Matte Painting & Environments

Colombian matte painting and digital-environment work is delivered through Toma Uno Bogotá, Limonero Films, and Imagen Latina, with extra capacity at Estudio Cuatro Medellín for shoots running concurrent Bogotá and Medellín shoots.

Here is how the work shapes up. Our briefings draw on the country's deep visual heritage. Cartagena de Indias' UNESCO-listed Walled City and Castillo San Felipe period-extension work, Sierra Nevada de Santa Marta and Tayrona National Park jungle and coastal extensions, Caño Cristales' liquid-rainbow river paintings, and the literary Macondo magical-realism environment palette set up by García Márquez — into reference packs that direct the matte-painting brief. The Embrace of the Serpent jungle-matte custom set up by Ciro Guerra stays a foundational reference for Amazonian and Pacific environment work, complemented by the atmospheric Pacific aesthetic Apichatpong codified on Memoria.

Here is how the picture comes together. Production pipelines run Substance Painter, ZBrush, Photoshop, and Mari for the painting and asset stage, with Nuke and Cinema 4D handling projection setup and 3D integration for 2.5D and full-3D camera moves. Photographic plate gathering is set up alongside HDRI capture in Cartagena, the Sierra Nevada, the coffee zone, and the Caribbean coast for shoots that need real Colombian environment libraries.

Here is what we have to work with. Set extensions cover Cartagena's Walled City and Plaza Santo Domingo period dressings, Bogotá's La Candelaria colonial quarter, Medellín's Botero-era cityscapes, and the pre-Columbian Quimbaya / Tairona / Muisca archaeological visuals referenced in the country's look. Output is delivered as EXR sequences for ACES-linear compositing pipelines or projected geometry packages for Nuke and Maya, with bilingual EN/ES creative direction across review cycles via Frame.io for shoots routing through Netflix Latam, HBO Max LatAm, Disney+, and Amazon Prime LatAm.