That included Jim Belohobek, Yancy Calzada, Steve Wang, Phil Notaro, Teresa Burkett & Mark Wilson. Most of the mattes & miniature models were made and filmed by Gary Jones of 'Acme Effects' and Tom Hitchcock & Bob Dyke of 'Illumination Effects', with Bob Kayganich. A host of other people were involved in the production along the way such as special props Tony Elwood, animator Rick Catizone, sculptor Michael Burnett, foam fabricator Mark Bryan Wilson, and a list of technicians & assistants; Dale Johnson, Margaret Prentice, Dave Thiry, Tom Barkstedt, Douglas Evan Hersh, David Moenkhaus, Daniel Noga, Brian Joseph Ochab, Larry Odien, Mike Tristano & Brian Rae. Its worth noting that a number of people involved, including some listed above, were not listed in the end credits.

Tom's responsibility included all the sculpting & animation for the introduction sequence, along with other select sections including the medieval winged deadite, although this was all done during post-production. Tom travelled down to North Carolina, but had to return to Detroit after two weeks due to family problems, although he continued to work on the picture. His initial task was to make a new Book Of The Dead, as Sam wanted it to be bigger than the original. Tom created four new books; one hero copy with all the pages hand painted with watercolours, and three stunt versions. He also made five sets of identical lost pages. For one of these lost pages, Tom asked for a photo of Bruce posed in costume on the set to work from. Bruce turned up on the day just in rehearsal clothes; a blue shirt & white pants, and no one mentioned this to Tom, so the hero who falls from the sky was drawn wearing white pants. Sam had taken possession of the original Kandarian dagger, along with the book, after production finished on The Evil Dead, and brought it with him to Wadesboro. Tom redesigned the blade from a simple pointed piece of metal to a tail-like tapered set of bones, which was sculpted by Mike Trcic & Brian Rae, Tony Ellwood made a mould and cast copies of the original hilt, making both hero & stunt copies.

Sam & Mark had a meeting and discussed each character in detail. Sam was happy for them to take some artistic liberty in designing a different concept for each possession, designs which could also change through the course of the movie. Sam's idea behind the evil force is that it could do anything it wanted to. Greg coordinated the group, with Mike Trcic, Shannon Shea, Howard Berger and Mark each having complete charge of a character, so that the look would remain constant throughout the film. They went through a design & prototype stage for each make-up. Ash's prototype appliances included large nose & chin extensions with thick eyebrows, which was named the 'Sid Caesar' make-up. Evil Ed was managed by Shannon, with several rows of teeth, a distorted face and long fingers, whereas possessed Linda was given a perfect doll-like face designed by Robert. A Scotty dummy was also prepared for the film's introduction & recap scenes, before this idea was dropped from the script.

The first day of production got under way on the May 10 1986, with the omitted scene of possessed Henrietta rocking in her chair from the darkness in to the light and opening her white eyes. As shooting continued, Sam regularly came up with new ideas to keep the various effects teams busy, but they always managed to fill his requests no matter how bizarre. Greg used a video camera to document every stage of his involvement with the production, and accumulated around six hours of raw footage by the end. Whenever Greg had pointed his camera at Bruce or Sam they would immediately break into gags and Three Stooges shticks. Sam took great pleasure in explaining how the miracle of special effects was about to bring a particular terrifying scene to life, although he usually lied. Among many other things, Greg filmed a spoof of the necklace giving scene from The Evil Dead acted out by Bruce and Howard Berger, and a strange short film called Evil Dead Baby, involving a toy baby doll coming to life and killing members of the make-up team. At some point more recently, Greg apparently stated that he's since lost his tapes, although this is unclear as though some of the footage has turned up in various Laserdisc & DVD documentaries released over the years.

In order to have a real hand moving across the floor, a narrow trench was made between the cabin's floorboards with one side two inches higher than the other, so when filmed across at a certain angle it would look like once continuous piece of flooring. Underneath Greg or John would scuttle their hand from one end of the trench, to the other.

Bruce flung himself into the role, insisting on using the same fake blood recipe as was used in the first film, which unfortunately meant sleeping with a fly swatter within easy reach. Bruce's appliance make-up was managed by Howard Berger, with two distinctly different make-up designs over the course of the film shoot, applied a total of around twenty times all together, with Bruce maintaining his own scar make-up using a gel-like blood. Bruce wore scleral contact lenses during his possession scenes, which left him completely blind. Fortunately, contact lens technology had improved since 1979, but the process of insertion & removal was still painful, so Bruce often just left them in between takes, although they could not be left in indefinitely. Ash's 'hand-chainsaw' was constructed by Vern Hyde's crew from a real Homelite XL chainsaw, which had its engine replaced with a smaller 12 volt electric motor, so Bruce could fit his hand inside and it would be silent for filming when the chain was still. Fake exhaust smoke was fed into the saw via a tube that ran down Bruce's pants leg and out twenty or so feet to a tobacco smoker, and the chain's teeth were filed down for safety. There was also an unaltered fully working real saw, and foam rubber & lightweight stunt reproductions, each to serve for different purposes, although the continuity between them doesn't quite follow, as they all have varying body styles and guide bar lengths.

The head prosthetics were applied in fourteen sections, and the polyurethane foam body suit was another thirty. Complete fitting & dressing took around five hours, and the make-up included dentures and contact lenses, with virtually ever single piece of Ted's skin covered except his fingertips. He was put in the make-up a total of eleven times, although is only actually seen on screen for a few minutes.

The temperature on set proved a big challenge for Ted. Outside it was over 100 degrees, which meant inside the gym with poor ventilation and Tungsten lights the temperature hovered around 110 degrees. In order to stop him overheating, Ted's scenes were shot at night where possible, and in between takes he sat down on an apple crate wearing an oxygen mask, while drinking large amounts of Gatorade to keep his energy up. Each evening when the suit was removed, the make-up crew poured out the sweat which had accumulated through the day in Ted's rubber 'boots', with one such moment captured on Greg's video camera. Because Ted had been dusted with talcum power during make-up to make the suit easier to slip on, the resultant sweat mix resembled spoilt cheese. There is a shot in the finished film where Ted turns to camera and a stream of sweat pours out of a slit in the appliance over his ear.

Ted's most difficult period during the shoot was being put in to a harness so he could be hoisted up on wires to fly around and spin in the air. Such harnesses usually either dig into the wearer's groin, pinch their hips, or restrict their breathing, Ted’s harness probably did all three. In the movie while Ted is spinning round in the harness grabbing Annie's hair, a large tear in crotch of the suit is clearly visible.

Once principal photography was completed in September 1986, many of the make-up effects crew including Howard Berger & Greg Nicotero left the production to work on Creepshow 2, but came back in December 1986 to work on some re-shoots in a warehouse studio in Dearborn, Michigan just outside of Detroit.

Most of the film's animation was filmed during the three and a half months of post production, and was split up between various people. Tom Sullivan worked with Larry Larson & Brian Rae on their animation in the re-shoot warehouse. There, they had a space to work, and a specific filming area set up with a bluescreen to allow for compositing. The majority of the opening exposition sequence was produced by Tom & his crew. The first Book Of The Dead shown on screen was hollow with a wooden frame. Inside it had articulated ball & socket joints which supported sections of the outer 'face', allowing the brow and Jaw to be animated separately. The front was covered over with the book's 'face' cover made in a highly flexible Smooth-On skin, which had a grid of aluminium wire attached to the back to facilitate in its warping & manipulation. The camera moves through the book's mouth in to the vortex. This was 4 foot diameter spinning painting, although originally Tom had planned to shoot two separate paintings and superimpose them, but this never happened.

Doug Beswick of 'Doug Beswick Productions Inc.' was responsible for animating Linda's dancing corpse, although the design meetings were held by phone, only seeing the partners in person once the film had been completed. After Sam & Rob talked him through their ideas, with a rough outline of the scene, and some rough stick figure storyboards, Doug worked with a choreographer called Tam G. Warner, and dancer Snowy Winters to put the dance moves together. Jim Aupperle was then brought in as director of photography, and the final dance was filmed in 35mm film with a master, a medium, close-up, and extreme close-up shots, against a grid patterned backdrop. Doug only had one camera to work with, so the dance had to be filmed repeatedly to get all the angles needed. The raw footage was then sent to Detroit where Sam & Rob worked with editor Kaye Davis to edit it together with footage of Bruce already shot back in North Carolina to give the final sequence as they wanted it shown on screen, leaving Doug an exact template from which to work.

Using Mark Shostrom's full size Linda torso as a guide, Doug and his crew; Yancy Calzada & Steve Wang, sculpted & cast a 12" scale figurine with an armature inside to allow for animation, and a detachable head. The disparity in decomposition between the head & body was deliberate, as it was reasoned that the head would have just lain on the ground where it fell, but the body had been buried in the coal causing it to decompose. Jim Belohobek built a scale miniature set to match the exterior location on an eight foot square tabletop, with trees and a smaller forced perspective cabin in the background. This same scale set was also used for the initial shot where Linda's hand pops out of the ground, although the hand used was actually life-size, with the forced perspective background and some bigger lumps of coal added to the foreground to keep the scale.

Once the sequence was completed, Doug produced a 'click track' to give the composer a tempo with which compose the music.

Henrietta's transformation in to Pee-wee Head, named after 'Large Marge's' transformation in Pee-wee's Big Adventure, was part live-action and part stop-motion. Fixed key points of the transformation were sculpted, cast & applied with the rest of Ted's make-up on set, and Mike Trcic filled in the actual transformation between the live-action shots. The Henrietta suit was rigged with a long neck and a cable controlled head, which allowed facial movement, and a 'glove puppet' head & neck was also produced for specific close-ups. Mike Trcic sculpted a full size head & shoulder bust, along with two interchangeable heads in different stages of transformation, but had to leave the production early to start work on Creepshow 2 so Rick Catizone took over and animated the sequence.