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put your eyes into the center of the image then move your eyes quickly to every corner of the image.
pon tu vista al centro de la imagen despues mueve tu vista rapido a cada esquina de la imagen.
I had my second coronavirus vaccination on the 16th and was fine to that evening when my eyes became scratch (I suppose I should use sand-paper to clean my eyes). The next day (the 17th) I was hit by the side-effects and they lasted from about 8:00 AM to 10:00 PM (and probably later but that's when I went to sleep). This morning, I feel much better.
Forbidden Planet 1956, “Behind the Scenery”
The visual effects of FORBIDDEN PLANET...William Shakespeare in outer space.
Special effects supervisor - A.Arnold Gillespie
Matte painting supervisor - Warren Newcombe
Optical effects - Irving G. Ries
Matte painters - Howard Fisher and Henri Hillinick
Assistant matte artist - Matthew Yuricich
Miniatures cinematographer - Maximillian Fabian
Effects cameraman - Harold Mazorati
Supervising matte cinematographer - Mark W. Davis
Assistant matte cameraman - Dick Worsfield
Visual effects editor - Ben Fugelsby
Miniatures - Glen Robinson
Special mechanical effects - A.D Flowers, Jack McMaster, Logan Frazee, Bob MacDonald, Chuck Frazier, Dean Pearson, Joe Zomar, Earl McCoy, Max Gebinger, Dion Hansen and Eddie Fisher
Robby the Robot designer - Bob Kinoshita
Animation supervisor - Joshua Meador
Effects key animation - Dwight Carlisle
Animators - Joe Alves, Ron Cobb and Ken Hultgren
Effects animation cameraman - Art Cruikshank
Supervising scenic painter - George Gibson
The film FORBIDDEN PLANET was to a large extent a peculiar merging of the talents of England's best selling 16th Century quill penned novelist William Shakespeare and 20th Century matte painter Irving Block - a more curious set of bedfellows you'd be hard pressed to find. What is evidently Shakespeares The Tempest was updated - seriously updated in fact, into a science fiction future far removed from what Willy ever would have imagined.
This science fiction re-imagining was largely the concept of both Irving Block and Allen Adler. Block was a long time matte painter with Fox and MGM before branching out as an independent effects concern in the early fifties with partners optical fx cameraman Jack Rabin and title artist Louis DeWitt.
Part of the success, which as far as I'm aware was not immediate and took decades to be realised, was due to the wonderful look of both the alien world and it's vast sub-terranean machinery, but also the screens' newest and, until a later sensational Irwin Allen tv variation, it's Robot - affectionately known as 'Robby'.
MGM effects doyen Buddy Gillespie
Buddy's multiple talents also extended into cartoon animation for the studio as I found out by accident just the other day. where his name cropped up in the credits of an old cartoon. Gillespie passed away in 1978 with an armful of Oscars amid his numerous accolades. Working alongside Gillespie was his long time partner, the Austrian born miniatures cinematographer Maximillian Fabian, who had been with the studio for more than twenty years at this point, having photographed the stunning miniature scenes of destruction for James Basevi and Gillespie on SAN FRANCISCO in 1936, the jaw droppingly realistic bomb run set piece for 30 SECONDS OVER TOKYO (1944) and similar flaming conflagrations with Buddy and Donald Jahraus on Mervyn LeRoy's epic QUO VADIS in 1950 - three amazing high points in Fabian's long, celebrated career.
A trio of matte artists painted on FP under Newcombe - Howard Fisher, Henri Hillinick and Matthew Yuricich
As an interesting sideline to Newcombe's headship of the matte unit, Irving Block, who himself was a matte painter under Newcombe at one stage said in a 1979 interview in Cinefantastique: "Warren never touched a brush...He was my friend and I worked for him, but Warren Newcombe never did anything. He sat in his office and played around with his shortwave radio calling his friends to play chess"
The film was up for the effects Oscar against John Fulton's THE TEN COMMANDMENTS - and while that's a tough choice I'd probably go with the Fulton film for the arguably astonishing Red Sea set piece - matte lines and all, as it was an amazing engineering and photographic achievement with more optical tweaks than all of FORBIDDEN PLANET put together. I fully expect some criticism here of my choice naturally.
When two photographers join the efforts to produce effects produced by lights, I think we are creating a kind of art. No? By Edgar Barreira