Good news for those who shoot Sony full frame E-mount and enjoy the look of Sigma optics. On the heels of the company's $1,300 14-24mm F2.8 DG HSM Art (Nikon F, Canon EF) announcement, the lens designer says it will roll out nine prime lenses for E-mount in its Arts series, two of which are brand new: the 70mm F2.8 DG MACRO and the 105mm F1.4 DG HSM.
While the Art line is aimed at photographers, video shooters can take advantage of their optical performance. The Sony E-mount models will cover 14mm to 135mm and tout a "newly developed control algorithm that optimizes the autofocus drive and maximizes the data transmission speed." Basically, Sigma is saying the autofocus system has a similar performance level to other E-mount lenses, e.g. Sony.
They're also noting compatibility with Sony’s Fast Hybrid AF, AF-C mode, and high-speed focus, something the Mount Converter MC-11 did not address. In-camera image stabilization will be supported along with in-camera aberration correction—specifically correcting peripheral illumination, chromatic aberrations, and distortion. The brass bayonet mount has a "special surface treatment" to add strength and rubber seals adds to its dust-and-splash-proof design.
Sigma 70mm F2.8 DG MACROCredit: Sigma
The 70mm F2.8 DG MACRO features an extending, floating, two-group focus mechanism to minimize aberrations. The focus-by-wire system and coreless DC motor adjusts focus with "optimal speed and low noise." Manual focus is available even in autofocus.
Optically, 13 elements in 10 groups include two FLD (“F” Low Dispersion), two SLD (Special Low Dispersion), and two aspherical elements to enhance image performance. Nine rounded diaphragm aperture blades offer a F2.8 - F22 aperture range.
While it will be available for Sony E-mount, Sigma plans to develop the lens for Canon mount lens with Canon Lens Aberration Correction function, the Sigma Electronic Flash Macro EM-140 DG, and Sigma Teleconverters.
Sigma 105mm F1.4 DG HSMCredit: Sigma
Sigma is calling the 105mm F1.4 DG HSM Art the "bokeh master," which we're assuming is the karate equivalent to a black belt. It's also the longest focal length among Sigma F1.4 Art lenses. The 135mm is F1.8. It's designed with 17 optical elements in 12 groups—three FLD elements, two SLD elements, and one aspherical lens element—to drive its look and bokeh effect.
The lens provides a 23.3-degree angle of view and a bright F1.4 max aperture. It also has a dust-and-splash-proof construction and "special sealing" at the mount, focus ring, and connection. The front of the lens has a water-and-oil-repellent coating for easy cleaning. Besides Sony E-Mount cameras, it will be available for Canon mount lens with the Canon Lens Aberration Correction function.
Lastly, for Canon cameras featuring Lens Aberration Correction, Sigma will be releasing a firmware version 2.00 next Wednesday, March 7th. The software will address peripheral illumination, chromatic aberrations, and distortion where you can adjust aberration corrections to match the look of your lens. The update will affect models in the Art, Contemporary, and Sport lines.
Sigma mentions that they "will gradually introduce" the E-mount lenses, but we remain uncertain of the timetable. Hopefully it's before the end of the year.
As indie filmmakers—especially in the genre space—sometimes we have to find creative ways to cinematically portray some crazy stuff. Heads exploding? Body transformations to bugs? Extraterrestrial predators disrespecting your boundaries and popping out of chest cavities?
You name it, we conceive it.
One of the great joys of movie making is figuring out exactly how to pull off all these crazy, often visceral moments in creative and visually exciting ways. Some of the greatest horror directors in history have made a name for themself by mastering the craft of the greatest intricate, believable practical effects moments of all time (eh-hmmm, David Cronenburg).
Well made practical effects aren't just cool to watch, they're also an art unto themself, with professional special effects artists dedicating their entire careers to designing crazy set pieces for our viewing pleasure.
Practical effects (SFX) also typically hold up much better than digital effects (VFX) allowing us to revisit and still immerse us into the a world created decades ago. That's pretty cool.
Below, we've compiled a top 10 list of some of the most impactful special effects in horror history. While this list is certainly not definitive, it was carefully thought out by which movies have been the most influential or impactful in our current moviegoing zeitgeist. Some are 80s classics you'd expect, others are modern special effects masterpieces that have instantly found themself in the cannon. We try to keep it interesting!
Please enjoy, as well as check out some accompanying education on how some of these moments were conceived and translated to the big screen, as well as some complimentary double feature pairings for your viewing pleasure.
Editor's note: These are in no particular order. Sue me.
'Videodrome'
Oh man. Videodrome.
It wouldn't be a SFX "best of" list without nodding to the grandfather body of horror himself David Cronenburg. In most cases when you watch one of his films you can expect to see some sort of body deformation or head explode in some of the most gnarly, creative set pieces put to screen.
It was a tough choice which of his babies to elect for the list, but I chose Videodrome simply because I think out of everything I've seen it got under my skin the most. I mean, between a TV becoming flesh and James Woods literally inserting a VHS tape into his torso, Videodrome has it all, baby!
Special make up effects artist Rick Baker says it best when he states "we have to do some pretty disgusting things in this movie".
See also: The Fly (one of my all time faves and a masterclass in SFX in its own right)
'Terrifier' (Franchise)
Jumping from classics to modern, the Terrifier franchise has made a name for itself for its shameless gonzo-slapstick splattercore ethos. With Terrifier 3 opening this weekend and tracking to blow out tentpole Joker: Folie a Deux, it's safe to say that Art the Clown has earned his keep amongst the big leagues of slasher fam.
Considering Terrifier originally made a name for itself precisely for its over-the-top practical effects, I feel like it's earned its keep amongst the big wigs of culturally relevant SFX icons.
See also: In a Violent Nature (another modern slasher with a shameless love of practical kills)
'Evil Dead II'
Sam Raimi made waves in the independent horror space with his certified classic, Evil Dead. If that wasn't enough, he did it again with the sort of remake, sort of reimagining of Evil Dead, Evil Dead II.
Writers Raimi and Scott Spiegel have famously said their approach to their sequel was essentially "what if we did the first one but bigger and funnier", and they certainly achieved that in spades. And what comes with bigger and funnier? More practical effects, baby. Between Ash fighting his hand and and claymation deadites, the in-camera master work still inspires filmmakers to this day.
It's groovy.
See also: Evil Dead (2013) (Fede Alverez went full-blown practical for his brutal remake and it elevates it to arguably the scariest Evil Dead ever made)
'The Substance'
The Substance
Mubi
Need I say more than "Monstro Elisasue"?
I will, because Coralie Fargeat certainly doesn't hold back leading up to her tortured creation. Between the procedural body horror of Margaret Qualley crawling out of Demi Moore's back to an unfortunate dream sequence with a chicken leg, The Substance is a no-holds-bared practical body horror masterpiece.
For more on the making of Monstro Elisasue, check out Vulture's super cool SFX breakdown here.
See also: Society (this arguably deserves it's own spot for it's flesh blending orgy scene, but we'll leave it here to pair for some nice "satirical comedy in body horror" tidiness)
'Re-Animimator'
Re-Animator is one of those movies that when I watched it for the first time I couldn't stop thinking about it for weeks. What starts as an innocently campy Lovecraft adaptation quickly escalates to arguably one of the most fucked up movies I've ever seen.
I wouldn't consider Re-Animator one of my favorites ever, but it's certifiably one of the craziest. Putting some of these set pieces into words is a little out of my comfort zone, so I'll let you see for yourself if you haven't already. That being said, it makes the list for its impeccably well-executed use of practical effects for lingering fear.
One of the best arguments for the dead staying dead there is.
See also: Color Out of Space (a great Lovecraft double feature. A family that rides together gets their flesh stuck together)
'The Blob' (1988)
The Blob is, dare I say, a perfect movie. Practical effects are more or less the catalyst of this remake to a (also very good) classic, elevated beautifully with its heavy reliance on practical guck.
If you still want to go into a phone booth or hospital after checking this out... Good luck, bub.
See also: The Stuff (a perfect double feature. Blobs and stuff? give me a better pairing)
'The Thing' (1982)
If this list was ranked in a particular order, The Thing just might take the cake for all-time best. The above video's title says it all—the effects are insane, and the amount of work and artistry that went into building this world is a masterclass in how to utilize practical effects to elevate your movie to elite status.
On top of that, it's also an amazing movie taking the idea of "hell is other people" to elegant shape-shifting extremes.
See also: They Live (while not crazy on practical effects, the creature design itself earns its keep as a great Carpenter practical effect-heavy paring. Plus, it rules—bubble gum or no)
'Nightmare on Elm Street'
No one does practical effects quite like Freddy.
Outright, Freddy Krueger's character design is one of the most iconic looks out of any slasher villain—can we think of a better example of a slasher villain with a classically distinguished look that isn't wearing a mask?
On top of that, Nightmare on Elm Street has the genius advantage of dream logic, where pretty much anything the filmmaker's mind thinks of (in this case our guy Wes Craven) goes. It's a playground of creativity the entire franchise utilizes in beautiful fashion, but the first is so good it set the standard for how to use practical effects to make a long-lasting classic with some of the most intricate practical set pieces out there.
Hell, Wes designed an entire rotating set to pull of a scene where he rains blood on his final girl in her bedroom. If that's not bad ass filmmaking, I don't know what is. Even despite the near of an electrician's worst nightmare (if you don't know what I mean, see above).
See also: Texas Chainsaw Massacre (considering Leatherface and Freddy Krueger are boys that match each others freak too well, this pairing goes without saying. Texas Chainsaw also happens to stand as one of the scariest movies ever made thanks to the practical flair Tobe Hooper added to the Sawyer family's entire space)
'Sleepaway Camp'
Sleepaway Camp
UFDC
Sleepaway Camp is one of those horror movies that got lost in the shuffle in the slasher boom and is rightfully getting more attention as time goes on. Crazy twist ending aside (that is also one of the best jump scares of all time), Sleepaway Camp is a movie that wears its affection for horror via practical effects on its sleeve. We love it for that.
If you're looking to know more about how it all came together, check out this awesome breakdown.
If you're reading this, Angela, please don't come after me next time I go camping.
See also: Pieces (a lesser known slasher that puts the "gnarly" in gnarly)
The 'Alien' Franchise
Alien
film-grab.com
The Alien franchise is one of the most consistently well-made, expertly crafted franchises out there—and much of that is due (and thanks) to the reliance on practical effects. The world building, the horror, everything. Alien is an all time classic, and the quality of H.R. Geiger's concepts made real by practical effects goes to show its lasting impression.
See also: Event Horizon (hell in space? It's practically rendered hell in space)
Honorable Mentions
Scanners
film-grab.com
Look, there's a lot of good stuff out there—we can't hit them all.
Sometimes, for the sake of organizing an intuitive top 10 list, you have to make some tough choices and leave out some gems. Whether they have a wild head explosion or elegant, practical depiction building of hell itself, here are some great examples of expert practical effects that are more than worth your time.
Without further ado...
Possession: Are we going to talk about the demonic tentacle monster in the room?
Pans Labyrinth: There's a guy with eyes in his hands.
House of the Devil: Maybe a stretch but with the Greta head shot and blood moon ritual it earns it.
X Trilogy: Each entry has at least one moment worthy of SFX prestige .
Scanners: The ultimate head blow up.
Talk to Me: When they say smash up heads, they mean it.
Maniac : Goopy slasher goodness.
Eraserhead : Nothing says parental existentialism quite like that weird baby.
Oddity: This one has good head booms and wooden man monster.
Abagail : Radio Silence really goes for high concept horror fun here and it's a blast.
Barbarian: A scary creature design for the ages.
Friday the 13ths: When Jason hits, he hits.
The House That Jack Built: Lots of good stuff here, but that ending really takes the cake.
American Werewolf in London: Best werewolf transformation out there, Landis family be damned.
Night Breed: This movie has so much going on and it all looks amazing.
Love Lies Bleeding:Two words: "Dave Franco"
From Beyond: The ultimate practical effect face
Comment with any we forgot to mention... Or else (we might even add it to the honorable mentions list)!
Sigma 70mm F2.8 DG MACROCredit: Sigma
Sigma 105mm F1.4 DG HSMCredit: Sigma
