Filmmakers before computer graphics often relied on matte painting: artists would paint environments and construct the scene on a single plane of glass to later be composited back into the scene, integrating stills with live-action footage. Hierarchy is present in scene construction: the focus is generally on live-action subjects with the environment considered less important. The hierarchy of subjects improves the cost-effectiveness of production. Painted spaces are dark, so paint strokes are not seen on camera. The focus is pulled to the live-action, distracting viewers from the otherwise imperfect matte painting. Imperfect, but good enough to fool.

By shortcutting scene construction and intentional focus, I apply an intentional down-sampling methodology in designing a film school as an extension of the existing Faculty of Dramatic Arts, Belgrade. Taking further concepts from digital image resolution and video game optimisation allows the intentional downsampling to construct scenes. Downsampling dictates what is in and what is out of focus. The architectural manifestation of focus appears through the construction of framed views and wall panel treatments which dictate focus.