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SHREK 2 - DIGITAL MATTE PAINTINGS

 

 

 

 

All images on this page copyright DreamWorks, 2004. Reproduction for any use is prohibited.

"Oh, Shrek. Don't worry. Things just seem bad because it's dark and rainy and Fiona's father hired a sleazy hitman to whack you."

Donkey

I worked at PDI/Dreamworks in Redwood City California for six months in 2003 as a digital matte painter on the highest-grossing animated film in history. Below is my work with descriptions. All were created in Adobe Photoshop.
Most shots in an animated CGI film are made of composited elements created in different departments. The 3D layout department created this snowy mountain scene, but it required some 2D touch-ups. Since the camera move in the shot did not alter the perspective, I was able to correct glitches in lighting and texture throughout this shot in Photoshop.
I created the sky, sun and hazy horizon in Photoshop. The rest was added in the effects and animation departments.
This was a very important shot that I spent a long time working on. The camera tilts down showing the full doorway and ground, but that is cut off in this view. I began with some very rough screenshots of the castle at different angles that had been originally made by the 3D department in the original Shrek. Layer by layer, I added each section while adjusting lighting, fog and texture until it was complete.
Same here.
Here, I had to patch in some missing pieces around the doorway.
Beginning with some very plain rock cliffs from the 3D layout department, I added all of the detailed texture, fallen snow and subtle lighting.
Same here.
There were some small missing areas of the background trees and grass that I patched in to match the 3D elements.
I had to make those stone blocks look very hard for that poor dove to smash into.
In this now famous shot of Puss in Boots, I added texture, lighting and the little flowers to the mossy ground.
I set the stage for Donkey's big entrance as the noble steed. Unlike most shots, I created this panoramic landscape outside the barn pretty much from scratch.
Here it is again the Donkey and the barn door composited in.
This final sequence of shots posed a particular challenge. There were actually closer to seven or eight shots, all of which showed this view of the road at slightly different angles. Beginning with only very rough unfinished layouts from the 3D department, I had to paint all of these shots to match lighting texture and detail on all of the trees, rocks, grass, road, and lavender.
 
 
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