Gabriella Grace
Christyanti / 0371915
Digital Matte Painting / Creative Media /
School of design
Task 3 Project 2 (Invisible Set Extension Pt 2)
1. Instructions
2. Lectures
3. Process Work
4. Final Outcome
5. Feedback
6. Reflection
1. INSTRUCTIONS
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INSTRUCTIONS
You will synthesise the knowledge gained in task 1 and 2 forapplication in task 3. Students are to demonstrate technical capability to analyse, composite and communicate set extension over raw footage or recreate it by scratch and add motion. You will dissect and deconstruct raw footage to understand the nature and concept of the footage environment requirements for extension. With the understanding gained, you are to synthesize the knowledge to produce believable and compelling footage that syncs naturally as required. You will start with sketching and move on to digitization and then generation using the appropriate software. Upon completion of the set extension you will construct a poster of equivalent to promote your creation. You will conclude by selecting and presenting your creation in the instructedformat/s:
- Compiled technical doc .pdf (*moodboard, styleguide, sketches,technical processes as posted in their e-portfolio).
- Final output will include a 15 ± 30 sec video (*.mp4, h2.64, 16:9 -1440 X 1080, 25 fps, ACC, 48kHz, uploaded to youtubechannel).
- Online posts in your E-portfolio as your reflective studies
PHOTOBASHING
As said lastly, I have already made the photobashing compositions during Project 1 which it didn't end up getting used in the end.
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| Fig 3.1: Sketches #1 |
SKETCHES
Starting back from the beginning, I decided to make it on a blank canvas first and draw my art without any use of photobashing first. This gives me a clearer view on the value and also how the whole composition looks. For the trees, I used a custom brush in order to make my process time much faster.
I also got inspired to make my layout longer to the sides to make it easier to animate the area side scrolling instead of going inwards.
For the location itself, I wanted it to start with the ice biome but then later transform into a location that is partly still cold but have enough warmth for plantation to happen. Just like the inner lair in the How to Train Your Dragon movie but a little less mossy.
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| Fig 3.2: Sketches #2 |
I didn't get much feedback from Sir Ahmad for this process so I continued on to making the photobash.
This is what my final outcome looked like after the photobashing. I did a minor change on the ocean as I received feedback from Sir Ahmad that my previous photobash attempt on my ocean had the wrong perspective and looked more like a "swimming pool." But other than that feedback, he didn't comment much else about my other elements.
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| Fig 3.3: Final Artwork |
4. FINAL OUTCOME
5. FEEDBACK
Second composition feedback: The ocean perspective is wrong, looks like swimming pool with wrong perspective.
I changed it and redrew some parts. But for the animation later, the fixed ocean artwork didn't make an appearance as that was changed with a green screen version of the ocean to show movement instead of still waters. I squished the video to be thinner to make the distort the original ocean perspective to fit mine better.
EXPERIENCE
For this project, I restarted my composition from scratch instead of using my previous photobashing work, allowing me to better apply the skills I had developed throughout the module. I first established the composition through sketching before moving into photobashing and digital painting, while planning the scene as a side-scrolling environment inspired by How to Train Your Dragon. After receiving feedback on the ocean's perspective, I revised the artwork and later replaced the still ocean with a green screen video during animation to create more natural movement.
OBSERVATION
Throughout this project, I observed that careful planning through sketches made the compositing process much smoother and helped me focus on composition before adding details. I also realized that small perspective errors, such as the ocean placement, could significantly affect the realism of the entire scene, making revisions an important part of the workflow.
FINDINGS
This project reinforced the importance of refining ideas through iteration rather than settling for the first version. By combining digital painting, photobashing, and motion graphics, I gained a better understanding of how composition, perspective, and animated elements work together to create a more believable and cinematic digital matte painting.
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