Editing RoboCop 2 (section)

=== Effects ===
Phil Tippett returned from the first ''RoboCop'' to do the visual effects for the sequel, this time leading all the effects units.{{Sfn|Johnson|1990b|p=48}} ''RoboCop 2'' was Tippett and Kershner's second collaboration, after Tippett worked at [[Industrial Light & Magic]] for ''The Empire Strikes Back''.{{Sfn|Johnson|1990b|p=48}}

Most of the RoboCop 2 design was created while Hunter was signed as director.{{sfn|Persons|1990|p=22}}

RoboCop suit designer [[Rob Bottin]], although not overseeing the process like in the first film, returned to produce a new suit for the second film. The first suit was dark chrome using [[metal flake]] and various green, purple and gold colors to create a look made [[iridescent]] and steel-like by [[Jost Vacano]]'s [[Fluorescent lamp|fluorescent]] lighting; however, since [[Mark Irwin]] replaced Vacano for cinematographer and used conventional lighting, the second film suit (although using a black base like the other suit) looked light-bluer, so [[iridescent]] colors were more directly applied with powder.{{Sfn|Warren|1990|pp=12–13}} Thanks to a bigger budget, the effects team had more time to paint and polish the suit, which led to Bottin's desired "show car" look he couldn't achieve in the first.{{Sfn|Warren|1990|p=13}} With a lot of planning and fastener hunting, Bottin also built all parts of the suit to come on and off quickly so that it couldn't decay from the actor having it on too long, which was the case of the first film.{{Sfn|Warren|1990|pp=14–15}}

To create Cain's computer-animated face, Tom Noonan's face was laser-scanned to construct a digital model. The software Perform was used to animate this digital face in real-time, except from when Cain's face first emerges through a 'wall' of computer text, where keyframe animation and early computer compositing techniques were employed. For the death scene, deliberate errors were introduced into the raw data of Cain's digital face, creating the appearance of deformation and disintegration during animation. Once the preferred takes were selected, they were rendered on a high-resolution monitor, with each frame taking approximately one second to render. An automatic 35mm movie camera, positioned close to the monitor, captured each frame. The resulting 35mm film was transferred to [[laserdisc]], allowing Phil Tippett's team to freeze individual frames and advance frame-by-frame. The laserdisc signal for each frame was displayed on a CRT-screen attached to the stop-motion model of Cain's robotic body, synchronizing the facial movements with the body's motion. A movie camera then recorded these synchronized frames.<ref>[https://beforesandafters.com/2020/03/30/robocop-2-the-crazy-story-of-how-cain-got-his-cg-puppeteered-head/ ‘RoboCop 2’: The crazy story of how Cain got his CG puppeteered head]</ref> 

Robocop 2 featured similar police cars as the first Robocop film using customized Ford Tauruses. However they did not reuse cars from the first film, but instead used a new batch of cars that were custom painted for the film in the Houston area at a body shop called Texas Custom Techniques, owned by Harold Day. (uncredited) {{Sfn|Counts|1990|p=46}}