Kenneth (Ken) Marschall
Since Dodger Stadium has been a popular topic, I did several matte paintings for the movie "The Naked Gun" (Leslie Nielsen, et al) back in '88 in which the field was used by Paramount Studios for various foregrounds, and I repainted the backgrounds, adding thousands of people to the empty stands. A three-part interview was done recently for a Web blog thing dedicated to the history of matte painting, and one of these Dodger Stadium paintings is shown there ( http://nzpetesmatteshot.blogspot.com/2015_07_01_archive.html ; search the word "Anthem" to get quickly to the series of images for that painting).
But other "Naked Gun" mattes that I painted didn't make it into the blog, so here are two more, for those interested in visual effects. Captions are below the images:

Looking toward the outfield on a quiet day, this is the original view (called the "plate") before the matte (black card or tape) was placed in front of the camera lens. The task was to replace everything above the field with a lively, crowd-filled stand and a different electronic sign. A small number of "extras" are filing into the stand to be strategically positioned.

The matte in place, blocking out everything that I'm going to change or replace, leaving just a few little areas with extras to add movement and help me with scale and color.

Here's the final painting, maybe 26-28 inches wide, on heavy card stock. The bottom part is black so that when the original film is run again through the camera it will not be re-exposed, if you follow how this works (i.e., together with the original matted photography, we now have an exposed bottom and an exposed top, making for a full, complete scene). I don't remember why the switch to the Angels logo above the sign. Evidently they intended for it to be Angel Stadium, although the director didn't want me to change any of the stadium architecture.

The final scene. The painted crowd was "animated" by shooting flickering, undulating backlighted colored holes during another pass of the film through the camera, and moving a moiré pattern behind all this to make the bright dots flicker on and off and appear to move. This effect added life to the masses and made it all look real. The blank screen above the stands was filled with some video that the studio added later.

For the finale scene in the movie (if I remember), the director wanted this wide view. The black "flag" at top left blocks the glare of the sun.

The matte in place.

The painting. I don't know why there are no light towers. Apparently the art director wanted them left off.

Crowd animation test, again with a bunch of holes punched in a black card, filtered with various colored gels, backlighted, and then a moving moiré pattern behind it all to make the bright dots flutter and undulate, simulating crowd movement. When the brightness and moiré movement speed were settled on, this was then double-exposed ("DX'd") over my painting as the original film was run through the camera a third time.

Final composite. I don't remember what action takes place in this scene in the movie. My film clip only shows test footage when the actors are just standing in place, not showing the actual action for the scene.
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