1) Pre-title sequence - The three villains were filmed against bluescreen so the filmmakers could then take full advantage of the Kryptonian chamber turning into the black courtroom.
The explosion from the snapped crytsal was added optically.

2) Title sequence- As with Superman The Movie, slit-scan was once again used to create the titles (lights exposed at a long period to create streaks while backlighting cels with the words written across them), although this time going for a much more obviously comic-book themed aesthetic. Slit-scan also provided the splashes of colour that appear throughout this sequence too.

3) Alleyway change - Filmed once with Reeve in Clack Kent getup and once as Supes, motion blurred in optical printer.

4) This is followed by a traveling matte take-off. Greenish suit. Probably the most critized shot in S2. Why wasn't this a Zoptic? The answer: the deadline. The complex set ups and time consumption of using Zoptic was not possible. The effects department therefore had to shoot as much blue screen footage as possible, as this would allow them to keep up with the schedule. Once photographed, the blue screen elements could be sent to Hollywood with the background plates while the effects unit in England could then go and confront the more demanding sequences that didn't . The demands of time management dictated the slap-dash look of the FX work.

5) Paris - Extremely long shots with Lois on the elevator were models. Supes flys towards the Eiffel tower through Zoptic (Although shot in the superior to 35mm Vistavision, the background plates in this scene suffer from being filmed on the day of a storm).
Extremely long shot of Supes flying into the tower was achieved by Derek Meddings model unit. The Superman model was run down a monophilament wire. Supes enters the tower through use of blue screen(garbage matte outline can be seen). Superman takes the elevator out of the tower, achieved entirely with Derek Meddings miniatures.

6) Space- Supes flys through space as a travelling matte. The image of Earth shown in the background was achieved using matte paintings, as was the starscape. Zoptic shot of Superman pushing the elevator away from his body. The elevator explosion was achieved in-camera, as Paul Wilson shot the elevator, matte painted space-backing and stars in the studio and then rewound the film and photographed the explosion outdoors- the result being seamless. Shockwaves are cel animation. Phantom zone cracking achieved using mediocre cel animation. Supes flys back to earth as a travelling matte. Villains matted into space backing. The moon was matte painted.

7) Lunar Attack - Lunar horizon is on-set, scenic art. Excellent in-camera wire disguising. Noticable cel animation was used to create the flame from the spacecraft.

8) Luthor and Teschmacher balloon across the mountains - Obvious bluescreen compositing here shot by Richard Donner in 1977. The composited background however was matted in two years later under Richard Lester's direction, using newly shot mountain footage of Norway. This was due to Gene Hackman's unavailability for the Lester reshoot, and changes made to the script.

9) Niagra (little kid) Falls - Kid falls into the Falls via front/rear projection and bluescreen. Supes flys into the falls through the use of bluescreen. Supes catches the kid as a Zoptic composite. Flys back up as a travelling matte. Wires not rotoscoped(yet very hard to see) when he lands with the kid. Long shot of Supes flying away is model inserted with bluescreen. Supes landing behind the Super Duper Hot Dog stand appears to have wires painted out. Changeback into Clark is the oldest trick in the book- stuntman as Superman flies and hides behind the building prompting Christopher Reeve to reveal himself from behind the same hiding place.

10) Lex visits the Fortress - The top half of the Fortress exterior is a matte painting. When Lara appears in Holographic form, the entire area behind her was matte painted to enhance the surroundings. the archive crystal she stands in is a combination of matte paintings and matted elements of actress Susannah York.

11) Lois takes a swim- Lois takes a swim- ALL of the rapids footage with Lois Lane in the water was filmed in an out-door tank at Pinewood. Wendy Leech doubled for Margot Kidder in medium shots. A dummy was used in long shots. Margot in closer shots. Heat vision through cel animation.

PAGE III