The Schüfftan Process is a film special effect named after its inventor, Eugen Schüfftan. It was heavily used in the first half of the 20th century, before being replaced by the travelling matte and bluescreen effects, which allow two portions of the image to be filmed at different times. The process was popularized by its use in Fritz Lang's Metropolis.
The Schüfftan Process involves placing a plate of glass at a fourty-five degree angle between the camera and the miniature building(s). Then, using the camera's viewfinder, an outline is traced of the area where the actors would later be inserted onto the glass. This outline would be transferred onto a mirror, and the reflective surface that fell outside the outline would be scraped off, leaving transparent glass. When the mirror was placed where the original glass was placed, the reflective part blocked a portion of the miniature building behind it, and also would reflect the stage behind the camera. The actors stood several meters away from the mirror, so when they were reflected in the mirror, they appeared the correct size.
The Schüfftan Process was used by other filmmakers. The process can be seen in Hitchcock's Blackmail (1929) and Jackson's The Lord of the Rings: The Return of the King (2003).
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