Cameron’s Titanic. Paint has now been superseded by digital images created using photo references, 3-D models, and drawing tablets. Matte painters combine their digitally matte painted textures within computer-generated 3-D environments, allowing for 3-D camera movement. Lighting algorithms used to simulate lighting sources expanded in scope in 1995, when radiosity rendering was applied to film for the first time in Martin Scorsese's Casino. Matte World Digital collaborated with LightScape to simulate the indirect bounce-light effect of millions of neon lights of the 70s-era Las Vegas strip. Lower computer processing times continue to alter and expand matte painting technologies and techniques. Matte painting techniques are also implemented in concept art and used often in games and even high end production techniques in animation. Notable uses The army barracks in All Quiet on the Western Front (1930). Count Dracula's castle exteriors in Dracula (1931) and other scenes. The view of Skull Island in King Kong (1933). Charlie Chaplin's blindfold roller-skating beside the illusory drop in Modern Times (1936). The view of Nottingham Castle in The Adventures of Robin Hood (1938). The 1942 spy thriller Saboteur, directed by Alfred Hitchcock, is enhanced by numerous matte shots, ranging from a California aircraft factory to the climactic scene atop New York's Statue of Liberty. Black Narcissus (1947) by Powell and Pressburger, scenes of the Himalayan convent. Several external views and the 20 miles-a-side cube left by the Ancients in Forbidden Planet (1956). In Alfred Hitchcock's North by Northwest (1959) shots of The United Nations building, Mount Rushmore and the Mount Rushmore house. Birds flying over Bodega Bay, looking down at the town below, in Alfred Hitchcock's The Birds (1963). Mary Poppins gliding over London with her umbrella, the St Paul's Cathedral and London's rooftops and aerial views in Mary Poppins (1964). The iconic image of the Statue of Liberty at the end of Planet of the Apes (1968). Diabolik's underground lair and various locations in Danger: Diabolik (1968). Virtually all of the exterior shots of San Francisco in The Love Bug (1968). The rooftops of Portobello Road, the English landscape, Miss Price's house and other scenes in Bedknobs and Broomsticks (1971) (special effects won an Academy Award). The city railway line in The Sting (1973). Views of a destroyed Los Angeles in Earthquake (1974) for which Albert Whitlock won an Academy Award. The stone column demolished by the locomotive in the Chicago station in the