And with animatronics, the big advantage is that if you think of the shark as a character and the actors as characters, then you have all the characters on stage and can direct them at the same time. But the great white and hammerhead were more hand-to-hand. "Those tended to be visual effects, because you can choreograph exactly what you want. "In a lot of the other attacks in the film, the sharks come out of nowhere, grab the character and they're gone," Conti says. While most of them were created using visual effects, director David Ellis knew he wanted animatronics for the two drawn-out attack sequences, in which the actors try to fend off a hammerhead and a great white. There are six different types of sharks-including cookie-cutters, makos, and bulls-in Shark Night. From an engineering standpoint, they're a completely different level of power." They both have four wheels and engines, but the animatronics we create today are highly tuned machines. "It's like comparing a Model T to a Ferrari. "People bring up Jaws all the time," he says. But Spielberg's 1970s icon can't compare to the technology behind today's Hollywood predators. Walt Conti-whose company Edge Innovations has created robot creatures for Free Willy, Deep Blue Sea and now Shark Night 3D, out Sept. Any filmmaker tasked with creating realistic marine predators has to measure up to a larger-than-life specter lurking just beneath the waves: Steven Spielberg's iconic animatronic shark, Jaws.
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