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Decanato De Artes Y Comunicación Escuela De Publicidad Análisis De Decanato de Artes y Comunicación Escuela de Publicidad Análisis de softwares para la creación de matte painting disponibles en República Dominicana en 2012 Sustentantes: Jean Carlos Velázquez 2006-0764 Pamela Velázquez 2007-2071 Laura Nadal Marcano 2008-0413 Asesores: Prof. Elías Muñoz Prof. Humberto Castellanos Anteproyecto de la monografía para optar por el título de Licenciado en Publicidad Distrito Nacional, República Dominicana 2012 2 Resumen La siguiente investigación tiene como objetivo presentar una técnica alternativa de creación y tratamiento digital de escenarios en el sector de producción de comerciales en la República Dominicana; los matte paintings. Durante este estudio, se consultaron y compilaron fuentes bibliográficos, entrevistas, imágenes y videos que mostraran datos y hallazgos para plantear un análisis de funciones, utilidades y productos de diferentes softwares en matte painting. Los resultados expusieron el modo de empleo de programas y la mezcla del trabajo de estos para crear ambientes de impresionantes detalles que lindan la materialidad de lo real. Los matte painting pueden ser sugeridos como propuesta para producir filmes de alcance más creativo, que establezcan nuevos géneros de cine y puedan favorecer la rentabilidad de la industria local. 3 Introducción La escenografía constituye un aspecto fundamental en cualquier producción audiovisual o cinematográfica; esta concede un espacio de acción para los actores y se convierte en un recurso de comunicación complementario para la mejor expresión de un concepto o trama de un filme. A través de la escenografía se establece el tono de una producción, se acentúan emociones que se desee transmitir y se impacta al espectador. El género y el tipo de historia determinan en cierta medida cómo serán los ambientes de un filme. Ya fuera de naturaleza concreta o abstracta, la escenografía debía construirse en un set o disponerse en una locación escogida. Con el correr de los tiempos, con aspiraciones creativas cada vez más altas, exigencias de creación de un escenario con condiciones controladas o la necesidad de mantener un presupuesto, un director cinematográfico podía utilizar una pantalla de proyección fija o móvil y/o encargar la realización de un paisaje de inmenso detalle pintado en vidrios que luego era integrado a la película a una exposición de luz específica. Esta última técnica, podría tener sus orígenes en la antigua Grecia, donde alguna vez los pintores Parhasius y Zeuxis se desafiaron para lograr el cuadro más realista. La fuente de frutas pintada por Zeuxis pudo engañar a un pájaro tentado, pero la cortina recreada por Parhasius consiguió confundir los ojos del rival en lo que pudo considerarse como la pintura más perfecta. Hacer creer a los ojos que existe algo más allá de lo que pueden ver es principio de una técnica mágica: matte paintings. 4 Hoy en día, es posible hacer una película solo disponiendo de matte paintings o fondos de ambiente diseñados digitalmente. Mediante dibujo, collage y pintura automatizados se recrean decorados con tal nivel de ilusión visual que pasan desapercibidos como un escenario irreal. En República Dominicana, el uso de los matte paintings no es extendido; sin embargo, su aplicación impulsaría ampliamente el campo cinematográfico al enriquecer el aspecto artístico de las producciones a menores coste para reportar una mayor rentabilidad. La presente investigación pretende compilar y analizar informaciones relevantes sobre el tema para una futura implementación del matte painting en la producción de cine dominicano. Esta monografía posee la siguiente estructura: en el capítulo I se presentan deficiones puntuales sobre matte painting, su utilida y aplicación en comerciales y las etapas a seguir para la creación de un matte painting. En el capítulo II, son tratados los softwares especializados según la función que desempeñan en las etapas del matte painting. En el capítulo III, se explican las ventajas y desventajas del empleo del matte painting y tipos de sets que pueden producirse con dicha técnica. 5 CAPÍTULO I Definiciones y utilidades del matte painting 6 1.1 Definición de Matte painting Los Matte Paintings son extensiones de set que se hacen en post-producción para crear escenarios que serían muy costosos o imposibles de construir. Mediante este recurso, se puede crear la ilusión de grandeza visual, lograr un ambiente que comunique un mensaje o dar la ilusión de estar en otro lugar. Existen diferentes tipos de matte paintings, que se pueden clasificar en dos categorías; digital y manual. En el caso de un ambiente digital, el proceso de creación de matte painting puede ser muy complejo y según el estilo que se quiera lograr, se debe disponer de diferentes programas para obtener un producto final. La técnica del matte painting es usada desde principios del siglo pasado para crear sets cinematográficos o fondos de escena. Tradicionalmente, los artistas usaban pintura o pasteles en una gran lámina de vidrio para luego integrarlo a la grabación. Con este proceso se crearon grandes producciones cinematográficas, siendo muchas de ellas grandes clásicos del cine y ejemplos notables a destacar: ‘El mago de Oz’ (The Wizard of Oz), ‘El ciudadano Kane’ (Citizen Kane), ‘Star Wars,’ entre muchas otras. Con el avance de la tecnología, las mismas técnicas empleadas para realizar el matte painting se implementaron en programas de computadoras que facilitaron el foto- realismo al manipular medios como fotografía y pintura con gran capacidad de edición. Crear otros mundos, hacer planos y movimientos de cámara increíbles ya era posible gracias al 3D. Hoy en día, la preparación de un matte painting requiere de la capacidad 7 de un personal preparado y una pre-producción calculada por ser un proceso que involucra etapas definidas con un tiempo de trabajo específico. 1.2 Utilidades y aplicación en comerciales Los matte paintings son un recurso que puede ser de gran ayuda en cuanto a filmación de comerciales de televisión se refiere. A través de un matte painting, es posible crear cualquier escenario que se desee; el poder de la imaginación se materializa mediante la composición de fotografías, pintura de elementos y armonía de los principios básicos de la perspectiva, volumen, contraste y detalles. Los softwares avanzados de efectos especiales y edición que se utilizan para estos fines, habilitan control y alcance de valores visuales deseados de gráficos en movimiento. Desde una o varias computadoras, es posible aumentar la escala de las tomas, crear atmósferas especiales y hasta construir arquitecturas monumentales que en tiempo real y realidad física implicarían interminables horas de trabajo y elevados costos de material como de equipo especializado. Por otra parte, en el plano de la comunicación publicitaria; los matte paintings contribuyen a mejorar el tono del concepto de comunicación o promesa básica que se busca transmitir en un comercial. Como ejemplo, pueden desarrollarse sets o extensiones de sets digitales para comunicar efectivamente la intención del anuncio. De esta manera que, si el objetivo es manifestar diversión o juventud, se busque lograr 8 un paisaje cálido y lleno de color que no sea común a la vista (dependiendo de la visualización del director). Otra importante utilidad de los matte paintings consiste en la inclusión de elementos dentro del set digital que sirvan como simbología añadida de un producto o servicio. Dichos elementos son añadidos antes o después de la producción según los requerimientos del comercial y/o el efecto que se necesite conseguir. 1.3 Etapas en la creación del matte painting La producción de los matte paintings esta compuesto de 3 etapas o modalidades: a) Conceptualización Al igual que todo producto creativo, un matte painting inicia con el concepto visual de una escena de una producción audiovisual. Se realiza un diseño conceptual a base de bosquejos y trazos rápidos que establezcan aspectos fundamentales para lograr la escena, tales como la atmósfera y estructura del set. La conceptualización es realizada previamente por los directores de arte con ayuda del director. Estos también escogen un artista corporativo o freelance en cuyo imaginario y estilo puedan encontrar visión artística Un artista conceptual realiza bocetos de propuestas puedan ilustrar la escena; el medio escogido para tal fin no determina el encargo, pues lo que se intenta percibir es la idea principal a concretizar. Se fijan la temperatura de color y/o paleta de colores, tipo y 9 dirección de la iluminación y composición para crear una atmósfera general. El diseño de la escena dependerá de qué elementos contenga la misma; la situación, lugar, tiempo, etc. En esta etapa, se manejan los siguientes softwares: Adobe Photoshop, Corel Painter, Paint Shop Pro, Paint Tool SAI, My Paint, GIMP, Paint.net. b) Producción A partir del concepto, se adaptan las escenas de la película a un estilo foto- realista; es decir, que la escena debe presentar la misma densidad y detalle que la toma a filmar, de forma que el nivel visual de ambas sea tan parecido que pase desapercibido al ojo humano. En esta etapa, los matte painters utilizan numerosas referencias fotográficas de lugares e iluminación similares a la visión artística planteada por el artista conceptual. Para realizar una escena foto-realista se amerita conocer a profundidad los aspectos básicos de óptica fotográfica, perspectiva, pintura y modelado 3D digital para saber integrar la imagen a la pantalla sin problemas. Una técnica muy efectiva en la producción de matte painting es el collage, que consiste en el ensamblaje de elementos en un todo. Los matte painters construyen la imagen final al colocar diferentes fotografías que integradas resulten un una composición terminada que luzca perspectiva y luz correcta. Con programas 3D y generadores de paisaje natural, se obtiene un espacio virtual o escenografía en la que una cámara puede maniobrar para lograr los agregados de profundidad e inmersión. 10 Durante la producción son empleados según renglón creativo, los siguientes programas: para manipulación fotográfica; Adobe Photoshop, Pixelmator (mac), GIMP, para efectos 3D; 3D’s Max, Maya, Cinema 4D, Blender, para generación de ambientes naturales 3D; VUE, Terragen, World Machine.
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