Special Effects and Visual Design: Breaking Free from the Obsession with Authenticity

Designing Visuals Without Relying Solely on Filming

A visual work is composed of individual shots and the scenes formed by connecting them. Traditionally, each shot—the smallest unit of a film—was completed through live-action filming. That meant everything visible through the camera lens had to be perfectly arranged during the shoot, which naturally demanded enormous time and effort.

The only real exception has always been composited imagery—what we call special effects. From the earliest days of cinema, compositing has allowed creators to add elements that weren’t present during filming, or remove unwanted ones that were. This is the essence of tokusatsu: manipulating the image after the shoot.

Today, whether we like it or not, most visual production is digital. One major advantage of working with digital data is how easily it can be modified. It would be a mistake not to take advantage of that.

Filming remains a vital process, of course. But having the option to plan for post-production manipulation can drastically reduce production costs—not just in terms of money, but time.

Some say, “Everyone’s volunteering, so the cost is zero.” That’s a huge misconception. The real cost is the total time spent by everyone involved—including yourself. Even if no one is paid, tracking that time and maintaining cost awareness is essential.

The Benefits of Compositing Elements During Editing

Trying to perfect a shot during filming takes time. Adjusting an actor’s position might be quick, but achieving a flawless frame is another story.

Imagine trying to shoot a pristine, deserted beach. You’ll likely find scattered plastic debris far in the distance. Cleaning it up is tedious, and the footprints left behind can ruin the aesthetic. If you then try to sweep away those footprints, the shoot could go on forever.

Instead of giving up or settling for a flawed shot, knowing you can clean it digitally later allows you to minimize effort on location. Of course, you need to understand how to shoot in a way that makes compositing easier.

In older films, directors unfamiliar with compositing often shot scenes that were difficult to edit, resulting in poor final visuals. That’s why it’s crucial to have someone on set who understands post-production and can advise accordingly.

One of the simplest post-production adjustments is cropping. For example, when filming a bust shot of a character, you might wonder:

• Should I leave space above the head?
• Should I crop slightly into the head?
• Would a slow zoom during dialogue be more effective?

These choices are hard to judge during filming. Each shot might look fine on its own, but only during editing do you realize, “A close-up would’ve made this transition smoother.”

With high-resolution digital footage, you can crop or zoom without degrading image quality. You can also fine-tune timing and speed during editing, rather than committing during the shoot.

Some argue, “If editing takes longer, what’s the point of saving time during filming?” But that’s a flawed view.

Editing is typically a solo task. Even if it takes 10 extra hours, that’s still more efficient than extending a group shoot by just two hours. Understanding this basic cost structure is key.

The Trap of Authenticity

Filming with compositing in mind is often frowned upon. Actors may struggle to visualize the scene or feel less emotionally engaged in an artificial setting. And yes, much of the joy in filmmaking comes from adults playing make-believe—so if conditions allow, creating a lively set is worthwhile.

But the reality is that production conditions are tough. Commercial films have budget constraints, and hobbyist films—often made with volunteers—face even stricter time limitations.

If you can only shoot on weekends, you need an efficient system. Otherwise, you’ll never finish a film that looks remotely professional.

The belief that “sets must be real” can sabotage efficiency. If it leads to cutting key scenes or abandoning the project altogether, it defeats the purpose.

Personally, I find it more compelling to use tricks—special effects, compositing, and other techniques—to draw viewers into the story world. That’s why I believe anyone involved must enjoy the “crafted reality” of visual effects. Overcoming resistance to artificiality opens the door to more expressive filmmaking.

Practical Techniques

Here are two specific methods for designing visuals more freely:

1. Shoot with a wider frame and crop later

Capture footage with extra space around the subject, then trim it during editing to find the ideal composition. Shooting in 4K or higher helps preserve image quality. This reduces trial-and-error during filming and gives flexibility during post-production.

2. Composite objects to enhance depth and layout

Add foreground elements digitally to create dynamic, layered compositions. These objects can be photographed separately and combined with attention to lighting and angles.

With bold application, you can create scenes that appear to be shot in locations that were never accessible.

Compositing isn’t just a fallback for low-budget films—it’s a gateway to creative freedom and production efficiency. Embracing this approach can lead to entirely new forms of expression.

I hope this article has been helpful.