Matte Painting

[Tim Nelson]

In a nutshell, what is it? Is there anybody here that does that for a living?

[random]

i think basically it involves creating 3d environments and scenes by using 2d tools like , obvioulsly painting , but also photomontages so by cutting, blending ,etc different source photos you create a new environment.

 

Mostly people that work in movies and vfx do that for a living, but i think it is great for ach viz too, i'm trying to learn more matte painting techniques for environment creation, because it can be faster, and easier to create a photorealistic environment, especially when it comes to landscaping.

[Jeff Mottle]

Matte painting is something that started long before CG, although I think it's mostly done in CG now. Matte artists paint backgrounds and scene elements that do not exist in real life. Things like background scenery and environments, the yellow brick road in the Wizard of OZ etc. Matte artists also painted on glass sheets that were placed infront of the live action too. I guess this is how compositiing started. I'd always heard back before the digital days that Matte artists were typically people who were both incredible talented artists, but also likely had roles as lighting artists, camera operators etc on their way up and were very few and far between and VERY well paid. I think now that digital has entered the scene matte artists are likely much more common. Chris Nichols will probably be able to expand upon this as he probably deals with digital matte artists all the time.

[Tim Nelson]

Thanks guys. For some reason I'm really fascinated in it, but not sure exactly why. I guess I like the traditional aspect of it and view it as something more down my alley since I rarely deal with animating anything.

[Ernest Burden III]

I used to think that architecural renderers were the highest paid specialist in the illustration field. Almost--except for matte painters and movie poster illustrators. But besides them, WE rake in the cash. Great huh? Where's my Porsche?

[Christopher Nichols]

Chris Nichols will probably be able to expand upon this as he probably deals with digital matte artists all the time.

 

Matte Painters are still the top "artists" in the 2D field (for film). They paint the backgrounds that get composited into the shots that are not effected by paralax, such as nodal pans... things like sky's etc.. are all painted in so get that perfect sky, that perfect cloud, add a few more mountains etc... I would say that a HUGE amount of shots in the LOTR series had matte painting to cover the backgroud. They usually deal in photoshop or paint or something custom. If you are really interested in more of this. Gnomon just released some GREAT "analog series" DVDs on Matte painting:

 

http://www.thegnomonworkshop.com/dvds/ydu01.html

http://www.thegnomonworkshop.com/dvds/ydu02.html

 

Just in time for Chrismas. BTW... Matte Painters can also be used in 3D via projection painting.

 

And yes, Ernest, they get paid a LOT. And there are very few of them, and it ia hard group to get into. Sort of like an exclusive club.

 

PS... Ernest: I think medical illustrators make more than architecture. Maybe even product and car design illustrators make more. Wait a sec? Where did you hear that Architectural illustrators make more?

[Jim Mann]

http://www.mattepainting.org

 

I feel humbled each time I look at posts by the pros.

 

Jim

[Jim Mann]

Where's my Porsche?

 

Mid-life crisis Ernest?

[Ernest Burden III]

I think medical illustrators make more than architecture. Maybe even product and car design illustrators make more. Wait a sec? Where did you hear that Architectural illustrators make more?

 

Anecdotal. Most of my friends are illustrators of one kind or another, some in film some print. I don't know very many art fields that routinely support $3K - $5K per picture, especially since they are used 'small' -- not in national campaigns like in a print ad or TV commercial.

 

I do not know any 'rich' illustrators, and am not one myself. But overall, I think I have a much easier time generating large checks than other illustrators I know because of the normal practices in the rendering industry.

 

Also, I've read the rate info in the "Graphic Artists Guild Pricing and Ethical Guidlines" which suggests we are paid well relative to other graphic artists.

 

 

Mid-life crisis?

 

Always.

[Crazy Homeless Guy]

cgtalk has some very talented matte painters that hang out there also. good matte painting work is always stunning. lots of control of lighting and mood, and less attention on detailed texturing of the 3d world. our field could learn a lot of an interview with a top matte painter for cgarchitect. ...or somthing that covers basiv techniques and concepts.

[Tim Nelson]

The mattepainting.org is a really cool site. Even has guys from ILM sharing their work & techniques. But an interview would be really cool too.

[Christopher Nichols]

 

Also, I've read the rate info in the "Graphic Artists Guild Pricing and Ethical Guidlines" which suggests we are paid well relative to other graphic artists.

 

Interesting, because I know two VFX artists, one formally an automobile illustrator, one a medical illustrator, each of them took a pay cut to go into VFX. Not to say that VFX pays poorly.

 

Or maybe Ernest... you are JUST that good... Having seen your work, it would not surprise me.

[nisus]

Not really for movies, but the same techniques... If you like I'll take some details at 100% for you to study, but basicly it's just 'thinking light'...

 

http://www.cgarchitect.com/vb/showthread.php?p=60981#post60981

 

Be a photon!

 

 

rgds

 

nisus

[DennisB]

I had occasion to meet several matte painters (team?) at ILM in the first part of the '90s. I don't remember their names, although I do remember one in particular. He was of Asian descent and very talented. ILM had some of his mattes (painted on large particle board as I recall) hanging out front.

 

The thing that was most striking to me, relative to contemporary 3D and compositing techniques, was his control of paint and brush in very large formats, whether a Star Wars forest scene or an elevated POV of a pirate ship at evening anchor. I remember examining the forest scene and seeing big, loose brush strokes for foreground textures, yet at viewing distance they appeared near photographic. His control was really something.

 

As for how well they were paid, someone there mentioned it was a 50-hour workweek that increased under deadline. The workspace I saw was cramped, almost like a dark little cave buried in the recesses of a much bigger building. But then computer compositing was still relatively new and that was their dedicated space. Doubtless, all that changed before very long. Point is, I think it pays better if you're independent--and that talented.

 

D