Dragon Head (Doragon Heddo)
While I was preparing my latest video Remain I was watching every single Post-Apocalyptic movie I could get my hands on. I have a piece I'm working on now that will use footage pulled from these films but I'm realizing now that I was also influenced by one of the films in particular while making Remain. The film is called Dragon Head or Doragon Heddo (2003).
Here is the trailer for the movie:
What I love about this film is the nearly constant use of incredible digital matte paintings. The whole film has this beautiful look of highly polished and intensely well crafted destruction. It was really inspiring to me while I was making the set for my video.
I love matte paintings in all forms including the traditional hand painted glass and the more contemporary digitally rendered varieties. It is a highly visible part of filmmaking that is meant to be as realistic as possible but always retains some aspect of the hand. What I love is the falseness of the space. The hand can never really create something so precise and this added human quality is what makes these landscapes so beautiful. The matte painting is typically made to look more natural by incorporating some kind of movement into the scene whether it be an actor or some kind of atmospheric element such as rain or fog. The point where these images fail to pass as "real" is where I find the most pleasure. Particularly now with the near total adoption of the digital process in matte painting we see a complete embrace of the point where the pixel meets flesh. There is something so cold and dead, warm and alive, breathing and pulsating in that space that I can't take my eyes off of it. I just want to inhabit that space indefinitely. I want to rotoscope my skin pixels into the vast emptiness of digital gray.
Here is the trailer for the movie:
What I love about this film is the nearly constant use of incredible digital matte paintings. The whole film has this beautiful look of highly polished and intensely well crafted destruction. It was really inspiring to me while I was making the set for my video.
I love matte paintings in all forms including the traditional hand painted glass and the more contemporary digitally rendered varieties. It is a highly visible part of filmmaking that is meant to be as realistic as possible but always retains some aspect of the hand. What I love is the falseness of the space. The hand can never really create something so precise and this added human quality is what makes these landscapes so beautiful. The matte painting is typically made to look more natural by incorporating some kind of movement into the scene whether it be an actor or some kind of atmospheric element such as rain or fog. The point where these images fail to pass as "real" is where I find the most pleasure. Particularly now with the near total adoption of the digital process in matte painting we see a complete embrace of the point where the pixel meets flesh. There is something so cold and dead, warm and alive, breathing and pulsating in that space that I can't take my eyes off of it. I just want to inhabit that space indefinitely. I want to rotoscope my skin pixels into the vast emptiness of digital gray.
Labels: digital, Dorago Heddo, Dragon Head, matte paintings, post-apocalyptic, remain, rotoscope, sfx
posted by mores at
9:21 PM
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