A Divisive Prehistoric Adventure Movie Leaves VFX Artists Stunned 68 Years Later

The 1966 adventure fantasy film One Million Years B.C., featuring Raquel Welch and John Richardson, continues to spark awe in the visual effects industry nearly seven decades after its release. Known for its portrayal of a fictionalized past between prehistoric creatures and angry cavemen, the film exemplifies Ray Harryhausen’s iconic mastery of stop-motion animation. Directed by Don Chaffey, the film went on to receive relative success as the UK’s ninth most popular theatrical release of that year.

Recently, the VFX artists of Corridor Crew analyzed a few high-stakes action shots from the film, highlighting Harryhausen’s intricate techniques with a deep admiration for the artistry and patience involved. The late special effects creator is best known for pioneering a stop-motion technique dubbed “Dynamation,” which integrates animated models, such as clay dinosaurs and sticks, into live-action sequences. Here’s what they had to say about the animator’s process:

Niko: I just want to call out that the stop-motion wasn’t done at the same time as the acting. But you just fall into it. It feels like they’re in the same moment, but you have people acting against nothing, then, somebody going in there, Ray Harryhausen, and then just watching the footage, and frame by frame, making his character react to what they’re doing.

He’s basically doing it all by himself. He has the footage of the film, of the cavemen, and the background, doing their acting first and that’s on a projection screen behind the model. So, he’s looking through the camera viewfinder, seeing his little figurine, and he’s seeing a projected frame from the movie behind it. He’s lining it all up, lining up his creature with what the guys are doing in the background on the projected screen, taking a picture, and then advancing the background by one frame.

He goes in and looks at the viewfinder again. [Like Harryhausen] “Okay, he’s getting stabbed right there. Based on this perspective, I’m going to move my guy a little bit like that.” Picture. Advance one frame. He’s doing that over and over and over. Making it all coordinate with the people fighting and attacking.

One of the Corridor artists chimed in with a question about Harryhausen’s process as they admired the complexity of the finished product:

Jordan: Is he animating on ones here?

Niko: Yeah, Ray Harryhausen does 24 frames per second.

Jordan: I wonder about the spear-throw takeover in particular. You don’t see the spear leave the other side of the frame. Did they splice a comp shot?

Niko: There’s a lot of tricks in this that are totally holding up.

Jordan: So those leaves were clay from the start. There is no takeover. The sticks and the arms are all stop-motion clay!

What The VFX Breakdown Means For 100 Million Years B.C.

The Timeless Legacy Of Ray Harryhausen

Ray Harryhausen’s monsters and methods, as discussed by Corridor Crew, underline the sheer dedication and creativity that defined his career from the 1940s until his death in 2013. In an era without digital tools, Harryhausen singlehandedly created immersive visual effects that demanded an intricate combination of physical modeling, hand-sculpted animation, and synchronized timing. This painstaking process involved countless hours of aligning clay creatures, sticks, and leaves with live-action performances, showcasing his unparalleled skill and innovation during a time with limited technological resources.

The Corridor Crew’s analysis shows how Harryhausen’s techniques continue to resonate with modern VFX professionals in an industry saturated with computer-generated imagery. As practical effects experience a resurgence in contemporary filmmaking, as seen with recent works like Alien: Romulus and the MCU’s Agatha All Along, Harryhausen’s ability to craft seamless interactions between live actors and animated creatures continues to be a benchmark for blending practical effects with the living, breathing process of filmmaking. Harryhausen’s influence remains a testament to the enduring appeal of tactile, handcrafted visuals in a CGI-dominated era.

Our Take On Ray Harryhausen’s Enduring Impact

A Masterclass In Storytelling Through Innovation & Artistry

Watching modern VFX artists like Corridor Crew marvel at Harryhausen’s work proves that his creations transcend generational divides. More than just a prehistoric adventure, One Million Years B.C. stands as a monument to the enduring allure of practical effects in an age of photorealistic CGI. Eleven years after his passing, Harryhausen’s artistry continues to remind audiences and creators alike of the emotional resonance achieved through meticulous attention to detail.

Whether it’s the subtle movements of an angry dinosaur or the interaction between clay sticks and human actors, his work bridges the gap between imagination and reality in a way that still captivates with an unparalleled level of realism and creativity. For anyone interested in the evolution of cinema and special effects, One Million Years B.C. is a timeless masterclass—and a stunning reminder that impassioned innovation knows no expiration date.

Source: Corridor Crew