Harry Walton short bio :
Ever since I was eight years old I knew that I wanted to be involved with animation and visual effects. In 1968 I landed my first professional film job working for CLOKEY PRODUCTIONS on GUMBY and DAVEY & GOLIATH. A couple of years later I was hired by one of my heros in the industry, Gene Warren Sr. of PROJECT UNLIMITED and EXCELSIOR fame. Gene was my mentor for 7 years where I learned much about stop motion animation and visual effects. From EXCELSIOR I moved on to such places as CASCADE PICTURES, COAST EFFECTS, EFFECTS ASSOCIATES (Jim Danforth), DAVID STIPES PRODUCTIONS, ILM, TIPPETT STUDIO, SKELLINGTON PRODUCTIONS, DREAM QUEST IMAGES, SONY PICTURES IMAGEWORKS, etc. I specialized in character animation, although I was also heavily involved in other areas of visual effects such as optical compositing, matte painting and compositing, plate photography, lighting and setup, stop motion puppet fabrication, etc. I have been fortunate to have worked with some of the best in this industry. In 1995 I was forced to make the transition into digital animation and visual effects. I sure do miss those days of working with cameras, projectors, puppets, miniatures, sets and lights.
2008 Bud Abbott and Lou Costello Meet the Monsters (Video short) (digital effects artist) / (visual effects design)
2003 Vlad (digital effects artist)
2003 Freaky Flyers (Video Game) (animation art director: Brain Zoo Studios)
2003 Girls Will Be Girls (visual effects supervisor)
2001 The Pearl (visual effects supervisor – as Harry V. Walton)
2000 Hollow man (CGI character animation lead)
1996 James and the gian peach (animation supervisor: SPI)
1995 Gumby 1 (optical effects/ animator: Image FX)
1993 Nightmare before Christmas (additional optical effects: Image FX)
1993 The Meteor Man (stop motion animator)
1993 RoboCop 3 (opticals: Tippett Studio)
1992 Memoirs of an invisible man (stop motion animator: ILM)
1990 RoboCop 2 (visual effects: robot monster crew)
1989 Abyss (effects cameraman: ILM – as Harry V. Walton)
1989 Indiana Jones and thye last crusade (matte photography: ILM)
1988 Who framed Roger rabbit? (stop-motion camera – as Harry V. Walton)
1988 Willow (visual effects camera: ILM)
1987 RoboCop (visual effects: ED-2000)
1987 Innerspace (visual effects cameraman/go-motion animator: ILM)
1987 The Puppetoon Movie (optical duping)
1986 The golden Child(go-motion supervisor: ILM)
1986 Howard… the duck (visual effects stop motion supervisor: ILM)
1985 Young Sherlock Holmes (go-motion animation: harpy sequence: ILM)
1883 Never say never again (stopmotion animation)
1982 The Powers of Matthew Star (TV Series) (special photographic effects )
1980 Hopscotch ( matte painting)
1979 Love at the first bite (visual effects supervisor – uncredited)
1979-1980 C.P.C. Associates : Visual Effects & Animation Director/Matte Artist -
Various commercials – HASTE WATCHES, CHARMIN TISSUE,
MD TISSUE, CHEFWAY, MURADAI HAM, SKELLY OIL,
RHYTHM OF THE CITY, SPRITE, AURORA TISSUE,
TETLEY TEA and PURINA CHUCKWAGON.
1977-1978 Man from Atlantis (TV Series) (photographic effects)
1978- The greatest heroes of the bible (Co-Visual Effects Dir/matte artist)
1977 Black Sunday (visual effects – uncredited)
1974 Dark Star (special effects)
1974-1975 Land of the Lost (TV Series) (animator – 30 episodes)
1971-1972 Davey and Goliath (TV Series) (animator – 7 episodes)
1971- Octoman (makeup effects assistantto Rick Baker)
Those are 5 photos of a matte painting that I did in 1980 for the movie HOPSCOTCH, starring Walter Matthau. The painting was done with oil paints on a sheet of glass. I did the composite with rear projection using my RKO matte projector when I was at CPC Associates in Hollywood. I used an anamorphic “squeezed” plate, so I had to paint with a 2:1 squeeze. Anamorpic projection lenses were not as sharp as spherical lenses. Jim Danforth devised this geometric graph which allowed me to accurately paint the geometric shapes with a 2:1 squeeze.
The reason for this matte shot was it was cheaper for the production to shoot in Atlanta, Georgia and pay for a matte shot to make it look like Washington, D.C.
Finished unsqueezed composite.
bg. plate with the matte for the painting area.
Harry Walton working on the painting.
Squeezed glass painting.