Zaid Al Momani

Doctoral Researcher

Location: Cambridge

Areas of Expertise: Film and television production , Media arts

Zaid's primary research area is colour correction and colour theory towards believable matte painting.

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Watch a video of Zaid's work on YouTube

zaid.almomani@pgr.anglia.ac.uk

Background

Zaid Al Momani is a 3D animation and visual effects artist who started his education journey with a Bachelor degree in graphic design at Applied Science University (Amman, Jordan). In 2011, he graduated with a Masters degree in 3D animation and visual effects from the Academy of Art University (San Francisco CA, USA). During his Masters degree, he participated in the San Francisco VFX Spring Show Festival and won an award for the best matte painting. He also worked on movies for the visual effects industry under the name of the Academy of Art University Studios. Zaid’s entry into the film industry started in Jordan in 2013, and because most of his work was in the post-production field, he soon became fascinated by colour, which led him to do PhD research based on his experience.

Research interests

Research synopsis:

There have been a number of important studies on believability and visual effects in recent years, and they look at the level of believability in relation to animation, CGI and the latest in 2.5D and 3D effects. However, what no research has attempted until now is a study on believability in matte painting. This visual effect is one of the oldest and most frequently used techniques in post-production, and it would be extremely useful to study its methods to make suggestions for improving the believability of mattes. By focusing on believability, production teams will look at their work from the point of view of the audience, and be able to produce more effective VFX.

The theory of believability is the idea that a motion picture should be credible to an audience. In today's film industry there are a huge amount of special photographic effects, and the power of effects artists has never been greater than in the modern computer age; their vision and potential has also never been so huge and indeed, may be called limitless.

In this research, Zaid attempts to clarify the role of colour correction and realistic sky replacement techniques, and question how a more believable image impacts an audience.