/u/dgoberna couldn't make it so I am reposting his questions for him.
What do you currently do? Still working on matte painting? (I think your last work was in Hugo)
Among all films you worked in, which project was the most challenging?
Which one was the most artistically frustrating?
.. and the most rewarding?
.. and which one was a living hell? (in terms of production, dull work..)
Is there anything you see in current digital matte paintings that you miss in the traditional ones?
I feel MP departments today are not very well considered, taking into account how much of their work is going to define a shot. Do you feel any difference with the old times? How were MP departments considered in the pre-digital era?
Any funny anecdote regarding a specific matte painting?
Is a truly honor and a privilege to 'talk' with alive history of matte painting. Thank you for your work and the AMA!
snaverevilo26 karma
/u/dgoberna couldn't make it so I am reposting his questions for him.
What do you currently do? Still working on matte painting? (I think your last work was in Hugo)
Among all films you worked in, which project was the most challenging?
Which one was the most artistically frustrating?
.. and the most rewarding?
.. and which one was a living hell? (in terms of production, dull work..)
Is there anything you see in current digital matte paintings that you miss in the traditional ones? I feel MP departments today are not very well considered, taking into account how much of their work is going to define a shot. Do you feel any difference with the old times? How were MP departments considered in the pre-digital era?
Any funny anecdote regarding a specific matte painting?
Is a truly honor and a privilege to 'talk' with alive history of matte painting. Thank you for your work and the AMA!
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