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Pass, cindy running into the middle of the street and jumping up. then did a pass with the car parked on the hit spot and cindy out there rolling on the hood in different positions. >> kyle then sends these layers to visual effects artist zane ruddlick to work his magic. >> it's three shots stitched together in a couple of subtle and kind of clever ways. the original handheld shot up to a moment. then the final handheld shot at the end. but in between, we're seaming that together with the cheated handheld simulated in the computer. >> to create that shot, zane uses a process called roto scopin...

The car pass. cindy running into the middle of the street and jumping up. then did a pass with the car parked on the hit spot and cindy rolling out there in different positions. >> kyle then sends these layers to zane rutledge to work his magic. >> it's three shots stitched together in a couple of subtle and deliver ways. the original hand held shot up to a moment and then the final hand held shot at the end but in between we're seaming that together with the cheated hand held simulated in the computer. >> to create that shot zane uses a process called rote owe scoping. >> it's a pains taking ...

Then did a pass with the car parked on the hit spot and cindy out there rolling on the hood in different positions. >> kyle then sends these layers to visual effects artist zane rudlick to do his magic. >> it's three shots stitched together in a couple of subtle and clever ways. the original handheld shot up to a moment. then the final handheld shot at the end. but in between, we're seaming that together with the cheated handheld simulated in the computer. >> to create that shot, zane uses a process called roto scoping. >> it's painstaking tracing frame by frame rachel throughout her roll off ...

>> oh, my god. she's so lucky we're not doing it at night. >> but kyle knows the believability of the video hinges on how realistic the climactic car hit looks. >> rachel! >> it ended up being so much fun. it was kind of cool to see how it was made. >> this three second special effects shot takes hours to create. >> to do a digital effect you shoot basically several layers. from the top of the stairs i shot the road empty, the car pass, cindy running into the middle of the street and jumping up. then did a pass with the car parked on the hit spot and cindy out there rolling on the hood in diff...

Effect takes hours to create. >> to do a digital effect you shoot basically several layers. from the top of the stairs i shot the road empty, the car pass, cindy running into the middle of the street and jumping up. then did a pass with the car parked on the hit spot and cindy out there rolling on the hood in different positions. >> kyle then sends these layers to visual effects artist zane rudlidge to do his magic. >> it's three shots stitched together in a couple of subtle and clever ways. the original handheld shot up to a moment. then the final handheld shot at the end. but in between, we'...