blue background and adding in details, such as rocks and water, after the shooting was complete. Dunn produced the lightning-electrocution scene at the end of The Thing from Another World (1951) by scratching the lightning, frame-by-frame, on a strip of black film and then compositing the best of that footage with live action footage of the monster burning and shrinking (done by Dunn via pulling back the camera on a track while filming the monster image element against a black background), with those two elements then photographically combined with the unmoving image of the floor and walls that surround the creature in the final composite. During the brief 3-D craze and the more permanent shift to widescreen processes such as CinemaScope, Dunn pioneered the use of optical composites using these developments, inventing and refining new equipment to achieve it. Dunn worked for Desilu Productions, founded by Desi Arnaz and Lucille Ball, and the TV production required the occasional use of optical effects, especially for increasingly elaborate title sequences, and Dunn's Film Effects of Hollywood was one of several optical houses that supplied them. From 1965, Dunn became one of four optical houses that supplied visual effects for the company's (later Paramount) Star Trek. It was mostly Dunn who photographed the 11-foot large Starship Enterprise model, designed by series creator Gene Roddenberry and Matt Jefferies and built by Dick Datin, Mel Keys, Venon Sion, and Volmer Jensen at Production Model Shop in Burbank, California. Dunn also generated footage that could be used by the three other optical houses involved with Star Trekthe Howard Anderson Company, Westheimer Company, and Van Der Veer Photo Effectsall necessary due to the large number of effects shots and tight weekly production schedule. Dunn continued to work on the series until its cancellation in 1969. Dunn also specialized in optical work for special and large format films, creating the equipment necessary to do the jobs. In fact, he was the first person to blow up a film from 16mm to 35mm color internegative. Dunn did optical composite for several special 70mm films shown at World's Fairs, including the multi-panel tour-de-force film A Place to Stand, made for Expo 67. It was Dunn who did what his associates said was impossible, cleanly blowing up 16mm negative to 70mm prints for George Harrison's Concert For Bangladesh. Dunn's company later became the first facility in Hollywood that could do optical