Real World article
(written from a Production point of view)

One of Mather's matte paintings in "Two Days and Two Nights".

William "Bill" Mather is a visual effects artist specialized in creating matte paintings who worked as digital matte artist for Industrial Light & Magic on Star Trek Generations and created matte paintings for the 2002 Star Trek: Enterprise episode "Two Days and Two Nights" showing the surface of the planet Risa.

Mather created digital matte paintings for ILM on four Star Wars films in the '90s as well as dozens of matte paintings and digital matte paintings on the adventure series The Young Indiana Jones Chronicles (1992-1993) and its following film productions between 1994 and 2008. In 1990 he won an Emmy Award for Outstanding Achievement in Special Visual Effects for his work on the television thriller By Dawn's Early Light, shared with Craig Barron, Michael Pangrazio, and Charlie Mullen. In 1996 he earned an Emmy Award nomination for Outstanding Individual Achievement in Special Visual Effects for his work on the television movie The Adventures of Young Indiana Jones: Attack of the Hawkmen, shared with Eric Chauvin.

Priot to his work for ILM, Mather worked as matte painter for the company Matte World on projects such as the drama Avalon (1990, with Craig Barron, Michael Pangrazio, Wade Childress, Christopher Evans, Rich McKay, and Krystyna Demkowicz), the comedy All I Want for Christmas (1991, with Frank Ordaz), the comedy Leaving Normal (1992), Ron Howard's drama Far and Away (1992), Tim Burton's comic adaptation Batman Returns (1992), the comedy sequel Home Alone 2: Lost in New York (1992), the drama A Far Off Place (1993), the science fiction film Ghost in the Machine (1993), and the comedy remake Maverick (1994).

For INdustrial Light & Magic he worked as digital matte artist on the horror film Wolf (1994), the Academy Award winning drama Forrest Gump (1994), the fantasy film Congo (1995), the fantasy film Jumanji (1995), the comic adaptation 101 Dalmatians (1996), the science fiction comedy Men in Black (1997), the science fiction film Contact (1997), the science fiction film Deep Impact (1998), the crime thriller Snake Eyes (1998), and the science fiction sequel Men in Black II (2002).

Other credits as matte artist include the science fiction comedy Space Cowboys (2000), the comedy Jay and Silent Bob Strike Back (2001), J.J. Abrams' spy series Alias (2001, with Kevin Blank), the drama The Majestic (2001), and the thriller Murder by Numbers (2002). In addition, Mather served as visual effects coordinator on the action sequel Lethal Weapon 4 (1998) and as visual effects supervisor on the drama The Californians (2005).

More recent work as conceptual artist include the fantasy film The Polar Express (2004), the animated fantasy film Monster House (2006), and the fantasy adventure Beowulf (2007).

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