After more than a year of intensive labor, the visual effects craftsmen at Entertainment Effects  Group have produced  the definitive urban future for  Blade Runner - Ridley Scott's stylish homage to film noir. A polluted overpopulated megalopolis, the Blade Runner  city  was  created largely  with miniatures and  matte paintings - and effects supervisors  Douglas Trumbull, Richard Yuricich and  David Dryer detail the arduous process by which it was generated and captured on film.  On a broader scale, director Ridley Scott and design consultant Syd Mead discuss the evolution of the project and the philosophy behind its distinctive ambience. Adding further dimension are director of  miniature photography Dave Stewart  and  camerman  Don Baker, matte painters Matthew Yuricich and Rocco Gioffre, designer Tom Cranham, model shop supervisors Mark Stetson and Wayne Smith and modelmaker Bill George, animation supervisor John Wash and camerman Glenn Campbell. Compsy tech director Richard Hollander, optical supervisor Robert Hall, matte cameraman Robert Baily, still photographer Virgil Mirano, lab liaison Jack Hinkle and effects auditor Diana  Gold.  Together, they present one of the most thorough accounts ever of a major special effects project - covering the design, con-struction and photography of the massive Tyrell pyramids, the vast  Hades wasteland, the extended cityscapes and thewondrous flying vehicles. Article by Don Shay