The entire Ultraman series was infamous for having quite cheesy special effects, especially Ultraman Taro.
According to Steve, you will find it in every single scene of Double The Fist.
The White Collar Season 1 finale ends with a parked airplane exploding. It's painfully obvious it was either CG or a really sloppy matte job, though to be fair the show is a relatively low budget comedy-drama that normally uses basically no special effects.
Not only there. When Tiffani Thiessen was pregnant during Season 2, they pretended her character was in California. Ridiculous green screening of the Golden Gate Bridge ensued.
Leverage used ridiculous green screen backgrounds of world landmarks such as pyramids in Egypt and the like while Gina Bellman was pregnant. Needless to say, nobody bought it.
The CGI they use for vehicles seems especially spotty. In "The Mile High Job" the digital matte painting that shows the landed plane depicts the road behind them going off a wild incline.
The pilot episode of Memphis Beat had a glaringly out-of-place neon marquee for a radio station slapped on top of a building (In reality, the building in question is the headquarters of a local newspaper and the radio station in question went off the air in 1966).
In Monk, one happened in filming the episode "Mr. Monk and the Leper", during the scene where Randy goes to Dr. Polanski's office and pulls a picture of him with acne off of the waiting room wall. His photo seems glued to the wall, and he struggles to pry it off using the pen chained to the receptionist's desk. Randy eventually gets his photo off, after knocking a lot of other pictures down, and pulls it away, taking a piece of the wall with it as Dr. Polanski comes in. Due to continuity error, some pictures get knocked down twice, and the damage disappears after Dr. Polanski walks into the room.
The struggle to pull the montage off the wall was one thing that was not planned, and was only supposed to be a simple swipe. However, the construction crew nailed the picture on so well that the film crew had to shoot several takes and the crew had to come in to help loosen it before Jason Gray-Stanford was able to pull it off the wall, even then with a lot of difficulty. Though the Rule of Funny makes it look better than what was planned. The dialogue between Randy and Dr. Polanski was shot first and a few of the picture-ripping takes were stitched together, causing the continuity errors.
The History Channel MiniseriesAmerica: The Story of Us at times. A few that particularly stick out include the steamboat that went by Abraham Lincoln's little raft, the log jam, and Lady Liberty's construction. Granted, they did saturate the series in CG, but it's not that conspicuous unless there's non-CG elements like people in the same frame.
The uniquely quirky visual style of Pushing Daisies calls for liberal use of bad CG and Chroma Key to heighten the show's non-realistic quality.
The talking deer in the Japanese drama Shikaotoko Aoniyoshi (The Amazing Deer-Man) is almost always CG-animated. While the deer simply standing and speaking is actually astoundingly realistic-looking (especially for a deer that's capable of moving its lips and tongue to effect human speech), any standard movement shots are hilariously disconnected and the deer itself is low-detail and Off Model.
One of the episodes in The Mentalist centered around a bomb blowing up a building. When there is a vision of the bomb blowing up... the CGI was painfully obvious.
In the series finale of Damages, the green-screen effect in the close-ups in the last dock scene is glaringly obvious.
A Nickelodeon special on the making of The Last Airbender showed a car is pulling into the parking lot of what is presumably M. Night Shyamalan's studio. In a gratuitous misuse of CGI, a pair of poorly rendered gates swing open from the otherwise real background to let the car in.
The BBCSci-Fi series Moonbase 3 was criticized for its cheap-looking props and sets. Ironically, this was caused by efforts to be as realistic as possible; it is much more difficult to create a realistic-looking rocket, spacesuit, and what not than to simply use a salt shaker as a futuristic device.
Star Cops, a kind of Spiritual Successor made a decade later, had similar problems. The wire-work and Chroma Key for the zero-G scenes were about as good as you could manage with the technology of the day -you couldn't see the wires most of the time- and the interior sets and spacesuit costumes were downright impressive, but what let them down in the end were the matte effects, which looked like they'd been cribbed from a children's non-fiction book about spaceflight. The producers also resorted to moving said matte paintings around on the backdrop to suggest spacecraft in motion when they couldn't use miniatures, which just made matters worse.
Starhunter had rather awful CGI for its spaceships and their weapons. The effects were on par with or worse than what was available nearly 10 years before production started.
The DVD release of Babylon 5 has awful-looking CGI. The series was shot widescreen with the intent to letterbox it for high definition broadcasts and DVD later (though it was broadcast in 4:3 originally). The creators intended to re-render all the CGI to match the DVD's letterbox presentation, but the models for the CGI were lost, so they had to resort to cropping the standard-def graphics. As a result, there is a noticeable drop in picture quality whenever there is a CGI element on screen.
The video release was also veryobvious with its CGI, especially for the earlier seasons. Although this may have been an accurate demonstration of how it went when it was naturally broadcast.
A minor example from the original run is Londo's "star laces", alien flowers he uses to woo his mistress, which look like fairy lights attached to beer can holders.
N'Grath, the insectoid crimeboss who made a few appearances in the first season sometimes had the very human legs of the actor playing him appear in the frame, since the suit only went down his tighs. They had smoke and coloured lights cover this up, but it only worked some of the time.
The version of the Drakh that appears in one scene in Season 4 is never seen again, and for good reason: it looks like someone got ahold of Rick Moranis's Dark Helmet costume and spray-painted it to look like Skeletor. Even filming it through a deliberately blurred lens can't make it look like a living creature, and not a hunk of rubber or plastic.
The original Doctor Who television series, particularly in its early years, brought home the cliche of "Incredibl(y Cheap) BBC Special Effects" to entire generations of fans. The shoestring-budget look has become one of the most warmly remembered parts of the show, and a major fear of many fans prior to the premiere of the new series is that it would look too well-done. Though Colin Baker's response to the people who "loved" the poor special effects is that you didn't love them: you tolerated them, you forgave them. Claiming otherwise is just your Nostalgia Filter operating. It really demonstrates that if the writing is good (as most, but by no means all, of Doctor Who's writing has been), the audience will forgive pretty much anything else. It was still generally good for its time (compare other sci-fi from the same time period), except for the earliest seasons, the seasons made during the UK recession of the late '70s and the final two seasons from 1988-1989. By the time Doctor Who had ended, a minute of the show cost one-fifth as much as a minute of Star Trek: The Next Generation. In addition to being lovable because of its Special Effect Failures, there were times when the inability to properly articulate humanoid aliens or robots put them squarely in the Uncanny Valley to pants-wetting effect.
Though they are the series' most memorable and terrifying recurring enemies, the Daleks have also been subject to some of Doctor Who's biggest special effects failures:
The single most iconic example of this trope in Dalek history, Doctor Who history and possibly even science fiction history: The end of the moody and atmospheric episode "The Dead Planet" is a Cliffhanger where Barbara senses something following her through a dead city, reaches a dead end, turns, sees the alien following her (obscured, by Shaky P.O.V. Cam, to the audience except for its right arm), and screams... at something that is obviously just an everyday sink plunger stuck on a telescopic pole. The original intention had been to give the Daleks a claw-like appendage (similar to what is seen in the non-canon Dr. Who and the Daleks), but the BBC ran out of money, and so just stuck on something that looked like it could manipulate things, which they then had to design the sets around (Dalek control panels, even in the very first series, are always circular). Spin-off book A History of the Universe in 100 Objects, which mostly features in-universe items, contains an entry for "Sink Plunger (c.1963)" and ends up a list of things that a Dalek may do with 'cleaning toilets'. Even with good budgets, this was so iconic that it was kept, and the first Dalek episode of the new series features a scene where a fool jokes that the Dalek might sucker him to death. Which it does, horrifically.
Less awful than the plunger but still the embodiment of Narm Charm is the Dalek gunstick, which is often considered to resemble an egg whisk. This was played with in "Asylum of the Daleks", a Dalek story which uses egg whisks as a running theme - one repetition of which being how the character Oswin, an enthusiastic cook, wears an egg whisk on her belt. This is Foreshadowing of the fact that she's actually a delusional Dalek trying to deal with its body by relating it to things it saw as a human.
In their first appearance, the Daleks glided smoothly across the floor and therefore looked genuinely creepy. Later versions of the Dalek costume, at least in the classic series, tended to wobble as they moved, greatly undermining the desired effect.
Whenever the characters kick about, beat up, blow up, run over or generally torture the Daleks, it's obviously not safe to have a human inside them, so the permanently twitching eyestalks and arms end up motionless for those scenes. It sometimes can even cue you into knowing which Dalek is going to be killed in a scene.
The black and white era sometimes used photographic reproductions (read: cardboard cut-outs) of background Daleks in scenes with lots of them (before the first movie was made, there were a total of four Dalek props, and after it a massive twenty, one of which was accidentally rendered unusable in filming the second movie the next year). The background in the TARDIS control room in the black and white era was also a simple flat image. (This could be gotten away with because the TV system used in the UK for black and white was also much lower resolution than any system ever used for color. This level of crudity was never tried for any color episode.)
"The Dalek Invasion of Earth" (the second serial of Season 2) has notably good production values for the time due to the show getting a bigger budget after its first season, saving up with a Bottle Episode serial in the first three weeks of Season 2, and doing lots of Prop Recycling of Dr. Who and the Daleks. Unfortunately, the big, beautifully designed spaceship ramp (which must have been great-looking in 1964) is ruined by how the Daleks noticeably wobble and skid as they go down it. Worse, in the climax of the episode, the Black Dalek gloats to Barbara about how their plan is flawless while its excited underlings circle it in menacing delight - tragically, one of them audibly has a squeaky wheel and sounds like one of those snacks trolleys you get on trains.
The Daleks went through a phase of using fire extinguishers as their main weapon, notably in Dr. Who and the Daleks. The initial effect was cool — this weird alien thing that just causes people to die, like an ersatz flamethrower. Unfortunately, it lost its menace whenever the camera focused on the corpses and they were soaking wet.
"The Chase" features a Padding sequence of a long line of Daleks all exiting the door of their time machine. Unfortunately, only having a few Daleks means that we just see the same three Daleks going round and round in a circle to create the illusion of there being more. It's easy to see why they thought it wouldn't be obvious, since the Daleks don't look different to each other, but it somehow is.
The surviving footage of the last episode of "Evil of the Daleks" is notorious for featuring Dalek action figures in the climactic fight scene between the "humanised" Daleks and the Emperor's troops. (Which might have worked, except they were very bad Dalek action figures.)
The Daleks also suffered quite noticeably in the 1970s from having the rays from their beam weapons often starting several inches away from the muzzles of said weapons. This would have looked cool if it had been several inches ahead of the muzzle, rather than above or below. The "effect" shown from being hit was also just reverse-values of the image. This first shows up in Genesis Of The Daleks with it being done to the entire image, and later being restricted to just the area the targeted character occupies.
The offscreen Daleks in the TV Movie manage to be this despite being completely unseen due to some truly awful sound design. Due to the fact that the illusion of many Daleks was created by taking a voice clip recorded at normal speed and then just speeding it up a lot to fit multiple repetitions of it into the very short scene, and the fact that they aren't even ring-modulated, they all have comically squeaky voices that sounds neither cool nor anything like Daleks.
In one story in "The Keys of Marinus", the ice on the cave walls is represented with clingfilm stretched over the set. It's quite obvious, but is also forgivable... except for how when the actors run through the the caves, every step makes that distinctive clingfilm squeak.
Even from the early days, the show played with its reputation for cheap monsters - the plot twist in the Hartnell story "The Rescue" is dependent on the audience assuming the monsters will look exactly like cheap costumes. The costume itself is quite effective, though.
Weird example in "The Chase" - the Mechanoids have a really cool Robo Speak effect on their voices, but it's so hard to understand what they're saying as a result that the storyline dealing with them is almost incomprehensible.
The Zarbi in "The Web Planet" would look rubbish even if they didn't have two obviously human legs in trousers and shoes sticking out of the bottom and even if they didn't constantly make incredibly synthetic beeping noises. The Larvae Guns are fringed with rags. The Animus and the Menoptera are better looking, but the Menoptera's wings, that look striking when stationary, rustle in a plasticy way when they move them, and the Animus is obviously just a bunch of hoses glued to a hula-hoop like structure and hung off the ceiling with wire. The tube-like structures the Animus uses to communicate with the Doctor are supposed to look like webs, but instead are just a clear plastic drum with some web stuff glued on it - Lampshaded when the Doctor calls it a 'silly hairdryer thing'. Attempts were made to obscure the lousy special effects by greasing the camera within an inch of its life, and it doesn't work. On the plus side, the Wire Fu flight of the Menoptera is extremely convincing thanks to some clever camera angle trickery and the graceful motions of the actors.
The First Doctor's wig can be seen peeling away at the edges or interfering with his forehead movement in a few scenes - notably, at the Dénouement of "The Space Museum", where the lace is visible during his Script Wank.
The Monoids in "The Ark" - creatures with long shaggy hair and a single eye, represented by the actor holding a small ball in their mouth - were criticised contemporarily for looking dodgy by the usual standards of Doctor Who. The eye-mouth idea is quite effective thanks to the disturbingly lifelike way the actors manipulate the eyeball with their tongues and 'blink' their lips, but the suits are ill-fitting (one slightly overweight monoid strains at his) and interfere with the actors's movement, making them look lumbering and stupid. The episode also features some truly awful Miniature Effects (usually something reliably done quite well), such as a landing spaceship in Forced Perspective so extreme that it makes it blurry, and the scenes of the Monoids' obviously very light statue being lifted, launched out onto some paper cutouts of space and then exploded with a Jump Cut to some stock footage of an explosion.
A skit on Dead Ringers made a joke about how all of the Second Doctor's monsters were made out of tinfoil. When Diamanda Hagan covered the Second Doctor's tenure in her guide to Classic Who, she pointed out that this was a misconception - tinfoil would have been an improvement on what his monsters actually were made out of, which was usually Fog of Doom, or malevolent foam, or invisibleDeadly Gas. She also pointed out that this trope did have an upside - it led to a lot of Nothing Is Scarier, since a very alien thing that you can't see is obviously a lot scarier than an unconvincing rubber suit monster.
"Invasion of the Dinosaurs" is thrilling when you read the script — but on the screen, the dinosaurs make the Dalek action figures look convincing by comparison.
And, of course, that one time when UNIT used a toy tank in "Robot".
Brigadier: I've brought along something that will deal with it.
Doctor: I very much doubt it, brigadier.
A notorious example of this is "The Ark In Space" where a mid-stage version of the Wirrn is literally an actor wrapped in green bubble-wrap. In fairness, bubble-wrap was new at the time.
An example of a character who became The Scrappy as the result of this is the Robot Buddy K-9. The actual K-9 prop looks nice and solid if you like the Campy design and some of the touches like its twizzly ears and tail are quite cute. But the cast, crew and writers soon grew to hate it because it was poorly-made and constantly broke. It also moved very slowly and unsteadily, especially annoying as it was the companion of a particularly tall and kinetic Doctor who was forced to pace down his naturally fast and comical movements to speeds matching that of K-9, usually with an adlibbed "come along, K-9" every time it just stopped for no reason. Quite often the prop would break and so the character would just be written out of the serial with its important lines rewritten and given to Romana, and as it could barely even handle a straight, perfectly level floor it would never show up in stories shot anywhere more exciting than corridors (such as the BBC Quarry, the wetlands in "The Power of Kroll" or the streets in "City of Death" and "Shada"). Many of the scripts are peppered with rather insulting stage directions for K-9, such as (from "Shada") "K-9 HEADS OFF AT WHAT PASSES FOR TOP SPEED", and (in one of the few recorded cases of on-set rivalries between a human and a prop robot) Tom Baker developed a habit of peppering K-9 with ad-libbed verbal abuse in rehearsals, footage of which occasionally surfaces in Hilarious Outtakes BBC shows ("Yeah, you never fucking know the answer when it's important"). On top of that, it was the K-9 prop which caught fire in a prop warehouse thanks to an electrical fault, in the famous fire that destroyed many better-made and more loved 1960s and 70s Who props.
Even compared to the other creatures that have appeared on Doctor Who, the beast that menaces Romana in "The Androids of Tara" looks utterly atrocious.
"The Power of Kroll" features what could have been a decent effect turned into one of the show's worst-ever thanks to incompetent execution. The model of the titular Kroll (a gigantic squid-like beast) was actually pretty good by the standards of when the episode was made, but the production crew decided to insert it into the location footage by just chopping the frame in half and sticking the model footage on top, which resulted parts of the landscape and actors magically vanishing whenever Kroll showed up.
The Fifth Doctor's trademark lapel celery is obviously made of cloth. Peter Davison apparently really disliked it for this reason, and much preferred the plastic celery he got to wear as an old Doctor in "Time Clash" many years later.
Infamously, the final showdown of "Kinda" has the Mara, which has been possessing other characters throughout the story but not yet been seen in its true, allegedly terrifying form, manifest itself as... a giant, inflatable snake. The DVD release fixes this by providing an option to replace it with a better-looking CGI snake.
The impact (no pun intended) of Adric's demise in "Earthshock" is unfortunately lessened when you see the actual freighter "crash" and realize that it isn't even moving. And the explosion itself seems to have been inspired by Atari games.
In the otherwise beautiful "Enlightenment", there's the scene where Turlough gets rescued after throwing himself overboard. Cue green screen background of a ship with Mark Strickson hanging from wires in front of it while a net is brought over to scoop him up. Fortunately, many of the bad special effects were fixed when a special remade version was released on DVD along with the original episode.
Even the new series sometimes has Special Effect Failures. The Slitheen and the Jagrafess are two good (that is, bad) examples. They also fit in with the cheesy-alien-costume look from the classic show, so it might have been a deliberate stylistic choice.
One of the aliens in "Planet of the Dead" is killed by a monster that apparently drops straight onto it and they give no sign of the thing even biting him. It's like there was a tube inside the monster that the alien just slides into, as if he were swallowed whole.
In "The End of Time", you can see the point at which the Vinvocci's rubber cap joins their heads very clearly. It's particularly noticeable with the female actress, who has a tendency of furrowing her brow while the top of her forehead remains suspiciously immobile. They were actually called "Prostheticons" in early drafts of the script, anticipating this.
"The Vampires of Venice". Most of the effects are great, such as the aliens. But for some reason, something as simple as a backdrop as the Doctor climbs a tower looks incredibly fake. Huh?
In "The Crimson Horror", although only noticeable if you're looking for it, just before Strax's "clean my grenades" line you can see his face mask is starting to peel off.
In "The Day of the Doctor", which normally had Visual Effects of Awesome due to its big budget compared to a normal episode, there's a shot where the War Doctor blasts open a Dalek case and the Dalek mutant comes flying out, as unconvincing as a rubber chicken.
The Fake Shemp Doctors in the final shot of "Day of the Doctor" quite obviously have faces cut and pasted on, some at unfortunate angles. The Eighth Doctor's head is too big, and the Fourth Doctor's head is a photo of his terrifying waxwork. And some of the body doubles don't look very good either. Keep in mind that this episode was being filmed for cinema release, and some harder, more animated hed-pastede-on-yay effects were achieved flawlessly to revive Jon Pertwee and Tom Baker's Doctors for one of the trailers for this episode.
Sometimes you can't even get past the title sequences without pain:
The title sequence used for Tom Baker's tenure has some 2001: A Space Odyssey-inspired slit-scan psychedelic effects that looked mindblowing in the 1970s and still look very weird and beautiful today. Unfortunately, the TARDIS model used in the intro is obviously just made out of card and has a noticeable crack where the Chroma Key shines through it. Fortunately, the abbreviated title sequence usually used doesn't show this bit of the footage.
The title sequence for Season 7B had a very blocky CGI TARDIS that looked absolutely unconvincing if it took up more than 20% of the screen, and significantly less convincing than the TARDIS model used in-engine in the licensed video games. The shot of the TARDIS's doors opening at the end shows off the pixellated texture on the door sign and was done with an obvious image-stretch and expand, as well.
Then there's Blake's 7, which makes Doctor Who look lush and over-produced. According to the crew, the special effects budget for the show was £50 per episode. Granted, this was the late 1970s, but still...
"Seek, Locate, Destroy" starts with a supposedly terrifying Tin Can Robot that wobbles as it goes and is just generally poorly-designed, looking adorable rather than menacing.
The third season episode The Harvest of Kairos is particularly exemplary. The better of the two main types of aliens seen is modelled by a rock.
The Harvest of Kairos can only be enjoyed as comedy.
Gold had a particularly jarring jump cut on the teleport effect, with actor Roy Kinnear obviously moving between cuts in the foreground.
In The Hitchhiker's Guide to the Galaxy, an animatronic second head was made for Zaphod Beeblebrox. Unfortunately, it rarely worked, and for most of the series it just sat lifelessly on actor Mark Wing Davey's shoulders. The series tried to Hand Wave it early on, with the actor ordering his second head to "go back to sleep".
Star Trek itself was resistant to this syndrome, given its budget for the time, but still occasionally fell down.
The aliens at the end of the 'Catspaw' episode are clearly puppets with very visible strings.
Also, Sylvia becoming a giant cat is pretty obviously enlarged stock footage of an average housecat.
They actually lampshaded it in the Corbomite Maneuver. The alien on the viewscreen looked like a big puppet, and then when Kirk and co beamed over to the mini craft to offer help after blasting it, they discovered that it really was a big puppet.
And then there was the windsock dipped in cement. Mind, two different companies did remastered versions of "The Doomsday Machine", but neither really captured the essence of the Planet Killer with CGI. A cement-covered wind sock is actually the best effect in this case.
Speaking of remastering, they actually edited a problem into the remastered Assignment Earth: a beautiful shot of the Enterprise orbiting the Earth. . .which is rotating in backwards.
The first appearance of wide-beam phasers, in "The Return Of The Archons", is quite ropey even for its time and budget. They appear to end arbitrarily rather than hit their targets, and a beam going behind Doctor McCoy's arm has a gap in it much wider than said arm.
A frequent stock shot of the Enterprise has part of one warp nacelle grainily dropping out of the image to reveal the stars behind.
A guy falling to his doom off the balcony of a floating city is represented by a black blob moving across a satellite photo. Yeah.◊
The Kirk vs. Khan fight in Space Seed, held by two stuntmen whose identities the camera work does the most pathetic attempt possible to conceal.
The Second City troop oi Toronto, Canada even lampshaded this as a gag in their show Khan Saga in the 1990's.
In the Next Generation episode "Conspiracy", a truly horrific sequence involving phasering a guy's face off is wrecked when a hideous monster bursts from the remains of his chest, and is a weak, sad, muppety-looking thing. Plus, the way they blue-screened it into the scene couldn't possibly be more obvious.
In addition, earlier shots of one of the monsters were done with bad, low-frame-rate stop-motion that looked more like an effect from TOS.
In Season 3 Episode Who Watches the Watchers, the Enterprise crew and Federation scientists study a pre-industry Vulcan-like culture. Their most advanced technology is bows, which would be fine, expect the bows are obviously modern fiberglass composite compound bows covered with "primitive" rags, and the arrows are similarly modern.
The episode Coming of Age has a matte painting that's supposed to look like it's a hallway going on for a while...instead, it looks like someone's painted a hallway on the wall◊.
Then there was the case of the Type 7 shuttlecraft, whose mockup◊ did not match to its model◊ counterpart.
Similar to Stock Footage Failure, the original series and Next Generation sometimes reused the same matte paintings more than once, to represent completely different planets. Similarly, spaceships models were used over and over again to represent different ships, though sometimes they were clever enough at modifying the model to make it non-obvious.
The episode "Mind's Eye" features some passable phaser rifle props. Unfortunately they way they are handled, particularly by LaForge, reveals that they have no weight, almost as if they were empty plastic models.
Going back to TOS, the amount of Special Effect Failure in The Arena, especially with The Gorn, causes a lot of Narm.
Odo's transformation sequences in Star Trek: Deep Space Nine now look profoundly dated, but at least they were consistently dated with the same effects applied to every changeling.
Wizards of Waverly Place: Nearly every episode succumbs to this syndrome, whether it's flying carpets, chandelier-swinging, giant seamonkeys, or random trips to China. Almost all scenes in the sky feature blatant blue/greenscreen, especially noticeable considering the characters' outlines, and how they move at a completely different framerate from the clouds/city, etc. Another Waverly Place example is when they go into Alex's journal. It looks like the editors were testing Adobe Premiere Elements when they go inside of it. One of the characters also falls behind a wall painted like water (there wasn't even a splash!).
Hannah Montana doesn't use special effects often (except when driving cars), but when it does, you can expect it to fall under this trope. One blatant example is from an early episode, where Miley/Hannah blows the fakest-looking bubblegum bubble imaginable.
And in shots of a generic city at nightime, they don't even attempt to hide that the "buildings" are 2D cutouts.
The fourth season CSI: Crime Scene Investigation episode "The Turn of the Screw" opened with a rollercoaster car flying off its tracks. Inevitably, they showed a POV shot from the back seat of the car as it flew through the air, and it was rather obviously superimposed footage of a normal rollercoaster ride - emphasised when one of the passengers in the front seat turned around and was clearly screaming in exhilaration rather than terror (for a start, she was smiling, which seems an odd reaction to have to impending certain death).
A Season 11 episode, "Cold Blooded", features the Walking with Dinosaurs live arena show. In the shots of the audiences' perspective of the show, it is blatantly clear that they are not watching a live show, mostly because of the perspective. It ends up looking like they are watching a movie screen instead. The CSI filming crew was clearly allowed access to the show and the animatronic dinosaurs.
Similarly, NCIS, with a car plunging into the water. This example was less explicable, as the stunt (a car going into the water off a dock) would be trivial and cheap to do in live-action. Apparently, CBS received firesale pricing on bad car crash computer effects.
That's not the only time. In the episode where Gibbs quits because the SEALs are ordered to take down the boat with the terror suspect on it despite his advice. The suspect promptly blows himself and the ship up. Cue another diabolically bad CGI explosion. What happened to physical special effects? Or is the entire point for these "whizzkids" to show us "Hey Ma, look what I can do on my computer!"
Worst of all, the team was watching the ship on satellite: if the CGI wasn't up to the task they could have simply shown the blast in low-res background shots.
The Benny Hill Show did this on purpose; one of their most notorious Running Gags involved some random character falling from a great height — they would pitch an obvious dummy dressed in the actor's clothes over the edge, and then Jump Cut to the actor getting up from the spot where the dummy had fallen.
Married... with Children did the exact same thing (usually on the episodes where Al has to fix something on the roof of the house and he ends up falling).
Family Guy paid homage to this, despite being animated.
As did Homestar Runner in the sbemail stunt double, again despite being an animation. (Although technically it is within the context of a movie being made by the characters; see below.)
Done in the Mêlée à TroisColbert / Stewart/O'Brien Cross Over, when an obvious stunt double of each host is thrown down the stairs by the other two. Conan lampshades it by jumping into frame too early and asking his double if he's okay — upon which Colbert and Stewart realize they've been tricked and give chase.
SCTV used obvious dummies quite a lot, to hilarious effect.
And Saturday Night Live (whose show has been filled to the brim with Special Effects Failure since 1975. It's been toned down ever since the show switched to high-definition in Season 31 note The 2005-2006 season; the one featuring the debuts of Bill Hader, Andy Samberg, and Kristen Wiig — who didn't appear on the show until the episode hosted by Jason Lee), but it does crop up — usually in the form of horrible chroma-keying or props that look cheap and breakable).
Stuntman extraordinaire Super Dave Osborne would almost invariably be horribly injured and mutilated when his stunts went awry... or rather, a completely obvious dummy would be (often it seemed they simply stuffed an empty jumpsuit with rags, considering how it flapped and twisted in the wind as it fell from great heights).
Hell, even The Three Stooges did this at least once (but it was rather cutting-edge then).
Pretty much every Disney Channel sitcom has a dummy used every once in a while.
Speaking of Deka, it took several episodes for them to get the original Doggie's mask to work right. Instead of moving with his speech, it just hung open in many a scene, giving him a permanent staring-in-shock look.
While we're on the subject of Super Sentai, Seijuu Sentai Gingaman/Power Rangers Lost Galaxy featured, for its Humongous Mecha, a quintet of very rubber-looking giant animals that transformed into more traditional mecha. Worse, while the lion, falcon/dragon thing and the ape were still rendered as costumes/puppets/whatever in robot mode, the wolf and wildcat had been made as stiff, unconvincing models. In order to get them moving across the landscape during the Transformation Sequence, they were rendered together as utterly rubbish CGI models. The scenes where the mechs operate as individuals look like they came from something twenty years older.
Worse were the scenes of the Rangers riding the beasts in beast mode. They were clearly models stuck to the shoulders and would wobble around like what they were. It looked horrible and would have been better if the makers had said "well, we'd like Rangers standing on Galactabeasts' shoulders but it just doesn't work."
Samurai Sentai Shinkenger is a FANTASTIC looking series... except for when they kill the giant monsters. For some reason, instead of a huge fiery explosion we get a pathetic little piffle of sparks.
Even worse in the teamup movie with Engine Sentai Go-onger, where the big robo finishing attack isn't a gigantic CG bullet barrage or stampede of the individual mecha, but simply a few normal-looking blasts with pyrotechnics usually reserved for auxiliary weaponry.
The toy version of the Power Rangers Mystic Force Titan Megazord's Mystic Dragon mode is extremely cool. The suit costume on the show... well, because the red Mystic Titan rides the dragon, it's essentially the Red Mystic Titan's torso wearing the dragon's legs and with the rest of the dragon around its belly like an inner tube. It's really embarrassing to see the rest of the dragon flop around when it lands after an attack.
And of course, there's the usage of the Bandai of America toys of the Ninja/Shogun Zords in Mighty Morphin' Power Rangers Season 3 with the toy of Titanus. It's made worse by the White Shogun Zord being pink in the US toyline (due to a pink Ranger in MMPR whereas Ninja Sentai Kakuranger, the source of the footage, had a white one, and Bandai not wanting a Frivolous Lawsuit) Also, the toy version has different logos on the Zords than the show version. This means there are some very noticeable changes in the Zords between original footage and sentai footage. The Ninjazords don't escape entirely, either (the Crane's red markings were changed to pink, for the same reason). Also, for some reason, Titanus has the otherwise-unseen Dragonzord's chestplate now.
There is a reason for that. Dragonzord's chestplate was mounted there in the original Ultrazord formation, and they were trying to make it as similar as possible.
That, and repositioning Titanus' head for the Ultrazord configuration would otherwise have left a big, unsightly gap.
Power Rangers Wild Force: The episode "Forever Red" features a horrible, undersized, miscoloured-in-half-the-shots, CGI version of Serpentera (For the most egregious of this, Serpentera went from dark green to purple.) Off-the-Shelf FX would have been a huge step up from this.
Back to Super Sentai, the final battle of Dengeki Sentai Changeman. It may have been The Eighties, but there is just no excuse for a fight against the insides of a Planet Eater being represented by the Megazord imposed over stock footage of cells dividing.
One that frequently affects Power Rangers involves the fact that you have three people playing the same person: the actor, the suit actor/stunt double, and the Japanese suit actor from the stock footage. It was lampshaded/handwaved with Justin of Power Rangers Turbo, who apparently shot through 6 years of puberty every time he morphed (he explicitly grows; you see it in the Transformation Sequence.) but there are some other examples which stand out:
She's a Man in Japan creates a frequent problem for Yellow Rangers, namely Trini, whose (male) Japanese suit actor was rather... gifted. Proof.◊ (Additionally, most suit actors in Japan were male, even for female rangers. Those skirts on female Ranger costumes served a practical purpose of cover-up.)
A kind of inverse happened during Lost Galaxy. The male Yellow Ranger in Gingman was turned into the female Lost Galaxy Ranger, who was played by the rather buxom Cerina Vincent, who flattened every time she morphed. Apparently, ranger spandex is more effective than any sports bra.
"An eagle-eyed viewer might be able to see the wires. A pedant might be able to see the wires. But I think if you're looking at the wires, you're ignoring the story. If you go to a puppet show, you can see the wires, but it's about the puppets, it's not about the string. If you go to a Punch and Judy show and you're watching the wires, you're a freak."
The quote was in reference to a sequence where the protagonists were being chased by supernaturally animated everyday objects suspended from incredibly obvious wires. Another memorable sequence in the same show was a motorbike chase in which they were on pedal bikes with motorbike noises dubbed in and against an incredibly obvious "POV behind moving vehicle" blue screen.
And just as a footnote, Punch and Judy shows use glove puppets anyway.
The wires holding Apollo and Starbuck up during a spacewalk scene in the Battlestar Galactica episode "Fire in Space" probably weren't visible in the original broadcast in 1979, but they're blatantly visible in the remastered DVD release — so visible, in fact, that one wonders why they weren't airbrushed out during the remastering.
They probably also didn't realize at the time that the "space suits" didn't cover the skin where the sleeves and gloves didn't come together.
In "Hand of God", the final episode, the view through a porthole window is very obviously a matte painting behind the set. It would be far less noticeable, however, if the scene didn't open up with the camera zoomed in on it.
Additional failures in Galactica:
In the pilot movie, there are scenes where Zac's spaceship is missing the left side of the cockpit shortly before he's killed by Cylons.
Also in the pilot episode, the two Colonial Vipers fly across the screen and just before they cut the shot back inside the cockpits, a Cylon Raider comes up behind them, before they discovered the fleet of fighters waiting to jump the Battlestars. (It happens quite far away from where they find the Raiders, so it is obviously a pre-use of a spot that should have be used later.)
Several times throughout the series, when someone needs to use the joystick inside the Vipers, the hand on the joystick is Boomer's (a black man), even when the pilot is white.
In a scene where Starbuck's Viper is hit, sparks shoot out of the cockpit, but fall through the empty hole where the cockpit glass is supposed to be, never mind that he's supposed to be in space, so the sparks shouldn't fall anyway.
Speaking of Galactica, the re-imagining has excellent special effects but still has its moments of failure:
In the Season 1 episode "Water", the water gushing out of the punctured containers reeks of bad CGI.
In the Season 3 episode "Rapture", when the sun goes nova, the characters see it framed between the natural pillars of the Temple of Five. Moment of symbolic significance... except the sunlight on the Temple comes from a source to the left and slightly behind the camera, not from the nova in the dead center of the screen. Though in the above 2 cases the Rule of Cool means it doesn't really detract from the effect.
Captain Power and the Soldiers of the Future: Leaving aside just how badly the then-state-of-the-art computer graphics have aged, any aerial battle between Hawk and Soaron inevitably features a moment when Soaron shoots at Hawk, but is unable to keep up with him. Soaron's laser beams, missing their target, instead hit the air behind Hawk, as if he were running on the ground. Said laser beams explode on impact. With the air.
Animorphs was infamous for, among other things, particularly bad special effects. You can see the weave in Visser Three's tailscythe.
The Neverwhere miniseries was low-budget but looked fine until the dramatic appearance of the dreaded Beast of London, which was very clearly a Highland cow in silhouette. Subsequently nicknamed "Morag the Friendly Cow" by Neil's friend Terry Pratchett, after a puppet on a Saturday Morning Kids Show of the time.
The 1960s Batman's infamous wall-climbing sequence. Arguably, every special effect in the show qualifies; it was intentionally high Camp.
A scene in one Red Dwarf episode called for Rimmer to accidentally trigger an ejector seat and be flung out of a parked spaceship. The wires involved were so obvious on screen that they added a little aerial to Rimmer's peaked cap in an attempt to disguise the line. It didn't work.
Red Dwarf is full of this kind of thing, but in earlier seasons nobody minded. Then came Season 8, where Cat made a shuttle tap-dance. Poorly.
In the late '90s, they "remastered" the first three series, which didn't actually improve anything, as the CGI effects were no better than the originals. This wouldn't be a problem, except that they cut several minutes from various episodes to make room for them.
Series 7 was intended to use model shots for almost all visual effects, but a scheduling foul-up (the vis-effects team were only given a limited time for shooting, in a studio half the usual size, before all the scripts had even been written) meant that they had to fill in the missing effects with CGI. The mix is incredibly jarring. By the time series 8 rolled around and all the effects were digital, the quality had improved slightly.
Dark Shadows can be consistently fakey-lookin'. The special effects suffered horribly when actors (usually allowed only one take) fumbled their props or reacted at the wrong moment to the Green/Blue-screen menace.
The Tonight Show with Jay Leno used distorted lenses to create the characters of Iron Jay and Mr. Brain, and also for the headless effect with Beyondo. Since it started using HD, those characters have rarely been seen.
Late Night with Conan O'Brien, and later O'Brien's run of The Tonight Show ran a Show Withina Show telenovela named Noches de Pasion con Senor O'Brien. Each episode lampshades this trope when "Conando" beats up a few guys and throws them off-screen, immediately cutting to stock footage of a completely different person falling out of a random window.
Conan used another gag with a fake television channel called, "The Bad Stunt Double Network", in which a man jumping out of a window is replaced by a burlap sack with a balloon attached to it, and a woman getting thrown out of a car is replaced by a laboratory model skeleton.
The fully-CGI Terminator endo-skeletons in Terminator: The Sarah Connor Chronicles are arguably less convincing than the fully-mechanical muppet used in the climax of the original Terminator film.
But definitely more convincing than the stop-motion used in that film.
To be fair, you'd expect CGI on any budget to look less realistic than an animatronic model that is actually real.
Oz turning into a werewolf on Buffy the Vampire Slayer wavered in quality. The first time ("Phases") there was a pretty good werewolf suit, but the second time ("Beauty and the Beasts") it looked like a scary tiki mask glued onto a gorilla costume.
In fact, this costume became much reviled on Buffy the Vampire Slayer, to the point where, when the spin-off Angel decided to do werewolves, the costume designers were given this note: "Don't make it look like a gay possum."
The Season 4 finale "Restless", contains an intentional example. The scene in Xander's dream where he's driving the ice cream truck has a very obvious greenscreen effect; the background is moving quickly, and there are artifacts around Anya when she's shown in front of the window. This was done to enhance the surreal, dreamlike quality, by creating an effect of "stillness in motion".
"Fake the Snake" from Season 5 episode "Shadow", which was either being represented by sub-par CGI or a big, motionless rubber model trundling along on a truck.
The Watcher's Council building explosion in Season 7, an effects shot so embarrassing it was allowed only a split-second of screen time.
Angel's big failure was the attempt at redesigning vampire makeup in the pilot episode. They quickly went back to the Buffy-style stuff.
There's one scene in "Spin The Bottle" where David Boreanaz and Vincent Kartheiser's stunt doubles are clearly visible, and another in one of the Pylea eps where the bulge of Amy Acker's microphone pack under her costume is seen.
The 90's series Werewolf was a Fugitive clone featuring a young man on the run because he got bitten by a wolf, and every full moon after that... well, you get the idea. The actual werewolf costume looked pretty scary and menacing — as long as it was seen in the dark, slightly out of focus, in hand-held shots and with rapid cutting. Unfortunately in later episodes the werewolf suit was fully-lit, and appeared totally lame.
The 2002 Taiwanese television series Wind and Cloud received an unfortunate reputation in Finland because of this. It featured an infamous magical-sonic-beam-attack of a sort... Which was basically created by having the user throw a bunch of hula-hoops at the opponent. Other special attacks were fairly similar in quality, too.
Knight Rider: The obligatory Turbo Boost sequences were frequently convincing, but were just as frequently lame, including at least one instance where, rather than a stunt car, what we see is plainly a matchbox toy being tossed over a miniature set — an effect made worse by the fact that, like most Knight Rider merchandise, the matchbox car had the words "KNIGHT 2000" printed on it in large red letters.
Even if a stunt car is used in a Ramp Jump or Turbo Boost scene, one can often see through the empty engine compartment. The landings aren't always cut away properly either, so parts of K.I.T.T. can frequently seen come off and fly away.
Pretty much every episode of Knight Rider has a multitude of special effect failures. Besides the visible ramps and cheap car bodies used for jumping scenes, every time K.I.T.T. is supposed to be driving really, really fast is actually just a sped-up scene, which becomes obvious when the vehicle is making unrealistically sharp turns at full speed. Theres also a stunt driver that looks nothing like David Hasselhoff (mainly due to his big head/hair), the console in the car and car windows disappearing and reappearing in outside shots, a clearly visible "ghost driver" wearing a weird flour-bag to conceal himself driving K.I.T.T. when the car is on autopilot, and many, many more. There was even a whole german website just listing every instance of this trope for Knight Rider.
While the new series has been rather more impressive (if a bit Uncanny Valley) with its Turbo Boost and metamorphosis sequences, it seems to have a harder time with effects nowhere near as special: watch the rear window during driving scenes shot from inside KITT. The color saturation is so far off one expects to see Wile E. Coyote chasing after the Knight 3000.
Goosebumps was a kids TV series, which already means it'll have a low budget. But combine that with the fact it's a horror anthology and you get some of the most awful special effects this side of the live-action Animorphs. Of course, kids watching it won't notice, but when watching it as an adult for nostalgia reasons... yeah.
Parodied in the "Funkenstein" sketches in MadTV, which parody 1970s low-budget blaxploitation remakes of classic horror movies such as Blacula and Blackenstein. Some of the sketches, such as "Funkenstein vs. The Creature of the White Lagoon" and "Funkenstein vs. Nefertiti" make deliberately awful use of blue screen effects. A hilarious example is the "underwater fight scene" in "Creature from the White Lagoon", which uses video footage of an aquarium to create a lagoon.
Parodied in A Colbert Christmas: The Greatest Gift Of All, which is every cheesy Christmas trope you can think of turned up toeleven. Elvis Costello is amazed when Stephen reveals that the "reindeer" hired for the show are actually just goats with antlers. "Well, you can't tell!" Cut to a miniature goat with a pair of toy antlers tied to its head.
An episode of The Professionals had a car going off a cliff in slow motion — which only highlights the fact that it's driven by crash-test dummies. Even if a short-sighted audience member was fooled, one of the driver's heads falls off for no apparent reason.
Happens in LOST during the scene in which Locke is falling out of a building after his father pushes him. The green screen/CGI is pretty blatant.
Also happens any time one of the polar bears is shown closely. They look like they were modeled on a 10-year old Macintosh.
A rather unfortunate submarine in the fifth season is conspicuous, especially since they usually have good or at least passable effects, especially since the entire shot may have been CG and looked like a screensaver or something.
The worst part of that effect was that it was completely superfluous, and seemed to be showing off.
In a way, the CGI to tell the viewer where a certain scene takes place. Really, his apartment has a view over the Eiffel Tower? This backyard somewhere outside of the town really has an unobstructed view of the Kremlin? Your band practices in an alley directly next to the Tower Bridge? Did you go for a walk to see the Sydney Opera House, even though you've been living in this city for years?
The freighter explosion doesn't really look that convincing, especially when watched on Blu-ray. Usually the production values are pretty high though...
Compared to other underwater scenes, the Island underwater in the Season 6 premiere looks like an old screen saver.
Ben's smoke-induced vision in "Dead is Dead" was terrible.
The source from "Across the Sea" looks like a bad photoshop.
Space: 1999 had some superb model shots, but was sometimes let down by lousy matte paintings.
In "The Testament of Arkadia", a landing Eagle spaceship is supposed to swoop down out of the sun. Instead, the sun behaves like a small disk inside the planet's atmosphere, and the Eagle appears from behind the disk.
Space: 1999 had some superb models, but some of the non-miniature effects were abysmal even for the time. In the episode Space Brain, for the brain effect they filled the main command center with soap suds and had the actors flail around in it. As one review wrote: "No matter what you do, soap suds aren't scary."
Any time Booth and Brennan are driving to a scene in Bones is obviously a shot of the actors in a prop car in front of a backdrop.
In the dead astronaut episode, both of them do some unconvincing freefall gymnastics on board NASA's "Vomit Comet" plane. When freefall ends, Booth's feet are shown slowly settling to the floor, right next to a pen and index card which are sitting on the floor already. Possibly it's a visual lampshading of how very bad these "zero gravity" scenes were, as there's no logical reason to show these objects alongside his feet except to poke fun at how contrived the scene looks.
Charmed. The basic energy effects they figured out how to do pretty well, but anything that required more advanced CGI than that quickly became cringe-worthy.
Some might also consider the ridiculous costumes a form of this, if they don't fall under Narm Charm.
The pilot sticks out for this. An evil warlock demonstrates his power to create fire, by lifting a papier mache hand into shot with what appear to be normal disposable lighters embedded in the fingers... now take how bad you imagine that looking and make it 10x worse.
The pilot for Sarah Michelle Gellar's new show Ringer had some spectacularly bad green screen of the ocean, of the boat, and of the background while characters were in the boat. Couldn't The CW have worked on it after getting it from CBS?
As a Sci Fi Channel original series, Sanctuary runs into this with the goofy-looking muscle suit that a lead actor wears when he's turned into a hulking freak.
Also, many monster attacks on civilians involved victims disintegrating. At least, that's what we gather from the people's absence after these sequences. What are we supposed to make of beads placed in a vaguely humanoid pile being pulled apart and away from offscreen?
The monster explosions in the first few series, where the monsters basically just turn into smoke bombs. It wasn't until Kamen Rider Super-1 when they finally got the idea to add fire.
Kamen Rider Amazon had the most rubbery monsters in Toku history. The scene where Amazon is wrestling with an alligator monster is especially hilarious, due to its rubber snout and tail constantly bending and flattening.
Kamen Rider X was a nice, serious show, giving us some good plot and Starfish Hitler... and then you get to the final battle with Apollo Geist, where his "ultimate attack" is a spare Apollo Geist suit being set on fire and rolling down a hill at X-Rider. Witness it here.
Going to the Heisei era, the terrible, terrible CG monster explosions in Kamen Rider Kuuga and Kamen Rider Agito. On the occasion when they did use actual explosive instead of CG, it looked ten times better.
Kamen Rider Kiva has the Buron Booster, an add-on for Kiva's Cool Bike, which looks way too big to stay upright and is accompanied by a mediocre CGI Kiva riding it. This is especially jarring since the show's other major CG elements, like Kiva's dragon castle and IXA's mechanical counterpart, are pretty well done on the whole.
The Zanvat Sword's sliding hilt isn't perfectly snug and visibly shakes when it is handled. Not to mention the thing is one of the most plastic looking weapons in the Heisei series, especially with the sparkle-imbued blade.
In Kamen Rider Decade, Kivaara has gone from her CGI rendering to being a toy from episode 8. No attempt is made to show her lips moving or her wings flapping; we only hear the sound effect of her wings moving and the camera is simply shaken back and forth. She got better though.
When Natsumi transforms, it's a very dramatic scene, sadly ruined by the suit forming being a good distance off-center from the body.
Spoofed in the net videos for The Movie, where when Kirihiko gets mad and starts beating up on Right-Hand Cat Mick, it turns into an obvious cat puppet. Then Mick changes into his monster form and gets revenge, with Kirihiko turning into a dummy in a suit with a photograph of his face taped to the head.
Kamen Rider Den-O: In Chou Den-O Trilogy: Episode Yellow the scene where the past and present versions of Kaitou meet and interact is done with surprisingly bad greenscreening. This is especially jarring since both Den-O and Decade used green screen effects, and in those instances the effect was much better.
Kamen Rider OOO: The last episode. Full stop. Oh sure, there was some bad effects before in the series. Like Sha U Ta's debut. Or the zerg-like little fish Yummies in episode 5. But those were given contexts. The awkward "flying" in the last episode, and the pseudo-Yummy pile in the same episode takes the cake for the entire series.
In episode 39, there is quite a long shot where the detective's body clearly has 4 arms.
The werewolf transformation sequences in Being Human are excellent. The werewolf post-transformation... is rather less so.
Not even the Super Bowl is safe from this. In Super Bowl XIII, the crowd penetrated through the shirts of NBC broadcasters Curt Gowdy, Merlin Olsen, and John Brodie.
NBC's sports and news divisions had a lot of these problems during the late 1970s. During coverage of the inauguration of Jimmy Carter, notice just before the beginning of the first commercial break at about 11 seconds in, you can see the graphic penetrating through then-TODAY show anchor Tom Brokaw's hair.
Also a problem during the Canadian rebroadcasts of the Superbowl: when Global had the rights they digitally swapped any billboards appearing in the stadium with billboards advertising their own programs. This effect usually worked. If the camera moved anything other than purely horizontal, it looked horrible.
24 normally had great, practical special effects. In Season 4, when Habib Marwan died by falling off the side of a parking garage, it used an obvious horrible-looking bluescreen shot.
Basically, the FX fails any time there's an explosion of significant magnitude in the series. The original teaser trailer for the first season ended with a (deleted) shot of the doomed airliner that crashes into the Mojave Desert going downward at a slight angle, while fire effects were superimposed on top of the (clearly not damaged) aircraft.
The nuclear explosion in Season 2 (seen from Palmer's point-of-view, looking out the window of Air Force One) looks like shoddy CGI that clashes with the rest of the footage.
An episode of Season 2 suffered from a shockingly bad computer-rendered plane that clashed very badly with the show's general adherence to believable practical effects.
A suitcase nuke going off early in Season 6 looked pretty obviously fake, but then, it's understandable; they couldn't exactly film an actual nuclear weapon exploding.
Merlin — pick a monster. Any monster. It's easier to pick out which effects don't fail (basically, the teleportation scene in the first episode). The worse offender by far, however, is Nimueh's death scene, which looks very much like the same two CGI shots repeated a few times.
The 1996-1998 TV series The Adventures of Sinbad came in just as CGI effects started to get somewhat affordable. Alas, cheap CGI effects were still horrible, and to make matters worse, any CGI monster they had would be recolored re-used (same animations and all) at least a couple of times throughout the show. Couple this with a nearly fetish-like love for making the heroes fight giant, badly bluescreened animals, and you've got a show that's so bad it's good.
Raven tries not to use special effects all that much, but when it does, it smashes into this trope — hard. It includes such things as "floating" orbs of fire, "demons", who look exactly like what's playing them (namely blokes standing around in robes), and people "disappearing", or being "brought back" in flashes of light.
Dexter has one particularly bad sequence in Season 3 where the camera moves up over a graveyard, riddled with open graves. Not only do the graves look like CGI, the movement is also not synchronized with the camera movement, making the holes float above the ground.
Any episode of the '70s series The Six Million Dollar Man that involved our hero flying a fighter was pretty funny to watch. Due to the use of stock footage, he would fly in as many as 5 different planes during a single flight.
To save money, the movie about Scott's Antarctic expedition is shot on an English beach. That's painted white. Except that when they realize this, they switch the setting to the Sahara. Only they still shoot it with the ocean in the background. And they're using a dog sled pulled by various house pets, and wearing winter clothes.
To make the main character seem tall, the actor initially walks on boxes while the female love interest acts out of a trench. They eventually realize that this is a problem.
Scott gets to fight a lion, since it's in his contract, again despite the fact that the movie was set in the Antarctic. So when we finally see the trailer for the movie, the scene is started by footage of a lion moving past the camera, followed by a lion doll getting tossed onto the beach. Scott wrestles with it for a while before it's replaced by a guy in a bad lion costume, who then starts a fistfight with Scott, eventually dragging a chair from off-camera and then pulling a knife. Then Scott knocks him out with a punch, and blood goes "pshhhhht".
In slow motion.
Scott's Eskimo partner also gets to fight a giant electrical penguin with tentacles. Blood goes "pshhhht".
In slow motion.
The Starlost, sometimes called the worst science fiction series ever made, boasted a new video process that was to allow the most spectacular visual effects ever. This process, called "Magic Cam" was a simple greenscreen effect that allowed almost all of the show's sets to be created from miniatures or matte paintings. Promotional material hailed the way that Magic Cam prevented any sort of visible matte line or haloing. This turned out to be entirely false. Matte lines, halos, wires, boom shadow, basically, if there was something you could do to ruin a visual effect, The Starlost did it.
Made particularly sad by the extremely high quality of some of the model shots used in the opening titles (which was ruined by the lousy quality of the title graphics themselves and most of the other shots).
In the Fawlty Towers episode "Basil the Rat", most of the shots of Manuel's pet "filligree Siberian hamster" used a real rat, videotaped separately from the main action and edited in. In a scene where the rat scurries across the floor it's obviously a model pulled by a nylon cord, but the main fx failure occurs in the final scene in which the rat pops its head out of a biscuit tin that Polly is presenting to the health inspector. In this scene the rat is a very unconvincing puppet with a rotating head which is operated from beneath the tin by actress Connie Booth.
An equally unconvincing rat puppet appears as a Cat Scare in the third installment of the Rose Red miniseries. Its gaping mouth in close-up is obviously plastic, and doesn't even have a rodent's buck teeth. To make matters worse, the real rat shown scampering away from the scene is a different shade of gray-brown.
In the 1950s show The Adventures of William Tell, the famous crossbow bolt that pierces the apple in the first episode is quite obviously riding a very visible wire. This wouldn't be so bad if that shot hadn't been used in the opening credits every single week.
The early seasons of Hercules: The Legendary Journeys were among the first on TV to use CGI (it was about 1993). They were cheap, and REALLY bad. Lampshaded some seasons later in a 'behind the scenes'-esque episode where Ares looks out a faux-moving car screaming "Cheesy blue-screen effects!"
The X-Files usually made their effects fairly believable, but the episode "Piper Maru", which featured a submarine that could not have been more obviously fake.
The same could be said for the "monster" in "Arcadia" and the cat that attacks Mulder in "Grotesque".
And the cat that attacks both Mulder AND Scully in "Tesos dos Bichos". It was a cat puppet, but because Gillian Anderson is allergic to cats, they had to use rabbit fur — which Anderson reports often shed and got stuck to everything. (Presumably the crew even agreed it looked silly — the blooper reel for that season features a clip of Mulder fighting the cat puppet set to the theme of George of the Jungle.
In "Shapes" the onscreen transformation was great, the two times the werewolf actually appeared it looked laughably fake. To their credit, they seemed to realize this limitation and kept it offscreen almost the entire episode; Even during its two actual appearances it was either out of focus or only briefly seen running across the screen.
Jason Of Star Command is rather notable for the quality (relative to its time and the fact that it was a Filmation production) and quantity of its model shots and space footage, but in the very first episode, Jason goes on a spacewalk (protected only by an invisible force field) to rescue his commander (Played by James Doohan!). The role of "space" is played by a black curtain with shiny spots on it. You can see over the top ofspace. You can even see "space"'s curtain rod!
Law & Order had an odd one when a religious fanatic defendant, upon being convicted, turned to his followers and held up his hands, which bled like Christ's wounds. The guy was actually faking it, but that was nothing compared to the special effects failure, which made it blatantly obvious they were using a green-screen. Why they even needed to I can't imagine; he was just standing in the courtroom, like he had been a moment before.
Law & Order: LA once had 10,000 acres of badly CGI'd/cloned pot, which somehow looked even worse as a photoshopped image.
Blackadder: The Cavalier Years briefly features a baby who is an obvious doll. Why they didn't just have it wrapped in cloth is a mystery.
Are You Afraid of the Dark?: Due to the low budget, practically every episode. The one that stands out the most was an episode where a bunch of kids were kidnapped onto an alien spacecraft and forced to eat a horrible alien food product... which was clearly and obviously lime-flavoured jello in a bowl.
This ended up being beneficial in ways as episodes often had to use frightening ideas and imagery (e.g. a girl suddenly standing on the other side of the window in the middle of the night) rather than special effects, which made it scarier.
Walking with Dinosaurs and its sequels had impressive special effects for a documentary, especially upon the first viewing. However after a closer inspection, it is baffling how the SFX team didn't catch some of the clearly obvious goofs. The biggest ones are:
The shocking shift between the CG and the animatronic Postosuchus from the first episode.
Messed up water reflections from the second episode, also, Diplodocus drinking from a bush.
The baby Sauropods supposedly disturb a lot of branches on the ground, however the CG dinosaurs have been animated elsewhere, so the branches are moving on their own.
In the third episode, the "skin" of the Ophthalmosaurus is clearly peeling off, and the chunks continue floating in the water.
Episode four is basically a goof reel:
The long fingers of the Pterosaurs clip through their leather wings all the time.
Although it is not as severe as in the picture on the top of the page, you can see that the Iguanodon puppet could have been made with a longer neck
CG Iguanodons walking in air.
The sequence of the raptors bringing down the Iguanodon has so many clipping errors, it is not funny (watch their hands and legs).
When the Utahraptors open their mouths, their "inner surface" becomes visible, and it has the same pattern as their outer skin.
And the mating ground, which has messed up shadows and layering issues, see-through pterosaurs, animals repeating the same set of motions at the same time, and the wires clearly hanging out of our main hero's neck.
Episode five: the attacking Koolasuchus doesn't open its mouth. The fleeing Leallynasaura however does, and we can see the background through its head.
The "allosaur", after it kills the lead female, twists its head in a very painful manner, and its jaws sink into its stiff neck.
At the start of the final episode, a Didelphodon tries to rob the nest of a T. rex. As it bounces up and down, its hind legs completely sink into its torso.
The large frills of the Torosaurus clip into their shoulders at times.
WWD special, The Ballad of Big Al brings us:
See-through dinosaurs during the epic Diplodocus hunt and Al's clash with the female Allosaurus.
Diplodocus teeth that stretch when the animal opens its mouth.
Some very fake-looking interaction between props and CGI.
Walking with Beasts:
In the first episode, sometimes the actions of the animals don't correspond with the disturbed leaves on the ground.
The second episode gives us glimpses of the puppeteer's jeans and shoes as the Andrewsarchus tries to kill an obvious rubber turtle. Meanwhile, the Moeritherium has an impressive collection of wires hanging from its neck. For some reason, they forgot to cover them up with a CG body. Also, the dead brontothere calf looks like it's made of rubber.
The shadows in the third episode don't always match the animals' actions. For instance, the shadow of the Hyaenodon leaning into the carcass of the chalicothere makes it look like the predator's floating.
Another scene has a large white prop "hidden" behind the Paraceratherium calf's head.
Episode four: the legs of the yawning Dinofelis clip through the tree.
The fifth episode has an awfully wooden looking Smilodon head puppet (complete with some unintended dirt sticking to one of its fangs), and clipping errors regarding the CG Smilodon's teeth.
The last episode showcases a very awkward looking shot of a bellowing mammoth, whose tusk merges with his trunk for a long moment. The antlers of the fighting Megaloceros also sink into each other.
In Walking with Monsters, a gorgonospid brushes against a bush, with the bush sticking INSIDE of it while it chases a scutosaurus.
And during the fight between the female Dimetrodons, they too pass through each other once.
Another particularly jarring oddity is that after the Hyneria fish bites into the Hynerpeton male, the latter's long tail begins to clip through the fish's head at least twice. It happens fast, but freeze-framing clearly reveals a tail simply sticking out through the Hyneria's forehead.
In the episode in season three of Sliders, the one that ripped off the movie Species, Quinn jumps into the vortex which is off screen... then he can clearly be seen standing up and walking away.
Some monsters in Sliders are painfully obvious CG. The dinosaurs aren't the worse; there were also a huge spider, a giant beetle and "spider-wasps" that are looking really out of place in a live-action series.
And then there was the worm...
The "rip in the universe" effect in the episode As Time Goes By was awful.
In the Christmas episode of Corner Gas, Oscar and Emma's car has been digitally added into the exterior shots of the house.
The Brittas Empire has an episode with an Emu or Ostrich running wild in the centre, which leads to several amusing effects failures. They actually managed to get a live version of the animal, but presumably it was too dangerous to let the actors interact with it. So you either get a live ostrich/emu running down a corridor dragging an obvious dummy, or human actors interacting with a hand puppet sticking over a bathroom stall. To their credit, the people involved seemed to realise this problem so the shots with the fake ostrich/emu are so obviously fake that it actually adds to the comedy.
Farscape is known for its rather impressive special effects, but there's just one scene in which it fails miserably. In the Die Hard episode "I Shrink Therefore I Am", which is filled with (mostly) very well-done effects in which people are shrunk and grown and interact with each other, a glimpse we get through a viewscreen of Noranti floating out in space rather clearly indicates the strings holding her up. Given that the scene is Played for Laughs, though, it may or may not be deliberate.
Not to mention the episode "Beware of Dog" where a creature brought on board Moya has two forms: the first a very convincing animatronic puppet, and the second a goofy looking costume that the cast and crew took to calling the "Tandoori Chicken".
Rygel's CGI form is strikingly bad compared to the outstanding puppet normally used. Especially glaring in the miniseries where an incredibly well composed and rendered space battle is followed by a rather hokey-looking scene of Rygel swimming.
The Troop uses this like there's no tomorrow. The monster effects are so cheap, it can be hard to take the show seriously, even on what was supposed to be tense moments. The fact that the show was made in 2009, only adds to the cheesiness. However, this show is supposed have the charm of old 1990's Nick shows, though it's still hard to cope in this year.
For the 50th Anniversary of Coronation Street, the makers planned a huge event based around a catastrophic tram crash on the street. This was generally impressively done, with a huge explosion to damage the track, with large, fiery sets and rubble following the crash. However, the actual moment of the tram crashing onto the street was mired by the incredibly goofy looking CG used for the tram (complete with the driver comically pasted into the front as it comes towards the camera).
A clip from Walker, Texas Ranger featured Walker jumping out of a plane which then blows up. Or rather, features an explosion badly pasted over footage of the airplane. When shown on Late Night, Conan's reply was "I thought the special effects on this show were bad until I saw that plane explode on Walker Texas Ranger. They just took footage of a plane and had someone hold a match in front of it."
Psych generally doesn't have much in the way of special effects. Shawn notices things while wearing a funny face. But in the second season, Shawn and Gus are trying to save a dare devil's life, and one stunt takes place on top of a tower, and the green screen is painfully obvious.
While The Greatest American Hero never did have the Greatest American Special Effects, some episodes were downright painful. In one, Ralph has to stop some Soviet agents from getting picked up by a sub, so he collides with the sub to scare it off. The collision with the "conning tower" is laughably bad (the clearly wooden structure shakes), and it obviously takes place inside on a soundstage.
At the climax of the second-season premiere of the 80's War of the Worlds, the Blackwood Project team and mercenary John Kincaid run to escape their home, which had been rigged with enough explosives to completely destroy it. The resulting explosion as the characters reach safety is an obvious model miniature that looks poorly designed and flimsy, with thin pieces of cardboard flying around as the "building" explodes.
In Season 3, When they use the bamboo car, you can often see the rope pulling the car.
In the episode where Gilligan is invisible, When Mary Ann holds a glass of milk for Gilligan to drink, the milk appears to be disappearing through a straw, but you can see the tube coming out of her sleeve and into the bottom of the glass.
Invoked in Hello Cheeky's parody of disaster movies, The Blazing Bedsitter. An underlying joke throughout the whole sketch is that the actors make up disasters going on outside the room, because they don't have any other set.
John:(looking out the window) And oh my god, here comes a tidal wave! (is splashed with water — deadpan) We are all going to drown.
The 1980s revival of Mission: Impossible would have been justified in disavowing some of its special effects. Example: the fight on Sydney Harbour Bridge in "The Golden Serpent, Part 1" combines actual footwork shot on location with studio-bound green-screen work which was unconvincing even in 1989. Now... well...
Super Robot Red Baron has its fair share of problems, but is otherwise a quite well-made show. One notable failure, however, occurs in the episode in which a masked man escapes from the Iron Alliance's base. It's established early on that his mask won't come off until a timer releases it (i.e. at the end of the episode), but during a fight scene in the water, the mask falls off too early, and the actor scrambles to put it back on!
An absurdly high number of fairytale creatures in Once Upon a Time are made with lousy CG (big offenders being the Wraith, the Ogre, and Jiminy Cricket.) While the rest of the series has very ambitious production values and lavish visuals (think Alice in Wonderland but with more realistic buildings, environments, etc.), the bad creature effects (especially compared to this show's competitor,Grimm, which is far more reliant on creature effects) stand out a hell of a lot more.
Top Gear: Has happened a few times, but most often intentionallyfor laughs. They once made an intro to a fake 60's spy show called The Interceptors, which at one point cut from footage of a real boat with a real person in it to them blowing up a toy boat with a doll in it. Another time Jeremy decided to cover a camera in Vaseline so he would get "style" points for a challenge. You couldn't see a thing out of the camera.
The shoestring-budget Canadian teen drama Hillside (titled Fifteen in Nickelodeon runs during the early 90's) was rife with examples, such as a pinball machine with no sound effects and the girl's locker room being clearly the exact same room as the boy's locker room, except with pink paper scattered all over the wall.
Friends had several episodes where the cameraman zoomed a bit too far out or angled the camera a bit too steep, causing the studio lights to be briefly seen in the shots.
Also, in "The One Where They're Up All Night," the New York City landscape while they're on the roof of C/M/J/R's apartment complex is clearly a painted backdrop.
ABC's Red Widow: in the third episode, there are several shots of a big tanker with the consignment Marta is expected to receive, zooming in on the big shipping containers and going inside to reveal the contents of the crates within - all rendered in truly horrific CG. Sure, it was necessary for plot purposes, and the show doesn't have the highest of budgets, but still, there is no excuse for the badness of the computer effects here.
Hawaii Five-0: The third season premiere includes a scene where the armored van containing the imprisoned Wo Fat is airlifted off the island to a waiting ship offshore. Yes, you read that right, it was airlifted. And the CG could not have been any more obvious.
In an episode of the original Hawaii Five-O, a body falls out of a helicopter. A body that's managing to keep its legs straight and its arms in an "I wanna hug you" position.
The Discovery Channel series Nature's Deadliest features short "skits" highlighting each creature featured in the episode. These skits also depict humans being attacked by these creatures, coupled with well-done and stylized but repetitive CG animations showing the effects of the creature on its victim. Most of the time the creature is not shown in the same shot as the human victim, meaning that this trope is usually averted. But sometimes, the featured animal must be shown in the same shot as the victim. When this occurs, Special Effects Failure often occurs in tandem.
A particularly egregious example from the show is the "Africanized Honeybee" skit from the "Brazil" episode, featuring a young boy batting low-hanging branches with a long stick whilst walking to an unknown destination. When the child inaverdently disturbs the bees, the bees attack...well they're supposed to attack. The child flails around, but with no bees in sight. Almost all shots of bees are simply bees swarming around the camera, utilizing cross-cutting to create the sense that the boy is being attacked. Only two close-up shots show bees together with the boy, and one of them shows what appears to be a cloud of CG particles swirling around the boy's head. Supposedly, these particles are supposed to be bees, but they end up looking like something out of Birdemic. Fortunately, the other close-up of the bees with the boy is the most convincing shot of the episode, utilizing real bees with either the actual child actor or a very well-made mannequin.
As the Wonder Woman 2011 Pilot ended up unsold, the wire effects and tacky pants were not smoothed over uniformly. It's jarring to see that one infamous shot, when others do feature darkened pants.
In Bates Motel, a small dog Norman befriended crosses the road, (to get to Norman, who happened to *be* on the other side, okay?) only for it to get run over by a passing truck, with not so much a Gory Discretion Shot, but a Gory Discretion camera focus shift. This does not hide the fact of the dog's stunt dummy, or the fact that it does not so much fall over or flatten, as roll over stiff-legged.
The episode "First Anniversary" of the Outer Limits series, which aired in 1996, whilst liked for its storyline, was criticised for the alien women's cheap suits - people saying they looked like an oversized leotard with offcuts attached on.
Game of Thrones, anyone? Specifically, the execution of Viserys Targaryen. Call this molten gold? Molten gold glows, because it can get over 1200 kelvin hot. What it ends up resembling is cheap golden paint.
One episode of the show Dark Matters: Twisted But True has a character get kicked out of a building and stumble onto a porch. The porch, the outdoors area and the building are all CGI effects, which isn't a bad thing. The failure comes from the fact that the footsteps of the character getting thrown out echo as if they are in an inclosed, indoor space.
A Season 7 episode of Supernatural had an infodump on the Big Bad, which showed several pictures of him horribly photoshopped alongside real-life notable figures.
Every special effect in either El Chavo del ocho or El Chapulín Colorado is a big, big failure. Whenever there are two characters played by the same actor or characters who float (whatever the reason is) it will have blatant Chroma Key effects, Wingding Eyes will slip off the characters eyes as they move, etc.
A very strange example occurs in the Stargate SG-1 episode "Pretense". The minimalist Tollan stargate appears to only exist as a painting, the forced perspective fails as the tracking shot follows SG 1 away from the gate. A long shot later shows a completely different physical prop.