View Full Version : Kate and Leopold
10-26-2004, 01:26 AM
Here's a matte painting I did a couple years ago for "Kate and Leopold".
The goal was to get a very romanticized view of period New York for this
romantic comedy starring Meg ryan and Hugh Jackman.
10-26-2004, 01:42 AM
ouhhhh nice one, very moody i like it a lot.
is this the brookyn bridge under construction?
did you use 3d for framing or to find good position for objects or this is all painted.
please tell us how do you work... :wink:
10-26-2004, 01:43 AM
I was just wondering if you painted the sky/clouds and tree or did you use photo references?
Its great by the way!
10-26-2004, 02:44 AM
Thanks for the comments!
It's a mix of a whole bunch of things...photography (the left buildings,
the background village buildings, the clouds), 3D elements created in
Lightwave for numerous other shots (the Brooklyn bridge, that barn
thing on the right), plus a whole lot of painting over everything to blend it in and get it right.
That's pretty much how I like to work. Lot's of different techniques
10-26-2004, 09:09 AM
aaaah this is a really nice painting, very well executed , the colors are great as well as the composition, yes tell us how your didi this painting and show more to the community
10-26-2004, 10:25 AM
Nice work, Rick.
By the way do you have a website where I can see more of your works?
10-26-2004, 10:31 AM
website coming soon :)
11-02-2004, 10:04 PM
thats the mood aha aha i like it aha aha :D
11-02-2004, 10:56 PM
Great Work Rick.
I love that everything feels damp. just barely wet. seems like it would be very late or early morning.
11-02-2004, 11:53 PM
Thanks, Brenton. This is actually a rain shot (seen here without the
rain element). The plate was wet down, and I painted the rest of
the shot to look wet. The patches of mist in the backgroung were
moved slightly to simulate different densities of rain in the air.
We also added a couple of lightning flashes up in the clouds during
11-03-2004, 12:18 AM
Hey Rick - First off, thanks for putting up this one, with the before and after. I rather enjoyed the movie and knew this shot was painted very very well indeed. Awesome work.
I'm curious. You were given the plate and the direction to add the Brooklyn Bridge as it might have looked during that period. Did you arrive at the composition, or did a production designer perhaps? ...coming from a sketch. I'm just wondering your approach to a set extension like this. Do you like roughing out color studies? This piece could have come out more green like the plate, or did you just tweak it until it looked good? And finally, what's been your favorite matte painting to do for a production?
Hope you don't mind the questions. Again, very nice shot.
11-03-2004, 12:41 AM
This shot was laid out in sketch form by Robert Stromberg, who was
the film's VFX Supervisor. He's also a well-known matte artist.
We both knew that the green tint in the plate would have to be changed.
The basic elements of the shot and composition (placement of the
bridge etc.) were worked out by Robert and the director, but we
changed some things as the work progressed. And as far as detail work,
he left that to me.
I think as far as a personal favorite, I'd say it's probably the shot of Los
Angeles being hit by a nuclear bomb in "Terminator 2: Judgment Day".
It's a traditional painting, but the shot had a lot of impact and was done
in a really interesting way. That was a high point.
11-03-2004, 02:21 AM
This image sure is packed with alot of mood and romance. I really am liking it alot!
11-03-2004, 03:06 AM
I'm always pressured by deadlines and budget but mostly time...
Could I ask...How long did this painting take to achieve?
11-03-2004, 11:24 AM
I had about four weeks to work on it.
11-09-2004, 09:08 AM
Hey Rick, thanks for posting this shot, it is awesome. I always loved the matte paintings in that movie. I hope you'll post more of your work soon!
11-13-2004, 11:26 AM
Just getting started in digimatte and wanted to know, is there a color key set up in live action films the same as animated? Meaning, when you got the plate, did you decide after the fact that the green should come out or was the scene always going to be moody blues, but they just decided to fix in post, how does that gnerally work?
11-13-2004, 03:37 PM
Like everything else in the film industry, the answer is- it depends.
"Kate & Leopold" was pretty typical. There aren't that many matte
shots in the movie, and when you're shooting on location, sometimes
you don't get everything perfect. That plate came out with a greenish
cast to the lighting, but was great for exposure and detail. So we just
did a color-correction and it worked fine.
I've worked on some movies where the plates are beautiful, and some
where the plates were cr@p! It depends on the skill of the crew that's
shooting them, and also on the overall conditions of the production
(schedule, weather etc.).
However, more and more you work on films where there is sometimes
very little live action footage shot at all. On "Day After Tomorrow", we
had a couple sequences where the only live action was some actors
running around on blue screen stages. In that case, we had to do "color
keys" or lighting masters that showed everybody what the overall
environment of the sequence was going to look like. These served as
reference for the other crew members as to what to shoot for. It also
gave the director an idea what the scene would look like. Same thing
when I worked on Star Wars I & II. There's a lot of preproduction
concept work done on those.
11-13-2004, 06:45 PM
Thanks for the input. It is always interesting to know how it works. I can see that different situations call for different actions.
Post more work. It's great!
could i ask u rick what systems you work on pc or mac and the power of them with all the elements you use to create all the pieces that you have done. including software hardware.
11-18-2004, 01:05 PM
My system at home-
PowerMac G4 dual 533 mhz w/ 1.5 gigs of RAM. 2 Monitors and a
Wacom Intuos 2 tablet. Nothing special, really. I did the work for
"Kate & Leopold" on this system.
However, I've worked on many different systems when I work in-house
at various companies. I've worked on Macs, SGI's, PC's (running Windows
or Linux). Software I use directly include Photoshop (7 or CS), AfterEffects,
ElectricImage, FormZ (but I kinda suck at modeling) , Lightwave 3D.
However I have a working knowledge of 3d StudioMax, Maya, XSI,
and a little teeny tiny bit of Cinema4D. Not
to mention all kinds of different propietary software.
11-19-2004, 03:15 PM
Rick, you are certainly an inspiration. :) Plus your openness to answering questions and explaining methodology is really appreciated.
11-21-2004, 03:24 PM
That movie was way to Girly ! YUck ... But I love Your work on it ...I thank my girlfriend for making me watch it .. LOL :lol:
12-07-2004, 05:53 PM
I was just wondering if you are going to post any of your recent works?
01-07-2005, 11:34 AM
I had about four weeks to work on it.
did you have other projects at the same time?
01-07-2005, 01:09 PM
No. "Kate" was the only thing I was working on at the time.
I always liked that painting... lovely work.
01-08-2005, 02:11 PM
It's definitely an invisible one, Rick. And it has real depth. Very cool! Knowing your scenic painting background, I was wondering, if you integrate "real" paintings into your mattes. I know a few matte painters here in LA, who started doing it again, and so did I. Also miniatures are back. I think organic stuff sometimes looks better that way.
I'm looking forward to see your site. Will you show some of your painted backings?
PS I have a question, which so far nobody has yet responded (posted under General Discussions), an maybe this is a more visible place here (around Rick Rische) to post it: Does anyone know what happened to Chris Evans, the matte painter (Raiders of the Lost Ark, Enemy Mine,..)?
01-08-2005, 03:00 PM
Thanks for the comments. Since starting in digital matte painting in '97,
I haven't integrated traditional painting into any shots, however I do
build miniatures and shoot them if the shot can benefit from that
approach. You just can't beat real sunlight falling on real surfaces
and textures, as well as all the subtle interactions of light and shadow
that you get by using something from the real world. I'm not a very good
model maker (when I was at ILM I built a few models for some shots in
"Phantom Menace" and you better believe I felt very inferior next to
Steve Gawley and the rest of that crew!) but I can just get by.
Basically, I like to keep all my options open when I approach a shot, and
use whatever seems like a workable solution to get it done.
As for Chris Evans, he has been affiliated with Matte World Digital for many
years, but has moved into a more supervisory, consultation kind of role.
You might want to PM Chris Stoski or Craig barron. They'd have more info
on Chris's recent activities.
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