Terminator Salvation

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special effects on this film.

McG expressed a desire on putting as many "on-camera" elements as possible, to make the film more realistic.[76] So many settings were built for real, with an entire gas station being constructed for the scene the Harvester attacks, and the Terminator factory being built on an abandoned factory,[64] with the design crew consulting robot manufacturer companies for a more realistic depiction.[76] A 20 foot-tall model was built and detonated by Kerner Optical was used for the explosion of Skynet's 30-story San Francisco-based lab.[53]

The majority of the machines were designed by Martin Laing, a crew member on Cameron's Titanic and Ghosts of the Abyss.[77] McG described many of the machines as having an H. R. Giger influence.[45] McG's intent was to create a gritty, tactile 2018 on screen, and Laing concurred the robots would have to be black and degraded as none of them are new. Laing devised Aerostats, which are smaller versions of the Aerial Hunter Killers from the previous films. The Aerostats send a signal to the 60-foot-tall humanoid Harvesters. They are very big and slow, so they use Mototerminators to capture humans, and the Harvesters place them in Transporters. Laing was unsure of how to design the Transporters until he saw a cattle transport while driving through Albuquerque. Completing Skynet's domination of air, land and sea is the Hydrobot, which Laing modeled on eels,[53] and was built by the animatronics crew with its exterior made of metal-looking rubber so it could be used in the aquatic scenes.[64] The film features the rubber-skinned T-600s and T-700s. McG interpreted Kyle Reese's description in the original film of the T-600 as being easy to spot by making them tall and bulky.[2] For scenes of humans fighting with Terminators, the actors interacted with stuntmen wearing motion capture suits, later replaced by digital robots.[76] For the Mototerminators, Ducati designers were hired to create the robots, and the on-screen robot was a combination of stuntmen driving actual Ducatis and a Mototerminator mock-up, as well as a digital Mototerminator.[78] Visual effects studio Imaginary Forces created the Terminator point-of-view sequences, and tried to depict a simple interface, with just what a machine would need, and with more software bugs and anomalies since the robots of Salvation were not as advanced as the Terminators from the previous movies.[79]

The majority of the special effects were done by Industrial Light & Magic. Other contributors included Asylum Visual Effects, which created digital plates, Marcus' endoskeleton and a digital T-600; and Rising Sun Pictures, which did the digital correction of day for night scenes, the destruction of the submarine and Marcus' robot hand.[80] Salvation was one of the last films that Stan Winston, the visual effects supervisor on the first three films, worked on. He died on June 15, 2008 from multiple myeloma,[81] and McG dedicated the film to him, in the end credits.[7] John Rosengrant and Charlie Gibson replaced Winston,[77] and McG commented that they are "trying to achieve something that's never been done before"[82] and will "push the envelope".

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