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This course is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.
In this movie, I'm going to show you how to light that clone party that we created in the previous movie here inside Photoshop. And the idea is this; because the light source changed from one image to the next, we have an inconsistent effect overall. So the scene doesn't look like it's exactly credible. For starters, the two main characters in the scene, which are these guys who are fighting each other are awfully dim, especially by comparison to some of the characters in the background. This guy in the far background is about as bright as you get, and this guy here is awfully bright as well.
But probably the biggest problem is these two characters right there. They could not occupy the space the way they are. This guy's arm would be extending into this guy's back which of course is a physical impossibility, which is why I decided to separate the two of them by casting a shadow from this right-hand guy, the fighter, on to the left- hand guy who is reacting to the scene. And then I thought I'd go ahead and add a shadow here as well so the guy in a tie dye shirt is casting a little bit of shadow on to the plaid guy's arm. And I ended up coming up with this final effect here.
So you can we've got better lighting where the foreground elements are concerned. So let's see how it works. I'm going to switch back to my image at hand, and with this rearmost layer selected, the one called blue table, I'm going to press the Alt key or the Option key on the Mac and click this Black/White icon at the bottom of the Layers panel, and then choose Brightness/Contrast. Because I have the Alt or Option key down, that forces a display of the New Layer dialog box, and I'm going to go ahead and call this layer shading, and then I'll turn on this check box, Use Previous Layer to Create Clipping Mask. Then click OK.
Then I'll press Shift+Enter or Shift+Return on the Mac to activate that first value, Brightness. And I'll take it down to -50, and then I'll take the Contrast value down to -30. Then I'll hide the Properties panel so that we can see what's going on on screen. You can see that this guy is much dimmer in the background now. All right, I also want this guy right there to be a little bit dimmer, so I'm going to duplicate the shading layer by pressing the Alt key or the Option key on the Mac and dragging it to above the shot caller layer, and the shot caller is this guy right there.
Now this adjustment is currently affecting the entire scene, that is all of the four layers below it. I wanted to affect the shot caller layer only. So I'll press the Alt key or the Option key on the Mac and click that horizontal line between the two layers, so that we're clipping the adjustment inside the shot caller layer. All right, now I'm going to scroll up to this layer right there, reactor, and that's this guy who is reacting to the scene. Notice that I've painted in a shadow, so I'll go ahead and turn on that hand-painted shadow. That's all it is, it's just a blobby brush stroke right there.
I'm going to go ahead and click on that layer to make it active, and then I'll press the I key in order to switch to the eyedropper, and I'll click on the brush stroke so that you can see that it's not quite black, it's a kind of dim dark yellowish green. Let's make it a shadow by switching back to my Rectangular Marquee tool which I do by pressing the M key, and then I'll press Shift+Alt+M or Shift+Option+M on the Mac to switch this layer to the Multiply mode so that it is interacting with the details on the background. And then I'll press the 7 key to reduce the Opacity value to 70%, and that creates a kind of shadow, but then I reasoned--notice the shadow that's casting off of this guy's arm? Notice that it starts dark and then fades out a little bit.
So it seems to me there should be a little fade associated with this shadow too. So I started by adding a layer mask, which you can do by clicking on the Add Layer Mask icon at the bottom of the Layers panel and then I switched over to the Gradient tool. And notice that I've got a White to Transparent gradient going. It's not what I want, so I'll press the X key in order to switch the foreground color to Black, now I've got a Black to Transparent gradient. And I'm going to create the gradient right about like that there, so that we have a little bit of fade associated with that shadow.
Now I want to dim this guy down a little bit. So I'm going to grab that shading layer once again, and Alt+Drag or Option+Drag it above the shadow layer, and you know both of these guys want to be clipped inside the reactor layer, so I'll Alt+Click on the horizontal line above reactor and then Alt+Click on the horizontal line below the shading layer, and I'll double-click in the Layers thumbnail to bring up the Properties panel. And I'll again press Shift+Enter or Shift+Return on the Mac to highlight that Brightness value and I'll press Shift+Up Arrow a couple of times to take the value up to -30, and then I'll change the Contrast value to 0.
That takes care of that guy. Now we need to brighten these fighters a little bit here. So I'll start things off by scrolling up my list until I get to the clown layer, that's this guy in the plaid shirt, and he needs a shadow as you can here. And I've actually painted a shadow in, so I'll go ahead and turn that shadow layer on, it's that exact dark, low saturation, greenish yellow that we used before. So I'll click on the layer to make it active, and I'll Alt+Click or Option+Click the horizontal line below the shadow layer, so that we are clipping the shadow into the shirt, and then I'll press the M key to select my Rectangular Marquee tool and I'll press Shift+Alt+M to switch the blend mode to Multiply, and then I'll press the 5 key to take the Opacity down to 50%.
And we want to mask this shadow a little bit as well. So I'll click on the Add Layer Mask icon down here at the bottom of the Layers panel. I'll switch back to the Gradient tool this time just by pressing the G key, and I'm going to draw a little gradient about like that there. Now that's too much of a fade going on. So I'll double-click in the layer mask thumbnail which goes ahead and opens up the Properties panel here inside CS6. If you're working in CS5 or earlier you'll need to go to the Window menu and choose the Masks command to bring up the Masks panel. Then take the Density down to 50%, and you can see that that ends up turning my gradient gray, which means that I'm bringing back some of that shadow.
Now I'll go ahead and hide the Properties panel, and I'm going to press the B key to get my Brush tool. I'll right-click inside the Image window. Let's take the Hardness value down to 0%, and then with black as my foreground color, I'm going to click right about there, just to take some of the heat out of that shadow. Now this guy wants to be brighter, so I'll press the Alt key or the Option key on the Mac and click the Black/White icon at the bottom of the panel, and choose the Brightness/Contrast command once again, and I'll call this new layer lighten and I'll also turn on Use Previous Layer to Create Clipping Mask.
That way we're just affecting this one layer. And I'll click OK. Press Shift+Enter, Shift+Return on the Mac to highlight the Brightness value and I'll raise that to 20. Now I'll go ahead and close this Properties panel, and just so you can see what kind of difference these two layers have made, I'll turn them off for a moment. This is the before version of this guy in the plaid shirt and this is the after version. So he is standing out a lot better. Now let's go up to the fighter layer here, which is this guy over here on the left-hand side. And I'm going to Alt+Drag or Option+Drag the lighten layer above the fighter layer to make a copy of it.
Alt+Click or Option+Click the horizontal line between the two layers to clip the adjustment inside the fighter layer, and then I'll double- click in the Layer's thumbnail in order to bring up the Properties panel and I'm going to take the Contrast value down to -30. So we've got a Brightness value of 20, a Contrast of -30, go ahead and close the panel. That almost takes care of everything. I'm going to press Ctrl+0 or Command+0 on the Mac in order to zoom out. The last thing I wanted to do is just brighten up the entire scene. So I'm going to go ahead and Alt+Drag or Option+ Drag that lighten layer to the very top of the stack, and this time I'm not going to clip it inside any of the layers, because I want it to affect every single layer in the stack.
I want this dive-in awning right there to be brighter. So I'm going to dropdown to the bottom of the panel here and go ahead and click on that shading layer, the one directly above blue table is dimming that sign down. As you can see, if I turn it off and then turn it back on. So what we need to do is mask the adjustment layer, and I'm going to do that by adding a layer mask of course, so I'll click the Add Layer Mask icon at the bottom of the Layers panel. I'll increase the size of my cursor quite a bit. Then with a soft brush I'll just go ahead and brush back in that sign.
Now I might brush along the top of the scene as well, just to make sure we don't have any weird edges. And that takes care of it, folks. We'll go ahead and press Shift+F in order to enter the Full Screen mode, and here is the final version of the composition, with all 12 Jacobs lit and casting shadows just as they might if they actually existed in the real world.
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