{"id":49568,"date":"2020-08-19T14:16:00","date_gmt":"2020-08-19T11:16:00","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/slime-and-space-dust-how-they-built-the-blob\/"},"modified":"2020-08-19T14:16:00","modified_gmt":"2020-08-19T11:16:00","slug":"slime-and-space-dust-how-they-built-the-blob","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/slime-and-space-dust-how-they-built-the-blob\/","title":{"rendered":"#Slime and Space Dust: How They Built \u2018The Blob\u2019"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_84 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-6a2c2d3055d0a\" 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-6a2c2d3055d0a\" 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\/slime-and-space-dust-how-they-built-the-blob\/#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\/slime-and-space-dust-how-they-built-the-blob\/#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\/slime-and-space-dust-how-they-built-the-blob\/#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\/slime-and-space-dust-how-they-built-the-blob\/#Whats_the_precedent\" >What\u2019s the precedent?<\/a><\/li><\/ul><\/nav><\/div>\n<p>&#8220;<strong>#Slime and Space Dust: How They Built \u2018The Blob\u2019<\/strong>&#8221;<\/p>\n<div><em>Welcome to <strong>How\u2019d They Do That?<\/strong> \u2014 a bi-monthly column that unpacks moments of movie magic and celebrates the technical wizards who pulled them off. This entry looks into the making of The Blob.<\/em><\/p>\n<hr>\n<\/hr>\n<p>The texture of horror films in the 1980s was goop. Viscous, visceral, and virtually everywhere, slime was a cost-effective way to enhance creature effects and convey a horrifying sense of tactility. And as far as \u201980s slime goes, they don\u2019t get much slimier than <strong>Chuck Russell<\/strong>\u2018s <em><strong>The Blob<\/strong>, <\/em>a sci-fi horror-comedy about a meteorite-hopping pile of goop wreaking havoc on a small California ski town.<\/p>\n<p>Despite being a body horror remake of a 1950s classic, <em>The Blob\u00a0<\/em>is rarely mentioned in the same breath as <em>Invasion of the Body Snatchers,<\/em> <em>The Thing<\/em>, and <em>The Fly<\/em>. The 1988 version of <em>The Blob\u00a0<\/em>retains more of its B-movie roots than the aforementioned auteur-driven efforts. It\u2019s campy, comedic, and has a lighter spring in its step. Which is to say: it\u2019s easy to dismiss.<\/p>\n<p>Indeed, historically, the remake of <em>The Blob<\/em> has had a bad rap: \u201cNeedless, if undeniably gooey,\u201d Leonard Martin put it. I\u2019m not going to argue that Russell\u2019s remake is of the same caliber as Kaufman\u2019s, Carpenter\u2019s, or Cronenberg\u2019s. But I do think Russell and <strong>Frank Darabont\u2019<\/strong>s sharp <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\">script<\/a> is under-praised, efficient, and more subversive than folks give it credit for. (Shadowy governments sacrificing a handful of innocents to save face? Why does that sound familiar?).<\/p>\n<p>By Russell\u2019s own admission,\u00a0<em>The Blob\u00a0<\/em>didn\u2019t get a proper shot during its theatrical run: \u201cIt was released late in a very hectic summer filled with big films,\u201d he says, \u201cand it didn\u2019t have a particularly good ad campaign.\u201d Thankfully <em>The Blob\u00a0<\/em>took on a new life in the era of home video. It certainly helped that <em>The Blob\u00a0<\/em>has\u00a0one of the most horrifying VHS covers of all time. Indeed, as much as I will vouch for the film\u2019s underappreciated charms, the reason\u00a0<em>The Blob <\/em>has survived all these years is its effects.<\/p>\n<p>Made right on the cusp of the CGI takeover, <em>The Blob\u00a0<\/em>is a snapshot of a high watermark of practical creature effects-work. As a result: the Blob itself is a brain-buster to look at. Unlike its 1958 predecessor, this Blob is fast. It moves up walls, across ceilings, and through sewers, like it has a mind of its own, oozing in different directions, pulsating, and flowing with terrifying ease. I get monsters in suits. I understand puppets. But how do you build a creature like the Blob? And how do you control something that unwieldy?<\/p>\n<hr>\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>Puppeteered silk blankets injected with a common food thickener.<\/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>The Blob was realized through the combined efforts of creature effects coordinators <strong>Lyle Conway<\/strong> and <strong>Stuart Ziff,<\/strong> and makeup effects wunderkind <strong>Tony Garnder <\/strong>(\u201cI lied and said I was 25\u201c), with post-production opticals and miniature work by <strong>Greg Jein<\/strong>, <strong>Dream Quest<\/strong>, and <strong>All Effects<\/strong>. The stratified teams worked out of a former auto-repair shop, aptly re-christened \u201cThe Blob Shop.\u201d<\/p>\n<p>In keeping with its vexing nature, the daunting task of bringing a sentient pile of space goo to life frequently eluded the filmmakers. \u201cPart of the problem was that the Blob hadn\u2019t been properly locked down from the beginning,\u201d confesses VFX supervisor <strong>Hoyt Yeatman<\/strong> in <em>American Cinematographer\u00a0<\/em>Vol. 69. Effects were handled by different groups, which in some instances backfired and resulted in \u201cvery little usable Blob footage during production.\u201d As straightforward as a blob might sound on paper, \u201cit proved very difficult to get a performance from it,\u201d explains Yeatman.<\/p>\n<p>Eventually, the filmmakers settled on a guiding concept. As relayed in a two-part<em>\u00a0<\/em>profile by <em>Fangoria<\/em>\u2018s Bill Warren: the Blob was \u201ca giant, inside-out vampire stomach.\u201d The idea was that the Blob was highly acidic. So instead of just absorbing whatever it touched, the Blob\u2019s victims would dissolve at different speeds depending on the creature\u2019s strength.<\/p>\n<div data-carousel-extra=\"{\"blog_id\":1,\"permalink\":\"https:\\filmschoolrejects.comthe-blob-special-effects\"}\" data-original-width=\"700\">\n<div>\n<div>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"356521\" data-comments-opened=\"0\" data-image-description=\"\" aperture\":\"0\",\"credit\":\"\",\"camera\":\"\",\"caption\":\"\",\"created_timestamp\":\"0\",\"copyright\":\"\",\"focal_length\":\"0\",\"iso\":\"0\",\"shutter_speed\":\"0\",\"title\":\"\",\"orientation\":\"0\"}\" data-image-title=\"Blob Homeless Man Hospital Melt\" data-large-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/Blob-homeless-man-hospital-melt.png\" data-medium-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/Blob-homeless-man-hospital-melt.png\" data-orig-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/Blob-homeless-man-hospital-melt.png\" data-orig-size=\"800,600\" height=\"258\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/Blob-homeless-man-hospital-melt-344x258.png\" title=\"Blob Homeless Man Hospital Melt\" width=\"344\"><\/img><\/p>\n<\/div>\n<div>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"356522\" data-comments-opened=\"0\" data-image-description=\"\" aperture\":\"0\",\"credit\":\"\",\"camera\":\"\",\"caption\":\"\",\"created_timestamp\":\"0\",\"copyright\":\"\",\"focal_length\":\"0\",\"iso\":\"0\",\"shutter_speed\":\"0\",\"title\":\"\",\"orientation\":\"0\"}\" data-image-title=\"Blob Telephone Scene\" data-large-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/Blob-telephone-scene.png\" data-medium-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/Blob-telephone-scene.png\" data-orig-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/Blob-telephone-scene.png\" data-orig-size=\"800,600\" height=\"258\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/Blob-telephone-scene-343x258.png\" title=\"Blob Telephone Scene\" width=\"343\"><\/img><\/p>\n<\/div>\n<\/div>\n<\/div>\n<p>Before leaving the production (in frustration, supposedly), Conway resolved one of the Blob\u2019s big \u201cperformance problems.\u201d In shots where its movement was limited, the Blob was sculpted full-size and cast in stiff rubber. When a lot of movement was required, Conway\u2019s team developed a puppeteering device called the \u201cBlob quilt\u201d: layered silk with \u201cravioli-sized pockets\u201d injected with methylcellulose, a food additive derived from wood pulp. The methylcellulose would secrete through the silk, obscuring the base structure and allowing the puppeteers to manipulate the apparently fluid mass. One of the ways they would puppeteer the quilt was with \u201cmitten-like Blob chunks,\u201d that hid the hand-shapes of the operators. In addition to keeping its shape, the design of the quilts produced small surface movements as the sacks jiggled of their own accord.<\/p>\n<p>There were, however, some drawbacks: a veiny quilt of ooze took hours of prep, the puppeteering was doable but basic, and water-retention made the quilts <em>very <\/em>heavy. \u201cThose quilts were two-hundred pounds of slime,\u201d according to puppeteer and mechanic Peter Abrahamson. As creature effects crewmember Jeff Farley puts it: \u201cThere was not a day when the puppeteering crew would not go home covered in slime. We would wear plastic garbage bags to try to cover ourselves, but it never worked.\u201d<\/p>\n<p>The Blob quilts were draped over everything from fiberglass forms to mechanical armatures, to air bladders, and even over the puppeteers themselves. Additional Blob material included \u2014 but is probably not limited to \u2014 vinyl, urethane and foam latex, lycra, nylon, rubber, and gallons of commercial \u201cSlime.\u201d<\/p>\n<p>Miniature sets and actor stand-ins were used and composited together in post-production. They even built an entire mini version of the town of Abbeville in a 1:8 scale. While the Blob\u2019s movement was primarily hand, wire, and rod puppetry, some stop motion was used. You can glimpse a brief stop motion sequence in the theatre scene. The sequence is noticeable thanks to a strobe light effect and because of the contrast with the high-speed live-action miniature work.<\/p>\n<div data-carousel-extra=\"{\"blog_id\":1,\"permalink\":\"https:\\filmschoolrejects.comthe-blob-special-effects\"}\" data-original-width=\"700\">\n<div>\n<div>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"356519\" data-comments-opened=\"0\" data-image-description=\"\" aperture\":\"0\",\"credit\":\"\",\"camera\":\"\",\"caption\":\"\",\"created_timestamp\":\"0\",\"copyright\":\"\",\"focal_length\":\"0\",\"iso\":\"0\",\"shutter_speed\":\"0\",\"title\":\"\",\"orientation\":\"0\"}\" data-image-title=\"The Blob Hazmat\" data-large-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-hazmat.png\" data-medium-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-hazmat.png\" data-orig-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-hazmat.png\" data-orig-size=\"800,600\" height=\"258\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-hazmat-344x258.png\" title=\"The Blob Hazmat\" width=\"344\"><\/img><\/p>\n<\/div>\n<div>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"356520\" data-comments-opened=\"0\" data-image-description=\"\" aperture\":\"0\",\"credit\":\"\",\"camera\":\"\",\"caption\":\"\",\"created_timestamp\":\"0\",\"copyright\":\"\",\"focal_length\":\"0\",\"iso\":\"0\",\"shutter_speed\":\"0\",\"title\":\"\",\"orientation\":\"0\"}\" data-image-title=\"The Blob Sewer Hang\" data-large-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-Sewer-Hang.png\" data-medium-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-Sewer-Hang.png\" data-orig-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-Sewer-Hang.png\" data-orig-size=\"800,600\" height=\"258\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-Sewer-Hang-343x258.png\" title=\"The Blob Sewer Hang\" width=\"343\"><\/img><\/p>\n<\/div>\n<\/div>\n<\/div>\n<p>Now, speaking of compositing: The Blob\u2019s shiny surface created a real headache for optical matting. Because the Blob\u2019s slimy surface was reflective, front-projection blue-screen set-ups were much more effective for pulling mattes off the Blob. \u201cEverything had to be composited in optical in order to ensure the Blob\u2019s actions coincided with what was happening in the background and foreground of each shot,\u201d explains Yeatman. Since many shots mixed frame rates, the crew employed a density control device to maintain control of the variable frame-rates.<\/p>\n<p>Detailing every effect in the film would result in a very informative if exhaustive SFX textbook. So, for your sanity and mine, let\u2019s look at a single, iconic scene: the death of Donovan Leitch Jr.<strong>\u2018<\/strong>s football jock Paul \u2014 a.k.a. \u201cthe guy in the blob\u201d sequence. This is the scene that adorns the film\u2019s traumatizing VHS cover: the gasping white-eyed face encased in hungry goop.<\/p>\n<p>Up to this point, the first act of the 1988 remake adheres pretty closely to the original. But, borrowing a bait-and-switch trick from <em>Psycho<\/em>, Darabont and Russell reveal that, while he seemingly fit the bill, Paul isn\u2019t our Steve McQueen surrogate \u2014 Meg (Shawnee Smith), his girlfriend, is. The rug-pull is especially effective because Paul doesn\u2019t just die\u2026he suffers.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"The Blob Paul\" height=\"424\"  src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-Paul-1.gif\"  width=\"800\"><\/img><\/p>\n<p>Shot at the end of the schedule, the sequence came together <em>very<\/em> quickly. Like, \u201cin less than a week\u201d quickly. While Conway\u2019s original approach to the scene centered on mechanical miniatures, Gardner \u201cfelt puppets were a really good idea in that they would give us a lot more control and permit us to shoot with a wider angle\u2026I also felt we needed Donovan himself to sell the effect.\u201d As Gardner details, the sequence begins as a full-sized live-action effect. And over the course of the scene, there are cuts back and forth between the puppets, miniatures, and the actors.<\/p>\n<p>Speaking of puppets, the sequences required the construction of two elaborate rigs: one full-scale rig that would house Leitch, and another smaller rig that would contain Leitch\u2019s mini-counterpart. Both featured a sliding, pivoting Blob-platform that came through the floor. They also included a separate fiberglass piece \u2014 covered in vinyl bladders, and Blob quilts \u2014 nicknamed \u201cThe Waterfall,\u201d which stretched from Leitch\u2019s head to the window behind him. The platform Leitch sat on rolled back into a cavity inside the Waterfall. These components give the impression of the Blob moving in two different directions at the same time: sliding over its victim while moving up the wall and out the window.<\/p>\n<p>\u201cDonovan spent a day in this horrible rig,\u201d Gardner recalls. \u201cHe sat on a small seat mounted on a rolling platform, leaning forward. His body was encased in a translucent pink fiberglass shell, except where his head stuck out past the neck and an area where his right hand was exposed.\u201d When the Blob pulls taut over Paul\u2019s face, that\u2019s really Leitch under there. Reportedly, it felt like being suffocated. Vinyl bladders that worked off air compressors sat directly on top of the fiberglass shell, simulating bulging surface movement. Finer \u201csubdermal\u201d surface movement was accomplished with layered nylon tricot fabrics pulled from different directions at different speeds.<\/p>\n<p>A shroud of Aquapull, a fabric that becomes transparent when wet, was draped over the rig. The painted Aquapull hung over a nylon base with urethane tints and painted veins. Over that went the bulky \u201cBlob Jacket,\u201d a back-zipped vest made up of Blob quilt that fit over the whole structure. \u201cWe also used a couple of s<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/trip-and-travel\/\" data-internallinksmanager029f6b8e52c=\"10\" title=\"Trip &amp; Travel\" target=\"_blank\" rel=\"noopener\">trip<\/a>s about three inches by nine inches long whose sides were heavily quilted while the center was clear silk with small little pockets sewn into it,\u201d explains Gardner. \u201cThese moving pieces were streaked with blue while the pieces underneath were streaked with red.\u201d When the two fabrics crossed, the Blob color-shifted purple. The slime in the quilt pockets was dyed varying colors to convey a sense of depth: a transparent halo around Leitch\u2019s face that radiates out into a deeper crimson.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"Blob Miniature Breakdown\" height=\"425\"  src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/Blob-Miniature-breakdown.png\"  width=\"800\"><\/img><\/p>\n<p>The sequence called for three visible stages of mechanical effects. First, a miniature of Leitch for the establishing shot of the football player. Then, another miniature of Leitch, with his face distended, holding onto a miniature of Smith. The third was the only full-sized close-up in the sequence: Leitch\u2019s melting face with rolling eyes and a distended mouth \u2014 best glimpsed in these behind the scenes photos from Garnder, Zar, and Bill Sturgeon\u2019s <strong>Alterian Studios<\/strong>.<\/p>\n<p>To get the effect of Leitch\u2019s face collapsing in, Gardner approached Image Masters, who scanned the actor from the collarbone up and fed the information into a computer that used the data to produce a six-inch wax bust. This was then placed into the Blob to imply a partially-consumed Paul.<\/p>\n<p>For the effect of Smith pulling Leitch\u2019s undigested arm off, the crew made use of an over-the-shoulder \u201cBlob sled,\u201d which consisted of an arm rig with a quick-release mechanism fitted with a fake appendage. Smith would fight against a crew member with a pistol grip release, providing resistance with the sled. \u201cThen all the tendons would stream out, and she\u2019d go flying!\u201d Gardner recalls. \u201cThe take they used was the one where the operator got a little trigger happy and let go before she was expecting it, so her look of surprise was really genuine.\u201d<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"The Blob Paul Arm Rip\" height=\"423\"  src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-Paul-arm-rip.gif\"  width=\"800\"><\/img><\/p>\n<hr>\n<\/hr>\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>Look, obviously things like story, stakes, and strong characters are important. But at the end of the day, all <em>Blob\u00a0<\/em><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> hinge on their special effects.<\/p>\n<p>The Blob of the original 1958 film was created by the special effects team at Valley Forge Films. The effect relied primarily on silicone mixed with red vegetable dye, rendered gloriously on-screen in DeLuxe Color. They also, surprise surprise, made use of methylcellulose. Because silicone flows slowly, time-lapse photography was used to speed up the creature\u2019s movements. Due to technical limitations and to impress a sense of scale, nearly all the shots featuring the Blob were shot in miniature on tilted sets. On occasion, you\u2019ll see the 1958 Blob expand and contract; a lively pulsating achieved by smearing the dyed silicone over a modified weather balloon.<\/p>\n<div data-carousel-extra=\"{\"blog_id\":1,\"permalink\":\"https:\\filmschoolrejects.comthe-blob-special-effects\"}\" data-original-width=\"700\">\n<div>\n<div>\n<div>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"356498\" data-comments-opened=\"0\" data-image-description=\"\" aperture\":\"0\",\"credit\":\"\",\"camera\":\"\",\"caption\":\"\",\"created_timestamp\":\"0\",\"copyright\":\"\",\"focal_length\":\"0\",\"iso\":\"0\",\"shutter_speed\":\"0\",\"title\":\"\",\"orientation\":\"1\"}\" data-image-title=\"The Blob\" data-large-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-1958.jpg\" data-medium-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-1958.jpg\" data-orig-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-1958.jpg\" data-orig-size=\"800,600\" height=\"258\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/The-Blob-1958-344x258.jpg\" title=\"The Blob\" width=\"344\"><\/img><\/p>\n<p>The Blob (1958)<\/p>\n<\/div>\n<\/div>\n<div>\n<div>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"356499\" data-comments-opened=\"0\" data-image-description=\"\" aperture\":\"0\",\"credit\":\"\",\"camera\":\"\",\"caption\":\"\",\"created_timestamp\":\"0\",\"copyright\":\"\",\"focal_length\":\"0\",\"iso\":\"0\",\"shutter_speed\":\"0\",\"title\":\"\",\"orientation\":\"0\"}\" data-image-title=\"Beware! The Blob\" data-large-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/Beware-The-Blob.png\" data-medium-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/Beware-The-Blob.png\" data-orig-file=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/Beware-The-Blob.png\" data-orig-size=\"800,600\" height=\"258\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/08\/Beware-The-Blob-343x258.png\" title=\"Beware! The Blob\" width=\"343\"><\/img><\/p>\n<p>Beware! The Blob (1972)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Director<strong> Irvin S. Yeaworth<\/strong> sums it up nicely on the original <em>Blob<\/em>\u2018s Criterion release: \u201cThe special effects certainly were not the star of the movie, though they held their own for the era.\u201d Ultimately, despite being up against the technical limitations of the time and a <em>wildly<\/em> tiny budget, for what it is, the effects of the original <em>Blob\u00a0<\/em>hold up. Sometimes, when you\u2019re up against the wall, a goopy weather balloon will do just fine.<\/p>\n<p>A 1972 sequel, <em><strong>Beware! The Blob.<\/strong>.. <\/em>exists. In the film, the Blob is primarily made up of red-dyed powder blended with water. It was also made of other materials including a large red balloon, back-lit red plastic sheets, and a rotating drum of hardened red silicone. The only other thing worth mentioning about the effects in <em>Beware! The Blob\u00a0<\/em>is that one of the people who worked on them was cinematographer <strong>Dean Cundey<\/strong>, who landed the gig through a connection with SFX Supervisor <strong>Tim Baar<\/strong>.<\/p>\n<p>I\u2019m sure the day will come when the Blob re-emerges in the 21st century as an uncharismatic CGI monstrosity. But until then, even at their worst, I cherish these practical piles of goo.<\/p>\n<\/p><\/div>\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 noreferrer\">Social Media category.<\/a><\/span><\/strong>\n<\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>if you want to watch Movies or Tv Shows go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/dizi.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Dizi.BuradaBiliyorum.Com<\/a> <\/span> for forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/filmschoolrejects.com\/the-blob-special-effects\/#utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-blob-special-effects\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;#Slime and Space Dust: How They Built \u2018The Blob\u2019&#8221; Welcome to How\u2019d They Do That? \u2014 a bi-monthly column that unpacks moments of movie magic and celebrates the technical wizards who pulled them off. This entry looks into the making of The Blob. The texture of horror films in the 1980s was goop. Viscous, visceral,&#8230;<\/p>\n","protected":false},"author":1,"featured_media":49569,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[1354,44129,1361,55494,26194],"class_list":["post-49568","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-columns","tag-howd-they-do-that","tag-movies","tag-slime-and-space-dust-how-they-built-the-blob","tag-the-blob"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/49568","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=49568"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/49568\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/49569"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=49568"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=49568"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=49568"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}