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00:31 FILM: Bringing Up Baby - Live Leopard

Baby's introductory scene, found just past the 0:22:00 mark (and shot at the beginning of production), comprises approximately half of the unrestricted interaction between the actors and Nissa the leopard in the entire feature film. Contributed by Clifford Galiher

00:29 FILM: Bringing Up Baby - Traveling Split-Screen 1

As opposed to the practical effects used inside the apartment, once Cary Grant steps out the apartment door he is (along with Nissa & Hepburn) in the hands of Dunn's traveling wipes, carefully stitching together multiple takes shot on the same set. Contributed by Clifford Galiher

00:57 FILM: Bringing Up Baby - Traveling Split-Screen 2

A number of these shots reveal the wipe through subtle differences in the exposure levels of the two shots. Subtle though the traveling matte was, it was at its best (like all optical effects) under the most clinically precise conditions. Contributed by Clifford Galiher

00:43 FILM: Bringing Up Baby - Live Leopard 2

The moving camera & interplay of shadows in this shot, 27 minutes into the film--plus a daily production report from the end of shooting, entailing Cary Grant, Nissa the leopard, and no body double--indicate that this scene too contributes to the approximately 60 seconds of leopard/actor footage. Contributed by Clifford Galiher

00:21 FILM: Bringing Up Baby - Live Leopard 3

This footage, at approximately 33 minutes into the film, is that last of the footage depicting direct interaction between the actors and the live leopard. Grant's skittishness in the scene accords with reports of his nervousness around Nissa. Contributed by Clifford Galiher

00:05 FILM: Bringing Up Baby - Composite

This shot from the climactic mayhem in the jail (at about 1:36:00) briefly features an intricate composite shot--watch the lower-left corner of the frame and note that the actors' feet disappear--footage of the leopard has been pasted over them. Contributed by Clifford Galiher

01:03 FILM: Bringing Up Baby - Practical Effects

In contrast to the first shots, the remaining scenes shot in Susan's apartment (after Hepburn's close shave with the leopard), features an array of quickly-devised practical tricks to protect the actors: glass partitions, body doubles, & a puppet. Contributed by Clifford Galiher

00:45 FILM: Bringing Up Baby - Split-Screen

The static split-screen was simpler than the traveling one--assembling this shot (found around 0:55:00 in the movie) needed no painstaking calibration of the partition between the elements--only adjustment of their timing for a convincing & comical effect. Contributed by Clifford Galiher

01:06 FILM: Bringing Up Baby - Traveling Split-Screen 3

These shots of Hepburn wrestling the leopard (around 1:33:00) feature the most challenging (and least satisfactory, in Dunn's opinion) optical work in the film. The two ends of the rope swerve off in opposite directions, disrupting the illusion. Contributed by Clifford Galiher

01:08 FILM: Bringing Up Baby - Rear Projection 1

Footage of body doubles in this station wagon setup, found in Dunn's RKO Effects Reel (using different background footage of the road) indicates the dual layers of rear projection at work in this sequence. Contributed by Clifford Galiher

00:17 FILM: Bringing Up Baby - Rear Projection 2

A clip from Dunn's RKO Effects Reel briefly shows the live set for this rear projection shot (found at 1:12:00)--only the cage door on black velvet; not only the leopard but, the entire surrounding truck, are projected at an angle. Contributed by Clifford Galiher