There are several reasons to watch flick trailers. Al said that he missed the precise timing from his stop watch by about eight frames. Or this may happen because the company wanted to start you at a lower pay rate than someone in that actual title. The company believes that this savings approach works because it capitalizes on a psychological phenomenon called the endowment effect, in which you place greater value on something you already own than you would be willing to pay for it. 1. To get the best quality for our value and we trust the same in the printing technique which we choose as it is always in our nature. I think it’s one of his best – and all on original negative too! Q: A friend of mine in Germany (who’s also a big matte fan) actually owns an original Whitlock gallery piece, and it’s exquisite Jim. The thing looks like almost all of it’s Al’s paint excepting the actors and horse? Apparently that was Al’s most difficult shot from what Rolf Giesen told me. I also liked the shot of the couple sitting in mountain shadow on a lookout point above the distant Colossus facility in the sunlit valley below.
Then he flawlessly surrounded them with the painted valley and the colossus facility. JD: like THE INCREDIBLE SHRINKING MAN, but I don’t care much for TARANTULA as a piece of drama, and then some of the mattes are ‘keyed’ incorrectly, with the result that the spider doesn’t always fit behind the rocks correctly. JD: I don’t know too much more about Ross, I talked to him a lot when I was working with Al or visiting him at Universal, but mostly I asked Ross technical questions, not about his career, per se. I liked STAR TREK IV – THE VOYAGE HOME (1986) as much for it’s script and characters as for it’s visual effects. The stadium had moving crowd effects. But even with these expenses the labor is the largest cost for doing visual effects. Because animation is a two dimensional representation with a time coordinate, it forces the student, even as young as six, to literally be graphing information on three dimensional level.
What goes hand in hand with Flash animation? All visual mediums of animation and illustration require technically sound backgrounds to be in proper placed. He had two hanging in his home that I particularly liked—a view of the ship Cutty Sark under full sail, and a scene of a stately English home in late afternoon light. With the lighting unit on, the silhouetted cel formed an aerial-image matte, printing the background scene threaded in the printer but leaving an unexposed area for the element to be added. When the lighting unit was turned off and the cel was illuminated from the front, the cell printed the portion of the live-action scene that was being matted into the duped background. Of course, the projection system used at Disney made it easy to place the actors and a small envelope of background into the paintings. Al didn’t like the rear projection system, and he managed to do shots of type you’ve described with latent images. JD: Yes, apparently there was a general dislike of that shot (and all the matte shots from MARNIE).
JD: Yes, very impressive. JD: My memory is that the painting showed the entire interior of the vaulted, beamed ceiling, plus the top third or so of the support columns. Ross showed me the set-ups used for printing the rotoscoped mattes that were the norm at Universal for years. The specific shot Al was primarily working on when I arrived showed Sean Connery and Tippi Hedron walking to the barn. Al pointed out that the shake roof of the barn was created by alternating lines of reddish and greenish shades of gray. Q: That barn interior tends to slip by totally unnoticed. Also for MARNIE Al painted the interior of a tithe-barn stable with a bright glare of light coming in the window. My guess is that there was action filmed in the foreground of the set—later edited out—and which required more of the interior to have been constructed than would have been necessary for the shot as it was finally edited. There are so many more opportunities. Q: Maybe so, but Ross was definitely one of Universal’s unsung heroes who more than earned his keep.
Singham finds himself transferred to Goa, to work with a demoralised force, still smarting from the suicide of a colleague, who was framed by Shikre. There’s still places in Asia and the Middle East where the theatrical markets are underdeveloped and will continue to grow over the next decade. There are still certain scenes and certain lines where we’re asking, “Was this version better? There is no onscreen evidence that Dolittle, in any iteration, was ever anything but hopelessly inert. If you’re being treated improperly then try to resolve it. Al then matted out everything except the shadowed couple, a few feet of fence, and a little of the sunny valley beyond them. One of those “invisible” mattes— basically a split screen with only a little painting to make it blend. JD: One of my regrets is that I never asked Al if I could acquire one of his paintings.