Gabriella Grace
Christyanti / 0371915
Digital Matte Painting / Creative Media /
School of design
Task 2 Project 1 (Invisible Set Extension Pt 1)
1. Instructions
2. Lectures
3. Process Work
4. Final Outcome
5. Feedback
6. Reflection
1. INSTRUCTIONS
WEEK 10
INSTRUCTIONS
You will synthesize the knowledge gained in task 1 to apply in task 2. Students 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. You will dissect and deconstruct raw footage to understand the nature and concept of the footage environment requirements for extension.
NOTE: You are allowed to use AI generated images only for references purpose and to be cited. This can be included within your mood board creation and ideation process. Progress on each developments should be recorded and raw files are to be kept as proof of original work. Any misuse of AI generated images as final submission will not be accepted and will be considered plagiarism.
Options to use AI image generator and chatbot:
- Chatgpt
- Midjourney
- Nvidia Canvas
- Leonardo
The Movie I went with for my digital matte painting reference is How to Train Your Dragon, more specifically, the ice biome. I started with wanting to use the whole sceneries in these movies as references but after discovering how meticulous animating water is, I decided that ice biome is the safest for me as I'm still new to all of this. Though, this option came a bit later so in my next few progressions, there will be other areas that are not from the ice biome that will be included.
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| Fig 3.1: Movie Reference |
COMPOSITIONS AND VALUE STUDIES
As mentioned before, I have already made these studies beforehand. I broke down the composition of a few key shots from the movie along with the value studies of these scenes. Though, the most prominent one in my final outcome will be the third one which shows a more horizontal view of the composition. While the other compositions all mostly include zooming into the frame or framing using liminal spaces.
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| Fig 3.2: Composition Studies - Wall-E |
MOODBOARD
For my moodboard, I had 3 different sceneries that I had in mind on doing. But only the ice biome will come into fruition while the other two will only stay as a concept and it will be changing during further processing.
For the first moodboard, I took my attention to focus on the ice biome where it's mostly filled with towering ice sculptures, snow mountains, and a few areas where the rocks show itself for contrast in the snow.
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| Fig 3.3: Moodboard #1 |
For the second moodboard, I wanted the choose a scene that's much darker as a contrast to how bright the snow biome is by using the dark atmosphere of the lava mountains where the dragon leader stay in.
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| Fig 3.4: Moodboard #2 |
Lastly, the third moodboard is a more green toned area, yet in the movie, this area is still located in the snow biome. This moodboard will somewhat inspire my second composition for my final output where the ice and snow has lightly melted which lets more flora to grow.
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| Fig 3.5: Moodboard #3 |
ASSET REFERENCE
When I made my asset reference, I started with just using these as items to photobash to my composition, but in the end, I decided to draw the assets myself and lightly photobash with the textures given in these images.
The first asset reference shows off mountain areas covered in snow.
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| Fig 3.6: Assets References #1 |
The second asset reference are mostly rocks and the lava volcano as I wanted there to be jagged rocks in different areas to show off depth,
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| Fig 3.7: Assets References #2 |
The last asset reference are more mossy that reflects how it looks in the movie, though I ended up not using it in the final.
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| Fig 3.8: Assets References #3 |
SKETCHES
These were my starter sketches, what I imagined doing in the beginning. As shown, it is mostly a composition where it included zooming into the frame. I ended up not continuing with this concept but I already have both the sketches and photo bashing to show my process.
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| Fig 3.9: Sketches |
PHOTOBASHING & STORYBOARD
In the progression here, I have already made the photobashing along with splitting up these layers to make it easier for the after effects process later, though it didn't end up getting used in the end. I also made a simplified version of the storyboard, on how I envisioned the movements on these compositions.
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| Fig 3.13: Storyboard |
EXTRA
As an extra point, I also already made a compilation of all of the green screen that I planned to use for these compositions.
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| Fig 3.13: Links Green Screen |
4. FINAL OUTCOME
5. FEEDBACK
Sir Ahmad mentioned that overall, its okay. I can just continue.
But I felt unsatisfied by my own output so that is why I decided to change it later on down the process. I didn't like how my photobashing look and thought that maybe a vertical moving composition that moves like a side scroller game would look better and give me more experience for my major project later. I also think that I could make my composition better as right now, the framing looks alright but the positions of the assets themselves still feel too messy in my eyes.
EXPERIENCE
During this stage of the project, I developed my ideas through movie references, moodboards, asset collection, sketches, photobashing, and storyboards before producing my digital matte painting. Although my initial concept received positive feedback, I was not fully satisfied with the composition, so I decided to redesign it into a vertical side-scrolling scene. This allowed me to challenge myself while creating something more suitable for my future major project.
OBSERVATION
I observed that planning is an essential part of digital matte painting, as each stage—from gathering references to creating storyboards—helped shape the final outcome. I also realized that feedback is not always the only factor in improving a project; personal evaluation and the willingness to revise ideas can lead to a stronger and more refined design.
FINDINGS
This process taught me that creating a successful matte painting requires flexibility and continuous refinement rather than settling for the first acceptable result. By experimenting with different compositions and choosing to redraw assets instead of relying heavily on photobashing, I gained a better understanding of composition, visual storytelling, and creating environments that feel more cohesive and original.
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