PDF The Making of King Kong: The Story Behind a Film Classic by Orville Goldner phone eng ebay online itunes

Book description

Book description
I read this book when it published. It was available in a Department store. I was twelve.It was a technically oriented book. The writers were not interested in the glam side, that could be had from interviews. They merely did research to create a Archaeology of the book.So, the book works at several levels: its thorough in its presentation of gadgets and tricks.Its thorough in its artwook and stills, in fact, both of these are presented copiously.The text is breezy. The Edgar Rice Burroughs story of Cooper is not glossed over, and it covers briefly the rich collaboration between Shoedsack and Cooper, where they produced nature documentaries seeming to auto dare each other in getting footage...kind of like Mutual of Omaha without the darting and tagging, but certainly the running away from the bear footage.This is contrasted with Willis OBrian work, equal in overview of earlier motion capture Obrian honed his craft.Cooper is sometimes described as performing as the ape for Obrian. Which would be like Motion Capture today.The techniques of Matte Painting, Dual Screen projection, forced atmospheric perspective, which including projections on rubber, and two kinds of compositing, one being the first use of the optical printer in such a composite demanding production>And of course, the armature, skin and the painstaking frame by frame puppetry, and lastly the studious world design illustrations...pretty much the Roll Royce of Cinefex articles, and I am going to state I believe this book inspired if not actually copied, the format and presentation of early Cinefex articles.Articles which have changed somewhat since the seventies.From the book The scene where Kong fights the snake-like dinosaur in his lair was likely the biggest achievement in the special effects of the film, because all of the elements in it work together at the same time. The scene was achieved through the use of a miniature set, stop-motion animation for Kong, background matte paintings, real water, foreground rocks with bubbling mud, smoke and two miniature rear screen projections of Driscoll and Ann.There is no marginalizing of Cooper or OBrian, though Shoedsack gets some coverage, he is a director working for a Producer who knows how to edit.From the book The making of King Kong by Golder and Turner;Schoedsack and his crew filmed establishing shots in the harbor of New York City. Curtiss F8C-5/O2C-1 Helldiver war planes taking off and in flight were filmed at a U.S. Naval airfield on Long Island. Views of New York City were filmed from the Empire State Building for backgrounds in the final scenes and architectural plans for the mooring mast were secured from the buildings owners for a mock-up to be constructed on the Hollywood soundstage.Five stars, yet, one has to be able to tolerate the tone, which marginalizes, in the abundance of material data, the story of the human touch we have seen so much ending the nightly news.
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PDF The Making of King Kong: The Story Behind a Film Classic by Orville Goldner phone eng ebay online itunes

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