The most notable composite is the exterior house which serves as the residence for Lewis and Dawn Gates. The only house that could be found for exterior shooting was actually a two story abandoned house. The script called for a single-story house out in the middle of nowhere. Therefore, the top level had to be digitally removed and the background altered in order to meet those needs as pictured below.

For the ghosted figures that lurk in the woods, the camera was mounted on a tri-pod and a shot of the woods was taken without the actor in place.

Then the actor is put into place and the same scene is shot again. The two images are then digitally composited together with a transparency applied to the actor to give him the ghostly illusion.

For part of the climactic ending, the script called for several full-motion tentacles to burst from a doorway, wrap around the actor, and pull him in. Three methods were researched for this effect:

1) Create full-size rubber tentacles and film the scene in reverse action and then play it forward.
2) Pay to have the tentacles computer-animated and added to the action in post-production.
3) Build miniature rubber tentacles and claymation actors and film the action frame-by-frame in front of a blue-screen to be keyed in with footage shot on set.

Option 3 turned out to be the most cost effective solution. Director Mike Prosser, along with award-winning animator and friend Webster Colcord, constructed the minatures and shot the action in front of a blue-screen on 35mm film which was later transferred down to the movie's Hi-8 video format.

During post-production, the blue-screen footage was composited with the set footage to create the following images:

Dynamic Morphing is the process of seamlessly blending one object into another as it is in motion. Most low-budget "B" movies use Still Morphs, which are static and decrease the production value of the film. Our goal was to create the highest level of production value on the same budget as the standard "B" flicks.

With digital technology increasingly on the rise, PFC made the best of a $100 software application called Elastic Reality. It took Director of Photography/Digital Effects Engineer Jeff Yarnall 3 months to complete the 20-plus morphs for the film.

The makeup talent of Effects Wizard Brian Sipe of Gamut Studios (credits include, PET SEMETARY 2, SEAQUEST DSV, POWER RANGERS, multiple Albert Pyun Films and DEEP RISING to name just a few) was enlisted to create the prosthetic head, arm, and dentures for the Peter/Dean monster seen below.

Mike Prosser and Jeff Yarnall applied the prosthetics to Greg James.