I was supposed to hold onto this until the summer so I could sit outside and work on it, but I got itchy fingers...
I never knew about this kit because I'm not on Facebook. Luckily Moon Knight875 had one for sale here on the Clubhouse!
It's from Shadow Kreations. Man, oh man, I wish they'd do one of these for The Black Cat (1934) with Karloff and Lugosi. There's never been a good kit for that film.
See my model kit collection on YouTube Model Club TV Episode 86
See my kitbash work-in-progress pics in the Kustomizers section of the clubhouse
Thanks for looking !
Fantastic work, great kit and you did it justice. Loved the write-up on your website, especially the wife's comment. Thanks for the tip on Museum Wax - I will definitely be getting me some. Also, nice tip on your new marble technique!
Fantastic Tim. I always found the awakening scene from 'The Mummy' very atmospheric. Your build up captures that beautifully. Not that I can aspire to your build quality, I think I'll chase one of these.
Like others I look forward to reading the in-depth coverage on your site. Such a treasure trove it is.
I've just joined Shadow Creations on Facebook. As part of joining they ask what you'd like them to produce. I suggested 'The Black Cat' and 'The Invisible Ray.'
Steve Walsh
______________________________
Perfection in the enemy of excellence
Squidy53 wrote: ↑April 7th, 2025, 2:49 am
I've just joined Shadow Creations on Facebook. As part of joining they ask what you'd like them to produce. I suggested 'The Black Cat' and 'The Invisible Ray.'
You're a saint! I've been tempted to try Facebook, but when I signed up years ago, it was a short and awful experience.
Tim Casey wrote: ↑April 7th, 2025, 10:32 am
You're a saint! I've been tempted to try Facebook, but when I signed up years ago, it was a short and awful experience.
You're welcome.
Yeah, I joined recently because there are producers who are only available through Facebook. I have a very locked down, every-privacy-switch-turned-on-account. Anyhow it has been useful from that point of view.
However I didn't think I had addictive tendencies until I joined Facebook. That algorithm of theirs is something else - it's so easy to get sucked down all kinds of rabbit holes.
Steve Walsh
______________________________
Perfection in the enemy of excellence
Squidy53 wrote: ↑April 25th, 2025, 10:04 pm
I agree with llricmc about your interpretation. That said, I love the wonderfully moody black and white cinematography of the film itself.
I love black and white photography much more than color. Take any portrait photo, scan it, and make it B&W and the subject always looks more important. I think color actually distracts from the cinematography.
Squidy53 wrote: ↑April 25th, 2025, 10:04 pm
I agree with llricmc about your interpretation. That said, I love the wonderfully moody black and white cinematography of the film itself.
I love black and white photography much more than color. Take any portrait photo, scan it, and make it B&W and the subject always looks more important. I think color actually distracts from the cinematography.
Tim Casey wrote: ↑April 26th, 2025, 10:35 am
I love black and white photography much more than color. Take any portrait photo, scan it, and make it B&W and the subject always looks more important. I think color actually distracts from the cinematography.
For me black and white feels slightly unnatural compared to our real, colorful world creating, in the case of a film like 'The Mummy', a dream-like, nightmarish, or mythic tone. In addition, lighting, shadows, grain, and contrast can shape how a scene feels much more decisively without color.
Steve Walsh
______________________________
Perfection in the enemy of excellence
For me it varies depending on the subject matter, and how the film was intended to be seen. My family didn't have a color TV until I was a pre-teen. So, there are a lot of classic films like the Universal horror films, and anything considered Film Noir, that will always prefer in B&W. However, most epic film classics like "Lawrence of Arabia" and "Ben Hur" (IMO) are better in color. To me, any movie where the director is using the landscape to help tell the story benefits from a rich color palette. There are some exceptions to this...some John Ford westerns come to mind. Color can also be used effectively to set the tone for a film. John Boorman's use of a green filter in "Excalibur" is a great example for using color to set the mood of a film.
"So cry 'Crivens' and let loose the clan Mac Feegle!" - Tiffany Aching
When you mention "Lawrence..." or "Ben Hur", it makes me re-calibrate my answer. I have a lot of blu rays that feature restored technicolor, and it certainly does make the TV pop.
There's no doubt that photographers and film makers play with color and saturation to achieve the desired effect.
From the Wizard of Oz with sepia tones of the mid-west to saturated colors of a fantasy land, the Cohen brothers' desaturation in "Oh Brother Where Are Thou" to evoke the depression era, Schindler's List, The Matrix, Sin City - they all use color to convey a message.
Would The Artist have worked in color? Doubtful. Other movies about the silent era used color to a lesser effect (Singing in the Rain being an exception).
In photography, Karsh shot his portraits primarily in black and white with world-wide acclaim. Compare his portraits in B&W to his color portraits and you may find, as I do, that the impact of the B&W portraits is stronger.
Each approach has its advantages.
Last edited by derekc62 on April 29th, 2025, 12:25 am, edited 1 time in total.
I saw the colorized Kong once, or at least some of it. Yech.
But I forgot "Doctor X" (1932)! The blu ray two-strip technicolor restoration is gorgeous, and the disc includes the entire black and white version (shot with different cameras from different angles) as well. It's a great study in color vs black and white, and I can't make up my mind which version I like better.
