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I did a few more matte shots to slow it down.

Dawn's technique became the textbook for matte shots due to the natural images it created.

The low cost and high quality of Dawn's matte shot made it the mainstay in special effects cinema throughout the century.

A further hydraulic platform did away with matte shots of aircraft in flight.

This was similar to the in-camera matte shot, but relied on one master positive as a backup.

Special effects, including many matte shots, were by Slavko Vorkapić.

The Dawn Process or in-the-camera matte shot works like this:

Dawn combined his experience with the glass shot with the techniques of the matte shot.

With the original matte shot, pieces of cardboard were placed to block the exposure of the film, which would be exposed later.

The matte shot of the giant Apollo is enhanced to remove a prominent matte line.

Originally, the matte shot was created by filmmakers obscuring their backgrounds with cut-out cards.

The in-camera matte shot remained in use until the film stock began to go up in quality in the 1920s.

The shot was an in-camera matte shot.

Scale models are often combined with high speed photography or matte shots to make gravitational and other effects appear convincing to the viewer.

"The Origin and Development of the Matte Shot".

The in-camera matte shot, also known as the Dawn Process is created by first mounting a piece of glass in front of the camera.

Bell's solution was simple: scenes requiring matte shots were filmed or taped, then a photographic blow-up of one frame would be made.

The set was designed to resemble 2nd Avenue; the parade was shot from above by helicopters and stitched into matte shots of the real-life street.

For decades, such matte shots had to be done "locked-down", so that neither the matted subject nor the background could shift their camera perspective at all.

Other criticisms include the use of unrealistic matte shots to depict the Gorga and the obvious use of stock film.

The first major development of the matte shot was the early 1900s by Norman Dawn ASC.

This results in very precise matte shots compared to blue screen special effects, necessary due to "fringing" of the image from the birds' rapid wing flapping.

The main difference between the glass shot and the matte shot is that with a glass shot, all filming is done with a single exposure of film.

For shots where the camera is stationary and Superman is seen flying towards or away from the camera in the frame, blue screen matte shots were used.

Douglas Hague, "Painted Matte Shots", British Kinematographic Society Magazine, vol.