miércoles, 10 de septiembre de 2014

Painting the light.

Painting the light is possibly a paradox, since we do not see the light, but what it illuminates. When we see rays of light, it is the dust in the air what we really see illuminated. These rays of light have been a recurring theme in the history of universal art.
The use of smoke on the set to show the light is of common use on film industry.
Creating rays of light is not always possible, specially filming on exteriors.  On many occasions it was necessary for matte artists to paint those lines of light to produce dramatic effects, or simply to create spectacular images.

Let’s see some samples of those ray light paintings. 

The crusades (1936)
Special effects: Gordon Jennings
Matte painting: Jan Domela

Garden of allha (1936)
Matte painting supervisor: Jack Cosgrove
Matte cameraman: Clarence Slifer

La guerra gaucha (1942)
Matte painting: Ralph Papier

Ines de castro (1944)
Matte painting: Pierre Schild


Captain Horatio Hornblower R.N. (1951)
Matte painting: Peter Ellenshaw

Kompozitor glinka (1952)
Matte shots designer:  L. Aleksandrovskaya/  I. Gordienko/  F. Krasny
Matte photographer: Grigoriy Ayzenberg

Dracula (1958)
Matte painting: Les Bowie.
Matte assistant ( Derek meddings/ ray caple)

From the terrace (1960)
Special photographic effects: Lb. Abbott
Matte painting: Emil Kosa Jr

The Birds (1963)
Matte painting: Albert Whitlock
Matte photography: Roswell Hoffmann

The gnome-mobile (1967)
Special effects: Eustace Lycett/ Robert A. Mattey
Matte painting: Peter Ellenshaw

Candleshoe (1977)
Matte painting: Cliff Culley

The blue brothers (1980)
Special visual effects: Albert Whitlock
Matte artist: Syd Dutton
Matte camera: Bill Taylor

The Ewok adventure (1984)
Matte painting and camera: Jim Danforth

The adventures of  Baron Munchausen (1988)
Matte painting: Doug Ferris
Matte camera: John Grant