But in the early days of film, the art of matte painting was the province of oil painters with traditional skills. Their scenic paintings had to seamlessly match the photographed action, but they also had to convey the emotional spirit of the scene.
(Video Link) One of the most remarkable pioneers in this field was a British-born painter named Peter Ellenshaw (1913-2007). In this video, he tells his story: how he started painting scene extensions for Thief of Baghdad (1940) and how he got some dream jobs for Walt Disney on Treasure Island, Mary Poppins, Twenty Thousand Leagues Under the Sea, and Darby O'Gill and the Little People.
The hour-long video is broken into six chunks of 10 minutes each.
Part 2
Part 3
Part 4
Part 5
Part 6
Previously on GJ:
Digital Matte Painting
Blending into the Background
Book: The Digital Matte Painting Handbook
8 Comments on Gurney Journey: Matte Artist Peter Ellenshaw
I'm always amazed at the random precision (to quote Pink Floyd) required of a successful matte painting. Not too tight and not to loose. Brushwork that achieves a consistent texture but is both descriptive and evocative without drawing attention to itself.
I wonder if the style developed from observing and evaluating the painting through the single eye of the camera lens."
http://nzpetesmatteshot.blogspot.co.uk
Thanks for posting this and so many other great pieces!"
Great post.
Even Peter Ellenshaw knew he was a tremendous painter, and he was."