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Stan Winston Studio also built a full-sized damaged Terminator stunt puppet for the sequence at the end of the movie in which the T-850 suffers a severe beating by the T-X. For some shots, green makeup & materials were used, allowing digital artists to add the metallic understructure during post-production. The Stan Winston Studio team designed and produced makeup appliances for six stages of deterioration, with the final stages achieved through a hybrid blend of traditional makeup and digital technology.
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The original idea for the fourth film was ultimately scrapped. However, by 2006, Kassar and Vajna decided to end their business relationship and sold their rights to Victor Kubicek and Derek Anderson. After the film's release, actors work commitments, including Arnold Schwarzenegger's term as Governor of California prompted the Project Angel script to be rewritten again from scratch- including moving the time setting by writers John Brancato and Michael Ferris under Jonathan Mostow's supervision.
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Had there been no script revisions, the film could have been released in 2001. Wilson due for a 2003 release which is to take place immediately after the events of this film. It was to be originally written by Tedi Sarafian, while the second-half, codenamed Project Angel by Warner Bros (eventually became Термінатор: Спасіння прийде (2009)) was to be written by David C. This was intended to be the first of the two back-to-back Terminator movies developed by Mario Kassar and Andrew G. In Terminator 3, we actually built robots." In Terminator 2, we advanced to digital animation and a full-standing animatronic with a range of motion - but we were still pretending to build robots. "In Terminator," Winston observed, "we pretended to build robots, but actually used stop-motion animation and puppetry and bits of animatronics. When it was all put together, the T-1 was a real, functioning robot.".
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Tim Nordella figured out how to interface between these pre-fab tracks and the T-1. Guys up in Minnesota or other cold parts of the country will pull their wheels off and put these tracks on their trucks, so that they can drive in deep snow. So Alan Scott and I found this company called Mattracks, which makes conversions for pick-up trucks. "Because of my interest in military history and armored tanks," Rosengrant commented, "I knew that we weren't going to be able to make the tracks on the T-1 in the time we had. The T-1s could travel seven miles per hour on their tank tracks, which were procured from an outside vendor. The final assembled T-1s stood seven feet tall, weighed 3,500 pounds, and featured articulated heads and arms, and turning turrets. Final parts were made of fiberglass over steel and aluminum with a brushed metal finish. "We also gave it red lights for eyes," said Sims, "and a chrome look - both of which were similar to the original Terminator." Computer-milled foam parts were then molded and reproduced in resin. Incorporated in the design were tank tracks, as well as neck pistons and rods that were similar to the original Terminator endoskeleton, to create a visual link between these prototypes and their future cousins. "They were hydraulically powered machines that could spin around and drive and do all kinds of things." Concept artist, Aaron Sims, employed the same methodology for the T-1 that he had used for the T-X, first creating a 3D digital model that was based on a design from the T3 art department, headed by production designer Jeff Mann. "These T-1s were real robots," said 25-year Stan Winston Studio supervisor and co-founder of Legacy Effects, John Rosengrant. Stan Winston Studio built five T-1s for the sequence at CRS headquarters, two of which were fully functional, hydraulic robots.