DICK TRACY features only 70special visual effects shots, but each was far more complex and contained a greater number of elements than most visuals. The matte paintings provided by visual effects co-supervisor Harrison Ellenshaw had to be highly detailed, because the camera would linger on them.
"The compositing is more difficult," said Ellenshaw, who shared the responsibility for DICK TRACY Sseffects work with Michael Lloyd. "Because this is
In a high-profile show, you want every matte to be perfect." There would be nodoubting that these were matte paintings—the idea was to recreate the comic book ambiance of Chester Gould"s universe. The first matte, for instance, which was called "M-I," showed Tracy"s city in the last moments of dayin wild splashes of color, putting the viewer smack into the film's comic book look. But gaffes would surely be noticed. "That"s really one of the things that appealed to me,"
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