Matte Shot - a tribute to Golden Era special fx: Thrills Times Four: Matte Art From Hitchcock's 60's Era I am constantly in awe of the talent and style of Alfred Hitchcock - arguably one of cinema's great visionary film makers whose output was unique as much for its countless iconic moments of memorable cinematic mastery as it is for the generally 'top shelf' analytical recognition and critique encompassing by far the more substantial chunk of Hitch's film output which easily out weigh in number the lesser efforts and critical failures. Sure, not all of Hitchcock's pictures were commercial successes, with several only receiving their 'lost' audience some decades later. Far more than just a director, Hitchcock was a highly intelligent, well read man whose numerous interviews both on the printed page and on film are rarely anything less than a sourse of inspiration, technical insight and revelation into the entire process from initial idea to finished release- all aspects of which Hitch knew inside and out. I never fail to be thrilled by the master and his filmic structure.
Storyboards Online Ludoviciochem | Digital Matte Painting and CG Environment Roberto Oleotto | Digital Matte Painter John Watkiss Traditional Gallery | Ludoviciochem I know most of you are big fans of traditional matte painting. Of course you are, because it’s quite impressive to see how this guys were working before the use of the computer to create environments. I’ll try to add more and more material to this gallery. Dracula Indiana Jones Star Wars Willow Dragon Slayer Albert Whitlock Like this: Like Loading...
Daniel Kvasznicza Souvlaki – Joao Ruas Albert Whitlock - a scrapbook of memorable matte moments No two ways about it, when it boils down to it, the most recognised name in cinematic matte wizardry would have to be the late, great Albert Whitlock. No other name associated with matte painting has had near the impact that Whitlock has had to generations of film viewers. Although many of the names I have written on here previously were masters of the art form in their day, the fact that the public never really knew anything about their deliberately concealed trickery was thanks to overly protective studio bosses who often went all out to deny that the wonders up on that silver screen were anything other than great insightful film making. It was probably Peter Ellenshaw who first recieved notoriety and public exposure for the ability to make something out of nothing with his fine matte art, thanks largely to Walt Disney who, unlike other studio chiefs actually was very proud of Ellenshaw and moreso what he was able to achieve with his brushes. Peter
Home - Benita Winckler ~ Matte Painting & Concept Art | Benita Winckler ~ Matte Painting & Concept Art YAXÍN and the FAUN Earthquake - it really was an event. EARTHQUAKE, a film that back in it's day, 1974 totally blew my impressionable teenaged mind, especially when exhibited on first release in 70mm six track stereo on the huge curved screen at the now sadly deceased Cinerama theatre in Auckland - and in the new multi-sensation shattering Sensurround. It really was "an event", just as the posters proclaimed. EARTHQUAKE was the film for me (after KING KONG and maybe JASON AND THE ARGONAUTS) back around the mid seventies, and one of the first that drew me into the netherworld that is (or at least used to be) matte paintings. I was transfixed by this film - the reliable and square jawed Charlton Heston (whom I was lucky enough to meet in person some years later), cool mo-fo Richard Roundtree - 'Shaft' himself, ample bosomed Victoria Principal before she drove us all crazy doing these damned informercials and everybody's favourite Irish cop, George Kennedy...the dream cast. Hell, even Walter Matthau fronted up unbilled as a drunk survivor.
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