He also painted in cracks where the damage was not as severe. Moving to the street level again, Didier began to crack the road surface by bringing in photo reference of broken surfaces and swelling from below the surface. The abandoned city would be unlikely to still have power, so Didier painted out any hints of illumination in the scene including reflections in the building windows. Next Didier moved to the traffic light to give the scene some added tension of whether or not the structure will collapse that is being held up by only two cables. He then used the same technique to introduce the cabs that form the foreground of the scene along with the overturned van. He then introduced photographs of vehicles and a bus before masking them with layer masks. Next Didier introduced additional textures to restore realism to his adjustments. The first stage of the matte painting was to start with a photograph of a city street scene which required the painting out of people and vehicles to get an abandoned feel. Starting with three concepts for the matte painting, Didier presented the concepts to Aaron Sims (the Art Director of the project) who suggested combining two of the concepts. In this tutorial Didier walks you through his process for creating a matte painting from the concept and reference stage right through to creating a final piece that is ready to hand over to a compositor. His movie credits include: Pirates of the Caribbean: Dead Men Tell No Tales, Wonder Woman, Hidden, The Space Between Us, and Star Track. In other words, we didn’t just throw together a single shot for the sake of making a tutorial, but instead we made a real promo with real challenges that required.Didier Konings is the talented Lead Digital Matte Painter at Aaron Sims Company. Not to say that we made lousy rubbish in the past but for this project we are using an actual commercial to drive our visual effects needs. In fact, our upcoming Crystal Ball promo represents a new level of training for Video Copilot because we focused on making a “real” production and intentionally pushed the limits of what might normally go into a standard video tutorial. It is one thing to talk about a ‘track-matte’ but it’s another thing to see how it is used to solve a real problem.

We think it is a great way to learn software and understand the concepts of compositing by applying them to real-world scenarios. We start with a specific objective like a sky-replacement or car-hit effect and work through the various challenges as they come up, in real-time.

Well, if ever there was a companion to the hands-on approach of Video Copilot, it could be this Hand Book designed to improve the skills of upcoming artists.Īt Video Copilot, our philosophy is teach with hands-on experience of doing real-world projects.

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