Mattes & SPFX of Albert Whitlock – Part Two

Matte Shot – a tribute to Golden Era & Traditional Special Effects is a tribute to the artistry and ingenuity of traditional matte painters, this collection celebrates the hand‑crafted movie magic that once shaped cinema — from grand, epic vistas to invisible effects even seasoned viewers might miss. It’s designed for both casual fans and dedicated enthusiasts, offering a renewed appreciation for skills largely forgotten today.

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Well folks, it’s apparently now 2019 believe it or not (Personally, I have my doubts), and after a restful summer break (Southern Hemisphere down here where I am of course), I’m happy to present, as promised, the second part in my admittedly mammoth career retrospective on the many cinematic illusions that comprised the work of the great Albert Whitlock. In an effort to be as comprehensive as possible, I’ve covered and illustrated as many of Al’s film projects as possible, as well as some selected fine art examples that haven’t been seen in the public arena until now.

I don’t believe Al’s long career has ever been covered nor examined to such an extent until now. I’ve got some familiar shots as well as many unfamiliar shots, often from quite obscure films or tele-movies, in addition to more of the shots from the Pinewood era where Albert was matte artist from the late forties through to 1954. Some of those British films are definitely Al’s as he was lucky in that Pinewood often gave him screen credit, which was pretty much unheard of for a mere matte artist. Others from the Rank or Gainsborough studio I’ve included from those years may have had input from Whitlock, though we’ll likely never know, other than he was principle matte artist after former chief artist, Les Bowie, departed and went independent.

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