In this essay, I am explaining not only what matte painting is, but also why it was and still is such an important aspect of the cinematographic world and its evolution to the current digital age we live in right now.

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A matte painting is a painted representation of a landscape, set, distant or completely fictional location that allows filmmakers to create the illusion of an environment that is not present at the filming location.

A good part of the development of matte painting is attributed to filmmaker Norman Dawn, who first used it in the 1907 film Missions of California.

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Over the years, matte painting developed as its own art form, with recognized artists and a lot of enthusiasts.

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The way artists would go around creating matte paintings is they would take a glass, paint the desired backgrounds, and leave unpainted parts in the painting. In the unpainted parts, the filmed live-action footage was added and projected through the glass, thus creating the desired special effect. A world that never existed, but was made possible through the filmmakers' creativity and ambition by combining the painting and live-action footage creating remarkable results.

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However, with the coming of digital filmmaking, painted matte painting took its downturn, as now we have software so advanced that we are able to create astounding lifelike results, no longer needing to go through the long process of doing the physical aspect of the classic matte painting. Although painted matte painting had its fall, a new generation of artists was born thanks to digital matte painting, an easier, faster, and more accurate method of matte painting.

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With the coming of new technology and new techniques when it comes to visual effects and especially matte painting, it bears to ask the questions:

Is digital matte painting actual matte painting? Is it still the same or has it changed its meaning?

The initial meaning of matte painting was to paint backgrounds on glass, leave unpainted parts and then add in the desired footage.

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With digital matte painting, thanks to our modern computers, there is no more need for that long process. So, is the concept of digital matte painting the same as the original concept of painted matte painting?

Fundamentally they are the same. Digital matte painting was born from painted matte painting and is fundamentally creating the same desired effect.

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They have the same goal and are both productive when it comes to achieving their goals, if the artist

is skilled, of course. Digital matte painting, however, replaces the long and physical process of painted matte painting, making the scenes blend together digitally and more precise, but that does not mean that digital matte painting is better than painted matte painting, as this unmatched precision can become uncanny for the viewer's eyes and the painted matte painting can look more natural for the way our eyes operate.

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One of the pioneers of matte painting, that has massively influenced the visual effects world and has successfully mastered the concept of matte painting is the company called Industrial Light & Magic.

ILM was born out of the necessity of special effects for George Lucas's Star Wars films, which required an unprecedented amount of special effects in the mid-1970s.

 

No Hollywood company would meet George Lucas's expectations, so he was forced to create one of his own.

ILM went on to create a new range of special effects, but many of their techniques have been around for years. One of those is matte painting. A lot of their scenes were brought to life thanks to the skilful hands of the artists and filmmakers who have created these wonderful matte paintings.

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One of the best matte paintings to have ever existed is one that has been made for The Return of the Jedi in 1983. This matte painting depicts the imperial docking bay of the Death Star. In the scene, Emperor Palpatine and Darth Vader are surrounded by stormtroopers.

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This scene is so beautifully and so well made that you couldn't tell it was actually handmade. When looking at the actual glass that was used for the scene, found in the Lucas Museum of Narrative Art, it seems as if it could not have been possible for this glass to have been used for this scene, but it has. The glass looks very handmade, but it accomplished its mission successfully and deceived any person who has ever watched the film. The army of stormtroopers becomes more and more sketchy looking the more they go in the distance. This goes to show that the looser and more painted the matte painting is, the better it is to trick the viewers as it mimics better the way we view the world than the unmatched precision of the digital matte paintings.

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In his article, Brushstroke Cinema: The Concept of Matte Painting in the Work of Peter Ellenshaw and Albert Whitlock, Dario L. (2020) goes on to show why matte painting, when it comes to cinematographic importance, is neglected and goes further to demonstrate the actual value of two of the most influential matte painting artists who have impacted the filmmaking world at a global level. ''Peter  Ellenshaw,  an advocate for the purity of profilmic practical trickery, and Albert Whitlock, whose work explored the limits of matte painting and its dynamic conditions. This study offers a detailed analysis of their work, enabling us to illustrate the different visions of matte painting developed by these two creators as well as their individual contributions to this art form and the ways they utilized this particular filmmaking technique in which cinema is intertwined with painting.''(Dario, L. 2020)

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He continues by saying that the concept of matte painting – a term used for a vast array of painting techniques for the construction of cinematographic landscapes - has received little to no observation from researchers. The barely sufficient studies that have been done on matte painting, have been done only from the perspective of a simple explanation of the practice. The cinematic world owes as much as it does to painting, as much as it does to photography. Unfortunately for matte painters, for ages, they have been highly underrated in the cinematographic world. Dario L. goes further to inspect Peter Ellenshaw's and Albert Whitlock's work for a rigorous examination, not only to showcase their capabilities but to also emphasize how important matte painters actually are for the cinema industry, giving the world a new perspective that needs to be known about how important these people that make the films become a reality, that are not even known or considered by most people, truly are. Matte painting is a critical piece for the cinema world, but the heroes behind these scenes are astonishingly undervalued and acknowledged.

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Dario L.s article is here to help us shed some light on the issue and gain knowledge on this work of art.

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He further acknowledges the fact that painted matte painting not only is an art form, but it is also a great tool for reducing production costs and letting the filmmakers have more freedom with their creativity when it comes to the location that is trying to be depicted. Matte painting helps tremendously with reducing the production cost as there is no need to create huge or impossible sets that would otherwise cost a lot of money anymore. Not only is matte painting an art form and a great tool for reducing production costs, but it also saves a lot of time being spent on the project, which allows the filmmakers to focus more thoroughly on other parts of the film that need to be taken care of. Matte painting is one of the greatest tools in a filmmaker's arsenal, as it gives filmmakers freedom for their imagination and unlimited geographical liberty.

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Matte painters are professionals that are well established within the cinematographic world and various different cinema companies showcase the fact that matte painters are a very needed part of the cinema world. There are departments in which the matte artists are working with other individuals in the cinema industry and have specific themes and guidelines that they have to follow. Although this is forcing the matte painters to correlate with other professionals, this is giving them a solid foundation in the industry, allowing them to have a voice and be creative.

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Peter Ellenshaw began his career in the 1930s and worked on a number of Disney films, including Mary Poppins (1964) and The Love Bug (1968). He was known for his ability to create realistic and detailed landscapes, and his work was instrumental in the development of the use of matte painting in film.

Albert Whitlock, on the other hand, began his career in the 1940s and worked on a number of Hollywood productions, including The Birds (1963), The Great Escape (1963), and The Thomas Crown Affair (1968). He was known for his ability to create highly detailed and realistic matte paintings, and his work was praised for its ability to seamlessly integrate with live-action footage.

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Both Peter Ellenshaw and Albert Whitlock were pioneers in the field of matte painting, and their work greatly contributed to the development of this technique in the film industry. Their contributions have allowed filmmakers to create a wide range of locations and sets, without the need to build costly and time-consuming physical sets.

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Ellenshaw and Whitlock are known for their use of traditional painting techniques to create matte paintings that are highly detailed and realistic. They were well-known for their ability to create convincing illusions of depth and scale, and their matte paintings were often used to create the illusion of distant landscapes and environments.

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Both artists relied heavily on traditional painting techniques, such as oil and watercolor painting, to create their matte paintings. They also employed advanced optical compositing techniques to combine their paintings with live-action footage, allowing for the seamless integration of the painted backgrounds into the final image. Ellenshaw and Whitlock were known for their attention to detail and the realism in their paintings, allowing audiences to believe the scenes were shot on location. Furthermore, they were able to create convincing illusions of depth and scale, making their matte paintings feel like a window into the real world.

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The work of Peter Ellenshaw and Albert Whitlock has had a significant impact on the field of matte painting, and their contributions have helped to establish the technique as an essential part of visual effects production in film and television. Their work has influenced the work of future matte painters and the development of visual effects in general. Peter Ellenshaw and Albert Whitlock are two very important figures in the history of matte painting.

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In the article Painting the Town, Robertson B. (2003), goes on to discuss how computer graphics and digital painting are being used to create more realistic and believable virtual environments in the film and video game industries.

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The article begins by discussing the history of digital painting and how it has evolved over the years. The early days of digital painting were marked by the use of basic computer programs like Adobe Photoshop, which allowed artists to create digital art using a mouse or stylus. However, these early programs were limited in their capabilities and the resulting art was often pixelated and lacked the fine details and subtle nuances of traditional paint and brush techniques.

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As technology progressed, digital painting tools became more advanced and sophisticated. The introduction of graphics tablets and pen displays allowed artists to use pressure sensitivity and other advanced features to create more realistic and detailed digital art. Additionally, the development of new software such as Corel Painter and Autodesk Sketchbook Pro, which were specifically designed for digital painting, allowed artists to achieve even greater levels of realism and detail in their work.

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Barbara then goes on to talk about how digital painting is being used to create the backgrounds and environments in films and video games. Robertson notes that the use of digital painting allows for a greater level of detail and realism in these virtual worlds, which in turn leads to a more immersive experience for the viewer or player.

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One example of this is the use of digital painting in the film The Lord of the Rings 2001. The article notes that the landscapes and environments in the film were created using digital painting techniques, which allowed for a greater level of realism and immersion for the audience. Similarly, video games such as Final Fantasy and World of Warcraft use digital painting to create detailed and believable virtual worlds for players to explore.

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Barbara R. also highlights the role of technology in digital painting. Robertson notes that advancements in hardware and software have greatly improved the speed and quality of digital painting, making it easier and more efficient to create realistic virtual environments.

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In the article State of the Art: Matte Painters--A Secret World of Illusion, Kurop N.  (2003) delves into the world of matte painting.

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She goes on to discuss how matte painting has evolved over the years, particularly with the advent of digital technology. Digital matte painting allows for greater flexibility and control over the final image, as well as faster and more efficient workflows. Digital matte painters can work with layers, make adjustments and corrections, and even animate certain elements of the painting. Additionally, digital matte painters can also incorporate 3D elements into their paintings, allowing for even more realistic and detailed images. This allows for a more seamless integration of live-action footage with the painted elements, resulting in a more realistic and believable final image.

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Kurop also highlights the role of matte painters in the film industry, noting that they are often the unsung heroes behind many of the most iconic and visually stunning films. Matte painters work behind the scenes, creating detailed and believable backgrounds and environments that help to immerse the audience in the story. They are responsible for creating everything from vast and detailed landscapes to complex and intricate architecture. These artists are not only responsible for creating the environments, but also for making sure that they match the overall aesthetic and tone of the film. They work closely with the director, production designer, and visual effects supervisor to ensure that the final image is in line with the vision of the film.

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One of the most notable examples of matte painting in recent years is the film Avatar (2009). Kurop N. notes that the vast and detailed alien landscapes in the film were created using a combination of live-action filming and digital matte painting. This allowed for the creation of a truly immersive and believable world that was integral to the success of the film. The use of matte painting in Avatar (2009) was particularly important in creating the sense of scale and grandeur needed for the film, as well as for creating a believable alien environment.

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As technology continues to advance, it is likely that we will see even more impressive and realistic matte paintings in films and television in the future. Furthermore, the increasing use of virtual and augmented reality in media and entertainment will also bring new opportunities for matte painters to showcase their skills and create even more immersive and believable worlds.

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The Invisible Art: The Legends of Movie Matte Painting, Mark Cotta Vaz and Craig Barron (2002) is a fascinating and detailed exploration of the history and techniques of matte painting in film. The book is a must-read for anyone interested in the art of film-making and provides a unique perspective on the role of matte painting in the film industry.

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The book begins with a foreword by George Lucas, in which he reflects on the importance of matte painting in film-making and how it has evolved over the years. He explains how the use of matte paintings in the Star Wars movies was key in creating the iconic visuals.

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One of the most interesting aspects of the book is the extensive interviews with some of the most renowned matte painters in the film industry. These interviews provide an in-depth look at the process of creating matte paintings and the challenges that matte painters face in their work. The painters discuss their techniques, both traditional and digital, and how they create the illusion of realism in their paintings. They also reflect on their experiences working with some of the biggest directors and film studios in the industry.

The book also includes a vast collection of photographs, drawings and paintings that illustrate the art of matte painting. The images showcase the incredible detail and skill that goes into creating a matte painting and the subtle nuances that make them so realistic. They also demonstrate the evolution of matte painting over the years, from the early days of using paint and canvas to the use of digital tools and techniques.

The book also delves into the impact of matte painting on the film industry and its evolution over time. It explains how matte painting was used to create some of the most iconic film scenes, from the sweeping vistas of Lawrence of Arabia (1962) to the futuristic cityscapes of Blade Runner (1982).

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One of the most interesting sections of the book is the chapter on the use of matte painting in modern films. The authors provide examples of how matte painting is still used in contemporary films, and how it has been integrated with computer-generated imagery (CGI) to create realistic and seamless visuals. They also discuss the future of matte painting and how it will continue to evolve in the age of digital filmmaking.

The Invisible Art: The Legends of Movie Matte Painting, Mark Cotta Vaz and Craig Barron (2002) is an excellent and informative read for anyone interested in the art of film-making. The book provides a unique insight into the world of matte painting and the role it plays in the film industry. The interviews with the leading matte painters in the industry are particularly enlightening, and the collection of photographs, drawings and paintings are a visual treat. The book is a great resource for both aspiring film-makers and film enthusiasts who want to learn more about the history and techniques of matte painting.

Without matte painters the cinematographic world and the world would not have been the same. These artists are the heroes who created these wonderful, spectacular films over time that have been amazing and influencing us.

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In conclusion, coming back to the main objective of this essay, Is digital matte painting actual matte painting? Is it still the same or has it changed its meaning? The answer is a little bit more complicated than just answering in black or white. As I have mentioned in the beginning, they are fundamentally the same, as they do have the same objective and accomplish realistically the same goal, but the way you would go around them is totally different. One has a lot of physical work and the artists need to be very skilled to accomplish it and the other is completely digital, and whilst it is not necessarily any easier than the physical one and the artists still need to be very skilled and creative, it has the benefits of being unmatched in its accuracy to portray reality. However, as it was elaborated earlier in the essay, this unmatched accuracy does not necessarily mean that it is the best option to adopt to fool the audience, as we have seen with The Return of the Jedi (1983) matte painting example that looser, more undefined, sketchier looks tend to fool our eyes better, as that is the way human eyes operate. Some argue that the use of digital tools and technology detracts from the artistry and skill involved in traditional matte painting. On the other hand, others argue that the end result is what matters most, regardless of the methods used to create it.

It is important to note that while the methods used to create matte paintings may have changed, the core principles of the art form have remained the same. Composition, lighting, and storytelling are still crucial elements in creating successful matte paintings, whether they are created digitally or by hand. Furthermore, many of the traditional techniques and principles used in traditional matte painting can still be applied to digital matte painting. While digital matte painting may have changed the meaning and methods of matte painting, it is still an important and relevant art form in the film industry. The technology and tools used may have evolved, but the principles and techniques of matte painting remain the same. As technology continues to advance, it is likely that the definition and techniques of matte painting will continue to evolve, but it will always be an important and integral part of filmmaking. Matte painting is an extremely crucial key for films and it is still underrated, but with time more and more people will start recognizing that and start giving the matte painting artists more credit for their important work.

 

 

Reference list:

Lanza, D. (2020) ‘Brushstroke Cinema: The Concept of Matte Painting in the Work of Peter Ellenshaw and Albert Whitlock’, Film History, 32(2), pp. 80–99. doi:10.2979/filmhistory.32.2.04.

 

Vaz M., Barron C. (2002) The invisible art : the legends of movie matte painting, Edition. London : Thames & Hudson

Robertson, B. (2003) 'Painting the town.', Computer Graphics World, Computer Graphics World. Sep2003, Vol. 26 Issue 9, p24. 5p. 5 Black and White Photographs.

Boyd, A. (2017) MATTE PAINTING. Available at: https://www.uh.edu/engines/epi3105.htm#:~:text=The%20development%20of%20matte%20painting,parts%20of%20the%20glass%20unpainted.

'Fake Views' (2020) Age of the Image, Series 1, episode 4. BBC iPlayer. 2 March, 2020.

Kurop N. (2003) 'STATE OF THE ART: MATTE PAINTERS--A SECRET WORLD OF ILLUSION.', Communication & Mass Media Complete, Metro. Autumn2003, Issue 136, p154. 3p.