Over Time
Traditionally, matte painting were made by artist using paints or pastels on large sheets of glass for intergrating with the live-action footage. The first known matte painting shot was made in 1907 by Norman Dawn (ASC), who improvised the crumbling Califonia Missions by painting them on glass for the movie Missions of Califonia.
By the mid-1980s, advancements in computer graphics programs allowed matte painters to work in the digital realm. The first digital matte shot was created by painter Chris Evans in 1985 for Young Sherlock Holmes for a scene feauturing a computer-graphics (CG) animation of a knight leaping from a stained glass window.
Throughout the 1990s, traditional matte paintings were still in use, but more often in conjunction with digital compositing. Die Hard 2: Die Harder (1990) was the first film to use digitally composited live-action footage with a traditional glass matte painting that has been photographed and scanned into a computer.
Paint has now been superseded by digital images created using photo references, 3-D models, and drawing tablets. Matte painters combine thrive digitally matte painted textures within computer-generated 3-D environments, allowing for a 3-D camera movements.
1930s
The army barracks In All Quiet On The Western Front (1930)
Count Dracula's castle exteriors In Dracula (1931) and other scenes.
The view of Scull Island in King Kong (1993)
1970s
The rooftops of Portobella Road in Bedknobs and Broomsticks (1971)
The city railway line in The Sting (1973)
Views of a destroyed Los Angeles in Earthquake (1974)
1980s
The Batty and Deckard chase scene In Blade Runner (1982)
The view of the crashed space ship in The Thing (1982)
The view of the OCO tower in RoboCop (1987)
Books
The Invisible Art: The Legends Of Movie Matte Painting, Chronicle Books, 2002 by Mark Cotta and Craig Barron
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