Albert Whitlock Height, Weight, Net Worth, Age, Birthday, Wikipedia, Who, Nationality, Biography

Age, Biography and Wiki

Albert Whitlock was born on 15 September, 1915 in London, England, UK, is a Visual Effects, Special Effects, Art Department. Discover Albert Whitlock’s Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of Albert Whitlock networth?

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Occupation visual_effects,special_effects,art_department
Age 84 years old
Zodiac Sign Virgo
Born 15 September 1915
Birthday 15 September
Birthplace London, England, UK
Date of death 26 October, 1999
Died Place Santa Barbara, California, USA
Nationality UK

We recommend you to check the complete list of Famous People born on 15 September. He is a member of famous Visual Effects with the age 84 years old group.

Albert Whitlock Height, Weight & Measurements

At 84 years old, Albert Whitlock height not available right now. We will update Albert Whitlock’s Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
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Dating & Relationship status

He is currently single. He is not dating anyone. We don’t have much information about He’s past relationship and any previous engaged. According to our Database, He has no children.

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Albert Whitlock Net Worth

His net worth has been growing significantly in 2020-2021. So, how much is Albert Whitlock worth at the age of 84 years old? Albert Whitlock’s income source is mostly from being a successful Visual Effects. He is from UK. We have estimated Albert Whitlock’s net worth, money, salary, income, and assets.

Net Worth in 2021 $1 Million – $5 Million
Salary in 2020 Under Review
Net Worth in 2019 Pending
Salary in 2019 Under Review
House Not Available
Cars Not Available
Source of Income Visual Effects

Albert Whitlock Social Network




Mel Brooks gave Al the chance to act in High Anxiety (1977) and cast him as a used chariot dealer in History of the World: Part I (1981).


The two maintained a close personal and professional relationship, working together upon several films through Hitchcock’s final film, Family Plot (1976). During World War II Al started doing matte work.

For the dust-storm sequence in Bound for Glory (1976), three large balls of cotton dyed the color of dust were mounted on cardboard and rotated at different speeds. Portions of each matte were half-exposed, once with dust moving toward the camera and then with it moving away from the camera. This produced the effect of eddying dust. After all the other studios closed their matte departments, Universal frequently loaned out Whitlock and his staff. Working with director of photography Conrad L.


His effects for the $10 million feature The Hindenburg (1975), cost just $180,000 (Paramount spent more than $20 million for the special effects on Star Trek: The Motion Picture (1979) just four years later). Like other matte artists, he blocked-out parts of shots into which the painting was inserted. However, Al developed a trademark technique of doing it all on the original negative, so his matte work was all first generation. The original negative of the live action was left undeveloped except for a portion used to guide the creation of the matte painting. The painting was then exposed on the negative and combined with the original photography.

He also typically added moving elements such as clouds or waves to give more life to mattes (a skyline of Manhattan from an aerial perspective in The Hindenburg (1975) is a good example of this).

Hall, Whitlock produced matte paintings for the climactic scenes of The Day of the Locust (1975) at Paramount.


In addition to the quality of his work, Whitlock was known for the speed at which he was able to complete his assignments. All of the matte paintings for Earthquake (1974) were completed in only 12 weeks.


He became head of Universal’s Matte Department in 1963.


Moving to Universal in 1961, and would head up the matte department there. Many considered Al the greatest master of the matte starting from this time to his retirement. He efficiently aided film productions by being able to supply masterful effects for films varying greatly in budget, often taking very little time to do so.


Upon doing so in 1954, his first work was designing the titles for 20,000 Leagues Under the Sea (1954). Ellenshaw had preceded him, and was in charge of the Disney matte department. At Disney, Whitlock successfully mastered his impressionistic approach to matte painting. Like the works of French Impressionism, they are not detailed upon close inspection. However, on the screen they are very realistic. He remained at Disney for seven years, helping with the design of Disneyland as well as film work.


His first solo glass shot was a ballroom scene appearing in The Bad Lord Byron (1949). He apprenticed alongside Peter Ellenshaw, under W. Percy Day (aka Pop). Admiring Al’s work done within Walt Disney’s British studio in the early 50s, Walt Disney, convinced Al to re-locate to America.


Trained as a sign painter, Whitlock began a life-long association with Alfred Hitchcock, doing all of the signs for The 39 Steps (1935) and then assisting in the miniature effects for The Man Who Knew Too Much (1934).


The opening shot of 1930s Chicago in The Sting (1973) incorporated an elevated train into a skyline matte painting with live-action traffic, buses and pedestrians.


Albert Whitlock was one of the most skilled matte artists in the history of motion pictures, with his work seen in more than 500 films and television shows. His very long career began in London in 1929, when, at the age of 14, he was a fetch-and-carry fellow at Gaumont Studios. He went on to build sets and worked as a grip.