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* Just about every location and dungeon in ''VideoGame/FinalFantasyVIII'' that isn't part of the world map is essentially a static image the characters can run around in, although a couple of particularly spectacular scenes use rendered videos as backgrounds instead. In any case, moving to another area requires hitting one of the predefined exit points, which loads the next background picture.
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* Just about every location and dungeon in ''VideoGame/FinalFantasyVIII'' ''VideoGame/FinalFantasyVII'', ''VideoGame/FinalFantasyVIII'', and ''VideoGame/FinalFantasyIX'' that isn't part of the world map is essentially a static image the characters can run around in, although a couple of particularly spectacular scenes use rendered videos as backgrounds instead. In any case, moving to another area requires hitting one of the predefined exit points, which loads the next background picture.
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* The first three ''VideoGame/MarioParty'' games had pre-rendered images for the boards that the 3D-modeled player characters walked around on. Some minigames, though not all, would use the same technique (For example, the first game's Crane Game was in a fully-modeled in-game room, while the variation from the second game was set against a pre-rendered image of the lunar surface).
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* ''Film/TheWonderfulStoryOfHenrySugar'': In keeping with the short's vintage aesthetic, the characters often narrate in front of painted backgrounds, and a scene transition will occasionally have a "stagehand" roll these backgrounds away.
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* ''Film/Tremors2Aftershocks'' ends with a wide shot of the survivors walking towards the smoldering crater of the destroyed oil refinery. Only the foreground with the actors is really there, as the crater itself was really a painting done by acclaimed artist Rocco Giofre and was actually rescued and hung in the home of writer/director Steve Wilson after production wrapped up.
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The [[InvertedTrope opposite]] of GISSyndrome (real background, drawn foreground).
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The [[InvertedTrope opposite]] of GISSyndrome (real background, drawn foreground).
foreground). SubTrope of InCameraEffects.
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Wiki/ namespace cleaning.
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* The Schüfftan process was an earlier variation that involved reflecting the picture or piece of scenery onto a mirror, removing the unnecessary bits of reflective surface from the mirror, and filming the actors (and the rest of the set, if any) through the now-transparent glass. First developed for ''Film/{{Metropolis}}'', it also shows up in movies like ''[[Creator/AlfredHitchcock The Thirty-Nine Steps]]'' (where it was necessary because in 1935 you couldn't really shoot a huge crowd scene inside the London Palladium), and according to Wiki/TheOtherWiki, Creator/PeterJackson used it in ''Return of the King''.
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* The Schüfftan process was an earlier variation that involved reflecting the picture or piece of scenery onto a mirror, removing the unnecessary bits of reflective surface from the mirror, and filming the actors (and the rest of the set, if any) through the now-transparent glass. First developed for ''Film/{{Metropolis}}'', it also shows up in movies like ''[[Creator/AlfredHitchcock The Thirty-Nine Steps]]'' (where it was necessary because in 1935 you couldn't really shoot a huge crowd scene inside the London Palladium), and according to Wiki/TheOtherWiki, Website/TheOtherWiki, Creator/PeterJackson used it in ''Return of the King''.
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[[folder: Film ]]
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[[folder: Film Films -- Live-Action ]]
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* While Creator/RayHarryhausen is rightfully celebrated for his StopMotion creatures, the other field he was great at was matte painting.
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* In ''Film/{{Dollman}}'', shots that include both Brick, who is a little over a foot tall, and normal sized humans mostly use this.
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* The television version of ''Series/TheHitchhikersGuideToTheGalaxy'' pioneered Matte Shots within Matte Shots.
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* The television version of ''Series/TheHitchhikersGuideToTheGalaxy'' ''Series/TheHitchhikersGuideToTheGalaxy1981'' pioneered Matte Shots within Matte Shots.
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With the advent of high-definition television, matte paintings can fall into ConspicuousCG territory: peer closely at any long shot that lasts more than a few seconds where the main action is going on in the foreground, and the background will very likely be a matte painting.
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With the advent of high-definition television, matte paintings can fall into ConspicuousCG SpecialEffectFailure territory: peer closely at any long shot that lasts more than a few seconds where the main action is going on in the foreground, and the background will very likely be a matte painting.
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[[folder: Real Life ]]
* At the [[Ride/DisneyThemeParks Disney Hollywood Studios]], there was a place where a guest could place their camera on a timer setting, then form their group a few feet away. When the shot was taken, a matte painting attached to the camera stand made it look like the HOLLYWOOD sign was behind the group.
[[/folder]]
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* Many small interior locations (plus the streets of Castle Town) in ''VideoGame/TheLegendOfZeldaOcarinaOfTime'' are pre-rendered CG environments that were converted into a still image, which the 3D characters move around in front of. ''Ocarina of Time 3D'' turns all of these into proper 3D environments.
* Many of the ''Franchise/{{Halo}}'' games use these for detailed backgrounds, in both gameplay and cutscenes. To give just one example, [[https://cdna.artstation.com/p/assets/images/images/001/086/866/large/isaac-hannaford-ih-halo-reveal02.jpg?1443927390 this]] is the painting used for the shot of the Chief and the Arbiter flying towards Installation 08 at the beginning of the final ''VideoGame/Halo3'' level, "Halo".
* Many of the ''Franchise/{{Halo}}'' games use these for detailed backgrounds, in both gameplay and cutscenes. To give just one example, [[https://cdna.artstation.com/p/assets/images/images/001/086/866/large/isaac-hannaford-ih-halo-reveal02.jpg?1443927390 this]] is the painting used for the shot of the Chief and the Arbiter flying towards Installation 08 at the beginning of the final ''VideoGame/Halo3'' level, "Halo".
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* ''Film/BladeRunner2049'' combined this technique with spectacular RealLife set pieces to such great effect that only four scenes in this 130+ minutes SceneryPorn orgy made use of CGI. The result rightfully won Academy Awards for Best Visual Effects and Best Camera.
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* ''Film/BladeRunner2049'' combined this technique with spectacular RealLife set pieces to such great effect that only four scenes in this 130+ minutes SceneryPorn orgy made use of CGI. The result rightfully won Academy Awards for Best Visual Effects and Best Camera.Cinematography.
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* ''VideoGame/FinalFantasyXII'' had 2D backgrounds that you can easily spot if you're near a zone border. The whole game is 3D, but the backgrounds by the zone borders makes it obvious that there's a "wall" that looks like the neighboring area was painted on. The HD remaster makes it less noticable.
* ''VideoGame/EternalDarkness'' has one instance where at the start of Anthony's chapter, he runs towards a wooded forest that looks like a flat painting compared to the 3D environment he is in. The effect can also be seen in both chapters of the Cambodia area where the outside of the temple's entrance is a 2D painted backdrop.
* ''VideoGame/EternalDarkness'' has one instance where at the start of Anthony's chapter, he runs towards a wooded forest that looks like a flat painting compared to the 3D environment he is in. The effect can also be seen in both chapters of the Cambodia area where the outside of the temple's entrance is a 2D painted backdrop.
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The [[InvertedTrope opposite]] of GISSyndrome (real background, drawn foreground).
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* Used in ''Film/SouthPacific'', to the point that WebVideo/PawDugan cracks a joke about it in his Music Movies review of the film: "Hey, all the action's over there on that painting, let's go see!"
