Matte painting in the UK gained prominence during the mid-20th century as a vital tool for creating expansive and imaginative environments. British studios like Pinewood and Shepperton became key centres for visual effects, where matte paintings were used to enhance sets or depict large-scale landscapes that were impossible or too costly to film.
During this period, British artists like Les Bowie and Albert Whitlock became renowned for their expertise. Albert Whitlock, who later found fame in Hollywood, began his career in the UK and worked on numerous classic British films.
In the latter half of the 20th century, matte painting contributed significantly to major productions, such as the James Bond series and Star Wars: Episode IV – A New Hope (1977), both of which employed matte painting for creating grand, believable scenes.
As digital technology emerged in the late 20th century, traditional matte painting began to wane to be replaced by CGI and post-production work, but the craft is now experiencing a modest increase in demand with film makers who are interested in using traditional in-camera techniques.
Traditional Matte Painting:
In-Camera Matte Painting:
Allied crafts
Training and recruitment issues: There are capacity issues with training – it difficult to find the time and resources to train someone within a small business.
There will be training opportunities in digital matte painting but not in the traditional side
Market issues: It had almost fallen out of use but is seeing an increase as film makers are becoming more interested in traditional techniques. Most matte painting is now done digitally
It is a much more accessible route into matte painting than digital and appeals to those that are creative and want to be more ‘hands on’.
Supply of raw materials, allied materials and tools: Some film equipment is becoming obsolete but there is no issue with the painting materials
Ageing workforce: The current workforce is getting older, but there is an increase in young people who are interested in learning the old techniques.
Lack of awareness of the craft: There is a general lack of awareness that the craft is still a viable tool in visual effects. Many people now assume that all visual effects are done digitally.
There are no formal training options in traditional matte painting, although some visual effects students may learn a bit about it as part of their studies.
Leigh Took has taught workshops at Pinewood Studios
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