Matte World Digital was a visual effects company based in Novato, California that specialized in realistic matte painting effects and digital environments for feature films, television, electronic games and IMAX large-format productions. The company closed in 2012 after 24 years of service in the entertainment industry. History The company, initially called Matte World, was co-founded in 1988 by visual effects supervisor Craig Barron, matte painter Michael Pangrazio, and producer Krystyna Demkowicz. Barron and Pangrazio had worked together at Industrial Light & Magic, starting in 1979, when they helped create the matte-effects shots for George Lucas' The Empire Strikes Back. Barron and Pangrazio continued to work with the crew at ILM on notable matte-painting scenes in several classic features including Raiders of the Lost Ark, and E.T. the Extra-Terrestrial. Barron left ILM in 1988 after serving four years as supervisor of photography in the company’s matte department. The Matte World team formed to provide realistic matte-painting effects for film and television. In 1992, the company was renamed Matte World Digital, reflecting the new technological tools available to matte painters. Since then, MWD has created digital-matte environments for films directed by (among others) Martin Scorsese, Francis Ford Coppola, James Cameron, and David Fincher. After working on shots for more than 100 films, Matte World Digital closed its shop in August, 2012. Digital innovations MWD was the first visual-effects company to apply radiosity rendering to film in Martin Scorsese’s Casino (1995). Recreating the 1970s-era Las Vegas strip was made possible by simulating the indirect bounce-light effect of millions of neon lights. Radiosity rendering allowed for the first true simulation of bounce-light in a computer-generated environment. For David Fincher’s The Curious Case of Benjamin Button, one of MWD’s challenges was to create 29 digital matte paintings of a New Orleans train station and its various looks throughout time: new, run-down, and remodeled. To accomplish all these scenes from one 3D model, the company used Next Limit’s Maxwell rendering software—an architectural visualization tool—revamping the software to accurately mimic real-world lighting. When Fincher requested a low-altitude helicopter shot over Paris, Barron took digital reference photos from a helicopter flying over the city at a higher altitude (as required since 9/11). Then the team at MWD used a flight simulator to determine aerial views at a lower height. Once the height and angles were worked out on the simulator and approved by Fincher, a high-resolution CG model