Making of raining frogs and fish

Special effects are traditionally divided into the categories of optical effects and mechanical effects. With the emergence of digital film-making tools a greater distinction between special effects and visual effects has been recognized, with "visual effects" referring to digital post-production and "special effects" referring to on-set mechanical effects and in-camera optical effects.

Optical effects (also called photographic effects), are techniques in which images or film frames are created photographically, either "in-camera" using multiple exposure, mattes, or the Schüfftan process, or in post-production processes using an optical printer. An optical effect might be used to place actors or sets against a different background.

Mechanical effects (also called practical or physical effects), are usually accomplished during the live-action shooting. This includes the use of mechanized props, scenery, scale models, pyrotechnics and Atmospheric Effects: creating physical wind, rain, fog, snow, clouds etc. Making a car appear to drive by itself, or blowing up a building are examples of mechanical effects. Mechanical effects are often incorporated into set design and makeup. For example, a set may be built with break-away doors or walls to enhance a fight scene, or prosthetic makeup can be used to make an actor look like a monster.

Restoration

The film restoration, movement is an ongoing project among film historians, archivists, museums, cinematheques, and non-profit organizations to rescue decaying film stock and preserve the images which they contain. In the widest sense, preservation nowadays assures that a movie will continue to exist, as close to its original form as possible.
For many years the term “preservation” used to be a synonym of “duplication” only. The preservationist’s goal was to create a durable copy without significant loss of quality. Film preservation now holds the concepts of handling, duplication, storage, and access. The archivist seeks to protect the film and share the content with the public.

Goslar: marketplace

One can think of digital storytelling as the modern extension of the ancient art of storytelling, now interwoven with digitized still and moving images and sound. Thanks to new media and digital technologies, individuals can approach storytelling from unique perspectives. Many people use elaborate non-traditional story forms, such as non-linear.

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Forget Form. There is No Form.
So what is a screenplay, or what might it be?
A screenplay is an exploration. It’s about the thing you don’t know. It’s a step into the abyss. It necessarily starts somewhere, anywhere; there is a starting point but the rest is undetermined. It is a secret, even from you. There’s no template for a screenplay, or there shouldn’t be. There are at least as many screenplay possibilities as there are people who write them. We’ve been conned into thinking there is a pre-established form. Like any big business, the film business believes in mass production. It’s cheaper and more efficient as a business model.