Live Action and Animated Feature Film

Stereo Matte Painting, Concept Environment Design, Modeling, Texturing, Lighting, Rendering, Compositing, 3D/2.5D Matte Projections, Photoshop, Maya, 3DS Max, Nuke, MARI, Houdini, Win/Mac/Linux

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About Garrett Fry

headshot01Garrett Fry is a technically minded creative artist, Digital Matte Painter and Concept Artist in the Film Industry.

Garrett has a passion for finding technical solutions in matte painting and believes himself to be an innovator in new matte painting techniques. On feature films Garrett has filled several roles such as:

Matte Painting and Environment Lead: Garrett has managed teams up to 20+ artists to create asset builds, schedual work, bid shots, manage prioirites and run dailies sessions.

Matte Painting and Environment Trainer: Garrett has worked with MPC to create a 3DDMP Academy Curriculum and has taught Matte Painting and Environment TD MPC Academy Courses.

Matte Painting Technical Lead: Garrett oversaw and established the matte painting work flow, pipeline and department tools. I conducted training sessions for matte painters and advised the VFX Supervisor how to technically approach matte painting shots.

Painting Sequence Lead: Garrett was responsible for the overall look of matte painting sequences and supervised the efforts of junior artists and artists from other departments in completion of matte shots and/or matte elements.

Senior Matte Painter: Garrett created stereo matte shots from start to finish, everything from concept, to CG, to paint, to 2.5D/3D projections, to compositing--using Photoshop, Maya, 3DS Max, MARI and Nuke.

 

Visual Effects / Art Department Credits

Visual Effects:
Ghost in the Shell (2017) (3DDMP Lead: MPC)
Fantastic Beasts and Where to Find Them (2016) (3DDMP Trainer / Lead: MPC)
X-Men Apocalypse (2015) (3DDMP Trainer / Lead: MPC)
The Great Gatsby (2013) (Digital Matte Painter: Animal Logic)
The Hunger Games (2012) (Digital Matte Painter: Raising Sun Pictures)
Abraham Lincoln: Vampire Hunter (2012) (Digital Matte Painter: Weta Digital)
The Adventures of Tintin (2012) (Digital Matte Painter: Weta Digital)
Rise of the Apes (2011) (Digital Matte Painter: Weta Digital)
X-Men: First Class (2011) (Digital Matte Painter: Weta Digital)
Mars Needs Moms! (2011) (Digital Matte Painter: ImageMovers Digital)
A Christmas Carol (2009) (Digital Matte Painter: ImageMovers Digital)
My Sister’s Keeper (2009) (Digital Matte Painter: Matte World Digital)
X-Men Origins: Wolverine (2009) (visual effects: Matte World Digital)
The Curious Case of Benjamin Button (2008) (Matte Painter: Matte World)

Art Department:
Yellow Submarine (tba) (pre-production) (Concept Artist)
Mars Needs Moms! (2011) (pre-production) (Concept Artist)
Undisclosed Disney Film (2013) (pre-production) (Concept Artist)
Undisclosed Weta Film (tba) (pre-production) (Concept Artist)

  • Garrett was instrumental in setting up the matte painting pipeline.
    Garrett is a highly motivated artist, who is always exploring new techniques to improve his craft.
    Andy Brown VFX Supervisor - Animal Logic
  • Garrett is an individual who can work well under supervision, but also lead his own way if need be with a great creative eye, a smart approach and keen sense of professionalism. He has a wide range of technical and artistic skills and is very well rounded.
    Chris Stoski Matte Painting Supervisor
  • Garrett has always displayed a high degree of integrity, responsibility, and talent.
    He was completely committed to the quality of his work on every project.
    Glenn Cotter Matte Painting Supervisor
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Ancient Babylon

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Oversaw the modeling, texturing and the laying out of city assets. Laid out vegetation and props. Projection frames rendered in Houdini and Painted in Photoshop. Location photoshoot and projection rendered in Houdini. Worked with Houdini TD to develop projection shader and layout tools. 

Ancient Rome

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Asset Management and laid out city based on historical research. Rendered in Maya and Painted in Photoshop. Location photoshoot and projection rendered in Maya.

The Great Gatsby - New York

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Modeled and textured projected buildings and laid out city blocks and skyline. Lit 6 high res building blocks then baked RGB lights into low res buildings using MARI. Propagated low res buildings throughout city and rendered baked RGB lights to use as adjustment layers in Photoshop to "light" city. Constructed shaders in Renderman to render passes. Then reprojected Matte Painting in Renderman.

The Great Gatsby - Hallway Extention

20+ Hallway extension shots in all different lighting conditions. Created one low res, MARI projection textured hallway in Nuke. Built Nuke gadgets for Compositors so they can integrate the one Hallway into each shot.

X Men First Class - Beach Pullout

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Full beach replacement. Modeled projection geo and projected in Nuke. Distance tree cards were populated in Maya and imported into Nuke. Closer tree cards were populated with animated tree cards with nuke gadget. Matte painting comprised of several nested projections.

X Men First Class - Floating Rockets off the Beach

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Matte Painting of background trees and beach. Combination of Maya cards and Nuke tree card gadget. Modeled projection geo and projected in Nuke.

X Men First Class - Rockets Toward the Beach

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Matte Painting of background trees and beach. Combination of Maya cards and Nuke tree card gadget. Modeled projection geo and projected in Nuke.

Rise of the Planet of the Apes - San Francisco Alley Way

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Two different plates were taken for this shot but did not match. I used elements from these two different plates and combined them into one matte painting so the animated plate elements fit into the matte painting. Painted in Photoshop, projected in Nuke.

Mars Needs Moms! - Martian Citadel

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Remodeled geo to make set modular, UVed, textured and duplicated the set back in space. Rendered several passes with different reflection and lighting arrangments. Combined passes in Photoshop and reprojected back in 3DS Max.

Mars Needs Moms! - Martian City Boulevard

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Remodeled geo to make set modular, UVed, textured and duplicated the set back in space. Rendered several passes with different reflection and lighting arrangments. Combined passes in Photoshop and reprojected back in 3DS Max.

Christmas Carol, Scrooge Shot into the Air

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Environment comprised of 3 matte painting projections. Created shot concept, designed and laid out city from existing models. Lit and rendered base passes in Maya. Painted in Photoshop and reprojected in Maya. Night sky was UVed card in Nuke. Composited in Nuke.

Christmas Carol, Fall into House

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Environment comprised of 2 nested matte painting projections in a layered Maya shader. Designed and laid out city. Lit and rendered base passes in Maya. Painted in Photoshop and reprojected in Maya.

Christmas Carol, Scrooge Pulled Behind Cart

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Environment comprised of 10+ matte painting projections. Created shot concept, laid out streets, lit and rendered passes in 3D Studio Max. Painted in Photoshop. Over saw a team of Jr. Artists and Artists from other departments in painting on projections I provided for them. Created glass distorted reflections, room interiors and light blooms. Composited in nuke.

Christmas Carol, Boy Outside Window

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Environment comprised of 5 matte painting projections. Created shot concept, modeled, textured, lit and created base renders in Maya. Painted in Photoshop. Reprojected on geo in Nuke. Created snow passes with a custom Maya shader and painted displacement maps. I created the boy's foot prints and tracks so the Compositor could reveal the steps.

Benjamin Button, Train Station

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From 15, 32 bit light source renders, I lit each shot of this train station within Photoshop. Painted set and added props in Photoshop. I was part of a film shoot to add extras to the station (I am a porter and a WWI soldier). Worked on oversised canvis to acomidate a post tilt. Shot was featured in Cinefex magazine.

Benjamin Button, Train Platform

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Rough 3D geometry was set up and I painted in place of that geo. I used photos and paint to extend the set and create the trains. I was part of film shoot to add extras to the platform (that is me in the white porter uniform).

Benjamin Button, Train Station Overcast

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With the same 15, 32 bit light source renders, I relit the station to be moody and overcast. I worked on an oversized canvas that took in the whole of the shot. I then painted on top of the renders with paint and photographs.

Benjamin Button, Train Station Modern

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Working with a 32 bit render, I integrated the CG set extension of this modern version of the same train station. I modeled and textured all the added objects for this shot. I worked on a large oversized canvas that spanned the whole shot. This shot was featured in Cinefex magazine.

Benjamin Button, Train Station Extensions

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From 15, 32 bit light source renders, I lit each shot of this train station within Photoshop. Painted set and added props in Photoshop.

Benjamin Button, Train Station Extensions

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From 15, 32 bit light source renders, I lit each shot of this train station within Photoshop. Painted set and added props in Photoshop.

My Sisters Keeper, Carnival On The Pier

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I stilled the coaster base from another plate, relit and integrated it into the matte painting. I worked closely with the compositor in problem solving and delivering elements for composite.

Josiah, Army Encampment

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I created the concept and the final matte painting. I oversaw the modeling team in building the CG tents and props. I laid out the 3D elements and rendered it in Maya. Painted in Photoshop, composited in Shake and added animated flags.

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