*Many thanks is due to Bill Taylor for answering numerous questions I had on the matte effects.
|The vast internal metal skeleton of the airship - a large glass painting with live action insert in foreground and a second small insert further back with guy climbing ladder.
|A before and after Whitlock composite of the airship on the ground at Frankfurt.
|A tremendous effects shot. Substantial painting with moving truck rotoscoped as it moves across frame. Bravo!
|Another wonderful example of the multi-layered cloud effects and such a beautiful painted sky to boot.
|Real hanger with painted airship, sky, people in distance.
|Whitlock with original painting before and afters. The painting itself is incredibly loose and freehand, with no detail whatsoever. The actual Hindenburg is in fact a photo cut out glued onto the glass.
|Another before and after - and not one the audience would ever suspect either.
|Liftoff time from Frankfurt, Germany.
|Classic Whitlock skies, with foreground laterally drifting cloud element added.
|Miniature probably doubled into Whitlock sky.
|Thunderstorm - something that Albert did so well in so many old films, with my favourites being in many westerns such as THE TRAIN ROBBERS, CAHILL U.S MARSHALL, BIG JAKE, THE WAY WEST and many more.
|Gorgeous, temperamental skies which show much influence from Peter Ellenshaw to me.
|Exquisite multi-layered clouds.
|Utterly convincing multi element composite.
|Airship and icebergs: nice shots except that the sea passes under the bergs and doesn't break on the ice.
|The actual set at left, with the Whitlock composite at right.
|Note the shadow animation passing over The Hindenburg
|The best trick shot in the movie... note how the sun 'wraps' around the tail of the zeppelin as it moves across frame.
|A strange one this one - a tilt down rainbow matte shot with what looks almost like the top of the painting/easel visible at top of the frame.
|More clouds and atmosphere...
|Lakehurst, New Jersey: preparing for the grand arrival. The Whitlock skies have more than a hint of foreboding.
|The mooring mast at Lakehurst - almost all painted.
|Subsequent blue screen shot as seen through the windows, with more cloud movement shown.
|She appears...with grace and beauty from the Whitlock sky.
|Full painting with small live action crowd insert and classic Whitlock sun coming out across the airfield overlay.
|A quartet of matte shots which effectively add amazing production value to the impending climax.
|A slightly tighter Whitlock shot with more claustrophobic skies setting the scene.
|A good quality, though inaccurate aspect ratio frame of one of the previous matte shots. The region 1 NTSC disc has astonishingly bad colour grading whereas this frame from region 2 PAL disc is crisp and well balanced.
|"Welcome to Lakehurst....we're nothing could possibly go w o r n g " (sic)
|Coming in to dock..... the tension rises. These scenes when intercut with the dramatic narrative going on inside the ship are brilliantly realised by director Robert Wise.
|Blue screen shots by Bill Taylor.
|Combination miniatures, matte art, live action, blue screen conflagration effects. The falling man in flames was rotoscoped frame by frame.
|Shooting the full scale physical effects for later intercutting with the newsreel footage.
|The aftermath - invisible matte additions.
|Art director Edward Carfagno, director Robert Wise and George C.Scott with the miniature airship.
|Miniature shoot on the Universal stage.
|Effects cinematographer Clifford Stine preparing a miniature shot on stage.
|The original 25 foot miniature, now on display I believe at the Smithsonian.
|A selection of Whitlock before and after frames.