Returning to the West Coast, Chesley Bonestell In the late 1930s moved to Hollywood, where he worked (without screen credit) as a special effects artist, creating matte paintings for films, including The Hunchback of Notre Dame (1939), Citizen Kane (1941) and The Magnificent Ambersons (1942).
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He was the inspiration for media aspects regarding the Moon Landings and was an artistic adviser. To explain how the matte painting process works for example a space image developed in space from Lunar Orbiter then received at the Lunar Receiving Lab Where Donna Hare has testified and witnessed NASA employees using this particular technique of placing clear acetate over the image then painting whatever they wanted to obfuscate, then re filming both the original Lunar image with the top layer acetate just as Disney has done with many of our beloved traditional animations like "Snow White" and many other early animations.
According to Donna Hare, a great friend of ours, The image below was the exact image she saw the Lunar Receiving Lab employees manipulating in this Matte re filming manor.
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| Before it was painted out |
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| After the Matte technique was applied to remove the object |
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| Rare behind the scenes illustration of the black & white Mitchell camera fitted for the bipack process with duping board and black blind employed at Denham Studios by effects cameraman Doug Hague to shoot and composite Peter's painting in Technicolor. Hague, whom I think is in the upper right photo, would explain the matte process used here in detail in a 1951 issue of British Kinematograpy. |
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| What else are they painting into our Lunar images ? |
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| What Else are the "imagineers" painting into our Lunar images to cover what is really there ? This representation of Micky Mouse is truly embedded in a Lunar Orbiter image. As we can now see our space images are both real and a manipulated composite of the original image. Today CGI (computer Generated graphics) is used to do these composites to retouch even our old Lunar images as well as create new ones with randomization arrays for craters and rocks. A good example of this is any LRO (Lunar Reconnaissance Orbiter) image, and images from the LOIRP especially the "Picture of the Century" of Copernicus Crater that was then sent to the Smithsonian Museum. That image was revised and changed about six times in the editing process. Article by Bret C. Sheppard |
