Introduction Welcome| 00:00 |
(MUSIC).
| | 00:04 |
Hi, I'm Bert Monroy, and welcome to
Dreamscapes Volume Two.
| | 00:07 |
This is a continuation of Volume One.
But what I really want to stress is that,
| | 00:12 |
everything you're going to see is being
done with very bad photography.
| | 00:16 |
In fact, most of it is being taken with a
phone, not a big fancy camera.
| | 00:20 |
The point is that, you can do just about
anything you can imagine.
| | 00:24 |
With Photoshop.
And what I'm going to use is just very
| | 00:28 |
simple throwaway vacation shots and
transform them into surreal effects.
| | 00:33 |
The effects that you can easily create by
just following simple steps in Photoshop.
| | 00:38 |
In some cases there will be shots that
will be done specifically for a
| | 00:41 |
dreamscape.
And even then those shots will be shot
| | 00:45 |
against a garage door, just putting on a
very simple props.
| | 00:49 |
Nothing that requires a very elaborate
set-up.
| | 00:52 |
This is just very simple steps to create
very fantastic scenes.
| | 00:57 |
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| Using the exercise files| 00:00 |
If you are a premium member of the
lynda.com online training library, you
| | 00:04 |
have access to the exercise files used
throughout this title.
| | 00:08 |
The exercise files are organized in
chapters.
| | 00:11 |
At the start of each lesson, you'll be
provided with an overlay showing you the
| | 00:14 |
location of the files you need.
Right here, we see the folder of exercise
| | 00:18 |
files, and I open it up, and you can see
that they're broken down into the
| | 00:21 |
chapters.
If you're a monthly member or annual
| | 00:25 |
member of lynda.com, you don't have
access to the exercise files, but you can
| | 00:28 |
follow along from scratch with your own
assets.
| | 00:32 |
And I really want to stress that, that
these files are purely for the exercise
| | 00:36 |
shown here, what I want you to do is take
your own images and create your own
| | 00:40 |
Dreamscapes based on what you come up
with.
| | 00:45 |
Let's get started and let's have some
fun.
| | 00:48 |
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|
|
1. Flying Horse| Introduction | Isolating and retouching the horse| 00:00 |
So now we're going to create a flying
horse.
| | 00:03 |
And I'm going to start off with this
little horse right here.
| | 00:05 |
Taken by my good friend Kathy Syler, it's
here horse.
| | 00:09 |
And what we're going to do is we're going
to take this horse and pull it out, of
| | 00:13 |
it's background.
Now this horse is perfect, it's got the
| | 00:16 |
right movement.
Perhaps the mane and tail are cut off
| | 00:19 |
back there, but we're going to recreate
those from scratch.
| | 00:23 |
All we need is basically the horse, and
we pretty much see the entire horse here.
| | 00:27 |
Now it's going to be kind of hard to
separate this horse from its background,
| | 00:30 |
especially from these areas down here by
most means.
| | 00:34 |
So what I'm going to do is I'm going to
come in here, and get in real close and
| | 00:37 |
I'm going to do it with the Pen Tool.
So what I'm going to do is I'm going to
| | 00:41 |
get my Pen Tool right here, and I'm
going to start at some point where we
| | 00:44 |
have a straight corner like right about,
let's say right here, at the beginning of
| | 00:48 |
the ear there.
And I'm just going to follow the shape of
| | 00:53 |
the ear, just like so, keeping it
slightly inside of the actual area of the
| | 00:59 |
horse.
Here, I'm going to change direction, I
| | 01:03 |
can go this way and just following the
shape of the horse, and you notice that
| | 01:07 |
I'm staying slightly inside to make sure
that I get a clean horse without some of
| | 01:10 |
that background coming in.
Now if you want, you can get even closer,
| | 01:16 |
just to be sure.
And then you can see we got this little
| | 01:19 |
bump going up here, then it goes down
here, then it comes back up here again,
| | 01:23 |
and come down, and got this little shape
around to here.
| | 01:27 |
Here we're going to change directions.
I Option click to come around this little
| | 01:31 |
circle right here, down to here, and
around, up in there, round to there, and
| | 01:36 |
I get this little dip in there.
So I'm going to Option Now click, and
| | 01:42 |
pull out a new handle coming in this
direction.
| | 01:46 |
And, we follow the shape of the horse,
like so, come up to here and go right
| | 01:50 |
around this.
Now this looks a little rough here, so
| | 01:54 |
I'm just going to pull this handle in a
little bit.
| | 01:56 |
And I'm holding down my Cmd key, just to
give me the pointer for a second there,
| | 02:00 |
so I can go in there and make adjustments
as I'm working on the horse.
| | 02:04 |
And we're going all around all these
different areas of the horse.
| | 02:08 |
Now, it's going to take a while to do the
entire horse, so you'll notice I already
| | 02:12 |
have a Path set up to select the entire
horse.
| | 02:16 |
So there's our horse.
So what I'm going to do, is I'm going to
| | 02:19 |
turn that Path into a Selection, just do
it here, make sure no other settings is
| | 02:23 |
set up, we got 0 for the feather, we want
it to be a nice hard edge and click OK.
| | 02:28 |
There's our horse, which we're now going
to send to a new layer via Copy or Cut;
| | 02:32 |
it doesn't matter, so we'll just say
Copy.
| | 02:36 |
So when we look at our layers, we see
that our horse is now in its own layer.
| | 02:41 |
We can actually throw some color into the
background here if we want, or just throw
| | 02:44 |
a white, into the background so we have
something to see.
| | 02:48 |
Now, to make our horse look the way we
want in adding wings, and all the other
| | 02:52 |
things, we're going to need a little more
room on this.
| | 02:56 |
So what I'm going to do is I'm going to
give the canvass some more size.
| | 02:58 |
I'm going to go into Image, and go to
Canvass Size.
| | 03:01 |
And here, I'm going to say let's make it
another, well we can kind of move the
| | 03:05 |
horse over, so we don't have to make it
any wider.
| | 03:09 |
But we do want a little more height on
this, so I'm going to give it a whole 15.
| | 03:13 |
And we'll put the horse at the bottom and
click OK.
| | 03:15 |
So that gave us some additional space.
So, I'm going to take my horse and move
| | 03:18 |
him over, so we'll grab that layer and
move him into the center here like this.
| | 03:23 |
So now, there is some retouching we're
going to need to do.
| | 03:26 |
So I'm going to come in here, real close
on its feet down here, and we see that
| | 03:29 |
there's some rough areas, and it looks
like a little grass there and so on.
| | 03:35 |
So with my Clone Tool, I'm going to lock
the transparency to make sure that I
| | 03:38 |
don't go beyond the boundaries of my
horse right now.
| | 03:42 |
So I'm going to in there and start to
clean out the little areas that require a
| | 03:45 |
little change.
So I'm going to go in here and like right
| | 03:48 |
there, there's that little spot.
So I'll click here and say let's just
| | 03:52 |
cover that up right in there, and we got
this going right there, and we'll say All
| | 03:56 |
Layers, yeah, we're there, and we're just
slowly covering that little piece up.
| | 04:02 |
Same thing here, these little blemishes.
I want to go in there and, it's going to
| | 04:05 |
be a little close, so I'm going to go
right from the edge here, and slowly
| | 04:08 |
start to cover those areas up.
Now, I'm going to soften up the edge of
| | 04:12 |
my brush a little more, just a little
more, to get me a little softer kind of a
| | 04:14 |
thing here.
And then I'm just going to slowly go into
| | 04:18 |
these areas here, like that.
And I'm going to turn off the Pressure
| | 04:21 |
Sensitivity here, because I don't want
anything, I'm going to control everything
| | 04:25 |
by the size of my brush.
And then here, I'm going to go down.
| | 04:30 |
Now, because I have transparency locked,
you notice that I'm not going beyond the
| | 04:34 |
area.
I don't have to be so careful about
| | 04:37 |
staying within the lines.
kind of like the old days when you played
| | 04:40 |
with a, you're a kid drawing in a
coloring book, you had to stay inside
| | 04:43 |
inside the lines.
Well here, you don't have to worry about
| | 04:47 |
that because our lines are being
protected by the locked transparency.
| | 04:51 |
There we got this whole little thing
here, and if we want to soften this up,
| | 04:55 |
we can go in there and really bring down
the softness.
| | 04:58 |
And then just kind of make the brush a
little bit bigger, and we'll just kind of
| | 05:02 |
very lightly just soften that little edge
up.
| | 05:05 |
Same thing here.
We're going to go in there and start to
| | 05:08 |
get rid of some of these unnecessary
little tones in there, we don't want
| | 05:11 |
those.
And that's looking good, and maybe this
| | 05:15 |
little blemish there, and right in here.
Alright?
| | 05:20 |
So there, our horse is now ready to go.
Next we're going to start adding some
| | 05:24 |
mane and we're going to create the wings.
Now, as far as the actual mane and the
| | 05:29 |
tail are concerned, I already did
something like that, so I'm not going to
| | 05:34 |
teach you here, again.
If you refer to my time square series,
| | 05:39 |
and the people part of that series, there
is a section called, creating hair.
| | 05:44 |
And there, it will show you how the hair
was created, the mane in this particular
| | 05:48 |
case.
So, right here, you'll see that I have a
| | 05:51 |
file for the mane, right there.
Now, it's facing in a different
| | 05:55 |
direction, because my horse is eventually
going to face in a different direction.
| | 06:00 |
So let's go and do that now.
Let's take our horse here, and we'll take
| | 06:04 |
the horse itself, and say flip
horizontal.
| | 06:08 |
So there's our horse.
In fact, let's now let's move him back
| | 06:10 |
over into this area here, right about
there.
| | 06:13 |
That's good.
And then we have that file of the mane,
| | 06:16 |
which I have it in a separate layer.
So what I'm going to do is I'm going to
| | 06:21 |
grab this and bring it in.
And then just have it fit right in here,
| | 06:24 |
put it behind the horse right there.
And then we'll just kind of fit it right
| | 06:28 |
into this area here where the horse is.
Now, as these little areas here, we'll
| | 06:32 |
have those blended in by just going in
here, and, we have our horse, and the
| | 06:35 |
horse has it's own mane here, so what I'm
going to do is, I'm going to give it a
| | 06:39 |
mask.
Because we have that nice mane behind it.
| | 06:44 |
See there's a nice mane all the way
through there?
| | 06:46 |
So we could take our mane, and just,
maybe even move it up a little more.
| | 06:50 |
Give it a little more of a mane there.
So in this mask now, with black, I'm
| | 06:54 |
going to go in here and I have a hair
brush that I created.
| | 06:58 |
So what I'm going to do is I'm going to
start to draw into that mask using black.
| | 07:04 |
I'm going to go in here and start to mask
out this part of the horse, so that the
| | 07:09 |
mane of the original horse will start to
match the new mane that I've created.
| | 07:17 |
And there, you can see that we're getting
this nice little blending going on there.
| | 07:21 |
And we've seen our horse come through,
right through there.
| | 07:25 |
(SOUND).
Right in there.
| | 07:28 |
Kay?
And then we pull back, and then we have a
| | 07:31 |
tail, and I have a tail right here which
I created before.
| | 07:36 |
So I'm going to go in there and drag this
into here as well.
| | 07:39 |
Put it behind the horse, and then we put
it in position right where we want it,
| | 07:42 |
right about there.
Now, it's going to get cut off a little
| | 07:46 |
bit, so let's just take all three layers
and move them over as far to the right as
| | 07:50 |
possible.
Move him over.
| | 07:53 |
There they go.
So now we can manipulate our tail and get
| | 07:56 |
it right where we want it right about
there.
| | 07:59 |
So there we have the beginnings of our
horse.
| | 08:02 |
He's got a nice little stride to it.
It's got a big fancy tail and a big mane,
| | 08:06 |
and then in the next movie what we'll do,
is start to create the wings that are
| | 08:10 |
going to be on our flying horse.
| | 08:13 |
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| Creating the wing| 00:00 |
So, now that we have our horse nice and
ready to go, we're going to create the
| | 00:03 |
wing.
So, now I downloaded this wing here from
| | 00:07 |
the internet.
It's not going to be anywhere near what
| | 00:11 |
it looks now, it's just so I have a basic
shape that I can work with.
| | 00:17 |
Now, I use the same method I use for the
horse.
| | 00:20 |
I created a path right here that we see
to surround the entire wing to separate
| | 00:24 |
it from its background.
So, I'm going to take that path and turn
| | 00:28 |
it into a selection, right there, and
bring the wing into its own layer.
| | 00:33 |
New layer, via Cut.
Okay, and as before I'm going to go in
| | 00:36 |
there and in the background I'm just
going to fill it with white.
| | 00:40 |
Now, the point of that is that it, it
allows me to really see the area that I'm
| | 00:43 |
working in and so on.
Now, this wing is going to be manipulated
| | 00:47 |
quite a bit.
So, the one thing I want to do right off
| | 00:50 |
the bat is give myself a little more
width on this canvas.
| | 00:55 |
So, I'm going to go over here to my
canvas and right now the width is set at
| | 00:58 |
11, so I'm going to set it to about 18,
be a nice size.
| | 01:03 |
I'm going to put the original on the far
left, click Okay, so that all the new
| | 01:07 |
area will be completely to the right side
of the existing wing.
| | 01:12 |
No, I'm going to go in there and start to
manipulate this wing.
| | 01:15 |
So, what I'm going to do is I'm going to
lock the transparency for it, so that way
| | 01:18 |
is going to maintain that basic shape,
and everything I'm going to do is
| | 01:21 |
going to be within the confines of the
existing image.
| | 01:26 |
So now, I gotta go in here and pick my
paintbrush, and I'm going to pick up this
| | 01:29 |
color right from here.
And I'm going to get a nice soft edge
| | 01:33 |
brush, this guy right here, hardness is
brought down, and I'm going to make the
| | 01:37 |
size a little bigger, about like that,
that looks good.
| | 01:41 |
And I'm just kind of pick up this color
and just kind of bring it in here like
| | 01:46 |
this, there's his color, right?
And the same thing with this color.
| | 01:50 |
I'm going to kind of bring this one into
this area here, just right into this area
| | 01:54 |
right in here.
Now, I'm being fairly loose with this.
| | 01:58 |
I don't have to be too tight with it
because you're going to see as I start to
| | 02:01 |
manipulate this what's going to start to
happen.
| | 02:04 |
Now, that I have this what I'm going to
do is I'm going to take my smudge tool.
| | 02:07 |
(UNKNOWN) fairly simple right now.
Now I am going to take this smudge tool
| | 02:12 |
and make the size a little bigger.
And, I have got the (UNKNOWN) set at 50%,
| | 02:17 |
I am just going to kind of pull these
tones down like this, you see.
| | 02:22 |
And it's starting to happen, see I am
just kind of smearing them, because thing
| | 02:25 |
is when I look at the flying horse, I do
not think it really has feathers It's
| | 02:29 |
more almost like a bat wing kind of a
thing.
| | 02:33 |
So that's the kind of wing I'm going to
create for my flying horse.
| | 02:36 |
Let me increase the strength a little
bit, move that slide over just so I have
| | 02:39 |
a little stronger kind of a tone.
Just pull these right along the actual
| | 02:44 |
feathers, see.
Just pulling these tones right across.
| | 02:50 |
And I'm maintaining the basic shape of
each feather, but I'm smoothing out all
| | 02:55 |
those tones that are in there now.
I'm pulling all these guys straight out,
| | 03:01 |
in that.
Now, I'm going to manipulate some of
| | 03:03 |
these others separately in a few minutes.
I'm just kind of following the actual
| | 03:07 |
flow of the feathers, and pulling these
tones straight out, like so.
| | 03:12 |
Okay, there we go.
All right, so now that I have this, I'm
| | 03:19 |
going to start pushing these colors down
into it.
| | 03:25 |
Start smearing these colors way down into
this area here.
| | 03:28 |
And you notice how I'm just keeping these
nice little tones happening.
| | 03:32 |
I just gotta push these, and I start to
push these around too, introduce these
| | 03:36 |
colors into the mix, right through there
like this.
| | 03:41 |
So, you can see that I'm just kind of
pushing everything into place, the real
| | 03:46 |
simple process of just pushing and
pulling and so on.
| | 03:51 |
Now, here I might want to pull out this
way, and then come back down, just to
| | 03:55 |
blend these guys out.
I'm going to bring this guy in, so I get
| | 03:59 |
this nice little flow, and bring it down
like that.
| | 04:03 |
Now, this isn't a science here, this is
just kind of doing it visually, just to
| | 04:07 |
give me the feel that I want.
The nice little effect of these wings
| | 04:12 |
just traveling through here, and then we
start to smear this side.
| | 04:16 |
Smear all these guys together, there we
go.
| | 04:20 |
There we're getting all these nice little
tones happening, right through there like
| | 04:24 |
that.
Let's pull this guy out a little more so
| | 04:26 |
we get some of those light tones going
down.
| | 04:28 |
Same thing here, we want to get these
darks, there we go.
| | 04:32 |
There it starts to gimme that nice smooth
kind of an effect.
| | 04:37 |
So there, smear these guys a little, and
we just kind of bring these out, and then
| | 04:42 |
here we are going to smooth this out.
There is going to be additional tones
| | 04:49 |
that will be added, and textures once we
apply the wing to our actual horse.
| | 04:55 |
So, I was just having a good time here
smearing these here and that's a good
| | 04:59 |
shape right there.
So now, now that we have that I'm going
| | 05:03 |
to unlock the transparency and I'm going
to go in there and do a little stretch
| | 05:09 |
like this.
I'm stretching it out, doing a transform
| | 05:14 |
just like this, aake that happen.
And then, I'm going to make one more
| | 05:18 |
adjustment.
I'm going to go into my warp, and in
| | 05:22 |
warp, what I'm going to do is I'm
going to pull this up, bring this in.
| | 05:27 |
And I'm going to just grab these handles
so that they start to pull out like this,
| | 05:31 |
I'm going to bring this one up, and
tighten this up and bring this in a
| | 05:34 |
little bit.
And you see how I'm totally reshaping my
| | 05:39 |
wing now, to get this totally different
kind of an effect, and I click OK, and
| | 05:44 |
there's my new wing, that's going to be
applied to my horse.
| | 05:50 |
| | Collapse this transcript |
| Applying the wings| 00:00 |
So now we have our wing we're going to
take it and put on to the horse.
| | 00:04 |
There's the wing file and right here we
ahve the horse file.
| | 00:07 |
What I do is I take wing which is also
facing in the opposite direction so we're
| | 00:11 |
going to drag that wing into our file
right here, top of the horse just put it
| | 00:14 |
on top of the horse right there.
And we'll flip it horizontally.
| | 00:21 |
There is our wing so now we can take it
and put it in position where we are going
| | 00:24 |
to want it right there and I am going to
go in there and that rotate it, so just
| | 00:28 |
rotate this in the position right above
there.
| | 00:32 |
Just above we are going to want it.
Now it's going to go off the top a little
| | 00:36 |
bit so I am going to put it there for now
and lets take our horse.
| | 00:41 |
And the mane and the tail and let's just
bring them down a little bit.
| | 00:46 |
Bring them all the way to the bottom of
our page here.
| | 00:49 |
Right there.
Even though it's a little more room on
| | 00:51 |
the top there.
So, now I can take my wing and put it in
| | 00:55 |
position.
Want it, want it just about there.
| | 00:59 |
There's the wing.
Right?
| | 01:01 |
Now, in looking at this, I can see right
off the bat that I'm probably going to
| | 01:03 |
need a little more room.
So what I'm going to do is, actually, I'm
| | 01:07 |
going to take all of them.
And I'm going to go into my transform
| | 01:10 |
mode, and shrink them down a little bit.
There you go.
| | 01:13 |
That's going to give me all the room that
I need now.
| | 01:16 |
So there we go.
because they're probably end up being
| | 01:18 |
shrunk when I bring it down into the
final scene anyway.
| | 01:22 |
I need to go in here and colorize this a
little better now.
| | 01:25 |
So, I'm going to, go into my
colorization.
| | 01:27 |
Go into Hue Saturation, right there.
And, I'm going to, kind of, play around
| | 01:31 |
with these sliders a little bit until I'm
a little closer to where my horse is.
| | 01:36 |
Right about there, just about like that.
Bring down the saturation a little bit.
| | 01:41 |
And we start to get a better feel of this
tone here, into our wing, so let's bring
| | 01:45 |
down our saturation just a little more.
So there we're getting the right color
| | 01:51 |
that we want there, and I want to Click
OK.
| | 01:55 |
So there's our wing in position.
Now what I'm going to do is I'm going to
| | 01:59 |
add a couple of little dark tones to it,
just to give it a little more definition,
| | 02:02 |
so I'm going to go in here with my Burn
tool and I'm just going to kind of burn
| | 02:05 |
into this area.
Just a couple of little shadows here and
| | 02:09 |
there.
Right just go in here and just add a
| | 02:12 |
little shadow, a little shadow into this
area here and maybe a little, little
| | 02:15 |
shadow right into this area.
Get a larger brush and we'll add a little
| | 02:20 |
shading right in here like that.
And then bring this darker tones all the
| | 02:25 |
way up in there, like that.
Okay?
| | 02:27 |
It's starting to give like a kind of
sense of what I want.
| | 02:32 |
There we go.
So now we've got these nice, deep tones
| | 02:34 |
happening in there.
Now, we're getting close.
| | 02:37 |
We're going to have to blend these two
together now.
| | 02:39 |
So here's where we need to go and blend
this guy into our existing scene, right?
| | 02:45 |
So when we get in real close, we see that
there is a slight grain to the horse
| | 02:48 |
itself, so I'm going apply a grain like
that, but before we do that, let's go
| | 02:52 |
ahead and blend this right into the horse
itself.
| | 02:57 |
So I'm going to take the wing and just
kind of smear it, smear it down into the
| | 03:00 |
area that I want.
Just like this.
| | 03:03 |
This is how it's going to fit into my
horse, just like this.
| | 03:08 |
Alright?
So now what I'm going to do is apply a
| | 03:11 |
mask.
And with a black brush, I'm going to
| | 03:13 |
bring down the opacity a bit, to about
40%.
| | 03:17 |
I'm going to start to slowly, blend these
two together.
| | 03:21 |
See, so it's just starting to come out of
its body just like that.
| | 03:25 |
Now we're going to make this work even
better in a few minutes.
| | 03:28 |
But I'm going to go in there and just
smear these tones into them again right
| | 03:31 |
there so we get these nice light tones
happening, right here like that.
| | 03:36 |
And there we go, that's fitting in a
little better.
| | 03:38 |
And the same thing here, let's kind of
manipulate this a little bit.
| | 03:42 |
Now we are going to add some highlights
to this later so that's okay the way we
| | 03:45 |
have it for now.
In case we want to even that out I could
| | 03:49 |
lock the transparancy and just push these
tones right out into that area.
| | 03:54 |
There we go.
That works a little better.
| | 03:56 |
There we go.
Alright.
| | 03:57 |
So now, let's unlock the transparency
again and let's start giving that
| | 04:02 |
texture.
First thing I'm going to do is apply a
| | 04:05 |
little noise, because we have some noise
there, and we can see that we want to
| | 04:09 |
keep it in monochromatic mode, so it's
not going to introduce any unwanted
| | 04:12 |
colors.
And I'm going to bring down the amount a
| | 04:16 |
bit.
Just so I can have a little bit of a
| | 04:18 |
noise just about.
What matches our horse there.
| | 04:21 |
maybe a little more.
And we're doing this visually til we have
| | 04:24 |
a nice match, right about there like
that.
| | 04:27 |
Now in looking at the horse again,
there's a slight blur to our noise, so
| | 04:30 |
maybe we'll increase that noise to about
5.
| | 04:34 |
That's okay and we'll apply it one more
filter which will be a slight blurring,
| | 04:38 |
but a motion blurring because looking at
it, it's got a little movement to it.
| | 04:43 |
So, it's about like that, and we're going
to bring that distance way down to just a
| | 04:47 |
little bit of a touch, just a, I'd say
maybe a two.
| | 04:52 |
There we go.
We can see the match.
| | 04:54 |
That's looking a little better.
There we can see that now we've got a
| | 04:56 |
nice little match happening.
Now that we have dark tones in place, we
| | 04:59 |
can now start to match the colorization
and start to add other things to our
| | 05:03 |
wing.
In the next movie, we're going to add
| | 05:07 |
those additional features and create this
second wing that's in the back.
| | 05:13 |
| | Collapse this transcript |
| Adding tone and the second wing| 00:00 |
Now we're going to start adding a few
more little tones to our horse's wing
| | 00:04 |
here.
I got my burn tool again.
| | 00:08 |
I'm going to start to just add a couple
little muscle kind fo features right into
| | 00:11 |
these little areas here just to give it a
little more dimension.
| | 00:16 |
There we go.
I'll start to darken a few other areas a
| | 00:18 |
little more.
Just to start adding a little more drama
| | 00:21 |
to it, okay there we go.
Just a little bit, don't want to get too
| | 00:25 |
crazy with it.
Alright so now, going to add highlights
| | 00:29 |
in the next movie, but right now what
we're going to do is first apply a little
| | 00:32 |
shadow to this.
What I'm going to do is give that layer a
| | 00:36 |
layer style.
But go in there and just double click on
| | 00:40 |
it, bring up the layer styles.
And we'll get a Drop Shadow.
| | 00:44 |
Now I want that Drop Shadow to be fairly
sharp and we'll look at it back there, we
| | 00:48 |
can see there it is.
Soften it just a tad like that.
| | 00:53 |
Click Okay.
And then what I'm going to do is I'm
| | 00:55 |
going to go in, and I'm going to separate
that.
| | 00:58 |
And I go over here to layer styles and
I'll say create layer so that the shadow
| | 01:02 |
will be its own layer right there.
So now I can go in there and manipulate
| | 01:07 |
this.
So I'm going to go in here and get in
| | 01:09 |
real close, and we see where it's going
in there, so that's pretty good.
| | 01:13 |
So what I'm going to do is I'm going to
rotate this.
| | 01:16 |
And bring it down just a little.
I'm going to hold down my Cmd key so I
| | 01:20 |
can go in here and kind of stretch this
out like that.
| | 01:24 |
Okay, there we go, and I'm going to pull
this out like that.
| | 01:27 |
And there we're starting to see where our
shadows start to work.
| | 01:30 |
Click Okay.
And the last thing I'm going to do is
| | 01:32 |
kind of round this out a little bit here,
so I'm going to go in and do a warp.
| | 01:38 |
We'll just do a little warp on this and
go in there and kind of round out this
| | 01:42 |
area right here.
Round it out a little better, just to
| | 01:46 |
give it that sense that it's wrapping
around the horse's body, like so.
| | 01:51 |
Now, right in there, we're going to have
to do a whole different little piece
| | 01:54 |
right there.
So we'll say okay with this.
| | 01:57 |
Now let that happen, and then I'm
going to select just this bottom portion
| | 02:01 |
right there like this.
And we'll do a Warp on that.
| | 02:06 |
And here what I'll do is I'll just pull
this guy out and push this guy in.
| | 02:11 |
So we're going to start getting this kind
of a curvature to our little, shadow,
| | 02:16 |
right inside there.
Now, we'll push this guy in a little
| | 02:20 |
more.
And there.
| | 02:22 |
Now, it's going around his body a little
bit here.
| | 02:25 |
Right there.
It should go around his body.
| | 02:27 |
So here's a place where I'm actually
going to go in and push it.
| | 02:30 |
So I'm going to take my Smudge tool.
Alright, now I'm going to kind of just
| | 02:34 |
push this up, right in there like that.
So that the shadow is now taking on that
| | 02:38 |
kind of a shape right around his body
into that little space right in there.
| | 02:43 |
So it's wrapping around and going around
his leg there, and make my brush just a
| | 02:47 |
little bigger, and I'm just going to push
this just to curve that up.
| | 02:52 |
Just around there like that.
And this guy I'll just move down, just a
| | 02:56 |
little, like that.
Just so it starts to follow the shape of
| | 03:00 |
his body.
And then I'm going to go ahead and clip
| | 03:03 |
it with the body of the horse itself.
So now we see the shadow only where we
| | 03:07 |
need to see it.
We'll bring down the opacity a little
| | 03:10 |
bit.
So we start to get less of a shadow, and
| | 03:12 |
there it is.
Now what I'm going to do is I'm going to
| | 03:14 |
take this wing and I'll duplicate it.
I have a second one, and this one in back
| | 03:19 |
here I'm going to put behind our horse,
way behind the horse, right?
| | 03:25 |
And let's pull back to see how it looks
now.
| | 03:27 |
And I'm going to take that second wing,
and I'm going to rotate it.
| | 03:31 |
Rotate that second wing and put it into
position where we're going to want it.
| | 03:34 |
Right back in here like so.
And we're going to make it a little
| | 03:38 |
smaller, we'll just make it a little
smaller because it's a little further
| | 03:41 |
back.
Okay?
| | 03:43 |
Click Okay and put it behind.
All the way in back so it's behind the
| | 03:47 |
main as well.
And there we can see that we have this
| | 03:50 |
nice wing in the back.
Now I'm going to go in here and darken
| | 03:52 |
this one even more.
So with my Burn tool, I'm going to go in
| | 03:55 |
there and just kind of darken that wing
even more.
| | 03:58 |
Because that wing is in back, and we're
just seeing the back of it.
| | 04:02 |
So there we see that we now have the
second wing on our horse.
| | 04:06 |
And the next move we are going to do is
take the highlights that we see along the
| | 04:11 |
legs here and apply them to the wings and
other parts of the body.
| | 04:17 |
| | Collapse this transcript |
| Adding highlights to the horse| 00:00 |
So now that our horse is almost complete,
we have to start adding some other
| | 00:04 |
lighting effects that are apparent in the
horse and not in our wings.
| | 00:10 |
Like this sun right here, which also, we
would like to bring up into the head and
| | 00:15 |
neck.
Because in the original picture, the sun
| | 00:18 |
was just coming down from behind some
trees, catching these highlights but none
| | 00:22 |
here.
So we want to add some of those and add
| | 00:25 |
them to the wings as well.
Also, these blue tones that we see in
| | 00:29 |
this area here, we need to bring those
blue tones into some of these darker
| | 00:33 |
areas of our wing.
So, let's start with these highlights
| | 00:39 |
first.
So we look at the tone that we have down
| | 00:42 |
her and it's kind of a yellowish reddish
area to it.
| | 00:48 |
So what we're going to do is going to
pick up a now it's kind of a yellowish
| | 00:52 |
tone somewhere around this area here.
because that's going to work really well
| | 00:57 |
with the way we're going to bring in our
tone.
| | 00:59 |
So, right here, I'm kind of select the
horse between the shadow which is
| | 01:02 |
clipped.
So that way, when I create a new layer,
| | 01:05 |
it will automatically be clipped with the
layer of the horse.
| | 01:09 |
I'm going to apply a nice little tone
right along this edge right here.
| | 01:12 |
Here, right in there like that.
Okay?
| | 01:15 |
Now, I'm going to set this mode here to
overlay.
| | 01:19 |
And you notice that the overlay, gave it
that nice pinkish tone that we have along
| | 01:22 |
this other edge here.
So I'm going to give it a little more of
| | 01:26 |
that tone, right there.
Maybe a less here and there, right.
| | 01:29 |
Up until this area and bring it down into
here, bring a little bit into this part
| | 01:32 |
of the leg right there and a little bit
around the knee, right there.
| | 01:37 |
And so, we're going to go along the top
of the head here, right there, maybe at
| | 01:41 |
the edges of the ears as well.
So, you see that now we have starting to
| | 01:45 |
get that same kind of colorization, to
the rest of the horse, which starts to
| | 01:48 |
make it look a little more natural.
Okay, there we go.
| | 01:52 |
Like it is in fact, being bathed by that
same sunlight evenly throughout.
| | 01:57 |
Okay, this leg is okay because it's going
to be in the shadow.
| | 02:00 |
So we don't need it there, but we do need
it on this little hoof here.
| | 02:03 |
And maybe down in this area here because
it's just below the leg, or below the
| | 02:06 |
body which will pick it up, and right
into this area right in there.
| | 02:11 |
'Kay, other parts that seem like they
would be exposed to the sunlight.
| | 02:15 |
So now that we have that, let's do it to
the wing as well.
| | 02:18 |
So, this wing is pretty much.
Almost completely covered, but not up
| | 02:22 |
here.
So, up here in the wing, I'm going to add
| | 02:25 |
a little right here.
So I got the, the wing itself.
| | 02:29 |
There's the wing.
I'm going to add a layer above it, and
| | 02:31 |
I'm going to add a little tone right in
there.
| | 02:33 |
Let's just go in there and just add this
right through here.
| | 02:36 |
Right, this little area right in there.
Bring it right up into here.
| | 02:39 |
Now, we're going to clip it.
With the wing.
| | 02:42 |
So, we'll see it only inside of that
area, and set that to overlay as well.
| | 02:47 |
And then it's going to be just this nice
little highlight along the wing.
| | 02:50 |
Same thing with the wing in back.
This wing here, we'll create a new layer.
| | 02:56 |
Clip it with the wing, and add that
little, yellow tone right into this area
| | 03:00 |
here.
Which we'll set up in overlay mode.
| | 03:04 |
So it takes on that nice kind of warm
color that we have for the rest.
| | 03:09 |
And here we see that we have that nice
little highlights.
| | 03:11 |
That are now evenly distributed all over
the horse.
| | 03:14 |
Now the blue tones.
Blue tones need to be on the wings.
| | 03:18 |
So I'm going to select the wing up here.
This is a wing.
| | 03:20 |
And a new layer on top of it, right
there.
| | 03:23 |
We're going to get a nice blue.
So we'll pick up a nice deep blue, like
| | 03:27 |
this.
Right?
| | 03:28 |
Now we're going to go to this area, get
in real close.
| | 03:31 |
And we're just going to add those tones
right into this area right in here.
| | 03:34 |
We're going to get a smaller brush.
We're going to bring down the opacity to
| | 03:38 |
about a 60.
And I'm just going to add some blue tones
| | 03:40 |
right into this area here.
Right, and I'm going to kind of smear
| | 03:43 |
them, smear them a little bit, right up
into here and smear them down, just like
| | 03:48 |
that.
Bring that up, just to get those tones
| | 03:51 |
and I can play with a few different
modes.
| | 03:55 |
Like go in there and play with overlay,
it's going to be a little dark, if I
| | 03:57 |
bring that opacity it'll start to bring
in that nice blue tone that we have in
| | 04:00 |
there.
'Kay there it is and I might want to just
| | 04:04 |
go in there bring that, pass it down just
a little more.
| | 04:08 |
There we go and then, maybe why not just
blur it.
| | 04:11 |
So let's go in there and just blur that.
A little gauzy blur and soften it up a
| | 04:16 |
little more.
So it just becomes this little bit of a
| | 04:19 |
haze in that area right in there.
So let's just bring that blue tone into
| | 04:24 |
here.
And then when I look at this part of the
| | 04:26 |
wing, let's see.
We might want to just darken some of this
| | 04:30 |
in here again.
So, every now and again you go back and
| | 04:33 |
see things that you might want to add to
it, so I just go in there and darken that
| | 04:36 |
bottom part.
Gives it a little more texture.
| | 04:39 |
A little more feel to it.
A little more movement.
| | 04:42 |
And there we see that now we have our
horse complete.
| | 04:45 |
In the next movie what we're going to do,
is put it into a scene.
| | 04:50 |
| | Collapse this transcript |
| Colorizing the background| 00:00 |
Now we're ready to take our horse and put
it into its background.
| | 00:03 |
But you know, we study it before we do it
just to make sure everything is just
| | 00:05 |
right, and it still needs a little work
in this area here, so we're going to get
| | 00:08 |
in a little closer and see what's going
on.
| | 00:11 |
What I'm going to do is I've got the wing
selected here, and I'm going to just go
| | 00:14 |
in there and darken.
A little more of this area, just add a
| | 00:18 |
little more tonality to it, and maybe a
little more darkening right into here,
| | 00:21 |
right?
Just as it starts to blend in more with
| | 00:25 |
it's bottom underneath there.
I'm going to go in there and soften up
| | 00:28 |
that edge where the two of em meets.
I'm going to go into the mask and I'm
| | 00:32 |
going to go in there and just very
lightly go in there and start to paint.
| | 00:35 |
Now that darkness, that's the Shadow back
there.
| | 00:39 |
So let's go into that shadow and make
sure that we eliminate any parts of it
| | 00:42 |
that we don't really want.
I'm just going to go in there and erase
| | 00:46 |
that shadow where we don't want it, right
into that area there.
| | 00:49 |
So that we can see that our horse is
starting to match up a little better from
| | 00:52 |
the way we want him, right in there like
that, and we start to get rid of that
| | 00:55 |
shadow and all the areas that we don't
want.
| | 00:58 |
So I'll just make the brush a little
bigger.
| | 01:01 |
Make it a little softer, there we go.
And now, we can soften up that shadow
| | 01:06 |
just where we want it, right into there
like that.
| | 01:09 |
And there, we see that now, we have a
better transition of the wing into the
| | 01:11 |
horse.
So now that we have that, we're going to
| | 01:14 |
do is merge all of it into a single
layer.
| | 01:17 |
So what we're going to do is Turn Off the
background.
| | 01:20 |
And instead of just saying Merge Visible,
I'm going to hold down my Option key.
| | 01:23 |
I'm going to place the cursor at the top
layer, so it's going to create a new
| | 01:27 |
layer on top of this one.
I hold down my Option key and say Merge
| | 01:31 |
Visible.
It's going to merge all those into a
| | 01:34 |
single layer, which I'm going to call
Flying Horse.
| | 01:38 |
That's going to go into the background.
So, we look at our little area here,
| | 01:43 |
there's, there's a little scene that
we're going to put it into, right?
| | 01:49 |
So, what we're going to do is take our
horse and drag him right into that scene
| | 01:53 |
right there.
Now you say goodbye to our horse and
| | 01:57 |
yeah, we can go ahead and Save him.
Okay, he's going to go away and here's
| | 02:03 |
our scene.
So let's bring this open, like this.
| | 02:07 |
And I'm going to go in there and hit a
Cmd key, so I can go in there and modify
| | 02:11 |
my horse.
Now, I don't see the area because he's
| | 02:14 |
outside of the entire frame, so I'm
going to hit Cmd+0, which will allow me
| | 02:18 |
to.
Shrink the window to the point where I
| | 02:21 |
can actually see my horse.
And then go in here and shrink him down.
| | 02:25 |
Holding down my Option and Shift keys
will shrink him down, from the center
| | 02:28 |
uniformly down.
All right, now I'm going to bring him in
| | 02:32 |
here, put him like that, and maybe twist
him up a little bit, he's flying up into
| | 02:36 |
the sky.
I'm going to kind of have him crop off.
| | 02:41 |
Little bit off to the side there, like
that, and up to the top.
| | 02:43 |
Now, I want this wing to go off, this
wing is, just comes in.
| | 02:47 |
And in the tail could just about go out
just a little bit.
| | 02:51 |
So there he is in the scene.
Click OK and that's my scene.
| | 02:54 |
But the scene right now is looking kind
of bland.
| | 02:56 |
So what I'm going to do is I'm going to
just kind of link him in here so he's.
| | 03:00 |
Full screen there, and what I'm going to
do with the background is really make it
| | 03:04 |
intense.
So, I'm going to duplicate it.
| | 03:07 |
because I want to keep it as is, and I'm
going to just go into Hue Saturation, and
| | 03:10 |
really punch up the saturation on it.
So, it becomes really bright color.
| | 03:15 |
Like you'd find in a fairy tale book, and
so on.
| | 03:18 |
And there's our horse in place.
So now, we need one more little point of
| | 03:23 |
interest.
And it's all these clouds in the sky of
| | 03:26 |
which some of them are dark.
So maybe it rained a little while ago.
| | 03:30 |
And there is a sun.
The sun's popping out, as we can see.
| | 03:32 |
So, what we need is a nice rainbow to
complete our little scene here.
| | 03:37 |
So in the next and final movie, what
we'll do is create that rainbow.
| | 03:42 |
| | Collapse this transcript |
| Creating the rainbow| 00:00 |
So now we're going to create our rainbow.
So in a layer on top of a whole bunch of
| | 00:05 |
other things here, we're going to create
a long rectangle, like this.
| | 00:11 |
Okay?
There we go.
| | 00:14 |
And in that rectangle, we're going to add
a gradient.
| | 00:17 |
I got my gradient tool.
I make sure we're set to a Rainbow
| | 00:21 |
effect, like this one right here.
So we'll create this nice rainbow, and
| | 00:26 |
right in here we'll just click and drag
to create a rainbow, and oop, it's set to
| | 00:31 |
circular, it's okay, we'll just reset it
to linear, and do it again.
| | 00:37 |
So there is our rainbow.
So let me deselect that.
| | 00:40 |
And I'm going to blur it.
I want it to be nice and soft, so I'm
| | 00:44 |
going to go in there give it a little
Gaussian blur.
| | 00:46 |
I'm already set to Gaussian blur, so I'm
going to go in there and blur it just a
| | 00:50 |
little more, just to soften those tones
up nicely like that.
| | 00:54 |
Click Okay.
Now I'm going to apply a warp to this.
| | 00:57 |
Let's bring it down, bring it in the
center here, and I'm going to give it a
| | 01:01 |
warp.
So I go into my Tranforms, say Warp.
| | 01:06 |
And I am going to apply one of the
existing ones.
| | 01:09 |
So I'm going to go in there, say give me
an arc or an arch.
| | 01:13 |
So I'll say let's say the arch.
And there.
| | 01:15 |
It's created nice looking kind of a
rainbow.
| | 01:18 |
I'm going to say do that.
And we see it in place and.
| | 01:22 |
What we're going to do right now, is I'm
going to shrink it down just a little
| | 01:25 |
bit.
And I'm going to rotate it.
| | 01:27 |
Just a little bit like that.
Like put it into position where I'm going
| | 01:31 |
to want it, right about there.
That's where I'm going to want my
| | 01:35 |
rainbow.
And maybe we can make it a little bigger
| | 01:37 |
again.
There we go.
| | 01:39 |
So, just like that.
Click Okay.
| | 01:41 |
I'm going to bring down the opacity for
it so it's just this little hint of a
| | 01:44 |
rainbow up there in the sky, like a real
rainbow looks.
| | 01:48 |
Right, like, like that.
Then I'm going to go in there and give it
| | 01:52 |
a mask.
So now, in my mask, I'm going to take a
| | 01:55 |
paintbrush.
And I have it set to 100% right there,
| | 01:59 |
going to set it to 100%.
And make the brush a little larger.
| | 02:02 |
And I'll start to paint away this area
here where I don't want it to appear, and
| | 02:06 |
right here.
Now I'm going to bring that opacity to
| | 02:09 |
about a 30, and I'm going to slowly start
to make it start to appear behind those
| | 02:13 |
clouds and behind these clouds right
here.
| | 02:16 |
So that now we have our nice little
rainbow.
| | 02:20 |
It's just in the sky there, coming
through.
| | 02:22 |
And if we want, we can bring down the
opacity just a little more so it's just
| | 02:25 |
that nice, soft little hint of a rainbow
in the background.
| | 02:29 |
And there we see our finished flying
horse, flying over this beautiful
| | 02:33 |
countryside with a rainbow in the sky.
| | 02:37 |
| | Collapse this transcript |
|
|
2. Ice CaveIntroduction| 00:00 |
In this Dreamscape, we're going to walk
into an icy cold cave.
| | 00:05 |
And watch as an explorer comes in to
explore, unknowing that he's being
| | 00:10 |
watched by a big, ominous Yeti hiding in
the shadows, waiting to pounce on him.
| | 00:17 |
| | Collapse this transcript |
| Creating the cave| 00:00 |
This picture, taken at Antelope Canyon,
is going to be perfect for what we
| | 00:04 |
want to do for our nice little cave
scene.
| | 00:07 |
So, we're going to go in here and,
manipulate this quite a bit.
| | 00:11 |
So what I'm going to do is, I'm going to,
double-click on this to make it a Layer.
| | 00:16 |
And I'm going to call it cave walls.
Alright so there's my cave walls so I
| | 00:22 |
want to add a little space to this.
So, what I'm going to do is I'm going to
| | 00:28 |
go in here and add a little more canvas
to it, so I'm going to say for my canvas,
| | 00:32 |
I'm going to go into my canvas size and
lets stretch it way out.
| | 00:37 |
Lets make it a width of about say about
45, we'll go in there and play with this
| | 00:41 |
later.
But I'm going to bring it all the way
| | 00:44 |
over to the, to the right and say give me
my additional space right there.
| | 00:48 |
So now what I'm going to do is I'm going
to stretch this out.
| | 00:51 |
In fact, now that I'm looking at it, give
it a little more canvas size, go with the
| | 00:56 |
whole 50 inches, and put it on the right,
click OK.
| | 01:00 |
So now what I'm going to do to this is
I'm going to go in and I'm going to say,
| | 01:04 |
let's stretch it.
So you hit my Cmd+T to bring me my
| | 01:07 |
Transform tools, then I'm going to bring
it across this way.
| | 01:11 |
And then bring it up a bit.
Okay.
| | 01:14 |
There we go.
So now we're starting to get this sense
| | 01:16 |
of it being a cave somewhere.
About like that.
| | 01:20 |
That looks fairly good.
Click OK.
| | 01:23 |
And I'm going to go in there and colorize
it.
| | 01:26 |
So I go into my image show adjustments
and say hue saturation, I say colorize.
| | 01:31 |
And there, comes into those nice blues.
I'm going to punch up the saturation a
| | 01:35 |
little bit, and maybe just lighten it up
just a tad and then bring my blues in
| | 01:39 |
with just a little cooler, little more
towards this color here, right there.
| | 01:46 |
And there we're getting this nice little
sense of a cave happening there.
| | 01:50 |
I'm going to click OK, and I am going to
give it a mask.
| | 01:54 |
And in that mask I'm going to go in there
and paint with black, going to paint out
| | 01:57 |
this area here.
I'm going to set my opacity to 100% on
| | 02:01 |
the brush, and I'll make the brush a
little harder, give it a hard edge.
| | 02:05 |
Almost it's totally hard.
I'm going to paint out this area here.
| | 02:09 |
This is going to be kind of like the
opening in our cave.
| | 02:11 |
Let's get a little closer so we can see
this.
| | 02:13 |
And I'm going to go in there and make my
brush a little smaller.
| | 02:16 |
And I'm just going to paint in, right in
here, I'm going to paint this area out.
| | 02:20 |
This is going to be the opening in our
cave, right there, just like that.
| | 02:25 |
That's going to be the opening in the
cave, right there.
| | 02:27 |
So, we're going to see something through
that opening.
| | 02:30 |
So, we're going to add something there a
little later, but there we have the
| | 02:33 |
beginnings of our cave.
But it's not crystally enough.
| | 02:37 |
So, what I'm going to do, is I'm going to
create another layer on top of this.
| | 02:41 |
And this layer, I'm going to go ahead and
fill it with black.
| | 02:44 |
And I'm going to give us some noise.
Add noise.
| | 02:48 |
Lot of noise, oh lot of noise like that.
Okay, monochromatic click OK.
| | 02:53 |
I'm going to introduce a little bit of a
blur, just to soften it up.
| | 02:58 |
Give it a little blur, just a blur more.
(UNKNOWN) So that I can now go in here.
| | 03:02 |
And really go in there, and lessen the
amount of that noise.
| | 03:07 |
See?
There we go.
| | 03:08 |
So we get these nice little sparkles, all
these little sparkles like that.
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Click OK, and we're going to bring that
down even more.
| | 03:16 |
Let's do it again, just to get even less
of those sparkles going.
| | 03:19 |
There, click OK.
We're always going to pick up a few more,
| | 03:22 |
because of the fact of the resolution
that we're working at.
| | 03:24 |
But there's our little sparkles.
We can go in one more time.
| | 03:27 |
And let's just darken those even more.
Okay, click OK.
| | 03:31 |
And now what we'll do is we'll put this
in screen mode, so only those little
| | 03:35 |
light tones are going to show through,
right?
| | 03:39 |
And we're going to pull back a little
bit, and what's going to happen is we're
| | 03:42 |
going to give this a mask as well.
So we'll give it a mask and in the mask
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I'm going to start to paint.
Now I'm going to get a soft edge, get a
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nice soft edge.
I'm going to go in here and start to
| | 03:51 |
paint away, all the areas that I don't
want these sparkles to show.
| | 03:55 |
We really want the sparkles to kind of
show, basically, in the area where, and
| | 03:58 |
down here it doesn't matter because this
stuff is going to be hidden anyway but
| | 04:01 |
we'll just go ahead and erase it.
But we want these sparkles to show up in
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areas where the light is hitting it.
So I'm going to go in there and I keep
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changing the sizes of my brush, just to
soften those up.
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And let's get rid of some of this up
here.
| | 04:15 |
These big areas where we know we're not
going to see these sparkles, and right in
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here.
Now I'm going to reduce the opacity of my
| | 04:25 |
brush, down to about 30%.
So I can slowly start to eliminate these
| | 04:29 |
end areas that I don't want them, and
then I'll let them appear in areas where
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I do want them.
You can see that I'm slowly getting rid
| | 04:38 |
of some of these areas and just softening
up those little sparkles where, they're
| | 04:42 |
going to show where, just picking up that
sheen coming in from that strong light
| | 04:45 |
source at the doorway.
So I'll go in there and just soften these
| | 04:50 |
up a little bit, and then just soften
some of these.
| | 04:52 |
And there we can see that we have these
nice little sparkles every now and then
| | 04:56 |
that will give us the sense that this is
an icy wall.
| | 04:59 |
The next movie, what we'll do is we'll
start adding a floor to our little cave.
| | 05:05 |
| | Collapse this transcript |
| Adding the floor| 00:00 |
So now, we're going to go in there and
add the floor to this cave.
| | 00:04 |
First thing I want to do, is I'm going to
take those sparkles that we created and
| | 00:07 |
I'm going to clip them with the
background, which is the cave wall right
| | 00:10 |
there.
So now we don't see them into this area
| | 00:13 |
here where we're going to have our floor.
And I have this file here of an actual
| | 00:18 |
the salt flats.
That could be an icy floor.
| | 00:21 |
It's salt but for us it's going to be the
actual floor of our cave.
| | 00:25 |
So I'm going to select this area here.
Area of the floor itself right here.
| | 00:30 |
I'm going to drag that, copy that right
into here.
| | 00:33 |
Into our scene.
There it is.
| | 00:35 |
Now we're going to put it in back of our,
our cave.
| | 00:38 |
So, we're going to go in here and let's
put it into position right about there,
| | 00:41 |
where I want it.
And I'm going to stretch it out, stretch
| | 00:44 |
it out so it encompasses that entire
area, right down there.
| | 00:48 |
And maybe shrink it down a little but.
Just so it looks a little flatter.
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Right along there, like that.
Click OK and that's in place.
| | 00:55 |
So now, what I'm going to do is I'm going
to start to go in here and take our cave
| | 01:00 |
itself.
Let's take our cave and I'm going to
| | 01:04 |
start to go in here and very lightly push
or smudge some of the cave wall into this
| | 01:09 |
background, into the floor right down
here.
| | 01:14 |
And then, I'm going to go in there and
just kind of push all these guys down,
| | 01:18 |
because they start to form this whole new
kind of a scene that the ice is kind of
| | 01:22 |
blending into this wall, or into the
floor right there.
| | 01:28 |
So I'm just going to go in here and just
kind of blend these guys around, just
| | 01:31 |
pushing them out.
Ever so lightly.
| | 01:34 |
Just like that.
I've kind of just pushed them out, get
| | 01:37 |
rid of that evenness that it has right
now.
| | 01:40 |
Just kind of push them down so it looks
like they are in fact coming out of this
| | 01:44 |
icy floor.
So I'm going to just take this side as
| | 01:47 |
well, and just push these guys all the
way down so they start to blend in to our
| | 01:51 |
background.
And you'll notice that the sparkles are
| | 01:55 |
going with them, because they are being
clipped by our scene here, so they're
| | 01:58 |
working right into place where they
belong.
| | 02:01 |
There we go.
So, they're just going into there and oh,
| | 02:04 |
it just kind of just melting into the
floor there.
| | 02:06 |
I'm going to make the brush a little
bigger, encompass larger areas.
| | 02:10 |
I can push them a little faster and go
right into these areas here like this.
| | 02:15 |
Alright?
And there, this is going in, and this,
| | 02:17 |
maybe we'll just take this part here and
kind of blend it out there.
| | 02:21 |
Like that.
Whoa, not that much.
| | 02:23 |
Here we go.
So we've got these nice little things
| | 02:26 |
going, happening all through here like
that.
| | 02:28 |
Now, we get these dark areas, all these
dark areas where we want to go in and add
| | 02:32 |
some shadows to 'em, like right in here.
because we have that strong light, we see
| | 02:36 |
what it's doing to the shadow, so we need
to have some shadows being cast by these
| | 02:40 |
outcroppings.
Which I'm going to pull out a little bit
| | 02:43 |
more.
Let's just pull these guys out just a
| | 02:46 |
little more so they blend into our floor
even more.
| | 02:48 |
There we go.
So we get these nice big chunks of, of
| | 02:51 |
the ice walls coming right into, into the
floor area.
| | 02:55 |
So now, we're going to start adding these
little shadows that we need.
| | 03:00 |
Let's just get this guy in there.
Alright, so now that we have that.
| | 03:04 |
I'm going to take a layer on top of the
floor area right here.
| | 03:08 |
Now take a little paintbrush, and I got
my paintbrush here, and it's using black
| | 03:12 |
right now.
And I have it set to 30%, so I'm going to
| | 03:16 |
set it to 100%, because you can always
adjust it later.
| | 03:19 |
I'm going to start adding some shadows
along here.
| | 03:21 |
Now let's make our brush a little
smaller, and I'm just going to see, oh,
| | 03:24 |
my light's coming this way, so I'm
going to start adding some shadows right
| | 03:27 |
along this edge here.
Right.
| | 03:30 |
So we're just going to go in there and
start adding a little shadow right along
| | 03:34 |
there and right along here and right in
there.
| | 03:37 |
These are our shadows.
Make it a little smaller, the brush, like
| | 03:40 |
you're just going to just kind of pull it
in there like and let's start to lengthen
| | 03:45 |
these guys just a tad.
So I'm going to go in here and make my
| | 03:49 |
brush a little bigger.
And just kind of fill this area up like
| | 03:52 |
that, just like that, and then come in
here, nice little small thing right
| | 03:56 |
there.
And this, this shadow is just going to
| | 04:00 |
kind of fall right into this edge of the
wall right there like that.
| | 04:05 |
Little tiny edges, and the same thing in
here.
| | 04:07 |
Just add a little bit of shadow right
into these areas, right in there like
| | 04:09 |
that.
So now, I'm going to bring down the
| | 04:12 |
opacity for that shadow.
So it's not so strong.
| | 04:15 |
A little bit less, like that.
'Kay, and put it in multiply mode.
| | 04:20 |
It's just going to let some of those
details come through.
| | 04:22 |
Might want to even enlarge it just a
little more, right through here.
| | 04:26 |
And I'm going to bring down my brush
opacity.
| | 04:28 |
Way down to about 20, so I can really
kind of soften it up, and add some
| | 04:31 |
tonality in there.
See, so now we've gotten the.
| | 04:35 |
Starting to really soften it up, to get
our shadow to blend in a little better to
| | 04:39 |
our background.
And there we can see that now we'er
| | 04:42 |
starting to get a nice little effect
going through there.
| | 04:45 |
And this last one might want to just
erase a little bit.
| | 04:48 |
We're just going to want to go there and
make sure our, our shape dynamics are
| | 04:54 |
turned off.
So, we can just kind of erase a little
| | 04:57 |
bit of this shadow.
And there, we see that now we have our
| | 05:01 |
shadow walls are now blending into the
floor of our, our cave.
| | 05:07 |
So, in the next movie we are going to do
is add the outside to it.
| | 05:10 |
And while I'm looking at it.
I might just want to go in here and add a
| | 05:13 |
little bit more shadow.
Right into this area.
| | 05:16 |
Its going to bring my opacity right about
to a 20 or 10%.
| | 05:19 |
So I can just add a little bit of a tone.
Just in there like that.
| | 05:23 |
Just to blend that shadow a little better
into the ground.
| | 05:27 |
And there we can see that now.
We're starting to have our little
| | 05:29 |
shadows.
So in the next movie we'll add the
| | 05:32 |
outside.
| | 05:34 |
| | Collapse this transcript |
| Adding the outside| 00:00 |
Now, what we're going to do is start to
add the outside of our cave.
| | 00:03 |
Now looking at it, before we even get
there, we still see that light coming in,
| | 00:07 |
which means it should get darker as it
gets further in.
| | 00:11 |
So I'm going to go back to that shadow
layer there and I'm going to take my
| | 00:15 |
black brush.
So I got my paintbrush there and I got it
| | 00:18 |
set to about let's say 30% right there.
And I'm still using black.
| | 00:23 |
I get a nice big brush.
Just going to add a little black to these
| | 00:26 |
outside areas, right inside, or rather
the far inside areas, just to darken this
| | 00:30 |
side of the cave.
Just run a little strip right across the
| | 00:34 |
bottom there.
And just kind of darken that whole thing
| | 00:37 |
right in there.
Darken this a little more, just to
| | 00:41 |
kind of even that out.
And I see that, right in there, right in
| | 00:44 |
this little area here, I might want to
just go in there and get rid of some of
| | 00:48 |
this, right in this little area.
So I'm going to get a small eraser, and
| | 00:52 |
just make sure that I don't have it, and
to that little area where my ice is going
| | 00:56 |
into the, into the floor, and just make
sure I don't have any in there.
| | 01:01 |
Just to make sure that those areas are,
in fact, clear, right there.
| | 01:06 |
Just get rid of those they, the shadows
work as they should.
| | 01:09 |
And, right here, I got a black paintbrush
again.
| | 01:12 |
I'm going to make sure that that shadow
starts right at that edge and goes
| | 01:15 |
across, making it look a little more
realistic.
| | 01:19 |
And there we go.
So now, we're starting to get the shadows
| | 01:21 |
the way we want them.
Now, there's a little softening going on
| | 01:24 |
in here, at the edges of our cave.
So what we're going to do is we're
| | 01:28 |
going to go to our cave again, and get
the my Burn tool, and I'm just going to
| | 01:31 |
kind of darken those edges.
I'm going to darken this all through
| | 01:35 |
here, and I have it set to, to my
shadows, because those are dark tones.
| | 01:39 |
I want to make sure I get really dark in
there, because something's going to be
| | 01:41 |
happening in that part of the cave later
on.
| | 01:44 |
You're going to see a little later.
So get down to a little darkness up on
| | 01:47 |
top there and it's getting there.
It's starting to look good.
| | 01:52 |
So now, what we're going to do now is add
the outside.
| | 01:56 |
Now I have this scene here, which is
going to be perfect for what I want.
| | 01:59 |
It's these icy mountains way in the
background.
| | 02:02 |
Now, they're it's a little, kind of soft.
So what I'm going to do is, I'm going to
| | 02:06 |
go into my Adjustments, and I'm going to
go in Levels.
| | 02:09 |
And Levels, I'm going to kind of punch
them up a little bit.
| | 02:12 |
I'm going to push in my dark tones and my
mid tones, just to really draw attention
| | 02:16 |
to those mountains, make them a little
crisper way back in there.
| | 02:21 |
Right in there like that.
Click OK.
| | 02:23 |
And then I'm going to make sure that got
my image back here, I'm going to drag
| | 02:27 |
this right into there, right in there.
And I'm going to put that all the way in
| | 02:32 |
back, in back of all of these, and we'll
go ahead and call this Mountains.
| | 02:38 |
There we go.
If we haven't named the other things so
| | 02:42 |
let's go ahead and name those.
So we'd just, so we can keep track.
| | 02:45 |
There's a floor and these are the
shadows.
| | 02:48 |
So now we got our mountain scene and
we're going to bring it down into this
| | 02:52 |
area so that we see those mountains right
through there.
| | 02:56 |
There's our mountains out there.
Now the floor is partially hiding it, so
| | 03:00 |
what I'm going to do is I'm going to take
the floor and give it a mask.
| | 03:04 |
Now I'm not erasing, I'm going to mask.
I much prefer to mask rather than
| | 03:07 |
erasing, because that way I can always go
back there and bring it back.
| | 03:11 |
So I'm going to increase my passing from
my brush to 100 and go in there and just
| | 03:16 |
very, I have a soft edged brush, just
kind of delineate where the floor's going
| | 03:21 |
to be.
And there we have this outside, our
| | 03:26 |
little mountain range.
And let's just move it into position
| | 03:29 |
right about there.
And there we see the mountains way off in
| | 03:32 |
the distance, in back, outside of our
cave wall.
| | 03:37 |
I just move down, there we are.
So they're outside.
| | 03:40 |
We know where they are, and everything's
working good.
| | 03:43 |
So now, our little cave is starting to
look good, so in the next movie what
| | 03:46 |
we'll do is going to add some inhabitants
to this cave.
| | 03:51 |
| | Collapse this transcript |
| Adding the man and a shadow| 00:00 |
So now we're going to add the man.
Before we do, step back and look at it
| | 00:03 |
and we see that there's a slight halo
along this edge.
| | 00:07 |
And that's where we're getting that
little smudge and the little
| | 00:11 |
anti-aliasing from the the cave, against
this darkness of the shadow.
| | 00:16 |
So you know what I'm going to do, I'm
going to go over to that layer of the
| | 00:19 |
cave and I've locked the transparency of
it and with black, I use a nice big black
| | 00:23 |
brush.
I'm going to go ahead and fill that area.
| | 00:27 |
You can see that it's just filling it up,
right there, with the black.
| | 00:30 |
Now that's good because later on.
I really need this to be very dark, so
| | 00:34 |
what I'm going to do is I'm going to
bring that transparency to about 50%,
| | 00:37 |
make the brush a little bigger.
And just start adding a little more black
| | 00:41 |
into that area, just to make it really
dark in the cave in that little spot,
| | 00:44 |
because like I said a few minutes ago in
the last movie, there's going to be
| | 00:47 |
something happening in this little spot
right here later.
| | 00:52 |
Alright, so now we're going to put the
little man in there.
| | 00:55 |
My friend Bill, one of my hiking buddies
I asked him to wear one of his winter
| | 00:59 |
hiking jackets and have a flashlight and
so I could shoot him for this.
| | 01:04 |
Now I don't have a big fancy studio, like
I said, or big backdrops I'm a
| | 01:07 |
photographer so I don't need one of
those.
| | 01:10 |
But my neighbor across the street, has
this nice big white wall with a white
| | 01:14 |
garage door, and I thought if I stick my
friend Billy, there, I could shoot him.
| | 01:19 |
Alright, so, that's right there.
Now, I'm going to separate him from this
| | 01:22 |
background, I'll do it with a path.
So, right here, I have this particular
| | 01:25 |
file where I've already separated him
from the background.
| | 01:29 |
So you can see where he was before, so
I'm just going to close that file, and
| | 01:31 |
here he is separated from the background.
And it has a path, has a path already set
| | 01:36 |
up for him to pull him out from the
background.
| | 01:39 |
I'm going to go in there and turn that
path into a selection, and I'm going to
| | 01:43 |
drag him out here and put him into our
scene here.
| | 01:47 |
And there he is.
Now he looks like he's being chopped off
| | 01:50 |
at the bottom.
That's because he fell inbetween these
| | 01:53 |
two layers and since that layer above was
clipped.
| | 01:57 |
That is automatically clipped, so I'm
going to put 'em on top, and unclip em,
| | 02:00 |
by holding down my Option key and
clicking in between there like that.
| | 02:04 |
And now he's full, there he is.
So I'm going to put him in position where
| | 02:07 |
I want him, and I'm going to shrink him
down a little bit.
| | 02:10 |
Gotta go in there, and go and shrink him
down.
| | 02:14 |
I like that, that's about the size that I
want maybe a little bit smaller smaller
| | 02:17 |
there.
Let's put him right about there like
| | 02:20 |
that, and have him standing right there,
that's good.
| | 02:23 |
Now if you looked at the scene where he
came from he's standing on an incline.
| | 02:28 |
So you see how his leg is a little to
high up?
| | 02:31 |
Well looking at the
Angling with we're looking at.
| | 02:34 |
And that doesn't look quite right.
So let me get a little closer here.
| | 02:38 |
So what I'm going to do is I'm going to
select his leg.
| | 02:40 |
I'm going to select his leg right there
like that.
| | 02:43 |
And I'm going to go into the, Transform
Cmd.
| | 02:46 |
And I'm going to kind of pull it down,
see?
| | 02:48 |
Just pull it down.
Maybe just a little less.
| | 02:51 |
Just enough right here.
Right there.
| | 02:54 |
So now his leg is where it should be.
Now it got separated a little bit.
| | 02:58 |
No problem.
We can go in there, and just very quickly
| | 03:00 |
close up that gap with our Clone tool.
We just go in here and say click and
| | 03:05 |
we'll just fill up that area right in
there.
| | 03:08 |
And fill this in.
And get a much smaller brush.
| | 03:11 |
So we have a little more control, and
we'll just bring some of these darks in
| | 03:15 |
here, bring some of this.
And just were going to close up that
| | 03:18 |
little hole that was created there.
And then we'll just come from this side
| | 03:23 |
and bring this up into there.
And close it up and there we did a quick
| | 03:27 |
tailoring job there and fixed up his
pants.
| | 03:30 |
There we go.
So now, now he's complete again.
| | 03:33 |
Alright, coming back, he's a little
light, so what I'm going to do is I'm
| | 03:36 |
going to go in there into my levels and
I'm going to kind of darken him a little
| | 03:39 |
bit.
Cause he's inside our cave.
| | 03:44 |
Just like that.
And I want to darken him up just a little
| | 03:46 |
more, so with my Burn tool and I have
much smaller brush size and I'll go ahead
| | 03:50 |
and darken this front part of him just so
it's really dark.
| | 03:55 |
And the same thing with his hand, just
darken him up.
| | 03:58 |
So now, he's in complete shadow of the
inside of our cave.
| | 04:02 |
Now, he needs to be casting a shadow,
just like the walls of the cave are
| | 04:05 |
casting shadows.
So, I'm going to give him a drop shadow,
| | 04:08 |
because that way I don't have to figure
out how it's going to look, no.
| | 04:12 |
He's, a particular shape, so by going in
there and say, giving it a Drop Shadow,
| | 04:16 |
and clicking OK, I have the basis of my
shadow.
| | 04:21 |
There it is.
So I'm going to separate the shadow from
| | 04:23 |
the layer by going into Layer Styles and
coming down here to Create Layer.
| | 04:28 |
And, I've got my shadow right there,
which I can now go in there and modify
| | 04:34 |
it.
So let's just pull back a little bit, so
| | 04:38 |
we can see our whole image here.
And I'm going to take that shadow, and
| | 04:42 |
I'm going to just do a little transform
on it.
| | 04:45 |
See there's the transform.
Alright so, we have our transform
| | 04:49 |
controls, which is, Cmd+T is the
shortcut.
| | 04:52 |
So I'm going to grab this side right
here, and I'm going to hold down my Cmd
| | 04:55 |
key, so that way I can manipulate sides
independently.
| | 04:59 |
I'm going to drag this down, and drag
this one down.
| | 05:03 |
Drag this one, and drag this one over so
it's matching his feet, and just about
| | 05:07 |
like that.
There we go.
| | 05:09 |
Click OK, and we have ourselves a little
shadow on the ground being cast by the
| | 05:14 |
Billy as he's coming into the cave.
Now the little piece showing in the back
| | 05:19 |
there.
No problem.
| | 05:21 |
We can go to that shadow and we will
erase that little chunk right back there.
| | 05:25 |
Just so it's coming right from his foot.
And there we see that we have this nice
| | 05:29 |
shadow, emanating from him, going down
the floor of the cave.
| | 05:34 |
And the next movie we're going to add a
little light to that flashlight.
| | 05:39 |
| | Collapse this transcript |
| Flashlight and glow| 00:00 |
Now we're going to turn on that
flashlight.
| | 00:02 |
First thing we're going to do is get in
real close, so we can see that very tip
| | 00:05 |
of that flashlight, right there.
So what I'll do is I'm going to go and
| | 00:09 |
select, using my Pen tool, right there,
I'm going to go in here and select the
| | 00:13 |
oval, which is the opening of the
flashlight.
| | 00:17 |
going to go in there, just like so, right
there, and come into this area, and close
| | 00:22 |
it off, right there, like that.
There's the opening of the flashlight.
| | 00:28 |
So, in a layer above him, in fact, let's
call these layers again.
| | 00:33 |
Let's call this Bill.
Okay, so in the layer above it, we'll
| | 00:38 |
call this the Flashlight Light.
And I'm going to get a, not exactly white
| | 00:48 |
but more into the yellows, a nice bright
kind of a yellow like that.
| | 00:55 |
Right?
And in my layers, in that right layer I'm
| | 00:58 |
going to take that flashlight which I'm
going to Save that.
| | 01:03 |
I'm going to Save that.
And I'm going to go ahead and fill it
| | 01:05 |
with that color.
Turn off the path, come back over to my
| | 01:08 |
layers.
And there's the flashlight, which I'm
| | 01:11 |
going to give that a little bit of a
glow.
| | 01:13 |
Just a little tiny bit of an Outer Glow,
just so it makes it look a little
| | 01:16 |
brighter.
So there you go.
| | 01:19 |
So, we'll leave it with the default of
yellow, and we get that little tiny bit
| | 01:22 |
of a glow there.
Click OK.
| | 01:25 |
So now, we're going to go in there, and
it's sliding onto the floor, right?
| | 01:29 |
So, we're going to go in here and add a
little tonality to that.
| | 01:33 |
So, what I'm going to do is, I'm going to
take the floor layer.
| | 01:37 |
Right here, there's the floor layer.
And I'm going to duplicate that layer
| | 01:41 |
right there.
I'm going to duplicate that layer right
| | 01:44 |
here.
Right?
| | 01:46 |
And this we're going to call Light on
Floor.
| | 01:49 |
Light on floor.
And what's going to happen here, is, I'm
| | 01:52 |
going to come, come in a little closer.
And, let's just see that bottom part.
| | 01:58 |
I'm going to create a little oval.
Now select it over right here, which is
| | 02:02 |
going to be the shape that the, this is
going to have, right in there.
| | 02:09 |
All right, so, now, I have a mask for
this already.
| | 02:13 |
Right.
Lets drop that existing mask, delete it.
| | 02:17 |
All right.
And we have this oval which better go in
| | 02:20 |
there and as I have it selected, I'm
going to go in and now give this a new
| | 02:25 |
Mask.
Since I have a selection it's going to
| | 02:29 |
look at that as the Mask.
So I'm going to go in and say Mask.
| | 02:34 |
And there we can see that we have a Mask
that takes up that area.
| | 02:37 |
So now we're going to take the floor
itself.
| | 02:40 |
First of all I'm going to go into my
Adjustments and I'm going to say Levels.
| | 02:45 |
Because what I want to do is I want to
bring up a lot more detail to those
| | 02:48 |
shadows in there.
So as I bring in my darks you'll see that
| | 02:52 |
they're going to get really dark in
there.
| | 02:54 |
See?
There's those dark tones, getting really
| | 02:56 |
dark.
And then I'm going to bring in my lights.
| | 02:58 |
I want them to get lighter.
Get it really strong tones right there
| | 03:03 |
like that.
Now I've got a lot of definition to that
| | 03:06 |
little area.
Click OK.
| | 03:09 |
Now I'm go into my Hue Saturation, and
again I'm working on the actual layer
| | 03:13 |
itself, not its mask, so here I'm
going to say let's Colorize this.
| | 03:19 |
And I'm going to bring it right into
those yellow tones, right in there, and
| | 03:23 |
bring up the saturation and lighten it up
a bit.
| | 03:27 |
There we see that now we have this light
on the floor.
| | 03:30 |
'Kay let's bring down the saturation,
we're not that strong because there we
| | 03:33 |
have the light on the floor.
'Kay, click OK.
| | 03:37 |
Now.
I'm going to go to the mask itself.
| | 03:40 |
Here's the mask.
So in the mask, I'm going to go in and
| | 03:43 |
Apply a little Filter.
So I'll say, give it a little Gaussian
| | 03:47 |
Blur.
And a little less.
| | 03:50 |
Just enough to make it look kind of like
a soft edge, like you would see on a
| | 03:53 |
flashlight kind of an effect, there it
is.
| | 03:56 |
That's right there is about right.
Click OK, and we have our little
| | 04:01 |
flashlight lit on the floor, right?
So now, we need a little glow coming from
| | 04:07 |
our flashlight itself.
So using the Lasso tool here, I'm going
| | 04:11 |
to hold down my Option key to turn it
into the Polygonal Lasso tool, or you can
| | 04:14 |
just select the Polygonal, I'd just
rather just use the, the keys rather then
| | 04:17 |
changing tools all the time.
And I'm going to draw right up to this
| | 04:22 |
edge here, right over to this edge here,
back over to the other end of the
| | 04:26 |
flashlight and let it go.
So it becomes a selection right there.
| | 04:32 |
So in a layer right on top of the light
here, in fact we'll put this layer on top
| | 04:36 |
of the flashlight itself.
Right there, new layer.
| | 04:41 |
We're going to go in here and we'll get
that soft yellow again.
| | 04:45 |
And we'll fill that selection with that
soft yellow.
| | 04:48 |
Right there, just like that.
Okay?
| | 04:50 |
Now, I'm going to blur this just a little
bit.
| | 04:53 |
Now we have Gaussian Blur already set-up
as a filter so I'll just hit Cmd+Option+F
| | 04:58 |
to allow me to call up the last Filter
with its controls.
| | 05:03 |
And I'm going to bring down the, the
amount of the blur just to soften it up a
| | 05:07 |
little bit in there.
Click OK.
| | 05:12 |
Now, I want it to get softer as it gets
further away, so what I'm going to do now
| | 05:15 |
is I'm going to go over to my Channels
and create a brand new Channel.
| | 05:21 |
I'm going to see the RGB behind it, so I
can see exactly where my effect is going
| | 05:26 |
to be.
Now, I've explained alpha channels in the
| | 05:30 |
basics of, of this series, and so what
I'm going to do here is I'm going to
| | 05:33 |
apply black where I don't want the effect
to be and white where I want it to be.
| | 05:40 |
So I have a gradient, make sure I'm set
to black to white and I'm going to throw
| | 05:43 |
a Gradient right here.
I don't want the effect up here, I want
| | 05:47 |
it to be strong down here so I just
create following the angle of the light,
| | 05:51 |
I create this.
Which gives me this little Alpha Channel
| | 05:55 |
here.
So now, I don't need to see the Alpha
| | 05:57 |
Channel, I want to go back to my RGB and
load that Alpha Channel.
| | 06:02 |
So with that alpha channel selected, I go
back to the layer.
| | 06:05 |
There's the light, and we'll call this
Beam.
| | 06:08 |
I'm going to apply that filter again, the
Gaussian blur.
| | 06:12 |
This time, I'll go a little stronger.
I'll go to about a, let's go with a six.
| | 06:17 |
And I'll apply it a few times, Cmd+F,
Cmd+F.
| | 06:20 |
So you see how it's getting softer as it
gets further away?
| | 06:23 |
There we go, and that's good enough,
Deselect.
| | 06:28 |
I'm going to set that layer to Screen
Mode, reduce its opacity quite a bit.
| | 06:35 |
I like that.
And maybe little more.
| | 06:38 |
And then I going to give it a mask.
And in the mask, I'm going to very
| | 06:43 |
lightly, very lightly, with a low opacity
I'm just going to, kind of, give it a
| | 06:47 |
little bit of a hit along the bottom
here.
| | 06:51 |
Just so that it's just, softens up that
beam, as it's coming across, and doesn't
| | 06:56 |
interfere with the actual circle on the
ground.
| | 07:00 |
Now, something's going to be happening
here.
| | 07:04 |
There's going to be another inhabitant to
this ice cave, something a little bit
| | 07:07 |
more ominous.
So my friend Bill is going to be in
| | 07:10 |
trouble.
In the next movie we're going to create
| | 07:13 |
that other inhabitant.
| | 07:15 |
| | Collapse this transcript |
| Demon eyes| 00:00 |
In this movie what we're going to do is
we're going to create some demon eyes,
| | 00:03 |
right in this area here.
Eyes of some kind of a yeti creature
| | 00:07 |
that's looking at my friend Bill as he's
coming into the cave.
| | 00:11 |
We're only going to see these glowing
eyes, and they're going to be kind of
| | 00:15 |
evil eyes.
So, what we'll do is going to create them
| | 00:18 |
here.
So, I got this blank screen which I'm
| | 00:21 |
going to be invert to bring it to black
so, I can see things on top, 'cause it's
| | 00:24 |
going to be coming through the shadows so
I want the the effect to show as it's
| | 00:27 |
coming through the through the shadows
there.
| | 00:33 |
So now, there's going to be a couple of
pieces that I'm going to show in the next
| | 00:36 |
movie, but here, we're going to basically
create the eye.
| | 00:39 |
Now it's very similar to the eyes that I
did for creating eyes in the Times Square
| | 00:43 |
series in the section for people.
There is a, a movie about creating eyes,
| | 00:49 |
it's a similar function here, with slight
differences here and there.
| | 00:53 |
So, I'm going to go in here and start to
create the basic shape for the eyes
| | 00:57 |
themselves.
Now they're evil eyes, so I'm going to go
| | 01:00 |
in here and just create this mean looking
kind of an eye, that's going to look like
| | 01:04 |
this.
And let's just close this off right
| | 01:08 |
there, and this is going to be the basic
shape of our eye, right there.
| | 01:13 |
So this is this evil looking eye.
And to this I'm going to create a, an
| | 01:18 |
elliptical circle right here, which will
be the pupil of that eye.
| | 01:23 |
And let me just make sure we're set to
Path here, OK there we go.
| | 01:29 |
And the that's going to be the pupil of
that eye.
| | 01:32 |
And that's the basic shapes for that, and
then I'm going to create, that was the
| | 01:36 |
iris, of course, and then this is going
to be the pupil.
| | 01:40 |
So I'm going to go in here and create
this little shape, like so, which will be
| | 01:44 |
the pupil of the eye.
So now, I can go in here and manipulate
| | 01:48 |
these a little more if I want, just to
get the kind of a weird shape that I want
| | 01:52 |
this to have.
And it kind of looked like that.
| | 01:57 |
So what will happen, is I'll just create
a layer on top of this where I'm going to
| | 02:01 |
fill this with a tone.
So we'll get a, kind of a warm kind of a
| | 02:06 |
tone like this, which I can take into
that background right here and take that
| | 02:10 |
path and fill it.
Alright?
| | 02:14 |
And that's going to be our white of the
eye.
| | 02:17 |
OK?
This, right here, in a new layer, we'll
| | 02:20 |
create a new layer on top of this, and
let's start calling these.
| | 02:26 |
This is what we'll call the white of the
eye, and, this will be the, the iris of
| | 02:30 |
the eye.
And I will fill this with a, a kind of a
| | 02:35 |
yellowish tone perhaps, something kind of
fiery, something like that.
| | 02:39 |
Right?
And I'll go ahead and fill that path,
| | 02:42 |
right there.
Right?
| | 02:44 |
Then the pupil.
So we're going to go into our layers
| | 02:48 |
again create another layer, and we'll
call this one the pupil of the eye, and
| | 02:51 |
we'll fill it with a black.
So we'll take that path, and fill it.
| | 02:58 |
So now, we've got the basic shapes for
our eye.
| | 03:01 |
Now, going back to the layers, we're
going to take the, pupil and the iris,
| | 03:05 |
and we're going to rotate those just a
little bit, like that.
| | 03:09 |
That's going to be a little better like
that.
| | 03:11 |
Right now, we're also going to clip those
inside of our whites of our eye, right
| | 03:15 |
there.
So now there trapped inside of that area
| | 03:18 |
of the eye.
Now we're going to do a couple of things
| | 03:21 |
now to this.
We're going to create some tonalities
| | 03:24 |
that are going to make this look really
weird.
| | 03:26 |
So, we're going to go in here and I'm
going to select a big square, just like
| | 03:31 |
so.
Right?
| | 03:34 |
And in the layer above this, above the
white of the eye, I'm going to go ahead
| | 03:37 |
and fill it with say, a white.
It doesn't matter, because now I'm
| | 03:41 |
going to pick the actual colors that I
want in there, which are going to be like
| | 03:44 |
this bright red.
And then get this kind of a, a yellowish
| | 03:48 |
tone, like we had originally before.
And in there, I'm going to throw in a
| | 03:53 |
filter.
I'm going to throw in a Filter of Render
| | 03:57 |
Fibers.
OK?
| | 03:59 |
And it's going to be something like that.
And then I'm going to apply another
| | 04:03 |
filter to that, and that filter is going
to be the Distort Poly-coordinates, so
| | 04:07 |
we're just going to spin 'em all out from
the center out.
| | 04:11 |
See?
Like that.
| | 04:12 |
And there we're going to start getting
this sense of the veins, or, or some
| | 04:15 |
weird stuff happening to around the edges
of the eyes.
| | 04:19 |
So I can now deselect this, and I can
move that layer around, so I can center
| | 04:22 |
it right where I want it, right about
there.
| | 04:25 |
And then what I want to do is apply a
Mask to that.
| | 04:28 |
Even though it's part of a Group I can
apply a Mask.
| | 04:31 |
So I'm going to go in there, get a much
smaller Brush, and just kind of lighten
| | 04:35 |
up around the area of the iris so those
veins are visible along the outside
| | 04:40 |
edges.
Now, what I'm going to do here, I can
| | 04:44 |
start applying other effects, like for
instance, I can go into here and I can do
| | 04:48 |
a little darkening along the top, just to
darken this.
| | 04:53 |
I'm, I'm going to use my mid-tones for my
burn tool, and just kind of darken along
| | 04:57 |
there.
And the same thing with the white of the
| | 05:00 |
eye, I just kind of darken along there.
And here, we're going to need highlights.
| | 05:04 |
So I'm going to go up there, and just
kind of darken along the top of the eye.
| | 05:07 |
And the same thing for the iris.
Let me go in there, and just kind darken
| | 05:11 |
the top part of that iris.
Which is going to get a, a shape of its
| | 05:15 |
own.
So I'm going to in there and create a
| | 05:18 |
layer on top of that.
And create a little square just like
| | 05:21 |
before, right in there like that, though
this is going to have a different effect
| | 05:25 |
going to that.
I'm going to go in there and just fill it
| | 05:30 |
with say that white again, and we'll give
it some noise, Add noise, and give it a
| | 05:35 |
lot of noise, like that.
And then we'll give it another filter,
| | 05:41 |
and this filter will be a Blur, but it'll
be a Radial Blur set to Zoom mode.
| | 05:48 |
Click OK, which gives us that.
I can go in there and in my levels, I'm
| | 05:53 |
going to really intensify the blacks, and
bring in those whites, click OK, put that
| | 05:58 |
in screen, or rather, Multiply Mode.
So only the blacks are going to show
| | 06:04 |
through.
And then I'm going to turn the iris into
| | 06:07 |
a selection.
But first let's look at that iris,
| | 06:09 |
there's the iris.
I want to go in here and blur that iris
| | 06:12 |
just a little bit, just to soften those
edges.
| | 06:15 |
I'm going to go in there to gauzy and
blur, and we'll soften the edge of that
| | 06:18 |
iris just a little bit, and we see the
effect there.
| | 06:21 |
Okay, that's good.
So now, turn that back on.
| | 06:24 |
We turned the iris into a selection.
And then go into that area that has the
| | 06:29 |
texture and give it a mask, which
conforms to the shape of our iris.
| | 06:33 |
Now I'm going to go back into the iris,
and in the iris, I'm going to give it a
| | 06:38 |
little bit of a inner glow.
Alright?
| | 06:42 |
And, but we're going to pick a darker
tone, a nice deep brown, kind of like
| | 06:46 |
that.
Click OK, which doesn't show because
| | 06:50 |
being a glow is set to screen, I'm going
to change that to Multiply.
| | 06:54 |
Increase the opacity to it and the size,
so I start getting that nice kind of a
| | 06:58 |
dark edge right along that edge there.
And then click OK, and then to the Pupil,
| | 07:04 |
we'll give that a little outer glow,
which will change into a nice bright red.
| | 07:11 |
Nice bright red like that and click OK.
Punch that up a little bit.
| | 07:16 |
And poof, set that up to say normal, so
it'll be nice and bright red.
| | 07:20 |
And put it, punch it up a little bit, and
there we see how we're starting to get
| | 07:23 |
our evil eye.
Now, in the next movie we're going to add
| | 07:26 |
a few other features to this thing,
actually create two eyes, so you can see
| | 07:30 |
how the whole thing gets assembled.
| | 07:33 |
| | Collapse this transcript |
| Two demon eyes| 00:00 |
So this is what we saw in the last movie,
we created this little eye.
| | 00:04 |
Well, in this movie what we're going to
do is see the two eyes as they get built
| | 00:07 |
up.
So I have the file here where the actual
| | 00:11 |
two eyes that we're going to use live,
completely created.
| | 00:16 |
But we're going to look at a couple of
things first.
| | 00:18 |
First of all, we're going to look at the
skin.
| | 00:19 |
Now the way I created the skin, which we
see here, is I'm going to pick up this
| | 00:23 |
brown, so we have the brown that we want
right there.
| | 00:27 |
And there's a good brown.
And the way it was created is I created a
| | 00:30 |
new layer on top and I created a shape.
And we'll fill it with that brown.
| | 00:36 |
And into that we'll apply a filter.
So I go into my Filter gallery here and
| | 00:40 |
In texture I have a thing call
Craquelure.
| | 00:43 |
Craquelure what I'll do is bring down the
Crack Spacing, way down like that and the
| | 00:47 |
Crack Depth.
And the brightness I can push it up a
| | 00:51 |
little bit, click Okay, and there's the
texture.
| | 00:55 |
Now what I did to that, is I took it a
step further and I stood in the half for
| | 00:58 |
each side of the I and I went in there
and warped these.
| | 01:03 |
I'll go in there and say Warp, and I'll
take the corners and really bring them
| | 01:07 |
in.
OKay, just these corners so that they
| | 01:10 |
start to look like they're wrapping
around the head, just like that.
| | 01:13 |
I'll take these bottom areas here, and
kind of split them up like that, just to
| | 01:18 |
start adding that little feeling of, of
wrapping around the face.
| | 01:23 |
Alright, so.
Let's turn that off and here's what we're
| | 01:26 |
working with here.
Here's the final of what those look like.
| | 01:29 |
Now I'm going to turn on all the other
layers and you'll see the progression as
| | 01:32 |
they were created in the last movie.
So there's the whites of the eyes.
| | 01:38 |
All I did was add a drop shadow which is
instead of being black I changed it to
| | 01:41 |
red.
So there's a bright red drop shadow
| | 01:45 |
underneath the two whites of the eyes.
In the previous movie I just used a
| | 01:49 |
simple beige color.
Here what I did is I filled each area
| | 01:53 |
with a gradient, a radial gradient, going
from yellow to an orange.
| | 01:59 |
On top of that is the texture that I
created just like in the last movie, for
| | 02:02 |
the little veins and the red of the eye.
There's the irises.
| | 02:07 |
and with their little edge of a layer
style.
| | 02:12 |
And there's the texture inside of those.
And there's the pupils with the little
| | 02:17 |
red layer style.
Now, I've added one more feature here,
| | 02:20 |
which is hair.
Now did I do that?
| | 02:24 |
Well, the Town Square Series the People
section has a whole thing on creating
| | 02:28 |
hair.
And that'll explain how I created this
| | 02:32 |
hair here.
Now these are the eyes that I'm going to
| | 02:35 |
use, so what I'm going to do now is I'm
going to go in there and turn off my
| | 02:38 |
background.
And make sure I'm at the top, I'm
| | 02:42 |
going to hold down my Option key and say
Merge visible.
| | 02:45 |
Which is going to merge all of the layers
into a single layer, which we see right
| | 02:49 |
there.
Leaving all of the others intact, in case
| | 02:53 |
I ever want to make some changes, to
colors or whatever, to any individual
| | 02:56 |
part.
They are still individual layers that I
| | 03:00 |
can manipulate, but there's the main
layer, which I'm, in the next movie, I'm
| | 03:03 |
going to bring into the scene, to finish
the scene.
| | 03:07 |
| | Collapse this transcript |
| Adding demon eyes| 00:00 |
So now, what we're going to do is take
our demon eyes and apply 'em to the
| | 00:03 |
scene.
So I'm going to bring this over to the
| | 00:06 |
side, here, and grab the eyes so we can
deposit it and bring 'em right into our
| | 00:09 |
scene, here.
'Kay, there they are.
| | 00:12 |
So, what we're going to do is I'm going
to mask him considerably.
| | 00:15 |
I'm going to go in here and apply a mask
to those.
| | 00:19 |
It's called the demon eyes.
And given a mask.
| | 00:22 |
Now the mask, we're only going to see the
very center part of those eyes, so our
| | 00:28 |
mask is going to pretty much hide
everything around it.
| | 00:34 |
So, I'm going to go in here and start to
kind of slowly get everything around
| | 00:39 |
those eyes to start to fade away.
See?
| | 00:44 |
So I'm just hiding(INAUDIBLE) .
And we're just going to see little pieces
| | 00:48 |
of the hair that are picking up the glow
from the eyes.
| | 00:52 |
So I'm just going to go in there, and
start to just get rid of all that stuff.
| | 00:55 |
And just leave enough of the eyes
visible, just like that.
| | 00:58 |
'Kay, there's the eyes.
And now pull back a little bit.
| | 01:03 |
And we're going to take those eyes and
put them in position.
| | 01:05 |
Now the mask is going to move with em,
because they are locked.
| | 01:09 |
They're going to go in here.
And go into the transform mode, and
| | 01:12 |
shrink em down, like that.
And rotate em ever so slightly, like
| | 01:17 |
that.
And he's going to be.
| | 01:20 |
Looking through from the darkness in
there at our friend coming in there and
| | 01:24 |
click OK.
So there's the eyes in place.
| | 01:27 |
Now, now that these eyes are there, what
we need to have is, they are glowing, so
| | 01:31 |
they're going to have to cast a little
light on the edge of our wall here.
| | 01:37 |
Which is also ice.
Let's move 'em back just a little more
| | 01:39 |
into the darkness here.
So what I'm going to do is I'm going to
| | 01:42 |
go down to the Wall of ice here.
And I'm going to select a little area
| | 01:46 |
that kind of follows this curve, though
it doesn't have to follow it perfectly,
| | 01:49 |
because we can always manipulate it, as
we will manipulate it.
| | 01:53 |
So what I'm going to do is I'm going to
select a, a nice chunk that has some
| | 01:56 |
details, like this whole little piece
right here.
| | 02:00 |
I'm going to select that.
And I'm going to send that to a new layer
| | 02:06 |
via copy.
There it is.
| | 02:09 |
So now what's going to happen, and let's
go back here and put this right up on the
| | 02:14 |
very top.
And let's click these two together again
| | 02:17 |
so that the we'll only see the sparkles
inside of our wall there.
| | 02:22 |
And what we're going to do now is we're
going to take that last piece we created.
| | 02:26 |
Which we're going to put a top here.
We'll call it Glow.
| | 02:30 |
And we're going to move that into
position right up here, alright.
| | 02:34 |
And I'm going to kind of rotate it
around, get it to this side, so we're
| | 02:37 |
going to get all those nice tones the way
we want them.
| | 02:41 |
So I'm going to go in there and I'm
going to colorize this...
| | 02:43 |
But first let's go in here and do the
colorization.
| | 02:49 |
I'm going to say colorize it, and bring
it into those orangy colors, then punch
| | 02:53 |
up that saturation quite a bit.
Bring it a little redder, little more red
| | 02:58 |
tones there, I like that.
That looks good.
| | 03:01 |
Just about like that and then I'm
going to go into my levels where I'm
| | 03:04 |
going to go in there and darken this.
I want to darken those tones quite a bit,
| | 03:09 |
about like that.
That's looking good.
| | 03:12 |
Click OK.
So now I'm going to put this in position
| | 03:15 |
where I want it, right about there, and
have it follow the wall.
| | 03:19 |
So what I'm going to do next is I'm going
to warp it.
| | 03:23 |
So I'll go in here and bring this down
and so I can start to warp this to follow
| | 03:27 |
the curvature of my wall, just like that.
Now bring this one down just a little
| | 03:33 |
more and there, so it's following that
same curvature that we have for the rest
| | 03:37 |
of the wall, just like that.
Make that happen.
| | 03:41 |
And then we're going to give that a mask.
And then in that mask.
| | 03:47 |
There's the mask.
We're going to start to make it look like
| | 03:50 |
they are in fact on the wall.
So we're going to to just kind of get rid
| | 03:54 |
of the stuff in front here, get rid of
the stuff down below here.
| | 03:58 |
Right down there we're going to get rid
of that.
| | 04:00 |
And get rid of this part that's hiding
the eye.
| | 04:03 |
Just like that.
And up here.
| | 04:07 |
And then just get rid of a little bit in
the middle here.
| | 04:10 |
We gotta bring our opacity for our brush
down to about a 30.
| | 04:13 |
So we can just very lightly just start to
slowly kind of just shape our little
| | 04:18 |
glows on the ice, being caused by the
eyes that are looking at our.
| | 04:24 |
Frendo coming into the cave.
And there we see that we now have this
| | 04:28 |
ominous creature.
This Yeti kind of creature, just peering
| | 04:31 |
over the edge of this ice wall, looking
down at our friend Billy who has no idea
| | 04:36 |
what's about to happen to him as he comes
into the ice cave.
| | 04:41 |
| | Collapse this transcript |
|
|
3. Ghost at the DoorIntroduction| 00:01 |
This Dreamscape is going to take us way
back in time to an ancient little town.
| | 00:05 |
Where late at night, people are just
having a good time in the saloon,
| | 00:09 |
unknowing that just outside the door,
there's a ghostly goblin that's coming to
| | 00:13 |
visit.
| | 00:16 |
| | Collapse this transcript |
| Retouching the building| 00:00 |
Here's the scene that's going to be
transformed into our nightly scene, a
| | 00:05 |
long time ago.
Now, the building itself was built a long
| | 00:09 |
time ago, but it's got some modern
amenities like this pipe here.
| | 00:14 |
And the little stickers on the pipe, and
those plastic garbage cans back there.
| | 00:19 |
I'm sure these things did not exist when
this building was first made.
| | 00:23 |
So we have to go in there and start to do
some re-touching.
| | 00:26 |
Now it's not as complicated as it sounds.
One thing, it's going to be easy because
| | 00:30 |
of some of the features in Photoshop.
I'm going to take my Lasso tool, I'm
| | 00:34 |
going to select an area, right around the
pole, that's going to encompass enough of
| | 00:37 |
the wall.
And to about here.
| | 00:41 |
Right there.
Now I'm going to use the content aware
| | 00:45 |
fill, that's where I went so far, so it
goes in there and starts looking at some
| | 00:48 |
of this area that's around it so it knows
what to fill with.
| | 00:53 |
It looks at the parts that are wrong,
like in this case is the pole, and it's
| | 00:56 |
going to cover that up.
So I'm going to go in there and say Fill.
| | 01:00 |
And there's content to where as use.
And so when I click Okay, it's going to
| | 01:05 |
go in there and magically get rid of the
pole and replace it with the texture of
| | 01:09 |
the wall behind it.
Now, I didn't do this area down here
| | 01:13 |
because it's so tight in there it's
going to pick up windows and the arch and
| | 01:16 |
so on.
So, lets just deselect it, and then go in
| | 01:19 |
here and retouch this using the
traditional Clone tool.
| | 01:24 |
Now, we select the Clone tool, but the
fault is that the hardness is set to
| | 01:29 |
zero.
Using zero is going to give me a really
| | 01:33 |
soft edge of my brush which is going to
create kind of like a ghostly or a kind
| | 01:36 |
of.
Out of focus area around the edge of the
| | 01:41 |
brush.
If I go all the way to 100% then it's
| | 01:43 |
going to get a hard edge and the wall
itself has a texture.
| | 01:47 |
That hard edge is going to really stand
out.
| | 01:50 |
So what I'm going to do is I'm going to
reduce that hardness down.
| | 01:53 |
In this case because of the particular
wall I might bring it all the way down to
| | 01:57 |
say about, let's go to about a 70.
71, that'll work.
| | 02:02 |
So I come in here and I'm going to hold
down my Option key, Alt on a PC, and I'm
| | 02:06 |
going to tell it where to clone from.
And I want to take it from right about
| | 02:12 |
here, which is the nice kind of a color
that I want.
| | 02:15 |
Or maybe even this blue right here, right
there.
| | 02:19 |
Kind of a blue-ish tone in there.
And I'm going to make my brush a little
| | 02:21 |
bigger.
Make my brush a little bigger.
| | 02:26 |
Right there.
There we go.
| | 02:27 |
And I'm going to zoom in onto this area
so we can really see what I'm going to be
| | 02:31 |
doing here.
So now I'm going to start to, you notice
| | 02:34 |
that I get a little representation of
what it is that I'm cloning from.
| | 02:37 |
Now I'm also going to bring down the
opacity.
| | 02:40 |
I have the opacity down to about a 54%.
That 55 is good because what I want to do
| | 02:45 |
is, I'm not going to get the exact same
tone all the way down here.
| | 02:49 |
I want to slowly build up that tone so it
looks a little more realistic.
| | 02:53 |
So instead of working with an opaque
Brush, which is going to take exactly
| | 02:56 |
where I'm cloning from, I'm going to
slowly build up the texture until I have
| | 02:59 |
it the way I want it, see.
So, I'm slowly building it up, so I start
| | 03:04 |
to get this, these nice tones that I
want.
| | 03:06 |
And, I'm just cloning down along this
edge of the wall.
| | 03:09 |
I'm going to make my brush smaller, l
could just start smoothing this area out
| | 03:13 |
a little better.
Just get rid of all these shadows that we
| | 03:17 |
see in there.
And I'm going to clone again.
| | 03:20 |
From here, and then start bringing it
down.
| | 03:22 |
And as you can see, I'm slowly building
up my texture so it starts to cover all
| | 03:26 |
the pieces that I don't want to have.
And we're going to go in there and start
| | 03:31 |
to continue down all the way along the
edge of the wall, until the entire pipe
| | 03:35 |
is gone.
As I'm going to also do to this little
| | 03:40 |
box here.
because I'm sure that wasn't there in the
| | 03:43 |
original building.
So I'm going to just pick up from right
| | 03:46 |
here, this tone here and slowly build
that up into that area.
| | 03:50 |
And I got too much of a darkness, so
let's just build from here and slowly
| | 03:53 |
build that tone into there.
There we go.
| | 03:56 |
Now, I'm going to get in real close to
the top of this pole here, or this little
| | 04:00 |
stand and make my brush really small.
And continue cloning down, just to get my
| | 04:08 |
wall completely along the edge of the top
of this little pillar, right there like
| | 04:15 |
that.
Now I'm going to start to clone the
| | 04:19 |
pillar itself, going to clone this right
into here.
| | 04:22 |
Just to slowly build it up.
And you can see I'm getting a little bit
| | 04:26 |
of a pattern there, so just go back and
forth, so we get rid of that pattern.
| | 04:30 |
Right in there like that, and match up
the wall, right up to that edge.
| | 04:34 |
There we go, now when we pull back, we
see that the pole is gone.
| | 04:39 |
Now to garbage cans.
So let's get close into that area back
| | 04:43 |
there.
And I'm going to look at what we have
| | 04:47 |
here.
We have the wall and there's this tone in
| | 04:49 |
here.
There's green and this beigey tone.
| | 04:52 |
And, and so, and so what I'm going to do
is I'm going to clone from this beige
| | 04:55 |
area, but I'm going to make sure that I
have a very precise area I'm going to go
| | 04:59 |
with.
So I'm going to make my brush a little
| | 05:02 |
larger and I'm going to pick right from
there.
| | 05:06 |
See I'm centering it right inside that
edge, I'm going to click there.
| | 05:10 |
So now I come down here and you notice
that it's giving me a little, visual
| | 05:12 |
representation of where I'm cloning from.
And I'm going to make sure I match up
| | 05:16 |
that line right there and then start to
draw.
| | 05:19 |
And there you can see that I'm slowly
building up my tones, so that I'm
| | 05:25 |
matching the wall behind.
Right there like that, slowly building it
| | 05:32 |
up, eliminating those garbage cans, and
the shadow for them too as well.
| | 05:37 |
So I want to make sure that I get this
going, and this is all matching up
| | 05:40 |
because I have current layer and align
sample, so it's always going to pick up
| | 05:44 |
from where I started.
And there we go.
| | 05:51 |
Let's close that area off right along the
wall like that.
| | 05:55 |
Right in there.
Go around that corner.
| | 05:58 |
And now we're going to pick up from the
ground down here, and I'll slowly start
| | 06:02 |
to build that area up.
Now it doesn't have to be perfect,
| | 06:06 |
because this is all going to be
nighttime, it's going to be very dark.
| | 06:09 |
But now as you can see, we now have, this
whole area is nice and clean, and we're
| | 06:13 |
ready to go to the next step.
In the next movie, what we're going to do
| | 06:18 |
is totally turn this into nighttime.
| | 06:20 |
| | Collapse this transcript |
| Lighting a building at night| 00:00 |
So what we're going to do now is take our
scene that we created in the last movie
| | 00:04 |
and turn it into nighttime.
So the first thing we need to do is to
| | 00:08 |
actually turn on some lights.
because it's going to be nighttime, we
| | 00:12 |
need lights on.
So I'm going to take my background and
| | 00:14 |
I'm going to duplicate it.
Put it right over here and we're going to
| | 00:17 |
call it light.
Alright, so now, what's going to happen
| | 00:21 |
now is that I'm going to go in there and
colorize this to the color of my lights.
| | 00:28 |
I'm going to go into Adjustments and go
to Hue Saturation.
| | 00:32 |
And I'm going to go in there and say,
Colorize, turn everything into a
| | 00:35 |
particular hue, and I'm going to choose
my Hue Slider over to about say about
| | 00:39 |
there.
Punch up that saturation so we can really
| | 00:43 |
see the effect it's having.
Nice and strong like that.
| | 00:47 |
I'm going to lighten it up just a little
bit here.
| | 00:49 |
And it's bringing it to little bit warmer
like that.
| | 00:53 |
There you go that's a good color right
there.
| | 00:55 |
I'm going to click OK.
Now I want to give it a little more, so I
| | 00:58 |
got my Dodge tool selected here.
And I'm going to go in here and just kind
| | 01:02 |
of lighten this up a little bit right
inside here.
| | 01:05 |
Just like that.
Make it much lighter, about like that.
| | 01:08 |
There we go.
Now we don't have to worry about all this
| | 01:11 |
stuff because basically what's going to
happen is the lights inside this doorway.
| | 01:17 |
I'm just going to lighten that area right
in there.
| | 01:20 |
Just like that.
All right.
| | 01:22 |
So now that we have that, we're now going
to take the Background layer again and
| | 01:26 |
duplicate it.
This new duplicate we're going to put on
| | 01:30 |
top, right there.
And we're going to call this one, night.
| | 01:34 |
This is where we're going to actually
make it look like it's nighttime.
| | 01:39 |
So what I'm going to do is I'm going to
go into my levels, and I'm going to
| | 01:43 |
darken this.
Bring all this nice and dark.
| | 01:47 |
Just darken the whole thing like that.
Really dark.
| | 01:51 |
My midtones are going down to these
really dark areas like that.
| | 01:55 |
Click OK.
I'm going to pull back just a little bit
| | 01:58 |
here and the layer on top of this.
I'm going to, got some black, and I'm
| | 02:03 |
going to my paint brush which I'm
going to get out.
| | 02:06 |
Make it really soft.
Okay, it is soft.
| | 02:08 |
I'm going to make a nice large brush.
Let's make it really large, nice big
| | 02:12 |
brush like that.
I'm just going to kind of throw some
| | 02:15 |
blacks in there, and make it even larger.
I'll throw some blacks right through here
| | 02:19 |
like this.
Make it really big, and throw some black
| | 02:21 |
in there.
I'm going to bring down the opacity.
| | 02:25 |
And just throw some more darkness right
around this area here like this.
| | 02:28 |
Just like that.
And I'll take that layer and put it in
| | 02:31 |
multiply mode, and reduce the opacity
just a little.
| | 02:35 |
Just till it starts to give it that nice
dark tone.
| | 02:38 |
Let's add a little more darkness to it.
Just about like that.
| | 02:41 |
So there, now we're starting to get this
really dark kind of a nighttime scene to
| | 02:45 |
this.
All right, so now that we have that, go
| | 02:49 |
back to full screen here, is I'm going to
go into that layer, the Night layer.
| | 02:54 |
That's the layer that has our scene
that's been darkened, and what I'm going
| | 02:58 |
to do is I'm going to give it a mask.
And I give it a mask.
| | 03:01 |
So, if I go in here and say, give it a
mask, right there, there's my mask.
| | 03:05 |
What I'm going to do now is I'm going to
go in here and paint with black, because
| | 03:06 |
black is going to hide the contents of my
layer.
| | 03:08 |
If my mask is white, which means I can
see the entire contents of the layer.
| | 03:17 |
But what I want to do is hide parts of
this layer.
| | 03:23 |
So I'm going to go in here and start
painting with a small brush.
| | 03:27 |
I'm going to tighten it up a little bit.
I'm going to make the hardness a little
| | 03:30 |
stronger here.
Now I'm going to start to paint, and you
| | 03:32 |
notice when I start to paint, you see
what's happening?
| | 03:34 |
That light thing is showing up behind.
So I'm going to go in here and just start
| | 03:39 |
to paint right through here, like so and
I'm going to bring my opactiy up to 100%.
| | 03:43 |
There we go.
So we get a full view of what I want.
| | 03:47 |
Now we could save some time, by going in
here and just kind of selecting an area.
| | 03:51 |
Let's go in here and just select this
whole area right through here, right
| | 03:54 |
around this little part of the door.
Go in here and go right across, all the
| | 03:59 |
way to this edge right here.
And let's go along this edge just through
| | 04:04 |
here like that, and fill that with white.
There we go.
| | 04:08 |
So now that whole area is nice and white.
So now, let's get closer and refine this
| | 04:12 |
a little better.
I'm going to get my Paintbrush again, and
| | 04:15 |
now I'm going to soften it up.
I'm going to soften up that edge.
| | 04:19 |
So I can start to paint right in here.
And I'm going to get a small brush, I'm
| | 04:23 |
just going to start to slowly paint along
this edge, right along here.
| | 04:27 |
And let's get real close, we can see what
happens here.
| | 04:29 |
going to go right along this edge, right
through here.
| | 04:33 |
And I start to kind of fill this area up,
right through here.
| | 04:39 |
And I kind of just getting my light going
right across and I'm going to get a
| | 04:42 |
little edge happening right through
there.
| | 04:46 |
I'm going to just start doing it now by
clicking right through here and going in,
| | 04:50 |
and I'm getting all these edges of my
wall.
| | 04:55 |
Here we go, and we can see where we
getting our wall, right in there, all
| | 04:58 |
these little areas.
And if we get areas that we don't want,
| | 05:01 |
like that little white spot there, no
problem.
| | 05:04 |
We just, just switch back to white.
And come in here, let's make our brush a
| | 05:08 |
little smaller, and we can paint that
back in.
| | 05:10 |
Ain't, no problem.
Alright.
| | 05:12 |
So, we can continue.
Let's get our brush larger again, go back
| | 05:15 |
to black.
And we start to hide this whole area
| | 05:18 |
right through here.
And as we start painting go all the way
| | 05:24 |
on to the bottom.
And I think I just moved something, yep I
| | 05:30 |
moved the whole thing over.
Shouldn't do that.
| | 05:33 |
I do make mistakes every now and then.
And let's just continue all the way down
| | 05:37 |
to the edge of the bottom.
And then we're going to do the sidewalk.
| | 05:41 |
So we come down to here, continue
painting all the way down to the bottom.
| | 05:47 |
And here we've got some little rough
areas here so we can kind of roughen our
| | 05:51 |
strokes as we do this.
Just get kind of rougher along this edge,
| | 05:56 |
no problem.
And, let's go down, let's open this up a
| | 06:00 |
little bit.
There you go.
| | 06:04 |
Go all the way down here to the bottom.
There.
| | 06:08 |
Now, let's pull back and look at this
bottom sidewalk area.
| | 06:13 |
So what I'm going to do here now, is I'm
going to select what's going to be the
| | 06:17 |
light streaming out onto the sidewalk,
like so, alright?
| | 06:22 |
Now, I'm going to go ahead and fill that
with the black.
| | 06:24 |
Now, I'm going to have to get my soft
brush again.
| | 06:27 |
There's my, my paint brush.
And I'm going to just very lightly start
| | 06:29 |
to paint right into this area, a nice
straight line.
| | 06:32 |
Now, I'm going to soften this up even
more.
| | 06:34 |
Let's bring this harness way down, right?
And, I'm going to get my brush a little
| | 06:43 |
larger.
I'm just going to kind of just paint
| | 06:48 |
right through this area here.
With a nice soft brush like that.
| | 06:51 |
And same thing here.
I'm going to hold on my Shift key then
| | 06:55 |
constrain the points.
And I'm going to go in here and just
| | 06:58 |
let's go into our brush engine, because I
noticed that what's happening here is I
| | 07:02 |
get these little hard lines like that.
Well what's happening there is that my
| | 07:08 |
brush Is looking at the pressure
sensitivity.
| | 07:11 |
I'm using a tablet which has pressure
sensitivity.
| | 07:14 |
See, I don't want that.
So let's just turn that off.
| | 07:18 |
So now, when I click here and Shift click
here, there you can see I'm getting a
| | 07:21 |
nice straight line just like that.
And I can soften it up a little more.
| | 07:27 |
Let's go in there and juh, just make this
all the way soft and make this brush a
| | 07:31 |
little bigger.
If I can kind of start here and go out
| | 07:35 |
beyond, so see how it's giving me that
soft edge out there?
| | 07:41 |
Just like that and the same thing here.
I'm going to start in here and go beyond
| | 07:44 |
the line, which is going to soften that
edge right through there.
| | 07:48 |
And there we see that now, we have this
light coming in from inside where our
| | 07:52 |
building is lit up at nighttime.
In the next movie, we're going to turn on
| | 07:58 |
some real lights outside, because in the
scene, at some point, few hours ago, the
| | 08:02 |
knight man came over and lit the candle.
So next we're going to light up the
| | 08:09 |
candle up in here.
| | 08:11 |
| | Collapse this transcript |
| Creating a candle| 00:00 |
And now, we're going to go in there and
we're going to turn on this light.
| | 00:03 |
So that people can find their way through
the street at night.
| | 00:06 |
So we'll go in there and create a little
candle.
| | 00:08 |
I'm going to zoom into this area right up
here.
| | 00:11 |
Get real close on it, right there.
And let's get real close on this candle.
| | 00:15 |
Now, we can see right now that there's a
glass covering here.
| | 00:19 |
But it doesn't matter 'cuz we're going to
totally cover that.
| | 00:22 |
So now, we'll go in here and above our
night scene area here, I'm going to
| | 00:27 |
create a new layer which I'm going to
call candle.
| | 00:32 |
And with my Pen tool, I'm going to go in
here and create my little candle.
| | 00:38 |
I'm going to start a little below here,
around the base, and I'll go in there and
| | 00:42 |
I'm going to click, come up to the top
here, and.
| | 00:46 |
Click.
Holding down my Shift key to get a nice
| | 00:48 |
straight line.
I'm going to pull out a little bit of a
| | 00:51 |
handle like that, just like that.
And go right over into this area here.
| | 00:55 |
Click and pull out a little handle, and
then straight down, like that.
| | 01:00 |
And I'm going to close it off.
So there's the basic shape for my candle.
| | 01:06 |
So now.
It appears in my path right there, so
| | 01:09 |
what I'm going to do is I'm going to go
and turn it into a selection like that.
| | 01:13 |
Now I make sure I'm in that layer, okay?
I'm in the Candle layer.
| | 01:15 |
So now I'm going to get the colors that I
want my little candle to have.
| | 01:19 |
So I'm going to choose for the foreground
a nice kind of a light colored beige like
| | 01:23 |
that.
Light yellowish tone.
| | 01:26 |
because that's the lightest part of the
candle, where the flame is, right?
| | 01:30 |
And then for the background, I'm going to
start with that same color and choose a
| | 01:33 |
much darker version of it.
Let's get a little warmer and come down
| | 01:38 |
to about this color right here.
And now that I have that I'll get my
| | 01:42 |
Gradient tool and I have it set to Linear
gradient.
| | 01:46 |
For around the background, I'm just
going to go on here and draw a little
| | 01:49 |
gradian going straight up from light to
dark.
| | 01:53 |
Just like that.
So there's my basic candle.
| | 01:56 |
And I can deselect it.
So now I have that, I'm going to create a
| | 02:00 |
new layer behind it.
Right there and it created the new layer
| | 02:04 |
behind, because I'm holding down my Cmd
key, which would be Ctrl on the PC.
| | 02:09 |
So that will create the new layer instead
of above which is the standard.
| | 02:14 |
It created it behind.
We're going to call this one the Flame.
| | 02:21 |
I gotta get in real close on this, really
close.
| | 02:25 |
Just like that.
And what I'm going to do here is I'm
| | 02:27 |
going to take this really light yellow.
And I got a really tiny brush, really
| | 02:32 |
small little brush, and I'm going to
create a little dot like this, a little
| | 02:36 |
dot right there like that.
Okay?
| | 02:40 |
And right above it.
I'm going to get a, much brighter yellow
| | 02:45 |
like this, right above it.
And maybe even warmer.
| | 02:50 |
Let's warm it up a little bit.
That's better, like that.
| | 02:55 |
Then right above that I'm going to create
a little hat.
| | 02:57 |
Just like that.
Little hat on our little white dot there.
| | 03:02 |
So now, let's get closer on this so we
can really see what's going to happen
| | 03:05 |
next.
So what is going to happen next is that
| | 03:08 |
I'm going to go in there, and I'm going
to take my Smudge tool.
| | 03:12 |
Pull back just so we don't see those
pixels.
| | 03:13 |
I'll take my Smudge tool, which is right
here under the drop, there's the Smudge
| | 03:17 |
tool.
And I'm going to get the brush a little
| | 03:20 |
smaller I'm just kind of go right here in
between where the two of them meet and
| | 03:24 |
push that up.
See push it up.
| | 03:27 |
Then push this side up to alittle bit
too.
| | 03:30 |
Just kind of push them up till I start
getting this little kind of flame like
| | 03:33 |
that, see.
Push some of that white into that area
| | 03:37 |
just like that.
And I take that layer.
| | 03:40 |
And I'm going to give it a Layer style,
and in that Layer style I'm going to say,
| | 03:45 |
let's give it an outer glow right here.
And I'll change that color to a nice warm
| | 03:52 |
red, like that, see?
Click OK, and there we can see that now
| | 03:56 |
we start to have a little flame lit.
Click Okay, and I'm going to just move it
| | 04:00 |
down so it's a little closer to the top
of our little candle there, like that.
| | 04:06 |
That's looking good.
So now, what's going to happen, is, let's
| | 04:10 |
turn it off for a second, and turn off
the candle.
| | 04:13 |
And let's look at the lantern itself.
What I'm going to do right now is I'm
| | 04:17 |
going to take my Pen tool.
And I'm going to click right there, and
| | 04:21 |
here, there.
Up and across.
| | 04:26 |
Now I'm going to do the same thing for
this side.
| | 04:28 |
So you see what I'm doing is I'm kind of
selecting the area of the opening where
| | 04:33 |
we would see our little candle.
Right in there like that.
| | 04:38 |
So now I'm going to go in here and, let's
turn these guys back on...
| | 04:42 |
And what I'm going to do is I'm going to
turn that path, that I just created, into
| | 04:47 |
a selection.
Come back to my candle, right there, and
| | 04:52 |
say, give it a Mask.
And there you see that the candle is now
| | 04:56 |
masked behind that area right there.
So, now the last thing we need to do, is
| | 05:03 |
in the layer behind the flame.
Right here, I'm going to get that nice
| | 05:08 |
yellow that we created before, and maybe
make it a little warmer.
| | 05:13 |
Just a tad warmer, like that.
And I'm going to get my Gradient tool.
| | 05:17 |
I'm going to set it to.
Radio gradient.
| | 05:20 |
I'm going to change the mode to that of,
Foreground to Transparent, then right
| | 05:25 |
back here and create a nice little
gradient like that, which I'm going to
| | 05:29 |
set to screen.
bring down the opacity a little bit.
| | 05:36 |
Just so we can start to see stuff behind
it like that.
| | 05:39 |
and then take that mask I created for the
candle.
| | 05:42 |
I'm going to hold down my Option key, Alt
on a PC, and drag that over this little
| | 05:46 |
area here.
And there, we can see that now, we have
| | 05:51 |
that little, light inside of our glass
compartment there.
| | 05:56 |
Now, I'm going to bring down the opacity
just a little bit more.
| | 05:59 |
Just so we start to get more of the sense
of the light behind it.
| | 06:03 |
Or the, the, actual Candelabra right
behind it.
| | 06:06 |
And there, we can see that, now, we have
the lamp lit.
| | 06:09 |
Now, in the next movie, what we need to
do is to have the effect of that lantern
| | 06:14 |
on the building itself.
| | 06:17 |
| | Collapse this transcript |
| Lantern light| 00:00 |
So now that we have the candle lit, what
we need to do is to have the effects of
| | 00:03 |
that lit candle on the building itself.
Now we have this lit building here but,
| | 00:09 |
that's not what we're going to work with.
What I'm going to do is I'm going to in
| | 00:12 |
here and duplicate my background again,
right there.
| | 00:16 |
And bring that one above the candles,
right there.
| | 00:19 |
And we're going to go in there and
colorize this one, like we did with the
| | 00:22 |
light layer down here.
And I'll go to my Hue/Saturation and
| | 00:28 |
before I go in here, lets cancel this.
The detail.
| | 00:34 |
Now this is going to be a strong light
source right here, which means that some
| | 00:37 |
of this, detail that we see in here I
will get in a little closer.
| | 00:41 |
So, I am going to, stone texture needs to
really pop out at you.
| | 00:44 |
So, before I go in there and light this,
I am going to go in there and go into my
| | 00:48 |
levels, and levels are going to increase
the contrast in that area.
| | 00:53 |
Now I will push my dark scene you know,
really nice and strong, right in there
| | 00:56 |
like that.
And bringing my lights see, so I'm
| | 01:00 |
getting a little more contrast in the
actual texture of the wall right there,
| | 01:04 |
see, getting a really strong sense of the
texture of my wall.
| | 01:09 |
Click OK.
Now that I have this, it doesn't look
| | 01:12 |
that great right now, but that's okay,
because we're only dealing with this area
| | 01:15 |
right here.
Now I'm going to go in there and light
| | 01:18 |
this.
Let's get a little closer so we see that
| | 01:20 |
area.
And now I go into my Hue/Saturation.
| | 01:27 |
If I go in there and say colorize it, and
let's bring up that saturation a little
| | 01:31 |
bit so it gets a little stronger, like
that.
| | 01:34 |
I'm going to darken it just slightly,
just to get a little more of that tone
| | 01:38 |
happening through there, like that.
Click OK.
| | 01:42 |
So, there's our little building, alright?
So now, this has to serve as a light
| | 01:49 |
coming from our candle.
So what I'm going to do is I'm going to
| | 01:53 |
give this a mask, but this time when I
give it a mask, I'm going to hold down my
| | 01:56 |
Option key and say give it a mask.
That automatically gave me a black mask,
| | 02:01 |
hiding the entire contents of that layer.
So now, right there inside the contents
| | 02:07 |
layer.
What I'm going to do, is get white from
| | 02:11 |
my foreground and get my little Gray
tool.
| | 02:14 |
Which is now going from white to
transparent in a radio group gradian.
| | 02:18 |
And right here, right here on the wall
I'm going to draw a little gradian right
| | 02:21 |
there like that.
Okay?
| | 02:24 |
Now that I have that, there's that little
shape.
| | 02:27 |
It's not quite the way I want it.
So what I'm going to do, is I'm going to
| | 02:31 |
select that area and I have black for my
background.
| | 02:35 |
So anything I do to that masks.
Like I'm going to go in there and reshape
| | 02:39 |
this.
This is going to give me black where I
| | 02:42 |
move into this area, where I create a
negative area.
| | 02:46 |
So what I want to do is, get that angle.
See this is very circular, whereas we're
| | 02:50 |
looking at this wall at an angle.
So what I'm going to do, is I'm going to
| | 02:53 |
go in there and transform this.
So I'm hitting Cmd+T.
| | 02:56 |
To bring me the Transform tool, I'm just
going to kind of shrink in a little bit,
| | 03:00 |
make it a more of an oval kind of a
shape, and bring it over into position
| | 03:03 |
right where I want it right there.
See, make it a little narrower.
| | 03:09 |
And you see that I'm not getting any
white in here, because of the fact that
| | 03:12 |
my background is black, so as I shrunk it
from the area that it originally came
| | 03:16 |
from, the negative area is black.
When I have the shape that I want, I
| | 03:21 |
click OK.
And there I can now deselect it, and we
| | 03:25 |
see that we have this nice little tone in
here.
| | 03:27 |
Now it's not quite right yet, because
there are shadows that have to be cast.
| | 03:33 |
'Cuz you see here, right here in the
lantern, and we get in real close, we see
| | 03:37 |
that the lantern has these little
separators here, right?
| | 03:40 |
So they need to cast a shadow onto our
scene, as does this bar right here
| | 03:45 |
because this bar is in line with our
candle, which means as the light's coming
| | 03:50 |
down, this is going to cast a shadow
straight down on our wall.
| | 03:57 |
So, let's pull back and
Now we're going to create that effect.
| | 04:03 |
And they're going to be done right here
in the mask itself.
| | 04:06 |
So what I'm going to do is, I'm going to
go to mask and in the mask I'm going to
| | 04:09 |
start to create my shape.
I'm going to go in here and with my
| | 04:13 |
brush, I have my brush, I'm going to make
the size a little bigger.
| | 04:18 |
Nice big brush like that.
And I go to my brush engine, make sure
| | 04:21 |
that nothing is turned on.
Okay, there it is, nice and straight,
| | 04:25 |
like it is.
I might make it a little bit harder.
| | 04:28 |
A little harder edge.
And I'm going to bring down the opacity.
| | 04:32 |
I don't want it to be too strong.
(INAUDIBLE) down to about like that.
| | 04:35 |
I'm going to click right here.
And right now, I'm doing with white.
| | 04:39 |
I want to hide.
So I'm going to go to black and I'm
| | 04:42 |
going to click here, come down here and
Shift+click.
| | 04:47 |
There it created a nice, nice little
shadow.
| | 04:49 |
Do it up here, click, Shift+click and I
got that other little shadow right there.
| | 04:56 |
Now I need the little shadow right
underneath for the bar, so what I'm
| | 04:59 |
going to go is I'm going to go and make
my brush much smaller like so, and I'm
| | 05:03 |
going to click here, and straight down
click.
| | 05:07 |
Come back up, and click, and click.
So, I'm just creating this nice little
| | 05:13 |
shadow right there, and now when we pull
back, we see that we now have this
| | 05:16 |
slight, now, it's a little strong.
So, I could take the overall layer and
| | 05:20 |
bring down the opacity a little bit.
This starts to become just this little
| | 05:25 |
halo on the wall, of our lantern that's
now lit.
| | 05:29 |
In the next scene, we're going to have
our ghostly visitor.
| | 05:33 |
| | Collapse this transcript |
| Adding a beard to the ghost| 00:00 |
So now that we have our scene all set up
looking all nice and dark at night and
| | 00:04 |
everything's lit.
We're now going to create the little
| | 00:08 |
ghostly apparition that's going to make a
visit to our little town here.
| | 00:12 |
So we're going to create a ghost.
Now, I'm not going to go in there and
| | 00:15 |
create this fantastic ghost, I'm just
going to use things that are pretty
| | 00:18 |
straightforward.
So I went in there and I did this little
| | 00:22 |
shot.
Got this of myself and you see there's no
| | 00:26 |
fancy costume.
What I did is I took a bath towel, right
| | 00:29 |
in here, and I draped it in front of
myself and I tied it with a rope, and I
| | 00:33 |
put another bath towel on top of my head,
and then I took a bathrobe.
| | 00:38 |
That's me.
That's going to be the ghost.
| | 00:40 |
Right?
Now, we're going to modify this
| | 00:42 |
considerably, so this is a good starting
point.
| | 00:45 |
Now, the first thing I want to do is make
my beard longer.
| | 00:49 |
I want a much longer beard here.
So I have another shot of my hair and
| | 00:54 |
back, which I just let it drape down
right here over a black jacket.
| | 01:00 |
So, this is going to stand out a little
bit.
| | 01:01 |
That's going to be the beard.
So now, I need to separate this from the
| | 01:05 |
actual scene, so I can have just the
hair.
| | 01:08 |
So, I'm going to look at my Layers or my
Channels rather to see which one is
| | 01:11 |
going to give me the best contrast, it
will give me the basis for my mask.
| | 01:16 |
So, I'm going to in here and look at the
red channel.
| | 01:18 |
Nice contrast there, which is where the
contrast lives, in the red channel.
| | 01:23 |
Green has good detail, but it's a little
too even in tone, it's not going to make
| | 01:27 |
a good mask.
And then the blue, nothing at all, not
| | 01:30 |
good at all.
So let's go with that red channel, that's
| | 01:33 |
going to give us our contrast.
I'm going to go in there and duplicate
| | 01:37 |
the red channel, so I have red copy.
Now, this does not make the image any
| | 01:41 |
redder, no, because it's just an alpha
channel.
| | 01:45 |
It's a channel that's going to be used as
a mask.
| | 01:47 |
So now that I have this nice contrast
here, I'm going to go in there and
| | 01:49 |
increase that contrast some more.
So I'm going to go into my Levels, and in
| | 01:53 |
here, I'm going to make my darks much
darker.
| | 01:56 |
Now you can see how the beard or rather
the hair which is going to be the beard,
| | 02:00 |
is starting to really come out.
Then we go in there and really push that
| | 02:04 |
and then bring in these light tones,
which is the beard.
| | 02:07 |
Let's get those darks even darker.
Make the idtones, make them a little
| | 02:11 |
lighter because we want the beard tones
to show through and make that background
| | 02:14 |
really dark, let's bring in the light
tones.
| | 02:18 |
There we go.
So now, we're getting that beard to
| | 02:20 |
separate from the background, right there
like that.
| | 02:24 |
Click OK.
Now, there's some parts there that I
| | 02:27 |
don't want, so I'm going to get a little
closer here.
| | 02:30 |
And with black, which is going to hide
and a nice big brush, I'm going to go in
| | 02:33 |
there and just paint these areas.
Let's bring the opacity back up to 100%.
| | 02:38 |
I'm going to paint the little parts that
I don't want.
| | 02:40 |
I want that little wisp there and this
stuff down here.
| | 02:42 |
So I'm kind of painting out the parts
that I don't want.
| | 02:46 |
All right, so there we go.
And let's get rid of this up here.
| | 02:48 |
Now that we have this nice, alpha channel
here, I might want to go in there and add
| | 02:52 |
a little white up here, just to make sure
we get these tones to come through.
| | 02:58 |
going to get all these little tones right
in here, get them white.
| | 03:01 |
And now, now that we have this good mask
here, I'm going to go back to my image,
| | 03:05 |
and I'm going to load that as a
selection.
| | 03:08 |
So I'm going to go in there, I'll do it
this way so you can see how it's done.
| | 03:11 |
I'm going to say Load the selection, I'm
going to say use the Red copy, that's the
| | 03:14 |
channel we created here.
And click OK.
| | 03:18 |
A quick way of doing that would be to
simply hold down my Command key, and
| | 03:21 |
click on it, in the, panel here, which
will make it a selection.
| | 03:25 |
Now that I have it as a selection, I'm
going to say, Copy that.
| | 03:29 |
And go over to our little ghost file
here.
| | 03:30 |
Add in a layer right on top.
There's nothing there right now.
| | 03:34 |
I'm going to go in there and say Paste.
And there's the beard.
| | 03:39 |
So, put it in a position right here where
I want it.
| | 03:43 |
And let's zoom in on this so we can see
what's going to happen enxt.
| | 03:46 |
I want to get this to really look like a
beard.
| | 03:48 |
So I'm going to go in there and I'm
going to modify it.
| | 03:50 |
Now, hit the Command+T to bring up the
Transforms, and I'm going to go in there
| | 03:54 |
and shrink this down from the center out
there, like that.
| | 03:58 |
Bring it into position right here where
we want it.
| | 04:01 |
I'm going to make it narrower.
Make it nice and narrow right in there.
| | 04:05 |
It's going to fit right into the area
where the face and the beard would be.
| | 04:09 |
Right there, like that.
Maybe make little longer and rotate it
| | 04:13 |
just a little bit like that.
Move it into the position where we want
| | 04:17 |
it.
And a little narrower, click OK and we
| | 04:20 |
have the basic beard.
Now, it's a little blonde.
| | 04:24 |
So I'm going to go into my Hue-Saturation
and bring down some of the saturations,
| | 04:28 |
so it starts to look more like a white
beard.
| | 04:31 |
Click OK.
Now, let's get in real close on it, real
| | 04:34 |
close.
So what I need to do now is to have these
| | 04:37 |
hairs follow the flow of my real beard,
so I've gotta go in there and say Warp
| | 04:41 |
this.
I'm going to Warp it.
| | 04:44 |
I'm going to take these corners here and
just bring them in to the beard, just
| | 04:48 |
like that.
So now, I start to have the beard the way
| | 04:51 |
it should be.
And then, I'm going to give it a mask, a
| | 04:53 |
mask right there.
So, using black, I'm going to just go in
| | 04:58 |
there and just kind of hide this little
area, this little peak here, so it kind
| | 05:02 |
of blends right into the existing beard
and this side here and just soften it up
| | 05:07 |
just in that area there.
Now, I'm going to take my my little
| | 05:13 |
Smudge tool here and kind of push to mask
a bit like this, just so I can start
| | 05:18 |
getting some of those hairs to kind of
flow right into that area.
| | 05:24 |
Now, I can go and take the beard itself,
I'll grab the beard itself right here and
| | 05:28 |
push some of those tones into there, so
we can get all these nice tones to start
| | 05:31 |
to fill in.
When we pull back, we see that now is a
| | 05:36 |
long beard.
And the next move that we're going to do
| | 05:40 |
is we're going to take the ghost and turn
it into a real ghostly image.
| | 05:45 |
| | Collapse this transcript |
| Retouching the ghost| 00:00 |
'Kay, now we have our ghost, there's this
nice beard going on, we're going to have
| | 00:03 |
to retouch him.
So, for one thing, when I shot this, I
| | 00:07 |
simply set my little camera on
self-timer, and I ran over and stood in
| | 00:10 |
place and posed and took the shot.
I couldn't really see what was going on,
| | 00:15 |
so there are things that need to be
retouched.
| | 00:18 |
So let's go in there and do that now.
So for one thing, I don't need all this
| | 00:21 |
background, so let's just, right off the
bat, let's get rid of the background,
| | 00:24 |
it's going to make it easier to go in
there and create our mask to separate our
| | 00:27 |
ghosts.
We're going to go in there and crop this.
| | 00:32 |
So here we have the basic ghost.
All right, I'm going to deselect that,
| | 00:36 |
and let's get a little close so we can
see what's going to happen next.
| | 00:39 |
Well for one thing, the beard, the beard
is kind of just laying there, so let's go
| | 00:42 |
into the beard layer and give it a little
Layer style.
| | 00:46 |
And I'm going to go in, give it a drop
shadow.
| | 00:50 |
Bring that distance over just a tiny bit.
And there, now we see we have a little
| | 00:54 |
shadow for our beard.
And I'm going to bring up the opacity
| | 00:57 |
just a tiny bit.
That seperates the beard from the
| | 01:00 |
background just a little bit.
Click OK, and well it's just a towel, and
| | 01:03 |
there it is overlapping my arm, that
doesn't quite look right, so let's go in
| | 01:07 |
there and fix that next.
I'm going to get in real close, and I'm
| | 01:12 |
going to get rid of this little flap
here.
| | 01:14 |
To do that, what I'd like to do is I'm
going to clone the arm over it.
| | 01:18 |
So let's go to the layer that has our
ghost, and I'm going to say, let's clone
| | 01:22 |
from right here, and I'm going to bring
down the size of my brush, I'm going to
| | 01:26 |
start to clone in right in here, the arm,
right into that area there, right just
| | 01:30 |
like this, so I'm going to kind of create
the fence of The sleeve that we have
| | 01:34 |
below.
Lets get some of these dark tones in to
| | 01:41 |
here.
There we go.
| | 01:42 |
And lets get to this light area here Lets
clean up the rest of this arm right here.
| | 01:47 |
And, and these tones.
Now there is a shadow that we need there,
| | 01:50 |
so what I'm going to do.
Its I'm going to just take.
| | 01:53 |
I'm going to selsect this area, and for
this, because its so straight forward.
| | 01:58 |
I'm going to go in there and just use my
magic wand and just select this little
| | 02:02 |
area of the arm, and shift slect this
part, and right in there.
| | 02:06 |
Now we've got the whole arm selected
there.
| | 02:08 |
Lets click that again, and there's our
arm.
| | 02:12 |
So what I'm going to do is I'm going to
take my burn tool.
| | 02:16 |
Right there, and I'm just going to
kind of throw a little, shadow right into
| | 02:19 |
that edge right there, just like that.
That's enough for that.
| | 02:23 |
Now, the, other parts of the towel, like
right in here, let's get rid of some of
| | 02:26 |
that stuff.
Let's get rid of that one little Extra
| | 02:29 |
little fold that we see there.
Same thing on this side.
| | 02:33 |
Alright, we don't want this part here, so
lets just go in here and we'll clone from
| | 02:37 |
right there.
And let's get our brush a little larger
| | 02:40 |
so we can see where we're going to clone
from.
| | 02:43 |
So we're going to say that we're going to
clone from right here.
| | 02:45 |
Let me get rid of that little clone we
just did there.
| | 02:49 |
Let's get rid of that.
Alright, Okay.
| | 02:53 |
So, we're going to clone, from right
here.
| | 02:56 |
We're going to say clone from right
there, and, we'll match it up, nice and
| | 03:00 |
even, and we'll start to clone away, so
we're going to clone out that whole
| | 03:04 |
little section of our Towel overlapping.
Where you're right into this area right
| | 03:10 |
in there like that.
So there, we got rid of that Now we'll
| | 03:14 |
need to get rid of these areas here.
So we're starting to get rid of all of
| | 03:17 |
these little tones that make it look
seperated.
| | 03:21 |
And we're going to just kind of take this
and very lightly just have it fade in to
| | 03:24 |
our little hood, so we're just going to
bring in all this in here, I'm going to
| | 03:28 |
bring down the opacity some more, bring
it down to about 20%, and slowly start to
| | 03:32 |
just have this whole thing fade into
itself, right there like that, there
| | 03:36 |
we're getting those folds.
Right, so now it starts to look more like
| | 03:43 |
the, the hood is all part of the garment.
Now, I've never seen pictures of wizards
| | 03:49 |
With pockets.
And this is a ghost of a wizard.
| | 03:52 |
He definitely doesn't need pockets.
So let's get rid of those pockets.
| | 03:55 |
I'm going to go in here and get real
close on this and we'll Clone those
| | 03:59 |
pockets out.
And I'm going to bring up the tones below
| | 04:02 |
so it starts to just blend into itself.
And I'm working with a lowered opacity.
| | 04:08 |
In fact, let's bring it up to about 50%.
And I'm just slowly going in there and
| | 04:12 |
building up, let's take from the top now,
and build this down, right in through
| | 04:16 |
here, let's get this little tone right in
there, there we go, and we're slowly
| | 04:20 |
getting rid of our pocket.
And now we get this dark area here, let's
| | 04:26 |
soften that up a little bit, there we go,
build up from the bottom, and right here,
| | 04:31 |
I think we're just going to erase that
part, which we'll do by again, just
| | 04:34 |
cloning these nice areas from right
there, and match it up right in there,
| | 04:39 |
and start to slowly paint that away And
there we go, and now we're going to just
| | 04:43 |
grab from the outside here, and just
paint that area right out.
| | 04:52 |
Now this is all going to be blurry, so it
doesn't have to be that perfect.
| | 04:55 |
And look, a belt loop, definitely don't
need that, so let's just go in there to
| | 04:58 |
get our brush a little smaller, and we
slowly start to build that up to get rid
| | 05:01 |
of the belt loop.
And look, our little wizard is married.
| | 05:09 |
We need to get rid of that.
So lets get rid of this little wedding
| | 05:11 |
ring right there.
That's gone.
| | 05:13 |
And, there's a little something there,
who knows what that is.
| | 05:18 |
And now, the wizard is starting to look
really good now.
| | 05:21 |
There's a funny little thing here.
Lets get rid of that.
| | 05:24 |
Oh, and I think that's in our beard,
that's part of our beard there.
| | 05:27 |
Alright, so, let's pull back.
And now we see that our wizard has still
| | 05:31 |
has one more pocket over here.
Now, let's get rid of that last pocket,
| | 05:34 |
and we'll be done with this.
Now let's go pick from the dark areas
| | 05:38 |
here, and slowly start to build it in,
right into here.
| | 05:42 |
Get some of those light tones into here.
Alright, and we, bring this nice fold
| | 05:51 |
down in to here.
Get these lighter tones slowly build it
| | 05:57 |
up.
Again, this is going to be so out of
| | 05:58 |
focus that you're not going to see a lot
of this stuff.
| | 06:01 |
And lets get rid of this.
And then the bottom part.
| | 06:13 |
And now our wizard is starting to look
more like what he should be.
| | 06:17 |
In the next movie what we're going to do
is going to take this guy out and really
| | 06:21 |
turn him into a real ghost.
| | 06:24 |
| | Collapse this transcript |
| Creating a ghost| 00:00 |
So now we're going to turn him into a
real ghost.
| | 00:03 |
Now, we need to separate him from this
background.
| | 00:06 |
But first we're going to take the beard,
right here and merge it down, merging it
| | 00:10 |
down, so it becomes one image.
Now in this particular case there's not
| | 00:15 |
much distinction in these layers to, to
really push out our background.
| | 00:20 |
So I want to do here, because of the fact
that the background is fairly
| | 00:23 |
monochromatic, I just going to use my
magic wand tool, and I'm going to click
| | 00:26 |
in the background here.
And I going to shift click down here to
| | 00:30 |
select the bottom area, and then we're
going to go in there and just Add to this
| | 00:35 |
little portion here that got deselected
there, there we go.
| | 00:41 |
Alright, and now that we have this
selected, I'm going to add, this little
| | 00:44 |
area here but in a few seconds, 'Cause
right now what I am going to do is I'm
| | 00:47 |
going to inverse this selection.
So everything else is selected except the
| | 00:53 |
background, and now I'm going to shift
Add this little portion of the arm right
| | 00:56 |
in here, right there.
And I'm going to deselect these portions
| | 00:59 |
down here.
So I'm holding down my option key to
| | 01:00 |
Deselect, and the Shift key to select,
and there we go.
| | 01:02 |
So now we have our little wizard, which
we're now going to bring in to a layer of
| | 01:08 |
its own.
going to say, New Layer via Cut.
| | 01:15 |
Alright?
So now, we're going to go look at our
| | 01:16 |
layers.
Here's the background layer, which I'm
| | 01:18 |
going to go ahead and fill with the black
so we can really see what we're going to
| | 01:21 |
do to our wizard.
So, I need a little more room back there.
| | 01:25 |
So what I'm going to do is I'm going to
increase my Canvas Size here.
| | 01:29 |
I'm going to go in there and let's make
this a let's make this 35, and we'll make
| | 01:34 |
this 45.
Click OK, that gives us a lot more room
| | 01:38 |
that we can work with, there we go.
All right so now, here's our little ghost
| | 01:43 |
wizard.
So, first thing I'm going to do is go
| | 01:46 |
into my Image Adjustments.
I'm going to go into Hue Saturation, I'm
| | 01:50 |
going to go in there and say Colorize it,
so it all becomes one particular tone and
| | 01:53 |
I'm going to go into the blue tones,
right about here.
| | 01:57 |
And I'm going to increase the Saturation
a little bit and lighten it up a little
| | 02:01 |
bit.
So there, we're starting to get our
| | 02:04 |
little ghostly figure.
So now, I'm going to take the guy and
| | 02:08 |
Duplicate him, right there like that.
And this one in back, I'm going to go in
| | 02:14 |
here and give it a little Motion Blur.
Which, right now, is set to 90 degrees,
| | 02:19 |
and I'm going to increase the distance
quite a bit.
| | 02:23 |
Click OK, so I got this nice little
stretch going on there, which I'm
| | 02:26 |
going to stretch even further.
I'm going to go into my Transformed, and
| | 02:30 |
I'm going to pull up the top a bit, and
I'm going to pull the bottom down.
| | 02:36 |
Just like that, so now we're getting this
whole little halo around it like that.
| | 02:39 |
We're going to bring down the opacity
just a little bit, just to soften it up.
| | 02:43 |
OK?
I'm going to take him, the wizard itself,
| | 02:45 |
and I'm going to in there and apply a
little Gauzian Blur to him, just to
| | 02:49 |
soften him up a little bit, about like
that.
| | 02:53 |
As the last touch, I'm going to take the
wizard and apply a little outer glow.
| | 02:59 |
Which, I'm going to choose a tone in the
light blues, like that, and increase the
| | 03:05 |
size considerably.
There you got a nice big outer glow like
| | 03:10 |
that, there we go.
Bring down the opacity, ever so slightly,
| | 03:13 |
so we start to get this kind of an effect
like that.
| | 03:16 |
And, we might want to just apply that
same effect down to this guy.
| | 03:21 |
So, I'm holding down my Option key, Alt
on a PC.
| | 03:23 |
And I'm dragging the effect down to the
lower layer, where you're starting to get
| | 03:28 |
this kind of a little halo around it.
Alright?
| | 03:32 |
So now, you might want to go back into
this outer glow here, and just lower its
| | 03:35 |
opacity even more, just so we can get the
two separate glows together.
| | 03:40 |
Click OK, and I'm going to merge this
down to the bottom one, so they become
| | 03:45 |
one single layer right there like that.
So now, what I'm going to do, is I'm
| | 03:51 |
going to take that layer, right there and
I'm going to drag it into this scene
| | 03:54 |
here, and there he is.
There's my ghost in place.
| | 03:59 |
So what I'm going to do now, is I'm going
to move him into position and make him
| | 04:03 |
much smaller, and put him right here
where I want him.
| | 04:09 |
Right about here, like that, be floating
right there.
| | 04:14 |
And we're going to bring down its
opacity.
| | 04:15 |
We're going to bring down the opacity
considerably, so that we can start to see
| | 04:19 |
through him to the stuff behind, right
there like that.
| | 04:24 |
So now, we've got completely kind of lost
here, so you know what I'm going to do?
| | 04:29 |
I'm going to bring back the opacity to
100% and I'm going to lower the fill
| | 04:33 |
opacity.
The fill opacity is going to bring down
| | 04:36 |
the actual wizard itself, just like that,
leaving his glow intact, and now I'm
| | 04:39 |
going to bring down the opacity for that
separately, so the glow is still nice and
| | 04:43 |
bright, but you see that he's starting to
become somewhat transparent, allowing you
| | 04:46 |
to see the background through him.
Now this bottom area, I'm not crazy with
| | 04:52 |
that, so what I'm going to do is I'm
going to go in there and give it a mask.
| | 04:59 |
And with a big soft black brush, I'm
going to bring the hardness all the way
| | 05:02 |
down, make a large size and bring down
the opacity considerably.
| | 05:07 |
I'm going to go in there and start to
paint into this area, and let's make the
| | 05:10 |
brush even bigger, and then start to
slowly paint away the bottom portion.
| | 05:15 |
Just do it like that, so that he starts
to fade away, and become more of a
| | 05:19 |
ghostly apparition.
Now, in the next, thing we have to do, is
| | 05:24 |
we're go in there, and he is kind of a
light, so he has to be casting a light on
| | 05:28 |
our scene.
So in our next movie, that's what we're
| | 05:32 |
going to do.
We're going to have his light being cast
| | 05:35 |
onto the building itself.
| | 05:37 |
| | Collapse this transcript |
| Adding the ghost and highlights| 00:00 |
So now that we have our ghost, he needs
to cast a glow on the surroundings, on
| | 00:04 |
the building and on the ground below him,
because he is kind of a light source.
| | 00:09 |
So we need to go in there and add that
glow.
| | 00:12 |
So I'm going to take my background, the
original building, and duplicate it.
| | 00:16 |
And I'm going to bring it up, put it
right up there on top, right below our
| | 00:19 |
ghost itself.
In fact, lets go and name that layer as
| | 00:22 |
Ghost.
So now this is going to be the glow.
| | 00:27 |
So we're going to call it Glow.
And I'm going to go in there and increase
| | 00:32 |
the contrasts.
We want some really nice lights and darks
| | 00:35 |
going on in there, so I'm going to go
into my levels.
| | 00:38 |
I'm going to kind of push this in, and
bring in these highlights, just to get
| | 00:42 |
this nice, strong effect going through
there like that.
| | 00:47 |
And then I'm going to go and colorize
this.
| | 00:49 |
I'm going to say, Colorize.
Hue Saturation, Colorize.
| | 00:54 |
Bring it into the blues, the same blues
as our ghost.
| | 00:58 |
Bring up the saturation a bit, so we have
this nice, kind of, a bluish tone right
| | 01:02 |
through there like that.
Into the blues, and bring up that
| | 01:05 |
saturation a little more.
Click OK.
| | 01:08 |
So now, it's covering everything else, so
what I'm going to do is going to give it
| | 01:12 |
a mask, holding down my option key, ALT
on a PC.
| | 01:15 |
And I click on it, which gives me a black
mask which completely hides the contents
| | 01:19 |
of that layer.
Now, using white, which is going to
| | 01:23 |
expose, and I've got a, a brush.
I'm going to reduce the opacity down to
| | 01:28 |
about a, let's bring it down to about 45.
And we'll make the brush much smaller.
| | 01:34 |
And I'm just going to go in here, and
just very lightly start to draw right in
| | 01:38 |
there, in the mask itself.
And you can see what's happening.
| | 01:41 |
It's exposing what's underneath it.
And I'm going to do some of it right in
| | 01:45 |
here, too.
It's going to add a nice little glow to
| | 01:48 |
the wall.
A little more to the bottom down here,
| | 01:51 |
and there we can see that now we have
this nice ghostly glow added to the
| | 01:54 |
surrounding area of where our ghost is
hovering.
| | 01:59 |
Now in the next movie, what we're
going to do is add these little sparkles
| | 02:02 |
that'll complete the scene.
| | 02:05 |
| | Collapse this transcript |
| Adding sparkles| 00:00 |
So now, to create the little sparkles
that are going to complete the scene, I
| | 00:03 |
need to go into a new file and create a
brush.
| | 00:06 |
Because yes, we are going to use a brush
to create the sparkles.
| | 00:10 |
So I start a new file, and it doesn't
need to be that big.
| | 00:14 |
It can be fairly small, so let's go in
here and just make it say 900x900.
| | 00:19 |
Alright, so now, I'm going to turn on my
grid, I go to View and say Show the Grid,
| | 00:24 |
that's going to allow me to go in there
and, controlling of how I create my
| | 00:28 |
little sparkle here.
So I'm going to use black, because that's
| | 00:34 |
going to give me an opaque brush, I'm
going to get a nice soft-edge brush, and
| | 00:37 |
I'm going to click OK.
Right there, bring it down in size, bring
| | 00:42 |
it down considerably to about, about that
big right there.
| | 00:46 |
I'm going to go into my brush controls
here, my brush panel, and I'm going to
| | 00:51 |
say, Transfer.
The opacity, have it fade away.
| | 00:56 |
I'm going to say, lets try 15 steps, and
I can test it here to see how it's going
| | 01:00 |
to look.
That's fairly good.
| | 01:04 |
But let's bring our opacity back up, and
let's test that one more time, yeah,
| | 01:08 |
that's pretty good.
What I'm going to do is on a click right
| | 01:11 |
here at the center of my grid, and go up
above, straight up above it.
| | 01:15 |
Hold down my Shift key to constrain it
from point to point and click.
| | 01:18 |
And that gives me this nice little
sparkle going up there like that.
| | 01:21 |
Then I'm going to go in here and click
here and come down in this direction and
| | 01:25 |
Shift click again, and that gives me that
little effect right there.
| | 01:31 |
Alright, so now, I'm going to go in there
and I might want to just kind of smoothen
| | 01:35 |
this out a little bit, so I might want to
just take this top part right here, and I
| | 01:41 |
go in, and let's just bring it there.
And I'm going to go in to my controls
| | 01:48 |
right here, my transfer controls, and I'm
going to just pull this side in just a
| | 01:53 |
little bit.
Like that, and like that.
| | 01:58 |
Just to kind of make it a, a sharper
point.
| | 02:01 |
Might even bring them all the way in
there like that.
| | 02:04 |
Bring it all the way, in like that.
That looks good.
| | 02:07 |
I'm going to do that to the bottom as
well.
| | 02:09 |
So we'll go in there and select the
bottom portion right there.
| | 02:12 |
And I'm going to my transfers and, my
transforms, and bring this in and bring
| | 02:17 |
this in, just to sharpen that bottom part
as well.
| | 02:22 |
So there we've got these nice little
sharp points.
| | 02:24 |
Click OK.
Get my brush again, and this time we are
| | 02:28 |
going to bring this down to about, let's
say, about seven.
| | 02:32 |
Clicking in that, starting point again,
come straight out, Shift click, starting
| | 02:38 |
point, Shift click.
Now here, I might want to just do a
| | 02:42 |
little smudge.
So what I'm going to do is I'm going to
| | 02:44 |
increase the size of my Smudge tool, and
just kind of pull this out, just pull it
| | 02:48 |
out there like that, and this side too.
So we get a little point that way.
| | 02:53 |
Just like that.
Then I got my Paintbrush, and I'm
| | 02:57 |
going to make the brush much larger, like
that, and just kind of hit it in the
| | 03:00 |
center, bring down the opacity a bit, and
make the brush even larger, and hit it
| | 03:04 |
again.
It's starting to give me a little bit of
| | 03:09 |
a sparkle in the center.
So now I can turn off my Grid, so we can
| | 03:12 |
see exactly what it's looking like.
There, we got this little sparkle kind of
| | 03:17 |
an effect, so I'm going to select that.
Make sure I have got the entire thing
| | 03:22 |
selected, and I'm going to say Define
Brush Preset.
| | 03:27 |
So now, I can go back to my artwork, back
over here.
| | 03:31 |
Add in a layer in front of the ghost,
which I'm going to call Little Sparkles.
| | 03:36 |
And I'm going to get the white.
I get my paintbrush.
| | 03:41 |
I'm going to choose that brush I just
created, which it will appear at the
| | 03:44 |
bottom, right there.
Now, it's quite large right now so I'm
| | 03:47 |
going to make the size much smaller.
About that size.
| | 03:51 |
And I'm going to go into my brush engine.
Right there, we see what it's doing.
| | 03:55 |
So what I'm going to do is I'm going to
go to my Brush Tip Shaper and I'm
| | 03:57 |
going to increase the spacing between
them.
| | 04:00 |
Give it a lot of spacing between them.
Probably like that.
| | 04:03 |
A whole lot, so we see a lot of
distinction between them.
| | 04:05 |
I'm going to go into Shape Dynamics,
where I got a size jitter.
| | 04:09 |
I'm going to assign a size jitter, not
based on Pen Pressure, let's just turn
| | 04:12 |
that off, and I have a Size Jitter going
all the way down.
| | 04:15 |
And I'm going to set up a minimum, so it
don't get too small, you see, because
| | 04:18 |
there's one that's just becoming a dot.
going to set up a minimum, right there
| | 04:22 |
like that.
That's what I'm going to do, and then I'm
| | 04:25 |
going to go to Scattering, where I'm
going to scatter these on both, I'm just
| | 04:28 |
going to scatter these around like that.
Go all the way.
| | 04:32 |
Click OK.
Now, in this layer, what I'm going to do
| | 04:35 |
is I'm going to do a little test, and
draw all these little sparkles right
| | 04:37 |
through here like that.
All the little sparkles.
| | 04:41 |
Now, let's get in closer.
We can see what these sparkles are
| | 04:44 |
looking like.
There they are.
| | 04:45 |
So the last touch I'm going to do is give
those sparkles a Layer Style.
| | 04:49 |
So I bring up my Layer Styles and I'll
say give it a little, Outer Glow.
| | 04:53 |
That little outer glow will be that blue
we've been using, for the ghost.
| | 04:58 |
Give that, a little bit bigger glow.
Bring up the opacity on it so we have
| | 05:03 |
these nice little blue glows.
Might want to make it just a little
| | 05:06 |
darker.
A little more pronounced.
| | 05:08 |
And there we click OK, and we have our
finished little ghost, that's paying a
| | 05:13 |
visit to our little ancient town.
| | 05:17 |
| | Collapse this transcript |
|
|
4. GodzillaIntroduction| 00:00 |
This Dreamscape is going to, kind of
relive some of those moments of those old
| | 00:04 |
Japanese Godzilla movies.
And that's what we're going to do.
| | 00:07 |
We're going to take a toy of Godzilla,
and have him destroy a street in Japan.
| | 00:14 |
| | Collapse this transcript |
| Separating the toy| 00:00 |
As a fan of the old Japanese monster
movies, I always enjoyed watching the big
| | 00:04 |
funny looking monster going in and
destroying up the city.
| | 00:08 |
Now they were very low tech, it was
always a guy in a monster suit.
| | 00:12 |
And it obviously was a guy in a monster
suit not a, the kind of monsters we see
| | 00:15 |
nowadays that are all computer generated
and look realistic.
| | 00:19 |
We're going to go in here and create our
own little monster scene.
| | 00:22 |
Now, I'm not going to in there and make a
computer generated monster, nor am I
| | 00:26 |
going to buy a suit and dress up for the
part.
| | 00:29 |
No, I'm just going to take a toy.
And here I have this monster Godzilla
| | 00:34 |
toy.
And what I did is I just taped a piece of
| | 00:37 |
white paper along a wall here, and I
positioned the monster so the sunlight
| | 00:41 |
would hit it in the same direction as
it's hitting in our scene, here.
| | 00:47 |
Which we can kind of see where the sun is
coming in.
| | 00:50 |
See, these sides are dark and the lights
on this side, and so on.
| | 00:53 |
So, in our monster, he's lit the same
way, lights on this side and then it's
| | 00:56 |
dark on this side, here.
So, we now have to separate him from this
| | 01:00 |
background.
So right off the bat I'm just going to go
| | 01:03 |
in there and surround certain parts of
the image right there like this and go
| | 01:06 |
ahead and fill that with white.
And we'll take some of these other areas
| | 01:10 |
right in here, fill those with white.
And then we're going to in there and find
| | 01:14 |
out which one of these is going to give
us the best contrast to work with, the
| | 01:17 |
red channel, the green channel or the
blue channel.
| | 01:20 |
Blue channel's got the most contrast in
this case so I can go in there and
| | 01:23 |
Duplicate that channel.
Then I'll go in there and apply a couple
| | 01:28 |
of changes to it.
First thiing I'll do is do a little
| | 01:30 |
levels.
I can push in my blacks and bring in my
| | 01:33 |
whites and the background starts to
disappear.
| | 01:36 |
As you can see it starts to go to white.
I'll click OK.
| | 01:39 |
And they might need a couple of moves in
the same direction so I'll do it again.
| | 01:43 |
I'll do levels again, which will allow me
to go in there and get darker and other
| | 01:46 |
areas even lighter.
And now we can see where the separation
| | 01:50 |
is starting to happen.
I'll Click Ok and I'll Invert this.
| | 01:54 |
If I go in there and say Image Invert.
So now I can see where I'm working,
| | 01:58 |
right?
So now I'm going to go in and using a
| | 02:00 |
black brush, I go in and start to get rid
of some of the parts I don't want and
| | 02:05 |
with a white brush I Start in, expose
parts that I do want.
| | 02:11 |
The end result is going to look like this
right here.
| | 02:13 |
Where I've gone in there and painted in
this area with black.
| | 02:17 |
Which we see is pretty much lost there,
and draw out all the details that I want.
| | 02:22 |
So I can now go in there and use that to
select my Monster by just making it a
| | 02:26 |
Selection and bringing them into its own
Layer.
| | 02:30 |
New Layer via Cut, and we take off the
background and we can see that our
| | 02:35 |
dinosaur is now all by itself.
In the next movie what we're going to do
| | 02:41 |
is make it look less like a toy and more
like the guy in the big funny monster
| | 02:45 |
suit.
| | 02:47 |
| | Collapse this transcript |
| Retouching the toy| 00:00 |
So looking at our toy, we see that
there's certain parts that really make it
| | 00:02 |
look like a toy.
Especially these separated areas right in
| | 00:06 |
here.
And there's a seam going right down the
| | 00:08 |
middle.
So let's go in there and look at that
| | 00:11 |
seam.
See there's that very obvious seam, that
| | 00:13 |
you can see it right through there.
And there's the seams of the arms.
| | 00:18 |
So those are things that we need to get
rid of, and then this big heavy seam
| | 00:21 |
here.
Now, in these cases here, we don't mind a
| | 00:24 |
little bit of a seam showing.
Same thing with the arm, but not as
| | 00:28 |
distinct as it is now.
So what we're going to do is go in here
| | 00:31 |
and start doing a little retouching.
Now, it's not as hard as it sounds, it's
| | 00:36 |
just a question of lessening the effects
that we see in here.
| | 00:40 |
Like right there.
There's a seam in the plastic pieces.
| | 00:43 |
So I'm going to use my Clone tool,
throughout for this whole process.
| | 00:47 |
Make the brush a little smaller, like
that, and were going to bring the opacity
| | 00:51 |
up quite a bit real close, not full 100%
because I like to build things up slowly.
| | 00:56 |
Now I'm going to just pick up from right
here, I'm going to pick up this tone and
| | 00:59 |
start to add it right in there.
So basically I'm elimating what looks
| | 01:04 |
like this seam right in there.
Get rid of any unnecessary blemishes, we
| | 01:09 |
just go in there and do that.
Now the same thing for this edge right in
| | 01:13 |
here, I'm going to slowly start to just
build these guys so that they match up a
| | 01:17 |
little better right into this area here,
and to kind of break away that sense of
| | 01:21 |
being a separate junction of where this
toy is being built, and so on.
| | 01:28 |
And I'm constantly changing my Clone
resource, so I'm holding down my Option
| | 01:32 |
key.
You'll notice every time it turns to that
| | 01:35 |
cursor, I have changed my Clone source.
So I can go in there and slowly start to
| | 01:39 |
break up that seam, you see that, that we
started to separate that.
| | 01:43 |
We're going to go in there and just
kind of bring this is, make this a little
| | 01:47 |
closer, and there we can see that we're
starting to lose the sense that this is a
| | 01:50 |
separate piece.
And, the same thing on this side.
| | 01:55 |
We're going to go in there and just get
rid of that harsh line by introducing
| | 01:59 |
some movement between these different
pieces of the model right into each other
| | 02:03 |
so it starts to lose that hard straight
line that we're seeing there before.
| | 02:10 |
go in there and we just kind of soften
these up.
| | 02:14 |
And these areas here, we just soften
these little areas up as well.
| | 02:18 |
Just bring this in, just to start getting
more of a sense that this is a continuous
| | 02:22 |
kind of an arm.
Then the same thing with that seam that
| | 02:26 |
we see in here, there's certain areas
where we see a definite seam.
| | 02:30 |
I like to get a little separation, so you
notice that I just grabbed this little
| | 02:33 |
separator area right there, which allowed
me to bring it into there.
| | 02:37 |
And (UNKNOWN) area like this.
Well, we'll just go in there and clean
| | 02:40 |
this up.
Just to get rid of what we see as a
| | 02:43 |
separation.
And some of these little wear marks.
| | 02:47 |
We'll get rid of some of those, so
they're not so pronounced.
| | 02:50 |
And go all the way down here.
And we start looking at the leg area,
| | 02:53 |
same thing again.
I'm going to go in there, and start to.
| | 02:56 |
kind of join these together so they start
to look like a continuous leg rather than
| | 03:00 |
something that's separated.
So I go in there and just start adding
| | 03:05 |
these little areas which start to kind of
unify the shape into one continuous body.
| | 03:12 |
So we go in there and just start adding
these little tones into different areas.
| | 03:17 |
So it starts to become more unified.
There will add oh, darkness right into
| | 03:21 |
here and a couple of highlights and
there, there we go, and right here,
| | 03:24 |
that's pretty obvious.
So I'm going to just choose graph from
| | 03:28 |
here and add some light tones into this
area right in here to create a whole
| | 03:31 |
nother little juncture right there.
And, little piece right in there, and,
| | 03:37 |
very delineated there.
So let's just join that.
| | 03:42 |
And the same thing in here.
Let's just spread this guy out a little
| | 03:45 |
bit, just like that.
And here, we can kind of bring this over.
| | 03:50 |
And there, you can see that, now, we're
starting to get this kind of a rippled
| | 03:54 |
effect, that makes him look like he's one
solid looking creature.
| | 03:59 |
And we do that to all the different parts
throughout, and make him look like he's
| | 04:03 |
no longer a toy, but actually a giant
monster.
| | 04:07 |
| | Collapse this transcript |
| Creating an eye| 00:00 |
Okay, so far little Godzilla's starting
to look good, but you know when getting
| | 00:04 |
real close we'll go in here right into
his face.
| | 00:07 |
And we see that that eye, that just
doesn't quite get it, it really looks
| | 00:11 |
like a toy.
So let's create our own eye to make it
| | 00:15 |
look a little better.
I'm going to go in here and select that
| | 00:19 |
eye with the Pen tool.
It'll go in there and just select the
| | 00:23 |
part of the eye that we see right there
and go down here and just create that
| | 00:28 |
shape, go around and finish this guy off
right through there.
| | 00:36 |
All right, so there's a nice little
section for the eye itself.
| | 00:40 |
So, I'm going to create a layer on top of
our little dinosaur here, right there.
| | 00:45 |
And in that layer, I'm going to take that
path, I'm going to fill it.
| | 00:49 |
Let's go ahead and save it.
And we can even call it eye so we know
| | 00:51 |
where it is.
And I'm going to pick a color for that
| | 00:52 |
eye.
I'm going to get a kind of a warm tone,
| | 00:53 |
kind of murky, about like that.
It's going to be a good tone for it,
| | 00:56 |
alright?
Then, I'm going to take that path and go
| | 01:03 |
ahead and fill it with that color.
Alright, so now on top of this, I'm
| | 01:11 |
going to go in there, and start to play
around with it a little bit.
| | 01:15 |
So I've got my Burn tool here, I'm
going to get a nice big brush.
| | 01:18 |
I'm going to just kind of darken that
edge there, and darken this edge along
| | 01:22 |
the top just a little.
Just like that, to start to give it a
| | 01:25 |
little more dimension.
We're going to add even more dimension in
| | 01:28 |
a few minutes.
Alright, so now I'm going to go in here
| | 01:31 |
and with pen tool again, I'm going to
create the iris of this eye.
| | 01:36 |
Now, I don't want it to be this regular
rounded eye that I had before.
| | 01:40 |
I wanted more of a lizard kind of a
thing, so I'm going to go in here and
| | 01:42 |
create this kind of effect.
I hold down my Option Key to change the
| | 01:46 |
direction and go in here and pull it out
like this and then close it off like
| | 01:50 |
that.
So, now you can modify it.
| | 01:53 |
So, go in there and just let's pull this
guy down a little more, make this a
| | 01:56 |
little more of a curve here like this.
And that's going to be the shape that I
| | 02:01 |
want right there.
Alright, so I got that shape, we'll call
| | 02:05 |
this the iris.
Alright, or actually in this case it
| | 02:09 |
could be the pupil itself you won't, you
won't have an iris.
| | 02:14 |
Alright, so there's that and we're
going to fill that with a black.
| | 02:19 |
So, that will fill in a new layer, we'll
create a new layer right there on top and
| | 02:23 |
that layer will take that second path and
fill it.
| | 02:27 |
So there, now we're starting to get that
whole effect in there.
| | 02:29 |
Now, that iris right now is kind of plain
looking.
| | 02:33 |
So, what I'm going to do is I'm going to
go into that layer and let's call it
| | 02:35 |
that, we'll call it the pupil.
Alright, and this one we call The Eye.
| | 02:41 |
There, now our layers have names.
Now, we're going to go into the pupil
| | 02:45 |
layer here and give it a little outer
glow.
| | 02:49 |
Alright, and I don't want that color.
What I want to do is I want to start
| | 02:52 |
getting a little weird here.
So, I'm going to go in there and let's
| | 02:55 |
pick a kind of more of a yellowish color,
like this.
| | 02:59 |
That looks good and click OK.
I'm going to change this to a multiply so
| | 03:03 |
that I can see it as such, there we go.
And I just kind of spread it out just a
| | 03:08 |
little bit like that.
And now I'm going to give it a little
| | 03:11 |
inner glow which right now is that color,
but I want it to be more of a kind of a
| | 03:14 |
reddish tone.
Maybe a deep red like that, and that's
| | 03:19 |
good, click OK.
And that's starting to look better.
| | 03:23 |
So, now in a layer on top of all three of
them there, is going to be some dark
| | 03:26 |
tones.
Here's where I'm going to start to really
| | 03:30 |
give it some definition.
So, I'm going to get a nice deep brown
| | 03:34 |
color.
So, I'll get a nice deep brown like this
| | 03:38 |
and I have a much smaller brush.
I'm going to go in here and start the
| | 03:42 |
paint right through here, let's get a
really soft edge.
| | 03:45 |
I'm going to start to paint some dark
tones right through here, like so.
| | 03:49 |
Really dark, and bigger brush.
And bring down the opacity a bit to about
| | 03:55 |
50% and start adding more of these tones.
Now you're saying, well, it's going all
| | 03:59 |
over the place.
Well, that's okay, because what I'm
| | 04:02 |
going to do now is I'm going to use the
base eye layer as a mask for the other
| | 04:04 |
two, by holding down my Option key and
clicking between them which is going to
| | 04:08 |
trap them inside forming what's called a
clipping group.
| | 04:12 |
And there you can see that now my dark
tone is inside.
| | 04:16 |
Now, a dark tone's a little too strong,
so what I'm going to do is take that dark
| | 04:18 |
tone and put it in a multiply mode.
And see what it is going to do.
| | 04:22 |
And see there, it starts to darken it
really well and maybe bring down the
| | 04:25 |
opacity just a little.
So, now our Godzilla is starting to look
| | 04:28 |
a little more ominous, as he starts to
look more like the real monster.
| | 04:33 |
In the next movie, what we are going to
do is take our new found monster and
| | 04:36 |
bring him into our street scene.
| | 04:40 |
| | Collapse this transcript |
| Compositing the toy| 00:00 |
So now that our toy is all nice and
retouched, it's got a new eye and
| | 00:02 |
everything, we're ready to bring him over
to our street scene.
| | 00:06 |
Now, Godzilla is made up of four
different layers.
| | 00:09 |
So I can go in here and say, Merge
Visible.
| | 00:12 |
But you see what happens when I say Merge
Visible?
| | 00:15 |
They all became a single layer.
Let me undo that.
| | 00:18 |
What if, down the road, you want to do
something different, like, maybe change
| | 00:22 |
some of the colors, change the eye to a
flaming eye or whatever?
| | 00:26 |
You don't want to go through all those
steps all over again.
| | 00:30 |
You have everything you need here.
So what I'm going to do, is I'm going to
| | 00:33 |
choose to Merge Visible, but this time
I'm going to hold down my Option key,
| | 00:37 |
which is Alt on a PC.
So I say, Merge Visible, and you'll
| | 00:41 |
notice that now the original four layers
are still there, but it created a whole
| | 00:45 |
new layer up here, which is a composite
of the various pieces.
| | 00:50 |
So we'll go in here and call this guy
Godzilla.
| | 00:54 |
All right?
So now, there's my street scene in the
| | 00:57 |
back.
So I'm going to take this Godzilla, which
| | 00:59 |
is this guy right here, and drag him into
our scene.
| | 01:02 |
Now he's a little bigger than we need, so
I'm going to go in there and shrink him
| | 01:05 |
down.
So I hit Cmd T to bring me to my
| | 01:07 |
transform.
Now, I don't see the whole thing there,
| | 01:10 |
so I'm going to hit Cmd zero, which
brings it down to a point where I can see
| | 01:13 |
the whole thing.
So I can go in there and start to shrink
| | 01:17 |
this guy down to the size that I want.
Put him in position and I want him right
| | 01:23 |
about like that.
That's going to be good, right there.
| | 01:27 |
And that's the position in which I want
to have him.
| | 01:29 |
I click OK.
There he is in position.
| | 01:32 |
So what I'm going to do now is I'm
going to go ahead and crop this scene.
| | 01:35 |
Let's crop it to where we want it.
Let's just say, there's all these people
| | 01:39 |
down here, and these people do not look
like there's a monster coming down the
| | 01:42 |
street.
They're just kind of hanging around.
| | 01:45 |
So I'm going to kind of get rid of those
people.
| | 01:47 |
So I'm going to go in there and crop
this.
| | 01:50 |
And just get the parts that I want, which
is just there like that.
| | 01:55 |
This is the area that I want.
So I can say Crop the image.
| | 01:58 |
Now we're working in just the scene that
we want.
| | 01:59 |
So now, let's turn off our Godzilla for a
second and we deselect it.
| | 02:04 |
I can go in here and look at what's here.
Let me see.
| | 02:11 |
We've got this truck there, the truck.
And we got these other trucks.
| | 02:16 |
So what I'm going to do is I'm going to
go in here and look real closely.
| | 02:20 |
I have my Godzilla.
There he is.
| | 02:22 |
So what I'm going to do is I'm going to
take my pen tool and I'm going to go
| | 02:25 |
ahead a surround these areas, the areas
where I want my Godzilla to be hidden
| | 02:28 |
behind.
Then I'm going to go in here and just
| | 02:33 |
select this little area right here, and
I'm just clicking right across to get all
| | 02:38 |
these little parts right in there, and
right up here to the top of the truck,
| | 02:42 |
across the truck and over to the side,
and down, and over our van here, and
| | 02:47 |
around the little edge of the van and
down.
| | 02:54 |
Okay, let's fix this up a little bit.
Let's bring this down.
| | 02:58 |
There we go.
And come back over to here and close it
| | 03:02 |
off.
Alright, so now that we have that path,
| | 03:05 |
I'm going to go in here, back to my
Godzilla.
| | 03:08 |
There he is.
And I'm going to give it a Mask.
| | 03:12 |
And, I have black for my foreground color
and I'm in the mask so then I'm going to
| | 03:16 |
go to my path and say, Fill that.
I filled that up in the mask, so what it
| | 03:21 |
did is it masked off the Godzilla.
So now he's in position where he belongs,
| | 03:27 |
walking down the street.
His lighting is all the same.
| | 03:32 |
Everything's looking pretty good.
What we have to do now is make sure he's
| | 03:36 |
really there.
In the next movie, we're going to create
| | 03:39 |
a shadow that he's casting onto the
buildings, because we see that we have a
| | 03:42 |
strong sunlight coming down, and we see
shadows right there indicates where the
| | 03:46 |
sun is.
So we're going to create a shadow for him
| | 03:50 |
in the next movie.
| | 03:52 |
| | Collapse this transcript |
| Adding shadows| 00:00 |
Now that our Godzilla, whatever we
want to call him is in place, we need to
| | 00:03 |
add some shadows.
Now we see some shadows, like right
| | 00:06 |
there, there's a shadow being cast on the
building.
| | 00:09 |
And all these cars down here, the trucks,
they're all in shadows, a little sunlight
| | 00:12 |
showing through there.
Big monster like this should be casting a
| | 00:16 |
shadow on these buildings, so that's what
we are going to create next.
| | 00:20 |
So what I'm going to do is I'm, going to
go into the actual layer of the Godzilla
| | 00:25 |
and give it a drop shadow.
I'll go in there and say drop shadow and
| | 00:31 |
this gives it some more distance so we
can see what it looks like.
| | 00:36 |
And the sun is coming from this direction
right there and I'm going to soften it up
| | 00:39 |
just a little bit.
Just soften it up just a tiny bit.
| | 00:43 |
Right there, like that.
Now looking at the intensity of this
| | 00:46 |
shadow here, and the shadows on the sides
of the building, that looks about right.
| | 00:51 |
Maybe just a little bit lighter.
That's good.
| | 00:55 |
Click OK, and we have a shadow.
So what I'm going to do now is I'm
| | 00:58 |
going to go over to Layer.
Layer > Style and say Create layer.
| | 01:02 |
That's going to take that shadow, and
separate it into its own layer.
| | 01:07 |
So, I can now grab that shadow, and move
it down into position, down here, where I
| | 01:12 |
want it.
Way down here.
| | 01:16 |
'Kay.
Just like that.
| | 01:18 |
So, now.
I'm going to go in there and have to
| | 01:21 |
modify him a little bit.
Like for instance, there is hidden in
| | 01:24 |
that little area down there.
So what I'm going to do, is I'm going to
| | 01:27 |
give it a mask and in that mask we're
going to get in a little closer.
| | 01:31 |
We're going to go in there and erase that
part.
| | 01:33 |
We're not really erasing it.
We're going in there and hiding it.
| | 01:37 |
because we don't want it to be on that
part of that building back there.
| | 01:41 |
Now it's okay if I went a little over,
it's no problem because it is a mask.
| | 01:46 |
That's the beauty, I can always bring
back what I want to show, right in there
| | 01:49 |
like that.
So there's our mask.
| | 01:52 |
Or rather our shadow, being cast on this
overall scene.
| | 01:56 |
Now, the beauty of doing a mask as
opposed to erasing, is something like
| | 02:00 |
this, let's just go look at this.
And we see the angle, maybe I'd like to
| | 02:05 |
lower this just a little bit more.
Had I actually erased this, and wanted to
| | 02:10 |
move this guy over.
Well, you see, see that?
| | 02:15 |
Oh, that's not very good, because I've
lost those pieces in there.
| | 02:19 |
So what I need to do is, unlock the mask
and then move my shadow around.
| | 02:25 |
Now you see how the shadow is still
conforming to that little area where it's
| | 02:28 |
being hidden?
Alright, so we're moving that shadow and
| | 02:31 |
it's still going to be hidden where we
want it to.
| | 02:34 |
I can bring it down a little more like
that.
| | 02:36 |
And then I'm going to into that shadow
and hide it some more.
| | 02:40 |
And we're doing with the full.
Opacity.
| | 02:43 |
There we go.
Now we're seeing the whole thing.
| | 02:45 |
Yeah.
Let's erase that whole area right in
| | 02:47 |
there.
Erasing that area from the buildings, so
| | 02:50 |
that we don't see the Godzilla shadow in
there.
| | 02:53 |
And again, if I move the shadow we see
that it's conforming to that area itself.
| | 03:00 |
There's the shadow, and you see that the
shadow is conforming to where we want it
| | 03:04 |
to go.
Now that we got the shadow of the monster
| | 03:07 |
in place, there it is, alright, it's
looking good.
| | 03:11 |
Now pull back and we see that the
Godzilla himself is completely in the
| | 03:14 |
light, where he should have a shadow
being cast by these buildings back here.
| | 03:19 |
So what I'm going to do is I'm going to
go into the layer of the Godzilla, create
| | 03:23 |
a layer on top of it, which we're
going to call shadows.
| | 03:26 |
And I'm going to go in there and, with
black, I'm going to paint in what's
| | 03:30 |
going to be the shadow of these building.
I'll go in there and just paint, a
| | 03:36 |
building like this.
And we'll just kind of fill it in.
| | 03:40 |
Right in there like that.
And it's going to be just going up into
| | 03:45 |
this area here.
We're going to fill this whole thing up,
| | 03:48 |
right there, all that black stuff right
there like that.
| | 03:51 |
All right, there's a building and what
I'm going to do, and let's just wrap this
| | 03:56 |
right around his legs like that, there we
go.
| | 04:00 |
There's that shadow.
Which I'm going to put that shadow in a
| | 04:03 |
multiply mode.
And bring down it's opacity so it matches
| | 04:06 |
all the other shadows that we see
throughout.
| | 04:10 |
About like that.
And then I'm going to clip it, with the
| | 04:12 |
Godzilla itself right there.
And there we see that now we're seeing
| | 04:16 |
it.
Only on top of the Godzilla, we're seeing
| | 04:19 |
the shadow being cast by these buildings.
And if we want, we can go in there and
| | 04:23 |
blur it a little bit, but now we're
going to leave it nice and sharp like
| | 04:26 |
that.
So there's the shadow being cast by the
| | 04:29 |
buildings on the side of the street.
| | 04:31 |
| | Collapse this transcript |
| Adding wreckage and smoke| 00:00 |
Part of the fun of the old Godzilla
movies was watching the destruction of
| | 00:04 |
the city.
Watching all these buildings being
| | 00:06 |
knocked down with a simple swipe of his
paws.
| | 00:09 |
Though, that's what were going to do now.
We're going to start to destroy the city.
| | 00:13 |
First what were going to do, is the wake
of his passage through.
| | 00:17 |
Were going to destroy the stuff in back.
And now we have this big absent building
| | 00:21 |
back here.
We want to get rid of that.
| | 00:23 |
Were going to destroy that whole area
back there.
| | 00:26 |
I have here a scene, demolition, right
there.
| | 00:30 |
So what I'm going to do is I'm going to
select the portion that I want.
| | 00:33 |
I want this area right in here, that area
right there.
| | 00:37 |
And with my Magic Wand and my Option key
pressed, I'm going to deselect portions
| | 00:40 |
that I don't want, from the scene.
I'm going to go in there and deselect all
| | 00:44 |
of these little sections right there.
Now, with my Lasso and the Option key, I
| | 00:49 |
will surround other areas that I don't
want.
| | 00:52 |
I don't want to have any of this stuff
selected.
| | 00:54 |
I certainly don't want this crane here,
so we'll get rid of that.
| | 00:58 |
Now that we have that selected, I can go
in there and take this, and make sure I'm
| | 01:02 |
in front of that layer, right in front of
the background, because I want it to be
| | 01:05 |
behind the Godzilla.
So I select the background, so when I
| | 01:10 |
bring something in it's going to
automatically fall in, on top of the
| | 01:13 |
currently selected layer.
So I get my demolition site, and I drag
| | 01:18 |
it into here.
And, there it is, it's a little small
| | 01:21 |
back there.
That's, little tiny area.
| | 01:24 |
So what I'm going to do is I'm going to
go in there and enlarge it.
| | 01:27 |
A little bigger.
And let's make it just big enough so that
| | 01:30 |
it's about the size of the Epson building
that's there now.
| | 01:34 |
Right there like that.
So now, what I'm going to do, is I've got
| | 01:37 |
this mask, that I created for the
Godzilla, I'm going to Option click and
| | 01:41 |
drag it, over this layer, which will mask
out that bottom area as well.
| | 01:46 |
So now I'm going to go in here and get
real close, and we need to hide it in
| | 01:49 |
other parts here.
So what I'm going to do is I am going to
| | 01:53 |
bring down the opacity or, just select
the parts that I want to let's turn it
| | 01:57 |
off right for right now, and we want to
protect this area in here.
| | 02:02 |
So, with my Lasso, I'm going to quickly
select the areas that I want to protect.
| | 02:07 |
So I'm going to go in here and just start
to make a selection, right through here,
| | 02:11 |
like this, and we don't want this here,
and go around, and go to the top of this
| | 02:15 |
building, and go right through here, as
such.
| | 02:20 |
Okay.
So select this, this whole area here,
| | 02:25 |
just like that, and turn his back on, and
I am in the mask.
| | 02:32 |
So, I'll fill that area with black, which
will hide all those parts of the
| | 02:36 |
destruction back there, that we see.
So now, on a layer behind that, create
| | 02:41 |
another layer here.
We're going to create some smoke from all
| | 02:45 |
the things that he's done.
So I'm going to take a Smoke Brush right
| | 02:49 |
here, which I have.
Now, how I created this brush?
| | 02:52 |
You can refer to my Dreamscape of the war
ravaged city.
| | 02:56 |
Where I explain how I created this brush.
But in this layer back here, I'm going to
| | 03:01 |
start to create the smoke being brought
on by this destruction here.
| | 03:06 |
So I got my brush.
Let me go to my Brush Engine.
| | 03:08 |
Make sure I have all my settings the way
I want them.
| | 03:11 |
Very good.
And let's set this up to 100% brush, and
| | 03:14 |
I'm going to start to draw some smoke
back here.
| | 03:18 |
This is where it's been, all this smoke
has been kind of just thrown in back
| | 03:22 |
here.
And we'll make this brush a little
| | 03:24 |
bigger.
Bring down the opacity a little bit so we
| | 03:27 |
can just kind of start getting all this
smoke happening back here, where he's
| | 03:31 |
destroyed the city in back.
So let's just get all this smoke, where
| | 03:35 |
all this stuff is being, just blown all
over the place.
| | 03:39 |
Make the brush even bigger.
And there you see the smoke that's from
| | 03:42 |
the havoc that he's caused in the city
behind him.
| | 03:46 |
Alright, so we have all this destruction
back there.
| | 03:49 |
Now what he's going to do, in the next
movie, is he's actually going to destroy
| | 03:53 |
this sign right here.
We're going to take that sign and destroy
| | 03:58 |
it.
| | 03:58 |
| | Collapse this transcript |
| Destroying the sign on the building| 00:00 |
So now we're going to start the real
destruction.
| | 00:02 |
We're going to take this sign right here,
where his paw is, and he's just going to
| | 00:06 |
swipe that and destroy that whole sign
right there.
| | 00:10 |
So that's what we're going to do next.
So, what I'm going to do is I'm going to
| | 00:13 |
come way down here and turn off all my
layers to see just the background.
| | 00:19 |
And I'm going to go in there, and let's
get a little close.
| | 00:21 |
And I'm going to select that sign, do a
quick selection with the lasso tool here,
| | 00:26 |
and I'm just going to go across, and
down, and over, and go like that, and
| | 00:31 |
send that to a new layer via copy.
Turn all, on all the other layers, and
| | 00:39 |
put that sign In front of his paw like
that.
| | 00:44 |
So, what we're going to do now with that
is we're going to break it up.
| | 00:48 |
So here's where we 're going to start
doing things.
| | 00:51 |
I'm going to go and take my Lasso tool
and very kind of loosely go in here, and
| | 00:56 |
get that little section of the sign and
just send it over to a new layer.
| | 01:03 |
In fact let's, let's take a couple
pieces.
| | 01:06 |
Let's add to this down in here.
We'll just grab this bottom portion of
| | 01:10 |
the sign like that.
And we'll say send those to a new layer
| | 01:15 |
via Cut, Okay?
So they're in their own layer now, right?
| | 01:20 |
Alright, so now what's going to happen is
I go back to this layer.
| | 01:24 |
Here's our basic sign, Wwhich right now
it looks like that.
| | 01:27 |
And let's just see this so we know
exactly where we're working.
| | 01:30 |
Here's the two pieces we just broke off.
So, then from this side here we're going
| | 01:34 |
to take this section, right through here,
and maybe a little piece right here.
| | 01:40 |
And, grab this section right there.
And send those to a new layer via Cut.
| | 01:47 |
Turn that one off so we don't see that.
And this last piece here, this we'll just
| | 01:52 |
work with as it is, alright?
So, we got all our parts of design here,
| | 01:55 |
right?
So, let's go in here and turn everything
| | 01:57 |
back on, so we can see what we're doing
here.
| | 01:59 |
And here's our three piece of the sign.
So, we're going to take this top one
| | 02:04 |
here, alright?
And we're going to just, there it is.
| | 02:07 |
So what I'd like to do is I'm going to
take this section of it, right there, and
| | 02:12 |
do a little rotation on it, like that.
And the bottom portion, we're going to do
| | 02:18 |
a little rotate in the opposite
direction, like that and maybe move it
| | 02:21 |
over, like there.
Alright, so that's looking good and you
| | 02:25 |
know, starting to see the sign behind it.
We can't have that so what we'll do is
| | 02:30 |
we'll come right here and create a new
layer right on top of this.
| | 02:35 |
Deselect this and what we're going to do
in this layer is back here which is
| | 02:39 |
going to throw something in there, just
so it starts to look like it's being
| | 02:42 |
wrecked.
So, we're going to just take some pieces
| | 02:47 |
from somewhere else.
Let's go in here and see where we can
| | 02:50 |
find something that we can use as
wreckage, and let's see.
| | 02:54 |
here's some good stuff right here, got
all this damage here.
| | 02:59 |
Let's see.
Let's, we're just looking around.
| | 03:01 |
We're just trying to find some place
where we can get something that we can
| | 03:04 |
destroy back there.
Alright, so here, this little piece right
| | 03:08 |
here.
Let's take that little section and what
| | 03:10 |
we're going to do is we're going to clone
that into this area back here.
| | 03:15 |
So let's go in there and pick our Clone
tool, and we'll just clone this right
| | 03:18 |
into this area right in here, right back
here.
| | 03:22 |
And this is in that wreckage area right
here.
| | 03:25 |
And we're not seeing what we're doing
because we have all these guys turned on.
| | 03:28 |
So let's turn those guys off for now.
And in this wreckage area here, we're
| | 03:32 |
going to go over here and take off our
Clone tool.
| | 03:35 |
We're going to say All Layers, so it sees
the stuff in back and get a nice large
| | 03:39 |
size and we're going to say start cloning
from right there.
| | 03:44 |
And we're going to start to clone that
right into this area here like that.
| | 03:48 |
And see we got some sky, Wwe've got some
sky happening in there and let's bring
| | 03:51 |
this up to 100%.
And let's start going at it again right
| | 03:56 |
through there.
And there we go, we got some sky that's
| | 04:00 |
showing through.
And some other piece of sign, no problem.
| | 04:04 |
We just grab some sky and just cover that
up.
| | 04:08 |
We're just basically creating some
wreckage, the rest of this stuff we're
| | 04:11 |
going to hide.
So, we just want to be able to see some
| | 04:14 |
wreckage in there and we just take a
little sky and just kind of break this up
| | 04:17 |
a little bit, right there like that.
That's good enough.
| | 04:21 |
So, now when we turn these other guys on,
now we won't see that sign behind it.
| | 04:25 |
We'll see our broken up sign, all right?
So there's the first one.
| | 04:29 |
Let's look at the second one, this one
here.
| | 04:31 |
Let's turn off the one underneath it.
This one here has this little section
| | 04:35 |
there and this section up here.
So let's go and select those.
| | 04:39 |
And this one we'll just kind of rotate
this way, and bring it over a little bit,
| | 04:43 |
about like that.
Let's come over just like, there we go,
| | 04:48 |
like that.
And the bottom section, right there,
| | 04:52 |
we'll just kind of bring this over, and
rotate it like that, there we go.
| | 04:59 |
So, now these two are starting to look
like they're broken up and then the last
| | 05:02 |
one.
This one here, which we're going to take
| | 05:05 |
this piece right in here and do a little
rotation on it.
| | 05:10 |
Make sure we're in the right layer,
that's this layer here, alright?
| | 05:15 |
So, we'll just take that, and do a little
rotation on that, and bring it over.
| | 05:20 |
Put it right underneath there like that.
And then the other piece that's under
| | 05:25 |
here, we'll just grab that and bring that
over, just like that.
| | 05:30 |
There we see that our sign is now
starting to break up.
| | 05:33 |
So, what we're going to do is add some
shadows to those.
| | 05:35 |
So we'll go in there and add a little
shading.
| | 05:38 |
And what I've done is I've simply taken
my Burn tool and I'm just going to darken
| | 05:41 |
some of those tones in there, and the
same thing with this one.
| | 05:45 |
We just go in there and start to darken
some of the areas that we've destroyed.
| | 05:50 |
Just so that in each layer so it starts
to look like it's all broken up, there we
| | 05:54 |
go.
So there, that's starting to break up but
| | 05:57 |
now we really need to break it up so
we're going to add all the little debris
| | 06:00 |
that'll start to make this look more
realistic.
| | 06:04 |
So, in the next layer we're going to
create some brushes that'll create that
| | 06:08 |
final debris that make this sign look
like it is in fact being destroyed.
| | 06:13 |
| | Collapse this transcript |
| Adding pieces to the destruction of the sign| 00:00 |
So the finishing touch here will be to
add the little bits of debris that are
| | 00:04 |
going to make this look like its really
being destroyed.
| | 00:07 |
These pieces alone are not going to do
it.
| | 00:09 |
You need all the little pieces, all the
little chunks that get blown into the
| | 00:13 |
area, into the sky because of what he's
done to this sign.
| | 00:16 |
To do this, I'm going to use 2 brushes,
which we're going to create.
| | 00:21 |
So we go in here and start a new file.
And let's get in real close on this.
| | 00:25 |
And here I'm going to create two brushes.
One is very similar to what I did in the
| | 00:29 |
war ravaged city.
I'm just going to create a little shape
| | 00:33 |
like this, fill it in with black, and
define it as a brush.
| | 00:39 |
The second one is going to be a little
more involved here, so why not just go
| | 00:42 |
to...
Do is I'm holding down my option key to
| | 00:45 |
turn this into a, kind of like a, the
rubber band kind of tool, and I'm just
| | 00:49 |
going to go in here and just create this
little piece of debris.
| | 00:54 |
Just like that, fill that with black.
There it is, and we'll define that as a
| | 00:59 |
brush as well.
So, we got those two.
| | 01:02 |
So, we can close this file.
We don't need it anymore.
| | 01:07 |
Let's say goodbye.
Click on Save.
| | 01:10 |
Okay.
So we've got our sign being destroyed
| | 01:12 |
here.
And in fact, let's go ahead and, and
| | 01:14 |
merge these down.
We'll just say merge this down.
| | 01:19 |
And merge that one down.
And we'll call this sign.
| | 01:24 |
And then on top of this we're going to
create all those little pieces debris.
| | 01:27 |
Let's get a little closer so we'll see
what's going to happen next.
| | 01:30 |
All right so the first one gotta be the
little girders and stuff that are holding
| | 01:34 |
this sign in place.
So, we're going to get our Paint Brush.
| | 01:38 |
And I'm going to choose that brush we
just created, that one, the one that's
| | 01:41 |
like a little plank, which right now it
does this, right, and set it to a hundred
| | 01:44 |
percent, and it does that.
All right.
| | 01:47 |
So this is going to be little pieces of
girder, these little guys, like in here.
| | 01:52 |
So I'm going to go into my brush engine.
I'm going to go in there and give this a
| | 01:55 |
lot of separation.
Lot of separation like that.
| | 01:59 |
Go into Shape Dynamics, where I got the
size jitter going, and we'll make 'em
| | 02:03 |
even smaller little pieces.
And I'm going to change these angles all
| | 02:07 |
the way to 100%, big difference, and
change this as well.
| | 02:11 |
So, we're going to get all these
different sizes and shapes going through
| | 02:14 |
there.
And go into Scattering, and scatter them.
| | 02:17 |
But not that much, we just scattered em
kind of like that.
| | 02:19 |
I'm going to Color Dynamics, and I'm
going to have to go between foreground
| | 02:23 |
and background and add a little hue
jitter and some saturation jitter and a
| | 02:26 |
little brightness jitter.
Okay?
| | 02:30 |
So right now I've got some black and
white going on in there.
| | 02:32 |
So let's just change that from a black to
a dark grey.
| | 02:38 |
And the white, we'll make it to a very
light gray, like that.
| | 02:43 |
Now, let's bring this brush size down a
little bit, so it's a little smaller.
| | 02:47 |
And in that layer right there, we'll just
throw those little guys in there, let's
| | 02:50 |
make this a little darker.
We got a little more saturation going
| | 02:54 |
through there.
And then we start throwing all of these
| | 02:57 |
little pieces all through there.
All these little chunks that are just
| | 03:00 |
falling down, all over the place like
that.
| | 03:02 |
There.
Alright.
| | 03:04 |
So, now, we're going to get the other
brush, that one.
| | 03:10 |
Alright.
And this one, we're going to go into our
| | 03:12 |
brush engine and do very similar set of
spacing.
| | 03:17 |
Go into our Shape Dynamics which has all
the previous settings from before.
| | 03:21 |
This one will go really small.
And we got this set up there and let's
| | 03:26 |
bring this down.
So we've got some pieces that are totally
| | 03:30 |
flat.
And we'll go into our scattering.
| | 03:34 |
And we'll bring this in and we'll
increase the count on this so it has more
| | 03:37 |
pieces of it.
Now we'll go into the Color Dynamics
| | 03:41 |
where we are going to really punch up the
huge(UNKNOWN) because there's going to be
| | 03:44 |
pieces of our sign here going through
there, alright.
| | 03:48 |
Click Okay, and what we're going to do is
we are going to pick the colors from our
| | 03:51 |
sign...
So I'm going to go in here and for my
| | 03:53 |
foreground color, I'm going to pick this
green here.
| | 03:56 |
And for the background color I'll pick
the red.
| | 04:00 |
This deep red here for the background
color.
| | 04:02 |
So now,we got our paintbrush.
And there's our little things are in a
| | 04:06 |
whole nother layer.
We're going to start throwing all these
| | 04:09 |
little pieces in there.
Let's go in here and let's make sure
| | 04:12 |
we've got everybody set up.
Color dynamics, yep.
| | 04:15 |
Hue jitter.
Program background, okay, apply per tip.
| | 04:19 |
We want this to happen for every tip
here.
| | 04:21 |
So now I'm going to go in here, and let's
make this brush much smaller.
| | 04:24 |
Let's go even smaller than that, tiny
little brush.
| | 04:27 |
And this'll be all those little pieces
that are just breaking off the sign
| | 04:31 |
coming down In different places all
thorugh here.
| | 04:34 |
All little pieces of our sign that are
breaking off and falling down into space.
| | 04:38 |
Now I'm going to bring this back to black
and white and draw more so we have all
| | 04:42 |
these little pieces that are just flying
off into space right here from the
| | 04:45 |
destruction of our sign.
Throw some in front as well, and throw
| | 04:50 |
some all through here so that they start
to blot out all these other things that
| | 04:54 |
we're seeing there.
And there is all this destruction
| | 04:58 |
happening, that he's just swiped this
sign and is destroying the whole thing
| | 05:01 |
into little pieces, and it's just flying
all over the place.
| | 05:05 |
And there's our final scene where he's
destroying the building, destroyed all
| | 05:09 |
the stuff in his wake, and Godzilla's on
his rampage.
| | 05:13 |
| | Collapse this transcript |
|
|
5. Night StormIntroduction| 00:00 |
In this Dreamscape we're going to show
how just about anything can be converted
| | 00:04 |
to something totally new.
Let's take a picture of a little model
| | 00:08 |
that was inside of a museum, inside a
glass case, and a street, very
| | 00:12 |
uninteresting street, in an old town in
Germany and some lanterns, lanterns in
| | 00:17 |
Venice.
We're going to combine these to create a
| | 00:22 |
dark stormy night, where lightning is
flashing and rain is pouring down, and
| | 00:26 |
creating a scene, a whole sequence that
has nothing to do with the original shots
| | 00:30 |
that we used to create it.
| | 00:34 |
| | Collapse this transcript |
| Isolating the building| 00:00 |
This is the building or cathedral that's
going to be the subject of our night
| | 00:04 |
storm.
Basically, as you can see, it's a model,
| | 00:08 |
it's a photograph that I took of a model
that was in the Vatican, so that's why
| | 00:12 |
the very elaborate ceiling back there,
and it's inside of a glass case, which is
| | 00:17 |
why it's got that slightly milky effect
to it.
| | 00:22 |
But we're only going to concern ourselves
with major parts here, so we're going to
| | 00:26 |
start by isolating the parts that we
want.
| | 00:28 |
So I'm going to go here and double-click
on the background and turn it into an
| | 00:32 |
actual layer.
So, I'm going to call it STRUCTURE.
| | 00:36 |
And now, it's a layer, so I can do things
to it.
| | 00:39 |
So what I'm going to do is I'm going to
change its angle a bit.
| | 00:42 |
So I'm going to go into my Transform
tools.
| | 00:45 |
I hit Command+T to bring them up.
And I'm going to hold down my Command key
| | 00:49 |
so I can distort it.
I'm going to bring this side in a little
| | 00:53 |
bit, and bring this side out, and kind of
twirl it a little bit.
| | 00:58 |
Right?
Let's make a little bigger up in there.
| | 01:00 |
So we're getting more of the angle that
we want for our street to have.
| | 01:04 |
I'm going to worry about down here, but
I'm just concerned about this area up
| | 01:07 |
here.
I might want to just stretch this out
| | 01:10 |
just a little bit more just to get this
kind of a effect.
| | 01:13 |
So there is the angle that I want.
So now, I need to isolate the building,
| | 01:17 |
so what I need to do is to go in here and
to start to select it.
| | 01:21 |
Now, there's no way of using any of the
other selection tools, except for the Pen
| | 01:24 |
tool to really get this accurate.
So I'm going to start right here at the
| | 01:29 |
corner, and with my Pen tool, I'm
going to start to isolate my building.
| | 01:33 |
I go in here and I can get real close if
I want to be really accurate, so I can
| | 01:36 |
click and start going, and I'm just going
around the little edges, and around this
| | 01:39 |
little corner here, and go straight up
and then come around, then around this
| | 01:43 |
little piece here.
And you'll notice when I pull on the
| | 01:47 |
handles because it's a slightly rounded
area.
| | 01:49 |
If it's not a rounded area, I can just
have a hard, straight point.
| | 01:53 |
Just click, click, and go up there.
Come around here and come down.
| | 01:58 |
And go over, down.
And, I don't have to be too accurate,
| | 02:01 |
because a lot of this stuff is going to
be lost.
| | 02:04 |
because it is a night scene and it is
going to be stormy.
| | 02:06 |
But I want to get a good representation
of what this building looks like.
| | 02:11 |
So I start to go all the way across.
Now, I'm not going to waste all the time
| | 02:14 |
and create the whole thing, and I'm also
not going to surround these little
| | 02:17 |
crosses here, unless you want to in your
files, you want to get that technical,
| | 02:20 |
you can.
Once I have all these inside parts done,
| | 02:24 |
I'm also going to go in there and select
little areas like in here, where I know
| | 02:27 |
that it's an open window or an open area
that needs to be exposed.
| | 02:32 |
And I'll make things easier for myself, I
do have one here where I've already
| | 02:35 |
created all the paths to separate the
buildings.
| | 02:39 |
So, what I'm going to go do is turn that
into a selection and put that into a
| | 02:43 |
whole another layer, new layer by itself.
And let's just make sure I'm in the right
| | 02:48 |
layer, there we go, get in there and say
New > Layer Via Copy.
| | 02:52 |
And now, it's in a whole layer by itself,
just the section that I needed, and now,
| | 02:56 |
I can then proceed to the next movie
where I'm going to start to change the
| | 02:59 |
colors of this building.
| | 03:03 |
| | Collapse this transcript |
| Darkening the building| 00:00 |
Now we're going to start to change the
color of our building to make it look
| | 00:03 |
like it's at nighttime.
But before we do that, we're going to
| | 00:06 |
take the windows out of here.
We don't want to manipulate the windows,
| | 00:09 |
because they're going to be handled
totally separately in the next movie.
| | 00:12 |
So using the Pen tool, I've created a
path for all the windows, just like I
| | 00:16 |
isolated the building, I isolated the
windows by creating a path.
| | 00:21 |
Which I'm now going to take that path,
make it into a selection, and I take all
| | 00:24 |
those little windows and send them to a
New > Layer Via Copy.
| | 00:29 |
So they are now in their own little layer
right there.
| | 00:31 |
So I'm going to call that layer, windows.
And that we'll manipulate in the next
| | 00:35 |
movie, but in this movie we're going to
manipulate the building.
| | 00:39 |
So, I got the building right here, so I'm
going to turn the building into a
| | 00:42 |
selection.
There it is selecting.
| | 00:45 |
And the reason I'm trying to do selection
is because I'm going to apply a couple of
| | 00:50 |
adjustment layers.
Rather than adjusting this layer by
| | 00:54 |
itself, I'm going to do it as adjustment
layers, why?
| | 00:57 |
Because maybe, just maybe down the road I
might want to adjust those a little more,
| | 01:01 |
and if I make all the changes here to the
base layer I have no option of making
| | 01:04 |
changes later.
So I'm going to go in there and apply the
| | 01:09 |
first one, which is the adjustment layer
of Hue Saturation.
| | 01:13 |
And here what I'm going to do basically,
is bring down the saturation quite a bit
| | 01:17 |
down to the grays, and I'm going to bring
it down and darken it just a little bit
| | 01:20 |
like that.
Let's just darken it, about like that.
| | 01:26 |
And you notice the windows are stayin'
nice and bright.
| | 01:28 |
So now I could either duplicate this mask
to the next Adjustment Layer or I can
| | 01:32 |
just make the building a selection again,
and create another one which this time
| | 01:36 |
will be my Levels.
In Levels what I'm going to do is I'm
| | 01:40 |
going to really start to darken things.
I'm going to start to darken the parts of
| | 01:45 |
my building that are away from where the
light's going to be.
| | 01:49 |
I go in there and start to darken these
tones, just about like that.
| | 01:53 |
Now we can see that our building is
starting to take on this nighttime kind
| | 01:56 |
of a look to it.
So that's looking good.
| | 02:00 |
And that we have that, we can now close
that little window.
| | 02:04 |
And got our building darkened.
Another reason why I'm doing adjustment
| | 02:08 |
layers to it is because we're going to do
other things to the building in it's
| | 02:11 |
original state.
So we want to keep that intact.
| | 02:15 |
So I made all the adjustments to the
color in Adjustment Layers.
| | 02:20 |
To make this part of the building look
like it's in night time.
| | 02:24 |
| | Collapse this transcript |
| Windows| 00:00 |
So now we have our little windows here.
What we want to do is really lighten 'em
| | 00:03 |
up.
We want to make it look like there's
| | 00:05 |
light coming from inside.
First thing we're going to do is create
| | 00:08 |
some light inside.
We're going to go in here and turn them
| | 00:11 |
into selection.
Alright just Command click on the Preview
| | 00:14 |
icon, which turns them into selection,
and then a layer behind them.
| | 00:18 |
Command, click on the new layer.
I will give this the inside glow, there
| | 00:23 |
we go.
Let's turn off the windows on top for a
| | 00:26 |
second so we can see what's going to
happen there.
| | 00:29 |
And then we get a set of colors for my
inside glow, and then we get this bright
| | 00:33 |
yellow here.
Going to this more of an orangey color
| | 00:37 |
for up in the upper floors up there.
And I'll throw in a radial gradient.
| | 00:42 |
Into this area here and I'll start way
down here and throw a gradient right up
| | 00:46 |
into that area just like that.
Deselect it, and now we can see that now
| | 00:50 |
we have these nice bright colors for our
windows.
| | 00:53 |
And there's the windows on top but right
now I'm just kind of covering it up.
| | 00:57 |
So what I need to do I'm going to take
those windows and lets duplicate them,
| | 01:01 |
just in case we want to make some
changes, so let's turn off the one in
| | 01:04 |
back.
And this one right here, I'm going to go
| | 01:08 |
in there and I'm going to increase the
contrast on it.
| | 01:11 |
So I'm going to go into my adjustments
and go to levels, and I'm going to make
| | 01:14 |
the darks darker and I'm going to make
lights lighter.
| | 01:18 |
I'm going to go in there and make all
those tones really nice and dark, right
| | 01:22 |
in there like that, nice and strong.
Click OK.
| | 01:26 |
And I'm going to change the mode to that,
I'm going to go in there and do a, let's
| | 01:29 |
see what a linear light is going to look
like.
| | 01:32 |
Here's a linear light.
It's a little too strong, well that might
| | 01:36 |
be pretty good.
Let's just try a vivid light.
| | 01:40 |
Ahh, that's looking better.
Now it's reacting with the colors
| | 01:43 |
underneath it, so it starts to look like
the windows are stained glass and they're
| | 01:47 |
lit from inside.
So it gives you that nice effect, unlike
| | 01:51 |
the original windows, which look like
that, which were kind of dull and boring
| | 01:55 |
and didn't allow you to see the colors
inside.
| | 01:59 |
This new Set of windows, where I
increased the contrast to make those
| | 02:03 |
details really come out, and changing it
to vivid light made it react to the
| | 02:06 |
colors underneath, giving you this nice,
strong inside light coming through those
| | 02:11 |
stained glass windows.
| | 02:14 |
| | Collapse this transcript |
| Isolating lanterns and adding light| 00:00 |
So now that we have our building pretty
much started, we need to add some more
| | 00:03 |
lights, because people will be walking on
the street, and we don't want them
| | 00:06 |
falling down in the dark, so I'm going to
add some lanterns.
| | 00:11 |
So, where do we get lanterns?
Well I have a shot here that I took in
| | 00:15 |
Venice, and it wasn't that nice of a day,
as you can see, it's overcast, the shot's
| | 00:18 |
a little, kind of faded out and so on,
but these 2 lanterns, right here and
| | 00:22 |
here, those are the lanterns I want.
Those are perfect.
| | 00:28 |
So what I'm going to do, is I'm going to
go in here and I'm just going to go to my
| | 00:31 |
levels just to kind of darken those dark
area's.
| | 00:35 |
I want to really darken that,those
lanterns up a bit.
| | 00:37 |
Let's get the mid tones up a little and
we're going to really darken those
| | 00:41 |
lanterns, click OK.
Now we're going to look at our channels.
| | 00:45 |
And see which is going to give us the
best contrast.
| | 00:47 |
Which, right there is going to be the
blue.
| | 00:49 |
So I'm going to duplicate the blue
channel.
| | 00:49 |
And I'm going to take that blue channel
and invert it.
| | 00:52 |
So I come over here and I'll say App bar,
adjustment and then invert.
| | 01:00 |
So it's now black and white and the
opposite there, so now I want to really
| | 01:04 |
bring out these skies so again I'm going
to go into my levels.
| | 01:09 |
And this time I'm going to get my blacks
really deep in there.
| | 01:13 |
You can see what's happening to my
lanterns, they're getting really nice and
| | 01:15 |
white.
I'm going to push them into the whites
| | 01:17 |
again, and get these mid tones going
there.
| | 01:20 |
So there I have this nice tonality going
on there.
| | 01:23 |
And I'm going to go in here and get a
little closer to see the top of my
| | 01:25 |
lantern and you can see the gray in
there.
| | 01:28 |
Well, that's not good so let's go back
into those levels again and now let's
| | 01:31 |
lighten up those mid tones.
Let's get those mid tones up there so
| | 01:35 |
they get nice and white, much whiter.
Click OK.
| | 01:39 |
Now I'm seeing some stuff there.
It just requires a little bit of
| | 01:41 |
finessing.
And then we go in there and just select
| | 01:44 |
this area right inside there, and fill it
with black.
| | 01:48 |
So, I get a nice black right where I want
it.
| | 01:51 |
This area in here, this could be just a
white.
| | 01:54 |
I want the bottom of the lanterns to stay
white, so I'll fill that with white.
| | 01:58 |
I want the top here to be pure white, so
I'm just going to go in there and select
| | 02:02 |
the cross right through there and fill
that with white.
| | 02:06 |
There we go.
And let's look at the other lantern.
| | 02:08 |
That's looking fairly good with again the
same little problem.
| | 02:12 |
got a little.
Modern bulb in there but that's okay,
| | 02:15 |
we're not really going to see the bulb.
So I'm going to go in here and I'm
| | 02:18 |
going to go and just select the inside of
this lantern right through here, and fill
| | 02:22 |
that with the black.
And we can kind of get rid of this whole
| | 02:25 |
thing here.
Let's just get rid of this whole section,
| | 02:28 |
that bulb in there, and we'll fill that
with the black as well.
| | 02:33 |
And we'll fill the top here.
Let's get this nice and light toned.
| | 02:38 |
And fill that with the white, and the
same thing with the bottom.
| | 02:43 |
All right.
So, now that we have our lantern ready to
| | 02:47 |
go, let's go back, and here's our two
little lanterns.
| | 02:51 |
So what I'm going to do is I'm going to
select those lanterns.
| | 02:53 |
I'm going to go in here and select, this
little piece of the lantern right there,
| | 02:57 |
and then I Shift, select this side of the
lantern right there, and I'm going to
| | 03:02 |
inverse the selection.
And now that everything is selected, I'm
| | 03:07 |
going to fill it with black, so there you
see that I have a channel now that's
| | 03:10 |
going to isolate those two little
lanterns right there.
| | 03:13 |
So I can go back to my rgb.
And load that and my lanterns are
| | 03:17 |
selected, which I can now take those
lanterns and bring them into my scene,
| | 03:21 |
where I want them, right here, right into
my scene.
| | 03:25 |
And they are falling right on top of our
overall scene here.
| | 03:28 |
So let's just get where we can see them,
and I'm going to kind of close them in
| | 03:31 |
together.
You have them nice and close like that,
| | 03:35 |
there they are.
And, we're going to take those and put
| | 03:38 |
them in position where we want them.
And I'm going to go ahead and fill those
| | 03:42 |
with black.
I'm going to call it lanterns.
| | 03:46 |
And I'm going to lock the transparincy
and fill them with a black.
| | 03:49 |
So now they are completely black
lanterns.
| | 03:52 |
And in the next movie, what were going to
do is put them in position and were going
| | 03:56 |
to light them.
| | 03:58 |
| | Collapse this transcript |
| Positioning lanterns| 00:00 |
So now we're going to put our lanterns in
position.
| | 00:02 |
kind of hard to see them at night like
this, so let's just turn off the levels
| | 00:05 |
adjustment layer on the building.
So, now we can see the lanterns, and make
| | 00:09 |
it a little easier to go in there and put
them in position.
| | 00:13 |
So, let's take our little lanterns, right
here, and let's move them here out of the
| | 00:16 |
way for now, and what I'm going to do is
I'm going to select this one.
| | 00:20 |
The little one, and I'm going to take
that little one and Cut them and put 'em
| | 00:23 |
over here right there in the building,
right there, Alright?
| | 00:27 |
So now, let's Deselect that.
And what we're going to do is we're
| | 00:30 |
going to shrink them all down.
I'm going to go to my Transform mode here
| | 00:34 |
and just shrink it down to a size that I
want, right about like that.
| | 00:38 |
That looks good and put that one in
position right about there, make that
| | 00:42 |
happen.
So, now I can select this guy right here
| | 00:46 |
and we'll Cut them there, and put them
over here.
| | 00:50 |
Right there in that part of the building,
and then I'm going to copy them.
| | 00:55 |
I'm holding down my option and command
keys to make a copy of them straight over
| | 00:58 |
to here.
And I'm going to do a little flip
| | 01:02 |
horizontal on him.
This is going to the lantern on this side
| | 01:06 |
right here, but I'm going to adjust this
one a little because it's obviously just
| | 01:09 |
a copy of that one.
We're going to go in, just when we're
| | 01:13 |
looking at a little straighter on.
Okay, I'm going to go in here and just
| | 01:17 |
take this little section right here, this
little section right there.
| | 01:22 |
Okay, in fact, let's just take this whole
area of a lantern, right there, and I'm
| | 01:29 |
going to go into my transform modes there
and kind of bring them in, see?
| | 01:37 |
Now, it's more like towards the center of
the building.
| | 01:41 |
In fact, we'll bring them in even more,
there we go.
| | 01:44 |
Just about like that, make that happen..
So now, now that we see them, there right
| | 01:48 |
there, I'm going to erase the pieces I
don't want.
| | 01:51 |
So, I'm going to get a nice small eraser,
and we're going to just erase, and we got
| | 01:55 |
transparency lock, let's unlock that, and
we're just going to erase that.
| | 02:00 |
Erase this little piece in here, we can
real close, so we can real precise on
| | 02:04 |
this, and just erase the pieces, we don't
want get a smaller eraser, and I'm just
| | 02:08 |
going to get rid of all this stuff, all
these things we don't want, there we go,
| | 02:12 |
and in there.
For now, this got a little thin here so
| | 02:17 |
what I'm going to do is I'm going to take
a black paintbrush, make sure it's really
| | 02:20 |
small and make sure it's a hard edged
brush, here we go, and I'm going to make
| | 02:24 |
it much smaller.
I'm just going to kind of thicken this
| | 02:29 |
line back here, right through there like
that.
| | 02:32 |
There we go, so that's attached to the
building.
| | 02:34 |
Now, we can erase this little piece here
we don't want.
| | 02:37 |
Okay, so now, we're going to go to the
other lanterns.
| | 02:40 |
The other guy right here, and we're
going to add a little kind of a brace.
| | 02:44 |
This is how it's attached to the building
so we'll just draw a little.
| | 02:47 |
Kind of a oval shape in there, see, it's
being kind of rough.
| | 02:50 |
It's not necessary to be too clear on it,
there we go.
| | 02:53 |
And the one that's way down here, do the
same thing, which is add a little brace
| | 02:56 |
right there, and a little brace right
below.
| | 02:59 |
this one should be a little further in.
So, let's just get it right there and
| | 03:03 |
we'll just erase that outside part, there
we go.
| | 03:07 |
There's our brace.
Alright, so now,our lights are in place.
| | 03:11 |
So, right behind this layer I'm going to
create another layer and we'll call this
| | 03:15 |
the lantern lights.
And right here, we're going to get a nice
| | 03:19 |
bright yellow, about like that, and I'm
going to get my Gradient tool my here and
| | 03:24 |
set to Linear Gradient.
But I'm going to change it to Foreground
| | 03:30 |
to Transparent and to draw a little tiny
light right inside there.
| | 03:36 |
Get a little closer, you can see what I'm
doing here.
| | 03:38 |
go in here and draw a little light right
inside, there it is right inside.
| | 03:43 |
And one more right there.
Alright, so now our lanterns are lit, we
| | 03:48 |
can turn back this layer and now we see
that the lanterns on lit.
| | 03:53 |
In the next movie what we're going to do
is to start adding a sidewalk.
| | 04:00 |
| | Collapse this transcript |
| Adding sidewalk| 00:00 |
Now what this scene needs is a sidewalk.
We got the building, but it's gotta be
| | 00:04 |
standing on something.
And we need something kind of fitting of
| | 00:07 |
this mideval kind of a look that this
building has right now.
| | 00:11 |
Well look what I've got.
Yet another vacation shot which is fairly
| | 00:15 |
worthless as a really a piece of art.
But, look what it has, it has a great
| | 00:21 |
sidewalk.
Unfortunately, back in Midieval times,
| | 00:25 |
they didn't have these kind of sores.
That the manhole cover there just isn't
| | 00:30 |
quite going to work.
So, the first thing we gotta do is get
| | 00:33 |
rid of it.
Not that hard.
| | 00:35 |
I got my clone tool here.
I make sure that I have a nice hard edge
| | 00:39 |
to it, about, 90 would be good.
And, I come in here and I will go right
| | 00:44 |
next to it, right here I'll say option
click clone from there, and come right
| | 00:47 |
over here, and start to cover it up.
And there we go.
| | 00:52 |
It's gone.
That was pretty easy.
| | 00:54 |
We'll just kind of lighten it up a little
bit tehre and our sidewalk is now old
| | 00:58 |
again.
Now it has these great little steps which
| | 01:02 |
is really fortunate because look we have
doors there.
| | 01:06 |
Right?
So those steps are going to come in
| | 01:07 |
really handy.
So now what I'm going to do is I'm
| | 01:09 |
going to come in here and I'm going to
select this sidewalk.
| | 01:12 |
So I'm just going to go in right through
here, this whole thing, and just select
| | 01:15 |
this entire sidewalk.
Right there like that, Okay, so now that
| | 01:20 |
I have it, I come over here and I want to
make sure what the layer I am on here.
| | 01:25 |
Okay, so, right underneath the(UNKNOWN)
go right to the top.
| | 01:28 |
Right, so now I know where I am, I am
going to go to that file of my pavement
| | 01:32 |
and drag that into here into the file.
There it is.
| | 01:36 |
Sidewalk's in place.
So now, let's put it down here in
| | 01:39 |
position.
And it's a little bigger than we need.
| | 01:41 |
So what I'm going to do is I'm going to
go in there and make a little adjustment.
| | 01:45 |
I go into my transform tool, and we'll
put it right into position right down
| | 01:49 |
here.
And I'm going to have to skewer it a
| | 01:52 |
little bit, so I'm going to hold down my
Cmd + key so I can do a little skew,
| | 01:55 |
follow the angle of the building that I
have, right there.
| | 02:00 |
And bring it down, right to about here,
where I, just about where I need it.
| | 02:06 |
Maybe let's just bring say this step into
here.
| | 02:09 |
Let's go with that step.
We'll make it a little bit smaller, just
| | 02:12 |
a little smaller just like that.
And a little tiny more skew right there.
| | 02:18 |
Alright, so there it is in position.
Now, this foreground stuff, don't worry
| | 02:22 |
about it because that's going to be
fairly dark in that area there.
| | 02:25 |
So, let's just move it back, just a tad
so it's matching that little doorway
| | 02:29 |
right there.
And we'll do one more little adjustment
| | 02:33 |
just to skew it just a little more.
Just to fit that scene much better.
| | 02:38 |
There we go.
So now it's working better.
| | 02:41 |
So I'm going to go in here and just clone
some of these steps right here into this
| | 02:44 |
area just so that we kind of fill it up
now.
| | 02:47 |
Like I said, it's going to be fairly dark
in there.
| | 02:49 |
You're not going to see a lot of this
stuff, but I'm just going to go in there
| | 02:52 |
and add some steps.
Right into here so it closes it up.
| | 02:56 |
And I'm going to pick up, in fact let's
just do it this way.
| | 03:00 |
I'm going to select this portion right
here and I'm going to to copy that over
| | 03:04 |
to this area here and enlarge it so it's
going to fit better into that area.
| | 03:10 |
So I'm just going to go in here, and from
the center out enlarge this little part
| | 03:14 |
of bricks, put em in position, right
about where I want em, a little bit
| | 03:17 |
bigger.
And click OK, and there's some additional
| | 03:22 |
bricks in place.
Now it might not quite be the right
| | 03:25 |
angle, so let me undo that selection.
Go back into my transforms, and we'll
| | 03:30 |
skew it just a little, like that.
And there we go, that's fitting up our
| | 03:35 |
sidewalk there, that's looking good.
And again, it's going to be dark so
| | 03:39 |
you're going to lose a lot of this
detail.
| | 03:41 |
But we just want to be a little bit of a
perfectionist here, so we'll just kind of
| | 03:44 |
finish it off.
Let's get some more of these steps right
| | 03:48 |
in here, and there we go.
So now we've got our, our sidewalk in
| | 03:52 |
place.
And we're going to really mess this up a
| | 03:55 |
bit, so don't worry about it.
Now, I'm going to go in here, and let's
| | 03:59 |
just select a little piece of this ground
right here.
| | 04:03 |
Let's get this little section right in
here, and we're going to send that to a
| | 04:07 |
new layer, via copy.
And we're going to take that new layer
| | 04:11 |
and put it in back, and we're going to
move it.
| | 04:13 |
Over into this area here.
So that we have some sidewalk up on this
| | 04:17 |
part of the building.
And I'm going to go in the air and do a
| | 04:20 |
little transformation on that.
We're just going to kind of drag this
| | 04:25 |
down and bring it over.
Just so we have this sidewalk on this
| | 04:29 |
part of the, the building right there.
'Kay, there we go, click OK.
| | 04:35 |
So now, we're going to take this guy and
merge it down, and we'll call it
| | 04:40 |
pavement.
Alright, so now, we're going to give it a
| | 04:44 |
mask, so that we can mask out the parts
that we don't want.
| | 04:48 |
I'm going to go in here with a nice large
brush, and that at 100 percent and we're
| | 04:52 |
just going to kind of erase this part
here, let's soften up the edge now.
| | 04:58 |
Much softer.
I could just kind of really soften, just
| | 05:00 |
where I'm going to go in there, and just
have these guys blend into each other.
| | 05:04 |
Now, that's going to be very dark.
So let's not worry about it right now,
| | 05:07 |
but we are going to go in there and
duplicate this pavement, because we're
| | 05:10 |
going to do a few things to it.
For one thing, we're going to have to
| | 05:14 |
have all the lighting for our scene.
So in the next movie what we're going to
| | 05:18 |
do is we're going to light this pavement,
give it the proper light for night, and
| | 05:22 |
light it because of the lanterns that are
on the building above it, as well the
| | 05:26 |
lighting that's going onto the building
itself.
| | 05:31 |
| | Collapse this transcript |
| Lighting up the sidewalk| 00:00 |
Now we're going to add the night look to
our sidewalk.
| | 00:05 |
Including the lighting that's coming from
those lanterns there.
| | 00:07 |
So, we're going to duplicate our
pavement.
| | 00:11 |
We want to keep the original because
we're going to need a few copies of it.
| | 00:14 |
In fact, we'll need a third copy for the
last movie.
| | 00:17 |
So we're going to go in here and create
one more, right here, and this one we're
| | 00:21 |
going to start to play with.
So the first thing I'm going to do is I'm
| | 00:25 |
going to go into my levels.
I go into the levels, and I'm going to
| | 00:28 |
darken it.
So I'm going to darken, get those tones
| | 00:31 |
nice and deep in there so I can really
see those separations of the of the
| | 00:34 |
sidewalk, and I'm going to bring in my
mid-tones a bit.
| | 00:38 |
There we go, so we get this.
I'm going to click okay.
| | 00:41 |
On top of that, I'm going to go into Hue
Saturation and where I'm going to bring
| | 00:46 |
down saturation and darken it here.
So now we're starting to get a real sense
| | 00:51 |
of a night sidewalk.
Just like that, here we go, really nice
| | 00:56 |
and dark.
Click Okay.
| | 00:59 |
So now I'm going to duplicate the
sidewalk again and this one i'm going to
| | 01:02 |
put on top of the orignal here and I'm
going to make some changes to this one.
| | 01:07 |
I'm going to go into my Levels again and
I'm going to again increase that
| | 01:11 |
pavement, get those nice little tones in
there.
| | 01:14 |
Get nice and strong.
I get really nice separatnet of the
| | 01:17 |
different tones.
And I'm going to bring in those tones as
| | 01:21 |
well.
Click Okay, and now I'm going to go into
| | 01:24 |
Hue Saturation as before but I'm going to
Colorize it.
| | 01:27 |
And I'm going to bring it into these nice
kind of orangey colors that up the
| | 01:31 |
saturation a bit.
Bring up that Saturation, make it, make
| | 01:35 |
it a little redder, maybe a little more
towards the yellow like that.
| | 01:39 |
And I'm going to darken it just a little
bit.
| | 01:42 |
Just so I get a nice little effect like
that.
| | 01:44 |
Click Okay, alright and it's getting
there.
| | 01:47 |
So, now what I'm going to do is I do have
a mask here.
| | 01:51 |
So what I'm going to do to this mask is
I'm going to augment it.
| | 01:54 |
In fact, I can even eliminate the
existing mask.
| | 01:57 |
Just eliminate it, delete it, there it
is.
| | 02:00 |
So now what I'm going to do to this mask
is give it a new mask.
| | 02:04 |
But I'm going to hold down my Option key
so when I give it the mask.
| | 02:07 |
The mask comes in black, and I don't see
anything of it at all.
| | 02:10 |
So now, with a white brush, and I have it
soft, I'm going to bring down the opacity
| | 02:14 |
to about a 50 so I can slowly build this
up.
| | 02:18 |
I'm going to, directly below this
lantern, just start to add a little tone,
| | 02:21 |
and let me make sure it's really soft.
Okay, there we go.
| | 02:25 |
And I'm going to bring that opacity down
to about a 30.
| | 02:28 |
Now I'm going to just very lightly start
to draw right in here, my sidewalk.
| | 02:34 |
So, let's make our brush a little bigger,
and just slowly start to add the lights
| | 02:38 |
right in there where the sidewalk is
being lit by these lights from up above.
| | 02:44 |
So there we see the lights, they're all
in place.
| | 02:47 |
There is going to be one more need for
lighting in our sidewalk, but that'll
| | 02:50 |
come later when we see that particular
light source.
| | 02:53 |
In the next movie what we're going to do
is we're going to light up the building.
| | 02:57 |
| | Collapse this transcript |
| Lighting up the building| 00:00 |
Now we've got the ground pretty well lit,
we have to now light up the building,
| | 00:03 |
right where those lanterns are hitting
it.
| | 00:07 |
So, here's where we need the original
building before we did this modification.
| | 00:11 |
What I'm going to do is I'm going to
duplicate the structure.
| | 00:15 |
And we'll put the strucure right here in
front of this scene.
| | 00:18 |
And what we're going to do here is I'm
going to go in and go into levels for my
| | 00:21 |
structure.
And I'm going to go in there and get a
| | 00:25 |
little more detail on those bricks.
I want to get some nice detail on the
| | 00:28 |
bricks right in there like that.
OK, that looks good.
| | 00:32 |
And I'm going to go into my hue
saturation and maybe pump up the
| | 00:35 |
saturation a bit.
Just a little bit.
| | 00:39 |
Oh, maybe we'll just go in there and
Colorize it.
| | 00:42 |
Just to make sure that we get the exact
colors that we want.
| | 00:45 |
Punch up that Saturation.
There we go.
| | 00:47 |
So, we've got this nice little effect
going there.
| | 00:50 |
And, let's go back into Levels and just
pump up those little brick definitions a
| | 00:53 |
little more.
OK, so there.
| | 00:56 |
So now we've got this nice stuff going on
there.
| | 00:59 |
We've lost it here completely, so what
I'm going to do is I'm going just take
| | 01:04 |
this portion of the building right here
and copy it right over to here, and do a
| | 01:09 |
little Flip Horizontal on it.
Alright.
| | 01:14 |
So there's our little wall on this side.
Just like that.
| | 01:16 |
Alright?
So, you select that.
| | 01:20 |
And, like we did with the sidewalk, we're
going to go ahead and give this a black
| | 01:24 |
mask.
So I option, give it a mask.
| | 01:28 |
And in the mask, with a white brush,
again.
| | 01:30 |
I'm going to go in there and just paint
in, very lightly into the wall.
| | 01:36 |
The light that's coming from our
lanterns, I put it right through there,
| | 01:39 |
and I'm doing it with a lower opacity so
that way it's going to very lightly give
| | 01:43 |
me control of how I'm creating my effect
here.
| | 01:48 |
And there we go, and add that little
light right in there.
| | 01:51 |
A little more in here, and then, then we
got this light coming from here.
| | 01:54 |
So what I'm going to do is I'm going to
just add a little, little glow across the
| | 01:57 |
building right there, so it looks like
that light is coming from that window
| | 01:59 |
there.
So we got that little area lit.
| | 02:04 |
So there we see that now we have our
building lit up the way it should, and
| | 02:07 |
just like, we didn't need little ghosts
visiting the ancient town.
| | 02:13 |
I'm going to go in here and just draw a
little bit of a shadow.
| | 02:16 |
I'm going to get a little brush and I'm
just going to draw a little shadow right
| | 02:19 |
across there like that, and a little
shadow here.
| | 02:23 |
Let's make it a little straighter.
There you go.
| | 02:26 |
And we'll do one right there though here,
we've gotta be really small, so we'll get
| | 02:29 |
the brush even smaller.
And we'll just draw little shadows, right
| | 02:33 |
there where we're getting the little
shadows from the, the lantern itself.
| | 02:37 |
And now, we see that the building is lit,
all from these little lanterns.
| | 02:42 |
Now, in the, next scene, we're going to
start to create the storm.
| | 02:49 |
| | Collapse this transcript |
| Adding the sky and lightning| 00:00 |
So now we're going to start to add the
atmosphere.
| | 00:03 |
So, first thing we need is some sky.
So I'm going to go way down here to my
| | 00:08 |
Layer One, which is just black.
It's just to create the illusion of night
| | 00:13 |
so we can see what we were doing and get
that feeling of night.
| | 00:16 |
So, what I'm going to do is I'm going to
add a sky to it.
| | 00:18 |
And I just happen to have a sky here.
Look at that shot.
| | 00:22 |
That's as boring as you can possibly get.
But for our purposes it's going to be
| | 00:27 |
just fine.
So I'm going to go in here and I'm just
| | 00:30 |
going to take it and copy the whole thing
right into our image.
| | 00:35 |
Right there.
There it is.
| | 00:36 |
It falls in behind.
Right?
| | 00:37 |
So what I'm going to do is I'm going to
go in and I'm going to do a little
| | 00:40 |
transform on it.
I'm going to bring it down so it's nice
| | 00:44 |
size, it's going to fill up the sky that
I want right through there like that.
| | 00:48 |
And let's do a little Flip Horizontal,
right there.
| | 00:54 |
So now we have our sky just where I want,
right in the this area here and now that
| | 00:57 |
I see this Mountain here I might want to
go in there and just maybe enlarge it
| | 01:01 |
just a little.
So we'll enlarge it this way.
| | 01:05 |
So we got a little bit more of a sky
happening there, and I'm going to go into
| | 01:08 |
my levels.
And levels, and I'm going to go in and
| | 01:12 |
really darken that blue area and really
bring out the color of those clouds right
| | 01:16 |
there like that so I get some really nice
clouds happening, just like that.
| | 01:23 |
Now, I'm going to go into hue saturation,
where I'm going to bring down that
| | 01:25 |
saturation, all the way down, and darken
them a bit.
| | 01:29 |
OKay?
I like that.
| | 01:31 |
There we go.
Now, looking at it, I might want to go in
| | 01:33 |
there and darken those light tones some
more, so I'm going to go in there and
| | 01:36 |
darken that sky even more.
There, so we got this nice dark sky.
| | 01:42 |
Which I'm going to end up darkening even
more in a little while.
| | 01:44 |
Now what's going to happen right here in
that space is lightning is going to be
| | 01:49 |
shooting down from the heavens.
So, a layer right above it.
| | 01:54 |
I'm going to create some lightning.
So now I'm going to fill that layer with
| | 01:57 |
white.
As that layer behind, right there, or
| | 02:00 |
actually it's in front of our clouds
right now.
| | 02:03 |
And let's put it back here.
So, let's take our clouds and put them in
| | 02:06 |
screen mode so that they're only going to
show through, and right now that thing is
| | 02:10 |
white back there.
So there you see, okay.
| | 02:13 |
So there's this area.
So, what I want to do is I want this
| | 02:16 |
light beam to be shooting down.
So I'm going to get a paintbrush and make
| | 02:21 |
it quite large, and it's got a very soft
edge.
| | 02:25 |
Nice soft edge.
Alright?
| | 02:27 |
Let's bring this back up to 100% opacity.
And I want a lightning bolt to be
| | 02:33 |
shooting down this way, just like that.
Right in there like that.
| | 02:37 |
Another one's going to be coming in
through here and going down and over like
| | 02:41 |
that.
Right here's our clouds.
| | 02:44 |
So what I'm going to do is fill up this
area right in between here, right there
| | 02:48 |
like that, alright?
And then, this one even come down maybe
| | 02:52 |
through here, like that.
There we go, and have it shooting there,
| | 02:57 |
there we go.
There's some bizarre looking lightning.
| | 03:01 |
Alright, so there.
There's our lightning.
| | 03:04 |
So now that I have this area here, I'm
going to blur it a little bit more.
| | 03:09 |
I'm going to go into my Gaussian blur and
soften that up even more.
| | 03:13 |
Just to get a nice little distinction
between there, right there, like that.
| | 03:16 |
And now that I have this area of contrast
going from the black to the white.
| | 03:20 |
I'm going to have two bolts of lightning
where those two tones meet.
| | 03:24 |
So I'm going to use a filter, right here
called Render- Difference Clouds.
| | 03:28 |
And when it does that, there's my
lightening bolt, see, you can see them.
| | 03:31 |
So what I'm going to do is invert that
layer, right there, and then I'm going to
| | 03:34 |
go into my levels for that layer and
reduce the number of clouds that it
| | 03:37 |
produced.
See?
| | 03:40 |
Just like that.
Click OK, and now we see the lighting
| | 03:44 |
bolts striking down from the heavens up
above.
| | 03:47 |
And that lightning is going to have an
effect on things, going to have an effect
| | 03:51 |
on the buildings and then, later on,
we're going to have some rain, so in the
| | 03:54 |
next movie what we're going to do is have
the effect of that lighning on the
| | 03:57 |
buildings and the sidewalk.
| | 04:02 |
| | Collapse this transcript |
| Adding lightning on a building and the street| 00:00 |
So now, what we're going to do is have
the effects of the lightning on the
| | 00:03 |
buildlings.
So that's going to have a, quite a strong
| | 00:07 |
lighting burst on the buildings and the
sidewalk as well.
| | 00:11 |
So right off the bat we could see that
the building is a little too light.
| | 00:15 |
Which is why it was a good thing to
lighten the building using these
| | 00:19 |
Adjustment Layers.
So, I'm going to go back into my levels
| | 00:23 |
adjustment right here and make it even
darker.
| | 00:26 |
So, we'll make our blue darker still.
There we go, so now the buildings really
| | 00:30 |
nice and dark.
It's really like it's night time.
| | 00:34 |
(INAUDIBLE) That's done.
So what I'm going to do now, is I'm
| | 00:37 |
going to duplicate the building again.
Okay.
| | 00:40 |
And, this one here, what's going to
happen is I'm going to bring is above,
| | 00:43 |
above the others, right there.
And I'm going to apply a couple of
| | 00:48 |
effects to this.
So I'm going to go in and do the hue
| | 00:52 |
saturation.
Bring down the saturation and darken it.
| | 00:56 |
I'm going to go into my, levels.
And I'm going to go in there and darken
| | 01:00 |
it.
But I am going to lighten certain parts
| | 01:02 |
of it quite a bit.
So let's go in there and really lighten
| | 01:05 |
these up.
See, really lighten those little areas
| | 01:07 |
up, right there.
Just like that.
| | 01:10 |
And click okay.
And that one right there, that particular
| | 01:13 |
layer we're going to put in screen mode.
That's going to be right on top of the
| | 01:17 |
other building on, in back so that now,
we got this really strong burst of light
| | 01:20 |
right in there.
And what we could is, in certain areas,
| | 01:25 |
we'll just mask it out.
We'll mask it in areas so that it won't
| | 01:28 |
be as strong.
So now that I have that, I'm going to go
| | 01:31 |
in here and, with a black paintbrush, I'm
going to just go in there and just kind
| | 01:34 |
of darken some of these areas so they
won't be so strong with our lightening.
| | 01:40 |
So there you go.
So now we have these little bursts of
| | 01:42 |
light that hit the building as the
lightening struck.
| | 01:45 |
So, in fact we'll just darken this one as
well.
| | 01:48 |
So now we're going to have to do the same
king of thing to the sidewalk.
| | 01:51 |
So we have our sidewalk appear.
So there's our red sidewalk.
| | 01:55 |
Let's take the original sidewalk and
let's duplicate it.
| | 01:58 |
Put it on top of the whole thing here,
where we're going to go into levels.
| | 02:03 |
And we're going to really bring this in
here and make this really bright.
| | 02:08 |
Really strong and very bright.
Just like that.
| | 02:11 |
And we're going to go into our hue
saturation and bring down that saturation
| | 02:15 |
considerably.
So we just get this, this little effect
| | 02:19 |
like that and click OK.
And we have a Mask, so in that Mask what
| | 02:23 |
we're going to do is we're going to go
ahead and paint the way.
| | 02:27 |
All these parts here, we don't want
those, just that part of the sidewalk in
| | 02:31 |
the front that's picking up the light
from the lightning and the shadows that
| | 02:34 |
are being caused by the buildings in
front.
| | 02:38 |
So there we see that the lightning is in
front.
| | 02:41 |
So in this last movie, what we're going
to do is create the rain that goes with
| | 02:45 |
the lightning, completing our storm.
| | 02:48 |
| | Collapse this transcript |
| Adding rain| 00:00 |
Now to complete the scene, we're going to
add the rain.
| | 00:02 |
The rain that goes with this incredibly
stormy night.
| | 00:05 |
Look at a little closer here, so we can
start see what's going to happen.
| | 00:08 |
So now we're going to add this rain.
So a layer at top of everything else,
| | 00:11 |
we're going to go ahead and fill it with
black.
| | 00:13 |
And we're going to go in there and just
go ahead and fill it with black.
| | 00:15 |
Here we go and I'm going to give it some
noise.
| | 00:23 |
Lot of noise, there we go.
Tremendous amount of noise.
| | 00:27 |
And then, to this, when you get in real
close, you see that it's just pretty much
| | 00:30 |
black white with a couple little grays in
there.
| | 00:34 |
Well I would increase the number of
grays, so I'm going to go in there and
| | 00:37 |
give it a little blur.
We'll blur more just to introduce more
| | 00:41 |
grays, cause now that I have more grays,
I have more of an ability to lessen the
| | 00:45 |
amount of noise that I have there.
By going into my Levels, I'm going to
| | 00:49 |
push the blacks all the way over and you
can see what's started to happen.
| | 00:53 |
And I'm going to bring my whites way in.
Let's get these blacks all the way over
| | 00:56 |
and bring those whites as far in as
possible, so they are just about touching
| | 00:59 |
each other.
Click OK.
| | 01:02 |
There we see where we're starting to get
this, right?
| | 01:05 |
So, I'm going to get a little closer to
see the next effect here.
| | 01:08 |
What I'm going to do now, is I'm going to
go in there and apply one more filter.
| | 01:12 |
And this filter is a motion blur.
And I want my rain to be coming down in
| | 01:16 |
this direction here.
I'm going to give you a little more
| | 01:19 |
distance.
So I've these really strong little
| | 01:22 |
effects like that.
Click OK.
| | 01:24 |
And I, might want to just go in there and
let's try to do a little bit more of
| | 01:29 |
effect that's just less of those things
happening.
| | 01:35 |
There we go.
So now it starts to look better.
| | 01:37 |
There we go.
And there we have this rain coming down.
| | 01:40 |
And what's going to happen now, is I'm
going to take that layer and put it in
| | 01:43 |
screen mode so only the lights show
through.
| | 01:45 |
And there we see that now we have this
rain coming down, pouring down and it
| | 01:49 |
completes our scene of our stormy night.
If the rain isn't strong enough you can
| | 01:54 |
duplicate that layer and then you get
much stronger rain right on top.
| | 01:58 |
And there you can see it.
Now, what you might want to do in this
| | 02:01 |
case, would be to take those two layers
because you see that little.
| | 02:04 |
White stuff happening up there, we can
pull back a little bit.
| | 02:07 |
I'm going to take both of these layers
and enlarge, just a little bit, from
| | 02:11 |
center out, just to bring them out of
that whole range there.
| | 02:16 |
Click OK, and there we see that we have
our stormy night.
| | 02:21 |
| | Collapse this transcript |
|
|
6. RuinsIntroduction| 00:00 |
This dreamscape is going to take a bunch
of scenes taken from Rome and other
| | 00:04 |
places of just old ruins.
We're going to combine them with some
| | 00:08 |
scenes of some parks right here in
California.
| | 00:11 |
And these going to become the backdrop
for an ominous, angry looking skull
| | 00:15 |
that's going to be looking at you and
casting this spell.
| | 00:20 |
| | Collapse this transcript |
| Foreground| 00:00 |
I'm going to start by creating the
foreground, what's happening in the
| | 00:03 |
front.
I got here a little picture that I took
| | 00:07 |
called, Bridge.
Not much going on, it's just this little
| | 00:11 |
bridge with a little stream passing
underneath it.
| | 00:14 |
Not very exciting, but it's going to be
perfect for our scene.
| | 00:17 |
So what I'm going to do is I'm going to
start by selecting it.
| | 00:20 |
So I'm going to go in here and I'm going
to just kind of grab from right here and
| | 00:24 |
grab this whole foreground area right
through there.
| | 00:28 |
And just pull this in right to about here
and let it go.
| | 00:32 |
I'm getting that wall, let me just add
the top of the wall here, just to make
| | 00:35 |
sure I get a complete part of the wall
there, there we go.
| | 00:39 |
So that's going to be the basis for the,
Foreground, so I'm going to bring this
| | 00:43 |
out here so I can just see it here and
Copy it right into our File.
| | 00:48 |
So here we are.
There's the beginnings of our foreground.
| | 00:52 |
So what I'm going to do is I'm going to
take this and move it over, down here
| | 00:54 |
right to the edge.
So we see just this little portion of it
| | 00:58 |
right about there, like that.
Right now it's kind of like, not quite
| | 01:03 |
exactly the way I want it.
I'd like to have a little more of a, a
| | 01:07 |
wall here because this just doesn't work
the way it is.
| | 01:11 |
I want a wall, and I want a little
foreground.
| | 01:14 |
Something that we're standing on looking
at this scene.
| | 01:17 |
So, let's go in here and make a couple of
adjustments.
| | 01:20 |
For one thing, I want a little more of an
angle this way, going down that way.
| | 01:25 |
So, what I'm going to do is I'm going to
go in to my Transform tools and hold down
| | 01:28 |
my Cmd key to Distort.
I'm going to just, kind of, Open this up
| | 01:33 |
like that.
There we go, so now we got this angle
| | 01:35 |
that I want.
That's more of the angle that I need, so
| | 01:38 |
I click OK.
And then, there's our scene.
| | 01:41 |
Now I got another here, which is a wall.
This was taken in one of the ruins in
| | 01:46 |
Rome, and this'll be perfect for our
wall.
| | 01:49 |
So I've gotta go in there and just Select
this wall right here, and I already got
| | 01:53 |
myself a channel that I created to select
that wall, and there's a little part over
| | 01:57 |
here that's still kind of black.
That doesn't matter, 'cuz we're not even
| | 02:02 |
going to see it, but I'm going to go
ahead and fill it with black, just so
| | 02:03 |
that the whole thing is nice and clean.
Now I did just like I've done many of the
| | 02:08 |
other selections by simply tracing over
the parts that I want.
| | 02:12 |
So now that I have it, go back to my RGB
and I can load that channel, and I can
| | 02:17 |
take that and bring it into my scene.
So there's the wall.
| | 02:22 |
So now, the wall right now is not quite
exactly the way I want it.
| | 02:27 |
I want it to be facing the other way, so
I'm going to simply go in there and say
| | 02:30 |
Flip Horizontal and put it in position
right here where I want it.
| | 02:34 |
This is where the wall is going to be,
right in this area here.
| | 02:38 |
Now it's a little higher than I want, so,
I'm going to do the same thing of going
| | 02:42 |
in there into Transform and we'll skew it
over.
| | 02:46 |
But, close all these guys down here, so
we can kind of see what we're doing, and
| | 02:50 |
I'm just going to grab this, let's get
rid of this guy completely.
| | 02:55 |
Alright?
Then we'll just bring this in, just like
| | 02:58 |
that, and skew it down.
Oh, there's my wall.
| | 03:01 |
And now I'm going to go in here and mask
that, so I'll bring up my layers, and
| | 03:05 |
let's just bring 'em over here.
And let's just put everything in
| | 03:12 |
position, there we go.
So go to my layers and I'm going to give
| | 03:17 |
it a mask.
going to give it a mask, so I can go in
| | 03:19 |
there and start to Hide parts of this
wall that I don't want.
| | 03:24 |
I certainly don't want most of this stuff
down here, so we can get rid of this
| | 03:26 |
right away.
I got a soft brush, I'm going to make it
| | 03:29 |
a little smaller.
I'm going to start to kind of pull up or
| | 03:32 |
bring out some of these rocks that are
just tumbling down.
| | 03:35 |
They're going to continue to be there,
and the same thing with this ground area.
| | 03:39 |
Just going to kind of, bring some of this
stuff in.
| | 03:42 |
Just so I can get a nice little area
there that just looks like my wall is
| | 03:46 |
just coming out of the ground there, and
just get some of these rocks back up.
| | 03:53 |
I'm going to get my Tool and make it a
little sharper now.
| | 03:56 |
I get a much cleaner break when I get in
there.
| | 03:59 |
If I come in a little closer and I can
start to now get a much smaller brush and
| | 04:02 |
start to really bring out some of those
rocks.
| | 04:05 |
So I can get a good feel of what they
look like, and they'll really look like
| | 04:09 |
they are in fact in front of this wall,
there we go.
| | 04:13 |
We don't want that stuff showing through
there, not that much green, a little
| | 04:16 |
green, but not a lot of green.
So there, so now we've got this wall, and
| | 04:20 |
let's just go in there, just define these
rocks a little better, there they go.
| | 04:26 |
Alright, so now we've got our wall in
place.
| | 04:29 |
Now we need something in the foreground
here, where we're standing.
| | 04:32 |
So I'm going to go in here and open up
another file that I have, a little file
| | 04:36 |
here which I call Another Wall, and
that's what this is right here.
| | 04:40 |
It's just this long little path, it's a
little stone bridge that's actually
| | 04:44 |
called stone bridge.
Well that's going to work perfectly.
| | 04:48 |
And I have, as before, the channel that I
created for it.
| | 04:51 |
So I'm going to go in here and Select the
Wall, and drag it into my foreground,
| | 04:55 |
there we go.
So now, now that we've got this wall
| | 04:59 |
here, I'm going to put it in place, right
there where I want it, and I'm going to
| | 05:03 |
go in there and Change the, let's make
this guy a little, more of the angle that
| | 05:07 |
I want, and make it a little bigger.
There we go.
| | 05:13 |
So this starts to become my, my little
foreground, and let's bring this down a
| | 05:17 |
little bit.
That's looking better.
| | 05:21 |
And bring it way down so that we just are
encompassing the part of the scene that I
| | 05:24 |
want.
Now I can make this much larger.
| | 05:28 |
In fact, we're going to definitely do
that.
| | 05:30 |
I'll go in here, pull back a little bit,
and I'm going to go in there and go back
| | 05:35 |
into my Transforms, make it bigger,
going to center-out, bring it down.
| | 05:42 |
And skew it again, to get a really strong
angle like that, and bring it down.
| | 05:48 |
There you go.
So that's looking like my foreground now,
| | 05:50 |
so that's getting there.
In the next movie what we'll start to do
| | 05:54 |
is to create the background.
What's going on back here?
| | 05:58 |
So, we're going to create a whole bunch
of ruined buildings from ancient times.
| | 06:04 |
| | Collapse this transcript |
| Retouching and compositing the background| 00:00 |
For our background, we're going to have a
set of ruins.
| | 00:03 |
And here's the first set, right here.
Very simple building.
| | 00:07 |
Again, real cloudy day, you can kind of
see some of the clouds back there.
| | 00:11 |
Very light.
But I've gone ahead and created a channel
| | 00:14 |
which is going to allow us to pull those
buildings right out of their scene here.
| | 00:20 |
So I'm going to go ahead and load that
alpha channel.
| | 00:22 |
And we'll bring this guy in, and he's
going to automatically fall in front.
| | 00:28 |
So what I'm going to do is I'm going to
put that layer in back, put it right back
| | 00:31 |
here.
There we go.
| | 00:34 |
Now, that's a little larger than I want,
so what I'm going to do is I'm going to
| | 00:37 |
go into my transform mode and go in here
and just shrink it down to the size that
| | 00:40 |
I want.
We want to get some of this in here,
| | 00:45 |
about like this.
And let's get some of that other little
| | 00:48 |
peak building here, right there.
And we want to see some of those, those
| | 00:53 |
towers there.
Let's shrink it a little more and make it
| | 00:56 |
a little bigger, so we can see more.
Because that's where this bridge is
| | 01:00 |
leading, it's leading to these little
doorways here.
| | 01:02 |
Let's make it just a tiny bit smaller.
And there we go.
| | 01:06 |
So that's going to be the building in the
back.
| | 01:09 |
Now that I look at it, you know, those
trees, I don't really want any greenery.
| | 01:13 |
This is going to be pretty dead, the only
green stuff we want is the moss down
| | 01:16 |
here, we don't want the trees.
So I'm going to go ahead and erase those
| | 01:19 |
trees.
I'll just get my eraser and make the
| | 01:21 |
brush a little bigger and we'll get rid
of those trees.
| | 01:24 |
So get rid of that right there, and we
could even do it quicker if we take the
| | 01:29 |
Lasso and just kind of select this area,
and kind of make it rough through there,
| | 01:34 |
and go down, up, and over, and let's just
say Delete.
| | 01:42 |
Get rid of that, okay?
And we have a couple of trees up here.
| | 01:47 |
Definitely don't want those either.
So we'll go in there.
| | 01:50 |
This, this is moss.
Moss will grow anywhere.
| | 01:52 |
But we don't want the trees, because the
trees kind of make it really feel like
| | 01:55 |
oh, everything's so happy, and so no, we
don't want any happy trees.
| | 01:59 |
So, we're going to go in there and just
make that eraser a little harder, maybe a
| | 02:04 |
little smaller, and then kind of very
roughly go in there and erase.
| | 02:09 |
We're doing it roughly so that it looks
like this is, in fact, ruins.
| | 02:14 |
If we make it too straight there, then
they're going to look like they're brand
| | 02:17 |
new.
So, we'll just kind of roughen up along
| | 02:19 |
the wall here, and maybe we'll throw in a
little dip in there.
| | 02:23 |
And there we go, so now, we got rid of
the trees.
| | 02:26 |
Now that's looking a little better.
If we don't like that tree there, well,
| | 02:29 |
that's one where we're going to have to
clone.
| | 02:31 |
So going to go in and we'll pick up the
wall from right here and just cover that
| | 02:36 |
up.
So there we go, that little tree is gone
| | 02:39 |
as well.
So now we come back in, we start to see
| | 02:42 |
what our scene is looking like.
Alright, so now, what we need is a castle
| | 02:46 |
way in the background here.
The towers where the guards are going to
| | 02:50 |
hide, and here's a castle that happens to
be sitting in the middle of Rome
| | 02:53 |
somewhere, with a pyramid across the
street.
| | 02:56 |
Very unusual juxtaposition of items here.
So what we want is just the castle
| | 03:01 |
itself.
So what I'm going to do is I'm going to
| | 03:04 |
select this, and select the castle right
there, and I'm gong to deselect.
| | 03:08 |
With the lasso, holding down my option
key to deselect, I'm going to deselect
| | 03:11 |
the sky area and get rid of those clouds.
There we go.
| | 03:15 |
And now we have just a castle.
So I can go in here and now bring this
| | 03:20 |
castle into the scene.
So bring it in, and there it appears.
| | 03:24 |
So I'm going to put it behind the other
set of ruins.
| | 03:28 |
And we're going to go in there and shrink
it down, because this is way in the
| | 03:30 |
background.
Like that.
| | 03:33 |
So here's our castle way back there, and
we'll put it right in position where we
| | 03:36 |
want it.
Now there's little trees showing up
| | 03:39 |
there.
We're going to have to do a little
| | 03:41 |
retouching.
So let's go in there and look at this.
| | 03:43 |
And what we're going to do right off the
bat is get rid of these trees.
| | 03:48 |
So I'm just going to Select right through
here, and down and up and over.
| | 03:52 |
And there's this wire going across there
too, so let's let's get rid of that as
| | 03:56 |
well.
So I'm just going to select, right
| | 03:58 |
through here, make sure we get that wire
and hit delete.
| | 04:02 |
Okay, they're gone.
Now, there are wires going all the way
| | 04:05 |
across here.
So we're going to get real close on this
| | 04:08 |
now, so we can see those particular
wires.
| | 04:10 |
And I'm going to erase the ones that are
on the, against the sky right there, and
| | 04:14 |
come over here and erase this side.
Now the ones going through here, I could
| | 04:19 |
do a, a Fill with Content Aware, but it
doesn't always work exactly the way I
| | 04:23 |
want.
And these are so thin, that this is
| | 04:26 |
perfect for just using the good old Clone
tool.
| | 04:29 |
I'm going to go in there and match up
that side and just go straight across
| | 04:33 |
like that, straight across there.
Straight across that side, and there,
| | 04:38 |
then up here.
I'm going to go right across.
| | 04:42 |
Now you notice that my cursor is
following right above, so it's getting me
| | 04:46 |
the same gradients, the same shading,
everything that I need so that it's
| | 04:49 |
going to have a continuous look all the
way across.
| | 04:54 |
Now here, I have to kind of change my
position a little bit, there we go.
| | 04:58 |
Come up here, and we start to get rid of
all this.
| | 05:01 |
Now I'm going to say, just the current
layer.
| | 05:04 |
I don't want to pick up any of this guy
as I start to come down into this area
| | 05:07 |
here.
So I'm going to go in, and let's just go
| | 05:11 |
in there and just get rid of all those
modern day wires because I don't think
| | 05:15 |
they had telephones and internet in those
days unless some aliens came down and
| | 05:20 |
introduced them and used them for
something.
| | 05:26 |
But I don't think so.
All right, so there we go, so now our
| | 05:29 |
ruin back there is in place.
And it's a little further back, so what
| | 05:33 |
we're going to do is we're going to go in
there, we're going to darken a little
| | 05:35 |
bit.
So I go into my Hue Saturation, and I'll
| | 05:38 |
just darken it just a little bit, because
it's a little further back, back in
| | 05:42 |
there.
And in fact, we'll darken it even more,
| | 05:45 |
because now that I look at it, I'm
going to take this part here, and darken
| | 05:49 |
that as well, because these are a little
further back.
| | 05:53 |
That draws a little more attention to our
foreground, where things are going to be
| | 05:55 |
happening.
And there we see that we have our
| | 05:58 |
background in place.
| | 06:00 |
| | Collapse this transcript |
| Compositing a sky and a reflection| 00:00 |
Now to complete the background what we
need is a sky.
| | 00:03 |
Now we want a, kind of an ominous looking
sky, stormy.
| | 00:07 |
Not too overwhelming, but just a stormy
sky, and I have one here.
| | 00:11 |
See, got this little area up there I
selected, I was looking at it, and
| | 00:14 |
there's this one little bird way up there
which will kind of add a little touch to
| | 00:17 |
the upper left which is good.
Now the buildings in the front, they
| | 00:22 |
don't matter, because they're going to go
away.
| | 00:24 |
They're going to be hidden completely
behind our ruins.
| | 00:27 |
So, what we're going to do is we're
going to take the entire image and put it
| | 00:31 |
in.
Let's bring it in.
| | 00:34 |
There it is.
It's in the background, and what we're
| | 00:36 |
going to do is, we're going to put it in
the background.
| | 00:38 |
We're going to bring it all the way to
the back, back here.
| | 00:40 |
And then we're going to manipulate it.
Let's put it where we want it and I'm
| | 00:44 |
going to go in here and use my good old
transform tools.
| | 00:48 |
Hold the Shift key to constrain it.
And we'll bring it to the size of our
| | 00:53 |
image and then bring it up.
Right into there.
| | 00:57 |
And we might want to get a little more
stormy sky.
| | 01:00 |
Yep, a little more stormy.
So, what I'll do is, I'm going to make it
| | 01:03 |
a little smaller than what we have, just
so we can get enough of those clouds in
| | 01:06 |
there, and then we can just stretch it
out this way.
| | 01:10 |
There we go.
So, now we have some nice stormy clouds.
| | 01:14 |
Make that happen.
Those clouds need to be a little a little
| | 01:17 |
more involved there with the scene.
We got some stuff happening there.
| | 01:21 |
We need to get rid of that.
So what I'm going to do is I'm just going
| | 01:24 |
to Clone, I got my Clone tool and just a
current layer, which is just the sky.
| | 01:29 |
So I'm going to select a nice big brush.
Make the brush much bigger.
| | 01:33 |
And, make sure I got a nice soft edge to
it.
| | 01:36 |
Not too soft.
That's good.
| | 01:37 |
And I'm going to say, let's clone from
right here.
| | 01:39 |
And we're going to clone those guys right
out.
| | 01:41 |
Now that's a dark area so let's just
soften it up there.
| | 01:45 |
There we go.
Now we got a nice stormy sky, but, it's
| | 01:47 |
not as good as I'd like it.
So what I'm going to do is I'm going to
| | 01:51 |
give it a Levels Adjustment layer.
And here, what I'm going to do is I'm
| | 01:55 |
going to make those darks darker, and
let's make some of those lights a little
| | 01:59 |
lighter.
Alight, so now we're starting to draw
| | 02:03 |
more attention to those clouds.
There we go.
| | 02:06 |
There, now they're getting really stormy
and, and nasty looking.
| | 02:10 |
There we go.
But they got a little green so I'll give
| | 02:12 |
it another adjustment layer, where we can
go in there and get rid of some of that
| | 02:15 |
color, and go to Hue Saturation, and just
tone down that color, we don't want that,
| | 02:18 |
that green tone in there.
We do want a little green but not that
| | 02:23 |
much.
So there we go, so now we see that our
| | 02:26 |
sky is in place.
Wait a second, now that I look at it, no,
| | 02:30 |
we need one more thing.
You see this water down here?
| | 02:32 |
It's a little bright.
You know we're going to need to see the
| | 02:36 |
sky in there, because the water is
reflective.
| | 02:39 |
So what I'm going to do is I'm going to
take this layer here, and let's just turn
| | 02:43 |
off all these others.
Let's turn these all off.
| | 02:48 |
And what I'm going to do is I'm going to
say, holding down my Option key, I'm
| | 02:51 |
going to say Merge Visible.
So it'll create another layer right up
| | 02:56 |
there on top.
Now let's bring it back, and let's put
| | 02:59 |
this layer right on top of our little
water scene here, right there.
| | 03:04 |
And what I'm going to do is I'm going to
do a Flip, Vertical, because this is a
| | 03:08 |
reflection there.
And there it is, right down there in the
| | 03:12 |
water area, right?
I'm going to clip it with that little
| | 03:15 |
scene down there.
That's good right there.
| | 03:19 |
And we can even erase part of it.
So I can go in there, and let's just say
| | 03:22 |
we start to erase, get a nice, big
eraser, and we'll erase parts that we
| | 03:25 |
don't want to see, or we want to see it
in the water, right?
| | 03:30 |
So what I'm going to do now, is I'm going
to double-click on this to bring up my
| | 03:33 |
layer styles, and what I'm going to do
is, from the underlying layer, I don't
| | 03:37 |
want to hide any of the dark tones.
This'll allow the light tones to come
| | 03:42 |
through.
I don't want to hide any of the dark
| | 03:45 |
tones, so I'm going to move the dark
slider over so that all the dark tones
| | 03:48 |
are coming through.
And there you see how the reflection is
| | 03:52 |
now showing up in the water area, and
there we see our little clouds in that
| | 03:55 |
water area.
So when I click OK, we see that our sky
| | 04:00 |
is now being seen inside of the puddle.
Take that away, and we see there's the
| | 04:06 |
brightness that it had before, and bring
it back, and there we see that now we
| | 04:10 |
have this ominous sky being reflected in
the water pool below.
| | 04:15 |
Now in the next and final movie, what
we're going to add is a very ominous,
| | 04:19 |
evil skull that's staring at us, floating
in space in front of this entire scene.
| | 04:26 |
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| Compositing a skull| 00:00 |
So now we're ready to put our skull into
this scene, to complete it.
| | 00:03 |
But before we do that, let's just look at
the background, to make sure everything
| | 00:06 |
is just the way we want it.
And looking at it, it's not quite right.
| | 00:12 |
Why?
Because back here you see this is all
| | 00:14 |
nice and dark and ominous.
But this wall and the platform or the
| | 00:18 |
bridge it was standing on, are much too
light.
| | 00:22 |
They are distracting and they're going to
take away from the overall scene.
| | 00:25 |
We want the skull to be the center of
attraction.
| | 00:27 |
So we need to tone these guys down just a
little bit.
| | 00:31 |
So I'm going to to the wall and I'm just
going to use Hue Saturation.
| | 00:34 |
It's a real simple command.
I love using it as you see I use it quite
| | 00:38 |
a few times.
I'm just going to darken the whole thing
| | 00:41 |
just to bring it down a little bit, just
like that.
| | 00:44 |
And, I click OK.
And the same thing with this foreground.
| | 00:48 |
The little bridge we're standing on.
First, I'm going to go into Levels on
| | 00:51 |
that one.
Just to punch up some of the details that
| | 00:54 |
we see there.
And then I'm going to go into my Hue
| | 00:57 |
Saturation, and lower the, the brightness
of it, just to make it a little duller.
| | 01:02 |
Bring it all the way down and bring that
some to Saturation, just a little bit of
| | 01:06 |
the Saturation down.
But now, the background kind of blends
| | 01:09 |
together a little better.
You don't have this thing sticking out or
| | 01:13 |
being really bright at the bottom, which
is definitely going to distract from our
| | 01:16 |
skull.
So now, the skull.
| | 01:20 |
I have here a file that I downloaded from
the web.
| | 01:23 |
It's a skull.
Any skull will do.
| | 01:25 |
This one this is a royalty free skull and
it's, it's going to be modified, we're
| | 01:28 |
going to modify it, because he kind of
almost looks like he's scared.
| | 01:32 |
If I had lost all my skin and stuff, I'd
probably be pretty scared as well, but
| | 01:37 |
this skull looks a little scared here.
So what we're going to need to do is to
| | 01:42 |
go in there and make him look.
Mean.
| | 01:44 |
So now, what I'm going to do is I'm going
to Select the black back there and do an
| | 01:49 |
Inverse on the selection so that the
skull is selected.
| | 01:54 |
And I'm going to say send it to a New >
Layer Via Copy.
| | 01:58 |
That way we still have the one in back
just in case we need it.
| | 02:01 |
And I'm going to get a little closer here
so we see what's going to happen next.
| | 02:05 |
So I'm going go in here and I'm going to
Select, right here, I'm going to select
| | 02:10 |
that eye from the middle over.
Right in there like that.
| | 02:15 |
And now what I'm going to do is I'm going
to go and Warp it.
| | 02:19 |
So choose Warp.
And in Warp, what I'm going to do is I'm
| | 02:22 |
going to pull this panel in.
And that panel up.
| | 02:27 |
And you can see what we're starting to
do.
| | 02:29 |
We're starting to get this mean look to
the eye, right.
| | 02:33 |
It's going to be down in there like that,
closes up a little more.
| | 02:37 |
Click OK.
And there we can see where it's starting
| | 02:40 |
to look a little more mean.
We're going to grab this side.
| | 02:44 |
This eye right here.
Again towards the middle area like that
| | 02:49 |
and we're going to warp that.
Again we're going to grab this corner
| | 02:54 |
right there and just bring it down.
And we're not touching these handles up
| | 02:57 |
here because then it's going to create a
little gap in there which we don't want.
| | 03:01 |
And we're going to bring this handle up,
and bring it down some more, and bring
| | 03:05 |
this guy down just a little, and keep
playing with these until we have it just
| | 03:08 |
the way we want it.
There we have this really mean looking
| | 03:14 |
skull now.
Let's just bring this guy up, and bring
| | 03:17 |
this one tighter.
Click OK, and Deselect it and when we
| | 03:20 |
pull back we see that now we have the
little sad or scared skull and now we've
| | 03:25 |
got this mean looking skull.
Now that it's there, we're going to take
| | 03:31 |
him and put him into our scene.
So we come over here and make sure we're
| | 03:35 |
at the top, which we are, and then I'm
going to select my skull.
| | 03:39 |
Right there, and drag him into our scene
right here, put him right in the center,
| | 03:43 |
and I'm going to make him much larger.
So I go into my Transform tools, and
| | 03:47 |
holding down my Option and Shift keys,
I'm going to shift him from the center
| | 03:51 |
out, bring him way up like that, click
OK.
| | 03:55 |
Now, I'm going to go in here and and I
see that there is a slight little
| | 03:58 |
separation in there, really slight.
Well, easy to fix.
| | 04:03 |
Good old Clone tool, just allows us to go
in there and clean it up.
| | 04:07 |
I'll make my brush a little smaller and
continue that clean right there.
| | 04:10 |
And there it is, just one little tiny
little line, easy to fix.
| | 04:14 |
Now I got my skull, what I'm going to do
is I'm going to go into my Layers Styles
| | 04:17 |
for it.
And what I'm going to do is and I see it
| | 04:21 |
in the back.
I'm going to give it an Outer Glow, which
| | 04:25 |
I'm going to make much larger.
Really large Outer Glow and maybe Spread
| | 04:29 |
it just a little bit.
So we've got some really strong effects
| | 04:32 |
in there.
And what I'm going to do is I'm going to
| | 04:35 |
change the color, and we'll try a couple
of colors.
| | 04:38 |
We'll try like, maybe a purple or a
green, and I think the purple will be a
| | 04:41 |
little more ominous, so I'm going to go
in there and pick a much deeper color.
| | 04:47 |
Deep purple like that.
And click OK on that color and, we'll
| | 04:51 |
make it even bigger.
Add a little more of a Spread to it.
| | 04:56 |
The Spread, as you can see, is just
making it a little denser towards the
| | 04:59 |
center area there.
There we got this purple color all
| | 05:03 |
around, making it glow, and now I want to
make it somewhat transparent.
| | 05:09 |
It is a ghost.
So we're going to make it a little bit
| | 05:11 |
transparent so I go back into my Blending
options here and if I, bring down the
| | 05:15 |
opacity you can see that it's all
disappearing.
| | 05:19 |
I don't want the glow to disappear, I
want the glow to stay nice and strong,
| | 05:22 |
but I do want the skull to slowly
disappear so I'm going to take the fill
| | 05:25 |
opacity and reduce that.
So when I bring down the fill opacity we
| | 05:30 |
could see that we are now seeing through
the skull to see what's behind it.
| | 05:34 |
And, just enough right there so we can
see that it's transparent but the purple
| | 05:38 |
glow will remain intense because the main
opacity is still at 100%.
| | 05:44 |
So when we click OK we see that there's
our skull.
| | 05:47 |
Just peering at us and snarling and
amidst all these ruins that probably it
| | 05:52 |
caused some time ago.
| | 05:55 |
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|
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ConclusionGoodbye| 00:00 |
So there you have this, installment of
Dreamscapes, Volume 2.
| | 00:05 |
Now, one thing to keep in mind.
It's they're dreamscapes.
| | 00:08 |
They're the kind of things that your
imagination just conjures up.
| | 00:12 |
All you have to do is have a good
imagination, have a couple of good
| | 00:15 |
dreams.
Or just read a book, and get inspired.
| | 00:20 |
And then, those visuals that are in your
mind, you can make come to life.
| | 00:23 |
It's just a question of understanding.
What to do in Photoshop and how to pick
| | 00:27 |
the right pictures and you can do
anything your brain can imagine.
| | 00:32 |
Have a good time and have fun.
| | 00:35 |
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