El Fuerte de la Trinitat, construido a mediados del siglo XVI, es un extraordinario ejemplo de arquitectura militar europea de mediados del siglo XVI, concebido como una máquina de artillería, y con ...la misión de proteger el puerto natural de Roses (Girona, España). La fortificación tuvo dilatado historial bélico que terminó durante la Guerra de la Independencia (1808-1814), convirtiéndose en un montón de ruinas. En 2002, el ayuntamiento de Roses planificó una ambiciosa intervención arquitectónica para recuperar la fortificación. Las obras restauraron la volumetría exterior en su conjunto, con materiales de construcción actuales. Los grandes espacios interiores resultantes de la intervención tenían poco en común con las estructuras originales. A partir de 2016, se inició el proyecto de museografía con el objetivo de abrir el fuerte al público. La estrategia se centró en la realización de un 3D, utilizado para planificar propuestas las museográficas y hacer comprensible un espacio interior, que presentaba un aspecto muy distante al de la construcción original. Se procedió a la realización de un laborioso trabajo de campo, analizando las fuentes y los restos estructurales que se conservaban, y aventurando las posibles soluciones arquitectónicas que en su día tuvo la fortaleza. A partir de las evidencias y las hipótesis se procedió a realizar una reconstrucción de arqueología virtual y se desarrolló una iconografía didáctica para explicar el fuerte a un público visitante de amplio espectro, y a estudiantes de enseñanza reglada. La museografía comenzó a implementarse entre los años 2019 y 2021. Teniendo en cuenta variables y necesidades comprensivas de los usuarios y visitantes la propuesta de arqueología virtual se planteó a partir de criterios realistas, basándose en el 3D, en las texturas y en los colores. El factor humano y mueble se incorpora a partir de técnicas matte painting con el apoyo de grupos de recreación histórica.
El presente texto nace en el contexto de una investigación sobre la creación audiovisual denominada fashion film. El principal objetivo es poner de manifiesto el uso de tecnologías propias de la ...creación de imagen estática y en movimiento como medio de expresión artística por parte de artistas que realizan piezas audiovisuales relacionadas con la moda y, en concreto, con el fashion film. Desde la perspectiva del medio audiovisual como forma de expresión artística, se plantea un análisis de las creaciones audiovisuales L’Elélégance (sic) de Sonia Delaunay (1925) y Esencia de una seducción de Eugenio Recuenco (2008), con la intención de alcanzar el objetivo propuesto. Como principales resultados del análisis, se observa que el color es un elemento imprescindible para la creación del relato y expresión para el artista, elevándolo al mismo nivel de protagonismo que el de los propios personajes. Además, se advierte que la tecnología y los medios de los que disponen los artistas intervienen y forman parte de la obra final.
This text was written in the context of a research project on the audiovisual creation known as fashion film. The main objective is to highlight the use of technologies for the creation of static and moving images as a vehicle for artistic expression by artists who create audiovisual pieces related to fashion and, specifically, to the fashion film. In order to achieve the proposed objective, an analysis of the audiovisual creations L'Elélégance (sic) by Sonia Delaunay (1925) and Esencia de una seducción by Eugenio Recuenco (2008) is proposed from the perspective of the audiovisual media as a way of artistic expression. The main results of the analysis suggest that colour is an essential element in the creation of the tale and expression for the artist, elevating it to the same level of prominence as the characters themselves. Furthermore, it is noticed that the technology and the resources available to the artists are involved in and form part of the final artwork.
Scenes as vivid in our cinematographic memory as Tara's views in Gone with the Wind (Victor Fleming, 1939), the oppressive sewers in the final sequence of The Third Man (Carol Reed, 1949), the vistas ...of Rome in Ben-Hur (William Wyler, 1959) or the famous final shot on the beach in Planet of the Apes (Franklin J. Schaffner, 1968), all place the viewer, without their awareness, in front of an image produced using the mechanism known as matte painting. It is a resource to which cinema has turned with considerable frequency over the course of its history, albeit one which has received little to no analytical attention from film studies. With a view to redressing this omission, this essay will aim to create a conceptual framework within which a rigorous analysis of this technique can be carried out in the context of film aesthetics. For this, it will be useful to start by reviewing the existing definitions of this term and proposing not one but two updated ones. This will then allow us to conceptualize this practice as a mechanism for assembling spaces, employing analytical tools used for editing in order to understand the way in which matte painting performs its unique construction of the cinematographic space.
This paper analyzes the evolution of matte painting as a representational technique throughout history, its relationship with art and its influence on different industries linked to representation. ...We use a multi-case study methodology, which allows us to relate milestones and use an open approach to the analysis. Through it, we seek connections between their use in film, video games, and design, and its influence in them, which allows us to defend the figure of the matte painter as an artist.
Este artículo analiza la evolución del matte painting como técnica de representación a lo largo de la historia, su relación con el arte y su influencia en diferentes industrias ligadas a la representación. Utilizamos para ello una metodología de estudio de múltiples casos, lo que nos permite relacionar hitos y utilizar un enfoque abierto para el análisis. A través de él, buscamos conexiones entre su uso en el cine, videojuegos, y diseño, y su influencia en los mismos, lo que nos permite defender la figura del matte painter como artista.
The Trinitat Fort, built in the mid-16th century, is an extraordinary example of European military architecture from the mid-16th century, conceived as an artillery machine, whose mission was to ...protect the natural port of Roses (Girona, Spain). The fortification had a long history of warfare that ended with the Peninsular War (1808–1814), which turned it into ruins. In 2002, the Roses city council planned an ambitious architectural intervention to recover the fortification. The works restored the overall exterior volumetry, with current construction materials. The large interior spaces resulting from the intervention had little in common with the original structures. Starting in 2016, the museum projected to open the fort to the public. The strategy focused on 3D works, which were used to plan museographic proposals and to make an interior space understandable, with an aspect very distant from that of the original construction. It entailed extensive fieldwork analyzing the sources and structural remains that were preserved and surmising the possible architectural solutions the fortress originally contained. Based on evidence and hypotheses, the group carried out a reconstruction from virtual archeology, and it developed a didactic iconography to explain the artifact to a broad spectrum of visitors and students. This iconography was applied on the panels, in the scenography and audiovisuals of the museum, and in the dissemination materials. The museography was implemented between 2019 and 2021. Considering the variables and comprehensive needs for a wide range of users and visitors, we completed the virtual archeology proposal based on realistic criteria, giving importance in 3D to textures and colors. It incorporated the anthropic and movable factors through matte painting techniques and images obtained with the support of re-enactment groups.Highlights: - The Fort of the Trinitat, built in the middle of the 16th century, is an extraordinary poliorcetic piece, conceived as an artillery machine, whose mission was to protect the natural port of Roses (Girona, Spain). - Between 2019 and 2021, an ambitious reconstruction of virtual archaeology has been carried out, developing a didactic iconography aimed at broad-spectrum visitors and formal education students. - The didactic iconography proposal developed in the Fort of the Trinitat does not try to compete with the large market productions, but it does try to explore sustainable intervention models to make the past and its heritage known.
In terms of the teaching process of matte painting, it is essential for students to develop a sound understanding of the relationship between virtual and physical environments. In this study, ...first-person view (FPV) drones are applied to matte painting courses to evaluate the effectiveness of the teaching, and to propose more effective design suggestions for FPV drones that are more suitable for teaching. This provides students with a better learning environment using a digital education system. The results of the study indicate that the flow experience, learning interest, and continuous learning intention of students who use FPV drones in matte painting are significantly greater than those of students who only utilize traditional teaching methods. Furthermore, the technology incentive model (TIM) was developed in this study after being verified by the structural equation model. The results demonstrate that the second-order construct ‘technology incentive’ comprising perceived interactivity, perceived vividness, and novel experience positively influence students’ learning interest and continuous learning intentions under the mediation of flow experience.
Computed-generated imagery (CGI) generates diverse views and perceptions of the past. These new experiences impact, directly or indirectly, the teaching and learning of history. This article presents ...didactic iconographic works on the Spanish Civil War created by the DIDPATRI (Didactics of Heritage and New Technologies) research group at the University of Barcelona. The didactic approach to this conflict reveals various problems that make it an interesting testing ground for new iconographies that contribute to an understanding of it. The proposal looks at the generation of "virtual" iconography to facilitate the teaching of content in formal and non-formal spaces. It is argued that CGI opens up possibilities to researchers, teachers, students, and technicians for the generation of comprehensive communication elements of history. The attractiveness of this new "virtual" iconography of the past lies in the possibility to create integrated ensembles where the facts, concepts, situations, and representations of materiality that the creators want to represent can appear. The resulting iconographic product can be applied for use in various environments, such as teaching, heritage, tourism, and cultural industries, and via different media, such as panels, apps, web, audio-visuals, museography, games, books, and notebooks.
The award-winning VES Handbook of Visual Effects remains the most complete guide to visual effects techniques and best practices available today. This new edition has been updated to include the ...latest, industry-standard techniques, technologies, and workflows for the ever-evolving fast paced world of visual effects. The Visual Effects Society (VES) tasked the original authors to update their areas of expertise, such as AR/VR Moviemaking, Color Management, Cameras, VFX Editorial, Stereoscopic and the Digital Intermediate, as well as provide detailed chapters on interactive games and full animation. Additionally, 56 contributors share their best methods, tips, tricks, and shortcuts developed through decades of trial and error and real-world, hands-on experience.
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