedent_for_the_illuminated_Tron_costumes\" >What\u2019s the precedent for the illuminated Tron costumes?<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h1><span class=\"ez-toc-section\" id=\"%E2%80%9CHow_They_Made_the_Glowing_Costumes_in_the_Original_TRON%E2%80%9D\"><\/span>&#8220;How They Made the Glowing Costumes in the Original TRON&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h1>\n<pre><code>     &lt;span class=\"mx-1\"&gt;As Flynn says, on the other side of the screen, it all looks so easy.&lt;\/span&gt;\n&lt;\/p&gt;&lt;div id=\"\"&gt;\n\n\n\n                &lt;figure class=\"sf-entry-featured-<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">media<\/a> \"&gt;\n            &lt;img width=\"800\" height=\"362\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Trong-glowing-costume-David-Warner.jpeg\" class=\"articlethumb wp-post-image\" alt=\"Trong Glowing Costume David Warner\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Trong-glowing-costume-David-Warner.jpeg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Trong-glowing-costume-David-Warner-768x348.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"\/&gt;                                    &lt;p&gt;\n                    &lt;span class=\"sf-entry-flag sf-entry-flag-creditline\"&gt;Disney&lt;\/span&gt;\n\n                        &lt;\/figure&gt;\n\n    &lt;!-- START BYLINE --&gt;\n    &lt;div class=\"row align-items-center justify-content-center my-4 text-center medium dark-gray\"&gt;\n        By\u00a0Meg Shields\u00a0\u00b7 Published on March 3rd, 2022 \n        &lt;\/div&gt;\n    &lt;!-- END BYLINE --&gt;\n\n    &lt;em&gt;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 did the glowing costumes in Steven Lisberger\u2019s groundbreaking 1982 sci-fi movie Tron.&lt;\/em&gt;\n<\/code><\/pre>\n<hr\/>\n<p>For better or for worse, it was <strong><em>Tron<\/em><\/strong> that unleashed Computer Generated Imagery on Tinseltown. The 1982 Disney movie is privy to a remarkable number of firsts: the first feature-length film to combine CGI and live-action; the first talking and moving CGI character; the first film to combine a CGI character and a live-action one; the first fully CGI backgrounds\u2026 The list goes on and on.<\/p>\n<p>It is deliciously fitting that a film of CGI milestones is also, narratively speaking, explicitly concerned with both the potential and danger bound up in our relationship with <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/technology\/\" data-internallinksmanager029f6b8e52c=\"4\" title=\"Technology\" target=\"_blank\" rel=\"noopener\">technology<\/a>.<\/p>\n<p><em>Tron<\/em> follows Kevin Flynn (<strong>Jeff Bridges<\/strong>), a former software engineer whose lazy days running a video <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/game\/\" data-internallinksmanager029f6b8e52c=\"7\" title=\"Game\" target=\"_blank\" rel=\"noopener\">game<\/a> arcade are upended when he attempts to hack into the Master Control Program (MCP) of his former employer, ENCOM, on the suspicion that his old boss plagiarized his video game ideas.<\/p>\n<p>Flynn teams up with a handful of former co-workers who have grown concerned that the MCP may have mutated into a power-hungry AI. But when the group infiltrates ENCOM, the MCP uses an experimental laser to digitize Flynn into cyberspace. After getting his bearings, he attempts to locate the security measure called TRON, the last hope at freeing \u201cThe Grid\u201d from the MCP\u2019s tyrannical rule.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-370490 alignnone\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Tron-Flynn.jpg\" alt=\"Tron Flynn\" width=\"800\" height=\"363\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Tron-Flynn.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Tron-Flynn-768x348.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/p>\n<h2><span class=\"ez-toc-section\" id=\"The_glowing_costumes_in_Tron\"><\/span>The glowing costumes in Tron<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p>Inside cyberspace, Flynn finds a world populated by programs bearing the likeness of their human creators. Each program (as well as the digitized Flynn himself) is covered in sleek, form-fitting circuitry: glowing catsuits, and crash helmets that bind them aesthetically to the flickering digital space and to each other.<\/p>\n<p>Each character, from the Shakespearean MCP second-in-command Sark (<strong>David Warner<\/strong>) to the kind-hearted input\/output program Yori (<strong>Cindy Morgan<\/strong>), glows like neon. Light permeates their electronic bodies, illuminating the geometric wiring that clings to their thighs, ribs, and foreheads.<\/p>\n<p>So, how did they do it? Was this yet another CGI innovation <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>lied at great duress by pioneering digital artists? Was it just a practical lighting source?\u00a0 Or is something a little more \u2026 old school\u2026 happening here?<\/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 costumes in\u00a0<em>Tron\u00a0<\/em>achieved their iconic glow through a traditional animation trick known as \u201cbacklight animation.\u201d By shining colored light through transparent mattes of specific screen elements, the filmmakers could give the costumes their glowing effect.<\/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>While <em>Tron<\/em> is often discussed in the context of contributions to computer animation, the film is also one of the greatest examples of a traditional animation process known as \u201c<strong>backlighting<\/strong>.\u201d<\/p>\n<p>Before we get into how backlighting was used on <em>Tron<\/em>, it will be helpful to look at how backlight animation is typically used. Namely: 2D animation. If you\u2019re a fan of traditional animation, especially from around the time of <em>Tron<\/em>\u2019s release, you\u2019re familiar with the visual concept of backlighting: it\u2019s that warm and often diffuse glow that makes you think \u201chuh, how the heck did they hand-draw that lighting effect?\u201d<\/p>\n<p>Well, the cool thing is that they didn\u2019t!<\/p>\n<div id=\"attachment_370491\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img decoding=\"async\" aria-describedby=\"caption-attachment-370491\" loading=\"lazy\" class=\"wp-image-370491 size-full\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/The-Secret-of-NIMH.jpg\" alt=\"The Secret Of Nimh\" width=\"800\" height=\"435\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/The-Secret-of-NIMH.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/The-Secret-of-NIMH-768x418.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/p>\n<p id=\"caption-attachment-370491\" class=\"wp-caption-text\">The Secret of NIMH (1982)<\/p>\n<\/div>\n<p>First, the animated shot is photographed normally, but the \u201cglow areas\u201d are (usually) painted black. Then, the camera is rewound to the beginning of the shot and a counter-matte is placed down. Now, the originally blacked-out glow placeholders are transparent. (Fun fact: if your shot has multiple glowing elements, each requires its own counter-matte. To boot: shots with multiple colors require repeating the whole process multiple times).<\/p>\n<p>Next, a light source is shone through the transparency, and colored gels can be applied in addition to any exposure shifts or filters (for sharpness, fuzziness, etc.). The result is a very tactile and magical lighting effect, complete with tapering fringes and unique liveliness that cannot really be simulated by hand (or digitally, for that matter).<\/p>\n<p>Because it\u2019s tricky to add texture to a glow, backlight animation is principally reserved for simulating lightning strikes, flames, or (as with <em>Tron<\/em>) energy. Given that the computer world of <em>Tron<\/em> is chiefly composed of light, just about every permutation of the process appears in the film, flanked by airbrushed backgrounds and the occasional CGI. What makes the use of backlit animation so notable in <em>Tron<\/em>, apart from the sheer scale of its use, is how it was used to apply animated elements to live-action performances.<\/p>\n<p>This finally brings us to the glowing <em>Tron <\/em>costumes.<\/p>\n<p>As cited in \u201cThe Making of <em>Tron<\/em>\u201d by Richard Patterson in the August 1982 issue of <em>American Cinematographer<\/em>, originally, the cyberspace sequences were going to be entirely animated. However, discussions between the film\u2019s VFX supervisor, <strong>Richard Taylor<\/strong>, and director <strong>Steven Lisberger<\/strong> gave birth to the idea of using live-action photography as the basis for backlit animation in the \u201ccomputer sequences.\u201d<\/p>\n<p>The look of the costumes was conceptualized by the great French cartoonist <strong>Jean \u201cM\u0153bius\u201d Giraud<\/strong>, who consulted on <em>Tron<\/em> for three months.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-370492 alignnone\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Tron-old-guy.jpg\" alt=\"Tron Old Guy\" width=\"800\" height=\"363\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Tron-old-guy.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Tron-old-guy-768x348.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/p>\n<p>The live-action cyberspace sequences were shot in Los Angeles, including on sound stages on the Disney lot. In an original two-minute feasibility test, an actor in a gray suit was placed against a white background. At the behest of cinematographer <strong>Bruce Logan<\/strong> (who worked on the visual effects of both <em>Star Wars: A New Hope<\/em> and <em>2001: A Space Odyssey<\/em>), a white background just wasn\u2019t feasible.<\/p>\n<p>As Logan puts it in the 2002 documentary <em>The Making of Tron<\/em>, there wouldn\u2019t be \u201cenough lights in Hollywood\u201d to properly light an all-white set. And so, the all-white void was swapped out for an all-black one. The result: actors in white costumes with black vector lines shot against a pitch-black stage. In the same making-of documentary, Jeff Bridges remembers feeling \u201cbombarded by color\u201d every time he\u2019d exit the soundstage.<\/p>\n<p>Even with the void swap, per <em>American Cinematographer<\/em>, the production was using so much current to bounce light on-set that the City of Burbank supposedly called the studio to complain. One other takeaway from the feasibility test was the realization that they would have to shoot on a large format negative because even a 35mm anamorphic wouldn\u2019t be able to handle the demands of compositing. At Logan\u2019s behest, they switched to 65mm. The computer segments of the film were shot in black-and-white because, per Logan, this was the most \u201celegant\u201d way to do it.<\/p>\n<p>This footage was then enlarged for blow-ups (~ 20\u201d x 12\u201d) and then transferred into large format, continuous tone, high-contrast Kodalith transparencies that only contained opaque and transparent elements. Clear cels were then laid over each sheet and all portions of the figure (except the areas that were going to be exposed) were manually blacked out. Next, the sheets and overlays were placed over a lightbox while an above-mounted camera made passes for different elements: teeth, the whites of eyes, faces, etc.<\/p>\n<p>One part of this process would be to expose carefully cut-out segments to light sources to create the impression of a neon glow that was simultaneously tied to both the live-action photography and the CGI elements.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-370493 alignnone\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Tron-bad-guy.jpg\" alt=\"Tron Bad Guy\" width=\"800\" height=\"363\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Tron-bad-guy.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Tron-bad-guy-768x348.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/p>\n<p>In the end, there\u2019s a reason that <em>Tron<\/em> is the only live-action feature to heavily rely upon backlight animation. To begin with, the resulting \u201ccell sandwiches\u201d of transparencies, mattes, etc., were very thick and difficult to flatten. Per an estimation in the aforementioned <em>American Cinematographer<\/em> article, <em>Tron<\/em> contained between 400,000 and 500,000 animation elements. Which is, and I believe this is the technical term, absolutely bananas.<\/p>\n<p>Backlight animation is very, very labor-intensive <em>before<\/em> you add a live-action element into the mix (indeed, a good portion of this work was ultimately outsourced to a studio in Taiwan). Backlight animation tends to be relegated to static elements, since tracking a moving target with cut-out transparencies is asking for a migraine. But, as Lisberger puts it in the making-of doc, backlight animation was \u201cat the time, the solution to the design problem.\u201d<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Whats_the_precedent_for_the_illuminated_Tron_costumes\"><\/span>What\u2019s the precedent for the illuminated Tron costumes?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p>While backlighting (which also went by the names \u201cunderlighting\u201d and \u201cbipack glow\u201d) has a long tradition within 2D animation, the notion of applying the technique to live-action was wholly unique to <em>Tron<\/em>.<\/p>\n<p>Indeed, before he and his team migrated to California, Lisberger\u2019s studio created an early concept for a backlit character (named \u201cTron,\u201d for \u201celectronic\u201d). As Lisberger describes in <em>Tron<\/em>\u2018s making-of documentary: \u201cEverybody was doing backlit animation in the \u201870s \u2026 it was the disco look. And we thought: what if we had this character that was a neon line? And that was our Tron warrior.\u201d<\/p>\n<p>The resulting 30-second animation was used to promote both the studio and a <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 rock radio stations. \u201cPeople weren\u2019t doing backlit characters. They were using it as an effect to make things glow and pulse and logos. What we did was we tried to do a character that was backlit.\u201d<\/p>\n<p>It was a germ of an idea, but nevertheless: it was the first step towards what would ultimately become <em>Tron<\/em>.<\/p>\n<p><iframe loading=\"lazy\" title=\"Lisberger Studios, Inc. opening logo (Steven Lisberger) (pre-Tron)\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/o9W6aCorCXw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>There are pieces of animation history that you can\u2019t help but feel nostalgic for. And the vibrant glow of backlight animation is certainly one of them. Digital technologies are now able to replicate light sources with relative ease. But something is lost in the emulation: a key part of the tactile spark that made backlighting effects feel alive and magical.<\/p>\n<p>While <em>Tron<\/em>\u2019s story warned of the tyranny of rogue AI, its filmmakers were inadvertently laying the groundwork for the greenscreen Imaginarium that has since become a blockbuster standard.<\/p>\n<p>And yet, within all these inklings of where cinema was headed, the <em>Tron<\/em> filmmakers committed to an old-school animation practice that was, for all its headaches and foolhardy spirit, old school and absolutely gorgeous.<\/p>\n<pre><code>    Related Topics: How'd They Do That?, Sci-Fi, Tron\n    &lt;!-- AUTHOR BOX --&gt;\n<\/code><\/pre>\n<div class=\"gray-bg p-4 border small mb-5\">\n<div class=\"row align-items-center text-md-center\">\n<div class=\"col-md-2\">\n            <img decoding=\"async\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2019\/07\/meg.jpg\" class=\"circle img-fluid\" width=\"100px\" height=\"100px\"\/>\n        <\/div>\n<div class=\"col-md\">\n            Meg Shields is the humble farm boy of your dreams and a senior contributor at Film School Rejects. She currently runs three columns at FSR: The Queue, How&#8217;d They Do That?, and Horrorscope. She is also a curator for One Perfect Shot and a freelance writer for hire. Meg can be found screaming about John Boorman&#8217;s &#8216;Excalibur&#8217; on Twitter here: <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/twitter.com\/TheWorstNun\">@TheWorstNun<\/a>. (She\/Her).        <\/div>\n<\/p><\/div>\n<\/div>\n<pre><code>    &lt;!-- START RECOMMENDED READING 1 --&gt;\n                                &lt;section class=\"recommended py-5\"&gt;\n            &lt;h3&gt;Recommended Reading&lt;\/h3&gt;\n\n\n        &lt;\/section&gt;\n            &lt;!-- END RECOMMENDED READING --&gt;\n\n\n\n\n&lt;\/div&gt;&lt;script async src=\"\/\/platform.twitter.com\/widgets.js\" charset=\"utf-8\"&gt;&lt;\/script&gt;\n<\/code><\/pre>\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\/tron-costumes-glowing-effect\/#utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=tron-costumes-glowing-effect\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;How They Made the Glowing Costumes in the Original TRON&#8221; &lt;span class=&#8221;mx-1&#8243;&gt;As Flynn says, on the other side of the screen, it all looks so easy.&lt;\/span&gt; &lt;\/p&gt;&lt;div id=&#8221;&#8221;&gt; &lt;figure class=&#8221;sf-entry-featured-media &#8220;&gt; &lt;img width=&#8221;800&#8243; height=&#8221;362&#8243; src=&#8221;https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Trong-glowing-costume-David-Warner.jpeg&#8221; class=&#8221;articlethumb wp-post-image&#8221; alt=&#8221;Trong Glowing Costume David Warner&#8221; srcset=&#8221;https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Trong-glowing-costume-David-Warner.jpeg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Trong-glowing-costume-David-Warner-768&#215;348.jpeg 768w&#8221; sizes=&#8221;(max-width: 800px) 100vw, 800px&#8221;\/&gt; &lt;p&gt; &lt;span class=&#8221;sf-entry-flag sf-entry-flag-creditline&#8221;&gt;Disney&lt;\/span&gt; &lt;\/figure&gt;&#8230;<\/p>\n","protected":false},"author":1,"featured_media":411769,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/02\/Trong-glowing-costume-David-Warner.jpeg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[],"class_list":["post-411768","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/411768","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=411768"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/411768\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/411769"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=411768"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=411768"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=411768"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}