The work of Ken Marschall & Bruce Block – Part Three

Here’s the latest from the Archives of Matte Shot …

In assembling today’s final part of the Matte Effects story I can honestly say that I have once again
been blown away by the extent, artistry and ever consistent high quality of the matte painted effects
that Ken has shared with me. I am ever grateful to Ken and Bruce for opening up their Aladdin’s
cave of locked away magic – a tour de force of what the painter’s brush and the cameraman’s eye
can achieve without anyone being any the wiser that a trick was being played. I have been
constantly astounded at, not just the matte art but the utterly superb compositing and marriage of
real and fabricated elements. I’ve long been a fan of ‘the matte blend’, and the Marschall/Block
work is pretty much a benchmark as far as the technique goes. Clean, crisp, first generation work
for by far the vast majority of their shots, as the many images below will easily testify.

With today’s entry we have pretty much covered probably 80 to 90% of the matte shots, as well as
the previously promised journey to the dark recesses of the Atlantic Ocean in search of the once
great and much storied luxury liner, the Titanic. We’ll take a personal look at both the making of
James Cameron feature film as well as Ken’s brave aquatic voyages where few have ventured…

…Read the Full Article @ Matte Shot…

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. I’ve also reached deeper into the Matte Shot archives to bring even more of this remarkable work forward, and I hope you enjoy the journey as much as I do.