Special Effects – Visual Effects – Cinema
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Let’s meet Harry J Alpert – Motion Control Operator
Mar 4th
Harry J Alpert has been in the film business for over twenty years as a Director of Photography, Camera Operator, Assistant Cameraman and Animator. In the Visual Effects business he specialized in Motion Control, Blue Screen, Green Screen and High Speed cinematography as an operator and D.P.
He recently published an article about his career in the Magazine “All Lights”, but he also accepted to answer few questions for Making FX.
Hi Harry, thanks for taking few time to answer my few questions.
Paul Franklin and the Dneg’s team on Inception just won the Oscar for the best VFX. What is your first reaction after the announce of the result ?
I was thrilled to see Mike Chambers, up on the stage for the Oscar He was a VFX producer on “Inception”. Very exciting! I had worked with him for ten years at Boss Film many years ago, as well as, at Digital Domain on “True Lies”. “Inception” well deserve the Oscar!
Doug Smith was my boss on “Independence Day”. It was extremely exciting to see him receive the Oscar as well!
The world of Daniel French
Mar 4th
Today, we’re going to discover a very talented artist who choose to work on miniatures. I discovered his work on twitter, and I decided to share it with you. He just finished to work on an really nice miniatures, and he took some time to answer few questions.
First a time laps about the build of the miniature:
Hi, can you describe briefly how you started to work with miniatures and why ?
Through the years, I’ve been lucky enough to work with both set design and CGI. At the same time I’ve always been fascinated by miniature work. Late last year I wrote and directed a short film and we decided to try out some miniature effects. Together with Production Designer Silas Puls we created a miniature set extension. The film is currently in post production and will be online in a couple of months. Recently a new project came up, and we made this test to show the producers.
Mark Sullivan exclusive Interview
Feb 17th
We already talked 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…
He took time to answer my questionnaire. Thank you so much !
- First, I’d like to ask you how you discovered matte painting, and what did decide you to become a matte artist.
Nothing unique in my case, just becoming aware and intrigued by effects work by seeing movies like the 1933 “King Kong”. There wasn’t very much to read and learn about matte paintings, or film effects work when I was growing up, but I think that actually made it seem more exotic and rarified, and because of that, more interesting.
- What is the best souvenir you have about your career, the matte you’re the most proud of ?
That’s kind of tough to answer, because being so close to something allows you to see the flaws you hope others may not notice, and it’s hard to be non subjective. One particular shot I recall, though, is a shot of some kids looking out of a tent at night in a suburban backyard setting. I worked on with the Chiodo Brothers for their short film, “Cousin Kevin”, in 1985. I’ve always liked that one, it was shot in 16mm as an original negative composite. Really, the best part of my past experiences has got to be the people I’ve worked with, met, or become friends with. Getting to work as an assistant to Jim Danforth in the early 1980s was an incredible opportunity and learning experience. Later, I was able to work with some great people like David Stipes, Bob Bailey, Harry Walton, Steve, Charley and Edward Chiodo. I was very fortunate to get to work with Rocco Gioffre at a (now defunct) film effects company called DreamQuest, for a few years. Another fond memory is visiting the Universal matte department, in the mid 1980s. Syd Dutton very graciously spent an afternoon showing Rooco Gioffre and I all of the fantastic work he and Albert Whitlock had created there for many years. That was inspiring.
Here is a digital matte from “Apocalypto”. Sky, far horizon and some of the pyramids were painted in.
The effects in the movie were supervised by Ted Rae. I painted on this shot for Rocco Gioffre’s company.
David Stipes exclusive interview
Feb 12th
Here is an exclusive interview of David Stipes, Visual Effects Supervisor we already talk about on this blog. Thank you so much for having taking time to answer the few questions of the MakingFX questionnaire.
- First, I’d like to ask you how you discovered matte painting, and what did decide you to become a matte artist.
The concept of matte painting was no doubt a byproduct of my research into the making of “King Kong”. While fascinated with the process of stop motion I learned about matte painting through the work of Mario Larrinaga and Byron Crabb. Their moody mattes shots of the Skull Island jungles captured my imagination.
While still in high school I had a chance to meet Jim Danforth and see some of his phenomenal work. I later read about Albert Whitlock in “American Cinematographer” magazines. In truth, I consider myself a visual effects artist and not a matte artist. I have done matte shots and I love and appreciate what you guys do but I do not consider myself on the same league at all.
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Bill Taylor exclusive interview
Feb 10th
Bill Taylor, the amazing artist who co founded Illusion Arts with Syd Dutton took time to answer few questions.
Just to remember his incredible career, he used to be the cameraman for Al Whitlock’s Matte Painting, he worked on projects such as The Blues Brothers, Adams Family, DragonHeart, Robin Hood, From Hell, the Village, Casanova…Thank you so much Bill to take time to share your experience with us.
- First, I’d like to ask you how you discovered matte painting, and what did decide you to become a matte artist.
First of all, I’m not a mattte artist, I’m a cameraman. I had been aware of matte paintings since I was a kid, mostly because of obvious ones as in “North by Northwest” or highly romanticized work as in “Mary Poppins”. As I went to work in the optical effects business I became more aware of who the players were.
I’m sure dozens of Al Whitlock paintings had slipped past me until I saw “That Funny Feeling”, an indifferent Universal comedy, where obvious back-lot buildings were seen surrounded by a very believable Manhattan. Al Whitlock’s name was on the movie, so I called him up at Universal. He was kind enough to take quite a bit of time to talk to me. At one point I said the live action didn’t look at all like dupes, and he replied, “That’s because they aren’t dupes; they’re done on the original negative.” From that point we hit it off; I became a frequent visitor to Al’s department at Universal, was befriended by him and his family, and eventually became his cameraman.
- What is the best souvenir you have about your career, the matte you’re the most proud of ?
I’m proudest of the Illusion Arts work in “Casanova”. We used everything we knew how to do, in the service of a delightful movie.
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