Rear projection

James Cameron also used rear projection for several special effects shots in Aliens (1986), including the crash of the dropship, as well as for several sequences in Terminator 2: Judgment Day (1991) such as the car escape from the mental hospital and the T-1000 hijacking the police helicopter; Cameron has been described as one of the few people in Hollywood still able to understand and use process photography as an effective technique.

[1] The Austin Powers film series (1997–2002) frequently used rear projection to help recreate the feel of old spy movies, while Natural Born Killers (1994) used the technique extensively throughout to emphasize characters' subconscious motivations.

Shortly after this debut, Farciot Edouart ASC, at Paramount Pictures, refined the technique, starting in 1933, and developed several new methods such as syncing three projectors with the same background plate for more even and bright exposure.

Linwood Dunn ASC, at RKO Radio Pictures, expanded on this with the use of traveling matte with films like Flying Down to Rio (1933).

[citation needed] The first ever full-scale rear projection was created by famed special effects director Eiji Tsuburaya for Arnold Fanck's German–Japanese film The Daughter of the Samurai.

He used the process to show Cary Grant's character being attacked by a crop duster plane in North by Northwest and throughout the film, but it was criticized when he used it extensively in Marnie.