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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.
Now it's time to light up some windows inside the chalet as dusk falls on the scene. First, turn off the BlueMultiply layer and zoom in on the chalet so you can select the windows. Let's first work with the Magic Wand tool and see if we can select the window- panes without getting the window supports. I'm holding down the Shift key each time I make a selection so that I add to the selection rather than starting a new one. I'm going to need to do some cleanup on these windows, but this is giving me a good start.
With the Lasso tool still selected, I'm going to set the Feather down to 1 so I get a little bit of a soft edge and go in and clean up all of these borders. I'm using the Freehand Lasso tool right now, but I'm going to want to switch to the Rectangular Marquee tool to clean up the horizontal and vertical edges of the windows. And again, I want to make sure that the Feather is set to 1 pixel and then go through and clean up all of these window edges and supports. I've done a random selection of the windows throughout the house, and I plan to bring these on one at a time, so it will look like different parts of the house become illuminated at different times.
I also want to select these windows down here, because I plan to show the light shining out from them onto the snow. This area is rather low contrast, so I have to hand select it. That's just about it. I want to get these bottom partial windows. Now I want to add a new layer, and this needs to be on top of the BlueMultiply layer. I'm going to call this layer Windows. Then I'm going to turn on that BlueMultiply layer because I need to know what this scene will look like in its dusk state.
Then I'm going to choose a nice warm, inviting color for the interior of the chalet and with a big soft round brush, I'm going to go with it and brush all of these windows with color. I want to vary the color. If I leave it like this, it will look like these windows are made out of frosted glass, so let me choose a darker orange and then go through and just add some variation throughout. And then I'm going to choose a nice bright highlight color, like a bright yellow, and dab that in.
That will show where lights are on in the room. And then finally, I want to choose a darker warm color and go through and turn off the lights in various sections of the room. It will look much more like people are actually living in the structure. Then I want to zoom out and deselect all and take a good look at this. It's looking pretty good. I think I've got a few too many lights. I'm going to go through with the eraser and add even a little more variation.
With the illuminated windows added in, the BlueMultiply layer now looks lighter than it should be and a bit too bright. Open up the Curves dialog and pull down on the white point to both darken and desaturate the layer. Then pull down on the midtones a bit to darken it even more. Now the scene looks very dusky. However, it now looks too desaturated, so open up the Saturation dialog and add a few points of saturation. Next, let's add an orange glow to the hills and the top of the chalet to more closely unify the sky and the landscape.
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