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Matte painting
:''For the technique used in photography and special effects filmmaking to combine two or more image elements into a single, final image, see Matte (filmmaking)''.
A matte painting is a painted representation of a landscape, set, or distant location that allows filmmakers to create the illusion of an environment that is nonexistent in real life or would otherwise be too expensive or impossible to build or visit. Historically, matte painters and film technicians have used various techniques to combine a matte-painted image with live-action footage. At its best, depending on the skill levels of the artists and technicians, the effect is "seamless" and creates environments that would otherwise be impossible to film. In the scenes the painting part is static and movements are integrated on it.
== Background ==
Traditionally, matte paintings were made by artists using paints or pastels on large sheets of glass for integrating with the live-action footage.〔(Matte World Digital | SIGGRAPH 1998 – Matte Painting in the Digital Age | Traditional Matte Paintings | Craig Barron )〕 The first known matte painting shot was made in 1907 by Norman Dawn (ASC), who improvised the crumbling California Missions by painting them on glass for the movie ''Missions of California''.〔''The Invisible Art: The Legends of Movie Matte Painting'' by Mark Cotta Vaz and Craig Barron, Chronicle Books, 2002; p. 33〕 Notable traditional matte-painting shots include Dorothy’s approach to the Emerald City in ''The Wizard of Oz'', Charles Foster Kane’s Xanadu in ''Citizen Kane'', and the seemingly bottomless tractor-beam set of ''Star Wars Episode IV: A New Hope''. The first ''Star Wars'' documentary ever made (''The Making of Star Wars'', directed by Robert Guenette in 1977 for television) mentioned the technique used for the tractor beam scene as being a glass painting.〔(''The Making of Star Wars as told by C-3PO and R2-D2'', 1977, directed by Robert Guenette (glass painting technique explained at point 4'45'') )〕
By the mid-1980s, advancements in computer graphics programs allowed matte painters to work in the digital realm. The first digital matte shot was created by painter Chris Evans in 1985 for ''Young Sherlock Holmes'' for a scene featuring a computer-graphics (CG) animation of a knight leaping from a stained-glass window. Evans first painted the window in acrylics, then scanned the painting into LucasFilm’s Pixar system for further digital manipulation. The computer animation (another first) blended perfectly with the digital matte, which could not have been accomplished using a traditional matte painting.〔''The Invisible Art'', Cotta Vaz/Barron, pp. 213, 217〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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