Digital Matte Painting | Final Compilation

Gao Yuan Yi 0373945

DST60904 Digital Matte Painting / Bachelor of Design (Hons) in Creative Media / Taylor's University

Exercises - Fundamentals of Matte Painting

Project 1 - Invisible Set Extension 1 (Pre_Production)

Project 2 - Invisible Set Extension (Production)

Final Project - Thematic Matte Painting (VFX)

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INSTRUCTION

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Exercises - Fundamentals of Matte Painting

In this exercises, we will undergo a series of exercises that will enhance our understanding of matte as listed below:

1. Perspective Studies (Landscapes and Interiors)
2. Compositions
3. Value Studies
4. Sky replacements
5. Virtual Plain Air
6. 2.5D mattes
7. Invisible Set Extensions

In the early part of the semester, I had more time outside of class, so I focused my practice on perspective and composition. I consistently completed one to two perspective or layout exercises each week, some of which also served as preliminary sketches for my project.

Perspective Studies

Fig.2.1.1 Perspective Exercise 1

Fig.2.1.2 Perspective Exercise 2

Fig.2.1.3 Perspective Exercise 3

Fig.2.1.4 Perspective Exercise 4

Fig.2.1.5 Perspective Exercise 5

Composition Studies

Fig.2.1.6 Composition exercise 1

Fig.2.1.7 Composition exercise 2

Fig.2.1.8 Composition exercise 3

Value Studies

Fig.2.1.9 Value exercise 1

Fig.2.1.10 Value exercise 2

Fig.2.1.11 Composition exercise 3

Fig.2.1.12 Composition exercise 4

Sky Replacements

Fig.2.1.13 Sky replacement 1

Fig.2.1.14 Sky replacement 2

Fig.2.1.15 Sky replacement 3

Fig.2.1.16 Sky replacement 4

Virtual Plain Air

Fig.2.1.17 Virtual Plain Air

Photo bashing

Fig.2.1.18 Photo bashing 1

Fig.2.1.19 Photo bashing 2

Fig.2.1.20 Photo bashing 3

Fig.2.1.21 Photo bashing 4

More

Fig.2.1.22 exercise 1

Fig.2.1.23 exercise 2

Fig.2.1.23 exercise 3

Fig.2.1.24 exercise 4

Compilation

Project 1 - Invisible Set Extension 1 (Pre_Production)

In this project, we will synthesize the knowledge gained in task 1 to apply in task 2. We are to demonstrate technical capability to conceptualize and build assets as a prep for invisible set extension over raw footage or recreate it by scratch from concept to finished art work. We will dissect and deconstruct raw footage to understand the nature and concept of the footage environment requirements for extension.

At the beginning of the project, I considered which film styles would best suit this assignment. I quickly thought of Avatar, so I collected a large number of environment stills from the film online as visual references.

Fig.2.2.1 Moodboard

Next, I began creating several composition sketches.

Fig.2.2.2 Composition sketches

After that, I selected several landscape images and created extensions on them to practice my matte painting skills and explore the Avatar-inspired style.

Fig.2.2.3 Extension 1

Fig.2.2.4 Extension 2

Fig.2.2.5 Extension 3

Eventually, I chose these three landscape images as the base photos for my photo bashing, as I felt they were more suitable for the Avatar-inspired style.

Fig.2.2.6 Base photo 1

Fig.2.2.7 Base photo 2

Fig.2.2.8 Base photo 3

At the final stage of the project, I completed three photo-bashed images.

Fig.2.2.9 Photo bashing 1

Fig.2.2.10 Photo bashing 2

Fig.2.2.11 Photo bashing 3

Compilation

Project 2 - Invisible Set Extension (Production)

In this project, we will synthesise the knowledge gained in task 1 and 2 forapplication in task 3. We are to demonstrate technical capability to analyse, composite and communicate set extension over raw footage or recreate it by scratch and add motion. We will dissect and deconstruct raw footage to understand the nature and concept of the footage environment requirements for extension. With the understanding gained, we are to synthesize the knowledge to produce believable and compelling footage that syncs naturally as required. We will start with sketching and move on to digitization and then generation using the appropriate software. Upon completion of the set extension we will construct a poster of equivalent to promote our creation. 

In the previous project, none of the three photo-bashed images I completed were approved to proceed to the next stage. As a result, I searched for new materials and created a fourth photo-bashed image.

Fig.2.2.12 Photo bashing 4

Compilation

Final Project - Thematic Matte Painting (VFX)

Thematic and realistic. In this project, we will demonstrate technical capability to analyse, composite and communicate set uniqueness by blending 3D geometry and 2D painting to a raw video footage together with special effects.  We need to come up with 3 different location based on the theme and genre selected. We must also showcase the breakdowns of how this project is undertaken. Our matte should seamlessly blend and showcase a believable set. We are to use Unreal or Unity to make the world build and compose it via After Effects.

In this project, I realized that original images and assets from films cannot be directly used in my own work. Therefore, I began searching for other real-world natural image resources and applied them to my project while keeping the visual style close to Avatar. For the elements from the original film that I particularly admired, I made an effort to replace them with similar natural materials and study their visual qualities rather than copying them directly.

Eventually, I produced a photo-bashed image that was approved for further development.

Fig.2.3.1 Final Photo bashing

Next, I moved on to the 2.5D stage. I first used Blender to create a 2.5D composition, determining the depth, scale, and layout of each asset.

Fig.2.3.2 2.5D composition angle 1

Fig.2.3.3 2.5D composition angle 2

Finally, I used After Effects to produce the final video, completing my final project.

Fig.2.3.4 Final video

Compilation

Click here to visit video in YouTube

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REFLECTION

Throughout this semester, the Digital Matte Painting course greatly expanded my understanding of visual storytelling within cinematic and VFX contexts. By learning techniques such as 2.5D matte painting and Invisible Set Extensions, I gained a deeper awareness of how digital environments are constructed to seamlessly blend with live-action footage while maintaining visual realism and narrative coherence.

One of the most important aspects emphasized in this course was the accuracy of perspective, spatial depth, and design logic. Unlike traditional illustration, digital matte painting requires careful consideration of camera angles, focal length, and spatial continuity to ensure that the environment feels believable within a film sequence. Through practice, I learned that even minor perspective errors can break the illusion of realism, especially when working on large-scale environments or architectural extensions.

The exploration of 2.5D matte techniques challenged me to think beyond flat imagery. By separating elements into different depth layers and positioning them within 3D space, I was able to create a stronger sense of depth and camera movement. This process helped me understand how matte paintings can interact dynamically with the camera rather than remain static backgrounds. Additionally, working on Invisible Set Extensions taught me how to extend real-world locations digitally in a way that remains unnoticed by the audience, reinforcing the importance of subtlety and precision in VFX design.

For the final project, Thematic Matte Painting (VFX), I was required to integrate technical skills with conceptual development. This project pushed me to think about how environment design supports theme, mood, and storytelling. From initial reference collection to final compositing, I learned to balance visual impact with realism, ensuring that the matte painting served the narrative rather than overpowering it.

Overall, this course strengthened both my technical abilities and critical thinking in environment-based visual effects. It taught me to approach digital environments not only as artistic creations, but as functional cinematic spaces governed by perspective, scale, and logical design. The skills acquired in this course have provided a solid foundation for future work in VFX, film, and entertainment design, and will continue to influence how I construct and evaluate digital environments in my creative practice.