Definitions for mattemæt
This page provides all possible meanings and translations of the word matte
a mixture of sulfides that forms when sulfide metal ores are smelted
flatness, lusterlessness, lustrelessness, mat, matt, matte(adj)
the property of having little or no contrast; lacking highlights or gloss
flat, mat, matt, matte, matted(verb)
not reflecting light; not glossy
"flat wall paint"; "a photograph with a matte finish"
felt, felt up, mat up, matt-up, matte up, matte, mat(verb)
change texture so as to become matted and felt-like
"The fabric felted up after several washes"
A decorative border around a picture
The image is a perfect square of 8 cm (with white matte border the total dimensions are 14 cm tall by 11 cm wide).
A background, often painted or created with computers
Matte painting is a tool that filmmakers can use to create a scene that is either too impractical, too costly or simply too impossible to achieve with conventional cinematographic means.
The molten metal sulfide phases typically formed during smelting of copper, nickel, and other base metals
dull, not reflective of light
Flat or matte paint allows a deep color expression on the walls while also hiding flaws that may be inherent on the painted surface.
a partly reduced copper sulphide, obtained by alternately roasting and melting copper ore in separating the metal from associated iron ores, and called coarse metal, fine metal, etc., according to the grade of fineness. On the exterior it is dark brown or black, but on a fresh surface is yellow or bronzy in color
a dead or dull finish, as in gilding where the gold leaf is not burnished, or in painting where the surface is purposely deprived of gloss
Mattes are used in photography and special effects filmmaking to combine two or more image elements into a single, final image. Usually, mattes are used to combine a foreground image with a background image. In this case, the matte is the background painting. In film and stage, mattes can be physically huge sections of painted canvas, portraying large scenic expanses of landscapes. In film, the principle of a matte requires masking certain areas of the film emulsion to selectively control which areas are exposed. However, many complex special-effects scenes have included dozens of discrete image elements, requiring very complex use of mattes, and layering mattes on top of one another. For an example of a simple matte, we may wish to depict a group of actors in front of a store, with a massive city and sky visible above the store's roof. We would have two images—the actors on the set, and the image of the city—to combine onto a third. This would require two masks/mattes. One would mask everything above the store's roof, and the other would mask everything below it. By using these masks/mattes when copying these images onto the third, we can combine the images without creating ghostly double-exposures. In film, this is an example of a static matte, where the shape of the mask does not change from frame to frame. Other shots may require mattes that change, to mask the shapes of moving objects, such as human beings or spaceships. These are known as traveling mattes. Traveling mattes enable greater freedom of composition and movement, but they are also more difficult to accomplish. Chroma key techniques that remove all areas of a certain color from a recording - colloquially known as "bluescreen" or "greenscreen" after the most popular colors used - are probably the best-known and most widely-used modern techniques for creating traveling mattes, although rotoscoping and multiple motion control passes have also been used in the past. Computer-generated imagery, either static or animated, is also often rendered with a transparent background and digitally overlaid on top of modern film recordings using the same principle as a matte - a digital image mask.
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