 Sierra wanted the game to have Hollywood @-@ quality film sequences , so they sought a director with experience in the film industry . They hired Peter Maris , whose previous experience consisted mainly of action and drama films , although some of his earlier films were graphic horror movies . Maris and Roberta Williams collaborated a great deal from the beginning of the process , with Maris explaining what he wanted in each scene from a filmmaker 's perspective , and Williams explaining her desires from a game designer 's perspective . Maris set up the camera angles and worked with the actors , using three motion @-@ controlled cameras during the shooting . All filming was done entirely in front of a blue screen , and the digitized information was later loaded into the Silicon Graphics computers , which synchronize the relative motion of computer @-@ generated , three @-@ dimensional background art . Next , the live action and the backgrounds were composited using advanced techniques controlled by an UltiMatte system . The computer imaging components made Phantasmagoria a very different experience for Maris than his usual film industry work . Crow served as a production coordinator during filming , helping facilitate what happened on stage . He also directed the scenes that involved stunts or other special effects that required the coordination of animated sequences with live action . Cindy Jordan worked as the makeup artist . 
