Matte Shot – a tribute to Golden Period particular fx: MATTE TRICK SHOT REVIEW: Scaling The Heights of Excellence

Hello there pals… and welcome to a different version of NZ Pete’s Matte Shot; your veritable ‘one cease store’ for all issues ‘conventional’ so far as painted mattes go, in addition to different types of old skool handcrafted movement image trick pictures.  I’ve bought some fantastic materials assembled right here, an excessive amount of which hasn’t been seen earlier than.

The title banner on todays version, Scaling The Heights of Excellence, was most deliberate.  It truly encompasses not only a very spectacular results stuffed Alpine movement image from the late fifties, but in addition doubles as a private tribute to the current passing of one of many visible results neighborhood’s most revered members, the late Invoice Taylor, with whom I’ve had many useful and interesting interactions with over various years.

This version of Matte Shot includes a lengthy overdue retrospective on the astonishing Disney image THIRD MAN ON THE MOUNTAIN – with celebrated matte artist and visible results designer Peter Ellenshaw offering dozens of thrilling trick pictures.  Additionally, in a not fully coincidental end result, I’ve included some bafflingly properly executed trickery carried out by none apart from Ellenshaw’s personal step-father, the nice Walter Percy Day, from certainly one of his last movies, the brooding, although wonderful Carol Reed image OUTCAST OF THE ISLANDS reviewed right here.  Additionally, how can NZ Pete launch a weblog with out a minimum of one previous MGM present?  Effectively, the superbly acted and directed MADAME CURIE is one such image, with a dozen fantastic Newcombe mattes, of the standard readers of this weblog have develop into accustomed to (regardless that everyone knows Warren by no means painted a single one himself!)

Final within the line up is ZARAK – a giant finances UK interval swashbuckling actioner set in what would finally develop into Pakistan, with some Tom Howard supervised sprawling mattes, a tricky sq. jawed hero and a spectacularly eye-popping main girl who stuffed the luxurious and vivid compositions of the CinemaScope body admirably.

Lastly, some very thrilling information – properly for Pete it is monumental in VFX thrill issue.  I’ve been lucky certainly to have been despatched the lengthy misplaced earlier than and after HD transfers of the matte showreels of previous time Common matte exponent, Russell Lawson (thanks a lot Thomas).  These authentic 35mm reels – relationship from the 1950’s – have been in storage among the many late Invoice Taylor’s assortment for many years, and have among the many practically 12 hours of 35mm showreel materials masking all of Al Whitlock’s work and subsequent Phantasm Arts assignments.  I had supposed to incorporate them right here on this weblog, however will as a substitute accomplish that ‘subsequent situation’.     I did nevertheless embrace one fabulous pattern on the shut of this weblog.

Take pleasure in,

Pete

***This publish, and all 172 earlier blogs referred to as ‘Matte Shot’, have been initially created by Peter Cook dinner for nzpetesmatteshot, with all content material, format and textual content initially revealed at http://nzpetesmatteshot.blogspot.com/

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BILL TAYLOR – Revered VFX Cinematographer, Inventor, Magician, Collector.

With the unhappy passing a month or so in the past of Invoice Taylor, I am utilizing this chance to pay tribute to a person whose many contributions to the movie trade – to not point out the world of stage magic and phantasm – have earned various accolades through the years. 

Invoice Taylor pauses for a snapshot whereas on a desert location in 1994 for the movie SPEECHLESS.

Though I by no means met Invoice in individual, I can say that I did get pleasure from a most fruitful and extremely academic line of communication with him for various years, via an awesome many e mail missives forwards and backwards, largely with reference to matte pictures, photographic results and technical breakdowns.  We additionally had some fantastic discussions on cinematographers, such because the late, nice Gordon Willis; movies that had been ignored, results wizards from the golden period and some private opinions Invoice had on sure auteur administrators he’d had the displeasure of working with.

I’ve been so very lucky since I created this weblog round 12 years again.  There have been so many specialists within the discipline who’ve been more than pleased to reply my ‘inane’ questions, clarify modus-operandi, share lengthy misplaced tips of the commerce and mainly open up.  Guys like Harrison Ellenshaw, Mark Sullivan, Jim Danforth, Gerald Larn, Brian Johnson, Matthew Yuricich, Syd Dutton and others, have been so beneficiant with their time.  Invoice was one such gentleman – and from feedback I’ve obtained from others, he was a gentleman – the place no query would ever go unanswered, trick pictures have been damaged down and defined in unimaginable element, proper right down to the movie inventory used and whether or not the movie had been ‘flashed’, and so on.  Invoice’s reminiscence on all facets of not simply the thousand odd trick pictures he’d little question labored on, however on the work of others within the enterprise, was phenomenal to say the least.

Far left:  Invoice at Phantasm Arts capturing some bi-pack components.  Center: Lining up a blue display screen shot for THE GATE.  Proper:  Invoice and Syd and their wonderful journey.

Solely now do I realise, having spoken to Invoice’s very long time affiliate, Syd Dutton, that this kind of ‘giving again’ and furthering the tutorial facet of the consequences enterprise was one thing Invoice was pushed by.  

In a current dialog between Syd and myself, I requested about Invoice’s pursuits, understanding him to be a really eager magician and within the strategy of writing a e-book on the topic, Syd summed up his longtime good friend and collaborator so properly:  “Sure, Invoice did end his magic e-book. I’ve no details about publication.  Invoice had so many pursuits. Magic might need been his past love. His sister only in the near past informed me that at her marriage ceremony, he lower one her bridesmaids in half. I do know he had an act, wearing prime hat and tuxedo  together with the compulsory engaging feminine assistant, however sadly I by no means noticed a efficiency”.

“Our lengthy 26 yr partnership in all probability labored as a result of we have been so totally different. Invoice was lively in the entire visible results neighborhood and advancing the science of cinematography. I used to be solely involved with portray and fixing visible issues. Invoice was additionally an avid clock collector and fascinated by totally different actions, problems and the way it impacted the historical past of navigation. After lengthy hours in entrance of the easel, my solely curiosity was driving residence to my household and a stiff drink”.

“Invoice additionally beloved music. However that’s one other story amongst a number of others.  

Invoice’s residence, during which he lived your complete time I knew him, he’d had that fully ‘tricked out’ – a treasure trove of an eccentric, multi-faceted man.
I informed somebody that Invoice was like a Swiss Military knife, the specialty blades neatly folded and hidden away till wanted”.

A number of the faces of Invoice Taylor.  At left, busy with Albert Whitlock rigging the miniature 747 jumbo jet for the ocean crash in AIRPORT 77.  Prime proper exhibits Invoice manning the trusty matte digital camera for a shot for the movie WEEDS, during which a typical road in North Carolina will probably be remodeled right into a bustling New York Metropolis avenue.  Decrease proper is a uncommon behind the scenes image displaying Invoice (in white shirt) with Jim Danforth (manning digital camera) and Laine Liska capturing results checks for the unfinished movie COLD WAR IN A COUNTRY GARDEN (aka THE MICRONAUTS) *photograph courtesy Jim’s wonderful memoir Dinosaurs, Dragons and Drama.

Two necessary items of equipment that Invoice utilised every day all through the photo-chemical period at each Common and in a while at Phantasm Arts.  On left is the tried and trusty Mitchell-Fries 35mm matte shot digital camera.  On the fitting is the studio matte digital camera mounted on a sturdy lathe mattress as used for photographing work, making latent picture composites and introducing components inside particular pictures by means of the bi-pack association.  Notice the lamphouse seen on the proper, permitting the digital camera to additionally function a projector for displaying a body of the unique plate images onto the primed and ready glass for the matte artist to hint off and make the mandatory perspective traces and different necessary selections.

Matte painter and all spherical visible results exponent Mark Sullivan wrote me:  “The information about Invoice shook me up. Invoice, Albert Whitlock and Syd Dutton have been an enormous inspiration to me rising up (and now, too).  I recall assembly Invoice when he visited Jim Danforth, at Jim’s studio. I used to be engaged on my first skilled matte portray on the time. Being in the identical room with Invoice Taylor and Jim Danforth, I felt very privileged, and fortunate!  As Invoice was very expert and knowledgable, he was equally as form and courteous.”

A fantastic behind the scenes photograph from the making of the Oscar successful THE HINDENBURG (1975), which was Invoice’s first project when employed by Albert Whitlock at Common – and as Invoice as soon as regaled to me, nearly turned his final project!  From left to proper are assistant matte painter Syd Dutton; matte digital camera assistant Mike Moramarco; visible results supervisor Al Whitlock; results cinematographer Invoice Taylor; key grip Larry Shuler; and particular stills photographer Larry Barbier.

Years in the past, Invoice informed me about his first ‘journey’ with the fated German airship on the backot:  “I used to be decided to shoot the miniature airship in actual daylight; no phoney stage lighting for me!  I experimented with an odd scheme for matting the miniature that I assumed would work in daylight that looking back sounds ‘Fulton-esque’.  In these days a day-lit blue display screen was not saturated sufficient to provide a very good consequence.  I shot the mannequin airship in opposition to black velvet, with the solar as the important thing gentle.  I stuffed within the miniature with a row of arc lights with deep blue filters, balanced in order that seen via a blue filter the ship gave the impression to be flat lit. Black element just like the swastica was painted blue.”

“My intent was to print a silhouette matte from a  blue optimistic separation,  which I hoped would have uniform density all through. Then the foreground element would go on with the inexperienced separation used twice, via blue and inexperienced filters, and with the crimson separation. This in fact was a kind of simplified Vlahos colour-difference dupe. The highlights and shadows and the crimson patch across the swastica reproduced usually on the inexperienced and crimson separations.  Do not assume something like this had been tried in color.” 

“Intelligent scheme, eh?  In observe, a catastrophe!   The gray airship simply soaked up the blue gentle, and even with arc lamps cheek by jowl, it proved to be not possible to gentle the shadow facet uniformly sufficient so there weren’t translucent areas within the matte.  To attempt to get the solar depth in steadiness with the arcs. I had the grips hold a web over the airship.  If there was a couple of layer of web, there have been lovely moire patterns solid on the ship.  There was a little bit wind on the again lot on at some point, which ripped the web, and down it got here, the place the arc lights burned holes in it. 

 It was due to Al Whitlock’s monumental clout on the studio that I bought to do that within the first place, and didn’t get fired consequently!”

“I started to re-think capturing the miniature in opposition to blue display screen on the sound stage, which we lastly did.  On Common’s largest stage,stage 12, which was proper exterior our door, I might again the only key gentle 200 ft away to get actually onerous, parallel shadows.  I beloved these previous arc lights, which have been near being level sources of sunshine.   A fantastic massive wrap-around diffuser produced shadowless fill and a floor fabric produced the suitable bounce from land, water or decrease clouds.  We dollied the digital camera on rails which rested on a fastidiously screeded sand mattress, so the digital camera transfer was useless clean” .

THE HINDENBURG – Invoice with grip Larry Shuler at left, and with cameraman Mike Moramarco at proper, within the strategy of filming the publish crash wreckage of the dirigible.  The partially seen full scale rigged airship skeleton can be matted out and changed with fully painted components by Whitlock.

Invoice had been an entry degree worker at Ray Mercer Opticals within the early sixties, progressively transferring from van driver and basic helper, to studying optical line-up work and at last digital camera operator.  “Throughout my ten years at Mercer and a while with Linwood Dunn at Movie Results of Hollywood, I launched myself to Al Whitlock round 1965, by chilly calling him at Common, and likewise to Petro Vlahos, from whom I realized the Color Distinction Blue Display System for travelling mattes.  These two gents modified my life, as a result of when Whitlock wanted a blue display screen ‘skilled’ for THE HINDENBURG, he employed me to take the newly retired Ross Hoffman’s place”.  Invoice additionally remarked:  “In between Mercer and Common I did the opticals and served as advisor on John Carpenter’s and Dan O’Bannon’s DARK STAR – and I additionally wrote the lyrics for the title tune, ‘Benson Arizona’.  You will get to do just about something you possibly can within the low-budget movie world.  So, briefly, I labored 9 years at Mercer, one yr freelancing, ten years at Common and 26 years at Phantasm Arts.  I’ve been so fortunate.  Most of my colleagues have had dozens of jobs, and I’ve actually solely had three”.

Earlier than and after, with the ultimate composite.

Additionally from THE HINDENBURG was this seemingly atypical, mundane manufacturing shot that I would by no means appreciated, till Syd Dutton drew it to my consideration, as described under.  This kind of ingenius drawback fixing was what conventional trick images was all about of us…

For fairly a while I had assumed the shot proven above to be a bit of newsreel footage, however then Syd Dutton talked about a selected HINDENBURG fx shot that all the time made a long-lasting impression:   “One among my favourite fx pictures within the movie wasn’t a portray in any respect, and I used to be referring to the lads on the information line shot at magic hour after which in daylight to simulate the explosion. Pure genius.”  Syd then requested Invoice to jot down me his recollections of the actual shot, which now places a complete new spin on the temporary lower for me:   “Syd is referring to the shot during which the lads holding the mooring traces are all of the sudden lit by the explosion of the airship above them.  Our digital camera was on one of many massive nook pylons of the airship hanger in  Santa Ana.  The identical males have been shot twice in precisely the identical positions, their ft fastidiously marked and every man paying attention to his physique place.  In a single shot they have been in full solar from above, casting robust shadows.  On cue, they dropped the traces and ran away.  Within the second shot, made later the identical day when the solar was low sufficient to be off them (Magic Hour), we shot them in the identical spots, trying upward on the airship.  I had shot a Polaroid of the fellows within the first shot and we used it to cue them into matching poses.”

“The shot within the movie begins with the Magic Hour shot.  With a really soft-edge wipe we transitioned to the brightly-lit males color timed to look as if they’re lit by the exploding airship.  Their shadows present exclamation marks as every man runs for his life.  As a result of the scope of the shot is so large, it will have been not possible to realize the impact with any lighting instrument and naturally any actual pyrotechnic impact would have been very harmful.  As Syd mentioned, an excellent thought.  Albert didn’t get hung up on whether or not the impact was bodily ‘genuine’; he knew that for the few seconds that have been wanted it will play completely.”

Whitlock with Taylor on location in Vermont on Interstate 89 capturing plates for what’s going to develop into the fictional city of Milburn for the movie GHOST STORY (1981).

Invoice checks his f-stop whereas atop an elaborate manually ‘pushed’ digital camera dolly/sled, as constructed by key grip Lyn Ledgerwood, for a significant sequence within the movie GHOST STORY.  Within the scene, actor Craig Wasson, in the end blue screened into this miniature plate, tumbles to his loss of life, with the digital camera each trailing the scary descent with him, along with capturing the next up-view of the actor falling face first straight into the glass atrium.

On board The Queen Mary, in Lengthy Seashore, for the filming of CHAPLIN (1992).  From left:  Invoice, Larry Shuler, Albert and Syd.

Veteran cease movement exponent, matte artist and fantasy movie visionary, Jim Danforth, labored with Invoice on various events, relationship again to the early 1970’s, and informed me he had very fond reminiscences of these occasions:  “For a few years, I owned an MGBGT car. It accommodated two properly, however there was solely a small again seat, plus the bags space.  Invoice typically curled up within the baggage space.  What enjoyable we had”.  Jim and Invoice collaborated on tasks as numerous as the favored KUNG FU tv collection, John Carpenter’s cult flick, DARK STAR, the low finances Australian drive-in basic ESKIMO NELL, and the unfinished science fiction challenge COLD WAR IN A COUNTRY GARDEN.
“Invoice was very beneficiant, and he gave my spouse Karen and me tickets to see Angela Lansbury and George Hearn in Sweeney Todd, the Demon Barber of Fleet Avenue, He additionally took Karen and I to some magic exhibits starring David Copperfield, for instance. Invoice additionally took the official studio portrait of Al Whitlock and was a proud member of the ASC – the American Society of Cinematographers.”

Unknown to many, Invoice additionally plied his thespian skills, and appeared in bit components in issues just like the terrific authentic ASSAULT ON PRECINCT 13, INTO THE NIGHT, THE FOG, BEVERLY HILLS COP 3 and others.

A curious snapshot which as soon as once more proved some superb visuals might be conjured up with essentially the most rudimentary of supplies and a substantial diploma of creativeness.  That is the particular digital camera rig constructed for the explosive climax of the exceedingly groovy flick, THE CAR (1977).  In reality, it was my curiosity concerning the visuals on this movie which prompted me to contact Invoice a few years in the past – not for one second anticipating a lot as a response.  Invoice shortly replied, amazed at my curiosity on this forgotten bit and elaborated on the scene in nice element, for which I used to be – and remained – very grateful.  Proven listed below are Invoice, Mike Moramarco and Al Whitlock with the house constructed lens distortion rig that may create the demonic incarnation from the bowels of hades for the fiery climax.

Ever since I noticed THE CAR again in ’77 on the massive Scope display screen at our Cinerama theatre – full with pounding Leonard Rosenman rating, it has been a favorite for NZ Pete.  This is what a considerably stunned Invoice needed to say after I wrote him: “I am glad you want this shot.  As time has handed and know-how has improved, it makes me wince.  The face was a lot subtler in earlier variations, however previews revealed that a lot of the viewers didn’t get the gag, so we re-did it far more blatantly.  I assumed {that a} horn on the soundtrack, accompanied by a flashing title that learn, ‘massive demon face’ was the subsequent logical step”.

“We began with massive naptha fires and gradual movement flame thrower movie components simply as you thought.  

We shot components of white Mole smoke in opposition to black in our studio, which we cherry-picked to seek out fascinating shapes, then reversed into black smoke to function the background for the face.  The face options have been constructed from black fabric on an articulated wire armature so the mouth might transfer.  The material was dampened with napthalene – like lighter fluid, good yellow flame – and set alight, blown with a fan and photographed in color at a excessive body fee, in all probability about 120 FPS.  I recall that it dripped little drops of flaming naptha.   Regardless that the face was a reasonably good dimension, the flames have been too massive in scale and ‘miniature-y’ trying so we hit on the concept of capturing them via a transferring distortion glass to interrupt them up”. 

“The ultimate consequence was not precisely completed as a lot because it was deserted, since we simply ran out of time. Leonard Rosenman’s music helped rather a lot!  I assumed that this was a reasonably good movie during which the subtler concepts are the simplest, just like the creak of the ground boards simply earlier than the automobile seems within the barn”.

Nonetheless so cool in any case these years.  So far as flaming satanic beasts from the pits of hell go, this evil bastard get’s my vote each time!

In an astonishingly rare-as-hens-teeth snapshot right here my pals is the aforementioned ‘Satan’ in all his sock-puppet, ‘lamb chops’ meets Cujo glory!  My pal Thomas Higginson despatched me this, and a few of the different pics right here, and had this to say:  “This is one other pic of that odd ‘The Automotive’ gag.  There you may see Al with the toy race monitor transmitters that managed the rotational pace of the distortion lenses and Syd in charge of the sock puppet.  The image says all of it!”

One among my all time favorite films was THE BLUES BROTHERS (1980), and alongside just a few mattes, Invoice engineered a present stopping sequence the place a whole flop-house in Chicago is blown to items by a patently off her head Carrie Fisher.  The view right here was in truth an enormous photograph blow up of the particular location, salvaged from the small quantity of head trim from the unique 35mm manufacturing take.  The blow- up was closely massaged with painted contact ups and blends.  Invoice informed me all concerning the trick, as defined under, which I believe is a corker of a shot.

“The explosion shot for The Blues Brothers could also be extra superb than you understand” Invoice revealed to me.  “There isn’t a precise miniature at work right here; it is all an enormous blow up, however fastidiously divided into two planes.  The again aircraft photograph of the resort was pasted onto a big skinny sheet of fabricated plasterboard, made with a really brittle method.  The photograph/portray was closely scored with a Stanley knife in order that it will break aside on the applicable locations.  There have been holes lower clear via for window openings, and so forth.  The again of the plasterboard was ‘wired’ with a big serpentine sample of the smallest, ‘gentlest’ detonation twine accessible.  As a result of the ‘det-cord’ is nearly instantaneous, the timing was important to permit the naptha bag explosion to develop earlier than the plaster was blown.  A small scale take a look at decided that timing.  There was just one full dimension take wanted”.  Curiously, as an apart, a few years later on the VES tribute to Al Whitlock, director John Landis regaled the viewers and panel along with his reminiscence of being invited onto the consequences stage by Al to witness the epic occasion.  As soon as the cameras rolled at a really excessive and noisy body fee as was wanted, it was throughout in a mere second…. mainly a ‘poof’ and a fast ‘flash’.  Landis reported witnessing the occasion first hand as being “Extraordinarily unspectacular”, however as soon as completed and lower into the daillies the shot regarded one million {dollars}.

A fantastic insider have a look at the Phantasm Arts crew making a smoke impact or different gag with numerous liquids for an unknown manufacturing within the Nineties.  Left-to-right: Matte cameraman Mark Sawicki, Invoice and miniatures wrangler Lynn Ledgerwood.

The every day routine at Phantasm Arts within the mid nineties, with Invoice retrieving 35mm authentic damaging ‘held takes’ from the chiller; setting the magazine onto the movement management system; and capturing a multiplane matte/miniature arrange for DENNIS THE MENACE.

One of many causes Invoice discovered himself fascinated by trick images was the work and movies of the legendary Ray Harryhausen.  Here’s a image of Invoice presenting Ray with an award on the Academy of Movement Image Arts & Sciences.  The frames proven listed below are, in fact, from Ray’s exceptional JASON AND THE ARGONAUTS (1963) –  a movie which stimulated the imaginations of so many future visible results exponents, to not point out many hundreds of ‘monster child film’ freaks like yours really and I am sure, a complete swag of Matte Shot readers on the market.

Talking with Invoice a decade or extra in the past, he shared his reminiscences of early influences:  “After I noticed JASON AND THE ARGONAUTS in the summertime of my freshman yr at Pomona faculty, at which I flunked out after simply three semesters, I used to be instantly impressed by Ray Harryhausen’s instance to search for a profession within the visible results discipline.  I used to be thunderstruck to appreciate that right here have been visible illusions on such an unlimited scale.  Up till then, and in contrast to nearly all of my contemporaries within the results world, I had not been particularly considering visible results, and even in images; however since my inventive skills have been nil, it a minimum of appeared {that a} life within the film enterprise as a technician was potential”.

Like me, Invoice admired so lots of the previous results movies, and we talked at one stage concerning the work in Disney’s fabulous DARBY O’GILL AND THE LITTLE PEOPLE (1959) – a movie I nonetheless regard as maybe the head of all spherical trick shot excellence.  “A number of the basic stuff is so excellent, that it is onerous to think about what’s actually occurring.  I bear in mind being completely baffled by the trick perspective work in DARBY O’GILL, and Peter Ellenshaw’s work, till I lastly learn a proof someplace.  So, I used to be delighted to be a part of Randy Cook dinner’s crew years in a while the trick perspective pictures he designed for THE GATE.  Later I devised the transferring digital camera trick perspective method used within the first LORD OF THE RINGS movie, which allowed restricted dolly strikes in depth, so I really feel like I made a tiny contribution to the development of the artwork”.

The numerous sides of Invoice.  At left attending a tribute for comic and actor Steve Martin – himself  a lifelong devotee of magic – Invoice demonstrates a collection of sleight-of-hand coin tips he realized from a really younger Steve, again within the early 1960’s whereas working collectively within the magic retailer at Disneyland.  Higher proper exhibits Invoice and Syd conducting certainly one of their day lengthy seminars on VFX, whereas the decrease proper has Invoice demostrating to a gaggle of aspiring results college students.

In an e mail, Invoice informed me about his pursuits in stage magic:  “I used to be certainly considering each stage magic and sleight of hand, and have created a number of stage illusions which were carried out by magicians around the globe, together with Harry Blackstone jnr, and The Pendragons”.  On the time of writing to me Invoice mentioned that he was nonetheless busy as an phantasm designer at Owen Magic in California.  In one other dialog we talked about favorite cameramen, understanding Invoice to be fond of men like Jack Cardiff.  “On the movie BRENDA STARR, which was lit and shot by Freddie Francis, I requested Freddie what his secret was for ‘glamour lighting’.  He mentioned ‘Put an awesome massive gentle over the digital camera, and get Brooke Shields if you happen to can!'”  Invoice continued:  “I all the time needed to get Freddie and Jack Cardiff collectively and simply document their dialog, however I might by no means fairly handle it.“

At left:  Albert and Invoice at Phantasm Arts in 1992, pose subsequent to a really massive matte portray of ‘Hollywoodland’ for the movie CHAPLIN.  At proper, Invoice recieves the John A. Bonner Medal of Commendation from AMPAS in 2013.

Telling a tall story maybe?  Invoice manages to crack up fellow vfx man Harrison Ellenshaw.  I despatched Harrison a duplicate of this picture, which to my shock he’d not seen, and he mentioned: “If I recall that was a presentation on the Academy’s Linwood Dunn Theatre. Invoice himself persuaded the Academy to call it that. That is former ILM’er John Knoll to Invoice’s proper.  John and his brother invented a factor referred to as Photoshop”.

Invoice carried his information of movement image visible results necessities throughout the normal photo-chemical period and properly into the digital area with ease.  Curiously, Phantasm Arts – the corporate he and Syd co-founded in 1985 – would typically combine each conventional and digital instruments on the identical movie or television project properly into the late 1990’s the place, as a realistic resolution, each strategies might sometimes praise one another to ship an efficient finish consequence.  Syd informed me he appreciated to color his mattes utilizing the customary artists’ instruments and medium at any time when the chance offered itself, and usually discovered the older course of extra satisfying as a skilled painter.  The historically rendered work, if not composited as authentic damaging or rear projection have been typically scanned as a big digital file and augmented or manipulated with pc know-how, although the muse and integrity of so many pictures made within the CG period, remained ‘handcrafted’.

A dire movie, however some lovely photographic results work from the Common matte division, RED SONYA (1985) noticed Invoice create some fascinating gags to accompany the beautiful painted mattes:  “We have been fairly proud of our pretend lava on this movie.  It was all back-lit, constituted of plastic wheels, positioned at a raking angle to the digital camera.  They have been painted so as to add bits of texture.  As standard process, we shot this gag via mushy splits, with a number of passes, and so forth.  We made a separate lava ingredient that Frank van der Veer and Barry Nolan used elsewhere within the film”.

The epic ‘Massive Apple’ sequence from Sidney Lumet’s THE WIZ (1978) stays one of many bona-fide eye popping vfx pictures of the last decade – and past!  There are some eight painted components, 13 particular person filmed components, a motorised styrofoam apple which have been all assembled in some 34 separate passes via Invoice’s matte digital camera and an additional six passes via the optical printer!

Invoice remembered the sequence proven above as one thing of a nightmare to tug off:  “All I can see is the matte line across the apple, which, for some motive did not trouble Al in any respect!  We had different takes the place the miniature apple match completely, however the shot was so sophisticated that one thing else went flawed in each certainly one of them.  It was one of many pictures made on our matte shot digital camera with a number of passes, after which carried over to the optical printer for the apple, in order to keep away from duping the work”.  I requested the pretty apparent query concerning the conventional photo-chemical period optical composites and the complexities therein:  “No… I do not miss the ‘good previous days’ one little bit!”

Invoice was recipient of an Emmy award,  together with Al, Syd and your complete Common matte division employees, for the visible results work they completed on the Biblical miniseries A.D (1985), and would later accumulate a pair extra for the television collection STAR TREK-THE NEXT GENERATION in a while, and was a founding member of the Visible Results Society.  If all that weren’t sufficient, he was additionally on the Board of Governors on the Movement Image Academy.  

Invoice with two buddies – matte cameraman Mark Sawicki (left) and matte painter, good friend and co-founder of Phantasm Arts, Syd Dutton (proper).

                                   William (Invoice) Frank Taylor, ASC   1944 – 2021

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NZ PETE’s RANDOM MATTE FROM THE ARCHIVE:

Having so many matte pictures in my archive, it isn’t all the time simple to indicate ’em all, irrespective of now a lot I really feel they deserve some consideration.  That is one such shot that I like and desires some consideration.  That is the opening shot – a full portray – from the Andre deToth western LAST OF THE COMANCHES (1952), starring the nice Broderick Crawford.  The present was a Columbia image, so Larry Butler and Donald Glouner would have taken care of the trick work.  No thought who painted this good shot, however presumably Juan Larrinaga – the brother of Mario – who was a fixture at Columbia for years.

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PETER ELLENSHAW REACHES THE SUMMIT:

A few of Disney’s greatest stay motion movies have been made within the fifties, in my view.  THIRD MAN ON THE MOUNTAIN (1959) is among the many class catalogue which included exhibits like 20’000 LEAGUES UNDER THE SEA, THE GREAT LOCOMOTIVE CHASE and naturally, the delightfully marvellous DARBY O’GILL & THE LITTLE PEOPLE.

Key to the fun issue of the, largely real mountaineering sequences, have been the handfuls of excellent matte pictures supervised by the nice Peter Ellenshaw.  Peter, for these new to my weblog, was one of many true masters within the artform of painted mattes, with an extended profession originating within the mid 1930’s in England, beneath the steely gaze and brushmanship of his mentor, Walter Percy Day – the Grandfather of British particular results.  Peter would develop into a staple at Disney Studios, with Walt himself giving him a lifelong contract on account of his astonishing work on the studio’s first stay motion image, TREASURE ISLAND in 1950.

Grasp matte artist Peter Ellenshaw is proven right here at work on a foreground in-camera glass shot for one more of the studio’s massive productions, IN SEARCH OF THE CASTAWAYS (1962) filmed at Pinewood Studios in England.

I am not conscious of anybody else recieving ‘Matte Artist’ display screen credit score earlier than Peter did on all his Disney movies, even way back to 1950 for TREASURE ISLAND, and in reality it will be a long time till an identical credit score appeared on display screen for any different practitioner

Matte painted view which opens the movie, which though was The Matterhorn, was modified within the script to The Citadel for some odd motive?  Perhaps the true Matterhorn threatened to sue?

One of many beautiful mattes by Peter Ellenshaw which jogs my memory of his work which open the sooner BLACK NARCISSUS.

The Swiss village, presumably a set on the Disney lot with an intensive make over by the matte artist to increase the view.  The matte line runs throughout simply above the heads of the extras.  In line with Peter’s son Harrison, various the mattes in THIRD MAN have been completed as latent picture pictures, on authentic damaging, which Disney did utilise on and off round that point on numerous productions, earlier than settling into their in home rear projection composite methodology which they might just about stick to all through the sixties and seventies.

I am undecided on this shot.  If it’s a matte then it is a very properly blended and matched matte.  The movie was largely shot on location in Switzerland, with an excessive amount of first fee skilled climbing unit materials expertly built-in into the pictures with the actors.

Apparently the movie was initially referred to as BANNER IN THE SKY, and after a not very enthusiastic field workplace take, would once more revert to this alternate title for later TV showings.  The important response nevertheless for the movie on it is preliminary launch was good and it is held in excessive regard amongst many Disney fanatics to this present day.

Unsure with this one, however strongly suspect it is an precise 2nd unit shot?

The quite a few moments of hazard in THIRD MAN ON THE MOUNTAIN have been completed with fastidiously designed and composited matte pictures, comparable to this thriller of a shot.

My favorite shot within the flick is that this devastatingly properly executed downview of James MacArthur atop a spindly pinnacle, excessive above the valley ground.  I’ve all the time had a factor for excessive perspective portray in matte work.  Completely like it!

Even in a matte shot you’d by no means get NZ Pete to be up there!  🙁

Unquestionably the work of Peter Ellenshaw, along with his trademark cloud brushwork and lightweight as witnessed in a lot of his personal wonderful artwork and likewise scores of film matte pictures.

One other lower, this time with drifting mist added in.

Peter had two assistants within the matte division right now, Albert Whitlock and Jim Fetherolf.  I am certain each males lent a hand in furnishing such a lot of mattes.  Invoice Taylor as soon as talked about to me that Al realized a lot from observing Peter paint.  The fast block ins, typically utilizing towels, rags or big brushes, adopted by an intense interval of extremely centered dabs and ‘expressions’, the place Peter instinctively knew simply how a lot to color, and the place to attract the viewers’s eye in.  In line with Invoice, Al acknowledged his personal portray progressed in leaps and bounds on account of watching Peter paint. Peter was a extremely prolific and really quick matte artist.  A grasp, and by all accounts, a real gentleman.

I am most impressed with the stay motion plate images on this movie.  Virtually all the plates seem to have been fastidiously shot in pure gentle versus studio lit soundstage mock ups, the place the ‘pretend’ studio arc’s of the day by no means matched the Kelvin of precise daylight and have been for many years, all the time a useless giveaway.

Being alpine, the climate can change on the drop of a hat.  The skies darken and a storm rolls in…

A superbly manufactured alpine storm, combining multi-plane Ellenshaw matte artwork, with the mountain vary, a minimum of two layers of glass painted clouds, and cel animated lightning bolts in addition to the interactive gags.  Very good work.

This movie’s director, Ken Annakin, did various exhibits for Disney, beginning with SWORD AND THE ROSE in 1953.  Ken was an enormous admirer of Peter’s skills, and would seek the advice of and utilise matte pictures often on many footage.  In an interview with movie critic and historian Leonard Maltin when discussing the huge variety of results pictures for SWORD AND THE ROSE, Ken had this to say:  “Walt particularly had the image (Sword and the Rose) designed in such a manner to make use of the utmost variety of painted mattes; in truth, we used sixty-two mattes in all on that movie, and it allowed us to provide the image a wider sweep visually than it ever might have had.  It resulted in Peter being given a life contract by Walt Disney.  I bought very taken up with this matte method, and continued to apply it to later footage, however I nearly needed to practice new artists myself, and go on to them the kind of tips I assumed Peter Ellenshaw relied on.  However Peter simply knew learn how to modify actuality to make it look realer than actual”.

It is Matterhorn 5-0 for James MacArthur.  One other splendidly painted set extension that almost certainly slips by unnoticed, break up screened into a very real looking exterior setpiece.

The climate turns treacherous.  Matte artwork and a number of fx gags.

Director Ken Annakin was apparently recognized within the enterprise as ‘Panicin’ Annakin’.

I used to be chatting with Peter Ellenshaw’s son, Harrison, about this film and he mentioned:  “Your point out of THIRD MAN ON THE MOUNTAIN (authentic title BANNER IN THE SKY) introduced again some very nice reminiscences.  I used to be solely 13 or 14 after I travelled with my mom and father to Zermatt, Switzerland to the situation for THIRD MAN. I used to be even an additional for 2 pictures. I recall that we mixed the journey with a go to to my grandmother and her husband Walter Percy Day, OBE. You’ll have heard of him.”

One other dizzying matte, with drifting mist and cloud layer.

The marry ups of the work and the stay motion plates are actually spectacular on this movie, with blends fairly onerous, if not not possible to detect in most cases.  Tender matte demarkations would recommend authentic damaging images and compositing.

THIRD MAN might be a largely forgotten movie right now, although it is worthy of rediscovery and appreciation because it’s an awesome little movie.  One other couple of nice little Disney flicks are KIDNAPPED and GREYFRIAR’S BOBBY made a pair years later, made earlier than they focused on foolish, squeaky clear and largely unimaginative matinee fodder.

One other vertigo inducing level of painted view.

Extraordinarily convincing alpine grandeur, created on Peter Ellenshaw’s matte easel.

Not someplace I would pitch a tent of us!

Our sort-of villain, the fantastic character actor Herbert Lom – who performed much more baddies than most actors have had sizzling dinners – in a precarious state of affairs.  An fascinating results shot right here.  I am questioning whether or not the background of mountains and valleys might need been precise location nonetheless images, matted into the foreground synthetic snow set, and blended with an expertly painted in precipice.  No matter Peter did, it labored a deal with.

This present is likely one of the uncommon Disney movies that did not depend on studio sure sodium pictures to position the actors into 2nd unit footage.  Disney have been gung ho on the yellow backing travelling matte system, and, come the 1960’s would use it continually – if not excessively – on nearly all of their movies.  I do not recall any travelling matte pictures in THIRD MAN in any respect.

Would have regarded implausible on the massive silver display screen again within the day.

The ultimate scene because the adventurers return residence.  Higher half of body is painted, with the matte line curling round simply above James MacArthur and Michael Rennie’s heads and down throughout the set.

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JOSEPH CONRAD’S DARKNESS OF THE HEART:

After the sunshine and breezy Technicolor journey mentioned above, we transfer into far darker territory.  OUTCAST OF THE ISLANDS (1951) was a really intentionally grim and forboding narrative certainly – simply as one would possibly count on from something penned by Joseph Conrad (ie: LORD JIM and most notably, the underlying theme, characters & complete premise of Coppola’s good APOCALYPSE NOW).

I’ve written a lot concerning the results work and contributions of the grandfather of British particular results, Walter Percy Day – or Poppa Day as he was well-known within the trade.  For these not within the know, Pop was step-father to the aforementioned Peter Ellenshaw, and thus be got here step-grandfather to the additionally aforementioned Harrison Ellenshaw.  Expertise seemingly runs in that household.

A dynamite solid in my e-book, all exquisitely photographed by John Wilcox, and brilliantly directed by Carol Reed.  Percy Day by no means appreciated to be lumped as ‘particular results’ in movie credit, and far most well-liked ‘Course of Photographs’ as his specialty apparently.

A few of my favorite actors characteristic on this present; the fabulous Trevor Howard, Ralph Richardson and Robert Morley all offered stable performances – as did the darkish and mysterious native magnificence, ‘Kerima’, who has a complete truckload of psychological points.  Wonderful, although unsettling British movie, and a prime shelf manufacturing all the way in which.

The image was made on location for essentially the most half – although the place, I do not know – someplace steamy and unique.  The fictional locale isn’t recognized within the movie however appears to be like like Malaya or Borneo to me. That is an results shot BTW, with foreground solid and set mixed with ocean and schooner through travelling matte.

One other wider view, with what will need to have been an enormous blue display screen.  I solely observed it as being a travelling matte on a BluRay viewing not too long ago, as earlier editions have been strictly VHS or YouTube.

Apart from various blue display screen composites, made at Shepperton Studios beneath the supervision of Wally Veevers, there may be actually only one particular photographic results sequence, but it surely is a considerable and superbly executed, prolonged set piece that may be very a lot worthy of inspection.  The sequence in query entails the damaging navigation of the ship via close to impassable coastal reefs and rocky outcrops, the place hazards lurk at each flip.  It might not sound like a lot to the Marvel or X-Males VFX overload era, but it surely’s a remarkably adept and complicated puzzle to traditionalists like me.

There is not a lower within the 3 minute sequence that is not an results shot of 1 kind or one other.

Strikingly, each shot within the a number of minute sequence includes a visible results shot of 1 kind or different.

Strive as I’d, I’ve by no means been capable of firmly set up how Day and Veevers managed to tug off the quite a few pictures.  This materials is extraordinarily spectacular, and frequently blows my thoughts as I attempt to deconstruct the work.  That is what ‘particular results’ actually quantities to.

One of the best guess on my half is that mixture set ups involving miniatures, glass work and precise ocean footage have been in some way merged in layers…?

I am nearly given to consider an identical technical variation on Ray Harryhausen’s Dynarama/Dynamation methodology the place a miniature might be ‘sandwiched’ inside an already pre-composited results shot by means of break up display screen mattes?  Some pictures recommend this.  The pictures are quickly lower, so repeat gradual movement evaluate on my half proved one of the best wager, however even then, left me scratching my head.

Actually miniature rocky pinnacles and outcrops have been utilized in some pictures, and matted with precise ship footage, comparable to the place the vessel nearly involves grief on this bit.

I am considering, multi-plane glass work with actual sea?

Blue display screen work in all probability carried out by Doug Hague or Bryan Langley, with the latter typically working with Wally Veevers and an skilled in travelling matte composite images.

Probably a full tank miniature arrange right here.

I would donate a kidney to see a breakdown of the weather for a shot like this.  There’s much more concerned right here than you could assume within the temporary time the shot seems on display screen.  Perplexingly good!

Undoubtedly a multi-plane glass shot as proven under…

Painted foreground, water precise, and individually painted background – all expertly ‘moved’ because the boat passes via the hole.

This was certainly one of Pop Day’s final movies earlier than retiring.  By this time Day had a number of painters working for him, together with George Samuels, Albert Julion and Judy Jordan.  Pop’s son, Thomas Day had been a cameraman for his father from way back to the mid 1930’s,  in an unpaid capability for essentially the most half!

Generally, particular results cinematographer Wally Veevers had typically prevented capturing miniature boats in tanks and most well-liked, the place potential, the choice to shoot boats ‘dry’ and matte them into precise ocean plates, which he would do on scores of movies at Shepperton.  this body it appears obvious that the boat could also be painted maybe, with a faintly discernable matte break up alongside the waterline. The very distant formations appear painted on one aircraft whereas the mid-ground rocks are on a second aircraft.  The fast foreground rocks seem half real (for the water splashes) and half painted as a prime up.  All up, an outstanding puzzle of trick images, supremely completed.

Once more, a matte line break up is seen, with what could also be a painted profile of the ship animated body by body amidst a number of ranges of painted surroundings and actual water.  Nice stuff!

Percy Day had for a few years labored out of his own residence after which on the large Denham Studios, together with J.Arthur Rank.  In 1946 he joined Sir Alexander Korda’s London Movies, based mostly at Shepperton Studios, establishing a totally useful and properly geared up matte and course of division the place he remained till retiring in 1954 on the age of 75.

The footage is so properly shot and mixed for 1951, it is onerous to detect something may be amiss.

Most probably a big outside tank shot, with painted profile cutout for the background.

Cut up display screen matte shot with mannequin ship mixed with foreground stage set, merged with matte artwork.

In her biography of her grandfather, Susan Day reported:  “Percy formally retired from Shepperton in 1954 however continued to serve the British movie trade in an advisory capability.  The BBC requested him to provide a collection of talks on particular results, and even proposed the companies of a chauffeur pushed automobile, however in his standard ornery manner, Grandad turned the proposition down flat.  He was decided to commit his declining years – he was by this time seventy 5 – to his one consuming ardour.  He enrolled for a refresher course at Canterbury School of Artwork, and had the gratification of getting the exceptional self portrait – which I now personal – held on the road at The Royal Academy Exhibition of 1954.  He informed a journalist who interviewed him that portray gave him extra satisfaction than working for the movie trade, as a result of it is extra inventive.”

An interesting letter, despatched to Percy by Sir Alexander Korda in 1951, congratulating him on the trick work in OUTCAST OF THE ISLANDS in addition to inviting Day to arrange for a deliberate, although unproduced, ballet image of Sleeping Magnificence.  (Letter courtesy of Susan Day)

‘Kerima’ – a girl of few phrases, or bat-shit mad harpie?  You resolve.  Nice movie!

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MGM’S LAVISH PERIOD BIO-PIC:

In customary shiny model, MADAME CURIE (1943) informed the story of the invention of radium, with the all the time dependable Greer Garson within the title position because the Polish-French physicist.  Fantastic manufacturing requirements, as you’ll count on from MGM.  Male lead, Walter Pidgeon had all the time been a tad picket for my tastes (although certainly one of his last movies, HARRY IN YOUR POCKET made within the mid seventies with James Coburn was actually good!)

The true story takes place in Paris within the 1890’s, with various scenes fleshed out with matte artwork from the Newcombe division at MGM.

The World well-known Sorbonne Institute in Paris, 1890 as realised in pastel and gouache.

MGM had a few of the best matte artists in Hollywood, lots of whom got here from a technical illustration background.  Warren Newcombe was the longtime ‘chief’ of the division, and by all accounts I’ve heard and browse was a most eccentric man to place it calmly.

In addition to having utmost management and say over his secure of artists, Newcombe settled for nothing lower than the very best requirements when it got here to the integrity of the completed shot, with expertly blended mattes that made detection of simply the place the matte be a part of may be subsequent to not possible.  Chief matte results cinematographer was longtime affiliate Mark Davis who actually pulled off some miracle composites.

As I’ve described in earlier blogs, the favoured methodology for rendering matte artwork at MGM for many years was with very wonderful pastels and gouache, utilized onto artists card with astonishing outcomes.

Cedric Gibbons was longtime head of the artwork division at MGM, and this stunningly composed matte painted shot is a testomony to the romanticism of the golden period, which that studio reigned supreme. Finest shot within the movie.

A fantastic many matte artists got here and went in all the Hollywood studios through the battle years when this movie was made.

A number of the artists round on the time have been Howard Fisher – one of many authentic guys, and Henry Hillinck, George Coblentz, Henry Peter McDermott, Otto Kiechle and Jack Robson.

Virtually all painted right here.

I am fairly certain this can be a main set extension too, with the trademark ‘doubled in’ tree as an precise movie ingredient so as to add life.

A splendidly detailed inside matte, with a lot credit score to the artist.

This shot is fascinating, not just for the excellent draftsmanship and portray, however noteworthy for the group replication.  The 2 balconies have the very same stay motion plate matted in if you happen to watch intently, although timed a little bit independently in order that when one balcony rises to clap and cheer, the second does so only a second or two later.  I am additionally curious concerning the crowd under the balcony seating, which can be a break up display screen to multiply the variety of extras?

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RATTLING SABRES, EASTERN ADVENTURE AND A HAREM HONEY:

 

Whereas not an particularly memorable film, Terence Younger’s ZARAK (1956) was an okay time filler on a moist Saturday afternoon.  Star Victor Mature was all the time an underrated actor in my e-book, and did some stable work over his profession (was an absolute hoot taking part in himself to the hilt in The Monkees freakin’ insane movie HEAD in 1968).  As for the female love curiosity… properly extra about Anita Ekberg later  😉

Grand CinemaScope title playing cards and thumping rating.

Particular Photographic Results have been overseen by an uncredited Tom Howard on the MGM-UK studios, although the image was a Columbia launch.  Tom was a specialist in optical cinematography, having begun his very lengthy profession within the early 1930’s with Ned Mann on the sci-fi basic THINGS TO COME, and in a while offering the blue display screen composites for THIEF OF BAGDAD proper on via to designing and setting up the cutting-edge reflex entrance projection rig for Stanley Kubrick’s monumental 2001: A SPACE ODYSSEY in 1968.  Tom recieved a pair of Oscars for his results work, one for TOM THUMB and the opposite, inexplicably, for BLITHE SPIRIT – a movie just about devoid of visible results, that even it is director, David Lean, was left mystified as to fairly why that award was given, as he talked about within the fantastic memoir of his life and profession by Kevin Brownlow.

Anita Ekberg is the seductress in ZARAK, although not so that you’d actually discover.

I’ve no thought who painted the mattes right here.  It is all the time been a little bit of a thriller with regard to the Tom Howard division, although I do know that Judy Jordan – a former assistant to Percy Day at Shepperton – left to affix Howard over at MGM-Boreham Wooden round 1954, so it is potential she painted on this present.

Our femme fatale, Miss Anita Ekberg, was field workplace gold, with studio publicity departments constructing complete film campaigns round her charms, regardless of the position or movie. I really feel totally compelled by forces past my management to single out Anita in right now’s illustrious weblog, as I additionally fairly equally would have had Dorothy Lamour been accessible!

The mattes are variable, however work fairly properly.

Did I point out that Anita Ekberg is on this film?

Matte painted Peshawar, in what was India on the time the story takes place.

Ms Ekberg was a former Miss Sweden!  For this flick she’s Miss Colonial period India, 1850.

The basic old skool fortress atop the hill matte shot, with much more painted right here than you would possibly assume.

Seen in a second nearer lower.  Very good sky.

She reportedly as soon as shot a paparazzi with a bow and arrow!  Reality.

No precise credit score for Tom Howard, although bodily results males Cliff Richardson and Jack Erickson each bought display screen credit score, oddly.

She does numerous seductive dancing, gyrating, writhing and pouting of the lips on this movie – typically all on the similar time!  Well worth the value of admission alone.

In successive cuts throughout this prolonged raid sequence, the matte itself ‘shifts’ jarringly, although solely when viewing particular person frames finish to finish is it evident.  See that in lots of movies, and a helpful method to discover the place the matte be a part of is.

True reality:  Anita’s first husband was very, very jealous – for the lifetime of me I can not think about why – and was recognized to violently assault anyone who a lot as glanced at his spouse!

The walled metropolis goes up in flames.  Nearly all matte artwork right here – with added smoke and matte stand hearth gags.  The one stay motion portion is the little bit of grass with Victor Mature driving away.  All else, together with the foreground rocks are matte artwork.

‘The Dance of the 7 Veils’, or one thing alongside these traces.  Perhaps it was six veils… or no veils in any respect?  Hell, it has been an extended week right here!

Oh, and there are some scenes and matte painted pictures that do not contain Anita, although in hindsight, they in all probability ought to have!

There isn’t any simple escape from this gal.

Victor Mature can be in ZARAK…. properly, he is the star truly so I suppose I ought to give Vic some respiratory room right here.  An undervalued actor truly, and did some nice movies.

Nothing in any respect to do with the artwork of particular results, … yeah, yeah, I do know… however significantly of us, whatcha gonna do?          Anita … we beloved ‘ya child!

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THE LOST MATTES OF RUSSELL LAWSON

As talked about in my introduction I had supposed to showcase the contents of the previous 35mm showreels containing many earlier than and afters by profession Common matte artist Russ Lawson and results cinematographer Roswell Hoffman.  Each Lawson and Hoffman had a mammoth profession on the one studio, as readers of my blogs will know, relationship from the early 1930’s.  Lawson retired in 1961, whereas Hoffman did so in 1975.  I am going to dedicate the subsequent situation to those fantastic finds, although I can not resist a small sampler.  A very massive thanks to Tom Higginson for sending the entire showreels to me.

Presumably a tank on the Common backlot, this partial riverboat set has been extensively altered, prolonged and delivered to life by artist Russell Lawson, with smoke components added in a subsequent go by Ross Hoffman.

The identify of the unique manufacturing is a little bit of a thriller, although I can affirm this similar shot was later ‘borrowed/stolen/bought’ by twentieth Century Fox, with photographic results man L.B Abbott utilizing it within the John Wayne image THE COMANCHEROS (1961).  The unique ‘flat’ Academy aperture ratio matte comp was transferred to 2.35:1 CinemaScope on James B. Gordon’s optical printer at Fox, and offered as a tilt down scan to accomodate the large display screen ratio.  I would all the time assumed it to be an Emil Kosa jnr matte, however now having seen the Lawson reels in full, it is fairly clear the shot was made years earlier at Common.

***This publish, and all 172 earlier blogs referred to as ‘Matte Shot’, have been initially created by Peter Cook dinner for nzpetesmatteshot, with all content material, format and textual content initially revealed at http://nzpetesmatteshot.blogspot.com/

Hah!  Simply once you thought I would gotten Anita outta my system … Effectively, she was quite memorable in Federico Fellini’s LA DOLCE VITA (1960), as pictured right here.  Alright!  No extra Anita Ekberg!

Effectively of us… that is about it until subsequent ‘situation’.  I do hope you loved the experience.  I would like a drink!

Catch you once more subsequent journey…

Take care,

NZ Pete