Matte Shot – a tribute to Golden Period particular fx: MATTE & EFFECTS FILMS CELEBRATED: Half Seven

Welcome followers and devotees of old-fashioned mattes, fashions and intelligent trick images. It is time as soon as once more for an additional large of a weblog put up, and I do emphasize, large! I by no means do this stuff by half-measures and at all times attempt to cowl all doable bases when inspecting and illustrating these superb hand rendered moments of film magic.

I’ve an enormous assortment of photographs right here, from a really broad cross part of flicks. As traditional there are some very uncommon mattes that no one has ever seen which ought to completely delight the aficionados amongst you (you realize who you’re!). There are just a few well-known movies – at the least to these of us of a sure age – and a few lengthy forgotten celluloid entertainments, the titles of that are largely misplaced to the mists of time, which is not to say they should not be celebrated. There’s some nice work to be seen right here even from fairly minor and obscure footage people that I guess 99% of you will have by no means heard of. Additionally, for individuals who thrive on shut up particulars, I’ve received some sensational hi-rez element pictures from some very uncommon previous time mattes that I simply know sure matte pals on the market will love.

So, we have got a by no means earlier than seen Albert Whitlock matte that is merely wonderful; a number of very uncommon items from the household of Matthew Yuricich; a quanity of miniature and detailed matte fx shot breakdowns from an Emmy Award profitable television miniseries; a number of superb earlier than and after scenes from the celebrated Larry Butler & Donald Glouner; a truckload of mattes from an enormous Warners costume epic; a uncared for RKO desert island traditional …. and extra!!!

So, with that rambling intro out of the best way, allow us to set forth on a journey of sheer marvel and amazement.

Take pleasure in, and I at all times admire any suggestions and feedback…

Pete

***This huge and completely exhaustive put up, and all 185 earlier weblog posts referred to as ‘Matte Shot’, had been initially created by Peter Cook dinner for nzpetesmatteshot, with all content material, structure and textual content initially printed at http://nzpetesmatteshot.blogspot.com/

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ALBERT WHITLOCK’S MAGNIFICENT MATTE THAT NEVER MADE THE FINAL CUT:

This awe inspiring full matte portray on glass was rendered in 1977 by Albert for the very misguided John Boorman sequel, EXORCIST 2 – THE HERETIC, although it is unlikely anybody ever noticed the shot. Though accomplished and shot, I do not assume it is within the movie. This stunning masterpiece was hanging within the lobby of matte cinematographer, the late Invoice Taylor’s house, taking delight of place, as effectively it ought to.

Invoice mentioned that the matte was in a preliminary minimize of EXORCIST 2 as finest he recalled it, although I’ve seen at the least 3 totally different variations of the flick – which might be 3 too many – and by no means managed to identify the shot. The movie had a confused launch again within the day, and was actually laughed off the display. Warner fits demanded an pressing re-cut and re-jig to make it even barely business (did not assist), so perhaps this shot was jettisoned. In a former life I labored for the native distribution arm of Warner Bros and recall the ‘carry-on’, with prints being substituted with revised reels shipped in on the final minute, although I digress…

Anyway, the portray (element above) is 100% traditional Whitlock in all his method, feeling of backlight, sillhoettes slinking awaay into the haze…. simply good. Al’s time honoured brushmanship was nearly as good because it will get. Breathtaking.

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TOM HIGGINSON’S LATEST ESSENTIAL YOUTUBE MATTE DOCO:

Within the ever increasing catalogue of fantastic on-line specialty video featurettes, my pal Tom Higginson has produced yet one more important documentary on the Common and subsequent Phantasm Arts matte departments, with this entry being as complete a information as one might ever want on the step-by-step creation of a standard matte shot. This video could also be seen right here.

The essence of this documentary is the previous 80’s AIRWOLF television collection – a present that Tom appears to have an inexplicable affinity for – with detailed progress of some advantageous Syd Dutton brush abilities and Invoice Taylor composite images. I’ve seen the pilot however I do not recall whether or not the precise collection was ever proven right here in New Zealand??

The doco is loaded with clips, not simply from AIRWOLF, however varied earlier than and afters from different Common exhibits like TALES OF THE GOLD MONKEY and varied others, as an example Syd’s superb abilities. There are many behind the scenes snapshots of the assorted members of the matte crew at work, which in themselves are priceless, and a blinding sluggish flyover throughout the complete Common Studios lot, which I discovered simply good.

The place the doco will actually go away the viewer’s jaw on the ground, are the meticulous and little question extremely time consuming 3D recreations that Tom has rendered, to take the viewer round the Uni matte division and into the myriad of digicam cubicles, portray rooms, showreel storage and just about every thing besides the bathroom!! This and all the opposite video doco’s that Tom has produced could also be discovered right here.

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THE FILMUMENTARIES PODCASTS.

In one other multi-media realm, I have to heartily advocate the great collection of film podcasts put collectively by Jamie Benning in the UK. Jamie has carried out 108+ interviews – usually at fairly some size – with many notable movie business folks, and particularly matte and results individuals reminiscent of Michael Pangrazio, Craig Barron, Dennis Muren and (quickly) Chris Evans, amongst many others. His most up-to-date podcast was an illuminating dialog with former ILM matte artist, Caroleen ‘Jett’ Inexperienced. Jamie’s Filmumentaries web site may be discovered right here.

Jett’s trustworthy and really open interview may be heard proper right here.

The bubbling Caroleen ‘Jett’ Inexperienced, seen right here at work on a portray for GHOSTBUSTERS 2.

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A LONG LOST MATTE ARTIFACT SUDDENLY RESURFACES.

In my current epic April weblog put up I coated – amongst different issues – a grand previous MGM musical extravaganza starring Esther Williams, MILLION DOLLAR MERMAID (1952). We will briefly revisit the massive cash shot right here, and not due to any type of dementia on my half, I guarantee you. True!

As these are inclined to occur now and again, an extended misplaced matte portray all of the sudden arrives in my in-box, with the sender asking if I can establish similar. Effectively, of bloody course I am i able to.d this stunning piece… it is from MILLION DOLLAR MERMAID which I had solely simply printed up a month or so in the past!!

The matte is within the assortment of one other of Matthew Yuricich’s household – his daughter I consider – and had been tucked away for a while. The portray (oh brother, would I like to personal this one), was not the work of Matthew as he was nonetheless at twentieth Century Fox at the moment and hadn’t made the massive transfer over to MGM but.

A masterpiece of matte artwork, with splendid perspective traces. I’m most grateful to the Yuricich household for the plenty of fabric they’ve shared. It is very often {that a} reader or somebody guarantees to ship a selected ‘superb’ matte that they personal, but the image by no means exhibits up! For this reason I’m eternally grateful to people just like the households Of Matthew, Jan Domela, Irmin Roberts, Wally Veevers and many others, and guys like Harrison Ellenshaw (a real gentleman!), Ken Marschall (unimaginable generosity), Gene Warren jnr, Mark Sullivan, Gerald Larn and Jim Danforth.

Observe the absent flags which had been later bipacked in as stay motion ‘fluttering’ parts.

That is possible the work of Matt’s pal, Howard Fisher, as Matt has a number of of Howard’s work within the household assortment. Matthew was lucky in grabbing fairly numerous great MGM matte work when the studio had been demolishing the previous Newcombe division within the 1970’s, with a lot both being junked or lifted by non-studio individuals who simply occurred upon them.

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MYSTERY BEFORE & AFTERS FROM THE BUTLER/GLOUNER DEPARTMENT.

I have been most lucky to amass a large and thrilling assortment of, usually superb, earlier than and after mattes in addition to quite a few miniature exams and out takes from Columbia Footage, largely relationship from the 1940’s, and for essentially the most half, from the legendary results man Lawrence W. Butler and his very long time matte cinematographer Donald Glouner. Matte artists working there on the time included Juan Larrinaga and Hans Bartholowsky. What follows are just a few selection examples, with different important examples illustrated additional down the present weblog. I’ll add extra nice Butler/Glouner photographs in subsequent blogs, so keep tuned.

Sadly, lots of the reels I’ve received aren’t titled, although some I’ve managed to match up. This stay motion plate, masked for not one however two totally different matte work, stays a thriller to me.

Matte comp #1, the place nearly all the body has been painted in fairly invisibly.

Matte comp #2 from the identical movie. Clearly a Civil Struggle image, made within the 40’s, however the title is a thriller. Any data forthcoming from readers can be appreciated.

One other nice matte portray from Columbia – additionally from an unknown image.

I at all times prefer to see the slate, or clapper in previous fx photographs, as we are able to see the matte line in addition to usually helpful info on the slate as to director, 12 months and many others. This period stays my favorite for mattes.

Completed composite, although as with that different Civil Struggle movie, this similar ‘plate’ with seaside and ocean might be used once more for a revised model of the home, buildings and bushes, presumably exhibiting the locale at a special time in the identical movie.

The revised portray with many modifications to buildings and foliage.

Ultimate of the revised, or secondary matte shot. Movie unknown.

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NZ PETE’S HALL OF FAME MATTE SHOT – Half Two

In Half One, I illustrated one of many biggest mattes of all of them, Cranium Island from the unique KING KONG. Right here is one other entry in my persevering with collection of all time ‘Corridor of Fame’ mattes…

After his preliminary tenure at Fox, Matthew Yuricich – together with fellow matte artist Lee LeBlanc and fx cinematographer Clarence Slifer – moved throughout to MGM.

One of many largest initiatives Yuricich would ever work on was the mammoth William Wyler epic BEN HUR (1959). Lee LeBlanc had changed Warren Newcombe as head of the matte division and acquired display credit score, although Lee and Matthew break up the matte load evenly between them, with this jaw dropping establishing shot being amongst Matthew’s easiest work.

As was the MGM method, very massive B&W photograph enlargements of the partial set had been made and shellacked onto hardboard, from whence the matte artist would paint both set extensions or on this case the complete metropolis of Rome.

On the time, the CinemaScope optics had an unavoidable deforming artifact on the left and proper edges of the body – seen clearly when one watches previous Scope movies the place a pan shot distorts curiously on the perimeters of the motion. Consequently, mattes for CinemaScope needed to be painted specifically to accomodate that undesired optical distortion, by introducing a deliberate ‘squeeze’ painted into the left and proper sides of the matte (or typically even paint the complete matte ‘squeezed’ to start with as latter day artist Ken Marschall would do) whereby anamorphic projection would ‘unsqueeze’ in close to to correct proportions.

A detailed up taken underneath raking mild exhibits a myriad of tiny holes drilled into the Masonite to permit for simulated ‘viewers’ motion.

The reverse aspect demonstrating the fastidiously organized holes drilled, and typically coated with colored gels, the place backlight ‘gags’ can be launched by Clarence Slifer when photographing the shot. It is refined, however as the nice Al Whitlock as soon as mentioned: “It’s possible you’ll not discover it… however you do discover when it is not there”.

Fortunately, the great matte remains to be in advantageous situation, and within the care of one among Matt Yuricich’s sons.

Unusually, BEN HUR gained the Academy Award for Greatest Particular Results… however, and it is a massive however.. that was solely awarded within the ‘mechanical results, course of photographs and miniatures’ class, (for the massive sea battle sequence) and not for matte work!! FX Oscars had been damaged down into 5 sub-categories for a few years. However do not get me began on fucken’ Oscar injustices……………….. Jesus!!!!

The ultimate shot because it seems on display.

The matte portray room at MGM in 1959. Observe the opposite BEN HUR work resting in opposition to the wall.

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ANOTHER LOST YURICICH MATTE – THE STUFF FAIRY TALES ARE MADE OF.

Time for yet one more mind-blowing matte from yester 12 months – and one other that had remained a complete thriller to Matthew Yuricich’s household… My first look instantly put a reputation to the artwork, THE GLASS SLIPPER (1955). I nearly wanted a defibrilator to restart my coronary heart once I opened the very excessive rez images they despatched me! Significantly people!!!!!

The movie had a number of mattes, although largely so-so photograph blow ups with painted additions, although the primary cash shot was this terrific Cinderella fort.

A masterfully rendered Yuricich matte from THE GLASS SLIPPER that’s completely pricey to my NZ Pete matte artwork tastes.

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Beneath is an excellent letter from Dirk Yuricich, that I really feel matte shot followers will actually admire:

Good day Peter.

So good to listen to from you.

I’m so glad you bought the photographs in addition to the truth that they appear to have exceeded your expectations!

Thanks in your form phrases of appreciation, and thanks for championing my father’s artwork.

Your promotion of this particular artwork type and the people who created it, is such a present to all of us.

I grew up round all these pictures, which I assumed to be a fairly pure factor for a kid.

Each evening, I might go to sleep, taking a look at one among dad’s work from “Forbidden Planet”, exhibiting the “Krell” graveyard and the surrreal topography of that distant planet.

This was by no means scary to me as a boy, fairly it was a window into one other world to discover. A window my father opened for me.

We discovered to identify (decipher) matte photographs in all of the movies (not simply dad’s) on the tender age of 8.

We had been taught to grasp the logical positioning or want for a matte in a selected scene, in addition to, understood its limitations.

We knew that cathedral higher interiors could not be lit correctly with the film firm lights, for a scene, so a matte was normally required to fill the pillars, and vaulting ceilings.

Dad usually did not have the time to go see different movies, and take a look at his colleague’s work.

He would ship us to see the film after which ask us to report how the mattes appeared.

Whilst teenage boys, we knew the acquainted names of Whitlock, Ellenshaw, and many others…

Such part of my life.

Sincerely,

Dirk

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A GRAND CINEMASCOPE EPIC FROM WARNER BROS.

Nice poster ad-art of the sort by no means seen any longer. I nonetheless have 1000’s of previous traditional one-sheets and foyer playing cards, although a bit had been misplaced within the flood final 12 months. Fucking rain!

Evocative advert marketing campaign, plus the magnificent French actress Brigitte Bardot, who although not the star, damned effectively ought to have been ‘trigger I’ve at all times had a factor for Miss Bardot… although I digress.

Warner’s massive Scope epic – one among many they made on the time when it was all the craze. HELEN OF TROY (1955) was okay however not the perfect of the style. It might need been if Miss Bardot had been given extra display time, and even the title position. Oh, Brigette…. we love ‘ya child!

Matte supervisor was Louis Litchtenfield, with the extremely gifted Robert Clever helming the present. Bob Clever began off reducing classics reminiscent of CITIZEN KANE at RKO and went on to direct a few my faves reminiscent of THE SAND PEBBLES and particularly the nonetheless wonderful THE ANDROMEDA STRAIN.

Prime left pic exhibits matte artist & photographic results supervisor Lou Litchtenfield (left) discussing an results shot with the pinnacle of manufacturing at Warners. Different pix present varied units and unmatted scenes.

Earlier than and after of one of many many units constructed at Cinecetta in Rome.

Helen, as performed by Rosanna Podesta, along with her love curiosity Jacques Sernas. The pleasant Brigette Bardot is proven at decrease left, and on reflection might be simply too damned cute to play a immodest bitch like Helen of Troy… or is it simply me?

The movie is filled with matte and results photographs, with some variable outcomes, most likely as a consequence of many various arms concerned with the brushwork.

Lou Litchtenfield had an intensive background, beginning off within the late 1930’s on GONE WITH THE WIND (1939) at Selznick Worldwide as a lowly assistant to Jack Cosgrove and would go on to flip-flop between as many studios on movies reminiscent of THE FOUNTAINHEAD (1949) and AN AMERICAN IN PARIS as he might to choose up new methods from different artists reminiscent of Mario Larrinaga, Howard Fisher, Chesley Bonestell, Lee LeBlanc and Paul Detlefsen.

It is doable that some matte or glass photographs might have been carried out immediately at Cinecitta throughout or after manufacturing, however I am undecided. There’s a risk that Polish born matte painter Joseph Natanson might have labored on the movie? He had skilled in Britain underneath the legendary Poppa Day and moved to Italy within the mid fifties to work at Cinecitta. There are definitely many various kinds evident within the painted mattes.

Stay foreground and painted in distant surroundings and sky.

On the time this was made, previous timer Paul Detlefsen – who had been with Warners for the reason that early 1930’s – had retired to comply with his ardour of mannequin trains and calendar artwork. Lou had been with the studio for just a few years now and labored on a lot of their movies.

Different artists energetic within the Warners matte division included Vern Taylor and Jack Shaw – each of whom had completed important work alongside Lou on the Academy Award profitable MIGHTY JOE YOUNG. There have been additionally Clyde Scott and Cliff Silsby.

I do ponder whether some photographs might have been foreground glasses versus put up manufacturing mattes?

The movie has but to see any type of HD or BluRay launch.

Travelling matte comp of the large invading armada, presumably all, or largely, fashions, presumably supplemented by matte artwork.

The invaders storm ashore. Cut up display with stay decrease body and painted higher half.

A more in-depth view, with components of the military passing underneath the matte line, however who ever notices aside from me?

The standard of the trick photographs varies vastly, presumably as a consequence of dupe course of used for matte composites which in circumstances like this, deliver out awful distinction and hues all out of whack.

In all probability prolonged with paintings?

Fairly an efficient scene with 1000’s of warrior hordes, nearly all of whom had been matte painted and augmented with small slot gags and such.

It was most likely the largest results present for Robert Clever till he made THE HINDENBURG in 1975.

The movie had a number of censor excisions made right here in New Zealand again within the day, with this arrow via the neck and some different photographs being eliminated. The orgy too proved problematic … however do not they at all times?? 😉

Peculiar color scheme right here the place the town has taken on an entire totally different hue for some unknown fx cause. The fireplace results had been effectively completed, and fully simulated as vfx parts within the mate dept, with smoke added individually.

Barely modified matte artwork utilized in two totally different scenes.

In all probability the perfect matte within the present, with great mild and a terrific sky past. Good.

The legendary horse of the title lastly makes an appearence… and the fools fell for it, hook, line and sinker!!

The orgy on the climax…. or ought to that learn as the climax on the orgy? I dunno?? Anyway, a lot shameless decadence happens, and in line with our then NZ chief censor of movies, just a little too a lot, with the ecstatic gal carried forth on a platter scene apparently deemed just a little an excessive amount of for Kiwi audiences in 1955, so out it got here.

I could not have talked about it, however the completely divine Miss Brigitte Bardot was in HELEN OF TROY … elle est magnifique!

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INVISIBLE MATTE TRICKERY FROM A MINOR COLUMBIA ‘B’ PICTURE.

A minor little ‘B’ film from Columbia, THE WALLS CAME TUMBLING DOWN (1946) featured a really attention-grabbing matte shot from Larry Butler and Donald Glouner which is effectively price inclusion right here.

Extra great footage I’ve acquired from the Butler-Glouner assortment, with this being particularly fascinating as it is a rejected take as a consequence of extreme digicam jiggle. Click on on it and toggle via the frames to see the screw up. The matte ultimately did get corrected and made it into the completed movie, and it is a very nice shot that no one would spot.

Much more painted in than one may anticipate, and really completed it was too.

A really gifted artist was employed at Columbia all through the 1940’s, Mexico born Juan Larrinaga – the brother of Mario Larrinaga – and this work could also be his or perhaps Hans Bartolowsky who was additionally there.

Significantly misaligned matte jiggle evident, with the precise take bouncing in every single place.

The ultimate as seen within the film the place the unfavourable weave has been corrected, possible utilizing an alternate take.

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MATTES EXPAND THE CANVAS FOR MGM MUSICAL DRAMA

An excellent and at instances fairly highly effective drama set amid the musical world, LOVE ME OR LEAVE ME (1955) had an important headline forged, as unlikely as it might appear, completely paired.

These previous hand painted lettered-titles are additionally a misplaced artform.

Extra old-fashioned MGM mattes from the Yuricich household, with this specific portray being a Howard Fisher rendering on masonite, that Matthew saved from destruction at MGM.

The composite shot, assembled by matte cameraman Mark Davis.

Shut up of Howard’s matte.

Extra element. Howard was Warren Newcombe’s senior painter and labored on lots of of mattes, relationship way back to the early thirties and forties on Oscar profitable exhibits like the large results movies GREEN DOLPHIN STREET and 30 SECONDS OVER TOKYO – with one among his notable works being for FORBIDDEN PLANET with that unimaginable Krell energy plant tilt down shot – and far later labored for Linwood Dunn on IT’S A MAD, MAD, MAD, MAD WORLD within the early sixties.

The Newcombe division prided themselves with photographs identical to this, with stunning theatre frontages and gliterring bulbs and neons. MGM had been high of the sport with these things, and Matt Yuricich was usually tasked with drilling out the tiny holes and afixing the colored gels on the again.

These great neon theatre indicators are a style all unto themselves, and one wherein I am very keen on. I personal a stunning previous 1940’s Newcombe ‘theatre’ matte portray, and it is at all times a supply of enjoyment to admire it and even to back-light the nonetheless colored gel ‘holes’ behind the ‘mild bulbs’.

An exquisite daytime exterior theatre matte portray by Matthew Yuricich for LOVE ME OR LEAVE ME. Excellent and complex perspective drawing on the otherwise positioned lettering, particularly at far proper.

Ultimate comp of the Yuricich matte artwork.

Shut up

Love that expert lettering work a lot.

Alternate evening view with flickering neons and such.

Click on and toggle between the two frames to see the neon animation.

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HUGE EMMY AWARD WINNING VISUAL EFFECTS MINISERIES.

THE WINDS OF WAR (1983) was a mammoth television miniseries, or actually a maxi-series because it totalled round 15 hours as I recall. A little bit of an endurance check, however fairly good as I recall.

The collection featured a ton of results, from the usual full scale bodily results, via to complicated miniature fight within the skies and the seas, in addition to numerous wonderful matte work. The small firm Matte Results, operated by artist Ken Marschall (left) and cameraman/producer Bruce Block (center) was located throughout the vfx facility Fantasy II, run by Gene Warren jnr (proper).

A big tank was constructed on the Paramount backlot, precisely the place the same tank had been in-built 1955 for the epic parting of the Purple Seas sequence for Cecil B. DeMille’s THE TEN COMMANDMENTS. The miniatures had been constructed underneath the supervision of previous timer Lee Vasque, who was enticed out of retirement for this task. Jack Cooperman was in command of miniature images.

The miniature images was largely accomplished in a mere three weeks apparently.

Mannequin cameraman Jack Cooperman and assistant Eric Anderson plus two grips, prep a ship for a sequence within the tank.

All spherical results and manufacturing artist, Mike Minor, was vfx artwork director on the present. Mike’s profession went again to issues like FLESH GORDON and numerous low finances footage.

A battery of followers and hoses provide a mom of a storm sequence.

Miniature air base shot in pressured perspective in opposition to an precise location, and in pure mild – at all times a bonus.

Wonderful aerial sequences all carried out in miniature. Some plane journey on wires – most likely through a Lydecker system – whereas some photographs used distant managed fashions.

Main man Robert Mitchum and varied fx photographs together with a matte augmented view of London with barrage balloons above.

VFX sequence by Gene Warren jnr at Fantasy II. Partial miniature with substantial pyro matted into an precise location.

Matte Results was a small two-staff boutique fx operation in Los Angeles, based and run by matte painter Ken Marschall and cinematographer-producer Bruce Block. The corporate consisted of just about only one room within the Fantasy II results facility the place Bruce had a digicam arrange and strong, welded matte digicam stand. Ken, alternatively, did nearly all of his unimaginable matte work at his house, usually on the kitchen desk. Virtually all of Ken’s mattes had been painted on a particular artwork card inventory (high left), imported from Germany. The underside left pic exhibits one of many extraordinarily uncommon events that Ken painted on one other floor, on this case it is glass (which he was by no means glad working with), for a particular ‘show’ glass matte for a vfx exhibit.

Plate for a Matte Results shot: The unique scene shot on the Paramount Studios tank in 1982, with massive miniatures of US and British cruisers depicting the naval rendezvous in Ship Harbour at Argentia, Newfoundland for the assembly between Roosevelt and Churchill on Aug tenth 1941.

The plate with an optical matte the place the sides have fashioned an surprising fringe that was tough to cope with.

Ken’s portray with airbrushed in fog banks. Extra ‘fog’ was later added over the unique images to assist disguise the matte line and add ambiance to the scene.

Shut up of Ken’s matte artwork. All acrylics although Ken would often resort to steer pencil, colored pencils, Sharpie markers for tremendous wealthy blacks, and sometimes an acrylic gloss medium over sure areas to extend saturation and darken barely when wanted.

The completed shot with blends profitable.

Gene Warren jnr wrote me an in depth piece on Ken and Bruce in 2015 which I included within the in depth three-parter on Matte Results. Apparently, they first met by means of a shot dropped at Gene by Larry Butler, round 1980 or so. Butler was additionally instrumental in bringing WINDS OF WAR to Fantasy II. Gene informed me {that a} tiny and fairly primary 12 x 12 foot room was constructed within the Fantasy II facility only for Ken and Bruce, and that was about all they wanted to make superb mattes. The matte digicam had each 4-perf and 8-perf capabilities, with the matte stand illuminated with simply two child spots (1000 watt quartz) with polarizer filters. Gene’s personal Fantasy II optical division processed all of the exams and did any optical reductions or different printer work.

A distinct view of Argentia, this time a night shot.

For one more scene in WINDS OF WAR Ken and Bruce needed to create a large view of Moscow in lengthy shot. Ken informed me that director Dan Curtis wished the Kremlin, which was many miles away, to look extra purple. Curtis proclaimed “It is the Purple Sq….the Purple Military…it simply has to look purple”. Curtis was in cost and made it recognized. Ken: “So I needed to regulate it, regardless of protests till he was happy, however after all Bruce and I knew that it lowered the credibility of the scene.”

The idea sketch made by a member of the artwork division, and Ken’s remaining portray propped up in opposition to his automobile. The matte was donated to director Dan Curtis on the finish of manufacturing. The reader can admire simply how small Ken painted his mattes, as his finely detailed brush work was fairly the other of different matte artists who would block in and use time saving strategies and a extra free method.

From the ultimate scene as a broad pan throughout.

Miniature bushes had been positioned in entrance of the portray to lend a pleasant perspective shift, and Gene Warren added a pleasant lens flare because the pan crosses over.

A tough idea sketch over a body blow up, completed by a manufacturing member, fashioned the idea for a significant motion sequence happening at Cavite, in The Philippines.

For the preliminary aspect of a row of burning buildings, a reasonably primary miniature table-top set was set alight within the Fantasy II parking zone. Ken described to me the Fantasy II facility. “It wasn’t enormous, on an obscure aspect avenue in Burbank. You would drive previous it and never even understand it. I do not even bear in mind an indication exterior. However they completed lots there. It was a household, actually. The vast majority of the staff hung in there with Gene and his accomplice Lesley Huntley for years and years, via thick and skinny. Dedication and loyalty. Actual workforce work. Gene was at all times scurrying round, filled with power and enthusiasm. Gene was a second technology results man, His father was an previous time vfx man and a accomplice within the firm Undertaking Limitless from the 1950’s and 60’s.”

The stay motion plate matted off.

The burning miniature was optically moved to the suitable space of the body and break up screened into the stay motion plate.

A brand new matte was then created to cowl the dangerous match between the miniature and the foreground. Into this opaque matte Ken and Bruce would make what they termed as an ‘orange base matte’.

Ken’s bridging matte portray – one among many patch jobs matte artists have needed to take care of. The ‘orange base course of’ used right here for this shot is by portray in odd low distinction greenish-yellowish hued IP colors and photographing on IP inventory, which might ‘learn’ as regular colors as soon as the footage got here again from the lab. This peculiar matte course of was the one most popular by fx individuals reminiscent of Douglas Trumbull and Matthew’s brother Richard, the place on movies like BLADERUNNER Matt Yuricich was pressured to color in wierd color schemes, which drove him loopy, to go well with the chosen intermediate duplicating movie inventory.

Ken’s ‘orange base matte’ ties the mannequin and the stay motion however nonetheless wanted remaining changes to hide the matte line. Ken mentioned he wished he might have labored with a gentle matte however as this was a wholly optical printer job, that wasn’t doable. Bruce and Ken most popular to work at any time when doable with latent picture o/neg matte photographs.

The ultimate shot as soon as fastidiously blended. Ken mentioned this minor matte was fairly a problem, and has proven me examples of a number of the seemingly smallest or easy mattes he’d labored on over time which proved to be so extremely problematic.

The Purple Sq. sequence was a detailed name as effectively. Here is a vivid pre-production idea portray and at proper is Ken’s nearly remaining drawing which had extra buildings in it than can be within the eventual portray. Observe the remarks for modifications and alterations, presumably from the director.

The shot can be a 3 half composite, with two separate items of stay motion mixed and a matte portray filling out the Purple Sq.. The archway (left) was one stay aspect and a number of the decrease portion of the opposite constructing shot elsewhere (proper) had been fastidiously matted as one.

Ken’s matte artwork, fairly totally different from his preliminary structure drawing.

Shut up element. Observe Ken’s rendering of sunshine.

Based on Ken the entire shot was accomplished on Feb eighth 1983, simply days earlier than the tv premier. He mentioned there should have been some final minute modifications to the scene, thus the shut name.

For the massive Pearl Harbour sequence Matte Results had been requested to create a grasp shot. Right here is the unique plate shoot of the miniatures within the Paramount tank.

The black matte in place.

Ken Marschall’s matte portray.

Ultimate composite with airbrushed smoke

A body from the miniature shoot within the tank, with a big painted backing. The fleet might be prolonged significantly via matte artwork.

A fast paint onto a photographic print guided Ken as to the necessities of the shot.

Tank footage masked off.

Matte portray. Observe the painted in ‘wakes’ which is able to marry up when double uncovered in with the miniature ships.

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The completed shot, sans the lightning parts.

Shut ups of the 2 lightning parts employed as a part of the above matte composite. These had been backlit and DX’d in throughout a second and third cross via the matte digicam.

*For a really detailed historical past of simply how Matte Results received up and working, and an in depth dialogue with Ken and Bruce on their strategies, movies and lots of of results photographs, go right here, right here and right here.

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AN IMPRESSIVE WARTIME DRAMA SET DURING THE BLITZ

An pleasant and at instances fairly shifting drama set in London through the bombing blitz of WWII, TONIGHT AND EVERY NIGHT (1946) featured a stunning quantity of visible results work by Lawrence Butler, Doanld Glouner and Ray Cory.

Nearly all matte artwork right here, with this theatre being central to the story, as The Music Field was a venue that actually would by no means miss a single present, regardless of all of the mayhem happening round. It was a logo to maintain up the morale of the Londoner’s through the battle. I feel it was based mostly on an precise occasion.

Solely painted signage.

Though it seems to be nothing a lot, that is truly a fairly ingenious trick shot sequence. The viewers are watching a film on a cinema display. Performers on display do a musical bit after which march throughout in black & white and are available off display in full Technicolor. Sounds a bit naff, but it surely’s very effectively pulled off, presumably with fastidiously timed pre-shot rear projection and the identical actors showing on stage on cue in a steady pan throughout.

Rita Hayworth watches the scene in disbelief. A superbly photographed and lit movie by the best way, with beautiful use of Technicolor. Rudolph Mate was D.O.P.

One other matte painted avenue in London.

Earlier than and after from the Butler/Glouner assortment. I do not assume this shot made the ultimate minimize.

All painted from simply above the doorway.

Extra of London, courtesy of Columbia’s matte division.

An elaborate results arrange for a blitz sequence.

A multi half fx shot with matte portray, explosions, searchlights, and tracer hearth.

All of it seems nice in Butler’s showreels, however sadly far much less so within the completed movie the place a lot of this difficult vfx work is obscured and tough to see clearly.

As a stand alone inventory shot, this was routinely recycled in different movies reminiscent of George Pal’s THE TIME MACHINE and others (Pal was an actual cheapskate and stole so many photographs from different movies to flesh out his personal exhibits!) *Observe the extra foreground miniatures or cut-outs right here which were employed to reinforce the matte vista and add one other layer.

Longtime Columbia results cameraman Ray Cory shot these explosion parts which might be optically mixed with the massive matte portray of London at evening.

At left is the tracer hearth aspect shot by Ray Cory which may even be added to a number of results photographs. The tracer appeared wonderful, so whether or not it was straight cel animation, I do not know. It appeared too easy.

Because it seems within the remaining movie, partly obscured by rooftop foreground constructions, and so far as the BluRay goes, printed so bloody darkish I needed to lighten many evening photographs right here simply as an example them. Why are so many BluRays mastered so fucking darkish?? The previous DVD was a lot simpler to see.

All hell breaks free, however the British nonetheless handle to one way or the other ‘preserve calm and stick with it’.

Rear projected carnage over London.

Bomb devastation. See beneath…

Butler/Glouner matte shot the place nearly every thing above the actors has been painted in.

From the Butler showreel, these are far simpler on the attention than the extraordinarily darkish BluRay version.

Multi-element shot with stay motion foreground, matte painted set extension, searchlight animation and varied explosions within the evening sky. BluRay body lightened right here significantly.

It is all purported to be strictly ‘blackout’ time, however there’s at all times some damned streetlights all lit up!

Good matte comp from Butler’s reel. Matte extends simply above the store doorway.

A lot destruction after the bombing.

Apparently, it wasn’t a full matte portray because it might effectively have been, with a curious patch for stay motion seen within the center of the body right here, although no ‘motion’ or motion truly happens there.

Properly rendered put up bombing wreckage.

The pub throughout the road is destroyed, and so is one among our beloved most important characters.

As soon as once more, a multi-element fx shot.

I’ve written a large amount in previous blogs about Butler, particularly his work at Warner Bros within the early 1940’s on some unimaginable results exhibits.

I’ve no concept why these Larry Butler showreels are monochrome for the a number of color productions included, however they’re extremely fascinating.

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MATTES ENHANCE PERIOD COMING-OF-AGE PICTURE.

A really typical ‘gentle & soapy’ MGM image, THE HAPPY YEARS (1950) was a kind of coming of age present set on the flip of the century.

There are only a few mattes within the movie however I made a decision to incorporate it as I’ve a few good unique mattes from the household of Matthew Yuricich. Matthew would not have labored on it because it was method earlier than his tenure at MGM, so Matt would have picked them up after they had been junking the previous matte division. I consider this one is the work of Howard Fisher, as Matthew described it when interviewed for my oral historical past again in 2012.

The shot because it seems within the movie, the place, oddly, the just about full body portray has simply had precise foliage added past the place the painted part ends.

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Possible matte extension right here.

What a beautiful painted sky.

Though I can not verify it, I think this matte might effectively have been rendered for THE HAPPY YEARS and never used within the remaining minimize. The city and buildings look very related. That is one other matte from the Yuricich household assortment.

Some element.

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THE ORIGINAL 1940 VERSION OF A TIMELESS FAMILY ADVENTURE

Only a few realise that lengthy earlier than Walt Disney made his model in 1960, RKO had made their a method again in 1940.

The timeless Johann Wyss e book has at all times made for grand journey, and I nonetheless vividly bear in mind seeing the Disney model on the cinema (The Civic, I feel?) again within the 60’s as a child. This previous rendition is kind of good, with Thomas Mitchell at all times a deal with to look at.

Vernon Walker was head of particular photographic results at RKO till his premature demise in 1948. Vernon labored on such classics as the unique silent LOST WORLD, KING KONG and importantly, CITIZEN KANE amongst many others. Vern specialised as an results cameraman and opticals man. He was nominated for an Oscar just a few instances, together with SWISS FAMILY for Greatest Particular Results in 1941 – with this movie being simply one among 14 footage nominated within the class that 12 months.

That is s largely forgotten movie worthy of rediscovery and definitely remastering onto some HD format. It’s extremely onerous to search out besides crappy YouTubes, although the particular version 2 disc DVD of the Disney movie truly has this previous model included as an ‘additional’.

There are a variety of fantastic matte photographs within the movie, with veteran previous time matte artist Albert Maxwell Simpson offering the photographs. Simpson was one of many very first cohort of matte painters, having labored with D.W Griffith on BIRTH OF A NATION in 1914, and DeMille’s unique TEN COMMANDMENTS in 1923. Simpson additionally labored uncredited on scores of movies reminiscent of KING KONG (1933), THE PRISONER OF ZENDA (1937), REBECCA (1940) and the epic GONE WITH THE WIND (1939). For years Albert was president of the Matte Artists & Illustrators Union.

Efficient course of with miniature.

Cut up display with painted foreground rocks above actor’s heads. Distant island possible a part of the identical portray with ocean a separate plate presumably projected into matte artwork as RKO did fairly alot of complicated rear projected parts into painted mattes round that point on issues like THE HUNCHBACK OF NOTRE DAME and CITIZEN KANE.