Creating Worlds THE TORONTO MATTE PAINTING TEAM Enjoying the adventures of young explorer, Marco Polo returned in Season 2 and Pixomondo is proud to work on the VFX for this wonderful show again! While it is tonality consistent as the first season, the battle and story is more complex, violent and quicker paced, digging deeper into each character’s inner struggle. The matte painting team had to skillfully craft the environments to accurately portray the key moments to the audience. Our team was very successful in creating an interesting world that truly reflected the intentions of the show’s creators. The first season of Marco Polo brought many challenges in executing the many varied locations. The asset department and the production designer worked closely together in creating detailed architectural sets that integrated seamlessly into the provided plates. The architectural features were extremely unique, so the textures needed to be created from scratch. Our VFX supervisor Mahmoud Rahnama bought us horse head masks to celebrate the completion of the show and everybody had a blast wearing them around the office. -Mujia It was one of greatest moments for me as an artist; we were appreciated as a team. Awarding us the work was a massive appreciation gesture. -Bojan Another challenge the team faced involved creating an elaborate rebellion camp with an explosion that overtook hundreds of Mongolian tents. This is one of the most memorable, intense sequences in the show, as it contained a flaming horse (no horses were harmed in the making of the show). The first season of Marco Polo brought many challenges in executing the many varied locations. The asset department and the production designer worked closely together in creating detailed architectural sets that integrated seamlessly into the provided plates. The architectural features were extremely unique, so the textures needed to be created from scratch. Our VFX supervisor Mahmoud Rahnama bought us horse head masks to celebrate the completion of the show and everybody had a blast wearing them around the office. -Mujia The team grew a love-hate relationship creating a large quantity of concepts that grew into final matte paintings. All of the matte paintings helped produce all of the subtle interactive elements that brought life to the season. In using a modular approach with each scene set assembly, we were able to have each shot convey the sense of enormity and believability. We started with base models that allowed for flexibility and the ability to expand upon. With this in mind, we were able to create multiple unique sets and use them in many lighting scenarios. In addition to asset creation and massive environments, the sets were later enhanced with FX and Live Action elements that added to the chaos and realism of the sequence. Although we were more prepared for season two, we had the challenge of creating several large tent encampments. Each tent and camp had to have a distinct feel and be clearly identifiable from each other. The matte painting team rose to the challenge of creating a fully interactive environment for the fiery finale of the season creating pre, present and post destruction versions of one of the encampments.

Toronto Matte Painting Team

Creating Worlds The Toronto Matte Painting Team Enjoying the adventures of young explorer, Marco Polo returned in Season 2 and Pixomondo is proud to work on the VFX for this wonderful show again! While it is totally consisstent as the first season, the battle and story is more complex, violent and quicker paced, digging deeper into each character’s inner struggle. The matte painting team had to skillfully craft the environments to accurately portray the key moments to the audience. Our team was very successful in creating an interesting world that truly reflected the intentions of the show’s creators. The first season of Marco Polo brought many challenges in executing the many varied locations. The asset deparment and the production designer worked closely together in creating detailed architectural sets that integrated seamlessly into the provided plates. The architectural features were extremely unique, so the textures needed to be created from scratch. Our VFX supervisor Mohmoud Rahnama bought us horse head masks to celebrate the completion of the show and everybody had a blast wearing them around the office. -Mujia It was one of the greatest moments for me as an artist; we were appreciated as a team. Awarding us the work was a massive appreciation gesture. -Bojan Another challenge the team faced involved creating an elaborate rebellion camp with an explosion that overtook hundreds of Mongolian tents. This is one of the most memorable, intense sequences in the show, as it contained a flaming horse (no horses were harmed in the making of this show). The team grew a love-hate relationship creating a large quantity of concepts that grew into final matte paintings. All of the matte paintings helped produce all of the subtle interactive elements that brought life to the season. Although we were more prepared for season two, we had the challenge of creating several large tent encampments. Each tent and camp had to have a distinct feel and be clearly identifiable from each other. In using a molecular approach with each scene set assembly, we were able to have each shot convey the sense of enormity and believability. We started with base models that allowed for flexibility and the ability to expand upon. With this in mind, we were able to create multiple unique sets and use them in many lighting scenarios. In additiont to asset creation and massive environments, the sets were later enhanced with FX and Live Action elements that added to the chaos and realism of the sequence. The matte paintint team rose to the challenges of creating a fully interactive environment for the fiery finale of the season creating pre, present and post destruction versions of one of the envampments.