The digital matte painting handbook [electronic resource] / David B. Mattingly

Author:: Mattingly, David B., 1956-
Published:: Indianapolis, IN : Wiley, 2011.
Edition:: 1st ed.
Physical Description:: 1 online resource (xxix, 381 pages) : illustrations (chiefly color)
Access Online:: ezaccess.libraries.psu.edu

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Series:

Sybex serious skills

Contents:

Machine generated contents note: ch. 1 What Is a Matte Painting? -- Matte Painting Defined -- The Glass Shot -- The Original-Negative Matte -- The Rear-Projection Matte -- Digital Matte Painting -- A Brief History of Matte Painting -- Norman Dawn and the Invention of Matte Painting -- Paint vs. Pixels -- Peter Ellenshaw -- Albert Whitlock -- ch. 2 Photoshop Workspace, Tools, and Custom Brushes -- The Digitizing Tablet -- Setting Up Your Workspace -- Photoshop Panels -- Using Custom Brushes -- Brush Tip Shape -- Shape Dynamics -- Transfer -- Scattering -- Color Dynamics -- Dual Brush -- Working with Image-Based Brushes -- Creating a Cloud Brush -- Painting a Cloudscape -- Save Your Brushes -- ch. 3 Composition and Concept -- Creating a Castle on a Hill -- Understanding 16-bit Color -- Rules of Composition -- Creating a Concept Sketch -- Coming Up with Ideas -- Getting In the Zone -- 30-Minute Concept Sketch, Step By Step -- Assignment: Create Your Own Castle Concepts -- ch. 4 Perspective Basics -- A Brief History of Linear Perspective -- The Three Types of Perspective -- Atmospheric Perspective -- Color Perspective -- Linear Perspective -- Perspective Techniques -- ch. 5 Perspective Drawing -- Setting Up Your Vanishing Points -- Using the Pen Tool to Set Up Lines of Convergence -- Drawing the Basic Shapes -- The Main Structure -- The Front Entrance -- Adding Detail to the Castle -- Equal Divisions in the Castle Walls -- Mechanical Perspective vs. Eyeballing -- The Ellipse Bank -- Dividing a Round Tower -- Adding Fine Detail -- Drawing Symmetrical Towers -- Duplicating Identical Towers -- The Final Drawing -- Assignment -- ch. 6 Form -- Finding the Light and Dark Sides -- Isolating the Silhouette -- Defining the Light Side -- Defining the Dark Side -- Adding Form to the Towers -- Cast Shadows -- Using Selections to Cast Shaped Shadows -- Layer Masks -- Cores -- Final Form Layer -- Darkening Where Two Surfaces Intersect -- Darkening Downward-Facing Surfaces -- Darkening Areas Below Projections -- Darkening Areas That Receive Less Reflected Light -- Adding the Line Drawing -- Assignment: Tone Your Castle Drawing -- ch. 7 Texturing and Color Correction -- Blending Modes -- The Six Categories of Blending Modes -- Blending Modes Used in Matte Painting -- Texturing The Castle -- Adding Stone Texture Using Soft Light -- Cast Shadows and Texture -- Finding Reference Photos -- Google and Copyright -- Resolution Issues -- Reference Websites -- Levels and Curves in Color Correction -- Anatomy of Curves and Levels -- Common Color Corrections -- Working with Reference Photos -- Warping a Tower -- Color-Correcting the Towers -- Finishing the Towers -- Repeating Details -- Finishing the Castle -- Lighting the Scene -- Darkening the Sky -- Darkening the Castle -- Adding Flames -- Creating the Sky -- Moonlight -- Highlighting the Clouds -- The Background Elements -- The Top Painting Layer -- Assignment: Texture and Finish Your Castle -- ch. 8 Preparing Your Photoshop File for Camera Projection in Maya -- What is Camera Projection? -- Getting Started in Camera Projection -- Reduce the File to Six Layers -- Preparing the Color Channels -- Preparing the Alpha. Channels -- Check the File Size -- Setting Up for Camera Projection -- Set the Project Folder -- Create a Projection Camera -- Set the Rendering Parameters -- Set the Film Aspect Ratio -- Turn off the Default Light -- Adding the Image Plane -- Assign the Image Plane to the projectionCam -- Turn on the Resolution Gate -- Image Plane Attributes -- Positioning the Camera Using the Reference Grid -- Assignment: Prepare Your Castle for Camera Projection, and Set Up the Maya File -- ch. 9 Building Geometry for Camera Projection in Maya -- Lining Up the Reference Box -- Sculpting the Foreground Hill -- The Sculpt Geometry Tool -- Component Mode -- Soft Selection Mode -- Adding the Sky -- Centering the Pivot -- Adding the Remaining Geometry -- Assignment: Build Geometry for Your Castle -- ch. 10 Projecting Textures in Maya -- Adding Materials to Geometry -- Setting Up the Sky Projection -- Introduction to the Material Editor -- Checking Your Projection -- Eighteen Steps for Defining Projection Materials -- Textured Preview of the Entire Scene -- Adding the Animated Camera -- Inserting Keyframes -- Rendering a Sequence -- Final Troubleshooting -- The Final Animation -- Assignment: Assign Textures and Create an Animation Using Your Own Castle -- ch. 11 Lighting Techniques -- Day-for-Night -- Preparing the Daytime Plate -- Adding a New Sky -- Adding a Mountain Range -- Removing Cast Shadows -- Preparing the Nighttime Plate -- Creating Mattes to Add Directional Lighting -- Painting Into the BlueMultiply Layer Mask -- Creating a Mask for the Building Windows -- Creating a Warm Overlay Layer for the Street Lights -- Silhouetting the Mountains -- Adding Life to the City -- The Window Bank -- Adding the Distant Lights of the City -- Using a Layer Mask to Edit the Lights -- Lighting Up the Towers -- Top Additions with a Paint Layer -- Light Flares -- Relighting -- The Night Sky -- Assignment: Take Your Own Plate From Day to Night -- ch. 12 Changing Seasons -- The Summertime Plate -- Removing Anachronistic Details -- Painting Out the Summer Tree -- Replacing the Background Buildings -- Replacing the Sky -- Light-Wrapping the Tree -- Final Details -- The Wintertime Plate -- Adding a Winter Sky -- Adding Snow -- Freezing the Canal -- The Winter Tree -- Adding Detail With High-Contrast Mattes -- Hand Painting -- Final Details -- Bonus Section: Dusk -- Adding a Multiply Layer -- Adding an Overlay Layer -- Adding Illuminated Windows -- Assignment: Take Your Own Photo From Summer to Winter -- ch. 13 Getting Started in After Effects -- Preparing a Painting for After Effects -- Getting Into After Effects -- Importing the Composition -- Interface Panels -- Setting the Duration of the Animation -- Animating the Sky -- Setting Keyframes -- RAM Preview -- Precomposing the Summer Version -- Cross-Dissolving to the Winter Version -- Animating the Winter Sky -- Dissolving to the Winter Dusk -- Effects -- Curves Effect -- Hue/Saturation Effect -- Adding a Snow Effect -- Solids -- Blending Modes -- CC Snow -- Varying the Lights -- Masks -- Moving the Smoke -- Fractal Noise -- Displacement Maps -- Final Camera Move -- Reformatting the New Comp -- Scaling the Precomp -- Easing Out, Easing In -- The Render Queue -- Render Settings -- Output Module -- Time Remapping -- The Final Animation -- Assignment: Create an Animation Changing Summer To Winter Using Your Own Painting -- ch. 14 Working over a Moving Plate -- The Plate -- Merging Frames into a Panorama -- The Painting -- Megastructures -- Drawing a Selection for the Megastructure -- Filling the Selection With the Gradient Tool -- Adding Abstract Detail -- Lights -- Painting Randomized Windows With a Custom Brush -- Reducing the Contrast of the Building -- Extending an Existing Building -- Compositing the Painting over a Moving Plate -- Importing the Painting -- Navigating After Effects' 3D Workspace -- Making the Painting 3D -- Positioning Layers in 3D Space -- Manually Positioning Layers -- Using Nulls to Position Layers -- Checklist for Positioning Layers With Nulls -- Parenting Layers Together -- Adding Moving Spotlights to a Building -- Relocating the Anchor Point of a Layer -- Animating the Motion of the Light Beam -- Duplicating the Beam -- Adding a Flare to the Beams -- Parenting the Beams to the RoundRiser Building -- Adding a Video Billboard -- Moving the Layer Duration Bar -- Time-Remapping the Video -- Adding a Black Boarder to the Billboard -- Preparing the Project for Animation -- Breaking Up the SmallFloatingBalls Layer -- Positioning the Remaining Layers -- Making the Nulls "Shy" -- Rotating the Layers to Minimize Lens Distortion -- Animating the City -- Pulsing the City Flare -- Reactive Lighting on the City -- Expressions -- Using the Pick Whip to Link Attributes -- Film Grain -- Blurring the Layer -- Adding Grain -- Adding Blur and Grain to All The Layers -- Assignment: Create Your Own City -- ch. 15 Using After Effects' True 3D Space -- The Painting -- Getting Your Idea Down at Lower Resolution -- Increasing the Resolution for the Final Painting -- Additional Painting Techniques -- The Finished Painting -- Importing the Painting into After Effects -- Using a Null to Scale and Position Elements Together -- Adding a Camera to the Comp -- Selecting the Camera to Display the Angle of View -- Turning Off Collapse Transformations -- Setting Up a Ground Plane Using a Solid -- Rotating the Solid -- Scaling the Solid -- Projecting a Texture onto the Ground Plane -- Lining Up the Projection Layer -- Adding a Light -- Copying the Active Camera Position -- Scaling Down and Positioning the GroundPlaneProjection Layer -- Setting the Material Options -- Increasing the Resolution of the Projection -- Positioning the Sky -- Turning Off the Projection on Other Layers -- Projection Plane Checklist -- Positioning the Other Layers -- Positioning the F-grBridge Precomp -- Positioning the F-grSpire Precomp -- Positioning the MountainsFr Layer -- Angling the TallBridge Precomp -- Projecting and Painting the Longer Bridge -- Animating the Sky -- Using the Solo Switch -- Creating Light Rays -- Animated Lava -- Adding a Fractal Noise Effect -- Creating an Alpha Channel -- Masking the Top of the Moving Lava -- Extracting Figures from Green Screen -- Creating a Garbage Matte -- Applying the Keylight Effect -- Adding the Keyed Figures to the Scene -- Color Correcting the Keyed Figures -- The Camera Move -- More Details -- Assignment: Create Your Own Vision of Hades -- A Final Note -- Appendix About the Companion DVD -- What You'll Find on the DVD -- System Requirements -- Using the DVD -- Troubleshooting -- Customer Care -- Contact the Author.

Summary:

If you want to create digital matte paintings that blend seamlessly into live-action footage, this is the perfect guide. Author David Mattingly was head of the Disney Studios Matte Department and has been a matte artist on major motion pictures such as The Black Hole, Dick Tracy, and I, Robot. In this unique how-to book and DVD, he teaches you his stellar techniques. --
You'll start with rough concept sketches in Photoshop and learn to add perspective, create light and shadow, add texture, and color-correct. Then you'll switch from Photoshop to Adobe After Effects and Autodesk Maya to composite your matte in 3-D and camera-project it. The result? A skill set suitable for Hollywood! Artists of all levels will want this professional handbook on their desks. --Book Jacket.

Subject(s):

ISBN:

9781118078020 (electronic bk.)
1118078020 (electronic bk.)

Note:

"Foreword by Harrison Ellenshaw"--Cover.
Includes index.
AVAILABLE ONLINE TO AUTHORIZED PSU USERS.

Technical Details:

Mode of access: World Wide Web.

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