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domenica 29 marzo 2009
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Matte Painting
Per Matte Painting si intende una tecnica usata prevalentemente in ambito cinematografico utile alla creazione (o all'estensione) di scenografie virtuali.
Originariamente il procedimento consisteva nel dipingere il necessario (tramite colorazioni ad olio) su delle lastre di vetro per poi porre quest'ultime al di sopra della pellicola (o dei singoli fotogrammi). Tutto ciò al fine di raggiungere il risultato desiderato.
Oggigiorno la realizzazione avviene esclusivamente in ambito digitale utilizzando software di painting e manipolazione di immagini (come Adobe Photoshop) unito a una periferica di input manuale chiamata "tavoletta grafica" (graphic tablet).
È una tecnica di indiscussa utilità in quanto permette la creazione di ambientazioni virtuali inesistenti o troppo costose da filmare. È una disciplina ibrida; presuppone delle ottime capacità di manipolazione di immagini, disegno, pittura e buone nozioni di prospettiva e fotografia.
Da Wikipedia, l'enciclopedia libera.
-------------------------------------------------
Matte painting
A matte painting is a painted representation of a landscape, set, or distant location that allows filmmakers to create the illusion of an environment that would otherwise be too expensive to build or visit. Historically, matte painters and film technicians have used various techniques to combine a matte-painted image with live-action footage. At its best, depending on the skill levels of the artists and technicians, the effect is "seamless" and creates environments that would otherwise be impossible to film.
Contents
1 Background
2 New technologies
3 Notable matte painting shots
4 Important traditional matte painters and technicians
5 See also
6 References
7 Books
Background
Traditionally, matte paintings were made by artists using paints or pastels on large sheets of glass for integrating with the live-action footage.[1] The first known matte painting shot was made in 1907 by Norman Dawn (ASC), who improved the crumbling California Missions by painting them on glass for the movie Missions of California.[2] Notable traditional matte-painting shots include Dorothy’s approach to the Emerald City in The Wizard of Oz, Charles Foster Kane’s Xanadu in Citizen Kane, and the seemingly bottomless tractor-beam set of Star Wars.
By the mid-1980s, advancements in computer graphics programs allowed matte painters to work in the digital realm. The first digital matte shot was created by painter Chris Evans in 1985 for Young Sherlock Holmes for a scene featuring a computer-graphics (CG) animation of a knight leaping from a stained-glass window. Evans first painted the window in acrylics, then scanned the painting into LucasFilm’s Pixar system for further digital manipulation. The computer animation (another first) blended perfectly with the digital matte, something a traditional matte painting could not have accomplished.[3]
New technologies
Throughout the 1990s, traditional matte paintings were still in use, but more often in conjunction with digital compositing. Die Hard 2: Die Harder (1990) was the first film to use digitally composited live-action footage with a traditional glass matte painting that had been photographed and scanned into a computer. It was for the last scene, which took place on an airport runway.[4] By the end of the decade, the time of hand-painted matte paintings was drawing to a close, although as late as 1997 some traditional paintings were still being made, notably Chris Evans’ painting of the Carpathia rescue ship in James Cameron’s Titanic.[5]
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.[6] 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 Scrosese’s Casino. Matte World Digital collaborated with LightScape to simulate the indirect bounce-light affect[7] of millions of neon lights of the 70s-era Las Vegas strip.[8] Speedier computer processing times continue to alter and expand matte painting technologies and techniques.
Notable matte painting shots
The view of Skull Island in King Kong.
Mary Poppins gliding over London with her umbrella.
Birds flying over Bodega Bay, looking down at the town below, in Alfred Hitchcock's The Birds.
The final scene of the secret, government warehouse in Steven Spielberg's Raiders of the Lost Ark.
Important traditional matte painters and technicians
Norman Dawn
Walter Percy "Pop" Day
Linwood G. Dunn
Harrison Ellenshaw
Peter Ellenshaw
Albert Whitlock
Matthew Yuricich
Warren Newcombe
Michael Pangrazio
See also
Bipack
Chroma key
Compositing
Computer generated imagery
Digital matte artist
Matte
Optical printing
Rendering
Ray tracing (graphics)
Radiosity
SIGGRAPH
Special effect
Texture mapping
References
^ Matte World Digital SIGGRAPH 1998 - Matte Painting in the Digital Age Traditional Matte Paintings Craig Barron
^ The Invisible Art: The Legends of Movie Matte Painting by Mark Cotta Vaz and Craig Barron, Chronicle Books, 2002; p. 33
^ The Invisible Art, Cotta Vaz/Barron, pp. 213, 217
^ The Invisible Art, Cotta Vaz/Barron, p. 227
^ The Invisible Art, Cotta Vaz/Barron, p. 19
^ Matte World Digital SIGGRAPH 1998 - Matte Painting in the Digital Age Great Expectations: Creating Movement Craig Barron
^ Matte World Digital SIGGRAPH 1998 - Matte Painting in the Digital Age 3-D Lighting Techniques Craig Barron
^ The Invisible Art, Cotta Vaz/Barron, pp. 244-248
Books
Mark Cotta Vaz; Craig Barron: The Invisible Art: The Legends of Movie Matte Painting, Chronicle Books, 2002; ISBN 081184515X
Peter Ellenshaw; Ellenshaw Under Glass - Going to the Matte for Disney
Richard Rickitt: Special Effects: The History and Technique. Billboard Books; 2nd edition, 2007; ISBN 0823084086 (Chapter 5 covers the history and techniques of movie matte painting.)
Retrieved from "http://en.wikipedia.org/wiki/Matte_painting"
Categories: Film and video technology
From Wikipedia, the free encyclopedia
Originariamente il procedimento consisteva nel dipingere il necessario (tramite colorazioni ad olio) su delle lastre di vetro per poi porre quest'ultime al di sopra della pellicola (o dei singoli fotogrammi). Tutto ciò al fine di raggiungere il risultato desiderato.
Oggigiorno la realizzazione avviene esclusivamente in ambito digitale utilizzando software di painting e manipolazione di immagini (come Adobe Photoshop) unito a una periferica di input manuale chiamata "tavoletta grafica" (graphic tablet).
È una tecnica di indiscussa utilità in quanto permette la creazione di ambientazioni virtuali inesistenti o troppo costose da filmare. È una disciplina ibrida; presuppone delle ottime capacità di manipolazione di immagini, disegno, pittura e buone nozioni di prospettiva e fotografia.
Da Wikipedia, l'enciclopedia libera.
-------------------------------------------------
Matte painting
A matte painting is a painted representation of a landscape, set, or distant location that allows filmmakers to create the illusion of an environment that would otherwise be too expensive to build or visit. Historically, matte painters and film technicians have used various techniques to combine a matte-painted image with live-action footage. At its best, depending on the skill levels of the artists and technicians, the effect is "seamless" and creates environments that would otherwise be impossible to film.
Contents
1 Background
2 New technologies
3 Notable matte painting shots
4 Important traditional matte painters and technicians
5 See also
6 References
7 Books
Background
Traditionally, matte paintings were made by artists using paints or pastels on large sheets of glass for integrating with the live-action footage.[1] The first known matte painting shot was made in 1907 by Norman Dawn (ASC), who improved the crumbling California Missions by painting them on glass for the movie Missions of California.[2] Notable traditional matte-painting shots include Dorothy’s approach to the Emerald City in The Wizard of Oz, Charles Foster Kane’s Xanadu in Citizen Kane, and the seemingly bottomless tractor-beam set of Star Wars.
By the mid-1980s, advancements in computer graphics programs allowed matte painters to work in the digital realm. The first digital matte shot was created by painter Chris Evans in 1985 for Young Sherlock Holmes for a scene featuring a computer-graphics (CG) animation of a knight leaping from a stained-glass window. Evans first painted the window in acrylics, then scanned the painting into LucasFilm’s Pixar system for further digital manipulation. The computer animation (another first) blended perfectly with the digital matte, something a traditional matte painting could not have accomplished.[3]
New technologies
Throughout the 1990s, traditional matte paintings were still in use, but more often in conjunction with digital compositing. Die Hard 2: Die Harder (1990) was the first film to use digitally composited live-action footage with a traditional glass matte painting that had been photographed and scanned into a computer. It was for the last scene, which took place on an airport runway.[4] By the end of the decade, the time of hand-painted matte paintings was drawing to a close, although as late as 1997 some traditional paintings were still being made, notably Chris Evans’ painting of the Carpathia rescue ship in James Cameron’s Titanic.[5]
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.[6] 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 Scrosese’s Casino. Matte World Digital collaborated with LightScape to simulate the indirect bounce-light affect[7] of millions of neon lights of the 70s-era Las Vegas strip.[8] Speedier computer processing times continue to alter and expand matte painting technologies and techniques.
Notable matte painting shots
The view of Skull Island in King Kong.
Mary Poppins gliding over London with her umbrella.
Birds flying over Bodega Bay, looking down at the town below, in Alfred Hitchcock's The Birds.
The final scene of the secret, government warehouse in Steven Spielberg's Raiders of the Lost Ark.
Important traditional matte painters and technicians
Norman Dawn
Walter Percy "Pop" Day
Linwood G. Dunn
Harrison Ellenshaw
Peter Ellenshaw
Albert Whitlock
Matthew Yuricich
Warren Newcombe
Michael Pangrazio
See also
Bipack
Chroma key
Compositing
Computer generated imagery
Digital matte artist
Matte
Optical printing
Rendering
Ray tracing (graphics)
Radiosity
SIGGRAPH
Special effect
Texture mapping
References
^ Matte World Digital SIGGRAPH 1998 - Matte Painting in the Digital Age Traditional Matte Paintings Craig Barron
^ The Invisible Art: The Legends of Movie Matte Painting by Mark Cotta Vaz and Craig Barron, Chronicle Books, 2002; p. 33
^ The Invisible Art, Cotta Vaz/Barron, pp. 213, 217
^ The Invisible Art, Cotta Vaz/Barron, p. 227
^ The Invisible Art, Cotta Vaz/Barron, p. 19
^ Matte World Digital SIGGRAPH 1998 - Matte Painting in the Digital Age Great Expectations: Creating Movement Craig Barron
^ Matte World Digital SIGGRAPH 1998 - Matte Painting in the Digital Age 3-D Lighting Techniques Craig Barron
^ The Invisible Art, Cotta Vaz/Barron, pp. 244-248
Books
Mark Cotta Vaz; Craig Barron: The Invisible Art: The Legends of Movie Matte Painting, Chronicle Books, 2002; ISBN 081184515X
Peter Ellenshaw; Ellenshaw Under Glass - Going to the Matte for Disney
Richard Rickitt: Special Effects: The History and Technique. Billboard Books; 2nd edition, 2007; ISBN 0823084086 (Chapter 5 covers the history and techniques of movie matte painting.)
Retrieved from "http://en.wikipedia.org/wiki/Matte_painting"
Categories: Film and video technology
From Wikipedia, the free encyclopedia
buon lavoro :)
Etichette:
articoli
domenica 15 marzo 2009
sabato 14 marzo 2009
giovedì 5 marzo 2009
The Art and Science of Digital Compositing
Author: Ron Brinkmann
The Art and Science of Digital Compositing
Edition: Techniques for Visual Effects, Animation and Motion Graphics (The Morgan Kaufmann Series in Computer Graphics)
Paperback: 704 pages
Publisher: Morgan Kaufmann; 2 edition (May 28, 2008)
Language: English
Etichette:
books
domenica 1 marzo 2009
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