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

Hello Guys and Gals…. it is matte magic time as soon as once more, with a wholesome spherical up of movies and genres, from a large spectrum certainly.  I’ve received ‘B’ grade monsters, large finances Technicolor fantasy, gritty British WWII motion, a thirties comedian traditional, a VistaVision epic, a beautiful Disney true story, and to high it off, a biopic of the late Tina Turner!  Plus, a protracted forgotten and beforehand unidentified matte shot by Albert Whitlock when he was in England within the 1940’s can be in right now’s line up!  And as if that weren’t sufficient, I’ve received a cavalcade of not often seen Matte World work which are presently being auctioned off.  You may’t accuse Pete of shirking his vfx obligations!  There may be nothing worse than a web-based search that leads you to some disappointing venue the place you get not far more than a paragraph of textual content and three footage (should you’re fortunate).  Not so right here.  It is an ‘all or nothing’ form of a gig for Pete.

There’s one thing right here for everybody (properly nearly everybody)… although, please take some time to view on a correct sized monitor/display screen/laptop computer.  If I discover anybody viewing these blogs on a damned cellphone toy factor, I will discover you, and, mark my phrases, ‘go full Liam Neeson in your sorry arses’!  😉

***Oh, and simply earlier than we start the thrilling trip, an essential disclaimer:  None of the next (nor previous weblog posts for that matter) have been created via ‘AI’ – Synthetic Intelligence (some may dispute the time period “intelligence” the least bit with my blogs, although I digress…), nor via that godammed CHAT-GPT, regardless of the hell that’s!   It is all of the actual deal… a labour of affection, from Pete.  All ‘quaint, conventional, hand crafted running a blog’… similar to these previous matte pictures I like a lot.  ‘AI’…. properly fuck ’em I say!

Get pleasure from

NZ Pete

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YOU TUBE SERIES ON THE WORK OF AL WHITLOCK AND SYD DUTTON

Firstly, I have to do my obligation and make point out (and agency suggestion) of my pal Thomas Higginson’s ongoing YouTube sequence of fantastic documentaries on Albert Whitlock and Syd Dutton.  Completely important viewing for all who’re fascinated by conventional matte and trick shot wizardry.  Various doco’s are on-line up to now, with many extra in numerous phases of completion.  I used to be most honoured to be invited to take part in just a few of those, with SHIP OF FOOLS and the James Bond movie DIAMONDS ARE FOREVER being two I’ve offered my ‘2 cents price’ already on-line.  Click on right here for the 9 movies accessible thus far, although prone to be extra by the point you learn this. 

By the way, as thorough and sumptuous a job as Tom did in assembling all the DIAMONDS materials, he significantly slipped up in omitting one of many key ‘visible results’ from the present altogether(!)  Mentioned unbelievable ‘visible impact’ could also be discovered on the finish of this weblog submit.  I’ve had harsh phrases with Tom over this sorry omission and he assures me this slip up won’t ever occur once more.  😉

A clip that by no means made the ultimate minimize for the DIAMONDS ARE FOREVER (1971) doco demonstrates the state of the unique 35mm Whitlock showreels, that despite the fact that the fabric was saved in a temperature managed atmosphere, suffered vital color loss, with a magenta bias having to be painstakingly color corrected by Thomas.

Shut up view of the fictional Whyte Home skyscraper in Las Vegas, was a full matte portray by Whitlock, augmented by delicate outside elevator ascending to Penthouse, accomplished as both cease movement miniature component or as an animated painted cel overlay, which was Albert’s conventional method.

A montage of DIAMONDS frames from the devastatingly advanced Chinese language nuclear missile battery shot, with an enormous period of time and vitality put into, not simply the finished scene, however Tom’s personal reconstruction of the multitude of parts required for this white cel rotoscope travelling matte.

A terrific earlier than and after from the latest featurette on Tom’s YouTube web site.  That is from the George Kennedy, Jan Michael Vincent tele-movie DELIVER US FROM EVIL (1973)

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A LONG FORGOTTEN ALBERT WHITLOCK MATTE SHOT

Some years in the past, my Madrid primarily based vfx buddy, Domingo, despatched me a thriller matte earlier than and after that had apparently been posted on-line (see under) someplace by Al’s grandson.  The thriller movie because it seems is an historical British ‘Boer period gemstone western’ set in nineteenth Century South Africa(!), titled DIAMOND CITY, made in 1949.  Oh, and Whitlock additionally painted that Gainsborough brand as properly.

Uncommon Whitlock earlier than and after matte from DIAMOND CITY (1949).

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RARE ORIGINAL MATTE PAINTING AUCTION

From time to time an public sale home comes forth with a choice of unique painted mattes, made accessible for the very first time to collectors and events.  Prop Retailer presently has various by no means earlier than seen mattes for public sale, with nearly all showing to be from Craig Barron’s firm Matte World.  The public sale pages could be discovered right here.  Under are a number of of probably the most intriguing examples.

Whereas a fixture at Matte World, in Northern California, the extremely proficient Michael Pangrazio rendered many excellent mattes for movie, television and commercials.  Here’s a earlier than and after of Mike’s superb burnt out homestead from FAR AND AWAY (1993).

Shut up element.

Now this is a ripper…. Brian Flora’s chic matte from the Francis Ford Coppola model of DRACULA (1992)

DRACULA last comp.

Additionally from DRACULA was this stunning Invoice Mather matte.

Ultimate comp of Invoice Mather’s portray.

Michael Pangrazio painted this chilly vista for a movie titled PRANCER (1989)

One other Pangrazio matte from a present titled STEAL THE SKY (1988), presumably a television film, although I’ve by no means heard of it?

An atmospheric matte from the erotic-thriller MALICE (1993), most likely by Mike as properly.

The comedian e-book hero actioner THE SHADOW (1994) had a considerable matte and results load, with the chores being break up between Matte World and Phantasm Arts.  It is a Matte World shot, and although the Prop Retailer web page says it is a Pangrazio matte, I appear to recall in correspondence with fellow MW artist Christopher Evans, that it was his matte.  Nice flick BTW.

Element.  Word the unpainted strip which was supposed to facilitate rear projected road visitors motion.  Word:  A second, very spectacular and intensive huge overview of the Empire State viewing deck and metropolis surrounds – additionally painted by Chris Evans – was sadly lowered to tiny shards of damaged glass in a dealing with accident at Matte World.  The Horror..………..  🙁

Now, this one’s undoubtedly fascinating.  It was painted on the rear of the SHADOW matte – therefore the scraped away strip for RP – although the sheer vandalism right here is unforgivable!  Does a new sheet of glass actually price a lot to interrupt the sundries finances for Matte World?  The public sale web site say’s it is from THE SHADOW, although it would not resemble any scene that I can recall?

Additionally from Matte World was this matte for BATMAN RETURNS (1992).  Invoice Mather was artist.

BATMAN RETURNS completed shot.

No, not from Matte World this time, however from Matt Yuricich!  An exquisite canyon with busted down bridge as seen within the excrutiatingly terrible teen sci-fi mess, SOLARBABIES (1986).

Shut up element…

Matthew Yuricich with brush in hand…

One other shot from the thoughts numbingly dire SOLARBABIES, although this one I strongly suspect was the work of Michele Moen who was Matthew’s very long time buddy and assistant matte painter.  The approach doesn’t mean Yuricich’s model.

This one’s from the nonetheless standard (unique) GHOSTBUSTERS (1984).  The ultimate shot was a multi-part impact, with miniature road, man in Keep-Puft swimsuit, painted tenement buildings, foreground stay motion and good cel animated parts.  The ultimate shut up of the Marshmallow face could have been a puppet.  Matthew Yuricich was chief matte artist, with Michele Moen and Deno Ganakes helping.

***This submit, and all 180 earlier weblog posts referred to as ‘Matte Shot’, had been initially created by Peter Prepare dinner for nzpetesmatteshot, with all content material, structure and textual content initially revealed at http://nzpetesmatteshot.blogspot.com/

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Lengthy earlier than Disney received entwined with usually foolish kiddie fare, the studio produced some strong, mature dramatic footage.  THE GREAT LOCOMOTIVE CHASE (1956) was one such movie.

The grand CinemaScope true story of Civil Struggle rivalries and subterfuge, was a fantastically photographed, properly written and directed affair, with usually fringe of the seat moments of motion. Lovely etchings too for the great title sequence.

Peter Ellenshaw was matte artist, with a display screen credited Albert Whitlock as assistant matte painter.

Varied photos of Peter at work, with the highest proper picture of Peter in his Disney workplace whereby a key matte from the opening scene in GREAT LOCO is seen on wall behind him.

The spectacular opening shot was a full Ellenshaw portray of mid nineteenth Century Washington DC.

Now for a sensational examination of Ellenshaw’s unique 1956 matte – nonetheless in pristine situation – because it was offered for public sale not too long ago from the Ellenshaw household assortment.

Element 1

Element 2

Element 3

Element 4

Element 5

Element 6  Word the development work on the Capitol dome.

Element 7.   In line with Peter’s memoir, the entire portray took about 5 days to finish.

I do know that almost all – if not all – of the mattes in GREAT LOCO CHASE had been made as in-camera foreground work on location, with some on glass and others on hardboard, or Masonite because the Yanks name it.  The entire pictures are rock regular making me surprise if this was the case, with solely the last matte being an apparent dupe, and accomplished in submit manufacturing.

I requested Peter’s son Harrison, and he was fairly sure the pictures had been all accomplished as unique in-camera pictures on location with the big painted mattes mounted in entrance of the digital camera.  Prompt composite.

Most likely a full portray, as I do not recall any stay motion right here.

It is a nice shot that no one ever seen.  The true ‘invisible trick shot’.  As defined and illustrated under by the movie’s director, Peter provided a wholly painted second story to the partial set.  However who’d have ever recognized?

Director Francis Lyon with Walt.  Word the semi-built facade past, awaiting Peter’s matte artwork.

Some superb frames taken from a really uncommon 1956 newsreel – most likely made for the Disney television sequence – the place we will see Peter arrive on the location in a really, very tiny automobile, (I half anticipated 15 clowns to hop out!) with matte artwork roped to the roof(!)  Subsequent footage reveals Peter lining up the portray with the set, with assistant – presumably Whitlock – making last touches to mix the matte artwork with the set.  I despatched the video clips of this time capsule to Peter’s son Harrison and requested him some questions on it.  Harrison was of the opinion that his Dad doubtless did not have a stand alone matte studio of types on the Tennessee location, however extra doubtless simply had his stack of Masonite panels, glasses, brushes, oil paints and turpentine on or within the grip truck close by.  I discussed to Harrison how astounded I used to be on the obvious flimsiness and tough dealing with of the painted matte panel as Peter hauls it off the automobile, with it flexing and flopping far and wide(!)  Harrison stated that the oil painted art work would have been fairly versatile at that stage, and solely harmful and prone to cracking and peeling when aged and brittle.  Oh, and he additionally talked about that the helper seen working alongside Peter was more than likely not Albert, and extra doubtless only a grip, as Peter did not take his assistants onto taking pictures areas as a rule.  I do surprise although, as closely unionised as is/was the US movie trade, if a mere grip could be permitted to a lot as choose up a paint brush, not to mention apply pigment to a matte portray, with out there being an enormous hull-a-balloo and an all out strike!  I’ve heard of union walk-outs on a stage when a cameraman moved a lamp a few toes to the aspect!!

One other nice in-camera composite, made proper there on location, the place Peter has prolonged a small bodily setting of some tents, to an enormous Accomplice battalion and surrounding Southern countryside.

One other flawless foreground glass shot (see under).  Not simply the sprawling township had been painted in, but in addition the close to foreground sheds and partial rail monitor on the grass.  Neat.

The specifically constructed and secured raised platform with matte crew.  A deep arrange as they had been taking pictures CinemaScope, with large anamorphic lens and restricted focal depth and inherent optical distortion on the edges, which had been a limitation of the early Scope course of, with the painted matte of the distant city and so forth positioned at an applicable distance to make sure deal with each art work and precise scenic setting. I recall studying in Peter’s memoir {that a} practice got here alongside in the course of the evening when no one was round, and knocked the massive trestle tower down!  Presumably the glass portray wasn’t but put in?

As talked about, Al Whitlock painted on this – and plenty of different Disney reveals.  In later years Albert would regale Invoice Taylor as to how a lot he realized from watching Peter paint.  Al stated:  “Peter by no means taught me.  He simply allowed me to watch him”.  Albert was in a position to choose up most of the quick cuts such because the ‘large brush’ to promote matte from Ellenshaw, and stated his personal model loosened up significantly in consequence then, whereas his early days in England Al’s model, by his personal confession, was “so tight, I would be tied up in knots all the time”.

Ellenshaw’s great Civil Struggle period trestle railway matte portray.

On location snapshots of Peter lining up his tough block in of the trestle practice bridge for the above matte, and all within the sweltering summer time Southern warmth.

One of many hazards when working with early CinemaScope, as talked about, was a depth of area problem.  That’s obvious right here because the foreground painted city and second ground lodge are barely out of focus, most likely attributable to a too huge an f-stop and never sufficient gentle.

A just about full matte painted setting of the Accomplice Jail.  Simply part of the courtyard was precise, with all else being art work.  I feel the portray nonetheless exists within the Disney archives, as I’ve seen pics of it on the wall of the Buena Vista Visible Results matte room from the mid 1990’s.  Here is hoping!

The ultimate matte, and the one one that appears as if it had been a post-production composite, doubtless made as a rear projection comp, with a broad 90% total painted scene, and a gaggle of troopers matted right into a small ‘pocket’ mid body.  It has a really ‘second technology’ look about it, versus the opposite work within the present.  Nonetheless, a extremely good movie from Disney, and like 20’000 LEAGUES UNDER THE SEA, made two years prior, characterize the Mouse Manufacturing unit at it is best in my humble opinion.  (Are my ‘opinions’ ever reallllly ‘humble’?  Nahhh, most likely not, however whatcha gonna do?)

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I realized years in the past as a child attending countless Saturday & Sunday double payments, to all the time be cautious of over zealous one-sheet art work…. It nonetheless by no means stopped me from shopping for my ticket and watching the flick although!  Damned film promoting departments!

The unwieldy tongue-twisting unique title received shortened to VIKING WOMEN AND THE SEA SERPENT (1957).  One in all Roger Corman’s earliest options, and so far as $10 flicks go, wasn’t too dangerous, and the manufacturing worth on display screen considerably exceeded expectations.

Acquainted names within the finances acutely aware world of ‘B’ footage, Rabin, Block & DeWitt had been continually known as to furnish bargain mattes, opticals, course of pictures, animation, fashions, titles and extra for 100 footage from the late 1940’s and properly into the early 1980’s.  Jack Rabin (high left) was an previous hand in opticals, digital camera fx and matte portray, having labored with legends like Jack Cosgrove at Selznick, and different durations at Warners and twentieth Century Fox underneath Fred Sersen.  Irving Block (high proper and backside proper) was a veteran matte artist from MGM and likewise Fox, the place he met Rabin and teamed as much as open their very own impartial results home with title artist Louis DeWitt (not pictured).

VIKING WOMEN AND THE SEA SERPENT could have been a rush job, as most Corman footage of the day had been, nevertheless it did make good use of photographic results on a slim finances.

The band of spear wielding bikini clad Bronze Age babes are impressed to journey to the ends of the earth when witnessing this apparition within the sky, the place the clouds type a form of Viking galleon.  Good full matte artwork.

The journey commences, with some surprisingly good rear projection supplementing their sound stage tethered vessel.  Word the behind the scenes pic of course of arrange and stage palms armed with hoses.

The demon beast of the North Sea makes his look.  The puppet was dressed across the arm of fx artist Irving Block and filmed in a small tank.

Most likely would have seemed cool on the Drive In when canoodling in your Chevy convertible together with your gum chew’n bobby-soxer again in ’57

Tragedy strikes, as does lightning, which units their miniature galleon alight.  Too late to recollect the ‘maritime security drill’ ladies!

Irving Block’s full matte portray of the Viking village and chateau.  Good shot.

Following up, the gals and a few burly ‘surfer dude’ trying Vikings, method the fort.  A considerable matte portray right here, with not solely the fort however the foreground bushes, wall and archway all painted in.  The actors’ heads all get ‘chopped’ beneath the low hanging painted foliage although.

The precise work by Block are surprisingly crisp and sharp, whereas in some instances like this, the stay motion plate is washed out and tender, suggesting presumably rear projected composite?

One other inside set extension, with frantic ‘Go-Go dancer’ from days lengthy gone.

Hand puppet manipulated by matte artist – and basic jack of all trades – Irving Block.

A fantastically atmospheric matte by Irving, who, as an apart, the 12 months earlier than wrote the unique screenplay for the massive finances MGM sci-fi traditional FORBIDDEN PLANET.

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Time now for an costly, lavish, Technicolor, main studio spectacle… And I do imply spectacle!  THE BLUE BIRD (1940) obtained a very deserved nomination for Finest Particular Results that 12 months, and to me, it was the strongest contender.  Extra about ‘Oscar injustices’ later…

Arguably the largest box-office sensation of the thirties, and on into the early forties – Shirley Temple was twentieth Century Fox’s reply to printing their very own cash.  An exceptional draw card.  THE BLUE BIRD (1940) was a candy natured, vividly designed and lushly photographed household fantasy.  This was the second of no less than 3 variations of the movie, with the primary being a silent again in 1918, and the latter being in 1976.

I am assuming the movie should have been a really costly affair, what with the units and the very intensive particular visible results necessities, a good portion of the movie in a while is actually wall to wall results pictures, with out let up!

Sure, I do know I said it was a lush, saturated Technicolor affair, however bear with me, THE BLUE BIRD does start in black & white – as did an identical movie THE WIZARD OF OZ in Sepia-tone – however the story switches into all the colors of the rainbow as soon as the magic kicks in. This opening sequence is a gem, and one which passes by utterly unnoticed as a trick shot.  The Austrian alpine city was a considerably massive matte portray mounted on set as a foreground glass shot in order to allow a pure, fluid digital camera transfer because the characters stroll via the woods.  Naturally, being wartime in Europe in 1940, no scenes may very well be shot on location, nor would it not be expedient to ship Miss Temple all the best way throughout the pond for simply a few establishing pictures.  See under for extra…

The spectacular glass shot with digital camera transfer (proven twice within the movie, each transferring to, and away from the distant village).  Fox had been completely 100% gung ho about finishing up trick pictures utilizing this methodology, with the legendary grasp Fred Sersen being a agency believer within the gag, as engineered on numerous Fox movies over the a long time, and all with completely convincing, first technology high quality. The foreground bushes strategically conceal the rigging for what should have been a really massive portray.  Love these things!

Matte shot made on the Fox again lot for THE BLUE BIRD (1940)

The flick kicks into full steam forward Technicolor as soon as the youngsters are given the mission to hunt out the ‘Blue Fowl of Happiness’.  A pleasant optical transition right here, little doubt overseen by Fox’s very long time optical division head, James B. Gordon.

The children on their journey right into a magical otherworld, stuffed with matte artwork, optical mixtures, miniatures and completely eye-popping devastation that should have given children nightmares again within the day!

As I’ve written extensively in my blogs, Fox had an enormous photographic results division, and definitely one in all, if not the finest in Hollywood.  Fred Sersen ran a really tight ship, and did not endure fools gladly.  Sersen himself was primarily a matte painter, starting within the 1920’s, and ventured into results cinematography.  Fred was nominated for the Finest SFX Oscar some 8 occasions and received twice.

Sersen’s very long time proper hand man and assistant, Ray Kellogg, was key matte painter on BLUE BIRD, with Ray being instrumental in an incredible many nice results movies produced underneath the Fox banner for some years, ultimately changing into head of the results division within the early 50’s.

Painted in ornate ceilings had been very a lot part of the golden period of matte work.  A price saver and a method of concealing the bothersome rigging and lights above the primary set.

The children, the kindly previous man and the evil Gale Sondergaard (you simply know she’s gonna be bother as quickly as you see her identify within the credit!) enter the forest the place all hell breaks unfastened. Many matte painters labored at Fox on the time this was made.  Names akin to Ralph Hammeras, Clyde Scott, Joseph Serbaroli, Hector Serbaroli, Emil Kosa snr & jnr, Gilbert Riswold, Fitch Fulton, Menrad von Muldorfer, Chris von Schneidau, Ray Kellogg, Barbara Webster, Charles W. Hulett and Max DeVega.

Delightfully fanciful matte painted high half of set.

The tranquil forest is deceiving.  A mega storm rolls in and far bother comes with it.  A wonderful vfx shot right here, with miniature bushes and a brilliantly orchestrated raging storm forming above, with lightning and all.  Do not understand how Fred did this shot?  I would guess a separate ‘storm plate’ with maybe time lapse clouds, lightning animation optically added, and this all rear projected behind a miniature forest mounted horizontally, with the method ‘flash’ catching naturally upon the mannequin tree props?

And so begins some of the fantastically executed and complicated photographic results set items I’ve ever seen, and one which lasts for a number of minutes of continuous display screen motion.  The static body captures do not even come close to to illustrating the dynamic, cutting-edge vfx sequence.  Severely!

The violent thunderstorm and lightning strikes and causes a catastrophic firestorm that devastates the whole forest.  One of many most interesting results sequences ever dedicated to celluloid, with each shot being a manufactured Sersen division impact.  Miniatures, mechanical fx, pyrotechnics, mattes, roto animation, optical mixtures, course of, and sometimes all of those merged in single pictures! The shot above has the group working for his or her lives as lightning brings down an enormous tree simply as they cross underneath it through excellent body by roto work.  One in all quite a few jaw droppingly advanced pictures that noticed the movie nominated for the FX Oscar.  All carried out with massive miniature forest set, with actors added in via travelling mattes… and in 1940 Technicolor!

Extra of similar, with huge miniature set with falling bushes crashing down simply wanting crushing our younger solid via exact rotoscope matting.

When considered in movement, the work is elegant, and one can however surprise of the time spent on the prolonged sequence (far more nonetheless to come back…)

Travelling matte comp at left, with extremely efficient RP comp at proper.  Sol Halperin was Fox’s course of specialist, and he had a life lengthy affiliation with the studio.

The one movie I’ve ever seen with comparable mannequin bushes uprooting and falling down was the excellent Academy Award successful work of Arnold Gillespie and Donald Jahraus for GREEN DOLPHIN STREET (1947), although that great work was in black and white.

Excellent miniature cinematography, with the nice depth of area suggesting a really sizable miniature set, most likely occupying a considerable piece of again lot acreage, a lot as Sersen did for epic results movies like THE RAINS CAME and IN OLD CHICAGO – each astonishingly nice fx movies.

The dimensions of the pyro and precise fireplace bodily results recommend very, very massive mannequin bushes.  I would hazard a guess at these being some 8 to 10 toes in peak(?)

Once more, the sensible scale of flame enveloping the falling tree is so spectacular.

Results cinematographers at Fox included Artilio ‘Til’ Gabbatini, Al Irving, Lenwood Ballard (L.B) Abbott, Ralph Hammeras, Edwin Hammeras, Harry Dawe, James B. Gordon & Paul Mohn.

Excellent composite optical images.  I do not know what methodology was used to shoot and isolate the actors and create silhouette mattes, particularly given this was early 3-Strip Technicolor?  The optical line ups and related roto enhancements, the place required, are nonetheless thoughts blowing.  Did I point out that this was all nineteen forty and 3-strip Technicolor?

BLUE BIRD was one in all some, amazingly, 14 (sure, fourteen no much less) movies up for the Finest Visible Results Oscar in 1940(!!!)  The road up was an odd blended bag of titles and studios:  BOOM TOWN (MGM); THE BOYS FROM SYRACUSE (Common); DR CYCLOPS (Paramount);  FOREIGN CORRESPONDENT (United Artists); INVISIBLE MAN RETURNS (Common);  THE LONG VOYAGE HOME (United Artists);  ONE MILLION BC (Hal Roach);  REBECCA (Selznick);  THE SEA HAWK (Warner);  SWISS FAMILY ROBINSON (RKO);  TYPHOON (Paramount);  WOMEN IN WAR (Republic) and THE THIEF OF BAGDAD (Korda) which received the Oscar.  Now, I’ve seen 12 of these movies, and pretty much as good as THIEF OF BAGDAD was, I do not really feel it ought to have taken that Oscar.  The travelling matte work and miniatures in BLUE BIRD had been distinctive in my e-book, and will have been rewarded.  Among the many others right here, BOOM TOWN would have been a runner up in my e-book – excellent trick work by Arnold Gillespie, Warren Newcombe and Irving G. Ries.

Completely terrific rear projection work supervised by Sol Halperin.  No imply feat as RP work in Technicolor was often dreadful, with ghastly washed out course of plates, unstable photos and lacklustre color.  Very ‘gradual’ 35mm movie actually hindered issues, however the work right here in BLUE BIRD stands head and shoulders above the remaining… and it was 1940!  I do not know if Halperin had any form of double or triple head projection gear as different studios did, however I assume so because of the richness of the plates as mixed with the motion.

Spoiler alert:  The scheming and snarling Gale Sondergaard will get too near the conflagration.  Excellent miniatures, bodily results, camerawork and optical compositing.  Oscar worthy alone.

I would so like to see a breakdown and behind the scenes pics from this movie.  Should you’ve received any, you understand who to contact  🙂

Once more, glorious course of work, and thoughts bogglingly bloody good miniature/optical mixture work.  It do not get significantly better than this people…. and prone to repeating myself, this was nineteen-fucken-forty, not 1980, and ponderous, cumbersome previous 3-strip Technicolor as well!

I did loosen up a few of these pictures somewhat, because the sequence is at evening and the copy I’ve is sort of darkish, therefore some matte strains right here which aren’t seen within the precise movie because it runs.

Who ever stated that lightning by no means strikes twice?

The ‘children in peril’ facet should absolutely have frightened younger audiences of the day.

Made all of the extra devastating with the sound modifying by Edmund Hansen and Roger Heman, who, as was the Academy nomination choice system for many years, the sound supervisor or sound fx re-recording man, had been all the time mechanically co-nominated with the visible results man.  It all the time appeared so unusual an association.

Different celebrated results movies from twentieth Century Fox that additionally utilised intensive ‘insertion’ of stay actors inside miniature settings through travelling mattes included THE RAINS CAME (which received the Finest FX Oscar in 1939); IN OLD CHICAGO; THE BLACK SWAN; SUEZ;  CRASH DIVE; DANTE’S INFERNO; THE RAINS OF RANCHIPUR and plenty of extra. The Sersen unit actually had been leaders right here.

Oh, brother… what a panoramic shot!

Phrases fail me…

Most likely the perfect fx shot in THE BLUE BIRD, with this utterly uncontrolled, raging inferno nearly enveloping our contemporary confronted solid. Man, this should have seemed 1,000,000 {dollars} up on the massive display screen on the native Odeon again within the day.

Too many frames do I hear you mutter?  I do not love to do these items by halves, and nice visible wizardry completely deserves as full a protection as doable.  Agreed?

A stray fireball ignites and brings an enormous tree down, nearly obliterating Miss Temple and friends.

You may virtually really feel the extraordinary warmth from right here!

I am extremely impressed with how properly the bodily fireplace elements of those pictures had been dealt with.  The utmost in rigorously designed and executed ‘miniaturised pyro’ – not a straightforward component to regulate.  The dimensions issue right here is pretty much as good as something else I’ve ever seen.  Actually ought to have taken residence that elusive Oscar that 12 months!

The trio escape the conflagration and drift downstream to the place probably the most beautiful of ‘good fairies’ has a meet & greet.  Largely painted shot right here after all.

In spite of everything the massive finances commotion that preceded it, the youngsters lastly get to go residence and discover their Blue Fowl of Happiness proper on their doorstep.  They usually all lived fortunately ever after… excepting Gale Sondergaard, who was spectacularly burned to a crisp, however she deserved it as a result of she wasn’t actually very good in any respect.

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Oh sure… I completely love WWII flick, with the British motion true account THE SILENT ENEMY (1957) being a strong, gripping, worthwhile occasion.

A Shepperton Studio manufacturing, the movie is packed with particular results, mattes and miniature work, all supervised by veteran Wally Veevers.

A formidable opening shot of an enormous fleet within the port of Alexandria, Egypt, was an excellent matte portray, doubtless by Bob Cuff, who described portray on this movie.  Bob was one in all Wally’s foremost artists and labored on scores of notable British movies akin to HOBSON’S CHOICE, MASQUE OF THE RED DEATH, MACKENNA’S GOLD, COLDITZ STORY, THE GUNS OF NAVARONE and THE ADVENTURES OF BARON MUNCHAUSEN.  Bob additionally labored on Kubrick’s 2001 with Wally, whereby as a change of tempo, he created compelled perspective bodily moonscape miniature units.

A serene maritime setting simply previous to a significant underwater demolition job.  A completely manufactured visible results shot utilising Wally’s most popular methodology of matting miniature (or painted) ships into actual water, full with an excellent painted sky.  I am unable to make sure whether or not these ships had been fashions or painted, however really feel after a number of viewings they’re doubtless matte painted, nearly actually by Bob Cuff who simply beloved intricate, extremely detailed work akin to this.

Similar harbour setting in a subsequent day shot main as much as the dramatic motion piece.  As soon as once more, not solely certain however really feel the ships presumably painted on a separate airplane to the painted metropolis and sky past.

Frames from the second of destruction, with glorious cel animation supplemented mine explosion.

Advanced shot with an already multi-element composite additional prolonged with further matted in explosion component.

I feel it is a actually spectacular photographic impact, even contemplating the underside of the ‘explosion plate’ arrange is clearly evident right here as nonetheless frames, however by no means seen actually within the precise sequence.  Most likely some tender roto mattes across the water eruption to glorious mix end result.

Wally was himself, an skilled vfx cinematographer, with a considerable catalogue of movies and trick pictures underneath his belt.  For a few years he was matte cameraman to the legendary Walter Percy ‘Pop’ Day, and so they labored collectively till Day’s retirement, at which level Veevers assumed command of the Shepperton results division round 1952.  Wally had a knack for inventing units and tools for results pictures, often at residence in his workshop the place all of the instruments had been at hand.  He developed essential ‘movement repeater’ units for taking pictures mattes and fashions on movies like THE BLACK ROSE and BATTLE OF BRITAIN and contributed enormously to Stanley Kubrick’s 2001.

The second destroyer blows sky excessive as properly.  Once more, a really advanced mixture visible impact scene right here, and so as to add the icing to the cake, Wally has this second ship sway violently from the blast, coming near a capsize. Completely excellent fx design and execution right here, and my hat’s off to Wally and his unit.

Once more, I am making an attempt to determine whether or not it is mannequin destroyer motion or painted, with the in any other case static glass portray tilted body by body to swimsuit what will likely be an explosion component doubled in later.  Word:  A few years later Al Whitlock additionally used an identical ‘body by body tilt’ of a big painted glass of the HINDENBURG zepplin, hand cranked one body at a time, for the shot on the climax the place the airship explodes and drops down just a few levels on the mooring mast in New Jersey.  This SILENT ENEMY sequence is extremely properly accomplished, although if my reader(s) are extra of the ‘DC’/’Marvel Universe’ bent, then this may all be so nil curiosity, sadly.

The Rock of Gibraltar and harbour stuffed with warships, as considered from an airplane, was a full matte portray, once more doubtless one other of Bob Cuff’s mattes.  Bob was a extremely revered technician within the UK movie trade.  I used to be sharing some emails with Kent Houston, whose fx firm Peerless Optical in London, would all the time try to exit of his method to attempt to safe Bob’s companies for any matte assignments on movie, television and commercials.  Kent informed me that Bob was an absolute gentleman, in addition to the best matte artist he’d been concerned with.

Matte painters additionally working alongside Bob at Shepperton on the time included Albert Julion, David Hume and head matte painter, George Samuels, the brother of Ted Samuels, who was chief bodily results man for a few years.

Huge maritime miniature mayhem.  Sadly, the excessive pace images wasn’t anyplace close to ‘excessive’ sufficient to scale down the growth sufficiently.  I do not know what excessive speeds had been doable again within the 50’s…. most likely not far more than 72fps – at most – I would think about?

Airplane shot down was a break up display screen job with mannequin airplane in tank with painted backing at Shepperton, whereas the foreground ocean is the true deal, matted in, as Veevers usually did, to lend an genuine scale to the ocean.

Seems to be like the very same ‘explosion’ component used for the ship scenes earlier on.

Matte artwork from simply above Laurence Harvey’s head.

A full matte painted evening scene with actual ocean plate added in.

Extra midnight mass destruction in miniature, although as talked about, the pictures did not fairly have a slow-enough movement to bulk all of it out.  Wally’s results cameramen, with him for a few years, had been John Mackie and Peter Harmon.

Cut up screened in foreground motion with an intensive painted view of the ship and background vessels.

Multi-part composite:  Actual foreground water, painted ships, and numerous explosion parts strategically positioned to glorious impact.

Gibraltar harbour chock-filled with ships.  The ships are all matte painted, and I assume the Rock itself and sky may very well be too, however I is likely to be mistaken?  Probably an precise stay plate of Gibraltar and port, with simply the Navy painted on glass, which on reflection I would are likely to suppose is the deal right here.

Now, this shot could be very cool.  Virtually a full display screen matte portray – even the shut foreground with even the jetty and twine, in addition to all the sea visitors!  Only a portion of ‘actual’ ocean matted in for concerning the mid quarter of the body.

Giant miniature, filmed within the tank this time.

The Service provider Navy suffers yet one more blow…

A single body – with every successive body being dramatically completely different – from the cel animated underwater mine explosion.  Seemed good in last shot.

Ultimate scene, presumably a mixture of foreground miniatures in tank(?) and intensive matte artwork for remainder of it.  The distant ships are all on a single transferring glass, as all journey in unison on the similar pace.

So, all up, an incredible film should you’re something like NZ Pete, who loves these ‘particular commando/saboteurs on harmful mission’ sort situations.  I learn tons of true life accounts and have many books on WWII.

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Paramount’s grand, Technicolor costume extravaganza, OMAR KHAYYAM (1957) was a reasonably hokey affair, however then a lot of the ‘desert romance/excessive journey’ flicks of the day weren’t far more.

As with all previous Paramount brand’s, this grand, widescreen rendering for the studio’s VistaVision excessive decision digital camera unfavourable course of, was painted by previous time matte painter Jan Domela.

John P. Fulton was accountable for the photographic results, which included principally matte artwork and a little bit of miniature work on the finish.  Farciot Edouart all the time made damned certain he received his identify up on display screen on each Paramount movie, despite the fact that on this case it simply amounted to at least one or two course of pictures.  I used to be informed a joke about Edouart.  In addition to being fairly smug and self essential, he was decided to stay with the studio lengthy into the break up of the particular results division, when Gulf & Western had been chopping prices in all departments.  Each time the ‘fits’ from the top workplace in NYC got here to the Hollywood lot, Farciot would run off and actually conceal in little ‘boltholes’ he knew about, scattered across the lot, in an effort to avoid wasting his neck from the hatchet-men and their metaphorical axe!  They caught him in the long run, and I will wager he was lead away kicking and screaming(??)  Solely in Tintseltown!

Fairly various painted mattes had been used for OMAR KHAYYAM, with the same old duo of fx cinematographer Irmin Roberts (excessive left) and painter Jan Domela offering the pictures.

The primary matte was this view of the Holy metropolis – a matte that was initially painted by Jan the 12 months earlier than for Alfred Hitchcock’s THE MAN WHO KNEW TOO MUCH (1956).  Jan has altered and repainted small particulars right here for the extra ‘historic period’ context of OMAR KHAYYAM.  See under for the unique model for Hitchcock’s movie.

The unique Hitchcock matte artwork, seen at two completely different occasions of day.  Word in decrease body the matting in of Muslim prayer guys on Minarets and so forth, in addition to small cranes and refurbishing development tools, all of which was painted over for the OMAR movie.

A grand establishing shot, additionally solely painted.  Jan Domela would get upset with how a few of his rigorously chosen hues would present fairly skewed when composited.  Jan’s daughter informed me he would complain about “cameramen and their use of filters that altered his color schemes”.  For proof, see under…

A rarity certainly, inasmuch as no Paramount Studio mattes are recognized to nonetheless exist, in contrast to MGM for instance, the place a whole bunch are floating round on the market.  In Jan’s each day studio diary he talked about pulling the matte from storage and ‘filling in’ the blacked out space for it for use as a ‘inventory matte’ for subsequent productions.

Element 1

Some peeling and chipping of Jan’s oil pigments evident.

Extra element.  Word Jan’s light color scheme in comparison with the off-kilter last manufacturing comp.

Some nice shut up element.  The matte is within the care of Jan’s daughter, and she or he stated “he simply got here residence with it sooner or later”.

Night outdoors the palace.  Word the oddly off-centre tower at proper??

Our swarthy hero, Cornel Wilde, rides towards the spectacular mountain high fortress of the unusual cult lead by Michael Rennie (so good in lots of different movies such because the good THE DAY THE EARTH STOOD STILL, although, I digress…)

Unfinished check from Jan’s album.  Seems to be just like the ‘craft service’ wagon at excessive proper?

It was a solidly constructed, close to indestructable fortress … although it did have one deadly flaw!

A really good matte right here.

The luxurious penthouse atop Michael Rennie’s 5-star, excessive rise, sacrificial, spiritual cult pad.  Groovy child.

Militia encampment at nightfall, as per Domela’s matte artwork.

The dawn strikes the golden dome.  Matte portray with an added glow impact, perhaps as an optical superimposition?

Issues flip for the worst, because the attackers uncover a intelligent ploy to destroy the mountain from inside.  Probably a matte portray right here with miniature higher half, or a complete miniature arrange?

The Fulton division had been nonetheless doubtless working on a excessive, having received the Academy Award for Finest Visible Results the 12 months earlier than for DeMille’s THE TEN COMMANDMENTS.

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Laurel & Hardy’s function size movies had been usually one thing of a blended bag.  Seemingly unrelated ‘sketches’ or irrelevant set items tacked loosely collectively to type an unwell becoming hour and ten minutes of mischief. Nonetheless, I will all the time watch ’em as I like previous time comedians, although the utter brilliance of The Marx Brothers will all the time be my ‘desert island’ box-set selection by a rustic mile.

Produced by the small Hal Roach Studio, A CHUMP AT OXFORD (1939) had it is justifiable share of guffaws and intelligent bits by the extremely skilled duo.  Roy Seawright was accountable for Hal Roach’s photographic results division as normal.

For a small outfit, the Seawright division at Hal Roach made each cent rely, and the on display screen outcomes again and again had been spectacular in lots of movies akin to ONE MILLION BC, TOPPER RETURNS and BONNIE SCOTLAND – all results heavy movies.  Pictured right here (foremost picture) is Roy Seawright with matte digital camera, and Jack Shaw, previous time matte painter on scores of movies for Roach, Selznick and Warner Bros.  Prime proper; an outline of the results workshop in 1939, with Jack Shaw at left with a horizontal matte stand; optical cameraman William Draper in center and Seawright with optical man Frank W.Younger subsequent to optical printer.  Backside proper:  Draper, Younger & Seawright with matte arrange.

England’s illustrious Oxford College, as depicted on the Hal Roach studio lot, with Jack Shaw’s matte portray.

A really humorous prolonged set piece has our dumb duo trapped in a hedge maze, courtesy of scholar bully performed by none aside from the good Peter Cushing in his first display screen position.  Now, should you look rigorously (overlook it in case you are on a fucking cellphone… nugatory for these blogs!) you will spot a wonderfully built-in flock of birds flying throughout the painted matte to lend some life to the impact – most likely as a bi-pack component.  Now, this was extraordinarily uncommon in these days, and I can solely consider a few different examples the place animated birds have been launched right into a static matte or matte composite.  KING KONG, THE MOST DANGEROUS GAME, SHE, and presumably the unique LOST WORLD did it too.

A second view of the hedge maze, with virtually all of it painted.

The matte painted clock tolls at midnight…

Evening view as Cushing and his bullies get into their ghostly get-up for a prank.

Bully will get jettisoned out of window, with Jack Shaw’s painted Oxford College matted in.

Ultimate matte, as bully-boy hits the pond.

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Now, to spherical this all up, as a small tribute to the not too long ago departed songstress, Tina Turner, I’ve the 2 mattes from TINA: WHAT’S LOVE GOT TO DO WITH IT (1993).  By the way, I appreciated Tina however by no means cared a lot for her later profession stuff.  Give me Proud Mary, River Deep Mountain Excessive or the distinctive Nutbush Metropolis Limits any day of the week. Man… that gal might maintain a tune!

The Ken Marschall-Bruce Block vfx operation Matte Results dealt with the contract for this movie, although attributable to heavy commitments on the time they introduced in one other matte artist for this shot.  Embarrassingly, neither Bruce nor Ken might recall who did this portray.  Ken thought it was fellow matte exponent Rick Rische, who did some work for them at occasions, however I am pretty certain Rick stated it wasn’t his shot.  Anyway, a completely invisible matte, made, as was their motto at Matte Results, on unique unfavourable.

The second matte was one in all Ken Marschall’s, and as normal, it was completely excellent.  Right here is the unique Los Angeles plate images, the conceptual portray by a member of the movie’s artwork division, and the plate masked off for Ken’s portray to rework the LA neighbourhood to one in all St Louis within the early 1960’s.  See under…

Ken’s magnificent matte portray, rendered together with his normal exacting consideration to element and photo-real end, a lot as a nice artwork illustrator would do, fairly the alternative to different notable artists of the normal period akin to Whitlock, Yuricich, Ellenshaw jnr and Dutton, who would use a much more impressionistic method, with liberal brushwork and broad block ins.

The flawless, completed unique unfavourable composite, from Ken’s personal 35mm pattern reels. By the way, the work went uncredited as did a lot of their matte assignments.

A more in-depth view, with Ken’s hand intentionally proven to reveal the very small dimension of his portray.  Ken informed me in my exhaustive 2015 three half profession piece how he would often paint his mattes whereas sitting down, on artwork card, laying flat atop his eating room desk at residence, in acrylics often, although when wanted he would use colored pencils, vivid marker pens, generally airbrush and no matter else wanted.  In contrast to different matte guys, Ken would use the tiniest brushes accessible in the marketplace, and will by no means fairly get his head round ‘the massive brush approach’, nor the considered standing at an easel for hours on finish.  Ken and Bruce’s little two man results home was an trade secret.  They by no means went in search of jobs, most simply got here as phrase of mouth, usually from Gene Warren jnr.  For 20 plus years that they had greater than sufficient work to maintain busy, and all the time needed to stay ‘under the radar’.

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***This submit, and all 180 earlier weblog posts referred to as ‘Matte Shot’, had been initially created by Peter Prepare dinner for nzpetesmatteshot, with all content material, structure and textual content initially revealed at http://nzpetesmatteshot.blogspot.com/

POSTSCRIPT OF NOTE:

As promised… a key particular visible impact in DIAMONDS ARE FOREVER was the magnificent Lana Wooden – youthful sister of the late Natalie Wooden.  One in all my fave Bond movies, with screenwriter Tom Mankiewicz giving Lana a beautiful introduction to Sean Connery on the blackjack desk.  LANA: “Hello… I am A lot”.  SEAN:  “Why after all you’re!”.  LANA: “No, I am A lot…A lot O’Toole”.  SEAN:  “Named after your father maybe”.   Cracks me up each time I’ve seen this flick… and that is about 30 occasions.

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I hope this weblog submit proved fascinating, illuminating, entertaining, irreverent and academic…

Do cross in your suggestions or feedback as I all the time welcome that.

Oh, and preserve tuned for Tom’s YouTube documentaries.

Peter