Inspiring filmmakers and visionaries around the world, Metropolis set the standards by which futuristic films were visualised, judged and appreciated, with Alfred Hitchcock even copying a specific special effect from the film called the Schüfftan process.
The technique consists of covering part of the camera’s view with a mirror, allowing filmmakers to assemble an image from multiple parts. It was widely used in the first half of the 20th century before being almost completely replaced by the travelling matte and bluescreen effects.
German cinematographer Eugen Schüfftan in the film Metropolis (1927) The director of this film, Fritz Lang, wanted to insert actors in miniature shots of skyscrapers and other buildings, so Schüfftan used a special mirror to create the illusion of actors interacting with the huge, realistic scenery.