Director: Alberto de Zavalía
Director of photography: Antonio U. Merayo
Production Designer: Ralph Pappier
Matte paintings: Ralph Pappier
Special effects photography:Bob Roberts
Director: Otakar Vávra
Cinematography: Václav Hanus
Art Direction: Oldrich Okác / Jirí Trnka
Matte paintings are uncredited but I´m sure all the trickery ( mattes, miniatures and animation) was under supervision of Jirí Trnka. He could even execute the paintings himself , as he was, among his other artistic skills, a great illustrator.
On the last capture the miniature ships moved across the river. The city behind was probably a background painting.
The matte painting technique was known in Argentine as “pintura completiva”. It is very difficult to establish when or who started to use the matte and glass painting techniques in Argentine. For what I know, it was used very often during the 40´S .
The first name associated to matte painting photography working in Argentine was Oren “Bob” Roberts. Born in California U.S.A, brother of Irmin Roberts, he started to work at Paramount Studios around 1921 as FX cinematographer. He moved to Buenos Aires around 1935 and remained there for the rest of his career until middle 50´S.
Another pioneer was Ralph Pappier born at 1914, Shanghai, China. At 1936 he moved to Bueno Aires, where he developed a career as art director and director. Making use of his artistic skills, he was responsible for the special effects at most of his films. He used very often glass painting shots on films like: Madame Bovary (1947) or La guerra Gaucha (1942)
Working very often with Pappier was cinematographer Americo Hoss. Born at 1914 in Budapest, Hungary, was a prolific cinematographer. He moved to Argentine around 1935, started his career at San Miguel Studios in Buenos Aires where he worked as special effects cinematographer, specially collaborating with Ralph Pappier and art director Gori Muñoz.
1942 – La guerra Gaucha
1943 – Cuando florezca el naranjo
1944 – Su mejor alumno
1947 - Lucrecia Borgia
Uncredited matte paintings from “La casta Susana” (1944)
For the film “La dama duende” (1945) they used a matte painting or a foreground miniature to complete the set with a ceiling. My guess is the second option.
Two uncredited matte paintings for ” Allá en el setenta y tantos” (1945)
Uncredited matte painting for “El hermoso Brumell” (1951) art director Gori Muñoz and cinematography by Americo Hoss.
Peter Voysey at work on the derelict alien ship made for ALIEN (1979)
1994 Interview with the Vampire (chief sculptor)
1993 The Secret Garden (head sculptor)
1992 Shadow of the Wolf (head sculptor)
1992 1492: Conquest of Paradise (sculptor)
1991 King Ralph (sculptor)
1986 King Kong 2 (sculptor)
1986 The Mission (sculptor)
1985 Legend (supervising sculptor)
1985 Year of the dragon (sculptor)
1984 Supergirl (sculptor/modeller)
1984 Top Secret (sculptor)
1983 Krull (sculptor)
1982 The Dark Crystal (modeller – as Peter J. Voysey)
1982 Conan, the barbarian (chief sculptor)
1980 Flash Gordon (sculptor)
1979 Alien (supervising modeller)
1978 Superman (modeller)
|Russell Lawson||Russell Lawson||Albert Whitlock (From 1961)||Albert Whitlock Bill Taylor (camera)
(begun at 1973).
(Begun at 1975)
Christian von Schneidau (1893–1976) was a well known California portrait painter who was recognized for his paintings of Hollywood stars and the Los Angeles elite. During the Roaring Twenties he painted Mary Pickford and other figures from the film industry as well as a number of outdoor figures done in the classic American Impressionist manner. Von Schneideau was born in Ljungby, Kalmar County, Sweden 1893, with the name Bror Christian Valdemar Von Schneidau, but went by the shortened Christian von Schneidau. In addition to his portraiture, von Schneidau was also a landscape painter and a private teacher who passed on the French principles of instruction, which he learned at the Art Institute of Chicago to his students. Von Schneidau was also the founder of the Scandinavian-American Art Society in 1938 and served as its president for many years. He was also an active member of the California Art Club.
Mary Pickford by Chritian Von Schneidau.
During the 40´s he worked at The T.C.Fox matte department under Fred Sersen.
Von Schneidau painting a glass shot for the film State fair (1945)
Biography: (Italo Tomassi, (Rome, 25 february 1910 – 27 november 1990)
He started at the Cinecittà Studios in Rome hired as “scenic artist”. And at Cinecitta Italo it remains as an employee until 1964, when he presents his resignation, but he continues to work there, as a freelancer, until 1985.During 50 years of working at film business (1935/1985) he collaborated on about 400 films.
Hundreds of meters of painted backdrops. and silhouettes, painted on a variety of materials, reproducing many different objects.
Some examples: the silhouette of the famous liner “Rex” for the film “Amarcord” by Federico Fellini who was the size of 85 x 20 meters – The copy of the slightly smaller of the real Colosseum for the film Rome of F. Fellini. For only the film “Faust”, directed by De Cuir in 1966, he painted two enormous depths of 80 meters in length by 18 in height each)
In 1985, due to some heart disease, he decides to leave his cinematographic activity and exclusively dedicates himself to painting.
Maybe age (he was 75), perhaps being away from the studios and from the phantasmagorical world of cinema, leads him to an exasperated accentuation of his expressiveness. A whole series of hyper-realistic watercolors arise. The scrupulous care of details, the exaggerated employment of colors too bright, produce in those last works the effect of a cinematographic reality.
For more information visit his web site: http://www.italotomassi.com/index.php?lang=it
Painting silhouette from “Amarcord”.
Colosseum built in Cinecittá Studios for the Fellini´s film Rome.
An small illustration made by Italo for a huge back drop painting from Ben-Hur (1959)
Italo with the scenic paintings made for Ben Hur (1959)
Appreciation letter from George Gibson head of scenic department at MGM for his work on Ben-Hur.
The Text on this article was taken from Joseph Natanson autobiography book “The Creaking of the Gate”.
I was happy when I was called to participate in the film, which was announced as one of the greatest of all time. Cleopatra directed by Joseph Mankiewicz.
Not far from south of Rome, near village of Nettuno, it was a very old small castle built on a rock in the sea, Tower Astura, connected to the mainland by a stone bridge, which is likely to replace the old draw bridge.
Since it is a historic building and not even allowed to drive a nail on the wall without the permission of the Historic Preservation Commission for cinema. The castle was surrounded by iron scaffolding with a platform on the roof remained and they were placed two large windows at the right angle.
On the one glass, to the south, you could see the sea and the beginning of the shore.
At the second, looking east, you can see the rest of the shore where they built the temples and palaces Greek Egypt style, with figures on the sides of the broad avenue.
Naturally, temples and palaces were built only the lower side. My task was to complete the friezes, gaps and roofs until the horizon, also paint some other buildings of Alexandria in the time of Cleopatra. All of this is supposed to be painted in those huge windows.
At that time Mary Bone came to Rome. Excellent painter recommended by production, his arrival was gratefully welcomed. The task would be done faster working together. Autumn was approaching. The first assigned shooting in Cinecittà was over, and later, in August they will come to Astura Tower.
On that date we were ready. Even filmed two tests, confirming that everything fits perfectly, with small corrections.
Meanwhile two unforeseen events entangle it.
First Cinecitta´s work extended much longer that was scheduled, and when all production team was already ready to go to Torre Astura, it started raining. Autumn came earlier than expected. Also came news of Elizabeth Taylor caught cold in August, it was confirmed a few days later that she was seriously ill. There was no doubt that with that cold atmosphere she couldn’t play wearing those light Cleopatra’s costumes.
It was decided to wait until the spring. Our carefully painted windows were surrounded by a plastic curtains.
Mary Bone returned to London, and I had other works to do and , I forgot about Cleopatra for a while.
At April, when the sun was hard and jolly following spring I suddenly was called by the artistic director to come to Astura Tower. I thought probably during the winter our painting may have been damaged.
He told me- which glass survived the winter very well, the problem is much more serious when I climbed the stairs leading to the platform.
Glass actually survived very well, but when I looked through the viewfinder I understand all the drama. Like painted over our wider houses and temples, it appeared the mountains. Everyone knows that Alexandria is located in the Nile Delta and there are no mountains around.
In late summer in Italy autumn air is so immersed in the sea wet fog that you can not see the distant Apennines. At the spring under the influence of strong northerly winds, the air is clean and our Alexandria became a mountain town.
There is no other way unless to repaint it. The director and the stars, Elizabeth Taylor and Richard Burton they climbed to the platform to see the effect on our windows.
I had to add a few more districts on Alexandria, in order to cover the top.
And so, my life became very complicated, because I was called simultaneously for another rush job from another movie. Tight sleep schedule was established at the hotel in Nettuno, to get up very early and go to the paint job on the roof of the tower Asura.
Already in the afternoon, I got into the car and went to Rome. On the way, it was a small restaurant I know where I had fifteen minutes to eat.
I worked all evening in the studio, and so far I went home to be present at the dinner of Stefan and Phoebe and tell them a story for bedtime. Then calmly have a dinner with Ann, and sometimes with friends who have come. Then got into the car and drove to the hotel in Nettuno.
Director: Salvatore Samperi
Cinematography: Giuseppe Rotunno
Film Editor: Sergio Montanari
Production Design: Uberto Bertacca
Matte painting: Uncredited.
I suspect the paintings were done by Emilio Ruiz. He worked some years early with production designer Uberto Bertacca on another Italian film “Ci risiamo, vero Provvidenza?” (1973) Aka “Here We Go Again, Eh Providence?” On that film Emilio was credited as decorator and executed several glass paintings. It is very likely that Bertacca used again Emilio´s tricks on this film.
I think the Coca Cola bottle and the upper part of the wood turret is a painting or foreground miniature. There is no shadow of the Bottle
Director: Henry Hathaway
Cinematography: Milton R. Krasner/ Jorge Stahl Jr.
Editor: James B. Clark
Art Direction: Edward Fitzgerald / Lyle R. Wheeler
Special photographic effects: Ray Kellogg
At that time on the Twenty Century Fox matte department there were Emile Kosa Jr, Lee Lebanc and Mathew Yuricich, although the last two moved to MGM department around that year.
For over 30 years I have divided my career between the fine arts and the film industry. I have exhibited in galleries and museums across the United States; most notably the Corcoran Gallery of Art in Washington, DC; The Alternative Museum, NYC; The Southeastern Center for Contemporary Art, Winston-Salem, North Carolina; a one-person show at the Riverside Museum of Art Riverside CA in conjunction with my mural commission for the Riverside Hall of Justice (1992); the Directors Guild of American, Los Angeles, CA; and most recently the Katzen Art Center at American University, Washington, DC. I have received several grants and fellowships for my work including a National Endowment for the Arts Fellowship in Painting.
In film I have contributed as a matte painter to such movies as Cliffhangers, Dante’s Peak, Titanic, Matrix Revolution, AI, and What Dreams May Come. From 1997 to 2001 I was an artist for Steven Spielberg’s company Dreamworks.
Visit his web site for more information and samples of his paintings.
2014 Marco Polo (TV Series) (matte painter – 10 episodes)
2008 The Mummy: Tomb of the Dragon Emperor (matte painter)
2008 Nim’s Island (matte painter: CafeFX)
2007 Blood Will Tell (Short) (matte painting)
2007 In the Name of the King: A Dungeon Siege Tale (matte painter: The Orphanage – uncredited)
2003 The Matrix Revolutions (digital matte artist)
2003 Secondhand Lions (digital paint artist)
2002 People I Know (digital artist: PDI/DreamWorks)
2001 A.I. (digital artist: PDI)
2000 The Legend of Bagger Vance (matte painter: PDI)
2000 Supernova (digital artist)
1999 Forces of Nature (matte painter)
1998 Antz (digital matte painter)
1998 What Dreams May Come (matte painter)
1997 Titanic (matte painter)
1997 Dante’s Peak (matte painter: Digital Domain)
1993 Cliffhanger (matte painter)
Alan Sonneman and Michelle Moen working on a painting from Cliffhanger with matte camera Alan Harding.
Director: Kevin Connor
Director of photography: Alan Hume
Production Design: Maurice Carter
Dinosaurs effects by: Roger Dicken
Special effects supervisor: Derek Meddings
Process photography: Charles Staffell
Matte paintings: Ray Caple
Roger Dicken was in charge of the hand puppet miniature dinosaurs.
John Richardson was responsible for the full size dinosaur heads attacking the submarine.
Director: Kevin Connor
Director of photography: Alan Hume
Production Design: Maurice Carter
Special effects supervisor: John Richardson / Ian Wingrove
Process photography: Charles Staffell
Matte painting: Unknown. Maybe scenic artist Bill Beavis
Matte painting probably by scenic artist Bill Beavis.
1943 – The North Star
The Paramount Matte painting department was, unlike other companies, a one-man team. For many decades he was the only matte artist at paramount. Gordon Jennings was head of Special photographic department with his brother Devereaux Jennings and Dewey Wrigley as effects cinematographers. The team was also Farciot Eduoart in charge of process and rear projection, Irmin Roberts and his brother Bob matte cameramen, Paul Lerpae as optical effects compositor, and Ivyl Burks and Art Smith as miniatures builders an . At 1953 after the death of Gordon Jennings, John P. Fulton became head of department.
|Jan Domela||Jan Domela||Jan Domela||Jan DomelaChesley Bonestell(1950-55)||Jan Domela (until 1968)|
There are so many matte painting artist at the United States film History that is almost impossible to get them all on a single page. There were lots of them working freelance and jumping from one company to another, so I´ve decided to created a list of production companies with a matte department, and VFX houses . That´s also a big list and probably incomplete, but I will be adding new information from time to time.
Boss Film Studios
Butler and Glouner
Dream Quest Images
Film Effects of Hollywood (Linwood Dunn)
Frank Vander Veer Photo effects
Industrial Light and Magic
Jack Rabin-Irving Block-Louis DeWitt
The Howard Anderson Company
Director: Sam Wood
Director of photography: Ernest Haller
Production Design: Joseph St. Amand
Art Direction : Carl Jules Weyl
Special photographic effects: Lawrence W. Butler
Matte Painting : Mario Larrinaga
There are plenty of excellent matte paintings on that Warner Bros film. Most of the upper part of the buildings and skies on the street scenes were enhanced with matte paintings.
The color image shows a matte painting by Mario Larrinaga. I can´t assure he was the only artist on the show, probably there was another matte painters contributing. In fact there was at the Warner Bros matte department such a great artists as Paul Detlefsen , Hans Bartholowsky or Chesley Boestell.
Directors: Henry Levin, George Sherman
Director of Photography: Tony Gaudio/George Meehan/ William E. Snyder
Art Direction: Stephen Goosson/Rudolph Sternad
Matte painting: Uncredited.
Being a Columbia pictures production is most probable that the matte paintings were supervised by Larry Butler who was head of Special photographic effects department at Columbia. The matte artist could be Hans Bartholowsky who worked as matte painter for Columbia films for many years until middle forties.
Directed: John Huston
Cinematography: Giuseppe Rotunno
Art Direction: Mario Chiari
Associate art director: Stephen B. Grimes
Set construction: Aldo Puccini
Scene painter: Italo Tomassi
Special optical effects: Film Effects of Hollywood (Linwood Dunn
Glass paintng, illustration: Silio Romagnoli
Special effects: Augie Lohman
Special effects and ark miniature: Carlo Rambaldi, Carlo De Marchis
The tower of babel was shot on two sets in two different countries. The base was built on the studio’s back lot (in Italy), whilst the summit was built on the top of a steep slope outside Cairo. However, to give the impression of a tall tower they used a glass shot executed by Italian illustrator Silio Romagnoli.
I assumed that was also a glass shot by Romagnoli.
The Noah Ark was built full size in Rome ( 60 meters) by the team of Italian constructor Aldo Puccini.
I always thought that was a partially built set enhanced by a matte or glass painting, but I guess it is just the real set.
Carlo Rambaldi was in charge of some special effects like the construction of three miniatures of the Ark . As the rainbow is not reflected on the water, I guess it was also painted on glass.
A Carlo Rambaldi design for the mechanism on the ark miniature during the flood.
He was an established comic artist when Dino de Laurentiis call him to work on Barabbas (1961) as production illustrator and storyboard artist. He was introduced to Laurentiis by his friend Carlo Rambaldi.
A young Silio Romagnoli working on a comic cover illustration.
He then went to work on The Bible (1966) again providing big illustration and preproduction paintings. He was commissioned to make a glass shot. That was a new task he had never done before. He painted on glass the upper part of the Babel Tower at location.
He also collaborated on Barbarella(1968) an Waterloo (1970) as production illustrator. His works on film were sporadic and he focused mainly on his comic and illustration artist.
Illustrations by Romagnoli for The Bible, and Waterloo.
- Barabbas (1961) (illustrator and storyboard)
- The Bible: In the Beginning (1966) Illustration and glass shot)
- Barbarella (1968) (illustrator)
- Waterloo (1970) (illustrator)
- Le aventure di Pinocchio (1972) (TV series) (illustrator)
Director: Raymond Bernard
Production Design: Lucien Carré / Jean Perrier
After Walter Percy Day returned to England art director Jean Perrier, who had Per Day several times painting on his films, started to use those tricks on his own way. I cannot be sure if he executed the paintings himself or if he just designed the trick shots and had some scenic artist for the paintings.
Three glass shots.
That ceiling looks like a foreground miniature but it could be also a glass shot.
Miniatures were used very often ion French films during those early years.
Robert Skotak is a visual effects designer-supervisor, writer, 2nd Unit director. Co founder with his brother Dennis (visual effects cameraman) of VFX house 4Ward productions.Robert is a talented viausl effects designer, matte painter, miniature maker and expert on forced perspective tricks.
Is also a noted film historian who has written dozens of articles for “Famous Monsters”, “Filmfax” and is the author of a biography of science fiction writer/director Ib Melchior.
You can visit his web site: www.4wardproductions.com
Robert (right) and his brother Dennis(left) with the model of Manhattan for Scape from New York.
2015 Harbinger Down (visual effects supervisor)
2012 Shot on the Spot (Short) (visual effects supervisor)
2011 SP: The motion picture kakumei hen (visual effects supervisor)
2011 Cosmic Origins 3D (Documentary) (visual effects supervisor)
2010 SP: The motion picture yabô hen (visual effects supervisor)
2010/I Road to Nowhere (visual effects supervisor)
2009 The Hole (visual effects sequence designer: Los Angeles, 4Ward Productions) / (visual effects supervisor: 4Ward Productions)
2008 Starship Troopers 3: Marauder (visual effects supervisor)
2007 Charlie Wilson´s war (visual effects supervisor: 4Ward Productions)
2007 Anamorph (matte artist: Whodoo EFX) / (special animator: Whodoo EFX)
2006 Trapped Ashes (special visual consultant) / (visual effects supervisor)
2006 Failure to launch(visual effects consultant: Whodoo EFX)
2005 The Naked Monster (advisor: visual effects)
2004 The Stepford Wives (visual effects art director: Whodoo EFX)
2004 Tremors 4: The Legend Begins (Video) (visual effects supervisor)
2003 Young MacGyver (TV Movie) (visual effects)
2003 X-Men 2 (visual effects supervisor: 4 Ward productions)
2002 The tuxedo (visual effects design)
2002 Joe and Max (TV Movie) (visual effects)
1999 House on Haunted Hill (visual effects supervisor)
1998 Hard Rain (visual effects supervisor: 4-Ward Productions)
1997 Mouse hunt (visual effects supervisor: 4-ward productions)
1997 Titanic (visual effects supervisor: 4-Ward Productions)
1996 Mars Attacks! (visual effects designer: 4-Ward Productions – uncredited)
1996 The arrival (visual effects supervisor: 4-Ward Productions)
1996 Terminator 2 3-D: Battle Across Time (Short) (special miniature effects)
1995 The Alien Within (TV Movie) (visual effects)
1995 Tank Girl (visual effects supervisor: 4-Ward Productions)
1994 The pagemaster(visual effects producer: 4-Ward Productions) / (visual effects supervisor: 4-Ward Productions)
1994 No Scape (visual effects supervisor)
1994 Clifford (visual effects supervisor)
1993 Heart and souls (visual effects supervisor: 4-Ward Productions, Inc.)
1992 Captain Ron (special miniature effects)
1992 Honey, I Blew up the Kid (visual effects: 4-Ward Productions)
1992 Batman returns (visual effects supervisor: 4-Ward Productions)
1991 Cast a deadly spell (TV Movie) (visual effects supervisor: 4-ward productions)
1991 Terminator 2: Judgement dayl (special visual effects sequences: 4-Ward Productions) / (visual effects supervisor: 4-Ward Productions)
1990 Syngenor (visual effects consultant)
1990 Darkman (visual effects supervisor: 4-ward productions)
1990 Tremors (visual effects supervisor: 4-ward productions)
1989 Abyss (visual effects supervisor: Los Angeles surface unit)
1989 Lords of the deep (visual effects)
1986 Aliens (visual effects supervisor)
1985 Creature (special designer: The L.A. Effects Group Inc.) / (visual effects director: The L.A. Effects Group Inc.)
1984 City Limits (visual effects supervisor)
1983 To be or not to be (visual effects – uncredited)
1983 Strange invaders (visual effects consultant)
1983 Jaws 3-D(visual effects – uncredited)
1983 The Jupiter Menace (Documentary) (technical director: Private Stock Effects – as Bob Skotak)
1982 Slapstick (Of Another Kind) (special visual consultant: Private Stock Effects)
1982 Forbidden World (production designer: special visual effects)
1982 The aftermath (matte shots / (visual effects)
1981 Galaxi of terror (special visual effects – uncredited)
1981 Scape fropm New York (matte artwork – as Bob Skotak)
1980 Battle Beyond the Stars (miniature design and construction) / (special designs/effects creations)
1979 Starstruck (TV Movie) (miniature design and construction)
1977 The Demon Lover (special effects)
Director: Steve Barkett
Cinematography: Thomas F. Denove/Dennis Skotak
Production Design: Robert Skotak
Special Visual Effects: Robert and Dennis Skotak
Matte painting: Robert Skotak
Aditional space effects: Jim Danforth
Model builder:Susan turner /Pat MacClung
Skotak´s brothers during the filming of a matte shot.
Jim Danforth was credited as additional space effects. Not suire waht he made but I guess he was responsible for the planet Earth paitings.
What I´m sure about is that he painted the Film poster.
Director: David Lean
Original Music by Maurice Jarre
Cinematography by Ernest Day
Film Editing by David Lean
Production Design by John Box Herbert Westbrook (uncredited)
Optical Effects by Peerless Camera Company: Kent Houston / Robin Browne
Matte painting: Peter Chiang
Thanks to Kent Houston for his comments for the optical work made at Peerless Camera:
“In shot one the building, sea and land were separate elements- the “gateway” was either a miniature or painting- I can’t remember which.”
“The night city view might be a matte painting but it doesn’t look like one of our shots.”
“There is a nice painting of the Malabar caves location to make them hang over more and make them look threatening.” (left upper part)
“The shots of the ship at the docks is an optical composite”
“Clouds and moon too are composites. Peter Chiang painted the moon.”
Howard Andrew Anderson, son of Howard Alvin Anderson and brother of Darrell A Anderson.
After he returned from military service in WWI, his father moved to Los Angeles, where he was hired by Thomas H. Ince to work as a still photographer and second cameraman at Culver City Studios.
Howard A. Anderson Sr, was Founder of Howard Anderson Special Photographic Effects Company.
Darrell and Howard Jr, joined his father company sometime during the late 30´s and early 40´s. During the 50´s and 60´s they specialised on Opticals and photographic effects to TV series.
1971 – Earth II (TV Movie) (special photographic effects – as Howard Anderson Jr.)
1966-69 – Star Treck (TV Series) (visual effects – 80 episodes)
1969 – My World and Welcome to It(TV Series) (photographic effects – 1 episode)
1968 – The Wicked Dreams of Paula Schultz (photographic effects – as Howard Anderson)
1967 – Tobruk (special effects supervisor/miniatures – uncredited)
1962 -Taras Bulba (special photographic effects)
1962 – Jack the Giant Killer (special photographic effects)
1960 – The time machine (additional special effects/optical effects – uncredited)
1957 – Invasión of the sauser- men (special effects – as Howard Anderson)
1956 – Curucu, Beast of the Amazon (special effects)
1956 – Nightmare (special photographic effects)
1953 – Phantom from Space (photographic effects – as Howard Anderson)
1951 – El sendero de la muerte (special effects – as Howard Anderson)
1951 – The Man with My Face (special effects – as Howard Anderson)
1950 – Prehistoric Women (special effects photographer and creator)
Pine-Thomas production for Paramount.
Director: Will Price
Cinematography: James Wong Howe
Art Direction: Lewis H. Creber
Special photographic effects: Darrell A. Anderson(Mattes) / Alex Weldon(mechanical FX)
Director of cinematography: second unit: Loyal Griggs
Destroyed set with a matte paintng sky, and miniature ship with a painted bowsprit on the foreground.
Born in California, 1933, the son of Howard Alvin. Anderson, and brother of Howard Andrew Anderson. His father founded Howard Anderson Special Photographic Effects Company. Both brothers joined his father company providing opticals, titles, mattes, and miniatures. Darrell became matte artist and cinematographer. The Howard A. Anderson Company worked extensively for TV series during the 60´s and 70´s
The Anderson Company’s work on Star Trek was nominated for an Emmy Award twice (both times together with other companies providing effects for Star Trek): In 1967 Darrell Anderson was nominated for Individual Achievements in Cinematography, together with Dunn and Joseph Westheimer and in 1969 the company was nominated for Special Classification Achievements together with the Westheimer Company, Van der Veer Photo Effects and Cinema Research.
To see more about Darrell Anderson visit my Blog:http://moviemattepainting.blogspot.com.es/2015/05/howard-anderson-company-darrell.html
1979 J-Men Forever (photographer: second unit – as Darrell Anderson)
1978 Superman (additional model photography: USA – as Darrell Anderson)
1972 The Dirt Gang (special photographic consultant)
1967-1968 The invaders (TV Series) (special photographic effects – 40 episodes)
1966- 1969 Star Treck (TV Series) (special effects – as Darrell Anderson)
1964 Seven days of May (opticals – uncredited)
1950 Trípoli (special photographic effects)
The list of titles credited for Howard Anderson Company is huge, and I can imagine Darrell worked on most of the films specially from the 50´s to 70´s.
If there is a name on Philipino Films that bring us over matte shots, that’s Richard Abelardo. Born in 1902, he learned scenic painting from his father, a backdrop painter for theatre. He went to California at early 20´s and started to work at Universal as scenic painting. He moved to MGM and Warner brothers. Working on films like Footlight parade (1933) or Modern times (1936)
At 1936 he went back to Philippines and introduced the glass shot and matte painting techniques to Philippines Film Industry. At the late 40`s he started to direct films, but during his director career he continued to do special effects.
I´m not sure if, during his Californian years, he executed glass or matte paintings, but he certainly learned these techniques at that time.
One of his early matte painting films was Ibong Adarna (1941) a fantasy adventure film about a magical bird, based on an epic narrative poem written in the 18th century.
The film reveals several matte painting among other special effects. Richard Abelardo was credited as art director and process shots.
His brother Bayani Abelardo was Photographic effects cameraman. Richard counted with the help of two assistants, Luzon Gamboa, and a young Ben Resella.
It is also required to make a special mention to Ben Resella. Another Philipino artist that make a huge contribution not only at his country cinema, but also in USA. Resella, nephew of Richard Abelardo, was an extraordinary painter that worked for many years as art director and matte painter at Philippines until 1966 when he moved to California were he was immediately recruited at the company J.C. Backing, specialised on scenic backdrops for film and TV.
Resella worked as scenic paint supervisor for more than 20 years painting backdrops for films like Hello Dolly (1967) Earthquake (1972) Towering inferno (1974) Star Treck (1979), Space balls (1987) and many others.
Bother in law of Richard Abelardo, Teody Carmona was art director who started his film career in 1946. He worked very often with Abelardo, and also made used of perspective tricks to enhance sets with miniatures like on the film Lapu lapu (1955)
Three images from Lapu Lapu.
Glass painting and miniature effects were in used at French cinema since the early days. We shouldn’t forget that George Melies was without a doubt one of the master pioneers on the use tricks and effects of all genres. Most of his paintings were scenic backdrops and I really don’t know for sure if Melies used foreground miniature paintings. Anyway, there is a name on French films when talking about glass and matte painting, and that’s Walter Percy Day. The British artist started painting glass shots for Ideal Films in Borehamwood at 1919, but British film industry was on a difficult situation and French industry was in the ascendant way, so Percy Day moved to Paris at 1922 and became an instant succeed as a glass painter.
After the Russian revolution at 1917, many non-communist Russians leave the country in search of a more peacefully place to live. French film industry benefited from many Russian artists that entered into the movie business, as art directors like: Serge Piménoff Eugene Lourie, Andrew Andrejev, Pierre Schildneckt, or Leon Barsacq, also Nicolas Wilcke and Paul Minine whom specialized on foreground miniatures.
When Percy Day leave France to return to England, some art directors like Pierre Schildneckt and French Jean Perrier, begun to execute their own glass paintings for their films. Schildneckt moved to Spain when WWII hit France and Nicolas Wilcke became the main specialist on foreground miniatures and paintings. French artist Chares Assola, became also a practitioner of foreground paintings, and miniatures tricks.
Les misérables (1934)
Les belles de nuit (1952)
Les 3 Mousquetaires (1953)
An article of Don Jahraus with a short profile of him is included on ‘The ASC Treasury of Visual Effects’, pg. 99.
According to the profile Jahraus was the head of RKO miniature department in 1931 and remained there until 1937, when he joined the MGM. He was responsible of miniature effects for THE LOST SQUADRON, FLYING DEVILS, ACES OF ACES, THE MOST DANGEROUS GAME, FLYING DOWN TO RIO, FLAMING GOLD at RKO, and for STAND BY FOR ACTION, THEY WERE EXPENDABLE and THIRTY SENCONDS OVER TOKYO at MGM, winning at Oscar for the latter.
He also supervised the train wrecks for DANGER LIGHTS and THE INVISIBLE MAN (staged by Charlie Baker at Universal), the aerial models for TEST PILOTS, the miniature settings for GREEN DOLPHIN STREET and QUO VADIS and the model ship for PLYMOUTH ADVENTURE.
1956 Gaby (special effects)
1951 Quo Vadis (special effects)
1948 Luxury Liner (special effects)
1947 Green Dolphin Street (associate special effects)
1947 The Beginning or the End (special effects)
1946 The Green Years (special effects)
1945 They Were Expendable (special effects – uncredited)
1945 The Valley of Decision (miniatures – uncredited)
1945 This Man’s Navy (special effects)
1944 Meet Me in St. Louis (miniatures assistant – uncredited)
1944 Thirty Seconds Over Tokyo (model maker – uncredited) / (special effects)
1943 A Guy Named Joe (special effects)
1943 Pilot #5 (special effects – as Don Jahraus)
1942 Stand by for Action (special effects – as Don Jahraus)
1939 The Wizard of Oz (miniatures – uncredited)
1938 Test Pilot (special effects assistant)
1936 Follow the Fleet (miniatures – uncredited)
1935 Romance in Manhattan (miniatures – uncredited)
1933 Flying Down to Rio (miniatures – uncredited)
1932 The Most Dangerous Game(miniatures – uncredited)
1930 Danger Lights (miniatures – uncredited)
I’m a traditional FX/Matte artist with a great passion for the craft and artists of “how they used to do it.” I painted for a while early in my Hollywood career with greats like Bob Scifo, Syd Dutton, Jessie Silver, Ken Marschall and Ken Allen. Shortly after starting in the industry the computer killed the magic.
Visit his site at: http://www.schaffer-studios.com/
2014- The Giver (Stunt Props/Fabricator)
2013- 95ers: Time Runners (miniature effects supervisor)
2012- HENRi (Short) (visual effects supervisor)
2012- Daylight Savings (model maker)
2010- Little Chocolatiers (TV Series) (special effects – 1 episode)
2010- Iron Man 2 (Suit Fabricator)
2010- Iron Man 2 (visual effects)
2010- 127 Hours Specialty Props)
2009- White on Rice (Art director)
2009- Gentleman Broncos (Model Supervisor)
2008- TTN: Passport Redrock (Short) (color illustrator)
2008- The Fly Boys (Model Supervisor)
2006- Big Dreams, Little Tokyo (Art Director)
2006- Big Dreams Little Tokyo (set designer)
2000- U-571 (Model Design, Model maker)
2000- U-571 (model maker)
2000- Red Planet (scenic model maker)
1999- Mystery Men (Visual Effects designer, model crew chief)
1999- Deep Blue Sea (visual effects designer: model supervisor)
1999- Blast from the Past (Model Maker)
1999- A Tribute to the Wizard of Oz (Video short) (set designer – uncredited)
1998- U.S. Marshals (Model Art Director)
1998- The X Files (Model Maker/Sculptor)
1998- Star Trek Insurrection (Designer/Illustrator
1998- Sphere (miniature construction design: Grant McCune Design)
1997- Dante’s Peak (Visual Effects designer/model lead
1997- Batman and Robin (model maker)
1997- A Smile Like Yours (Model Art Director
1996- The Long Kiss Goodnight (Visual Effects designer
1996- Memoria letal (design: Grant McCune Design)
1996- Larger Than Life (Matte Painter)
1996- Executive Decision (Visual Effects designer, model crew chief)
1996- Daylight (Visual Effects designer, model crew chief)
1996- Daylight (model maker: Grant McCune Design)
1995- Mortal Kombat (Model Art Director)
1995- Die Hard With A Vengeance (Model Art Director)
1995- Batman Forever (Visual Effects designer,Model maker )
1995- Batman Forever (model maker: Grant McCune Design)
1994- True Lies( Model Maker)
1994- Star Trek Generations (Designer/Illustrator)
1994- Speed – (chief model maker: Grant McCune Design)
1994- Richie Rich Model Maker/Scuptor
1994- Ed Wood (FX Prop Builder)
1994- D2: The Mighty Ducks (FX Prop Builder)
1994- Blankman (FX Prop Builder )
1993- My Boyfriends Back (Matte Painter)
1993- Cliffhanger (model maker)
1992 –Freejack (Concept Artist/Matte Painter)
1992- Bram Stokers Dracula (Model Builder)
1992- Batman Returns (Model Maker/Scuptor)
Director: George Pal
Cinematography : Harold E. Wellman
Art Direction : George W. Davis / William Ferrari
Makeup Department: William Tuttle
Special photographic Effects: A. Arnold Gillespie /Robert R. Hoag
Matte painting supervisor:Lee LeBlanc
Matte artist: Matthew Yuricich
Visual effects (animation) Project unlimited: Wah Chang / Jim Danforth/ Gene Warren
Matte paintings made at MGM matte department under Lee LeBlanc.
That was a reused matte painting of the Roman circus painted by Peter Ellenshaw for Quo Vadis? (1951) It was also a MGM film, so they just add the triangle hole painting on the floor.
Miniatures made by Arnold Gillespie unit.
Mutant creature makeup by William Tutle.
Mexican film industry used matte paintings and miniature tricks since the 40´s. The miniature and model works were usually under the art directors and the name of the model makers and miniature artists remains unknown.
I have found only one matte painter credited at Mexican films, Max de Vega. He was a Mexican artist who worked also at USA, painting mattes at T.C. FOX matte department under Fred Sersen. I guess he went back to Mexico from time to time painting mattes at some films.
During middle 40, matte painter Irving Block went to Mexico after working at 20th Century Fox, and he set up a FX department. He went back to USA to work at MGM.
At some of those films there were some Mexican FX technician credited. But I don’t know if any of those artists were involved on the matte paintings. Probably there must be any Mexican art director or scenic artist who executed those matte paintings from time to time.
Those are the only matte painters I know for sure that worked at some Mexican films aside from the Spanish artist Enrique Salvá, who worked at Mexico during some years at the middle 50´s.
Miniatures and models were used also very often, but uncredited. I only can get credit to the art directors for probably supervising and designing the miniatures without knowing who the miniature builders were.
Los tres mosqueteros (1942)
Art director: Manuel Fontanals
Las abandonadas (1944)
Art director: Manuel Fontanals
Art Director: Manuel Fontanals Matte painting: Max De Vega
Camino de Sacramento (1945)
Art director: Luis Moya Special effcts: Machado brothers.
Art director. Jorge Fernandez Spcial effects. Edward Fitzgerald
Cuando lloran los valientes (1947)
Art director: Carlos Toussaint
Vuelven los Garcia (1947)
Los tres Huastecos (1948)
Art Director: Carlos Toussaint.
Subida al cielo (1951)
Las mil y una noches (1957)
Cabo de Hornos (1957)
Glass painting: Enrique Salvá
Caperucita y Pulgarcito contra los Monstruos (1961)
El imperio de Dracula (1967)
Art Direction: Arcadi Artis Gener Special Effects: Ricardo Sáinz
Germany film Industry was, since the early days, a powerful source of creativity and technological advances. Prior to WWII German films possessed a visual uniqueness that was a huge influenced on other countries. Cinematographers and art directors developed lots tricks to achieve fantastic effects required for German directors. Many of those artists and technicians moved from Germany to other countries due to the War.
Glass shots and miniatures were in use at German films from the silent era, but importunely I haven’t found any information about German matte painters. At that time matte and miniature artists were uncredited, and only head of department used to get credit on the films, usually trick cinematographers like Eugene Shufftan.
German Films with traditional VFX work, mattes and miniatures:
Die Nibelungen: Siegfried (1924)
Director: Babubhai Mistri
Cinematography: Narendra Mistry/ Peter Pereira
Special Effects supervisor: Babubhai Mistri
Art Department: A.A. Majid
FX artist, art director and director, Babubai Mistri was a pioneer on Indian Film Industry using forced perspective tricks with miniatures or split screen effects.
Director: Josef von Báky
Cinematography: Konstantin Irmen-Tschet / Werner Krien
Production Designer: Otto Guelstorff/ Emil Hasler
special photography effects: Konstantin Irmen-Tschet
Special effects: Ernst Kunstmann
Optical cinamtography: Theo Nischwitz
Foreground miniature painting, probably a glass shot
The baron gets invisible by means of trick cinematography.
Miniature balloon makes a trip from Venice to the Moon.
Director: Rafael Gil
Cinematography: Alfredo Fraile
Art Direction and miniatures: Enrique Alarcón
Glass shots and Backdrop painting: Enrique Salvá
Glass and backdrop painting assistant: Emilio Ruiz
Not sure if this street view is a matte painting or a foreground miniature. Enrique Alarcon was an expert on the use of hanging miniatures like the ceiling at the image below.
Director: Victor Halperin
Cinematography: Arthur Martinelli
Art Direction: Ralph Berger
Makeup Department: Jack P. Pierce
Special photographic Effects: Howard A. Anderson
Matte painting: Conrad Tritschler
Born Conrad Joseph Tritschler 1867 in Carlisle, England, UK
Immigrated to the United States in 1923.Died June 9, 1939 (age 72) in London, England
Tritschler was a successful scenic artist working at British stage theatres.
Mr Tritsçhler went to United States of America to work for Richard Walton Tully productions on films like Trilby (1923) and Flowing Gold (1924) where he painted sets and backdrops.
Sometime during the late twenties and early thirties he went to work for Howard Anderson Company to make glass and matte paintings.
Working for Anderson, Conrad Tritschler was responsible for White Zombie’: glass paintings, such as the exterior and upper interior of Legendre’s castle. In an interview, director Victor Halperin once described the combined technical processes of Anderson and Tritschler: “We had sets built up to a certain height maybe 25-30 feet high, and they worked in and ﬁted in paintings to ﬁnish the rest of the interior of the castle where much of the main action took place. You couldn’t tell one part from another. It looked like all interior stone. Individuals walked in the front when they were searching for the castle, and they’d see the castle off in the distance on top of a huge rock, and that was all painted. We saw the individuals move and the waves of the sea in the foreground, so we could combine them in the same camera shot.”
- The Count of Monte Cristo (1934)
- White Zombie (1932)
- Don Q son of Zorro (1925)
- Flowing Gold (1924)
- Trilby (1923)
Director: Howard Ziehm
Cinematography: Danny Nowak
Production Design: Allen Benjamin
Visual effects director: Tom Hitchcock
Matte painting:Bob Kayganich
Optical effects:Edward Wollman
Director of photography: motion control & model unit:Richard ‘Jake’ Jacobson
Director: Bernard Knowles Cinematography: Jack Asher/ Jack E. Cox Art Direction:Andrew Mazzei Special photographic effects: Philippo Guidobaldi Matte painting: Albert Jullion Camera movement from matte painting to small set. Scenic paintings probably by Albert Whitlock who was scenic artist and background painter at Gainsborough Pictures during that time.
Director: Richard Brooks
Cinematography: Freddie Young
Production Design: Geoffrey Drake
Director of photography second unit: Skeets Kelly
Camera operator second unit: John Grant
Special effects: Cliff Richardson
Visual effects: Wally Veevers
Matte painting / Scenic painting: Peter Melrose
Miniature work made under Wally Veevers supervision.
Peter Melrose matte paintings.
Two samples of Melrose Scenic paintings.
Peter Melrose talked about his work on Lord Jim at “Little shop of horrors” magazine.
“I met with Wally Veevers while working on a film at Shepperton Studios […] George Samuels and Albert Julion, two superb painters, had recently died. Wally asked me to come and paint the mattes for a film called LORD JIM (1965), and I accepted with some trepidation since the film, being shot in 65mm Ultra Panavision, called for some very exacting work. The first matte I had to paint for LORD JIM was, in fact, the opening shot. It depicted a coast guard tower in the Hong Kong harbour, but it wasn’t quite as straightforward as that since a lot of work on the background to eliminate modern looking buildings was required also. When it was shown at rushes (or dailies as you say), Freddie Young, the lighting cameraman on the film, was heard to say ‘I don’t remember shooting that building’. Wally was delighted that even the DOP hadn’t recognized the shot as a painting, and so, of course, I was in!”
Cinematography:Daniel L. Fapp
Production Design:Lyle R. Wheeler
Special Effects:Chuck Gaspar
Visual Effects:Lawrence W. Butler/ Donald C. Glouner/ Robie Robinson
Miniature effects: Terence Saunders
Dir of photography: second unit: W. Wallace Kelley
Rotating Earth painting.
Director: José Leitão de Barros
Cinematography:Francesco Izzarelli/Manuel Luís Vieira
Art director: Rui Couto /Vasco Regaleira /Pierre Schild
Matte painting: Pedro “Pierre” Schild
Pedro Schild made use also of some foreground miniatures for ceilings.
Director: Lewis Teague
Production Design: Mentor Huebner/Giorgio Postiglione
Special visual effects: Barry Nolan
Creature supervisor: Carlo Rambaldi
Creature operators: Frank Schepler, Paolo Scipione, Steven Willis
Foreground Minitures: Emilio Ruiz
Model makers: Angel Arriola, Jacinto Soria
Carlo with his creature.
For achiving the desired effect they buil oversized set. Director Lewis teague explained why. “Even though extraordinary things have been done with opticals in the recent years they are usually identifiable; audiences are usually sophisticated enough to spot them. In a total fantasy film, you can accept opticals; in Return of the Jedi you know there are opticals so if you identify a particular shot as a process shot, you’ll accept it. But Cat’s Eye, which is a fantasy in a contemporary, realistic setting, I tried to make all the effects as realistic as possible. So I’m avoiding blue-screens and matte shots like the plague.”
For the second segment they used foreground miniatures with Emilio Ruiz del Rio.
Model maker Jacinto Soria working on the building facade.
Director: Alfred Hitchcock
Cinematography: Robert Burks
Production Design: Robert F. Boyle
MGM FX Department:
Special Effects Supervisor:A. Arnold Gillespie
Matte painting supervisor: Lee LeBlanc
Matte artist: Matthew Yuricich
Matte camera operator: Cliff Shirpser
Sculptor: Henry Greutert
Storyboard artist Mentor Huebner
Scenic painting used for the United Nations Set.
Director: Alfred Hitchcock
Cinematography: Jack Hildyard
Film Editing : William H. Ziegler
Art Direction : Henry Bumstead
Special photographic effects : Albert Whitlock
Storyboard artist: Thomas Wright (uncredited)
Some images from a VHScopy of the German TV documentary.
1. the plate.
2. the composition with the painting.
3.The image filmed on location
4. The plate with the matted out areas which the painting will be covering.
6. The set showing how the columns where only partially finished by the scenic artists.
7. The final image with the painted upper part of the columns, the ceiling and the distance buildings.
8. The Hacienda shot. Everything was painted except the small portion marked on red , even the water which had some animation with little flickering lights in it.
Director: Alfred Hitchcock
Cinematography:Gilbert Taylor Leonard J. South
Film Editing : John Jympson
Art Direction : Syd Cain
Matte supervisor : Albert Whitlock
Some images from a VHS copy of the German TV documentary.
The set of the jail.
The plate with the unwanted areas matted out.
Detail of the painting.
The final composition
The other painting that Al Whilock made for Frenzy. The original plate was shot at Pinewood Studios back lot. Whitlock painted the rest , as theCovent Garden market in London.
Director: Alfred Hitchcock
Cinematography: Leonard J. South
Film Editing : J. Terry Williams
Art Direction : Henry Bumstead
Matte supervisor : Albert Whitlock
Matte painter: Syd Dutton
Matte camera: Bill Taylor
This is the first painting Syd Dutton made on his own, under Al´s supervision.
Detail of the painting.
Carlo Rambaldi (born 1925 in Vigarano Mainarda, Italy) is an Italian born special effects artist who is most famous for designing the title character of the 1982 super-smash hit E.T. the Extra-Terrestrial and the mechanical head-effects for the creature in Alien. Rambaldi has also worked on Profondo Rosso (Deep Red) (1975), King Kong (1976), Close Encounters of the Third Kind (1977), Dune (1984), and King Kong Lives (1986).
He started his career making special effects for Italian films at the late 50´s, and he soon begun to experiment with mechanical and creature effects working at the “sword and sandals” Italian films where he had to create some of the first animatronic creatures for films like Vengeance of hercules(1960) or Maciste contro i mostri (1962).
He worked for Dino de Laurentiis for Barrabba (1961) and The Bible (1965). When laurentiis got the rights to remake Kin-Kong, he called Carlo rambaldi to supervised the giant ape construction.
Rambaldi was responsible of the giant head and body for “King Kong” (1976). Although the full size body was eventually not used due of his lack of movement, the mechanical hands were pretty successfully.
The mechanical work was under Glen Robinson. Rambaldi was in charge of the skin and hair. Rambaldi also supervised the mechanisms and the Kong suit made in collaboration with Rick Baker.
After the success of King Kong (1976). Rambaldi moved to Los Angeles where he was requested to make the alien from Spielberg´s “close encounter on the third kind”(1977), and some others like “The hand”, “Alien” or “E.T.”
Rambaldi has the distinction of being the first special effects artist to be required to prove that his work on a film was not ‘real’. Dog-mutilation scenes in the 1971 film Lizard in a Woman’s Skin were so convincingly visceral that its director, Lucio Fulci, was prosecuted for offences relating to animal cruelty. Fulci would have served a two-year prison sentence had Rambaldi not exhibited the film’s array of props to a courtroom, proving that the scene was not filmed using real animals.
With Rambaldi worked a team of excellent italians artist like Isidoro Raponi, Carlo DeMarchis or Giusepe Tortora. After Rambaldi moved to USA at the late 70´s , they begun to work by their own, providing mechanical and creature effects for films like “Conan” or “The Neverendingstory”
Gallery: Carlo Rambaldi with Spielberg’s E.T. (1982)
Carlo Rambaldi with the Alien head mechanism.
Rambaldi with his assistant Carlo De Marchis operating the cable controled mechanism.
Yo-rhad, un amico dallo spazio (2006) (special makeup effects artist)
Decoy (1995) (visual effects supervisor: Los Angeles) (exotic weapons designer)
Primal Rage (1988) (special visual effects)
Cameron’s Closet (1988) (creature creator)
“La vie des Botes” (1986) TV series (masks)
King Kong Lives (1986) (creatures constructor) (creatures creator)
Silver Bullet (1985) (werewolf suit creator)
Cat’s Eye (1985) (creatures)
Dune (1984) (creature creator)
Conan the Destroyer (1984) (creature designer: Dagoth)
E.T.: The Extra-Terrestrial (1982) (E.T. operator)
Possession (1981) (special effects: the creature)
The Hand (1981) (special effects)
Alien (1979) (alien head effects)
Nightwing (1979) (special visual effects)
Close encounters of the third kind (1977)
The White Buffalo (1977) (consultant)
King Kong (1976) (special effects)
Profondo rosso (1975) (special effects)
La mazurka del barone, della santa e del fico fiorone (1975) (special effects)
Le amanti del mostro (1974) (special effects) Lover of the Monster
La mano che nutre la morte (1974) (special effects) The Hand That Feeds the Dead (USA)
Dracula cerca sangue di vergine… e morì di sete!!! (1974) (special effects) Andy Warhol’s Dracula (USA)
Zanna bianca alla riscossa (1974) (optical effects) White Fang to the Rescue
Flesh for Frankenstein (1973) (special effects)Andy Warhol’s Frankenstein (USA)
Estratto dagli archivi segreti della polizia di una capitale europea (1972) (special effects)Tragic Ceremony (USA)
Frankenstein ’80 (1972) (special effects)
Casa d’appuntamento (1972) (special effects) The French Sex Murders (USA)
La notte dei diavoli (1972) (special effects) (as Rambaldi) Night of the Devils (USA)
Reazione a catena (1971) (special effects) (as Rambaldi)Blood Bath (UK)
Una lucertola con la pelle di donna (1971) (special effects)Lizard in a Woman’s Skin
Femina ridens (1969) (special effects)The Laughing Woman (USA)
L’odissea (1968) TV mini-series (special effects)
La strega in amore (1966) (special effects)The Witch in Love
Il boia scarlatto (1965) (special effects makeup)Bloody Pit of Horror (USA)
Hercules and the Princess of Troy (1965) (Monster creator)
Terrore nello spazio (1965) (model maker)Planet of the Vampires (USA)
Perseo l’invincibile (1963) (special effects)
Medusa vs. the Son of Hercules (USA: informal alternative title)
Maciste contro i mostri (1962) (special makeup effects artist) Fire Monsters Against the Son of Hercules
I Giganti della Tessaglia (1961)
Maciste nella terra dei ciclopi/ Atlas Against the Cyclops (1961)
Vengeance of Hercules (1960)
Teseo contro il Minotauro (1960)
Sigfrido (1957) (dragon creator)
Nick Maley was born on July 17, 1949 in London, England as Nicholas Paul Maley. He is known for his work on Star Wars episode IV (1977) and V (1980), Superman (1978), The Keep: (1983) and Lifeforce (1985)
7 year association with veteran Special Make-up designer Stuart Freeborn lead to his involvement in the making of YOUNG WINSTON, STAR WARS (Cantina sequence), SUPERMAN I & II and THE EMPIRE STRIKES BACK when he collaborated on the creation of Yoda.
To know more about Nick Maley :
1986 Higlander (special effects makeup co-designer)
1985 Seitenstechen (special effects makeup designer: pregnant man) 1985 Arena (Video) (prosthetic makeup artist)
1985 Lifeforce (special makeup effects)
1984 Duran Duran: The Wild Boys (Video short) (makeup artist)
1984 Scream for Help (special makeup effects artist – uncredited)
1983 The Keep (makeup designer) / (makeup effects supervisor)
1983 Krull (special makeup designer)
1983 Screamtime (special makeup effects designer)
1983 Grizzly II: The Concert (special effects)
1982 Whoops Apocalypse (TV Series) (prosthetics design)
1982 Britannia Hospital (special makeup effects)
1982 The Hunchback of Notre Dame (TV Movie) (makeup creator: Mr. Hopkins)
1981 Clash of the titans (prosthetics technician – uncredited)
1981 Inseminoid (special makeup effects: Make-Up Effects Ltd.)
1980 Superman II (makeup artist – uncredited)
1980 The awakening (special makeup effects)
1980 Star Wars: Episodio V – The Empire strikes back (makeup artist)
1979 Bloodline (makeup artist: UK)
1979 The World Is Full of Married Men (makeup supervisor)
1978 Superman (makeup artist)
1978 Absolution (special makeup effects – uncredited)
1978 Disraeli (TV Mini-Series) (prosthetics technician)
1978 The four feathers (TV Movie) (makeup artist – uncredited)
1977 A bridge Too far (makeup artist – uncredited)
1977 Star Wars: Episodio IV -A New Hope (special makeup effects crew: Cantina sequence – uncredited)
1977 Spectre (TV Movie) (special makeup effects crew)
1976 Satan’s Slave (makeup artist)
1976 Shout at the Devi (makeup artist: Malta – uncredited)
1974 The Man with the Golden Gun (makeup artist: title sequence – uncredited)
1970 Julius Caesar (makeup assistant – uncredited)
John Chambers was a make-up artist. Died at the age of 78.Throughout his career he was respected and regarded as one of the best in his field for prosthetics and special effects makeup.
For his work on the film, Chambers won an Academy Award for Outstanding Achievement in Makeup—an award category specifically created for Chambers and his work on the film and the first award given for makeup.
Chambers worked on the pilot episode of Mission Impossible and created the pointed ears worn by Leonard Nimoy’s Spock in the original Star Trek television series. He also created Lee Marvin’s prosthetic nose for his Academy Award-winning role in Cat Ballou (1965), and a prosthetic chest for Richard Harris in A Man Called Horse (1970), where he was hung on pins for a native American initiation ceremony.
Two make up creations from Island of the Dr. Moreau.
1882 Class Reunion (makeup designer) / (prosthetics supervisor – uncredited)
1982 Blade Runner (prosthetic makeups – uncredited)
1981 Halloween II (makeup technician – as John F. Chambers)
1980 Beyond Westworld (TV Series) (makeup artist)
1977 Dark Echo (special makeup effects artist)
1977 The Island of Dr. Moreau (makeup creator)
1976 Beauty and the Beast (TV Movie) (makeup artist)
1976 Embryo (makeup designer)
1975 Twigs (TV Movie) (makeup artist)
1975 Up from the Ape (Documentary) (makeup designer)
1974 Phantom of the Paradise (makeup designer)
1973 Sssssss (creative makeup designer)
1973 Battle for the Planet of the Apes (creative makeup designer)
1972 Night Gallery (TV Series) (makeup artist – 1 episode)
- You Can Come Up Now, Mrs. Millikan/Smile, Please (1972) … (makeup artist)
1972 Superbeast (special makeup artist)
1972 Conquest of the Planet of the Apes (creative makeup designer)
1972 Slaughterhouse-Five (makeup artist)
1971 Escape from the Planet of the Apes (creative makeup designer)
1971 The Mephisto Waltz (life masks – uncredited)
1970 Beyond the Valley of the Dolls(special makeup effects artist – uncredited)
1970 Beneath the Planet of the Apes (creative makeup designer)
1968 Planet of the Apes (creative makeup designer)
1967-1968 Lost in Space (TV Series) (makeup designer – 2 episodes)
- Target: Earth (1968) … (makeup designer – uncredited)
- Space Destructors (1967) … (makeup designer – uncredited)
1967 I Spy (TV Series) (makeup artist – 1 episode)
- The War Lord (1967) … (makeup artist)
1966 Mission: Impossible (TV Series) (makeup artist – 1 episode)
- Pilot (1966) … (makeup artist)
1966 Star Trek (TV Series) (makeup designer)
1965 The Human Duplicators (special makeup effects artist)
1963 The List of Adrian Messenger (makeup artist)
1960-1961 Shirley Temple’s Storybook (TV Series) (makeup artist – 10 episodes)
- The Princess and the Goblins (1961) … (makeup artist)
- The Little Mermaid (1961) … (makeup artist)
- The Terrible Clockman (1961) … (makeup artist)
- Pippi Longstocking (1961) … (makeup artist)
- Babes in Toyland (1960) … (makeup artist)
Show all 10 episodes
1961 Bobby Darin and Friends (TV Special) (makeup artist)
1960 The Steve Allen Show (TV Series) (makeup artist – 1 episode)
- Episode #5.14 (1960) … (makeup artist)
1959 Another Evening with Fred Astaire (TV Special) (special makeup effects artist: Alfred E. Neuman mask)
1959 Kovacs on Music (TV Movie) (makeup artist)
1958 An Evening with Fred Astaire (TV Special) (makeup artist)
1958 Showdown at Boot Hill (makeup artist)
1958 Ambush at Cimarron Pass (makeup artist)
1956 Around the World in Eighty Days (makeup artist – uncredited)