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A digital matte painter is part of a visual effects team being involved in post-production, as opposed to a traditional matte painter, who was a special effects crew, often creating matte paintings on set to be used as backdrops.
Mattes are used in photography and special effects filmmaking to combine two or more image elements into a single, final image. Usually, mattes are used to combine a foreground image (e.g. actors on a set) with a background image (e.g. a scenic vista or a starfield with planets). In this case, the matte is the background painting.
William Samuel Cook "Peter" Ellenshaw (24 May 1913 – 12 February 2007) was an English matte designer and special effects creator who worked on many Disney features. Born in London , he moved to America in 1953.
Fritz Lang's film Metropolis was an early special effects spectacular, with innovative use of miniatures, matte paintings, the Schüfftan process, and complex compositing. An important innovation in special-effects photography was the development of the optical printer. Essentially, an optical printer is a projector aiming into a camera lens ...
Irving Block (1910-1986) was a painter, illustrator, muralist, writer, and professor known for his work in Hollywood movies with visual effects, his authorship of the story behind the film Forbidden Planet, his work as a professor in academia, and his artwork. [1] His daughter is the writer Francesca Lia Block. [2]
Before becoming a special effects artist, Yuricich received a bachelor's degree in Fine Arts from Miami University in Oxford, Ohio where he also played football and joined Phi Kappa Tau fraternity. He received Miami's 2006 Distinguished Achievement Award for his career achievements and was a charter member of the Phi Kappa Tau Hall of Fame.
Mario Larrinaga was responsible for several matte paintings used in the special effects. The view of the sled dogs running across a frozen lake was a combination of live action with one of Larrinaga's paintings. He also painted the sabre-tooth tiger and its victims in ice, which was projected through stereopticon plates onto the set.
Senior matte artist Robert Scifo and the Dream Quest team produced forty-eight matte paintings for the film, including all the Martian skies. [4] [9] [10] The film has over 100 visual effects, including miniatures and bluescreen effects which Verhoeven used because he wanted to move his camera freely around the sets to make them seem more real. [5]