There are foundational titles to introduce users to the software and tools, as well as advanced production titles that discuss application tools and processes vital to the production of digital assets and media. Garrett has been recognized for his work in creating new, innovative Matte Painting techniques and his work has appeared in Cinefex Magazine. Full Environment 3D Matte Painting MRI Workflow Here is an example that work flows and processes are being developed all the time by Matte Painters. In Maya, projection cameras are set up, render passes are rendered and projection Leo is created–all getting exported to Nuke. These are projected on Nuke Leo and the final delivery is an image sequence or the “live” Matte Painting as a Nuke script. It is true that there is a steep learning curve when it comes to the application of these work flows to specific shots. In this second DVD in a series, Chris Stoski illustrates the creation of several 3D matte paintings. Since I am using Maya, I take advantage of its Paint Effects tools to paint in some grassy areas. Photoshop Only Matte Painting Workflow This work flow is where the Matte Painter receives an element or gathers it themselves, be it a plate, a lighting render or both and the Matte Painter paints to that element. It’s where artists would paint a matte which used here basically means a flat board to be used as a background extension or special effect in a film production.
In this presentation we are going over different Matte Painting work flows and answering questions such as “How to anticipate these work flows on a production” and “How to bid Matte Painting shots”. You can see all the elements in place in the camera view screen grab above. If you are looking for more information on what makes Matte Painting the way it is I suggest going over to the MP4FM site and watch two videos, the first one called “How Matte Painting Works” and the other is called “Why Matte Painting works”. Mali is the newest addition to this work flow that Matte Painters are using more and more. The shot camera goes directly into Nuke. If you want to pair up this work flow with the Lappropriate Matte Painting pipeline, in other words if a Matte Painter uses this work flow than where would Matte Painting connect into the pipeline, please watch the video “How Matte Departments are Structured”. Also, I put Maya in here because that is what is used in most of the large houses but you can easily put in there other 3D packages such as 3DS Mae or Softimage. If I were not doing this in Maya, and didn’t have Paint Effects, I would probably have created a few panels with grass textures and transparency maps applied. Some of the downsides to this work flow would be: some packages have limited out of the box tools for matte painting, extra step of rendering the matte painting before it is seen in comp and also having to render all the passes in stereo. Some of the benefits to 3D packages would include: that the 3D app is usually already plugged into the asset pipeline, integration of image based modelling and projections is better, it is very rendering robust and can have all kinds of custom tools that can make it even more capable then Nuke as a Matte Painting projection solution. There may be several matte shots in a sequence and potentially each of those shots could have a different work flow.
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