Category: Project 3

My research methodology demands that I provide a detailed definition for each project in the case study. Rather than defining each of the three projects at the outset, I preferred to reflect on each project in turn, establish what had been learned and identify questions that were either fully or partially unresolved. So, by factoring … Continue reading Propositional Statement

This project deploys a slightly different interpretation of the Full Environment 3D Matte Painting Workflow as described by Garrett Fry. This workflow places much greater emphasis on the use of the 3D application, in this case Cinema 4D for the camera projection setup, and use of the compositing application is limited to final assembly and … Continue reading Pipeline & Workflow

The primary structures are taken from the Kitbash Steampunk range and have been configured and assembled for use in this scene. The ground has been modelled and textured specifically for the project and the distant areas (currently black) will also be created for the project using a matte painted cyclorama. The camera movement creates a … Continue reading Projection Strategy

Implementing a layered hierarchical approach involves the use of projection cameras created by duplicating the moving shot camera at various points along its motion path and then deleting the animation keyframes to effectively freeze the camera at a fixed point in 3D world space. Based on the strategy described, this general approach will need to … Continue reading First Pass: Layered Hierarchical Projection

In an article in 3D World, Environment artist Tamas Gyerman discusses the merits of using a CG base for a matte painting. They argue that various structural elements can be tested in combinations and moved around until a satisfying composition is achieved. (2022, pp.48-53) The premise here is that simple images of the respective buildings, … Continue reading Second Pass: Implementation of the Base Texture

Image Set B The next major issue involves excessive texture doubling from prominent areas of geometry onto other surfaces that are part of the same object. The image (below) shows the water tank and pipes on the left side of the arch on image set B, doubling onto the building facades and especially problematic between … Continue reading Third Pass: Geometry Separation and Reprojection

Detailed analysis of the base projection informed the strategy for addressing the resolution issues and patching the areas affected by artefacts such as texture doubling, smearing, missing coverage and insufficient image resolution. Image Set A A single patch is required to fix the doubling artefact on the roof and window on the rightmost building of … Continue reading Fourth Pass: Patch Projections

Photoshop File, Folder and Layer Structure and Nomenclature I recognised from the outset that this project would in all probability end up comprising of potentially dozens of files, each containing a section of the overall matte painting. With this in mind I felt it was important to standardise the files as much as possible so … Continue reading Overpainting

Base Composite DPX image sequences were rendered for all the main projections so, for the most-part, compositing was limited to A over B Merge operations. Nuke was selected as the preferred software for this part of the process due to its extensive and advanced compositing features, including its 3D tools and workflow, which I knew … Continue reading Compositing and Effects

Final render of the Steampunk Town