Dr Peter Holmes

This study explores 2.5D projection as a means of addressing the limitations in matte painted environments viewed from the perspective of a moving camera. In a shot from a fixed location, the viewer derives depth cues from the composition of the matte painting, but film directors are increasingly looking for more dynamic moving camera shots. Limitations in the artwork are exposed because forms contained within the painting become subject to new depth cues such as parallax and perspective, which change over time and cannot be derived from a 2D image under these conditions. A portfolio of three matte paintings has been developed using an action-based and reflective methodology. My weblog, submitted as an appendix to this thesis, provides access to the creative work and the instruments used to drive each project through multiple iterative stages of development. Each project in the portfolio is designed to expose the full range of 2.5D projection artifacts and describes how corrective strategies have been devised, tested and implemented. The final presentation of the portfolio is in the form of three short video sequences, each depicting a different matte painted environment seen through a moving camera. The study makes an original contribution to knowledge in three areas. Firstly, it lays the foundations for discourse within a subject area that is under-explored academically yet is as relevant to the visual effects industry as ever. Secondly, I present two new approaches to the production of matte painting artwork, both of which use arbitrary output values (AOV) render passes and 3D projection geometry to a greater extent than seen previously. The former provides a template for photo-bashing, and the latter serves the overpainting process. Thirdly, I present a diagnostic approach to camera projection deployed early in the project workflow to inform framing and drafting of the matte painting, thereby saving the artist time, effort and lost creative energy, improving efficiencies in the production in which the artist is employed. Matte painting, as an approach to the creation, extension or enhancement of digital environments remains as popular and extensively used as ever, despite the challenges presented by the demands of filmmakers and advances in the quality of outputs from 3D computer graphics applications. This study is helpful to 2D artists for developing their understanding of the tool chains, workflows and technical skills required to meet the demands of ever more imaginative and expansive shots. Moreover, I believe that environment artists, with some knowledge and experience of 2.5D workflows, will benefit from the depth of exploration and new insights provided in my work.