Multi-dynamic image technique

Chapman felt "it was clear that its failure was creative, not technical" and decided against advice to employ this matting technique when making a film for the Telephone Association Pavilion at Expo 67.

[2] Chapman initially had great difficulties with the technical aspects of his expanded concept for A Place to Stand and almost gave up on the idea as a result; in his own words, he "had nothing to read about how to do it."

[4] (Chapman later dissuaded a "very disappointed" McQueen from using the technique in his 1971 vehicle Le Mans, claiming "it was much too big a film, with too many writers; it wouldn't work that way".

)[3] The Boston Strangler, also from 1968 (director Richard Fleischer), has several long multi-frame sequences clearly based on Chapman's original in terms of arrangement and rhythm; here, however, the panes remain static and do not show identical images in simultaneous multiplicity.

Fleischer used the technique again, this time with subdivided images and moving panes closer to Chapman's original, in the title sequence to his 1973 film Soylent Green.

Mannix, Barnaby Jones, Kojak, Medical Center, The Odd Couple, Dallas, Phyllis, Lancelot Link, Me and the Chimp, The Brady Bunch and The Bob Newhart Show (beginning with the fifth season in 1976–77) are all examples of the technique being used in opening credits to some extent, whether by combining multiple panes as in A Place to Stand or overlaying panes on full-screen images (as with The Bob Newhart Show).