Virtuality Conference_2006_Real Dream
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Topolos

Paul Topolos

 

Digital Matte Painter Pixar Animation Studios

Paul joined Pixar Animation Studios in 2002 as a matte painter on the Academy® Award-winning film, The Incredibles. He then worked on Cars before his work on the upcoming Disney-Pixar’s Ratatouille.
Paul is responsible for creating many of the Paris cityscapes and backgrounds that appears in the film.

Prior to Pixar, Paul worked at the Lucas companies in both the game and film divisions. For LucasArts, he drew storyboards, concept designs and built, painted, art directed and lit 3D sets for video games.
At Lucasfilm, Paul was a storyboard artist on Star Wars Episode I: The Phantom Menace and the matte painter in the pre-visualization department on Star Wars Episode II: Attack of the Clones.


Paul is currently working on future Pixar films.



The Paris Skylines of Ratatouille: An artistic look at a technical process

Since the dawn of film, Matte Painting has been an artistic solution to technical and
economic challenges. Matte Painting can provide seemingly infinite detail that would be impossible to create using normal construction techniques.
As filmmaking moves to the computer, an updated form of Matte Painting remains invaluable for saving time and money. Pixar's process is made possible by fusing technical and artistic thinking. To demonstrate this partnership, examples will be shown from Ratatouille, Cars, Lifted, and The Incredibles.

 

VIEW'S LESSON: Painting Paris for Ratatouille: A Matte Painter at Pixar

18.30, Nov 8, Sala Cavour

The Paris skylines in Disney/Pixar's Ratatouille were achieved with a blend of technology and art.
This talk will discuss the processes of a small group of people who made the City of Light come to life for Pixar's latest digital feature.
Matte painting is a way to create images that would be too expensive or time consuming to build by hand. Even with digital features, matte painting is a technique that can be used to great effect.

This talk will show the artistic journey of Pixar's first full-time digital matte painter, from Finding Nemo to Ratatouille.

     

 

     

 

 

   

 


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Patronage by Ministero per i Beni e le Attività Culturali
Patronage by Presidenza del Consiglio dei Ministri -
Dipartimento della Funzione Pubblica

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Torino Film Commission
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