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In this course, well-known author, teacher, and illustrator David Mattingly demonstrates his production-proven matte painting techniques and shows how to turn a summer daytime scene into a wintry nightscape using Photoshop and After Effects. David shows how to take a plate, or a still shot from a film, and alter key elements to change the season and time of day. Using advance digital matte painting methods, David removes all of the greenery from the mountains, fields, and trees, and covers them with snow. Then he replaces the sky, and adds realistic touches such as chimney smoke, icicles, and night-lit windows. In the final chapters, you'll discover how to create an animated scene that cross-dissolves between the two versions.
With the animated transition from summer to winter and from daytime to dusk completed, let's turn on the windows in the chalet sequentially as nighttime falls on the scene. So first off, locate and turn on the Windows layer, and then open up the Properties panel. Then set an opacity keyframe at around frame 400. I'm going to scoot the keyframe back a bit to maybe 375 and then move forward and set a 100% keyframe.
Lights in houses don't usually fade on; they snap on as people turn on their lights, so let's move those two keyframes together. Let's preview that. That's good, but I don't like how these lights come on together. So let's set up some masks on the windows and have them come on at different times. In the top toolbar, I'm going to select the Rectangle tool to create some rectangular masks. Make sure that you have the Windows layer selected and draw right around that bottom window.
Now click on the Windows layer itself, not the mask, and duplicate the layer, which is Command+D or Ctrl+D. Select the mask and then move it up so that it's around a different window. Duplicate that windows layer again, select the mask, and move it up around yet another set of windows. And resize it, Then duplicate the windows layer again, select the mask, and move it over another set of windows.
Than duplicate the windows one last time, select the mask, and move it over the last set of windows. Now I'm going to select all of the windows layers and then hit T, so it will reveal the opacity properties for all the windows. Then offset the Opacity property for all of the layers so they're all slightly different. That way all the windows will come on at different times. Next up, we're going to animate the smoke using a displacement map, and we'll do that in the next lesson.
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