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Making Of 'Points of View'

By Roberto Oleotto
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(10 Votes)
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Date Added: 24th July 2009
Software used:
3ds Max, Photoshop


"Points of View" is the title of a work that wants to praise the contrast and the different points of views that you can have about a subject. I designed the matte painting to illuminate this issue, mixing everything with a strong and romantic light to provide a little contrast to the cold futurism of the city.

I began the matte painting by transferring my chosen idea onto paper. I usually start by doing a pencil drawing of my concept to study the position of the elements and to have a dynamic composition, but in my matte painting I just studied the concept in Photoshop, as I already had a picture taken be Davide Scridel.

Once I understood what I wanted to communicate and achieve, and had designed the various elements, I started to create the speed painting.

Speed painting is a very useful way to create matte paintings in a more optimal and easy way. It allows us to understand the light and tone of the composition, to study the depth and the various elements that are going to be inserted. That's why I want to say a little more about speed painting before moving on.

Speed Painting

The speed painting, as mentioned before, was crucial for the success of the final composition. I started by studying the shot (Fig.01).

Fig. 01

At this stage I wanted to work quickly, with a simple default Photoshop brush. I thought about how to realize my idea, and then divided the frame into thirds and placed the human figure in one of them. This gave the human figure a strategic position, which leant importance to it and balanced the weight of the city. I put the city in the background and balanced it with the house. When I was happy with the position of the elements, I continued with the speed painting.

In the speed painting, I studied the light, atmosphere and the colours of various objects that were going to make up the composition. At this point, it’s always important to remember that elements in the foreground will be darker and crisper, while those that are further away will be mixed with each other and will lose a lot of detail.

It’s good to create a speed painting that is as similar to the end result as possible, as this makes things much easier if you want to fix the colours of the overall composition. As common sense dictated, I continued the speed painting by drawing a general outline of the colour elements and lighting, until I had something I was happy with (Fig.02).

Fig. 02

As you can see from Fig.03, at this stage I was using more accurate brushes, created by me. To help understand this, I have prepared a simple example of a potential workflow for creating a cloud (Fig.04).

Fig. 03

Fig. 04


Take care to always search for the right references. Often people (myself included) tend to choose reference photographs for their beauty, rather than for their overall composition. This can lead to badly suited references, with the wrong direction of light, colour that’s difficult to fix, or an inappropriate shape for a matte painting. Fixing such a reference will take much more time than simply searching for a better one.

Matte Painting

When I started the matte painting, I immediately moved to replace the sky; for this matte, I’d already chosen a separate sky taken by me. So I removed the old one and then did the following: I chose the channels of the old source picture, trying to understand which channel had more contrast between the areas that needed to be keyed. I then duplicated it, using the tone curve to crush and accentuate the original contrast. This gave me distinct areas with a few shades of grey and I switched to select the mask by Ctrl + clicking on the icon of the duplicated channel. Any leftover, grey, troublesome areas were then fixed with the available tools and eliminated.The next step was to insert a new sky and make the appropriate colour corrections, as shown in Fig.05. I slightly desaturated the sky and cleared it, especially in the lower part. If sky is not corrected then it is likely to flatten the overall composition and will often leave a strong and optically intense tone.

Fig. 05

I finished off this stage of the matte painting by roughly setting out the colours, lights and shadows, as I knew I would get the chance to add further details and definition later on.

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Readers Comments (Newest on Top)
(ID: 153883, pid: 0) Gabriel on Wed, 30 January 2013 3:49pm
Excellent job, and very useful tutorial. Thanks
(ID: 53864, pid: 0) Nyabsino on Tue, 18 October 2011 6:55pm
great work
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