Forbidden Planet (1956)

One of the landmark science-fiction films of the 50s was this classic space adventure film from director Fred Wilcox - an adaptation of Shakespeare's The Tempest. It was the first science-fiction film in color and CinemaScope. Its Oscar-nominated Special Effects included miniatures (e.g., the spaceship), innovative set and art decoration (with soundstage scenic paintings), and matte paintings to create the alien environment of Altair IV.

It also included the famed friendly servant prop (probably the most expensive, intricately-wired film prop ever constructed at the time (at $125,000)) -- Robby the Robot, also used as a prop in MGM's The Invisible Boy (1957) a year later. The film also featured an all-electronic music score.

One of the best remembered segments was the 'animated' night attack (using hand-drawn cel animation) of the ID monster on the flying saucer spaceship - in actuality, it was displaying Dr. Morbius' (Walter Pidgeon as Prospero) face-to-face encounter with his own projected sub-conscious, incestuous feelings for his lovely young daughter Altaira (Anne Francis).

The Birds (1963)

Alfred Hitchcock's most expensive film to date featured a stylized sound track - composed from a constant interplay of natural sounds and computer-generated bird noises. The stark film about an unexplained and seemingly-organized bird attack also played without background music.

Ub Iwerks was nominated for an Oscar for Best Achievement in Special Effects, but lost to Cleopatra (1963); real birds and animatronic birds were used throughout the film; advanced rotoscoping and male/female traveling mattes were used in the 20-second scene of hundreds of birds flying over an aerial view of the town - a combination of real live-action footage with hand-drawn matte paintings; in the scene of the bird-attack at the school, special effects combined the shot of the schoolhouse in the background with kids running on a treadmill in the foreground.

One of the film's most famous scenes was the one of dozens of birds slowly gathering on playground equipment - a complex special-effects shot that optically combined over two dozen separate elements.

Jason and the Argonauts (1963)

This Ray Harryhausen-created scene deserved special mention -- the spectacular stop-motion dueling-skeletons scene between Jason (Todd Armstrong) and sword-wielding attackers, in which life-like puppets-models were manipulated and shot one frame at a time.

The film was also noted for its other amazing creatures, including the gigantic moving (and creaking) bronze statue Talos, the 7-headed Hydra, and two half-human, half-bird Harpies.

Mary Poppins (1964)

This film was the first winner of the newly-named Academy Award for FX - Best Achievement in Special Visual Effects. (After 1963, the category was split into two: Best Special Visual Effects and Best Sound Effects.) The musical fantasy blended live-action with animation, such as the sequence in which Julie Andrews and Dick Van Dyke frolicked with cartoon penguins, sheep and carousel ponies; the special effects technique used in the scene to combine live-action with animated characters and backgrounds was called sodium-screen (or sodium vapor) compositing - a new dual film traveling matte system similar to the blue-screen process, but using different tools.

Fantastic Voyage (1966)

This science-fiction classic film - the winner of the year's Academy Award for Best Achievement in Special Visual Effects, told of an expedition by miniaturized human beings into the bloodstream of a human body, within a high-tech military submarine (full-sized in actuality) that was shrunk to microbial dimensions. The interior of the scientist's body was created by using large, highly-detailed sets of various body parts (i.e., the brain, the heart). Through various techniques, the explorers were seen swimming through the body (the actors were suspended on wires).

2001: A Space Odyssey (1968)

The Star Gate and Star Child sequence and other special effects helped this revolutionary and pioneering film win the Academy Award for Best Achievement in Special Visual Effects. Stanley Kubrick's film featured the most realistic footage of space ever created - and it's still not dated by the passage of time. Miniature models of spacecraft, timer or manually-guided pre-motion control cameras, rear-projection (for the film's many video displays and computer monitors), full-sized props or models (such as the 30-ton rotating "ferris wheel" set of the spaceship), and other early techniques (such as a primitive type of "Go-Motion") were used.

In the film's opening "Dawn of Man" sequence of prehistoric apes learning to use tools on the African savannah, retroreflective matting (front projection) was used to display second-unit background scenic shots projected from the front onto a reflective surface combined with soundstage photography of actors in the foreground - a technique now replaced by computer-processed blue-screen techniques.

Near the film's end in the Star Gate sequence, astronaut David Bowman (Keir Dullea) traveled through the stargate corridor in a dazzling sequence (using a slit-scan photographic technique) - a sound and light hallucinatory journey or whirling lights and colors in which he was hurled through and into another dimension - where he was reborn as a Star Child; other effects were achieved by applying different colored filters to aerial landscape footage and a close-up of an eye, and filming interacting chemicals.

The Andromeda Strain (1971)

This science-fiction techno-thriller classic was another early feature film, possibly the first, to use advanced computerized (or optical) photographic visual effects for its time, with work by Douglas Trumbull ( 2001: A Space Odyssey (1968) and Silent Running (1971)), James Shourt, and Albert Whitlock (The Birds (1963)). $250,000 of the film's budget of $6.5 million was reportedly used to create the special effects.

This film contained possibly the first use of computer rendering (in the view of the rotating 2-D structure of the massive, hi-tech, top secret 5-story, cylindrical underground laboratory in the Nevada desert named Wildfire). Biologist Dr. Jeremy Stone (Arthur Hill) turned on the 'animated' computer simulation of the "electronic diagram which rotates to afford an overall view, or it can be stopped at any section. Detailed plans of the various levels and labs are also stored in the system...."