CG Environment works

A reel of digital environment work: matte paintings, full CG set builds, digital landscapes and set extensions blended into live-action plates. It gathers shots in which the world around the actors is largely constructed rather than found — horizons, architecture and terrain built to sit inside footage photographed somewhere else entirely.

Environment work is judged on the moment a matte painting stops looking like a painting. As soon as the camera moves, a flat backdrop has to be projected onto geometry so that parallax separates foreground from distance the way a real lens would. Lighting is derived from the plate itself, so shadow direction, colour temperature and the density of the haze agree with what the crew actually shot, and depth comes from layered atmospheric perspective rather than blur alone. The joins carry the rest: rooflines against sky, terrain meeting a practical floor, foliage edges. The render is then pushed back through the same optical treatment as the footage — grain, lens distortion, defocus — until the seam disappears. Digital environments account for a large share of what the studio builds; the reel collects that work in one place.