Digital Matte Painting for Film and TV
Take your matte painting to the next level creating a 2.5D environment and launch your career in VFX
Matte painters who can create truly photo realistic environments are are in high demand as productions are relying more heavily on these artists for film, TV and commercials.
Digital Matte Painters are able to work at nearly every stage in the production pipeline, from concept work to small patches in the end.
This course will take you through the entire Digital Matte Painting pipeline using Photoshop, Nuke and Maya. Students will be constructing a digital matte painting from start to finish. Advancing your skills as an artist to make your portfolio stand out.
By the end of the course, students will have a deep understanding of the digital matte painting world and workflow. They will have also gained knowledge on how to troubleshoot new problems or tasks.
Students will also develop their own photorealistic matte painting.
By the end of the workshop you'll:
- Have developed your 2.5D projection in Nuke
- Have an understanding of what it takes to develop photorealistic environments that meet industry standards.
- Understand how to properly plan a production pipeline for efficient workflow.
- Have the confidence and ability to create advanced photo realistic digital matte paintings.
Nuke (basic to intermediate)
Maya (basic to intermediate)
What You're Getting Inside The
Digital Matte Painting Course:
Digital Matte Painting is a 7 module, Step-by-Step Course that walks you through the many aspects of the DMP world and work flow!
DMP within a Visual Effects Pipeline
In this sprint Tamra gives us an overview of the entire workflow of DMP in today's current VFX industry, common DMPs workflows as well as workflow stages.
Principles for an efficient workflow
In this sprint, Tamara focuses on improving the efficiency and productivity of working as a DMP artists and becoming more confident dealing with different shot scenarios. Specifically she'll walk you through shot complexities, efficient photoshop workflows, tips for productivity and time management, textures and VFX color spaces.
Techniques for improving Photorealism
This week is designed to help advance the photorealism of your matte painting work. In this sprint, we will be looking at different tools and techniques to achieve high standards of photorealism.
Using 3D as a Starting Point
In this sprint, we'll be working in Maya with the camera track and photoscan of drone footage. This week guides you through using 3D to lay out your scene and rendering passes to help with your matte painting.
Setting up in Photoshop and Nuke
In this sprint, you will create a proof of concept of your shot workflow and setup your master file in Photoshop and your base Nuke projection.
Time to paint
This week is all about painting up your cg renders, adding props and textures and creating the most photorealistic environment possible.
Finalizing your shot
This week you will finalize your 2.5D projection in Nuke, ironing out any potential problems and tech checking before rendering your final shot.
Tamara Toppler is the Head of the Digital Matte Painting at BlueBolt, an award-winning visual effects company based in London, UK.
With a strong focus on working on historical TV series and films, her specialities lie in creating 2.5D environments.
Tamara has an MA in Digital Effects with a background as a 3D generalist, graphic designer and compositor.
What she loves most about being a matte painter is how artistic it is while also being technically challenging and how it combines the worlds of 3D and 2D.
Past projects include The Last Kingdom, Peaky Blinders, The Great, Robin Hood and Johnny English.