The Digital Matte Painting Handbook

The Digital Matte Painting Handbook

David B. Mattingly

Language: English

Pages: 416

ISBN: 0470922427

Format: PDF / Kindle (mobi) / ePub

The only how-to guide dedicated to mastering the technique of digital matte painting!

Matte painting affords seamless integration between an artist’s painting with live action film footage and allows for greater flexibility and creative input in the appearance of movie settings. This unique book reveals a variety of tools and techniques that are both industry and classroom tested and will enhance your existing skill set. Veteran author and instructor David Mattingly walks you through the process of creating a matte painting, starting with rough concept sketches, working out the perspective drawing, adding light and shadow, and texturing all of the elements in the painting. You’ll gradually upgrade to using Adobe After Effects and Autodesk Maya in order to fulfill your matte painting vision.

  • Escorts you through the process of creating a matte painting, starting with the initial concept sketch, adding light and shadow, texturing elements, and incorporating motion and depth
  • Author is an experienced matte artist and teacher and shares a plethora of unique industry- and classroom-tested tools and techniques
  • Features helpful step-by-step instructions accompanied by screen shots and photos to illustrate the process of creating a matte painting

Whether you’re creating a background for a studio production, independent film, TV commercial, or YouTube video, The Digital Matte Painting Handbook helps you successfully complete your project.

Note: CD-ROM/DVD and other supplementary materials are not included as part of eBook file.

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Of the tower selection, Option+Command/Alt+Ctrl and click the layer thumbnail for both the LightSide and DarkSide layers. Doing so deselects any pixels that were selected in those areas. Manually subtract the small side points on the two front towers and the tallest tower. You’ll need to do a modest amount of manual cleanup to isolate the towers (Figure 6.11). Figure 6.11 ​Castle towers cleanly selected Figure 6.12 ​​Towers1 filled with bright green. Create a new layer above the Form group,.

(Figure 6.23). Still in the gradient options bar, open the Gradient Editor by clicking the preview gradient to the left of the gradient types (Figure 6.23). Load Figure 6.23 ​Reflected Gradient tool the default gradient set if it isn’t already there, and in the center and a preview gradient on choose Foreground to Transparent, the second the left choice  . Click OK to exit the Gradient Editor. When you experiment with the Reflected Gradient tool, you’ll find it creates a mirror image of the.

The source of the shadow. By starting the gradient in the corner and dragging out, you make the shadow lighter away from the wall casting it. 1 2 3 4 Figure 6.28 ​Draw the shadow for the castle entrance, and fill it using the Gradient tool. 111 112 c h a p t e r 6  ■  Form Next, you’ll create the shadow for the right-front bastion. Select the Rectangular Marquee tool, and feather it 3 pixels. Follow this procedure (Figure 6.29): 1. Command+click/Ctrl+click the layer thumbnail.

Larger than other files. If there is one unusually large file, you may have mistakenly saved the TIFF file with all its layers, in which case it won’t work in Maya (Figure 8.11). Reopen the file, and resave it with Discard Layers And Save A Copy selected in the TIFF options. Figure 8.11 ​One file is much larger than the others. Setting Up for Camera Projection If you’re new to Maya, it’s a good idea to watch the Essential Skills Movies that appear when you first start Maya. If they don’t come.

Of his most famous quotes is, “Paint is the effect of light, not the object itself” (Figure 1.7). The photo of Albert Whitlock (Figure 1.7) shows a mirror on his left that he used to check his painting while he worked. Because the mirror reversed the image, he could check for perspective errors and get a fresh look at the painting. Digital artists do the equivalent when they flip their compositions horizontally while working on an image. 9 Albert Whitlock Photo credit: Walton Dornisch ■.

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