Paint is really good at
producing rough, brushy, accidental effects. Computers are much better
at precise, geometric stuff. So goes the traditional wisdom on computer
paint packages. However, this distinction is becoming increasingly
blurred.
I obeyed the traditional
wisdom here, and then started to stretch it and stretch it.
This background, the establishing
shot for a three minute pilot for a TV series, was painted in acrylics,
scanned and then painted over in Satori FilmFX. Because the shot started
on a tiny field size, 1 inch across, I replaced the original painting
of the sea and sky with a resolution-independent Satori painting,
which meant that no pixels were visible even on this 20X zoom. I added
the clouds on three layers, so that as we zoomed out, the lighting
could shift subtly. Then I added all the house windows and lights.
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