The LEGACY of VFX: The ILM Matte Painting Dept (1980's)

[embryotic]

Very cool - thanks Roberto

[Wexter]

wow, amazing to know how the movies was done in a galaxy long ago, thanks for the video, very instructive.

[dapride]

Roberto, I can relate to the "old style" vfx as I started in the industry in 1972.

[RobertoOrtiz]

Roberto, I can relate to the "old style" vfx as I started in the industry in 1972.

Awesome...
Tell us more about traditional methods.
I would looove to hear more about it.

-R

[dapride]

Roberto, we had 2 motion control camera systems, double head optical printer, 2 rotoscope cameras, Samcine front projection system, Oxberry aerial-image animation camera, matte stand with rear projector, Stewart "T"matte blue screen setup, model shop, machine shop, film developing and the facility to back-up and support all this equipment.
so.....what bit were you interested in?

[RobertoOrtiz]

Roberto, we had 2 motion control camera systems, double head optical printer, 2 rotoscope cameras, Samcine front projection system, Oxberry aerial-image animation camera, matte stand with rear projector, Stewart "T"matte blue screen setup, model shop, machine shop, film developing and the facility to back-up and support all this equipment.
so.....what bit were you interested in?

Oh yes...I eat that stuff like candy..!
:)

[dapride]

Roberto, here's a picture of our matte stand and optical printer (circa 1984) . They were used on numerous films and TVCs. The Matte stand had a Bell & Howell 2709 camera with Cannon still lenses. We would project scenes either through the camera (front surface mirror in gate) or from the rear and trace off areas to paint on the glass. Maybe for a challenge, you could provide a frame of a live action sequence with the movement contained in one general area so the matte painters (us) could extend the scene. If you garbage matte the areas to paint, each person would interpret it differently.
Just a thought..........since not everyone has one of these. :-)

http://img31.imageshack.us/img31/5876/mattescanprinter.jpg (http://img31.imageshack.us/i/mattescanprinter.jpg/)

[sandsekh]

Roberto, here's a picture of our matte stand and optical printer (circa 1984) . They were used on numerous films and TVCs. The Matte stand had a Bell & Howell 2709 camera with Cannon still lenses. We would project scenes either through the camera (front surface mirror in gate) or from the rear and trace off areas to paint on the glass. Maybe for a challenge, you could provide a frame of a live action sequence with the movement contained in one general area so the matte painters (us) could extend the scene. If you garbage matte the areas to paint, each person would interpret it differently.
Just a thought..........since not everyone has one of these. :-)

http://img31.imageshack.us/img31/5876/mattescanprinter.jpg (http://img31.imageshack.us/i/mattescanprinter.jpg/)

Great to hear from someone who has had wonderful experience. I did go through couple of Horizon's documentaries and videos, Real Inspiring. Btw, how much manhours did it take to,say composite one live action video(of 1min) into a matte? (srry if its a lame question)
And a good idea for the competition too, We can start with something basic along those lines.

[RobertoOrtiz]

Roberto, here's a picture of our matte stand and optical printer (circa 1984) . They were used on numerous films and TVCs. The Matte stand had a Bell & Howell 2709 camera with Cannon still lenses. We would project scenes either through the camera (front surface mirror in gate) or from the rear and trace off areas to paint on the glass. Maybe for a challenge, you could provide a frame of a live action sequence with the movement contained in one general area so the matte painters (us) could extend the scene. If you garbage matte the areas to paint, each person would interpret it differently.
Just a thought..........since not everyone has one of these. :-)

http://img31.imageshack.us/img31/5876/mattescanprinter.jpg (http://img31.imageshack.us/i/mattescanprinter.jpg/)

I have been thinking about soing a challenge as a tribute to this sort of method.

I just might do this.

Could you tell us a bit more about the workflow?
-R

[dapride]

Roberto, there are many different ways we used the matte stand. I will outline a simplified work flow using scene extension that would lend itself to Photoshop, Painter etc. (just using the live action part of a scene)

Film live action element with Fries/ Mitchell reflex camera (steady image) including something that will give a reference for perspective (for painting) All work on 35mm film stock.

Get a graded film strip to project (with camera or rear projector) scene onto matte board or glass and do layout of painting.

Layout perspective lines and paint enough to do first test of blend area and colors.

Repeat testing until you get colors, contrast and look you want. Tests would involve using different filters, polarizers etc.

Tests will be assembled in optical printer. All tests viewed daily after early delivery from lab.
You have to have 35mm projection facilities also.

Shoot final version of painting and combine in optical printer with live action element.

This is very simplified, there books written on this subject alone. Hope that helps.

[RobertoOrtiz]

Thanks!
BTW I do have a question.
Is there anything you miss from the optical days?

[dapride]

* The excitement of developing new techniques.

* The 'hands on' approach to SPFX instead of 'hands on mouse'.

* Special effects groupies.

* Being able to hang out with the guys from ILM without an appointment and chaperone.

* Being 35 years younger.

Having said that, I enjoy doing what I do now equally as much or more than "the good old days" :-)

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