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Set largely in a meticulous recreation of 1970s San Francisco, David Fincher's taut thriller Zodiac captures the devastating impact a cunning serial killer has on the public and especially on the journalists and policemen who hunted him. To help create this relentlessly tense film, Fincher relied on two visual effects supervisors he had worked with in the past. Eric Barba of Digital Domain began helping Fincher with commercial projects in 2002. Matte World Digital's founder Craig Barron knew him in 1981, when Fincher was a camera assistant in the matte department at Industrial Light & Magic, where they worked on Indiana Jones and the Temple of Doom. Digital Domain created the effects for the crime scenes plus a sequence on a two-lane highway in the middle of nowhere. Matte World Digital handled the establishing shots, sent San Francisco back in time, and gave Fincher digital camera moves that would otherwise have been impossible to shoot. There are no helicopter shots in this film, even though it appears to have several.

Most of the effects are invisible. All the crimes take place in the beginning of the film, as do most of the effects.

Php Serial Port Communication Linux Distros. The first murder the audience witnesses happens on July 4, 1969, at the Blue Rock Springs Golf Course parking lot near Vallejo, a town north of San Francisco. We fly over Vallejo in an establishing shot and see fireworks in the distance. The shot is completely digital.

'I photomapped the environment from a helicopter at dusk and made a crude animatic based on those photographs,' says Barron. 'Once David [Fincher] approved the basic look of the shot, we created a more dimensional environment.

Because the film takes place in the Bay Area where we're located, it was easy to shoot reference photos and digital stills that the CG artists used as texture maps. We added a blue gradation tone to give the sky a nighttime value.' Tension quickly builds; we look out from inside a car moving slowing down a dark street. You can still see fireworks in the background. Matte World added the digital fireworks to the live action plate. 'Originally, they shot it with the camera inside a car,' says Glen Cotter, CG lead.

'But it was too shaky. So, they mounted a car door to the front of a camera, dollied it down the street and then gave us a replacement plate. David Fincher wanted that perfectly unnatural smooth move.

It gave the shot an eerie look.' When the young couple stop in the Blue Rock parking lot, a man comes up to the window and shoots them. Digital Domain added CG bullet hits, CG bone fragments, and blood using Maya particles for atomized blood and proprietary fluid simulation technology for seeping blood. 'David [Fincher] wanted the entire film to be as authentic as possible and he had done exhaustive research,' says Barba. 'We had crime scene photos. He had interviewed the detectives. We knew how [the victims] were shot and which wound killed them.'

Fincher didn't use any squibs (liquid-filled balloons) or practical blood. 'Squibs and practical blood have a particular style,' says Barba. 'The way we went about our work is much more striking and hard hitting in its realness and rawness. That's what David wanted in terms of authenticity.' For this shot, compositing supervisor Janelle Crowshaw worked in Nuke with elements that CG supervisor Karl Denham's team generated.

The team used Inferno and Nuke for tracking. Inferno was the primary compositing tool, however, for the second murder. This time, the killer binds and then repeatedly stabs two people on a small hill overlooking a lake north of San Francisco in late September. 'The woman was stabbed to death,' Barba says. 'We tracked where the knife went into the woman's dress in Inferno, created the entry wounds, and added CG blood and blood seepage. When you're working on fiction, you're disconnected.

But when you're trying to recreate the murder of someone who actually did die, it gets to you. It's not the kind of subject matter that makes you want to go out and get the crew jacket.' Some of the most compelling visual effects surround the third murder, of cab driver Paul Stine, which takes place in San Francisco in early October. Leading into this sequence, Matte World Digital created an establishing shot of the San Francisco waterfront.

The camera looks down on the water, tilts up, and flies in toward the city with the Ferry Building front and center as Fincher might have filmed it from a helicopter. That 1969 waterfront differed greatly from today's post-earthquake San Francisco. New buildings have been constructed, the ferry building was restored, and most noticeably, an elevated freeway that once circled the waterfront is now gone. CG artist Luis Hernandez at Matte World used aerial photographs, archival photographs, and interviews with engineers from the port authority to construct the buildings and the freeway for the historically accurate shot.

The studio used 3ds Max, Digital Fusion, Shake, SynthEyes, Photoshop, and ImageModeler. Tweak Films created the water. 'In the reviews I've read, no one mentions the matte shots,' says Chris Evans, chief matte artist at Matte World, 'although one reviewer said that the filmmakers got the waterfront right with the freeway. Little do they know. We researched and rebuilt every building [for that shot], scaled the freeway, and modeled individual cars and trucks with windshields that reflected light in the right way.

The work went on for weeks, just to get that historical accuracy.' The studio also applied its reverse time machine to the streets of San Francisco.

For example, in a night shot in downtown San Francisco that leads to the third murder, the camera cranes down as a man leaves the Curran Theater and hails a taxi. In the original plate, that camera move revealed a big Starbucks sign.

Matte World's artists changed it to read 'Barbara's Parlor.' 'We had to keep the sign because it was a light source,' says Barron. 'It was reflecting everywhere.' Also, because the camera aimed down Geary Street, past Union Square, toward the bay, the artists removed awnings from buildings (no awnings in 1969), replaced a billboard with one advertising the play Hair, enhanced the hazy atmosphere, and extended the viewpoint of the camera.

'We redesigned everything from about a block away and replaced it,' says Cotter. 'It's hard for a camera to get a good exposure at night for long distances. We tried to not be out of time, but the buildings weren't a focal point, so it was more a matter of getting the shot to look good.' When the man enters the taxi, the camera moves behind to follow the yellow cab as it drives west on Geary and turns onto Van Ness. The passenger inside is the Zodiac killer. From the point when the Zodiac gets into the taxi until he kills the driver at the corner of Washington and Cherry in Presidio Heights, the sequence is entirely CG.

Digital Domain modeled the cab and loaned it to Matte World. Matte World created the CG environments. 'David [Fincher] wanted it to look like it had been photographed from a helicopter,' Barron says. 'But, as the taxi goes around the corner, the framing keeps the taxi perfectly in the center. That couldn't have been done as precisely from a helicopter. Creating the shot in CG was a way to make the framing precise and because the camera move was a little unrealistic, it added tension.

The important thing was that the environment look absolutely real, that it didn't telegraph the effect. The shot communicated subconsciously that something was wrong because the movement was somewhat unreal but the environment was real.' Evans used Google Earth to plot the taxi driver's route and decide where to place the cameras.

'I could figure out, given the elevation of the camera, how many blocks we could see,' he says. 'If we were at 150 feet, I could tell how much of a rooftop we would see; I knew how many car lengths would we see from top to bottom. So, we could construct the shot very accurately.' The result is a camera position that would have been too low for a helicopter and too high for a crane. Hernandez used a combination of AutoCAD, 3ds Max, and ImageModeler to plot the CG environment, model the buildings, and texture them.

'It was a photogrammetry exercise,' he says. 'I went from building to building, rooftop to rooftop, taking photographs of Geary Street and Van Ness Avenue from street level and from rooftops.' To capture the intersection of Geary and Van Ness, Hernandez rented the top floor suite of the Cathedral Hill Hotel, waited until traffic died down at 4:30 in the morning, and then shot bracketed stills with a Nikon D2X using 15, 20, and 30-second exposures. Once Hernandez had collected the photos, he laid them on an accurate street grid that he had drawn in AutoCAD. 'I found out as I started laying out this CAD plan, that it was all about resolving the basic scale,' he says.

He added the photographs to create a ground plane, and then created the buildings in photogrammetry. 'The buildings created in photogrammetry gave us the basic framework,' he says.

'Even if the building was slightly off-scale, we could position it on the CAD drawing as a template.' Photographs projected onto the geometry provided detailed textures. Once Hernandez finished building the digital set, the animation team added the yellow cab and other cars. To accent the turn at the intersection and give the street dimension, Barron had the matte artists add a grid of trolley bus cables. In addition, he shot Matte World employees looking at the taxi, crossing the streets, walking their dogs, and so forth, with Fincher's Viper camera, and composited those elements into the shot.

'I think that working natively in a digital format makes it much easier for us,' Barron says. 'Because the whole film was shot in a digital format, we could take shots, manipulate them, add elements, and composite then without having to worry about scanning. In fact, we did plate shoots with the Viper camera for some shots during the day and worked on them that evening. It was almost as easy to bring in live digital movies and manipulate them as it is bringing digital stills into Photoshop.' Once the cab reached the killer's destination, Digital Domain took over. For the rest of the shot, the cab is real, but the neighborhood, for the most part, is not. In addition to the establishing shots in Vallejo and San Francisco, and others for Sacramento and the Ontario, California airport, Matte World created a beautiful matte painting looking down from the top of the Golden Gate Bridge, tweaked various buildings to age them, replaced cars, and changed the marquee for the North Point Theater.

The most dramatic sense of changing time, though, was a time-lapse sequence showing the building of the Transamerica Pyramid to show time passing. Steven Messing was lead artist on the shot. 'We sent all our employees out with digital cameras to shoot time-lapse clouds that Ken [Rogerson] edited together for backgrounds.

They are the only real things in the shot,' says Barron. Hernandez researched the building to make sure the construction techniques were accurate; Cotter modeled the building; Messing painted the shot. 'We found a series of photos taken from one angle of the Transamerica building under construction,' says Rogerson. The photos had been taken from the roof of a building now owned by Francis Ford Coppola, and he gave the crew permission to shoot reference photos from the same location. 'Everything in the final shot is CG from that location.

It's a view that you can't get today because modern buildings are in the way.' In the final shot, the building is a hybrid of 2D and 3D. 'We modeled the environment to get the lighting interactions,' Cotter says. 'Because it's a time lapse, the lighting changes in every frame, so instead of making matte paintings for every frame, we did a lighting pass. But there isn't any parallax in the scene, so the shot is really a 2D matte painting.' A matte painting that is historically accurate. 'Our marching orders from David were to make the film as accurate as possible,' Barron says.

'He grew up in the Bay Area, so he felt an obligation to make it realistic.' Barron likens the work on Zodiac to an archaeological dig. 'The whole film is about uncovering, finding clues, and being accurate to reveal the story,' he says.

'The visual effects needed to follow that narrative, and that was exciting for us. It's the type of film we love to work on.'

—, flavor text If you want to make a big splash on the criminal scene, you've got to make your crime memorable. And what's the best way to do that? Why, to duplicate a crime that's already memorable.

This is Jack the Ripoff's modus operandi. In fact, you could say that Jack doesn't actually have a modus operandi at all, because he's just copying the M.O.

Of some past crime (not his own, of course; that would make him a serial criminal). Usually an especially (in)famous one or one that was never solved. There can be any number of reasons to commit a copycat crime: • Plenty of recognition with very little imagination needed • A genuine fixation with the original crime/criminal/victims • To confuse investigators; for instance, if a suspect has been arrested and the crimes continue (thanks to Jack The Ripoff), the suspect will look innocent. • In order to disguise an unrelated crime as part of another criminal's M.O.to deflect suspicion to the original killer. Copycat killers are a very common plot twist in police dramas, movies, and mystery novels where the plot involves. The copycat may occasionally serve as a - the detectives think they've caught the killer, but it turns out he was just a copycat and there's still a serial killer on the loose.

(Although, in, investigators of a serial killer often keep some details from being released to the public in order to tell a possible copycat apart from the main suspect, and some realistic crime novels mention this as well.) Alternatively they could be tempted to doubt they have the right guy because the crimes haven't stopped. If the original killer is still around, don't expect him to be pleased (unless he sees it as, or is able to use it as ). Authorities investigating the copycat may be looking to in trying to catch their suspect. For cases where a real-life serial killer inspires imitators in fiction, see., of course, after the infamous (and ) serial killer, who has indeed inspired a few real-life copycats, such as and.

• In, everyone is doing this, trying to keep their true intentions unknown by making their crimes look like the result of Oyashiro-sama's curse. As we learn in the second season, the real Oyashiro-sama is not pleased.

• In, the boy who is initially arrested turns out to be merely a copycat acting like Lil' Slugger, using whatever information he happens to hear as the basis for his outfit and modus operandi. Lil' Slugger kills him, the first time he goes beyond just a whack from his bat.

Then again, the kid was suicidal. • In, Higuchi and Misa both attempt to rip off the original Kira, Light. Higuchi, in fact, was given a death note in the first place to imitate Light, and supposedly prove his innocence. • Happens at least once in - a man is murdered in a similar modus operandus as a serial killer whose original slayings neared the, but Conan deduces that the victim was the murderer, killed by one of the victims' vengeful family members through the victim's. ( The dead man put blood on the CTRL and C keys and died grabbing the mouse by its cord to imply that the murderer was a copy cat.) • It was in the Naniwa Serial Murder arc, when Heizo, like what the lead mentioned, withheld some information from the press (Namely, a knife was stabbed through the victims' wallets) so that he was sure further incidents were not due to this trope. • In, the serial killer '20 Faces' murders criminals in the same way that they murdered their victims.

• A non-lethal example in. One episode featured a town where the cops use Spinaraks instead of Growlithes because, one hundred years ago, an officer used a Spinarak to catch a famous cat burglar who used a Meowth. Team Rocket decided to impersonate that criminal.

• The second story in had a guy copycatting, complete with replica hat and sweater. • The story Double Date had the nephew of the original follow in his footsteps, becoming Father Wrath 2.

• A pimp in who kills according to the MO of the 'Seattle Slasher,' Arrow knows he's a copycat because he witnessed the assassin, Shado, kill the real slasher in order to save the copycat's victim. • In the Britain-themed Wisdom miniseries by Marvel, one issue has a guy who can summon up things from alternate realities and because he's a Jack the Ripper fanatic, alternate Jack the Rippers keep appearing. Some of which look like bad movie villains, one of which is a riff on, one of which is an ape with a straight razor, one of which is apparently a rival prostitute, and one of which is actually! (The last one was a reference to Michael Dibdin's notoriously trolling crime novel The Last Sherlock Holmes Story.) Most are wearing top hats and capes, of course. • In one story, 's trouble in a town are doubled by the presence of a serial killer of women who's pretty much a lookalike of Jack the Ripper, known as 'Lo Sventratore' (lit. The Gutter, ripper instead is translated as 'lo Squartatore'.) Turns out, it is a girl, the same girl who's been helping Tex fighting the bad guys of the week and also gives a bit of psycho about being disgusted by women who 'sell themselves'. • In the film, is forced to deny that a criminal is loose because the last time the killer went on a spree, there were loads of copycats.

• The movie is about a serial killer whose M.O. Is copying the crimes of famous serial killers. • Sort of invoked by Freddy in; the people in his town have forgotten who he is and no longer are afraid, so he can't kill them in their dreams.

The solution: wake up Jason Voorhees, lead him to Elm Street, and let Jason put the fear back in them. The problem: once Jason does start killing off stupid horny teens, he won't stop, leaving nobody for Freddy to kill. • The end of revealed that the killer wasn't Jason Voorhees this time, but ambulance driver Roy Burns, who donned Jason's costume to kill the teenagers (and other random people) because of his son's death.

It was actually foreshadowed by giving 'Jason' a slightly different appearance than usual for example. • sort of fits, as the killer based his crimes on a century-old series of crime novels. The cops didn't make the connection until literally piecing together the puzzle-piece like clues left by the killer that pointed them to a book documenting the original crimes. • In 2 (Full Sequence) the main character becomes so obsessed with a DVD of the original movie that he goes out to create his own centipede. • The title character of commits a very similar murder to the one his daughter commits in order to confuse the authorities. • In and the modern day killer turns out to not be a returned Harry Warden, but someone driven insane by the murderous rampage he went on years earlier. • In, Sid 6.7's personality is an amalgamation of 200 notorious criminal personalities.

So, when he gets a physical body, he starts murdering in the style of assorted killers (i.e. Writing 'death to the pigs' in blood like ). • takes place during an epidemic of mass murders, where seemingly normal people suddenly kill at random because 'God' convinced them to. One drug-dealer uses this opportunity to kill a corrupt cop who didn't respect his orders, and then write 'GOD' with the cop's blood to make it look like another random crime. • The movies have had a few people who imitate Jigsaw's death traps.

One way to tell the crimes apart is that Jigsaw's death traps have some way to escape, while imitators (who generally do not share Jigsaw's 'vision') do not. • In the 2014 movie, the town of Texarkana is plagued by a series of murders committed by someone who wants to recreate the original (and the 1976 movie of the same name). It turns out to be, one who wants to ride on the original killer's fame and the other who's working on a complicated scheme to have his ancestor remembered as another of the Phantom killer's victims. • In, there's a serial killer operating in town. Louise copies his methods to kill an upstairs neighbor.

•: There are three separate Ghostfaces, two of whom are copycats. Bobby and Ray are the impostors, while Doofy is the real Ghostface killer. • The title character of the tie-in novel The Silent Partner is a serial copycat: one copycat each for multiple serial killers. • The second killer in • In, a state trooper, driven off the deep end by catching his best friend in bed with his wife, makes plans to kill them, and make it look like Jason's work. He succeeds, but is killed by the real Jason (who is ) shortly after. • A flashback in reveals a main character's father had killed a girl in a fit of rage years earlier. To cover his tracks, he used a box cutter to slash up the corpse, and make it look like the girl was a victim of the then active Springwood Slasher.

• Before the episode 'Zoe's Reprise' described below, the spin-off book Killer Profile featured a villain who copycatted several other serial killers, including Dahmer, Bundy, Berkowitz, Gacy, Wuornos and an original character named Herman Kotchman (who buried his victims alive). Near the end, he escalated to trying to copy spree killers and mass murderers, like Richard Speck. • Charles Burnside, the known as the Fisherman, of, is assumed to be one of, due to using the same MO and the same phrasing in letters sent to the grieving parents. This is eventually revealed to be because both Burnside and Fish were being possessed by the same demon, Mr.

•: In The Severed Streets, the killer deliberately dresses up his murders with the theatrics of Jack the Ripper as a deliberate smokescreen. •: Detective Harry Bosch is puzzled when The Dollmaker, a that Bosch fatally shot several years before, seems to have become active again. He finally figures out that a copycat is imitating the Dollmaker's MO. Morooka's murder superficially looks like the yet-unsolved earlier ones, but there are a number of details that don't fit the pattern. Turns out it's a copycat crime, of course. • The interesting part is that once the cast figures out who did it, they all come up with reasons why he would have committed the other crimes as well - an illustration of how the human mind can fool itself. (They're all desperate to stop the murders, and it's more comfortable to think the same guy who did this one did the others.) It also helps that Mitsuo is delusional enough that he's mostly convinced himself that he committed them, too.

• has the antagonized by a hacker group called Medjed, who states that they will bring the Thieves down and reveal them for the criminals they are. Soon after, Joker is contacted by Alibaba to steal a target's heart in exchange for eliminating Medjed for them. As it turns out, Alibaba — Futaba Sakura — was the original Medjed who the group copied, and proves as adept at carrying out their end of the bargain as you'd expect an original to annul a knockoff.

She just needs time to adjust to a despair-free outlook first. •, of course, the killer was inspired by a Jack the Ripper game. The killer is decided at random upon game start out of four persons (or can be forced through a start up parameter). You can in fact kill an innocent in the last scene. • In, Gordi Kramer is responsible for the death of Joseph Brown and attempts to cover his own tracks by making it look like the work of the Origami Killer.

This is the main reason that the real killer, Scott Shelby, is interested in investigating Kramer. • 'Serial Killer X' from has an interesting take on this: according to their own MOs, making them look like one more victim of that killer's spree and thus keeping his own involvement unknown. • The Fans of are a group of ultra-violent who seek to emulate Jacket's rampages from the • One of the theories surrounding the Bell Killer murders in is that some of them are copyright crimes (the revelation that there have been murders following the same MO going back over a century suggesting that even the original killer might be a copycat.) Turns out that's half-true: Every murder was committed by a different person, but all of them were being possessed by Abigail at the time. Among them are Ronan's brother-in-law Rex, fellow cop Baxter, and even Ronan himself, the main character.

Sinister's origin story in, 'Descent'. Just so we know for sure he's the bad guy.

Cabal Online Damage Hack 2014 there. • One episode of has a murderer who secretly arranges for Lois' brother, Patrick 'the Fat Guy Strangler', to be released from the mental hospital where he's being treated, then begins murdering using the same method as Patrick in order to focus suspicion on Patrick instead of himself. • Played with in the episode 'Cartman's Incredible Gift', where a killer murders people and cuts off their left hands. After arresting a suspect (who had nothing to do with it; ), a second murder is discovered.and. After another arrest (thanks to another misinterpreted Cartman 'vision'), a third murder occurs.

• does this with a small time criminal named Jack the Tripper in the episode 'Dr. Jekyll and Mr. However, this was just the alias for a larger criminal named Professor Oodidoodie, who is an homage to Professor Moriarty. Oodidoodie used this alias to get under the radar of his nemesis. • Peter Sutcliffe aka 'The Yorkshire Ripper' was a ripoff of the actual. • As was Jack The Stripper, who unfortunately was never identified.

• Other 'Ripper' killers include the 'Blackout Ripper' (Gordon Cummins), the 'Camden Ripper' (Anthony Hardy), and the 'Ipswich Ripper' (Steven Wright), all of whom broadly followed 'Jack's' MO of murdering and mutilating sex workers. In these cases, though, the 'Ripper' nickname was bestowed by the media rather than claimed by the killers themselves. • Some historians have suggested that that the fifth of the murders attributed to Jack the Ripper himself was actually the work of another murderer (as it happened some time after the previous four), who then dressed it up to look like a Ripper murder. • Kenneth Bianchi, one of the Hillside Stranglers, convinced Veronica Compton, one of his groupies, to kill a woman so that the police would 'realize' that they had the wrong man in custody.

Fortunately, the intended victim was able to get away. Not until the cops revealed to the woman that she was one of several women he had duped like this did she realize how much she'd been set up. • John Wayne Gacy based his MO (luring young men to his home, then handcuffing, raping, and strangling them to death) on that of. • great nephew killed someone using a similar MO. • A whole lot of serial killers in fiction, and horrifyingly a few in real life, have drawn their inspiration from.

• Gein himself was inspired to make lampshades out of human skin after hearing stories of the Nazis doing so.