Matte Shot – a tribute to Golden Period particular fx: MATTE PAINTING REVIEW: A Choice of Ignored Movies

Good day there my fellow trick shot lovers, and welcome again to a different retrospective examine of these fantastic ‘old fashioned’ particular photographic results, matte work and miniatures that thrilled, dazzled and amazed us, and most of the time fooled us utterly that seeing was certainly believing.
This version of NZ Pete’s Matte Shot covers a broad and completely fascinating cross part of movies, genres, period’s and technical artists, with the knowledge on my half that there can be at the very least a few movie titles that many severe movie followers could by no means have heard of, and as far as young-ish readers go, in all probability the complete choice mentioned under being a whole and utter thriller and never in any method, form or kind on their collective ‘radar’!  So unhappy, however true!  🙁

What with a lot of the world going by way of all method of pandemic lockdowns, restricted actions and film homes in lots of international locations off limits, with the newest Hollywood releases delayed until subsequent yr most likely, now is an efficient time to hunt out a few of these ‘outdated’ footage that I write about right here (and people within the ‘about me’ film suggestions on the facet panel of this weblog) and watch a lot cinematic greatness.  You is likely to be pleasantly stunned!

Among the many movies celebrated right here at the moment are an thrilling Errol Flynn historic traditional journey from Warner Bros with many splendidly realised matte pictures; A rip-snorting ‘maritime western’ from Paramount which not solely is loaded with Oscar successful mattes and mannequin work, but in addition options one of many silver display screen’s most vivacious visible treats, my very long time favorite, the beautiful Dorothy Lamour!  What extra may one ask?  No, significantly of us ….. what extra???  Humour me!

Additionally on the roster at the moment is a terrific hard-boiled non-public eye movie noir flick from RKO studios with mattes and decidedly out-of-kilter hallucinatory opticals. There’s additionally a light-weight and leisurely Spencer Tracy-Hedy Lamarr (one other Golden Period doll, although I digress…) drama from MGM that is loaded with top quality Newcombe matte pictures.
There’s additionally an motion packed Zorro image with Tyrone Energy swashing his buckle from twentieth Century Fox that has some intricate optical jigsaw puzzle trickery along with first charge matte pictures from Fred Sersen’s folks that’s of extraordinary normal.





However wait…. there’s extra!!  The good Alfred Hitchcock has one in every of his early British footage profiled too, with elaborate and boldly eye-poppingly advanced and prolonged miniature set items very a lot uncared for and overdue for retrospective examination.  Lastly on the invoice at the moment is a forgettable teen comedy from the mid eighties – when all they ever appeared to provide had been the truth is forgettable bloody teen comedies – although this one options completely photo-real jaw-on-the-floor matte painted experience from the superb Ken Marschall that no one ever seen nor suspected – me included after I noticed the dreadful movie on a double invoice!  Absolutely sufficient right here to fulfill even essentially the most jaded tech followers of trick shot wizardry.

I used to be going to incorporate a Blast From The Previous piece on the legendary maestro, Emilio Ruiz one in every of my absolute fave trick shot exponents, and in a category of his personal, however could embody that subsequent ‘subject’.  Likewise a number of different ‘particular editions’ similar to one on each single conventional period matte produced by Industrial Mild & Magic in addition to just a few different fascinating articles.  Simply gotta be in the precise temper.

So, sit again and revel in this assortment, and please take the time to view on one thing larger than a damned mobile phone/good cellphone or regardless of the hell these godawful issues are known as.  These fantastic visible collections I publish are meant to be considered and appreciated on a good sized display screen, with increasingly entries being of excessive definition and remastered origin at any time when I can discover them, which ain’t at all times simple .

Take pleasure in and keep secure from the dreaded ‘bug’ wherever you occur to be.

Pete

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The 1936 Warner Bros epic, CHARGE OF THE LIGHT BRIGADE was one in an extended line of very fashionable and extremely profitable footage directed for the studio by the very versatile Hungarian born Michael Curtiz, who may work throughout a lot of genres with ease and had a exceptional success charge, particularly when he labored with star Errol Flynn and Humphrey Bogart.

Warner Bros had been on the high of their recreation in the course of the thirties and into the 40’s so far as particular results went, with their well-known and sizable ‘Stage 5’ particular photographic results division being the envy of the business.  Fred Woodruff Jackman was already a very long time cinematographer within the enterprise, and was the truth is a founding member of the ASC (American Society of Cinematographers) within the early 1920’s.  Jackman was instrumental within the visible results pictures of Willis O’Brien’s 1924 silent journey THE LOST WORLD (to be featured on this weblog very quickly), and some years later, together with fellow results cameraman Hans Koenekamp, arrange the massive particular results division at Warners-First Nationwide.  Described as “a studio inside a studio”, Stage 5 was an unlimited trick shot manufacturing facility with every little thing self contained.  That they had their very own designers and draftsmen, cameramen, editors, matte artists, miniature specialists, course of specialists and optical compositors.  Additionally they had their very own ‘insert unit’ which was a mainstay of movement image manufacturing for many years all through Hollywood, the place montages and particular bridging sequences had been frequent place and part of nearly each movie.  Many well-known administrators acquired their begin as Montage Administrators at Warners similar to Don Siegel, who would design and oversee some unimaginable trick sequences for memorable footage similar to YANKEE DOODLE DANDY to call a selected favorite of mine.  Siegel after all went on to direct a number of the finest Clint Eastwood footage, with DIRTY HARRY being an all out traditional for me.

An interesting behind the scenes photograph of Fred Jackman and crew members with what seems to be a two digicam bi-pack arrange for what I assume to be a posh travelling matte sequence.  Undecided what the movie is, however surprise if it may probably be the unimaginable THEY DIED WITH THEIR BOOTS ON (1941) which was a large results present for Warner Bros and featured astonishing, prolonged outside shifting motion pictures with forboding painted skies ‘doubled in’ over movement digicam strikes and livid motion with such consummate talent I can by no means recall ever seeing something fairly prefer it, although I digress…

Of observe because the main woman, the nice Olivia DeHavilland, died simply final week aged some 104.  Curiously, she outlived her main man by some 63 years, with Errol Flynn dying on the ripe younger age of 50 (!)  That is what legendary (and I do imply legendary) volumes of womanising, boozing and exhausting dwelling does to a fella!

The opening matte shot is a traditional of the romantic period of old fashioned establishing vista’s.  Matte painters on the movie would absolutely have included Paul Detlefsen, Hans Barthowlowsky, Mario Larrinaga and others.

The movie is partly set within the North West Frontier of India, and later takes place very distant in The Crimea, with a lot matte artwork required to furnish the unique locales.

I’ve at all times had excessive regard for matte work from the thirties, which I personally really feel was the Renaissance interval of the artform.  I like the design and ‘romance’ of the comb work and the style through which administrators and manufacturing designers of the interval utilised the method.  Right here the sky has been painted and matted in.  Matte cameramen at Warners included Edwin DuPar, John Crouse, Fred Jackman jnr and Hans Koenekamp.

The movie depends a terrific deal upon temper and plenty of fantastic painted skies, typically with drifting clouds and peeking moonlight.

Floor stage all precise set, with night sky painted in.

Clouds drift throughout the complete moon permitting a quick window of alternative for sabotage on the fort.

Day for evening motion with painted in sky.

Multi ingredient matte shot with full moon amid layers of drifting cloud.  Seems to be nice on display screen.

Foreground exterior set with painted clouds and fairly probably painted in background surroundings too.

Dwell motion battlements with painted sky rigorously smooth matted across the actor.  Most likely all unique unfavourable.

In accordance with historian and creator Rolf Giesen, “Fred Jackman did not do artistic work and simply collected the cash to maintain the Stage 5 operation going, with results administrators like William McGann, and cinematographers Koenekamp, Byron Haskin, Ed DuPar and son Fred Jackman jnr.”

The Crimea, with battle on the horizon.

Identical place seen afterward although with a distinct, nearer matte portray with adjustments for temper with sky and foliage because the troops set off to battle.

Once more, similar setting, although the temper has been intentionally lowered with darkish clouds coming in.  Properly finished.

It is all about to ‘kick off’.

Into the valley rode the 600…

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This 1985 launch from the dire Police Academy faculty of sweet sixteen comedy was barely memorable, with two up and coming stars featured – a really younger Don Cheadle (so nice in Boogie Nights a few years later), and a recent confronted Jennifer Tilly.  Apart from that it solely had the superb, but completely invisible matte pictures by Ken Marschall and Bruce Block to suggest it.

The tremendous proficient illustrator, tremendous artist, matte painter and Titanic historian, Ken Marschall, is pictured right here whereas an worker on the small visible results agency Graphic Movies circa 1982, with Ken’s large Earth portray arrange for TOMORROW IN SPACE.  Ken and fellow Graphic Movies staffer, cinematographer Bruce Block each needed to specialize in matte portray, although Graphic Movies had been fairly content material in protecting to their very own agenda, ensuing within the pair quietly experimenting on their very own time with creating unique unfavourable matte pictures purely out of fascination with the limitless potential of the medium.  The duo quickly had a demo reel of a complete vary of matte painted pictures, from utterly invisible ‘patch’ jobs and refined ‘alterations’ to precise settings, during to elaborate and spectacular, imaginary futuristic vista’s – none of which had been made for any precise characteristic movie initiatives, merely ready to point out what they may do and to serve with confidence as their demo reel for potential shoppers.

The movie is a type of a non-descript automotive crash comedy, and under no circumstances one the place visible results trickery could be suspected.  Assume once more pals!  It in all probability helped as one half of the Matte Results firm duo, Bruce Block, was additionally the producer of mentioned movie, thus making certain work for them the place in any other case mattes won’t have been figured.  This body is the unique plate pictures of the massive management room set.  The set could be massively enhanced by not solely Ken’s matte painted extension, but in addition a myriad of massive display screen graphics.

Ken’s portray of the management room set extension, full with painted in technicians and huge our bodies of mainframe computer systems.  The large screens have been left clean for added handcrafted graphics parts.

A better look.

One of many notations made concerning necessities for the graphics parts for optimum high quality.  The notes in purple are Ken’s directives to the corporate which might put together the transparencies.

Element of the individually ready matte artwork representing the on-screen graphics.  These could be filmed backlit, in two separate double uncovered passes over the principle matte painted atmosphere.

Extra backlit graphics art work which can be doubled into the principle shot.  The unique graphics art work was made into excessive distinction movie negatives at the very same scale of the portray by a facility known as Star Graphics in Studio Metropolis, California.

The reverse facet of the opaque black graphics matte card exhibiting the assorted movie negatives rigorously reduce out and taped into the exact place to adapt with the clean ‘screens’ on Ken’s unique portray.  Varied colored gels are seen right here taped in place behind corresponding ‘slots’.  On a second cross, contrasting colors had been employed.

The ultimate accomplished composite as seen within the unique Academy ratio 35mm print.

The identical shot as proven within the BluRay presentation with extra vibrant color and distinction.  Fantastic work!

A number of pictures had been wanted to point out the fictional Dana’s Nursery – one for daytime and the opposite for evening.  Right here is Ken’s preliminary sketch for not solely the nursery (at decrease centre), but in addition for a wholly completely different city panorama!  Ken instructed me within the very intensive profession interview I performed with him again in 2015 that such sketches had been often finished rapidly, in black and white, with the matte ideas often accredited – generally with some adjustments – from quite simple renderings identical to this.

The unique location plate pictures by Bruce Block, and the masked off portion.

Ken’s phenomenal completed portray affords a wholly recent cityscape along with the featured nursery.

Staggeringly tremendous work as proven right here on this shut up.  Ken at all times paints in acrylics, and most of the time renders these exceptional items at his residence close to the seashore, on his kitchen desk!  The art work is at all times utilized onto particular imported top quality artwork card inventory with a really opaque black floor.  Ken at all times beloved to color with tiny brushes and had an absolute mastery of sunshine, shadow and tone.  He instructed me he was ‘bitten by the matte bug’ so to talk when he and Bruce attended a few Albert Whitlock’s day lengthy VFX seminars within the mid 1970’s and he talked about holding Whitlock’s potential in very excessive regard.

The ultimate composite, made as per the popular Matte Results technique, instantly onto the unique unfavourable.

A sketch for a similar shot for the evening time view, with numerous notes and adjustments talked about similar to ‘take away this roof’ and ‘angle this extra towards the digicam’ and remarks about simply how seen distant buildings ought to be (!) and many others

Plate pictures and masks in place.

Ken’s completed portray.

The ultimate composite that no one ever seen.

As soon as once more, some backlit signage was employed.  Ken instructed me the art work had further particulars scraped into black Cel-Vinyl and gelled from behind.

The reverse facet of the backlight parts.  The signal art work and different evening time avenue gentle burn in parts have been mounted in place with colored gels taped on.  Ken mentioned:  “Because the card inventory we used wasn’t opaque sufficient, for double uncovered backlight passes like this I at all times added a layer of Exeter paper, which is extraordinarily lightproof, and stuffed in different areas with digicam tape.”

There have been two extra invisible matte pictures in MOVING VIOLATIONS that no one ever suspected (me included!).  Each are within the parade sequence the place the director needed the skyline modified in addition to a number of hundred extra ‘extras’ added in to what was known as the ‘passing the group’ sequence.  That is the unique plate, photographed in Lengthy Seaside, California.

Bruce Block has masked off the plate to get rid of any undesirable materials (which it appears is just about every little thing!)

The grasp does it but once more…. and superlatives escape me.  Breathtaking….have I used that one but??

Revealing element in Marschall’s rendering, which as his hand demonstrates, was fairly small in comparison with different matte exponents of the day who would typically paint at 3 occasions the dimensions.  Ken favored to color small and favored to maintain all of it ‘manageable’ and simply transported in a carry bag and capable of be filed away for secure protecting after the very fact.

Now, the shot wasn’t only a lavatory normal painted matte, but in addition required ‘crowd motion’.  Slot gags similar to shifting crowds, tree leaves, water and such like have been a standard trick relationship method again to the early thirties at the very least.  Typically glass work would have tiny areas rigorously scratched away to permit flicker units of 1 type or one other to be arrange behind the art work to lend the phantasm of ‘motion’ the place the truth is there was none.  As Ken did not paint on glass, any ‘gags’ needed to be launched as a separate cross or publicity.  Such was the case with this refined trick which Ken defined to me in 2015:  “The moire gag proven right here, could be double uncovered over the completed portray in a separate cross by way of the matte digicam.  The animated ‘individuals’ are only a bunch of holes in an opaque black card with colored gels tape behind, and made to undulate in brightness by way of using a moire behind that card.  The ‘holes’ had been made by portray black Cel-Vinyl onto Mylar, then scraping away the spots with a pointed instrument.”

Samples of a number of the specifically designed moire rigs made by Bruce Block and used at Matte Results for issues similar to crowd motion (higher left) and glowing water gags (backside proper) and many others.

For demonstration functions this picture exhibits an overlay of the realm of the shot the place the ‘crowd’ animation can be doubled in.

The reverse facet of the separate animation card exhibiting the small items of colored gel taped into place.

The utterly convincing completed shot with a seemingly animated ‘crowd’.  When requested as soon as whether or not anybody ever seen his refined shifting clouds in his meticulous matte pictures, Al Whitlock responded that individuals could not discover them shifting, however they do have a tendency to note if they’re NOT shifting.  Could not have put it higher myself.

The ultimate matte in MOVING VIOLATIONS is one other within the epic parade sequence, the place a brand new city setting in addition to a large crowd had been required.  Right here is the preliminary location as shot by Bruce Block.

Ken Marschall’s fantastically rendered acrylic portray that so precisely captures the sunshine, time of day and hues of the unique location plate.

A detailed look.

A good nearer look…

It does not get a lot nearer than this!   THIS is exactly why I implore you all to view the weblog on a good sized display screen!!!!

And right here it’s….  WOW.  All exceptional pictures, from a very unremarkable film.

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I’ve a particular penchant for the movies of Alfred Hitchcock, and particularly like his older ones similar to THE LADY VANISHES, REBECCA, FOREIGN CORRESPONDENT and my favorite SABOTEUR. This movie, celebrated right here, tends to be largely missed sadly, although it’s a corker of a flick with the entire Hitchcock parts – harmless man on the run, a terrific chase and a few unimaginable trick pictures and a wickedly ingenious last reveal.  The movie is YOUNG AND INNOCENT, made in 1937 by Gaumont, within the UK.  Within the USA it was known as THE GIRL WAS YOUNG for causes which escape me(!)  Nonetheless, it is a complete lot of enjoyable

Annoyingly, no results credit, which is a disgrace because the movie has intensive miniature and glass shot work.  I do know {that a} very younger Albert Whitlock was on the crew, possible as a scenic artist and probably helped the miniatures crew – each jobs he discovered himself concerned in throughout his days at Gaumont.  I do wonder if Filippo Guidobaldi could have probably been concerned too, as he was at Gaumont round then and specialised in miniatures?

Almost definitely a matte or glass shot the place the lighthouse, foreground cliff and homestead seem to have been added.  The sky is actual.

A number of pictures in YOUNG AND INNOCENT look like in digicam glass pictures made instantly on location.  The glass painted sky is a bit out of focus and is clearly painted round the perimeters of the roof and Tom’s Hat signage, which I might think about to be problematic, particularly because the glass appears to have been arrange too close to to the digicam.

Painted in distant countryside and sky.

One other results shot that is both a glass shot or an in digicam matte shot with a miniature dwelling and painted environment.  A smooth matte line is detectable operating throughout the setting simply above the heads of the actors.

A later nearer view, probably all miniature?

English countryside in miniature, permits ease of lighting for evening pictures.

One of many elaborately arrange and photographed miniature sequences.

A part of the intensive miniature village, railway and community of avenues that may characteristic in a pair of dynamic motion sequences that basically are properly orchestrated, shot and reduce collectively.  Kudo’s to all concerned.

For this sequence, the digicam begins on the prepare station and slowly strikes in, following a passing steam engine and eventually closing in on some individuals within the railyard amid the wagons.  Spectacular for 1937.

I used to be very impressed with the deep depth of discipline in the course of the digicam transfer, which for it is day would have been troublesome.

The latter half the place we shut in on the individuals, which had been small collectible figurines.  The modifying was good as we reduce to the precise actors earlier than we’ve got an excessive amount of of an opportunity to consider it.

One other nice sequence that impressed me no finish was this foot chase the place nearly all of it’s again projected miniature prepare yard and surrounds, with the actors operating in place on a treadmill.  What’s nice about it’s the course of plate is not static – the fx cameraman tracks by way of the mannequin setting with nice mobility.

Identical sequence, with even the method display screen trying remarkably crisp and evenly balanced projection arc illumination.  Once more, very spectacular for 1937, and higher than many later exhibits I’ve seen from huge studios.

Identical sequence, with the fellows in a rushing automotive – all finished in miniature!

Identical, with a completely superb shot from this angle with every little thing seen right here being mannequin work!!  I used to be blown away by it years in the past on television and figured this shot to be a stay motion one, however trying carefully on the HD print I’ve it is actually all miniature, but so properly photographed and engineered.  The one small giveaway is a barely seen focus pull which follows the autos as they method the digicam, which after all would not be the case if the arrange was precise sized.  Sensible little bit of undocumented, uncelebrated and shamelessly missed British technical experience.  Bravo boys!

In a rush, they attempt to outrun a quick approaching prepare!  All fashions naturally, the truth is each reduce on this prolonged chase was a mannequin shot or course of mixture shot, all brilliantly edited as one thrilling set piece.

They sprint throughout the rail traces simply in time…

I am unable to detect any type of equipment to propel the car.  Typically an invisible slit within the ‘roadway’ related to the chassis could be the strategy, particularly for American practitioners, however right here I simply do not know.

Capturing outside in precise daylight added massively to the success of this marvellous sequence.

I might like to know extra in regards to the workforce behind this.  If anybody has any data, ship it to me.

It is wall to wall mannequin work, for a number of minutes.  Very spectacular.

The automotive and prepare each have ‘weight’ which lends a lot realism to the quick motion.

Extra matte painted sky.

Nonetheless a part of the identical sequence, and it is all in miniature as soon as once more.

Nearing its climax, the motion strikes to the Grand Resort, which is one other mannequin.

Not an results shot, however a memorable Hitchcock shot certainly, the place the killer is revealed by the use of an extended monitoring shot (on a digicam growth) which makes its method by way of the ballroom of The Grand Resort and strikes proper into the twitching eye of the dangerous man.  Executed with model and nice comply with focus, this shot stayed with me for years after first seeing the movie a long time in the past.

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A strong outdoor motion journey/drama all arrange in Alaska, SPAWN OF THE NORTH (1938) was a type of water western, the place as an alternative of cowboys rustling cattle from the ranch, this present centred round competing fishermen rustling salmon and pulling all kinds of underhanded shenanigans amid the damaging icebergs.

SPAWN OF THE NORTH was the primary movie to win a particular Academy Award for it is particular visible and sound results in 1938 – a yr earlier than the precise finest results Oscar class was to be established.  Chief of particular results at Paramount was Gordon Jennings (high left); matte cinematographer Irmin Roberts (centre proper); matte painter Jan Domela (far proper).  Backside pics present the Paramount matte division with the Roberts’ brothers, Irmin and Oren manning the digicam.  Gordon’s brother, miniatures cameraman Devereaux Jennings, is proven at backside proper.

An business commerce journal from 1938 congratulates the Paramount results crew for his or her Oscar win – the primary given out for particular results work as a one off ‘particular achievement’ consideration.

Artwork Smith’s miniatures crew at work within the Paramount tank, although this photograph is of one other manufacturing made across the similar time on the studio.

Did I point out that the eternally effervescent Dorothy Lamour was on this film?  What… I did not?

Henry Hathaway directed a lions share of nice films all through his profession.  My fave was TRUE GRIT (1969), with the nice John Wayne in his Oscar successful position… although I digress…

It is all about ‘fish piracy’ and gun totin’ vigilantes on the excessive seas….  A mega forged with high line expertise similar to Henry Fonda, George Raft, John Barrymore and the at all times fantastic Akim Tamiroff because the perennial dangerous man, oh, and did I point out Miss Dorothy Lamour is right here too because the gal caught within the center.

The primary of a lot of matte pictures by Jan Domela.  Dutch born ‘Johan’ Domela was a mainstay at Paramount for over 40 years, with a profession that began in 1927 and ran by way of to 1968 when he bowed out of the movie business to pursue a profession in tremendous artwork.  Amongst his many credit are the unique silent THE FOUR FEATHERS, DR CYCLOPS, THE TEN COMMANDMENTS and later at MGM for THE UNSINKABLE MOLLY BROWN, THE MAN FROM UNCLE television collection and THE GREATEST STORY EVER TOLD to call however just a few.

One other of Domela’s work seen right here previous to compositing by matte cameraman Irmin Roberts.

The composite shot.  *These uncommon earlier than and after images and plenty of tales had been kindly equipped to me over a decade in the past by Jan’s daughter, Johanna, to whom I’m most grateful.

A detailed view of the portray element.

A second later matte with evening time motion.

One other earlier than and after establishing shot of the Alaskan fishing city.

Domela’s matte artwork.

The placement stay motion plate.

Closing composite.

One other SPAWN matte shot in progress, with miniature fishing boats.

The ultimate shot with intensive matte artwork flawlessly blended with Artwork Smith’s miniatures.

Amid the icebergs.  Efficient mixture of foreground soundstage ‘moist’ set and miniature background blended through Farciot Edouart’s course of projection.  The underside fringe of the method display screen is hid by prop ice movement.

Totally miniature scene right here, together with the individuals.

That collapsing iceberg is just a little too shut for consolation…

Our fishermen are in grave hazard because the boat is drawn into the trail of cascading ice.

The small determine ‘strikes about’ because the mannequin boat collides with the iceflow.

Properly reduce sequence the place fashions, course of and stay motion are all intercut and at occasions mixed as one.

Good scale miniatures with shifting ‘crew’ figures seen in some pictures.

All of it seems fairly efficient, even now some 80 odd years later and will need to have made fairly an affect again in 1938.

Miniature building by Artwork Smith and Harry Reynolds.

Good course of work by Farciot Edouart and course of cameraman Loyal Griggs.

It is mayhem on the Alaskan excessive seas.  The movie received Oscars for each visible and sound results which for a few years was normal AMPAS Oscar process, whatever the full disconnect between the 2 sciences.

Extra earlier than and after frames demonstrating miniature and matte painted composite.

Artwork Smith’s miniatures within the tank at Paramount.

Extremely efficient, although finally unused last shot with Domela’s portray doubled in.

An alternate take with completely different matte artwork as seen within the launch print.

The ultimate showdown on the icy ocean, all executed in miniature below Gordon Jennings’ supervision.

The adversaries sq. off in opposition to each other.  A type of ‘Fish out on the O.Ok Corral’.

Wonderful tank shot suggests fashions will need to have been of a pretty big scale.

The badly wounded George Raft forces the lower than honourable Akim Tamiroff to drive head first into a large, but unstable iceberg in a suicide mission.

The top is close to….

Not a seaworthy vessel I think.

The Captain at all times goes down along with his ship, because the legend goes.

The township is type of quiet after the maritime sq. off.

Dorothy Lamour – Paramount’s Princess.  Say no extra!

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A leisurely John Steinbeck story, TORTILLA FLAT (1942) can be set, by sheer coincidence, in a fishing neighborhood, with a powerful forged together with Spencer Tracy – oddly forged as a Hispanic, although he did win an Oscar just a few years earlier for taking part in one other Hispanic fisherman(!) in CAPTAINS COURAGEOUS so, go determine!  The good John Garfield performs second fiddle – an actor who handed far too early – whereas the beautiful Hedy Lamarr gives the love curiosity.

MGM’s visible results cinematographer Mark Davis proven right here with matte supervisor Warren Newcombe.

I’ve by no means actually managed to ‘get into’ the John Steinbeck world, and discover movie variations of his tales an actual endurance check.

The setting for the movie is made up nearly fully of MGM soundstages, backlot units and far matte artwork.

A pleasant opening shot is nearly all painted, full with a layer of drifting clouds, which is one thing not typically seen in matte pictures produced by the Warren Newcombe division.

Soundstage set augmented with painted high up and an optical ingredient of smoke rising.

Extra vital painted in surroundings and sky expands a stage set.  The clouds drift right here too.

This could be a scenic backing, as MGM had a primary charge backing division run by George Gibson. I are inclined to assume it is possible a smooth blended matte portray.  Newcombe and Davis had been among the many finest when it got here to concealing matte blends by way of their pastel matte work, with matte joins very exhausting to detect, and the weather extraordinarily regular.

The inside of the native church with canines operating amuck.  The highest half of the body has been painted in.

Not within the least pertaining to the artform of visible results, however certainly one thing of a visible impact herself, the splendidly proficient Hedy Lamarr (who in addition to being a primary charge actress was additionally a patent holding inventor!) who I learn someplace tried to sue Mel Brooks for utilizing a jokey likeness of her extremely recognisable title for the chief villain in BLAZING SADDLES (Hedley Lamarr) as performed by Harvey Korman, who at one stage quips to the legendary Slim Pickens “That is 1877 my pal… we’ll be capable of sue her!”

A masterfully blended matte shot with the be part of operating throughout the body simply above Spencer Tracy’s head.  The mix in of the tree trunks is excellent.

A key set piece happens within the Redwood forest, which was fully fabricated by Newcombes artists and a really restricted soundstage set.

And sure, the troup of canines do play a significant half within the TORTILLA FLAT proceedings.

A uncommon {photograph} of the unique, meticulously drawn pastel art work which nonetheless survives to today.  Observe the absence of solar rays which can be superimposed by Mark Davis as a separate painted ingredient to finish the impact.

The solar rays break on by way of and shed new gentle onto everyone’s issues.

An impressive excessive up-view with terrific perspective in play.

The solar’s God Rays break on by way of and illuminate the canines and the outdated man.

The outside of the city church is an nearly fully painted shot, with solely a small space of stay motion across the door.

A reverse angle of the inside the place Newcombe’s artists have contributed a lot structure.

All’s properly that ends properly.  Most likely a matte painted view used as a course of plate which was frequent at MGM.

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I’ve a smooth spot for the outdated 1940’s non-public eye thriller flicks, and the RKO image MURDER MY SWEET (1944) is as darkish, powerful, two fisted and as sharp tongued as the most effective of the movie noir style needed to provide. Extremely really useful for followers of the Raymond Chandler-Philip Marlowe faculty.

RKO’s chief of particular photographic results for a few years and greater than 100 movies was Vernon L. Walker.  Walker began off within the business as one in every of Mack Sennett’s cameramen on scores of silent two-reelers after which labored for a time at Fox earlier than transferring throughout to Warner Bros-First Nationwide the place he was assistant to Fred Jackman on the seminal THE LOST WORLD (1924).  After just a few years with the studio, Vernon did a stint at Columbia and eventually discovered his residence at RKO, as assistant to photographic results supervisor. Lloyd Knechtel.  Ultimately Walker turned head of the consequences division at RKO and contributed to many memorable movies, essentially the most noteworthy being the unique KING KONG, BRINGING UP BABY, CITIZEN KANE and BOMBARDIER – all huge trick shot enterprises.  Walker died instantly in 1948, along with his very long time assistant, Russell Cully assuming headship of the division for a number of years earlier than handing over the reigns to Linwood Dunn.

A key member of the Vern Walker (proper) RKO photographic results division for many years was Linwood Dunn, seen right here at left along with his pleasure and pleasure, the Acme-Dunn optical printer.  Dunn was one thing of an optical jigsaw genius, and his artistic stamp was evident (although most of the time, invisible) on tons of of movies – each for this studio and afterward from his personal results home Movie Results of Hollywood.

Based mostly upon Raymond Chandler’s novel FAREWELL MY LOVELY – which itself was filmed a number of occasions – MURDER MY SWEET ranks up there with the most effective of the Bogart footage, with main man, Dick Powell wonderful within the Marlowe position because the quintessential cynical, belief no one – particularly a dame – anti-hero.  Terrific efficiency underscored by some cracking dialogue, moody cinematography and a few genuinely nightmarish conditions.

Not an enormous results movie, however a number of efficient mattes in addition to a brilliantly conceived and assembled ‘dream sequence’ later within the proceedings all contributed a lot to the result.  This opening shot seems to be a matte painted avenue with animated neon lights and with doubled in site visitors, and used as a rear projection plate at a window for a gradual dolly in.

A blink and also you’d miss it matte shot the place I am pretty sure the one actual ingredient is the automotive and the little bit of street.  I am certain all else has been painted.

Our anti-hero arrives on the home to quiz a questionable dame about some nasty enterprise.  Matte painted shot right here.

The inside of mentioned homestead, an RKO set properly augmented with painted higher half of body.

Course of shot with what seems like a matte shot used because the background plate.  Actual ocean and painted metropolis and sky within the distance could be my guess.

The preliminary body from an enormous tilt down matte impact possible assembled by Linwood Dunn on his optical printer.  See under.

Highrise penthouse is all matte painted down so far as the highest of the driveway wall.  Matte artists working at RKO round this time included Fitch Fulton, Chesley Bonestell, Juan Larrinaga and others unknown.

Nearer view of the decrease a part of the massive tilt down, with the demarcation line clearly in proof.  The washed out stay motion portion may counsel rear projection compositing?

Most likely essentially the most memorable level in MURDER MY SWEET comes afterward the place Marlowe, our likeable anti-hero has his drink spiked and goes on essentially the most nightmarish ‘journey’ and a close to demise expertise.  The montage sequence was designed and overseen by Douglas Travers, and a ripper of a sequence it’s too, starting with Dick Powell in free fall tumbling by way of a weird ‘Twilight Zone’ sort area.

The montage is wall to wall opticals, course of methods and mind-bending manipulation, all composited by Linwood Dunn and Cecil Love, below Doug Travers’ artistic path in RKO’s optical room.

I might say the sequence will need to have shaken audiences up considerably again in 1944.

Shades of Dali, Escher and German Expressionist cinema appear evident.

Run, run, as quick as you possibly can …. I am coming straight for you!  Very efficient in each respect.

Director of Images Harry Wild was, I imagine, a visible results cameraman previous to this project, and labored below Jack Cosgrove on issues like PORTRAIT OF JENNIE.

Montage, as I discussed earlier on this weblog, was actually an artform in a world of it is personal, particularly all through the 1940’s the place it was extraordinarily in style and sometimes beautifully utilized, probably few more practical than right here.  It misplaced favour within the fifties and onward, so it may be an actual deal with to see some old fashioned creativity every now and then.

When will this nightmare finish?  To assume, all this fuss over a easy flu jab…. I dunno!

The sophisticated wrap up happens on this very noir-ish residence above the crashing surf.  All painted after all, with simply the water being actual.  Observe, the extremely seen ‘speckles’ of paint evident in numerous areas of the portray.  These are more than likely tiny factors or ridges of paint that had been by no means smoothed over sufficiently and are catching glints of sunshine from the tungsten lamps throughout composite pictures on the matte stand.  RKO appeared ceaselessly tormented by this artifact on so many productions.  CITIZEN KANE was suffering from them as had been many different mattes in a wide range of movies.  By the way, later artists similar to Albert Whitlock would at all times paint extraordinarily ‘flat’ to keep away from this drawback, and through a interval of apprenticeship below Whitlock within the mid-1960’s, Jim Danforth’s first job was to softly run a razor blade throughout areas of loaded paint on a few of Albert’s Common mattes to get rid of unintended ‘speckles and glints’ – a process the fledgling results man discovered nerve-wracking till he turned assured all of it labored out harmlessly.

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There have been so many incarnations of the storied masked hero Zorro, with this Tyrone Energy outing THE MARK OF ZORRO (1940) being memorable, not the least for the grab-bag of visible results wizardry from Fred Sersen and his industrious SFX division at twentieth Century Fox.

A celebrity from days lengthy gone, and by my reckoning has in all probability starred in extra large VFX films than probably every other actor!  All for Fox, assume SUEZ, IN OLD CHICAGO, THE RAINS CAME, UNTAMED, THE BLACK ROSE and THE YANK IN THE R.A.F to call only a handful.

Surprisingly the movie had no particular results credit score, regardless of the quantity of mattes and optical gags.  Fred Sersen would have been in cost, along with his very long time proper hand man and fellow results artist, Ray Kellogg at his facet.

Fox had been at all times dependable when it got here to visible results, and so had a really massive matte division which included, at numerous occasions round this era Emil Kosa snr and his son Emil jnr; Joseph Serbaroli, Max DeVega, Lee LeBlanc, Cliff Silsby, Barbara Webster, Ray Kellogg, Gilbert Riswold, Menrad von Muldorfer, Christian von Scheider, Irving Block, Jack Rabin and Fitch Fulton.

Extra matte artwork from the opening sequence which is suffering from such splendid pictures.

It was a standard gag at Fox to bi-pack a tree with gently shifting leaves and many others over a matte shot in order to interrupt the static high quality frequent to painted views.  Sersen would implement this trick numerous occasions in lots of films through the years.

Along with the matte pictures, THE MARK OF ZORRO had a lot of invisible opticals and patch up pictures which can be close to not possible to detect. One such shot was this seemingly easy bit the place Tyrone hurls his sword straight upward whereby it imbeds itself into the wood beamed ceiling.  I do not know the breakdown apart from it was certainly a ‘trick shot’.  ???

Matte shot that appears extensively painted, with only a little bit of grime street and water being actual.  The water could also be a distinct stay motion plate altogether and tied in very convincingly with the art work and foreground motion.

One other attention-grabbing scene that I am satisfied was an advanced optical/matte set as much as allow Zorro to experience at full gallop throughout a tiny, slim footbridge to flee the pursuing troopers.  I’ve studied this sequence body by body and in slow-mo a number of occasions and it is an actual head-scratcher.  I am below the impression that the ‘tiny’ slim bridge was in all probability rather more substantial in width and energy, and probably Sersen ‘narrowed’ it with mattes and possibly painted in gorge?

One other doable clarification may very well be the horse with rider being filmed galloping throughout a plain white or gray floor (in pure gentle), with mattes being extracted to permit the horse footage to be dropped into the principle exterior stay motion plate?  It is at all times been a thriller and I might like to know the background right here.  I am 99% satisfied it was an elaborate visible impact, and given Fox’s photographic results capabilities it will come of no shock to me that Sersen’s optical guys, headed by James B. Gordon, may pull this off with utter realism.  They did unimaginable work like this on different movies like THE RAINS CAME and IN OLD CHICAGO which nonetheless stand head and shoulders above most others.

Of curiosity as this shot seems just a few occasions, and every with a completely different matte portray added in past the bridge.

Right here it’s once more, with painted in Hacienda and panorama…

…and but once more with painted in boulders and brush.

Right here is one other ace photographic impact that I might like to get the complete lowdown on.  Well-known optical pioneer, Linwood Dunn, as soon as acknowledged “The Mark of Zorro had extra optical methods than you might shake a stick at” – or phrases near that impact.  This sequence has Zorro cornered on a bridge throughout a quick flowing river, leaving him no alternative than to make the leap – horse and all.  This was essentially the most advanced optical/matte scene within the movie, and as soon as once more, even repeat viewings make it exhausting to determine, however I am going to give it a go.  I am certain the decrease bridge pilings, river financial institution and speeding water are all in miniature, matted completely with the stay motion up high – with a few of that within the background being probably painted(?)

Our masked hero and his trusty stallion take the leap of religion…

I do not actually know, however counsel the falling horse and rider might need been rotoscoped into the already multi-element scene.

The large splash concept (wasn’t {that a} sit-com?) … I believe that is one more ingredient generated elsewhere as a sensible impact, and doubled in optically simply because the roto’d horse and rider hit the (miniature) river??  It is an unimaginable, although temporary scene, however has had me fascinated for years.  I do know it is all a supreme instance of sleight-of-hand, however simply the way it was finished, I am simply placing forth my opinion. I’ve mentioned this scene up to now with premier results artists Mark Sullivan, Jim Danforth and Rocco Gioffre and I recall they too had been simply as curious and in search of the reality.  If anybody has any data, do inform Pete.

Closing ZORRO shot may in reality be an precise church inside, I do not know.  However right here it’s for the sake of debate.

Oh, and perennial display screen vilain, the legendary Basil Rathbone, is splendid on this movie – as he at all times was.