Author: pholmesphd

These elements transcend the horizon line in the matte painting (Fig 1) so applying this to a flat planar geometric surface would appear to be the logical approach. If there was some visible curvature of the hills then there would be some merit in considering applying the texture to the inside, or indeed outside surface … Continue reading Distant Hills and Trees

Church and Farm Building Aligning the church provides the first example of the benefits associated with the shadows being painted onto the ground terrain. Now this is laid flat in three-dimensional space, we can use the shadows as markers for positioning our geometry in depth. Fig 1: shows how, in this case a Card can … Continue reading Ground Elements

Initial considerations drew heavily on the findings from the period of reflection on my practice following completion of the first project in this study. The overarching issue from this was that, whilst the first project served to ground ‘camera projection’ as the most effective approach for applying textures to geometric objects in 3D space, the … Continue reading Propositional Document

From the outset, the complexity of this project suggested that the development of a more robust workflow and pipeline would be necessary and required a version of a full environment 3D matte painting workflow, as described by Garrett Fry, to be deployed. This workflow diagram acknowledges a requirement for more complex 3D geometry than can … Continue reading Workflow and Pipeline

I have numbered the buildings for ease of reference during the discussion on this page. Building 1 Checkerboard texture projected from a duplicate of the shot camera taken on frame 1. Full coverage is seemingly achieved and no stretching or doubling of textures is evident Timeline advanced to frame 30. Note how areas of missiong … Continue reading Projection Strategy

General Approach to the Photo-Bash As part of a subscription-based learning material for FXPHD, Mike James (2010) outlined the application of a total production workflow and pipeline for a matte painting created for the Red Dwarf series. This process was different to any I had seen to this point in my research insofar as he … Continue reading Matte Painting

Church and two industrial buildings scaled and positioned in the back of the scene, seen from frame 70. References Parish Church. Neilvan. https://www.turbosquid.com/3d-models/free-3ds-model-church/949599. Downloaded 19th Apr 2020 Old Factory. Hespasoft. https://www.turbosquid.com/3d-models/factory-buildings-3ds/604757. Downloaded 17th Dec 2020 Elements are almost completely obscured by the projection layers but offer a sense of scale and depth to the scene … Continue reading CG Elements

A volumetric light pass rendered from 3D and using spotlights positioned just below the lanterns of the two streetlamps. In the composite, this should give atmosphere as well as reinforcing the relationship between the light sources and the lit surfaces. This pass was rendered as a full 125 frame sequence. A Depth AOV pass rendered … Continue reading Light and Shadow

Compositing Light flicker The light source from the fireground streetlamp was rendered as an image sequence. In Nuke a grade node is applied and a Random expression is applied to the Gain and Gamma attributes so they change on a frame by frame basis between values of 1.0 and 3.0 A CurveTool is used to … Continue reading Final Matte Painting