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The special effects of the Agent Smith scenes in Matrix Revolutions

Special Effects wizard John Gaeta demonstrates how the "Bullet-Time" effects were created for the film Matrix, The (1999).

A featurette about the special effects of The Matrix Trilogy

Katie Cook hosts as a team of investigators explores the unfamiliar and the unsettling. The strange and the unexplained. We uncover unexplained events through extraordinary first-person accounts and take viewers to a place beyond our realm. Truth may be stranger than fiction. Paranormal Matrix may be stranger than both.

In 2012, Richard Tuohy made "Screen Tone" using patterns of dots printed straight to 16mm film. By doubling this principle in "Dot Matrix", a third, dizzying moire pattern and a deafening noise develops in the flicker (alternating black and white frames) because the dots also pass by the sound head.

A method by which drawings can be enlarged on a grid.

A man sees a portal and decides to jump in it.

Emshwiller writes that the visually complex and densely textured Skin Matrix is a "video tapestry... a layering of different manifestations of energy: electronic (light, video, computer), inorganic (dunes, rocks, mud), organic (wood, plants), human (skin, hair), individual (faces, eyes), imagination (sculpture, robot)." His intricate electronic transformations of tactile surfaces, landscapes and human faces signify a metaphysical process that simultaneously masks and reveals; he achieves an uncanny spatial illusion of depth through layering and movement. Creating sophisticated image patterns and structures with the simple Bally Arcade computer (used for playing video games), Emshwiller weaves together the lush textures and kinetic energy of the organic and the technological.

Dot Matrix is a sound and image composition of two 16mm film tracks, made by hand in a darkroom, without digital intervention. The projectors become instruments that read the images as waveforms. Colorful and fun circles are menacing when played back as sound.

This making-of piece includes remarks from production designer Owen Paterson, concept artist George Hull, visual effects supervisor John Gaeta, US unit production manager L. Dean Jones Jr., US model unit special effects coordinator Geoffrey Heron, Zion unit sequence lead Rodney Iwashina, high speed first assistant camera Paul Sanchez, US model unit art director Nanci Noblett, conceptual designer Geofrey Darrow, model shop supervisor Michael Lynch, US model unit producer David Dranitzke, prop maker foremen Dave Fogler and Fon Davis, and visual effects supervisor John "DJ" Des Jardin.

A piece of abstract cinema by John Whitney. A series squares follow a 3-dimensional track, each one with a slight delay after the other.

In a world of lies and deception and false hopes, the time is now to remove the blinders of deception and take back our lives.

A film of multiple superimpositions, utilizing the images of Solariumagelani (Summer Solstice, Autumnal Equinox, and Winter Solstice) (1974) overlaid with the hexagonal shapes that recur throughout Frampton's Magellan cycle.