Matte Painting - From Traditional to Digital with Bob Scifo

Matte painting is part of a classic cinema technique in which sections of a live-action frame are masked during filming, and later filled in with a painting. Since the advent of green screen, it is no longer necessary to actually place a cut matte in the camera frame. Nevertheless, the term "matte" continues to refer to backgrounds created for the purpose of replacing background elements or scenery in a live-action shot. Today, special effects shops like Weta Digital and Illusion Arts create these elements digitally, using a variety of 2D and 3D tools.

Bob Scifo (From Hell, X-Men 2, Predator, etc.) discussed different methods used to create mattes. He had originally worked in real media for more than a decade, using alkyd paints before moving onto acrylic paints, and subsequently making the transition to Cinema 4D.

Scifo began using Cinema 4D for matte work while working on „Mission to Mars." He praises Cinema 4D for "good modeling, lighting, texturing and rendering tools, great control over textures with BodyPaint 3D integration, and as an artist-friendly company."

Scifo is free to use any technique that works; directors and art directors specify only the final product. An average digital matte takes one to three weeks, the same as traditional mattes. Scifo prefers digital mattes because "there are no matte lines, which were a major problem with traditional paintings. The results are more immediate. And it's easier to make changes."

Thanks to digital techniques, moving elements like smoke, clouds, sun or light sources can now be included in mattes.

You can see more of Bob Scifo's work in the book "The Invisible Art: The legends of Movie Matte Paintings" by Mark Cotta Vaz.