Editing Total Recall (1990 film) (section)

===Special effects and design===
{{main|Special effects of Total Recall (1990 film)|l1=''Special effects of'' Total Recall}}
The development of the film's special effects was led by [[Dream Quest Images]], with [[Eric Brevig]] serving as visual effects supervisor, [[Alex Funke]] as special effects photographer, [[Thomas L. Fisher]] as special effects supervisor, [[William Sandell]] as production designer,{{efn|Attributed to multiple references:<ref name="PeopleIronside1990"/>{{sfn|Murray|1990b|p=32}}<ref name="ASCHistory"/><ref name="FXGuide"/>}} and Mary Siceloff as effects producer.{{sfn|Roberts|1990|p=7}} [[Rob Bottin]], who previously worked with Verhoeven on ''RoboCop'', provided the character visual effects.<ref name="DOGCast"/><ref name="CBRCast"/> Concept artist [[Ron Cobb]] and illustrator [[Ron Miller (artist and author)|Ron Miller]] contributed to designs for technology, vehicles, and locations.{{sfn|Roberts|1990|p=6}}{{sfn|Murray|1990b|pp=31–32}}<ref name="DecidedIllustrator"/> Additional effects were provided by Metrolight Studios,<ref name="ASCHistory"/> and [[Industrial Light & Magic]].<ref name="AFIBio"/>

''Total Recall'' features over 100 visual effects, including [[Miniature effect|miniatures]] and [[Chroma key|bluescreen]] effects.{{sfn|Roberts|1990|p=7}} The film was made at the onset of [[computer-generated imagery]] (CGI), which was not a suitable option for photorealistic or textured imagery, and was used mainly in the X-ray machine sequence. Most other effects were practical, employing sophisticated prosthetics and animatronics to realize automated taxi drivers, "fat lady" disguises, mutants, and scenes of explosive decompression.<ref name="CBRCast"/><ref name="FXGuide"/>{{sfn|Roberts|1990|pp=13,15,19–20,22,31–32}} ''Total Recall'' features thirty-five sets across eight of Estudios Churubusco's soundstages.{{sfn|Murray|1990b|p=32}} The sets were expansive and connected by tunnels so long that they continued outside of the stage, making it possible to drive between them on film.<ref name="SyFyat30"/>{{sfn|Murray|1990b|p=59}}<ref name="BFIORal"/>

Expansive locations, including Martian exteriors, were created using miniature sets produced by Stetson Visual Services in Los Angeles, and supervised by [[Mark Stetson]] and Robert Spurlock.{{sfn|Roberts|1990|p=8}} The sets were large, with the alien reactor being among the largest and most complex sets ever constructed in cinema, and the largest set built for the film. It had to be built vertically to fit on Dream Quest's stage. Even so, it was limited by the {{cvt|25|ft|m}} high ceilings.{{sfn|Roberts|1990|p=23}}{{sfn|Roberts|1990|p=27}} The Martian mountain set was also substantial, measuring {{cvt|14|ft|m}} tall and {{cvt|14|ft|m}} in diameter, with only the frontside constructed, allowing special effects to be operated from behind.{{sfn|Roberts|1990|p=31}}{{sfn|Roberts|1990|p=32}}