[Post Production.]
Zach Steinberg, who edited The Matrix and has not been given his due in the recap until now (YAY, ZACH!), opens this part saying there's always a 'core' they (the W. brothers) are working around, a key shot that everything leads up to or comes down from. We see the brothers planning that final scene with Neo in the phone booth. HEY! That panel that says "=CITY=" was up on eBay recently, for WAY too much money. Anyway, there's ONE shot, and the brothers look until they find it. Then Bill Pope shoots it. Then they go to the next one. It's all very efficient and economical and this pleases Joel Silver. I can hear the glee in his voice.

[The Visual Effects Houses]
Manex. Animal Logic (isn't that the name of Stu Copeland's band?) and D-Film. Manex did the creature work, and of course, bullet time. Animal Logic=code hallway, exploding Smith. D-film=difficult compositing like the mirror scene, helicopter crash and Keanu's Wile E. Coyote impersonation in the jump sequence.
Speaking of the helicopter scene (which Joel is by the way), "The Studio" wanted them to take OUT that sequence. Joel says "We were passionate about it staying in" …Joel really likes hangin' with the cool kids. I can tell.

So the helicopter "money shot" (hee!) stays in and we see how much went into it, from previsualization to the glass and explosives testing. 3 months of "Heavy-Duty Research" or as I like to call it, "goin' out to the desert and blowin' shit up".
We see home movies of the one-quarter scale helicopter hitting the specially rigged concentric circle explosion thingy building. It's very impressive as the crew oohs and ahhs over seeing the footage. Then we see the bullet-time test footage. This was shot WAY back in 1996. The rooftop bullet-time was one of the last shots done for the movie.
Next, John Gaeta, or J-Gae as I am going to call him for no good reason besides the fact it amuses me, explains the virtual backgrounds to us along with the help of Janek Sirrs, who looks just like Jimmy Fallon, but is most likely way more talented.
There's math involved. There goes my visual effects aspirations.
Hey J-Gae, didn't we see the camera rig before? "But there are 120 cameras in this one!" Clips of the subway gunfight and Trinity's cop kick follow.

Next, J-Gae and his unfortunate hair show us Concept Design,
Which makes me think I could have a future in effects work, after all. Picking colors and textures of pods? I'm there. J-Gae bosses around some guy at the computer and shows us the skeleton of the "harvesting" scene. He assures us that it's all fake, no real babies, etc. I only wish he could say the same about that haircut.