Editing Labyrinth (1986 film) (section)

===Post-production===
Most of the visual effects on ''Labyrinth'' were achieved in-camera with several notable exceptions. The most prominent of these post-production effects was the computer-generated owl that appears at the opening of the film. The sequence was created by animators [[Larry Yaeger]] and [[Bill Kroyer]] at Digital Productions<ref>{{cite web|last=Yaeger |first=Larry |title=A Brief, Early History of Computer Graphics in Film |url=http://www.beanblossom.in.us/larryy/cgi.html |access-date=January 20, 2012 |publisher=Indiana University |url-status=dead |archive-url=https://web.archive.org/web/20120717074134/http://www.beanblossom.in.us/larryy/cgi.html |archive-date=July 17, 2012}}</ref><ref>{{cite journal |last1=Wolff |first1=Robert S |last2=Yaeger |first2= Larry |title=Visualization of natural phenomena |journal=TELOS: The Electronic Library of Science |year=1993 |volume=1 |page=186}}</ref> and marked the first use of a realistic CGI animal in a film.<ref>{{cite journal |last=SIGGRAPH, IEEE Computer Society. Technical Committee—Computer Graphics |title=ACM SIGGRAPH 87: Course Notes, 14th Annual Conference on Computer Graphics and Interactive Techniques |date=July 27–31, 1987 |volume=3 |pages=70–71 |publisher=The University of California}}</ref> The owl head [[maquette]] was rescued from a [[Skip (container)|skip]] when the animation company ''Omnibus'' went bankrupt in 1987.<ref>{{cite book |last=Sito |first=Tom |date= 2013|title= Moving Innovation: A History of Computer Animation|location= Cambridge, MA|publisher= MIT Press|page= 194}}</ref>

The scene where Sarah encounters the Fire Gang was altered in post-production, as it had been filmed against black velvet cloth to disguise the puppeteers, and a new forest background was added behind. Jim Henson was unhappy with the compositing of the finished scene, although he considered the puppetry featured in it worthy including them.<ref name="Ecran"/>

Henson received help editing the film from executive producer [[George Lucas]]. Henson states that, "When we hit the editing, I did the first cut, and then George was heavily involved on bringing it to the final cut. After that, I took it over again and did the next few months of post-production and audio." Henson went on to say that, "When you edit a film with somebody else you have to compromise. I always want to go one way, and George goes another way, but we each took turns trading off, giving and taking. George tends to be very action-oriented and he cuts dialogue quite tight. I tend to cut looser, and go for more lyrical pauses, which can slow the story. [In doing] so, I loosen up his tightness, and he tightens my looseness."<ref name="Pirani"/>