to meet or needed additional workers to complete a project. In 1988, he
opened Atlantic West FX, initially working out of his apartment. With
more and more work coming his way, Bartalos rented studio space, later
hiring additional effects artist to work for him.
This led to more film projects such as Dead Space, Fright Night Part 2,
Timemaster, Blookrush, and the massive dinosaur construction for Douglas
Trumball's Back to the Future, the Ride, shot in IMAX for Universal
Pictures. "I long admired Doug's work. He was always resurfacing with
an industry advancing process. As I sculpted T-Rex, I was impressed as to
how specific he was about some of the details, while other aspects he let
me run with."
In 1991, he met video artist Matthew Barney, who needed some satyrs
built for his film Drawing Restraint. Happy with Bartalos's work, Barney
hired him for five films shot over eight years that involved amazing loca-
tions from Budapest, Isle of Man, and Canadian Glacier fields, to deep
underwater locales off the coast of Florida, and the extreme tip of the
Chrysler Tower in New York City. The films were layered with heavy
metaphors, bizarre sets, and to keep Bartalos busy, a wide variety of
beautifully executed mythological character makeups.
Between film projects Bartalos honed his makeup effects skills by
working on a series of covers for Rolling Stone, shot by high profile
celebrity photographer Mark Seliger. Highlights included turning David
Spade into a Pan-like character and the now infamous Marilyn Manson
"naked feather shot."
Bartalos was recently contacted by Los Angeles-based Imaginary
Forces to create the disturbing anatomical disintegrating effects for the
current antismoking campaign.
Specializing in design, sculpture, and application of prosthetics
makeup effects, Bartalos's Atlantic West Effects' additional credits include
Freejack, Playing God, the Leprechaun series, Side Show, Sometimes They
Come Back, Genii, Slaughter of the Innocents, and Skinned Deep.
Job Overview
The effects animator is responsible for creating noncharacter elements
that enhance the shot and cannot be produced during filming. This
includes tones and highlights, shadows, fire, sparks, stars, and the
JOB TITLE: EFFECTS ANIMATOR
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