Matte Four Heads Are Better Than One Analysis

2069 Words 9 Pages
1. introduction
Digital composites will “take images from a variety of different sources and combine them in such a way that they appear to have been shot at the same time, under the same lighting conditions, with the same camera” (Wright, 1) To do this, one must have a comprehensive understanding of numerous technologies used in order to emulate this environment in perfect harmony with reality. Steve Write states there are three ways in which you can succeed as a digital artist, through “the art, the tools and technique” (Wright, 1). This can be applied to a varying range of visual narrative effects, one of them including matte painting. Matte painting, one of the longest standing forms of visual effects, is a traditionally 2D scene created to enhance or further extend a visual image or composite. The art form itself has been seen since the early 1800’s. Examples such as George Melies, “1898 film Un Homme de Têtes – Four Heads Are Better Than One” (Rocketstock). It has critical importance in western cinema, especially today. Through various categories of focus this paper will provide an all-encompassing understanding of the art form to enhance one’s
…show more content…
“The camera move in a matte painting is often fairly limited (…) from one angle” (Robertson, 2). This of course, tied in with the fact that matte painters are most commonly used for single shots, limits the amount one can do with a matte painting, and the amount of work a matte painter has. Additionally, a powerful matte painting is heavily concealed within a scene. A good matte painter often goes unnoticed, as the main target is believability and thus when done well can limit a person’s ability to perceive what is beyond them. Several films one would not even consider to contain visual effects are the matte paintings of “Tara from Gone with the Wind, the Emerald City in The Wizard of Oz, Citizen Kane’s’ Xanadu” more (Goldman,

Related Documents