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Topic: Matte (filmmaking)

	Matte (filmmaking) - Wikipedia, the free encyclopedia
		Mattes are used in photography and filmmaking to insert part of a foreground image onto a background image, which is often a matte painting, a background filmed by the second unit, or computer generated imagery.
		A later development, called the travelling matte, allowed the shape and position of the matte to be altered from frame to frame, enabling greater freedom of composition and movement as the actors did not have to remain within a set portion of the image.
		Another use of mattes in filmmaking is to create a widescreen effect.
	en.wikipedia.org /wiki/Matte_painting (449 words)

	filmmaking.net forums - Mattboxes
		A matte box is a highly specialised piece of equipment that very vew people in the world use.
		Matte boxes get their name from the mattes used as inserts at the outside end of a boxed lens shade.
		The matte inserts are used in combination with french flags to keep direct light off of the lens, eliminating or drastically reducing flare.
	www.filmmaking.net /fnetforum/topic.asp?TOPIC_ID=2011 (345 words)

	Siggraph 1998 - Matte Painting in the Digital Age
		Traditional matte painting techniques are as old as the motion picture camera and have changed very little since they were first developed around the turn of the century.
		Well, the matte painting has been an excellent solution for static shots where the camera does not have to move through a scene.
		Now, we call this final rendering stage "two-and-a-half-D" (instead of 3-D) because the next step is for the matte artist to create custom texture maps with his or her 2-D paint tools that will ride on the wire frame geometry as the camera moves through the scene.
	www.matteworld.com /projects/siggraph02.html (389 words)

	668 \| features \| fx
		Simple matte paintings can be greatly enhanced with a 3D technique called "camera projection," possibly one of the simplest and most powerful new techniques.
		With camera projection, matte paintings come to life - what was once a static shot limited to crude pan and zoom can instead shift in perspective, including professional dolly and crane shots that give true big-budget feel to an otherwise budgetless scene.
		Difference mattes and blue- and green-screen technology are more and more common and affordable, though the best of the bunch (Ultimatte) is rather expensive for an After Effects plug-in.
	www.rzanerutledge.com /features/fx.html (3918 words)

	A Sense of Place
		Filmmakers created the illusion of a mass exodus by shooting the foreground of the exile with around 200 extras and then digitally creating the people who comprise the rest of the line.
		Filmmakers shot the foreground of the human mass with around 200 extras, and the effects team digitally created the people who comprise the rest of the line.
		Filmmakers shot backplates moving the camera on a crane, and Ferrand and the artists tracked the camera movement using RealViz's MatchMover.
	march02.visfx.millimeter.com /ar/video_sense_place (2006 words)

	www.DigitalGreenScreen.com / Composite Components Company / T-Matte Technology
		But mattes for the modern digital compositing process can be seen to have gradients which enables them to reproduce translucent images such as shadows or glass objects or smoke.
		In Ultimatte (Vlahos) matte extraction logic, as applied to digital film composites today, the process (while still quite similar), is freed from confinement to the Blue record and readily incorporates garbage and window mattes without any compromise of the finely detailed continuous tone feature.
		This matte is subjected to a variety of adjustments before it is used to process the foreground and background images, but the crucial point here is that the matte is generated from the absolute levels of the color components for each pixel.
	www.digitalgreenscreen.com /tmatte.html (2079 words)

	Matte Painting Legends
		Barron, a veteran artist and co-founder of San Francisco's Matte World Digital, and industry journalist Mark Cotta Vaz, penned the almost 300-page, hardcover tome, published by Chronicle Books and available this coming November, largely based on a decade of interviews and research done by Barron on the history of his profession.
		After all, the whole point of matte painting is to create invisible illusions, which is where the book's title comes from.
		Mario Larrinaga's matte painting of the Xanadu edifice under construction (top photo), among the classic examples cited in the new book, The Invisible Art: The Legends of Movie Matte Painting, was combined with a foreground construction site built out of miniatures and shot stop-motion for the "newsreel" segment in Citizen Kane.
	millimeter.com /mag/video_matte_painting_legends (481 words)

	vfxblog: Interview with Richard Mahon (Site not responding. Last check: 2007-10-18)
		Matte painter and concept artist Richard Mahon talks to vfxblog about his career so far, which includes contributions to Mission to Mars, Final Fantasy, The Animatrix, Lord of the Rings and The Matrix sequels.
		Matte painting had a very important role in Final Fantasy because it was a "completely" digital production.
		When it comes to matte painting, I suppose it depends on what I have to start with (i.e., 3D geometry, a photograph requiring an extension, or a blank document).
	www.vfxblog.com /vfx/2005/08/interview_with_.html (1759 words)

	KODAK: Bill Bennett: 'The Car Guy' on Shooting a Commercial Campaign across the USA - Printer Friendly Version (Site not responding. Last check: 2007-10-18)
		The goal was to create the precise mattes needed to seamlessly composite beauty shots of the cars and trucks with the iconic backgrounds.
		The matte shots were filmed in front of a projection screen that provided a high contrast cut-out matte of the rotating vehicles.
		Bennett says the matte photography was done at Ren-Mar because they needed a stage with a solid cement floor, at least a 35 foot high ceiling and 100 feet or more space between the turntable and the camera track.
	www.kodak.com /US/en/motion/students/filmtech/carguy_intro.shtml (1638 words)

	Cinesite (Site not responding. Last check: 2007-10-18)
		I had done some set design and matte painting for a theater festival in Edinburgh, but I didn't see that as my life's work, he says.
		Darby was hired by Cinesite as a matte painter soon after arriving in Los Angeles.
		Cinesite has outfitted a matte painting suite designed to provide a comfortable work environment where directors and cinematographers can participate in an interactive process of creating digital backgrounds for compositing with live-action footage.
	www.producers-source.com /webclients/cinesite/website/legend/releases/02_03_98-darby.html (662 words)

	The Art Corner v.3.0 - "I'M SO FLY"
		matte Having a dull, flat, non-reflective, sometimes roughly textured finish, perhaps of paints, metal, paper or glass ; the opposite of glossy.
		The process of painting in tempera is the oldest method of painting known; the wall paintings of ancient Egypt and Babylonia, and of the Mycenaean period in Greece (1400?-1200 BC), were probably executed in tempera with a medium of egg yolk, to which a little vinegar was sometimes added.
		Tempera paints are opaque and matte (no gloss), and they remain stable in color for long periods.
	www.artcorner.org /tutorials/dictionary/d-index.shtml (8164 words)

	Large format photography Forum: Selling Photos
		That's right, even though you see "matte" used incorrectly quite often to refer to a "mat." Also, a "matte" in filmmaking is a painted backdrop used instead of a real set - traditionally hand-painted but now more often created digitally.
		Matte -- A mask used to blank out part of an image so an other can be supimposed.
		Matte or Matt -- A variable spelling of Mat.
	www.photo.net /bboard/q-and-a-fetch-msg?msg_id=004IL3 (1427 words)

	History of Visual Effects for Film (Site not responding. Last check: 2007-10-18)
		From the earliest days of filmmaking, visual effects have been employed to create illusions of the fantastic.
		This course will cover the history of visual effects from the first matte paintings and stop-motion animation up to the most outrageous effects of today.
		In addition to reviewing the people, studios and movies that have amazed us over the years, part of each class is devoted to analyzing various films and shots to determine how they were created.
	www.gnomon3d.com /courses/analog_production/effectshistory.html (76 words)

	AFTRS \| Matte Painting/Advanced Photoshop, NSW
		Matte painting has been used throughout the history of filmmaking to help create screen illusions.
		Traditionally it has employed the media of paint on glass or canvas but the advent of digital imaging has seen a transition to the computer.
		Digital matte painting is widely used in commercials, television drama and feature films as a standard visual effects technique.
	www.aftrs.edu.au /index.cfm?objectID=B9BADAA2-2A54-23A3-6D668476D6808B38 (206 words)

	668 \| feature films \| hell is texas
		The background is made up of three main plates: a huge painted canvas of the horizon and road, which is slowly scaled down toward a constant point on the horizon where the road converges.
		Also, a clip of right-to-left panning yellow fields is skewed and dropped in in the upper right, with a soft blend fading it into the background matte painting.
		Finally, a bit of detailed road is scrolling by the lower left edge of frame, in the shadow of the vette on the road.
	www.rzanerutledge.com /hit/fx1.html (635 words)

	ETA:
		In addition, he designed and implemented the first motion control matte stand, MatteSCAN, and was responsible for the creation of the fl hole itself.
		The film, a comedy about the foibles of independent filmmaking was shown at numerous film festivals, receiving a number of awards and positive reviews.
		The combination of matte paintings, miniatures, effects animation and live action created a color saturated super realism never before seen on film.
	www.etaexpo.com /ellenshaw.html (821 words)

	Moving Into Films: Impulse Power
		I had taken a course in cinematography upon my arrival to the United States and had a basic understanding of the process of filmmaking.
		I did all this because I was curious about the use of matte painting in special effects and trick photography.
		My future as a filmmaker depended on the financial success of the first movie.
	www.muralmaster.org /writings/MovingFilms/impulse.html (730 words)

	DVD Review - Pixar Interview (Site not responding. Last check: 2007-10-18)
		As many of you certainly know, George Lucas is the godfather of digital filmmaking, the initiator, the visionary who knew, that computers could change the face of the industry with a sleight of hand.
		Opening the matte posed a completely different problem however when certain elements that had not been visible in the frame before showed up now and turned out to be not animated.
		Although DVD offers the technology that would allow filmmakers to make their work more interactive, Bill and Craig are hesitant about that.
	www.dvdreview.com /html/dvd_review_-_pixar_interview.shtml (3134 words)

	Tail Slate - Film Article & Essay - The Color of Special Effects (Site not responding. Last check: 2007-10-18)
		The matte painting of the planet was filmed in a more traditional manner.
		The same process needs to be repeated in order to place the matte painting of the planet into the background.
		While this technique has become commonplace in today’s filmmaking, it’s important to note that at the time Aliens was filmed, it was still an expensive and time-consuming process.
	www.tailslate.net /articles/articles.asp?ID=32 (1000 words)

	FXhome.com :: Tutorial :: Artificial depth-of-field (Site not responding. Last check: 2007-10-18)
		Wide angle film cameras, for example, tend to have a very small d-o-f, enabling filmmakers to stage dramatic shots that draw your eye towards a certain area of the screen.
		A small d-o-f is very useful when having lots of close-ups on your actors, for example, as it keeps the audience focused on the actor's face rather than wandering off to look at the scenery.
		Using Chromanator's garbage matte and effects tools, it is possible to artificially alter the d-o-f to make it far more interesting.
	fxhome.com /support/tutorials/view.php?i=8 (539 words)

	NEWS \| MAGAZINE \| VOLUME 25-3 SEPTEMBER 2000
		Her presentation featured 98 clips from famous and lesser known films spanning the period from 1926 to the present, including Metropolis, King Kong, Citizen Kane, Jason and the Argonauts, Star Wars, Alien, The Terminator, The Abyss, Robin Hood: Prince of Thieves, Jurassic Park and Men in Black.
		Zwerman explained the different effects used in the clips which included matte painting, miniatures, green/blue screen composites, stop-motion animation, puppets/animatronics, front and rear projection, motion control and in-camera practical effects.
		After a brief discussion of those effects, the members were treated to some of the best visual effects work being done in the world today.
	www.dga.org /news/v25_3/news_SF_VFX_Seminar.php3 (448 words)

	TFTM.net - The Transformers: The Movie - Un-official Fansite
		The former method is used more often by filmmakers, for aesthetic (and commercial) reasons.
		But a film that uses the second filmmaking methodology can be transferred directly to video quicker and cheaper (and with less annoying "pans"), and the video version shows the entire film print, including the stuff cut off the top and the bottom of the theatrical version.
		The green outline shows the area most televisions display (the rest of the frame, the "overscan", is usually not visible).
	www.tftm.net /technical_details.shtml (887 words)

	Advanced Photoshop Tutorials \| PhotoshopSupport.com
		Matte Painting Tutorial - 1: "This tutorial is actually a 'making of' where I explain how I proceeded to achieve this matte painting.
		Matte Painting Tutorial - 2: "This is my second matte painting tutorial.
		I was entrusted with the creation of three matte paintings, one of which was to represent a night vision of an abandoned church, with a cemetery in the foreground.
	www.photoshopsupport.com /tutorials/advanced.html (1557 words)

	Taiwan (Site not responding. Last check: 2007-10-18)
		Interaction and cooperation between Hong Kong and Taiwan's filmmaking industries was commonplace in the 1950s, 1960s, and 1970s, but both of these industries had become quite estranged from their filmmaking colleagues on the mainland.
		On the subject of aesthetic experimentation and personal expression, one has to look no further than an oft-quoted interview with Tian Zhuangzhuang,(25) in which he firmly asserted that the lack of an audience for his films did not worry him in the least as he was making films for the audiences of the next century.
		Finally, Fifth Generation filmmakers were conversant with the French New Wave, and at times used them as exemplars to explain their own work, as Tian Zhuangzhuang does in the same polemical interview cited earlier.
	www.asianfilms.org /taiwan/huigu/huigu7.html (7441 words)

	Reality Film: Directors: Sarah Moon (Site not responding. Last check: 2007-10-18)
		She began her career as an art student and eventually became a fashion and art photographer in the 1960s.
		She usually takes nature as her subject and uses sepia tone for her matte prints -- a technique used in the 1920s and now considered outdated.
		The premise for the film is an interesting one: How would today's filmmakers work with the Lumiere brothers' original camera, the cinematograph, which was about the size of a briefcase and could shoot, develop, and project film in one device?
	www.realityfilm.com /resources/directors/m/moon.php (220 words)

	Suggestions for Acessories, Tripods, etc. - The Digital Video Information Network
		Pulling focus really is a joy with this rig and, what's even mor important: it eliminates most of the vibrations that result from touching the lens barrel.
		A matte box and follow focus may not be really necessary but they can make your work more enjoyable.
		The fujinon lens is 62mm and has a rotating end hence need a matte box on rails, whereas the 20x is 72mm.
	www.dvinfo.net /conf/showthread.php?t=46401 (1207 words)

	Computer Graphics World - Dark and Stormy Knight: Part one of two-part special feature
		Digital matte supervisor Jonathan Harb estimates that three-fourths of the 2151 visual effects shots incorporated matte paintings-or, in the case of establishing shots, were entirely matte paintings.
		It fits with a kind of one-person, one-shot philosophy that the matte department shared with ILM’s former “Rebel Mac group,” which is now permeating the pipeline.
		The far background is a matte painting; the rocks and lava rivers are miniatures-the molten material is actually gallons of methylcel poured into four-foot-wide channels.
	cgw.pennnet.com /Articles/Article_Display.cfm?Section=Articles&Subsection=Display&ARTICLE_ID=230468 (2714 words)

	DivX Success Story: Crew of Two (Site not responding. Last check: 2007-10-18)
		Neither Mark nor his co-director Dave ever sought out any formal training in filmmaking, but both are artists who decided to apply their visual sense to their lifelong love of the Star Wars universe.
		There were a number of obstacles along the way, but with perseverance and persistence of vision, the team achieved their vision and finished a film that was the culmination of a childhood dream.
		Though the public response to Duality has been very positive, outside validation is merely a nice side effect for the filmmaking pair.
	www.divx.com /about/crew_of_two.php (774 words)

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