About Seung Ho Henrik Holmberg
Drawing has been something important to me through life for as long as I can remember. My grandma used to tell me how I forced her to draw cars and other technical stuff. Every time she tells my about it, she starts smiling and it makes me blush. The town I lived in is called "Mönsterås," a very small and quiet town in southern Sweden. Water and woods have always been a big part of my life as I grew up, and I think it'll always be my biggest source of inspiration.
Tito A. Belgrave: What's your typical work day like?
If I do my matte work properly without any major errors, hopefully they let me leave early. Still waiting for that day.
Tito A. Belgrave: At what age did you find digital matte painting to be your calling? And what opportunities has it brought you?
Tito A. Belgrave: Can you elaborate on what methods were used to paint the mountain base?
What I had in mind when painting this, was to create a full matte shot with the image projected onto geometry, snow, flashing lights on the landing platform, camera movement, music etc. I did create the shot and it looks pretty cool.
Tito A. Belgrave: At an amazing age of only 22, how do you feel in regards to your accomplishments? Do you think you've reached your best?
I learn from everyone and everything. Sometimes I see a lot of digital painters starting out, and they're struggling with composition, perspective, lines, masses, texture etc...and you realize you've gone through that process as well. Still am.
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Tito A. Belgrave: Please elaborate on some of the work you've done for "Pyramid"?
Ideas were floating around in the office during the project, so we felt like we're rebuilding the pyramid in modern day. The work I did for pyramid was matte painting, as well as prints for a book based on the TV film. Among some of our issues, keeping it realistic, yet interesting was a challenge. The pyramid shape is a difficult one to work with, especially since it's huge and contains very little texture. When the pyramids were finished, the workers would polish it, making all four sides perfectly flat. Imagine the pyramid in the desert, white and perfect in shape, it's tough. I think we managed to make it look ok. My favorite shots are the ones with seamless CGI and and live action footage all composited together nicely, especially some of the crowd shots. It's nearly impossible to tell who's real and who's CG.
Tito A. Belgrave: Sometimes I have a difficult time differentiating between real world and CG in your artwork, when do you decide to use real world photos as opposed to digitally created ones?
For production, things become a bit more complicated. If you can get nice clean plates, it's good to work with it. If the plates are blurry, grainy or washed out, it can be a nightmare. Over the time, I've developed an effective way of working. I'm sure this changes as technology changes, but it works for me today.
The basic idea is to paint as little as possible, (for cost effectiveness), but still be able to achieve the matte you want. If you're not careful, cutting and pasting might end up randomly.
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Tito A. Belgrave: Where do you aspire to be in the future?
Tito A. Belgrave: What do you find most challenging when you're creating a matte painting?
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Tito A. Belgrave: Your art portrays that you have an incredible eye for detail in regards to photo-realism, where do you draw your references from?
Tito A. Belgrave: Thank you very much Seung Ho Henrik Holmberg for taking the time out to answer some of our questions, it was a pleasure.
From the Director of Community Development, Tito "Lildragon" Belgrave
Images :Seung Ho Henrik Holmberg
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