Matte painting

src: i.ytimg.com

For techniques used in photography and the special effects of film-making to combine two or more image elements into one final image, see Matte (filmmaking) .

A matte painting is a representation of landscape paintings, sets, or remote locations that enable filmmakers to create the illusion of an environment that is not on the set. Historically, matte painters and film technicians have used various techniques to combine matte-painted images with live-action recording. The best, depending on the skill level of the artists and technicians, the effect is "seamless" and creates an environment that is impossible or expensive to film. In the scene, parts of static painting and movement are integrated in it.

Video Matte painting

​​â € <â €

Traditionally, matte paintings are made by artists who use paints or pastels on large glass sheets to integrate with live-action recording. The first matte painting painting known to have been made in 1907 by Norman Dawn (ASC), which improvises the crushed California Mission by painting them in the glass for the California Mission film . The famous matte paintings include Dorothy's approach to the Emerald City in The Wizard of Oz, Xanadu by Charles Foster Kane at Citizen Kane, and a seemingly groundless set of tractor-beams. Star Wars Episode IV: New Hope . The first Star Wars film documentary ever made ( The Making of Star Wars , directed by Robert Guenette in 1977 for television) mentions the technique used for the tractor beam scene as glass painting .

In the mid-1980s, advances in computer graphics programs enabled matte painters to work in the digital world. The first digital matte shot was created by painter Chris Evans in 1985 for Young Sherlock Holmes for a scene featuring computer-graphic animation (CG) a knight who jumps out of a stained-glass window. Evans first painted a window in acrylic, then scanned the painting onto LucasFilm's Pixar system for further digital manipulation. Computer animation (the other first) blends perfectly with matte digital, which is impossible to achieve by using traditional matte paintings.

Maps Matte painting

New technology

Throughout the 1990s, traditional matte paintings were still used, but more often in relation to digital merging. Die Hard 2 (1990) is the first film to use a digitally-made live-action recording with traditional matte glass paintings photographed and scanned onto a computer. It was for the last scene, which took place at the airport runway. By the end of the decade, the time of hand-painted matte painting was almost over, although by the end of 1997 some traditional paintings were still made, especially Chris Evans's painting of the RMS Carpathia rescue ship at James Cameron Titanic.

Cat has now been replaced by digital images created using photo references, 3-D models, and tablet drawing. The Matte painter incorporates their matte-painted digital textures in a computer-generated 3-D environment, enabling 3-D camera movement. The lighting algorithms used to simulate lighting sources expanded in scope in 1995, when radiosity rendering was applied to the film for the first time at Martin Scorsese Casino. Matte World Digital collaborated with LightScape to simulate the direct reflection effect of millions of fluorescent lights from the era of Las Vegas era 70s. Lower computer processing times are constantly changing and expanding matte painting technology and techniques.

src: pre00.deviantart.net

Significant usage

• Army barracks in All Calm in the West (1930).
• Calculate the exterior of Dracula's castle in Dracula (1931) and other scenes.
• Landscape of the Skull Island at King Kong (1933).
• Roller skating Charlie Chaplin alongside the fall of illusion in the Modern Times (1936).
• Landscape of Nottingham Castle at Robin Hood Adventure (1938).
• The spy thriller 1942, Saboteur, directed by Alfred Hitchcock, was perfected with many matte shots, ranging from a California aircraft factory to a climactic scene on the Statue of Liberty New York.
• In Alfred Hitchcock's North by Northwest (1959) shots of the United Nations building, Mount Rushmore, and Mount Rushmore's house.
• Birds fly over Bodega Bay, looking down into the town below, in Alfred Hitchcock's The Birds (1963).
• Mary Poppins slides in London with his umbrella (1964), St. Paul, and the rooftops and the skyline of London.
• The iconic image of the Statue of Liberty at the end of Planet of the Apes (1968).
• The roof on Portobello Road, the English landscape, Miss Price's house, and other sights at Bedknobs and Broomsticks (1971) (special effects won the Academy Award).
• City railway at The Sting (1973).
• A view of the devastated Los Angeles at Earthquake (1974) which Albert Whitlock won an Academy Award.
• Most of San Francisco's exterior photos are in The Love Bug (1974).
• Stone columns destroyed by locomotives at Chicago station in the film Silver Streak .
• Death Star laser tunnel in Star Wars (1977).
• The Starfleet Headquarters in Star Trek The Motion Picture (1979).
• Background for all scenes featuring Imperial walkers in The Empire Strikes Back (1980).
• The last scene of the government secret warehouse at Steven Spielberg Raiders of the Lost Ark (1981).
• The Batty and Deckard chase the scene at Blade Runner (1982).
• View of the space ship at The Thing (1982).
• The OCP tower view in RoboCop (1987) and other scenes.
• Gotham City street scene at Batman (1989).
• The Karl G. Jansky Very Large Array in Contacts (1997).
• The Magic Railroad on Thomas and the Magic Railroad (2000).

src: cdna.artstation.com

Traditional matte painter and technicians are important

• Michael Pangrazio
• Walter Percy Day
• Norman Dawn
• Linwood G. Dunn
• Emilio Ruiz del Rio
• Harrison Ellenshaw
• Peter Ellenshaw
• Albert Whitlock
• Matthew Yuricich
• Mathieu Raynault

src: pro2-bar-s3-cdn-cf.myportfolio.com

See also

• Bipack
• Chroma Button
• Merge
• matte digital artist
• Optical printing

src: cdna.artstation.com

References

src: www.seamedu.com

Books

• Mark Cotta Vaz; Craig Barron: The Invisible Art: The Legends of Movie Matte Painting, Chronicle Books, 2002; ISBNÃ, 0-8118-4515-X
• Peter Ellenshaw; Ellenshaw Under Glass - Go to Matte for Disney
• Richard Rickitt: Special Effect: History and Techniques. Billboard Books; Second edition, 2007; ISBNÃ, 0-8230-8408-6 (Chapter 5 discusses the history and techniques of matte film painting.)

Source of the article : Wikipedia