After finishing the concept sketch last week, I moved on to making the matte painting background for compositing in Nuke.
The challenge is to create a big, not distorted matte, since the camera movement was undecided and I still need to catch up with the schedule.
So far, the basic background of the matte painting contains multiple cityscapes I cropped and reconstructed together. In order to create a more modern and Sci-Fi tone, the overall color scheme is bluer and greener.
Initially, I had a foreground cityscape projected on a plane. It looked flat and fake, so I modeled another plane with multiple faces extruded. Due to the projection workflow, the cityscape foreground didn’t succeed, the area which wasn’t being projected was very glitchy.
Eventually I gave up the idea of having such complicated foreground, and moved it back as part of the background. The result seems quite natural.
![](https://victorlinvfx.com/wp-content/uploads/Week-4-Matte-Painting-Begins-07-832x1280.jpg)
![](https://victorlinvfx.com/wp-content/uploads/Week-4-Matte-Painting-Begins-05-1269x1280.jpg)
![](https://victorlinvfx.com/wp-content/uploads/Week-4-Matte-Painting-Begins-08-1280x740.jpg)
![](https://victorlinvfx.com/wp-content/uploads/Week-4-Matte-Painting-Begins-01.gif)
![](https://victorlinvfx.com/wp-content/uploads/Week-4-Matte-Painting-Begins-02-1280x450.jpg)
Above is before adjusting the foreground, below is the edited one with more natural scale.
![](https://victorlinvfx.com/wp-content/uploads/Week-4-Matte-Painting-Begins-06-1280x667.jpg)
Soon after, I started to do some tests in Maya. Although the camera movement exported from Unreal was a bit problematic because the up axis is different, after some changes with the setting and reexport cameras as alembic files, it finally began to work.