That's a very young Harrison Ellenshaw in Pt. 4. Notice how the live action portion of the back projected plate is different in intensity to the ambient light reflecting the surface colors off the actual matte painting itself. Not only is getting the painting to look seamlessly integrated with the live action plate a problem of perspective for the artist, but so is getting the separate exposure times for the painting and live action plates on a frame by frame basis. Some empirical testing was always necessary before determining how best to optimize the exposure times required to ensure the correct balance in intensity between the painting and the live action plate would blend the final image in as natural a way as possible. Even slight differences in intensity would highlight the boundary area between the two parts of the image, practically pointing out the effect as being fake. With Harrison in the frame, the exposed and processed film of the documentary camera itself is picking up more light coming from the live action plate being projected onto the clear glass area of the matte painting, so it doesn't look right as we see it. I thought it was worth pointing that out.
That's a very young Harrison Ellenshaw in Pt. 4. Notice how the live action portion of the back projected plate is different in intensity to the ambient light reflecting the surface colors off the actual matte painting itself. Not only is getting the painting to look seamlessly integrated with the live action plate a problem of perspective for the artist, but so is getting the separate exposure times for the painting and live action plates on a frame by frame basis. Some empirical testing was always necessary before determining how best to optimize the exposure times required to ensure the correct balance in intensity between the painting and the live action plate would blend the final image in as natural a way as possible. Even slight differences in intensity would highlight the boundary area between the two parts of the image, practically pointing out the effect as being fake. With Harrison in the frame, the exposed and processed film of the documentary camera itself is picking up more light coming from the live action plate being projected onto the clear glass area of the matte painting, so it doesn't look right as we see it. I thought it was worth pointing that out.
Great explanation. I was wondering about that. And your right, sometimes a matte is painfully obvious, other times it's indistinguishable.
Every so often, someone in our filom music community stumbles across a completely unexpected GEM of film music or of film music history like this. It is so refreshing to see and hear James Horner in this video, made somewhat bittersweet by his recent passing.
Thanks so much, Lukas, for putting it on the FSM Message Board for us all to enjoy. He is still with us in his music.
I agree with Ron, it is quite bittersweet to see Horner, so young and at the top of his game. Love his expertise at conducting and the music is just so wonderful and beautiful.
This was at a time when James Horner was really "rolling," having completed "Krull" in London just about two months before (in early January 1983). I imagine he went on to "Testament," then "Brainstorm" after this as the various 1983 Horner CD score releases of the period indicate he scored "Uncommon Valor", "Gorky Park" and "The Dresser" between August and the second week in November. There was also a TV film for HBO starring Carol Burnett and Elizabeth Taylor ("Between Friends").
Thanks Lukas for providing us with this "fly on the wall" perspective of the session (one of my favorite Horner scores). Even at only twenty-nine years and a handful of films to his credit you can plainly see (from watching this) that this man was already a master at his craft.
BTW: Does anyone here know when Horner recorded "ST 3: The Search for Spock?" I'm thinking sometime in January 1984 as principal photography concluded at the end of October 1983.
Doug's Tech Talk is an interesting account of how the score may have been a mere footnote somewhere in film music history were it not for a little projected effort in the seeking and finding department.
Both SWTWC and The Black Hole spent enough time in no-man's-land it seemed they may well have stayed put. It says something about the perseverance of the main people involved with this business.
Doug's Tech Talk is an interesting account of how the score may have been a mere footnote somewhere in film music history were it not for a little projected effort in the seeking and finding department.
Both SWTWC and The Black Hole spent enough time in no-man's-land it seemed they may well have stayed put. It says something about the perseverance of the main people involved with this business.
I had missed that note back when this was released. I wonder how many gems, Disney or otherwise, are now lost because of this...?
