The work of Stan Winston largely contributed to my desire to go into the Visual Effects Industry. Of course, he was not the first one working with creatures, animatronics and makeup effects, Phil Tippet, Rick […]
On one hand, you have Stanley Kubrick, one of my favorite director. I remember having watched Shining again and again when I was younger because I thought this movie was just perfect !
On the other hand, you have Peter Ellenshaw, one of the greatest matte painter of the History of the Art. He’s done so many incredible painting that we could take hours to talk about him…
On the movie Spartacus, Ellenshaw realized an amazing painting of Rome, and I wanted to share some photos of it with you.
Look how detailed the painting is ! It’s definitely a wonderful peace of Art !
Many years ago, before the GoogleGlass, the iPad Mini, even before the computers, there was already people in charge of creating some amazing environments for movie (can you believe this Nick ?). One of the […]
I already put some traditional matte painting from Star Wars in the Gallery, but I just found new one I didn’t know ! I had to post them here ! I know, we always keep […]
Let’s talk about Mark Sullivan, remember, the incredible matte painting of the tree for “Hook”. He is one of my favourite matte painter. He started working in traditional way, and evolved through the digital technique. His work is really inspiring. His credits include Indiana Jones and the last Crusade, The Abyss, Backdraft, Hook, Star Wars episode 1 and 2, Apocalypto…
When someone ask me why I decided to become a matte painter, my answer is always the same : because the matte painting made at ILM during the 80’s are amazing ! And when someone ask me what movie I enjoyed the most when I was a kid, my answer is always the same : Willow, directed by Ron Howard.
That’s why I’m so proud to share with you today an exclusive interview with one of the most inspiring Matte Painter, who actually worked at ILM in the 80’s, on Willow. Let’s take few minutes to talk to Paul Swendsen.
Thank you so much Paul for your very detailed answers. It’s a real privilege to have the opportunity to listen to your amazing stories.
Before falling in the digital land, SFX artists developed lots of different techniques to create amazing environments for films. We already spoke about the glass painting, which was about painting the missing environment on a glass that we put between the camera and the set. But sometimes, we had to create more than just a painting, and we used miniatures. Emilio Ruiz del Rio is one of the most famous miniatures maker. Let’s have a look inside his world.
Emilio Ruiz del Rio was a Spanish film set decorator and special effects and visual effects artist.
His filmography includes work on over 450 films from studios in Europe and the United States like Conan the Barbarian, Spartacus, Mr Arkadin ou Pan’s Labyrinth. You’ll see his Filmography here : IMDB
David Stipes is a two time Emmy® Award winner with over 30 years of experience in the film industry in various aspects of visual effects and animation.
David worked as a Visual Effects Supervisor on four Star Trek
series: “The Next Generation,” “Voyager,” “Deep Space Nine,” and
“Enterprise”. David championed the use of computer-generated imagery (CGI) for Star Trek, which completely changed how the visual effects are created for the shows.
Prior to Star Trek, David created visual effects for a number of science fiction television series including “Buck Rogers,” “Battlestar Galactica,”The Flash,” “V” and “Intruders.”
David also operated his own studio for more than 12 years producing visual effects for such feature films as “Circuitry Man,” “Creepshow,” “Lawnmower Man,” and “Real Genius.” David has had over twenty industry related articles published and is currently an instructor at The Art Institute of Phoenix.
He accepted to share with us some of his photos and tell us more about it.
Buck Rogers in 25th Century” TV show. (1979) I am standing in front of a multi-plane matte painting set-up. Painting is by Dan Curry who later went on to become a Visual Effects Supervisor and Producer on “Star Trek.” This kind of set up allowed layers of glass to slide and provide drifting cloud effects.