One of the most-frequently used practical stunts is stage combat. Although contact is normally avoided, many elements of stage combat, such as sword fighting, martial arts, and acrobatics required contact between performers in order to facilitate the creation of a particular effect, such as noise or physical interaction. Stunt performances are highly choreographed and may be rigorously rehearsed for hours, days and sometimes weeks before a performance. Seasoned professionals will commonly treat a performance as if they have never done it before,[citation needed] since the risks in stunt work are high, every move and position must be correct to reduce risk of injury from accidents. Examples of practical effects include tripping and falling down, high jumps, extreme sporting moves, acrobatics and high diving, spins, gainer falls, "suicide backflips," and other martial arts stunts.[citation needed] Stunt airbags (or "stunt mats"), large deep airbags that may be the size of a small swimming pool, are typically used by professional stunt performers to cushion their landings from staged falls from heights.[citation needed]
A physical stunt is usually performed with help of mechanics. For example, if the plot requires the hero to jump to a high place, the film crew could put the actor in a special harness, and use aircraft high tension wire to pull them up. Piano wire is sometimes used to fly objects, but an actor is never suspended from it as it is brittle and can break under shock impacts. Hero (2003) and House of Flying Daggers (2004) are examples of wuxia films that use kung-fu and are heavily reliant on wire stunts.[1] The Matrix is an example of extensive wire and rigging work in Western cinema.[2]
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Performers of vehicular stunts require extensive training and may employ specially adapted vehicles. Stunts can be as simple as a handbrake turn, also known as the bootleg turn, or as advanced as car chases, jumps and crashes involving dozens of vehicles. Rmy Julienne is a well known pioneering automotive stunt performer and coordinator. A Guinness Book of World Records holder stunt driver, Bobby Ore, performed in numerous movies and events and holds a world record for longest distance driven on two wheels in a London double decker bus (810 feet).[3]
Aviation stunts go back to those performed in balloons in the 18th century. After the advent of powered aircraft in 1903, barnstorming and aerobatics came into existence. Ormer Locklear invented or helped develop many of the basic tricks of stunt flying, which included wing walking and transferring between airplanes in mid-air. Hollywood and the public's fascination with aviation made great demands on stunt pilots, resulting in many injuries and fatalities.
In the late 20th century stunt men were often placed in dangerous situations less and less as filmmakers turned to relatively inexpensive (and much safer) computer graphics effects using harnesses, fans, blue- or green screens, and a huge array of other devices and digital effects. The Matrix (1999) is an example of a film that extensively enhanced real stunts through CGI post production.[2] The Lord of the Rings film series and the Star Wars prequel films often display stunts that are entirely computer generated. Examples of computer-generated effects include face replacement and wire removal.
In 1982, Jackie Chan began experimenting with elaborate stunt action sequences in Dragon Lord,[4] which featured a pyramid fight scene that holds the record for the most takes required for a single scene, with 2900 takes,[5] and the final fight scene where he performs various stunts, including one where he does a back flip off a loft and falls to the lower ground.[6] In 1983, Project A saw the official formation of the Jackie Chan Stunt Team and added elaborate, dangerous stunts to the fights and slapstick humor (at one point, Chan falls from the top of a clock tower through a series of fabric canopies).
Police Story (1985) contained many large-scale action scenes, including an opening sequence featuring a car chase through a shanty town, Chan stopping a double-decker bus with his service revolver and a climactic fight scene in a shopping mall. This final scene earned the film the nickname "Glass Story" by the crew, due to the huge number of panes of sugar glass that were broken. During a stunt in this last scene, in which Chan slides down a pole from several stories up, the lights covering the pole had heated it considerably, resulting in Chan suffering second-degree burns, particularly to his hands, as well as a back injury and dislocation of his pelvis upon landing.[7] Chan performed similarly elaborate stunts in numerous other films, such as several Police Story sequels, Project A Part II, the Armor of God series, Dragons Forever, Drunken Master II, and Rumble in the Bronx among others.
Films such as Hooper and The Stunt Man and the 1980s television show The Fall Guy sought to raise the profile of the stunt performer and debunk the myth that film stars perform all their own stunts. Noted stunt coordinators Hal Needham, Craig R. Baxley, and Vic Armstrong went on to direct the action films The Cannonball Run, Action Jackson, and Joshua Tree. Vic Armstrong became the first stuntman to win both an Academy Award (for developing a descender rig as a safe alternative to airbags) and a BAFTA award (for lifetime achievement in film). But the status of stuntmen in Hollywood is still low;[9] despite the fact that few films of any genre or type could be made without them, stunt performers are still perceived as working mainly in action films.[10] Repeated campaigns for a "Best Stunts" Academy Award have been rejected.[11][12][13][9]
A backlash against dangerous stunts followed the fatal 42-foot backward fall of Sonja Davis off a building on the set of Vampire in Brooklyn.[18] Despite speculation that developments in computer-generated imagery (CGI) would make stunts unnecessary and reduce stunt performers to the status of body doubles, stunt work has increasingly been made safer and enhanced by CGI effects; nevertheless, stunt performers remain essential to provide a human quality to the action.[19][20]
If you want to get detailed about a particular kind of training or talent, you can create a stunt family for it. This is a group of stunts that are related to and chain off of each other somehow.
Creating a stunt family is easy. You make one stunt that serves as a prerequisite for all the others in the family, qualifying you to take further stunts up the chain. Then, you need to create a handful of stunts that are all related somehow to the prerequisite, either stacking the effects or branching out into another set of effects.
Keep in mind that the upgraded stunt effectively replaces the original. You can look at it as a single super-stunt that costs two slots (and two refresh) for the price of being more powerful than other stunts.
[Nb. All stunts from the Fate Core System book are here, plus most of the stunts from the Fate System Toolkit and Spirit of the Century. Any stunts that would qualify as extras in Fate Core are omitted, as are stunts that don't make sense without taking an extra.]
In Fate Core, stunts are tied explicitly to skills. What if you want your stunts to be skill-agnostic, or tied to multiple skills, or tied to something else entirely different, like an aspect or piece of gear or a stress track? (Fate System Toolkit, p.34)
When you use this stunt mechanic, you create stunts that trigger under a specific narrative condition, require a skill roll, and have a specific effect as a result. Stunts like this are a great way to encourage players to do the kinds of things you want to see them do in the game, as those stunts directly reward doing those things. (Fate System Toolkit, p.35)
Jason Pullen, a motorcycle stunt performer, attempts to revolutionize the sport with his unique style by performing stunts on Harley Davidson motorcycles, \u201CIt gives the audience a real thrill to see one of my Harleys up against bikes half the size.\u201D He hopes to represent a new sport and be a positive influence on the industry.
Publicity stunts are a double-edged sword for a startup impact. PR stunts can enhance a company's financial stability and visibility. Poorly organized PR stunts can negatively impact the brand's image. This article aims to explain what is a PR stunt and reveal the worst and best publicity stunt examples.
An effective publicity stunt can significantly increase brand recognition and elevate the company's name to various levels of prominence. Additionally, these stunts attract the interest of external media sources, allowing companies to reach out to a target audience that may not have been aware of them otherwise. If your curiosity on the topic goes beyond the definition of a PR stunt, check out our article.
PR stunts can be extremely effective and positively attention-grabbing when properly and professionally organized and executed. However, because of the multiple risks they entail and the frequently occurring unpredictability of events, they are only considered risk-worthy by some companies.
For a PR stunt to be successful, the company should conduct in-depth research and consider multiple factors such as location, timeframe, and target media coverage. In this section, we outline 15 examples of companies that did their homework diligently and secured the success of their publicity stunts. Explore some of the most famous publicity stunts. be457b7860
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