director) intentions. However, there are artists such as Mathieu Raynault who stated that they are often brought into the production at a very early stage, providing sketches and concepts to get a dialogue started with the director or art director. Raynault was involved on films like 300, Star Wars: Episode II Attack of the Clones, and two Lord of the Rings films, among others. Because of the growing need for 'moving' mattes, camera projection mapping has been implemented into the matte painting timeline. Although ILM CG Supervisor Stefen Fangmeier came up with the idea of projecting Yusei Uesugi's aerial painting of Neverland onto a 3D mesh modeled by Geoff Campbell while working on the motion picture Hook in 1991, projection-mapping based 3D environment matte art was until recently, like its predecessor matte painting has been, the industry's best-kept secret. The involvement of 3D in this until then 2D art form was revealed by Craig Barron in 1998 after completing their work on the feature film Great Expectations when they introduced this technique as a 2.5D matte to the public. In production today this combination of 2D and 3D is part of every matte artist's bread and butter. Because of their high artistic skills, digital matte artists are often also involved with the creation of concept artwork. Notable digital matte painters Michael Pangrazio Dylan Cole David Luong Milan Schere Max Dennison Jaime Jasso See also Matte painting Camera projection mapping References Books Barron, C., 1998. Matte Painting in the Digital Age. In: Invisible Effects. Siggraph 98: Proceedings of the 25th Annual Conference on Computer Graphics, July 23, 1998. Orlando, Florida, USA. Cotta Vaz, M., 2002. The invisible Art: The Legends of Movie Matte Painting. San Francisco, CA, USA: Chronicle Books. Rickitt, R., 2007. Special Effects: The History and Technique. London, UK: Billboard Books. Uesugi, Y. et al., 2008. d'artiste Matte Painting 2. Adelaide, SA, AUS: Ballistic Publishing. Matte artist