This is the first review I propose as a video on this blog. Today, we’ll look at Scott’s DMP. We’ll see how to improve the composition of the painting, we’ll talk about the light, the technique, we’ll try to see how we could make it better. Thanks Scott for sharing your painting with us !
It’s always quite tricky to work with clouds. We never find the correct sources and most of the time we need to be able to make them move, which means that they have to be on separate layers.
Here is a quick tutorial to give you few tips and tricks.
Let’s start by creating the background. You can start with a proper sky photo without clouds, or you can paint something. In this example, I just painted something with different values, some blue but also some purple. The idea was not being too monochromatic at the start. What’s important is to have nice ramp, nice colors. Be careful not to be too stylized. It has too look reel at the end. Continue reading Clouds DMP Tutorial #2
It’s the week-end, which means you all have a lot of time to practice and to do a bit of training ! 😀
That’s why I wanted to share with you some cool tutorials made by my friend Frederic St Arno. It’s always really interesting to follow the process of a DMP from the beginning to the end. Thanks dude for these, and let us know when you have some other available, I’ll be very pleased to share them on this blog. (And I hope to see you soon 😉 )
If you want to see more stuff, have a look at his website : RIGHT HERE
One of the most exciting task we can have to do on a Digital Matte Painting is the Set Extension. The goal of it is to extend a set, by prolonging it, or removing/adding parts in it.
It’s quite an exciting job because when it finally works, it’s very impressive. But to do it properly, you need to respect few rules. One of them is the perspective. We need to be absolutely perfect in the perspective if we want to add some elements in a scene coming from another source, otherwise, it will feels like the additional piece is standing outside of the rest of the scene.
Perspective is not always easy to understand, it can be tricky, especially when we deal with very obvious shapes like cubes. That’s why Nick has done this video tutorial for DMPCoach, to explain how to analyse a view of New York, and how to get the perspective right when we want to add more buildings.
It’s really interesting, very clear, and at the end, you’ll know how to deal with perspective for your future DMP work.
Thanks Nick for this video.
I was digging in the old pictures from Making FX to try to organise some gallery, when I found this breakdown of an old speedpainting I’ve done years ago based on a photo of a lake in the Laurentides (Quebec).
When you want to do something like this, it’s important to define your colour palette. I personally like to use a photo as reference, just to visualize a bit better the mood I want to recreate, or at least something real which is not too far.
But it’s a good exercise for you to not pick the colour directly in your ref, in order to develop a bit your ability to find it by yourself. Don’t spend to much time in the details. The goal of this is really to set up a composition and a colour palette in just few minutes. In the following slide show, you’ll see the different steps.