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After a successful career as a NASA research scientist, Nathalie Mathé became a documentary director, then a layout artist for studios including Method Animation and Ankama Animations, and a texture artist and matte painter for Mac Guff. She moved on to an international career as a matte painter at Double Negative and, more recently, Image Engine. Her credits include Cannes award-winner Persepolis, Rémi Bezançon’s Un heureux événement (A Happy Event), Total Recall, The Dark Knight Rises, Les Misérables, Captain Phillips and Fast & Furious 6. She recently contributed to Zero Point, the first movie ever made for the Occulus Rift VR headset.




Tell us about your journey

I have a scientific and computer programming background and it was only after working for several years in artificial intelligence research that I felt the need to explore a more artistic path. I started with evening painting classes, and weekend video shooting and editing classes, then got a degree in video production in parallel to my career.


I think the turning point was when I visited the Art of Star Wars exhibit in the mid-90s in San Francisco. I suddenly discovered that there were real artists working behind the scenes of movies. What really struck me was when I saw Ralph McQuarrie’s matte paintings. They were huge paintings on glass, bigger than me, and they were so realistic-looking – planets, alien worlds, and all painted by hand by this incredible artist. I attended a special evening reception and talked to Ralph McQuarrie in person. He was already an old guy at the time, but so sweet. I asked him how he got to work on Star Wars in the first place, and he told me that at the time he was working at NASA painting the simulations of the Voyager spacecraft’s journeys through the solar system, and that’s how Georges Lucas recruited him.


Suddenly I felt totally moved, because I was working at NASA too! A brand new possibility opened up for me. It took me several more years to go back to school, study 3D animation and special effects, and build a new career from scratch in the animation and film industry: first in France, my country of origin, then internationally. Nowadays, I am still working with a computer, but as a digital visual artist.


How would you like to impact the world?

I’ve always enjoyed sharing my passion with others and I’ve been teaching at all levels for many years. Now that I have had a career in computer sciences and a second one in the film industry, I can see see how these domains are overlapping more and more, and I want to encourage students, especially girls, to embrace both technology and art, and not see them as opposite, which is still very often the case. Organizations like Girls Who Code are doing a fantastic job.


What are you passionate about?

I’ve been exploring digital interactive art for a few years now. I love to experiment, and the artists working on the interface of art and technology are so bold and creative that this is opening up tons of possibilities for me. I would like to do more art for live performances and shows. For example, I find the possibilities of projection mapping fascinating. Projecting interactive images onto buildings and monuments changes how we perceive the space around us.


What would be your #1 advice to other artists?

Always follow your heart, no matter how hard it is or what other people tell you. You are the only one to know what’s best for you. Of course, it’s crucial to have talent and keep developing it constantly, trying to work with the best artists on challenging projects, but you also need to learn networking skills, because who you know will make a difference.


Women are still a minority in this industry, although it is much better than 10 years ago when we were only 10% of the workforce. Now it is more like 30-40% depending on the company and project, but there are still very few female leads and supervisors in creative and technical roles.




ref: http://nathaliemathe.com/




Matte work from Un hereux événement (A Happy Event). Image © 2011 - MacGuff/Mandarin/Gaumont.




Matte work from Fast & Furious 6. Image © 2013 - Universal Pictures.


Matte work from Fast & Furious 6. Image © 2013 - Universal Pictures.


Matte work from Fast & Furious 6. Image © 2013 - Universal Pictures. Before and after 2: the original plate.


Matte work from Fast & Furious 6. Image © 2013 - Universal Pictures. Before and after 2: the final shot.



>이분은 현실 인물이 아니네. 무슨 나사에서 과학리서처 하면서 컴퓨터 프로그래밍 하고, 갑자기 예술분야 경력 쌓고 싶어서 저녁 드로잉 클래스 듣고. 주말 비디오 촬영 편집수업듣고. 디그리까지 따고.;;;;; 리미트리스 주인공이세요? 대단.. 나탈리들은 대게 머리가 좋은갑다. 깐느 어워드 받은 영화, 세계적인 토탈 리콜, 다크 나이드, 레미제라블...매트페인터 되셨다뇨. ㅠㅠㅠ? 그만큼 노력도 했겠지만 타고난 토양이 비옥하신 분이네. 박탈감 느껴서 다 못읽을뻔. 우주 먼지 샤랄라. 오늘도 자극받고 분발하기.

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  • 충격은 끝나지 않았다. 그 후로 그녀는 비주얼 이펙터의 일을 하다가 슈퍼바이저 급으로 성장하고, 감독도 하고, 대본도 쓰고, 프로듀서도 하고 편집도 하고. 흠좀무를 이럴때 쓰는거구나. 경력에 비해 포트폴리오 사이트가 황당할 정도로 대충 블로그에 게시글 올리듯 해놨길래 뭔가 했는데. 와우, 대단해.

  • 그녀의 트위터: https://twitter.com/natmathevr






140415_JD_bio2Jorik Dozy is a visual effects artist and aspiring director/writer. Originally from Amsterdam, he moved to Los Angeles at the age of 20 where he followed the full-time CG Certificate program at the Gnomon School of Visual Effects. Before he graduated, Industrial Light & Magic hired him as a digital matte painter, working first at the company’s San Francisco headquarters, and now at its Singapore office, where he is also active as an on-set photographer, having most recently completed work on Pacific Rim and Lone Survivor. Eager to expand his knowledge about film making, Jorik started work on his first short film, Departures, in early 2013.


Tell us about your journey

I studied art direction for advertising in Amsterdam. I spent most of my time there teaching myself Photoshop and getting better at photo manipulation. Although the school was very much about concepts and creating ideas for advertisements, I was always drawn more to the visual side of the program: the part where I could design posters and make illustrations.


I’ve always been a massive movie geek, and when I saw The Lord of the Rings, everything changed. I discovered the works of Dylan Cole and Dusso [Yanick Dusseault] and a new world opened up for me: the world of VFX and matte painting. I started work on my own matte painting portfolio and about a year later I got accepted at the Gnomon School of Visual Effects. I told my parents I was moving to LA and a month later I was gone: that was quite the shock for them!


Since then, life has been a rollercoaster. Within two and a half years, I was working on huge Hollywood productions, and had both met Dylan Cole and worked with Dusso, the guys who got me into the industry in the first place!


How do you want to impact the world?

When I watch a movie and it moves me and makes me think about something that matters in my life, I get inspired. I hope that in my lifetime I get to create a film that moves and inspires someone else.


What are you passionate about?

At the moment I’m in pre-production for my first short film, called Departures. It is a passion project that I have been developing in my free time, and something that I have wanted to do for a long time. The film tells the story of a committed father who risks all to give his terminally ill daughter a comforting prospect on her afterlife and to fulfill her last wish. Although that sounds very heavy, the story isn’t what you would expect and has an unusual ending – so to speak!


I will be realizing it with my co-workers at Lucasfilm, and will be shooting it in the city of Singapore next month. You can back our crowdfunding campaign to help us gather the little cash we need, and follow the production on Facebook.


What would be your #1 advice to other artists?

Just go for it! I’ve always lived by this line and it has paid off for me so many times! If you get too comfortable, get out of your comfort zone! You will be surprised by how much you will learn and achieve.



ref: http://www.akajork.com/


A personal art piece.



A personal art piece.


A personal art piece.


A personal art piece.


A complete digital environment for Pacific Rim.


A complete digital environment for Pacific Rim.


A complete digital environment for Pacific Rim.


A complete digital environment for G.I. Joe: Retaliation. Image © 2013 Paramount Pictures.



ref: https://magazine.artstation.com/2014/04/matte-painter-jorik-dozy/



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