IntroductionWelcome| 00:04 | Hi, my name is Bert Monroy, and
welcome to the course Dreamscapes.
| | 00:08 | In this course we are going
to let our imagination go wild.
| | 00:12 | You don't have to be able to draw, all you
need to do is have a good imagination and
| | 00:16 | the knowledge of what Photoshop can do.
| | 00:18 | We are going to create landscapes based on
scenes right here on this planet, but we are
| | 00:22 | going to change them so that they
look like we're in some off world.
| | 00:25 | It's a question of looking at something like a tree
stump and seeing something beyond the tree stump
| | 00:31 | to see it as a whole other world in which you can
pull out some story from that simple little tree stump.
| | 00:37 | Everything will be based on bad photography, the kind
of vacation shots that you wouldn't show your friends.
| | 00:43 | You can take all those images, no
matter how bad they are, and utilize them.
| | 00:46 | Take bits and pieces of each one to create
the overall scene that you have imagined.
| | 00:51 | So let's just do that.
| | 00:52 | Let's get creative, have some fun, see what
it's all about, and see what we can come up with.
| | 00:58 |
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| Using the exercise files| 00:00 | If you are a Premium Member of the lynda.com
online training library, or if you are watching
| | 00:05 | this tutorial on a DVD-ROM, you have access to
the exercise files used throughout this title.
| | 00:12 | The exercise files are organized in chapters.
| | 00:15 | At the start of each lesson, you will be
provided with an overlay showing you the location of
| | 00:18 | the files you need.
Right here, we see the folder of exercise files.
| | 00:22 | I open it up, and you can see that
they are broken down into the chapters.
| | 00:26 | We'll look at chapter 1 right here, and you
will see that there you will find JPEGs and a PSD.
| | 00:32 | Now these JPEGs will be the files that are
actually used for the exercise, and you will
| | 00:36 | see that there is the Final.
| | 00:39 | That is the final file that you see at the
end of the movie, and it has all the layers
| | 00:43 | and all the pertinent features that
have been added throughout the lesson.
| | 00:46 | You will be working primarily with these
three and then, that will be your guide as to what
| | 00:51 | it's supposed to look like.
| | 00:52 | If you're a Monthly Member or a Annual
Member of lynda.com, you don't have access to the
| | 00:57 | exercise files, but you can follow
along from scratch with your own assets.
| | 01:01 | And I really want to stress that that these
files are purely for the exercises shown here.
| | 01:07 | What I want you to do is take your own images,
and create your own dreamscapes based on what
| | 01:12 | you come up with.
| | 01:17 |
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1. Understanding the BasicsUsing clipping groups| 00:00 | In quite a few of the movies, I use
clipping groups to mask out parts of a layer.
| | 00:05 | Here, I want to explain
what a clipping group is.
| | 00:08 | I have here three layers, red, green, and blue.
Each one is set on a transparent background.
| | 00:14 | There is the red, there is the
green, and there is the blue.
| | 00:19 | Now, right now they are on top of each other.
| | 00:23 | I am going to use the red layer as
the clipping group for the other two.
| | 00:29 | What's going to happen there is that these
guys will be confined to the live area of
| | 00:33 | the red layer, the live area where the
actual pixels are not taking into account what's
| | 00:39 | going on in back with the transparency.
| | 00:42 | This will also take into account
transparency along the edges for the anti-aliasing.
| | 00:46 | It will take all that into account in
preparing how these things are masked.
| | 00:52 | Now, I am going to do it the way I do it
throughout this series, and that is by the shortcut.
| | 00:57 | I simply hold down the
Option key and press between them.
| | 01:01 | Now, if I don't hold the Option key, you
see that the little hand is going up and down
| | 01:05 | through the Layers Panel.
| | 01:07 | But when I hold down that Option key, it
changes the cursor when it gets in between.
| | 01:11 | So, what I am going to do is I
am going to click right here.
| | 01:14 | And you notice that the red suddenly
became underlined, and the green became indented
| | 01:19 | with an arrow pointing down.
| | 01:21 | And you see that it's only
visible inside the area of the red.
| | 01:25 | I am now going to clip the blue.
| | 01:28 | The blue doesn't seem to make a difference,
but if I was to take the blue and move it
| | 01:31 | around, you can see that, yes, the
blue is being hidden inside of the red.
| | 01:36 | And they are still individual layers
that I can do things to, as you can see.
| | 01:40 | I could take that green
layer and reduce its opacity.
| | 01:44 | I can even go in there and give it a drop
shadow, increase the distance, and the size,
| | 01:50 | so there is this nice
little drop shadow right there.
| | 01:53 | I can go to the blue layer. There it is.
There is the blue layer.
| | 01:57 | We'll kind of bring it over to the side here
a little bit, and I am going to go in there
| | 02:01 | and give that a nice little drop
shadow, give it a Bevel & Emboss.
| | 02:07 | Nice depth, we'll make it a Chisel
Hard, and we'll make it a little bigger.
| | 02:12 | So, it's got this nice little effect going
on in there, and I can even give it a filter,
| | 02:17 | because it is a totally separate layer.
| | 02:19 | So we'll give it some noise, we get a lot
of noise, click OK, and there you can see.
| | 02:23 | I have affected all these layers
and they are still individual layers.
| | 02:27 | If I want to separate them from the group,
all I have to do is Option-click between them.
| | 02:31 | So, I can go over here, and I could just go
in there, and Option-click between these two
| | 02:36 | layers, and you can see that it get
separated from it, Option-clicking again, and they'll
| | 02:42 | come back and become part of the group again.
| | 02:45 | Now, they are manipulated in any way I
want, opacities, anything I want to do.
| | 02:50 | Now, anything I do to the base
layer will affect all of them.
| | 02:54 | There, I made the blue one transparent,
didn't do anything to the green one.
| | 02:58 | I will, however, go to the red
one and reduce its opacity.
| | 03:03 | When I reduce its opacity, you
notice that they are all being affected.
| | 03:08 | If I give a layer style to the base layer, I say we
give that an Inner Glow which will make quite large.
| | 03:15 | You see that it is affecting all the other
layers, they are getting the glow as well
| | 03:20 | based on the shape of what we are creating here.
So that's what a clipping group is.
| | 03:24 | It's a way of going in there and masking
other layers with the live area of the base layer
| | 03:30 | in that clipping group.
| | 03:35 |
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| Explaining alpha channels| 00:00 | Throughout the series, I use
alpha channels quite a bit.
| | 00:04 | I want to go in here and explain to
you what exactly an Alpha Channel is.
| | 00:08 | First, what are the Channels?
| | 00:11 | Well, right here, we are going to see this,
and we have the Red Channel, it shows you
| | 00:16 | the red components of that
image, the greens, and the blues.
| | 00:20 | Now, we are seeing them in black and white,
we can see them in color, but it is important
| | 00:24 | to see them in black and white because there are
certain different gradiations of a particular tone.
| | 00:29 | You see that, it is blue.
| | 00:31 | Now, that particular pixel right here, we
are going to go in there and select that
| | 00:35 | little tiny pixel right there.
| | 00:38 | That little composite pixel
is a certain value of the red.
| | 00:42 | There is no green in it, there is the red,
the red and blue, there was no green.
| | 00:47 | But the result is that green right there.
| | 00:50 | So now, each one of these channels is
an 8 bit channel, which has 256 colors.
| | 00:55 | So, there are 256 variations for that
1 pixel that we are seeing right there.
| | 01:03 | The number of value for the red, and the green,
and the blue mix will give you that particular color.
| | 01:10 | If we were to bring up our Info window here,
we would see that there is the RGB that we
| | 01:15 | will see that, that particular pixel
right there is 0 red, 122 green, and 255 blue.
| | 01:22 | So, that's what the Channel
will do, gives you your color.
| | 01:27 | Now, Alpha Channels are a whole another animal.
An Alpha Channel is not part of the image.
| | 01:33 | In fact, there are no alpha
channels until you create an Alpha Channel.
| | 01:36 | If I go in here and create an Alpha Channel,
right now it's going to be completely black.
| | 01:40 | So, what exactly is
happening in an Alpha Channel?
| | 01:44 | An Alpha Channel is also an 8-bit channel if you
are working in an 8-bit file, and it has 256 levels.
| | 01:51 | But there, those levels have
a whole different function.
| | 01:54 | In the color channels, those levels will
determine what the end result color will be.
| | 02:00 | But in an Alpha Channel, you are selecting.
You know what a selection is?
| | 02:04 | If I go in here, and I select right here,
and select this little area of my image, and
| | 02:10 | I start to draw, you know that anything
that I do, let's get a nice big brush is going
| | 02:15 | to happen only inside that area.
| | 02:18 | See, it happens only inside there because
by selecting it, I have segregated that area
| | 02:23 | from the rest of the image.
When I deselect it, it's gone.
| | 02:28 | I can undo, and say yeah, there it is.
| | 02:30 | But if I have done something
else, that selection is gone.
| | 02:32 | If I come back tomorrow, or next year, and
open this file, that selection is gone.
| | 02:37 | But when I have something selected like
this circle, and I say Save the Selection, and
| | 02:44 | I can call it anything I
want. I will say circle.
| | 02:48 | Now, I can deselect it.
Did it do anything to my image?
| | 02:52 | No, but when we go look our
channels, there is the circle.
| | 02:56 | And you'll notice that the area that was
selected is white, everything else is black.
| | 03:01 | The way an Alpha Channel works is where
things are white, they are selected, where they are
| | 03:05 | black, they are protected just
like the regular selection works.
| | 03:10 | But it is an 8-bit channel,
so there are 256 levels.
| | 03:15 | You go from zero black, to white, which is 255,
with 254 levels of gray in between, which
| | 03:21 | will determine how something is selected,
giving you much more control on how something
| | 03:26 | is going to be selected in order to be modified.
| | 03:28 | So, let's go back to our color channels here
and look at our layers, let's turn this guy
| | 03:34 | off, and we have a little rod here.
| | 03:36 | This rod is going to be casting a shadow
which right now we don't have a shadow.
| | 03:40 | I have a path right there for my shadow,
and in that layer for the shadow right there,
| | 03:45 | I am just going to go
ahead and fill that with black.
| | 03:47 | And there is my nice long shadow.
| | 03:49 | Now, I am going to go in there, and I am
going to bring down the opacity, so it starts to
| | 03:52 | look more like a shadow.
| | 03:54 | Now, I can soften it up, I am going to go
in there and give it a little Gaussian Blur
| | 03:59 | just to soften my shadow up just a little bit.
| | 04:02 | But if you look at reality and the way things
work, you notice that a long shadow like this
| | 04:07 | is going to get softer as it gets further back.
| | 04:10 | It's going to get a little more blurred
out, sometimes a little stretched out.
| | 04:14 | It needs to be gradually getting
softer as it goes back in space.
| | 04:19 | That's where the Alpha Channel comes in, because
I can control how something is going to happen.
| | 04:25 | And that something can be anything from a
colorization, a filter application, even a
| | 04:30 | pace through, anything can be done through a
specialized selection of the Alpha Channel.
| | 04:34 | So, what I am going to do here is I am going
to go in, and remember that first Alpha Channel
| | 04:39 | that I created, it's blank.
| | 04:41 | I want to see the color on top so I can
control exactly where my gradient is going to work.
| | 04:45 | I want to blur this much stronger as it gets
further away way out here leaving this area alone.
| | 04:52 | So, I am going to get my Gradient tool, set
it to Black to White, make sure it's a linear
| | 04:59 | gradient, and down here is where
it's going to be protected, right?
| | 05:03 | Back here is where it's going to be exposed.
| | 05:04 | So I am going to start my black here, because
black protects, white exposes, and I am going
| | 05:10 | to draw my line how I want
it to work. Just like that.
| | 05:14 | Now, if we look at just the Alpha
Channel, you see there is my gradient.
| | 05:18 | Here, nothing is going to happen, here
everything is going to happen, through these grays, it's
| | 05:22 | going to happen based on that level of gray.
| | 05:25 | So, I come back to my art,
and I load that Alpha Channel.
| | 05:30 | It's showing me my selection
from the 50% gray to white.
| | 05:33 | I am just going to go in there and hide those
marching ants, so we have a nice blank slate to work with.
| | 05:39 | Now, I am still in the shadow layer
here, I am going to blur it again.
| | 05:42 | So, I am going to give it a Gaussian Blur,
and this time I am going to increase it a
| | 05:47 | little more like that.
| | 05:49 | Now, you notice how it's
getting blurrier out there.
| | 05:52 | Now, I am going do this in steps because if I
apply a large blur, it's going to really look weird.
| | 05:57 | So, I am going to apply it a few more times.
| | 05:59 | You notice how each time, the outside area
here is becoming more blurry than down here
| | 06:04 | where it's not becoming blurry at all.
Each time I apply it, it gets softer and softer.
| | 06:09 | So now it starts to take on
the look of a true shadow.
| | 06:13 | And that's what an Alpha Channel can do,
it allows you to control a selection and how
| | 06:18 | that selection is going to affect the image.
| | 06:21 | It itself is not part of the image, it is
simply a way through which you apply effects
| | 06:26 | to an image in a controlled fashion.
| | 06:31 |
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| Using layer masks| 00:00 | Layer Masks is something that I use
quite a bit throughout the series.
| | 00:04 | So I am going to show you what a layer mask is.
| | 00:07 | Now, this is the file I use
to explain the Alpha Channel.
| | 00:10 | Well, a Layer Mask is very much like an
Alpha Channel, and that it uses the same concept
| | 00:15 | of going from zero black to 255 white
with the 254 levels of gray in between.
| | 00:21 | Except in the Layer Mask, they are for a
different purpose. They are also part of the image.
| | 00:27 | Their very presence will affect the image,
unlike an Alpha Channel whose presence
| | 00:32 | is only there and does nothing to the image
until you do something through that Alpha Channel.
| | 00:37 | This image before we created with the Alpha
Channel to blur the shadow as it got further
| | 00:41 | away, well, something else
should happen to this shadow.
| | 00:44 | It should get lighter as it gets further away,
because it gets affected by ambient light.
| | 00:49 | It should be darkest down
here, and lightest up here.
| | 00:52 | Now, it's blurry, but it's still just
as equally dark all the way through.
| | 00:56 | We need this shadow to get
lighter as it gets further away.
| | 01:00 | So basically, I need to start to hide it,
gradually. And that's where the Layer Mask comes into
| | 01:08 | play, because the Layer Mask allows me to
control how something is going to be seen.
| | 01:13 | Where the Layer Mask is white, we will see it 100%,
where it is black, it will be completely hidden.
| | 01:20 | The level of gray will determine how much we see it,
50% gray, we will see the layer content by 50%.
| | 01:28 | So, I am going to add a Layer
Mask to my shadow. There it is
| | 01:32 | It automatically came in white,
because nothing was selected.
| | 01:36 | Had something been selected, it would have come
in with that selection as I will do in a second.
| | 01:41 | But in that Layer Mask, I want this
to get softer as it gets further away.
| | 01:46 | So, white is where it's going to be visible.
| | 01:49 | I don't want it to completely disappear, because I
am not going to use black, I am going to use a gray.
| | 01:55 | Remember, the level of
gray, level of visibility.
| | 01:57 | So, I am going to draw a gradient right inside of
my Layer Mask, which is currently selected like this.
| | 02:05 | And you see that the shadow got lighter as it got
further away because it's being hidden by the layer mask.
| | 02:13 | I am going to Option-click on the mask
to show you the mask. There is the mask.
| | 02:17 | It's going from white where it's
visible to very light where it's gray.
| | 02:22 | So, that's why it slowly disappeared.
| | 02:24 | Now, I am going to go to this rod layer here,
and if I had selected something like right
| | 02:31 | here, if I go in there and select this and
then say make a Layer Mask, notice that the
| | 02:38 | Layer Mask automatically
reflected what was selected. There it is.
| | 02:45 | I did that in a couple of situations throughout
the series where I can go in there, and select
| | 02:50 | an area and then created the mask.
| | 02:51 | Now, if I want to turn off the mask slightly,
I can easily hold down the Shift key and click
| | 02:57 | on the mask, the mask will temporarily be
disabled, Shift-click on it, it brings it back.
| | 03:03 | Right there, you see that lock?
| | 03:05 | If I took my little rod now and moved it over
here, you notice that it moved just the way it was.
| | 03:12 | If I unlink the mask from the layer itself,
I can now move the layer around, and it's
| | 03:20 | going to stay inside the area of the mask.
| | 03:23 | I could also move the mask around, which will
give me a whole different feel of how I see
| | 03:29 | the contents of that layer.
| | 03:31 | So, the Layer Mask is just a way of going
in there, and hiding parts of a layer in a
| | 03:37 | controlled fashion, whether
it's 100% or just gradually.
| | 03:42 | But you have full control
over what and how is being masked.
| | 03:47 |
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| Creating alpha channels| 00:00 | In this movie we are going to
cover how to create alpha channels.
| | 00:03 | Now, the easiest way to create an alpha
channel is to be in the Channels Panel, and simply
| | 00:08 | click on Create New Channel.
| | 00:10 | Now, that creates a totally black channel
which means it will have no effect at all,
| | 00:14 | it's totally black.
The entire image is protected.
| | 00:18 | Now that we have this blank channel, we can
start to draw into it to do things like let's
| | 00:23 | just say we create this little swirl like this.
| | 00:25 | So now I can come over here, load that channel,
and we'll hide the marching ants, so we don't
| | 00:31 | see those, and I can go in there
and say let's go and colorize that.
| | 00:35 | So, I'll go to Hue/Saturation, Colorize,
increase the saturation, and you see that, that area
| | 00:41 | is being controlled inside the alpha channel.
| | 00:44 | That's the quickest way of creating one
provided you have nothing in mind from the image to
| | 00:50 | create that alpha channel.
Now, another way is to have something selected.
| | 00:53 | So, what I'm going to do here is I'm going
to select this rock, because in the exercise,
| | 00:59 | I have an alpha channel
already created for this rock.
| | 01:02 | So I have that, and I'm going to go over here
and say Save Selection, where I have the ability
| | 01:07 | to save the alpha channel, and give it a name.
| | 01:10 | Now, another very important thing to look at
this window here is that there is the document.
| | 01:17 | You will notice that I can
actually send it to a new document.
| | 01:19 | So, the alpha channel does not
have to reside with the actual file.
| | 01:22 | So, you are not limited to the number of
alpha channels in a particular image or you might
| | 01:28 | want to have say a couple of 100 alpha
channels that you don't want your client to see.
| | 01:33 | So you can put all the alpha channels for
a particular file in a completely separate
| | 01:37 | file, and that way, you could use them.
| | 01:39 | You could also send it to a new channel or
you can actually just bring it in, and replace
| | 01:46 | an existing channel.
| | 01:47 | So, if I click on Alpha 1, which is the
little swirl I made, and you can see it down here
| | 01:52 | in the panel, it will
replace that particular channel.
| | 01:55 | So now that I have it, I
click OK, and there is the rock.
| | 02:00 | Now, once it is there, I deselect it, and I go to
that channel, and I can see the RGB on top of it.
| | 02:09 | You notice its showing up as a quick mask.
| | 02:11 | Now, if red is not a good color to see the
stuff behind, you can double-click on it,
| | 02:18 | which brings you up to the options, which allow
you to name it again or choose a different color.
| | 02:23 | So, I can go in here and say use green, and
increase the opacity, so I can see more of it and so on.
| | 02:30 | So there, now it's using green.
| | 02:32 | So now once I have that, I can come in here,
get in real close, and refine this mask to
| | 02:39 | get it just the way I want.
Remember that white exposes, black protects.
| | 02:43 | So, if I paint with black,
I'm going to be protecting.
| | 02:46 | If I paint with white, I'm going to be exposing.
| | 02:49 | So now, I can go in there and very
specifically, go in there and say I wanted to get these
| | 02:53 | little areas, and start to paint
my alpha channel the way I want it.
| | 02:58 | And once I have all those areas exposed and
just get just how I want it, I can go in there,
| | 03:03 | and then I have an alpha channel which will
allow me to select this rock as you will see
| | 03:08 | in the various exercises where I use that.
| | 03:12 | Now, sometimes you can pull an
alpha channel from an existing image.
| | 03:18 | Now, this is without selecting it.
| | 03:20 | I'm going to redo what I did in that
particular exercise where I used this waterfall as a
| | 03:25 | waterfall falling from the high cliff.
| | 03:27 | I'm going to look at the existing channels
to make it easy, because this is not an easy
| | 03:32 | thing to select on its own.
| | 03:34 | So, I'm going to look and see where I'm
going to have my contrast. Is it in the red?
| | 03:40 | Is it in the green or in the blue?
| | 03:42 | The blue, the blue is
giving me the most contrast.
| | 03:45 | You can see how white it is here and how
gray the rocks are as opposed to the red where
| | 03:49 | they are fairly even and the green where they
are pretty close, whereas the blue is giving
| | 03:54 | me a strong contrast.
| | 03:55 | So, by taking the blue and
duplicating it, I get blue copy.
| | 04:00 | Now, the image did not get any bluer,
because remember, the alpha channel has nothing to
| | 04:05 | do with the actual image, it is simply a mask.
| | 04:08 | So, in that blue channel, I can now go
in there, and we'll bring up our levels.
| | 04:14 | And I can go in there and take all my
midtones and darken them, and take all my dark tones
| | 04:19 | and darken them, and make
those whites stronger, see.
| | 04:23 | Click OK, then all the grays that are
left, I can quickly eliminate those.
| | 04:28 | Press F here so I can get a full screen, and
I can go in here, and I'll select this entire
| | 04:32 | area up here, and I'll
just say, fill it with black.
| | 04:36 | And I can take this entire area here and say fill it
with black, this whole area here and then down here.
| | 04:49 | So now I can be a little more selective and
go in here with a brush and paint these areas
| | 04:55 | to black, and there you'll see that I'll now have
an alpha channel that exposes just this water here.
| | 05:03 | So, I can do things to it in the image.
| | 05:05 | So, once I have all my water
selected right there just, like so.
| | 05:12 | I can now go back to the image, load
that alpha channel which selects the water.
| | 05:16 | So now, I'm going to just hide those marching
ants so we can easily see what's about to happen.
| | 05:21 | So I can in there and say let's colorize this.
Let's throw a little tone in there.
| | 05:26 | Let's say we throw a little red in there.
We could just make it red, see.
| | 05:30 | Do anything we want to it, or make it a
little lighter, make it a little darker, whatever.
| | 05:34 | If we want to throw a gradient through there,
we can, because we'll just throw a nice little
| | 05:37 | gradient so it's water
turning into blood or whatever.
| | 05:41 | Now, whatever we want to do there, we can because
the water has been selected from the rest of the image.
| | 05:46 | And in that particular case, we use an
existing channel to make our alpha channel.
| | 05:51 | So creating alpha channels has many
different ways, but the uses are infinite.
| | 05:56 |
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| Using Adobe Bridge to stay organized| 00:00 | This entire course deals with taking
photographs and manipulating to create these dreamscapes.
| | 00:07 | Now the beauty of digital is that you can
take pictures for as long as you want, and
| | 00:11 | as many as you want.
| | 00:12 | The big problem is staying organized and
quickly finding those photographs when you need them,
| | 00:18 | that's the beauty of Bridge.
Bridge is what I use to stay organized.
| | 00:23 | So right now we're looking on the screen,
and we see that I have my Hikes folder open.
| | 00:28 | There is my Hikes folder, which
shows all the different hikes.
| | 00:31 | So if I open this up, and let's just say
we go down here to say 2011, and we'll go to
| | 00:37 | the content of this folder, there is a bunch of
different pictures there, all these different pictures.
| | 00:42 | So, I want to stay organized, I want to be
able to go in there and quickly find that
| | 00:48 | picture, I do not remember which one of these years or
which one of those hikes was that particular picture.
| | 00:53 | So what I could do is I can go in there, and
I'll just select say these cows right here,
| | 00:57 | I'm going to go in there and start
selecting all these picture of cows, right there.
| | 01:02 | And I have right here, I
have a keyword for Cows.
| | 01:07 | So I'm going to click on Cows.
That just added the Keyword to it.
| | 01:11 | And here are some Trucks, so I'm going to
take the pictures of the truck, let's go see
| | 01:15 | what these trucks look like, right there.
| | 01:17 | I've got all the way down to here,
and I have a keyword for Trucks.
| | 01:20 | So I'm going to click on Truck.
I've got a Panda Bear here.
| | 01:25 | I see here is a Panda, Kung Fu
Panda's sculpture that I saw.
| | 01:28 | I don't have a keyword for that.
| | 01:30 | So I'm going to click on those, I'll select
all three of them, there they are, and I'm
| | 01:35 | going to come over and here and say give me
a New Keyword, and I'll call that panda and
| | 01:42 | assign that keyword to those pictures.
| | 01:45 | So now, I'll go into the main hikes
folder where all these pictures appear.
| | 01:50 | There are all the folders of all the different years,
and I'll go in there and say, well, let's find cows.
| | 01:54 | I just got to go in there and find all the
pictures of cows that are tagged as Cows.
| | 02:00 | We'll go in there and say Trucks, and
there are all the Trucks that are keyed.
| | 02:05 | I'll say Bird, and there are some birds,
and of course, let's do the one we just found,
| | 02:10 | which is panda, and there I found the
three pictures that I recently keyed as panda.
| | 02:16 | So you set out these keywords, there are some
that come with it, some like Events and People
| | 02:22 | and Places, you have Places.
| | 02:25 | So these comes with the program, but you
can set up your own as you saw me set up right
| | 02:29 | there, and once you have that keyword, it
falls into the list, my computer at home,
| | 02:34 | I have a very long list with all kinds of things,
and fortunately they are in alphabetical order.
| | 02:40 | But you setup these keywords, so when you
need a picture of a panda, you don't have
| | 02:43 | to go through the thousands and thousands
of pictures you might have stored, you just
| | 02:47 | type in the keyword panda, and it will find all
the pictures of panda in your entire collection,
| | 02:53 | making it easy to find the reference
material you need to create your dreamscapes.
| | 02:57 | So Bridge is your friend, get used to
using it, it's a great place to stay organized.
| | 03:02 | There are lots of windows you can play with.
| | 03:04 | The best thing is to go
in there and start looking.
| | 03:07 | And other information like for instance,
Metadata, when did I take that panda?
| | 03:11 | Well, you go in to Metadata, it'll tell
you what you were using, the size you shot it
| | 03:16 | and even the date and time and everything
that you--there is the date and time of
| | 03:20 | when it was shot, and so on--all the information
is right there at your fingertips within Bridge.
| | 03:25 |
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|
|
2. Moonlit NightIntroduction| 00:00 | This chapter will be called Moon Lit Night.
| | 00:03 | And in it we are going tell a story of a
young man back in the days of the renaissance, who
| | 00:07 | stays up really late at night drawing all
these fantastic pictures of the visuals that
| | 00:12 | he sees in his imagination.
| | 00:15 |
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| Preparing the scene: Retouching| 00:00 | Now this early morning shot in the city of
Florence is going to be the basis for our
| | 00:04 | moonlit night, in the days of the renaissance.
| | 00:06 | Now of course, there are some things here
which shouldn't be here, like this truck and some
| | 00:12 | of these people, because we are going to
talking way into the wee hours of the night.
| | 00:17 | So we need to eliminate some
of these people in the street.
| | 00:19 | Now these people here I am not going to
worry about, because I am going to crop this.
| | 00:23 | So the first thing we are going to do
is crop it to the way I want it to be.
| | 00:25 | So I am going to crop it right about in this
area here and come down to about this section
| | 00:30 | about like that, and I am
going to go in there and say Crop.
| | 00:35 | So that's it, that is the
beginnings of our image.
| | 00:38 | Now let's get in closer and start to do the
retouching that's necessary to get rid of all these people.
| | 00:44 | Now some of them, once it gets dark, you
are not going to see them anyway, so it is not
| | 00:47 | that crucial to get them perfect, but I do
want to get them as close to perfect as possible.
| | 00:53 | So I am going to use my Clone tool, I am
going to get a smaller brush here, and I am going
| | 00:57 | to Option+Alt-click right here so that I can
just go in there and start to get rid of this
| | 01:02 | person right there. That's good enough.
| | 01:04 | That's just enough that
I need to get rid of him.
| | 01:06 | Same thing with this one here, I am going
to click and kind of paint that person out
| | 01:10 | and bring that wall down into this area here,
Option right there, and bring it down, so
| | 01:16 | there we are painting the wall in.
| | 01:18 | Same thing with this person, now, you notice
that I am lining the little crosshairs with
| | 01:22 | that edge of the wall so that I can then
start in that same area and just drag it down.
| | 01:28 | So you can see that I am just getting ridding
of all this, and it's just working right down
| | 01:32 | to the area of the sidewalk right
there and then bring the sidewalk over.
| | 01:36 | So just like that, and that person is now gone.
| | 01:40 | And this area here, these areas are so
intricate here that we want to be a little more precise.
| | 01:44 | So I am going to go in here, and you notice
that I am starting with that edge right there
| | 01:49 | and at the bottom, so I am going to
click right there and then go right here.
| | 01:52 | So I can start to create my own new edge
right through there, and you can see I am lining
| | 01:57 | these guys up, and I am starting to get
this person gone there, and this person gone.
| | 02:03 | Now I am going to bring up the wall, so
I can just slowly start to click down.
| | 02:08 | Now I am not doing complete swipes, I am doing
single little touches and the reason for that
| | 02:14 | is if you do a complete swipe, what is there
originally will be brought down below so that's
| | 02:20 | why I wanted to just get these nice
little bricks to appear as individual bricks.
| | 02:24 | Now I am going to go in
there and clean up the sidewalk.
| | 02:27 | Now, the truck here is a little more complex.
| | 02:30 | So what I am going to do is, first of all, I
am going to go in there and get rid of this
| | 02:34 | part of the truck, which is kind of like
the doorway, so I am going to kind of retouch
| | 02:37 | my door right into that area there just,
like so, and I have a door, and I am going to
| | 02:44 | bring a sidewalk right into here.
| | 02:47 | And I will do that right here and start drawing,
I am getting rid of the truck and its shadow.
| | 02:54 | Now you notice that I am picking from
different areas each time so that I am painting away.
| | 02:59 | Now that's a little too light, so I am going
in to this darker area here, select it, and
| | 03:03 | then I can start drawing from that area.
| | 03:05 | Now one thing when you start getting these
little smudges is because you are working
| | 03:09 | completely with that dark area on top
of this area that's slightly lighter.
| | 03:14 | Now one thing I like to do is to lower
the opacity of the brush to about 50%.
| | 03:19 | I just clicked on 50, so you see
the opacity has been lowered to 50%.
| | 03:23 | That way I can slowly start to build on top
of these colors, and it is not so stark, and
| | 03:30 | I could do with a couple of strokes until I
have a nice even tone exactly where I want it.
| | 03:35 | So I am slowly painting away, getting rid
of all this part of the truck down below.
| | 03:41 | Now I am going to bring back my door again,
and start from that edge and start to draw
| | 03:45 | my door right into here, and we are getting
rid of this whole part of the truck, there
| | 03:51 | it is that area is gone.
| | 03:53 | And now I can start to bring this area down, and
again, I am going to start with small strokes each time.
| | 03:58 | So that way I am just dragging the entire
doorway down into this area, right in there like that.
| | 04:06 | These areas I can just kind of very quickly
paint those out, and that tail light is very
| | 04:11 | obnoxious, let's get rid of that right away.
All right, now we have this dark area.
| | 04:15 | So I am going to just go in here and clone in
this dark tone from up above into this area here.
| | 04:21 | Now it's no longer looking like a truck.
| | 04:23 | So, I could, since this is such a small
area, leave that as is.
| | 04:27 | This, however, is objectionable.
| | 04:29 | So what I am going to do is I am going to
bring down the wall from up above into this
| | 04:33 | area right in there, and that's good
enough to have the truck pretty much become part
| | 04:41 | of the building there.
| | 04:42 | If you really want to get rid of that even
further, let's just say we like that doorway,
| | 04:46 | right, like this here.
| | 04:48 | So what I am going to do is I am
going to select this doorway right here.
| | 04:50 | I am going to select this little area right
in here just like that--and I don't need this
| | 04:55 | part--and I am going to go in there and
send that to a New layer, a new Layer Via Copy.
| | 05:02 | So now that I have that New layer I can
drag that right over into this area here where
| | 05:08 | I can then go in there and adjust it so
that it goes into that little area right there
| | 05:12 | like that, click Enter, and that area is now
gone, and we see that that entire truck and
| | 05:18 | all its people are gone.
| | 05:20 | Now this sign here, that's
a bit objectionable as well.
| | 05:23 | They didn't have those kind of signs during
the renaissance, so we need to get rid of this.
| | 05:28 | And again, it is going to be the exact same
process where I am going to go in there and
| | 05:31 | click in an area and start retouching across,
and here I am going to bring my Opacity back
| | 05:35 | up to about 80%, so I can start to clone.
| | 05:39 | And let's merge this down, it becomes one
layer again, and then I am going to go in
| | 05:44 | there and start to clone this away.
| | 05:47 | And we can see where it's all going away,
I'm just going to click, and there is the pole.
| | 05:53 | The pole is now gone.
| | 05:54 | Now here we have to rebuild the wall, so I
am going to start right here, way down here,
| | 05:58 | click on that center of that line, come up here
on the center of the line, and I start to draw.
| | 06:04 | And we could see that we are getting rid of
that whole part of the wall, and we can see
| | 06:09 | where it is quite large, so I am going to
make my brush a little larger and just very
| | 06:13 | quickly start to paint that up.
| | 06:15 | So we are getting rid of
that whole area of my sign.
| | 06:19 | We can start bringing up this whole area,
and you can see that each time as I draw,
| | 06:24 | it is going to go in there and start to
pull it right from there, and there we can see
| | 06:29 | that we are getting the whole doorway rebuilt.
| | 06:33 | Now here, we got a little arch situation
going on, again, so what I am going to do is I am
| | 06:37 | going to pull this arch just like I did before,
I am going to pull this arch right here, right
| | 06:44 | in there like that.
| | 06:45 | I am going to send that to a new Layer Via
Copy and drag it into this area here and line
| | 06:52 | it up right where I want it, right in
there like that, and that looks fairly good.
| | 06:57 | So now what I am going to do is I am going
to make this guy fit into the existing wall
| | 07:01 | and what I am going to do with that is I am
going to give it a mask, give it a layer Mask.
| | 07:05 | I take my Paintbrush and black, which is
going to hide, and I am going to make sure that
| | 07:10 | it is nice and soft, no hardness there, and I am going
to bring down the Opacity to about 50%, so it's soft.
| | 07:16 | I am going to very lightly start to paint
in, into this area, so it is going to just
| | 07:21 | blend in to the existing wall just like that.
| | 07:30 | And now we have gotten rid of the truck and all
the people, and we are ready to turn this into night.
| | 07:34 |
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| Turning day into night| 00:00 | In this movie we're going to take out ancient
renaissance city and turn it into night time.
| | 00:05 | Now the first thing we need to do is to actually
isolate the room where our little boy is staying up late.
| | 00:12 | The reason I'm going to it now is because,
since it's still day time in its original
| | 00:17 | form, it's easy to go in there and select
things, like for instance, up here, this is
| | 00:21 | the room where our little boy is
going to be, right up in this area here.
| | 00:25 | So I'm going to go in there
and select these window panes.
| | 00:29 | Now in your particular situation you can
use the Lasso tool, you can use the Pen tool,
| | 00:34 | whatever you feel is necessary.
| | 00:36 | But because it's such a strong contrast going on
here, I'm just going to use the Magic Wand tool.
| | 00:41 | So I am going to click on each of these windows,
Shift-click to add another one, and that one,
| | 00:48 | this one here and the other two.
| | 00:50 | Now that I have all of them selected, I am
going to go over here and say Save Selection
| | 00:55 | to send into an Alpha Channel,
which I'm going to call windows.
| | 01:01 | And our Alpha Channel of
course will appear right there.
| | 01:04 | For a complete explanation what the alpha
channel is refer to one of the basic movies
| | 01:08 | at the beginning of this series.
| | 01:11 | Now back here again I can deselect it,
my windows are ready for it later on.
| | 01:14 | I'm going to go in here now
and turn this into night time.
| | 01:18 | Now I need to separate all these
buildings from their background.
| | 01:22 | So again, the Magic Wand is going to be perfect,
because my sky is one big white area up here,
| | 01:27 | so I am going to click on it,
and it selected the entire sky.
| | 01:30 | I can now go in there and say Inverse that
Selection so that the buildings are selected.
| | 01:35 | I'm going to send them to a New layer.
| | 01:37 | So I go in there and just say
send them to a new Layer Via Cut.
| | 01:42 | And they appear in their own
layer as we can see right there.
| | 01:45 | Now the background, I'm just going to invert it.
| | 01:46 | I am just going to hit Command+I there to
invert it, now we see that that we have this
| | 01:50 | black sky, and this whole scene
down here that is looking like this.
| | 01:55 | Now what I am going to do is I am going to
select my city, which I am going to go in
| | 01:59 | there and call it city.
| | 02:00 | It is advisable to name your layers,
especially when you start creating a whole series of
| | 02:04 | layers, you want to be able
to quickly see what they are.
| | 02:07 | Some times they will be little tiny windows you
need to be able to tell exactly what they are.
| | 02:11 | Now that I have that layer selected,
I am going to my Hue/Saturation.
| | 02:15 | I am going to go over here to Adjustments
and go down to Hue/Saturation right there,
| | 02:21 | and I am going to go in there and say Colorize.
It's going to turn everything into a single Hue.
| | 02:26 | So I am going to go in there and pick the
Hue which I want for our moonlit night, which
| | 02:30 | is going to be this blue like that.
| | 02:33 | Pump up the Saturation a
little bit and then darken it.
| | 02:36 | I'm going to bring it down, so it
starts to get a little darker like that.
| | 02:40 | Bring up that Saturation just a little, I
can play with these so that I have just the
| | 02:44 | one I want right there like that.
| | 02:46 | Bring this down even more, so it gets just
a little darker, click OK, and now we are
| | 02:50 | starting to see this dark street here.
| | 02:52 | Now these two areas of these buildings, they
are in shadow, in the shadow of the moon that's
| | 02:58 | going to be up here, because we see the light
coming in, so the moon is going to be up here.
| | 03:02 | So we need to darken those, those two areas.
| | 03:05 | So I'm going to go over there and get close
to them, and because they are a bit intricate,
| | 03:09 | this is a case where I am going to actually
use my Pen tool to do this, to surround them.
| | 03:15 | Now I don't have to be that precise on the
top, I just have to worry about the sides
| | 03:19 | where I have these darkened area.
| | 03:21 | Now for the sake of making things quick,
I already have part of a path setup.
| | 03:26 | And here you can see this path how it's
encompassing that part of the building.
| | 03:29 | So I am going to go over here to this area
here and select this side of the building.
| | 03:34 | Again, I go to my Pen tool, and I am
going to go in here and start clicking.
| | 03:38 | I can go straight across, all the way
across to this side, right to that edge.
| | 03:42 | Now there is a little piece going up here,
so let's undo that and just go up there across
| | 03:48 | down, up, and then over to that edge.
| | 03:52 | Go straight up to this side of the building
here, up. Now here I don't have to worry about
| | 03:58 | the side, so I can actually go a little
beyond out into this area out here, because there
| | 04:03 | is nothing in this layer here.
So nothing is going to be affected.
| | 04:06 | So now I can just close it off, it's totally
encompassing the area I worked in, and I only
| | 04:11 | have to worry about these areas here,
because those are the areas that butt up against
| | 04:15 | another part of our scene.
| | 04:17 | So now that have both those areas selected
with our paths, I can go in there and turn
| | 04:22 | that path into a selection.
| | 04:24 | So now that they are selected, I am going
to hide those marching ants, so we can see
| | 04:29 | exactly what's happening there.
| | 04:31 | Now I can see them, now I'm going to go into any of
my controls, in this case I am going to use my levels.
| | 04:35 | So I'll go to Adjustments, I say Levels and
in Levels I'm going to just see one of them
| | 04:41 | there, I will go in
there and start to darken it.
| | 04:43 | You can see I am
darkening that area, pretty dark.
| | 04:46 | I want to get it about as dark
as these areas here, click OK.
| | 04:50 | And there it is getting dark, and I am
also going to go into Hue/Saturation.
| | 04:52 | I am going to go into that control again. Why?
Because they are little too blue as you can see.
| | 04:57 | So I want to bring down the Saturation a
bit and maybe make them a little darker right
| | 05:01 | in there like that.
| | 05:02 | So now I've got these nice little
dark areas the way they should be.
| | 05:06 | Now that we have this whole scene setup
like this, I am going not going to turn on the
| | 05:10 | lights in that room up there.
| | 05:12 | So what I am going to do is I am going to
create another layer right on top this whole
| | 05:16 | thing, and I am going to call it the windows.
| | 05:17 | And I am going to turn that channel that I
created into a selection, I can Command-click
| | 05:23 | on it, or I can go in here and just say Load
Selection, which is going to show me the windows.
| | 05:30 | I'm going to go in there and have that area
selected, right there you can see it, come in
| | 05:34 | close, and you can see that
those little windows are selected.
| | 05:37 | Now again I am going to turn of the
marching ants, because these are tiny areas, so you
| | 05:41 | wanted to really see what's happening in there.
| | 05:43 | And I am going to get some colors for my
candlelight, so I am going to pick a nice bright yellow
| | 05:47 | for the foreground color and for the
background color I'll pick kind of dark orangey color
| | 05:53 | like that one, maybe a little darker.
Let's just go darker like that.
| | 05:57 | And I am going get my Gradient tool
right there and chose a Radial Gradient.
| | 06:03 | Now that area right there is confined to the
selection, so I am going to click down here
| | 06:07 | and draw it up, and there we could see that,
when we pull back, we have the little lights
| | 06:11 | on in that room up above.
| | 06:13 | In the next movie what we are
going do is give that sky a little life
| | 06:18 |
| | Collapse this transcript |
| Creating the sky| 00:00 | In this movie we are going to take that
black sky and give it some life, especially the
| | 00:04 | moon that's casting these
wonderful moon glows all over the street.
| | 00:08 | To do that I am going to
use two files that I have.
| | 00:12 | One is this file of clouds.
Now they are not very fancy clouds.
| | 00:17 | It's just some clouds that I shot.
| | 00:18 | I walked down the street and just see
interesting things, and I take a picture.
| | 00:23 | And clouds, I am always fascinated by clouds.
So I just took these clouds.
| | 00:27 | Nothing fancy, it doesn't matter.
It's their shape that's important here.
| | 00:30 | Then I went on the web, and I did a search for
full moon, and I came up with this file here.
| | 00:35 | I made sure that it was file that was
royalty free so that I could use it without anybody
| | 00:39 | getting upset. And those two files right
there are going to make up our night sky.
| | 00:45 | First thing I'll do is I'm going to take
our clouds right here and they are going to be
| | 00:48 | put right in the scene right there.
| | 00:51 | So let's get those clouds, and I'm going to
take my Move tool and simply drag them into
| | 00:56 | that scene right there.
Now they are very large.
| | 00:58 | I have not modified any of these images
ahead of time just so you can see what happens in
| | 01:03 | situations like this where
the files don't quite match.
| | 01:06 | I need to resize those
clouds to fit into that area.
| | 01:09 | So I'm going to hit the F key, which is
going to bring me to full-screen with the menus,
| | 01:13 | and then I'm going to shrink it down a little
bit so I can kind of see the whole scene there,
| | 01:17 | and then I'm going to hit Command+T, which
is going to bring up all the little controls
| | 01:21 | for the actual dimensions of that file.
| | 01:23 | I'm going to hold on my Shift key to constrain,
and I'm going to shrink it down a bit right
| | 01:28 | to that edge of the wall right there, and let's
bring it over just a little and grab this side.
| | 01:33 | Hold down that Shift key and drag it over
just so I can go in there and start to get
| | 01:38 | that size just the way I want it.
| | 01:40 | Let's shrink this down just a little more
right there, bring it down, right in there,
| | 01:45 | and maybe a little further down just
like that, and there is our clouds.
| | 01:49 | I'll hit Enter, make that happen, and you
can see that, that file came right above the
| | 01:53 | background which was selected at the time.
| | 01:55 | So I'm going to get a little closer now
and these clouds kind of look like daytime.
| | 01:59 | So I'm going to go and
make some adjustments to them.
| | 02:02 | First thing I want to do is I want to go in
there and get rid of the color that's there.
| | 02:06 | So I'm going to go into my adjustments and
go in to Hue/Saturation where I'm going to
| | 02:10 | go in there and bring down the saturation so it
just becomes kind of like just the black and white.
| | 02:15 | Not completely down just enough so
that I'm getting rid of the strong blues.
| | 02:19 | I click OK, and now I want some more contrast.
| | 02:22 | So I'm going to go in there, and I'm
going to go into another adjustment.
| | 02:24 | I am going to go into my levels and in
levels I'm going to go in and bring my blacks in,
| | 02:29 | because I got really strong blacks and then
bring my whites so that those whites are going
| | 02:34 | to be really strong in this area here.
| | 02:36 | Let's bring those mid tones
in a bit more. There you go.
| | 02:39 | So now we're getting these really strong clouds.
It's starting to look like a night sky.
| | 02:43 | So we're getting there. Now I click OK.
| | 02:45 | Now fortunately right here is that bright
area, which is where my moon is going to be,
| | 02:50 | right in that area there.
| | 02:51 | Now I want to the moon to
appear behind the clouds.
| | 02:55 | So I'm going to click on the background so
when I bring in that file, it's going to appear
| | 03:00 | above the background, but behind the clouds.
| | 03:02 | I'm going to turn off the eye for the
clouds right now so that I could see my moon.
| | 03:06 | So now that I have that I'm going to hit my F
key right there and hit it again which brings
| | 03:11 | me back to my Normal mode, and I'm going to
go in there and find that moon file, right
| | 03:15 | there, and I'm going to select it.
| | 03:17 | I'm going to use the elliptical selection
tool, I'm going to just go in there and with
| | 03:20 | the Option key and my Shift key to
constrain it from the center out, I am going to draw
| | 03:23 | a nice big circle like that.
It doesn't have to be perfect.
| | 03:26 | I just want to encompass most of the moon
right there, right in there, that's good.
| | 03:31 | Now I can copy this, because it's a fairly
small file, or I can just go in there and
| | 03:36 | copy it over like this by just dragging this.
| | 03:39 | I'm holding down my Option and Command keys, and
I'm going to drag it right into that scene there.
| | 03:43 | Now hold it right in there.
So I'm going to go in there and bring that.
| | 03:45 | There is my moon, right there.
| | 03:47 | I'm going to put into position right up there
where I want it, right up in that area there.
| | 03:51 | Now it's a little larger than natural.
| | 03:53 | This is not a fantasy, this is
just a story that we are doing here.
| | 03:57 | So I need to resize my moon.
| | 03:59 | So I'm going to hit Command+T to bring up
the transform tools and holding on my Shift
| | 04:03 | key to constrain I'm going to make the moon
much smaller up into that area right there
| | 04:08 | and put it in position right where I want it,
right about there, hit Enter so it falls in to place.
| | 04:14 | There is my moon, which I'm now going
to go in and start giving it some life.
| | 04:19 | In my background here, which is
right now set to black and white.
| | 04:21 | I'm going to reverse these two so that black
is in the background and for the foreground
| | 04:25 | I'm going to pick a blue
right from my scene down here.
| | 04:28 | I'm going to pick a nice bright blue
like this one right here. Nice bright blue.
| | 04:32 | That might be a little too strong.
| | 04:34 | So I'm going to just bring it down just a little
like that, click OK, but it's in the same family.
| | 04:39 | So I got that blue and with my gradient tool,
set to Radial gradient, I'm going to go right
| | 04:44 | at center the moon and click and drag out
like this, which is going to go to give me
| | 04:48 | this nice kind of a glow, and I might want
to make it a little bigger so I might just
| | 04:52 | pull it out a little further.
So I got a little bit more of a glow.
| | 04:55 | Now I want an actual
glow around the moon itself.
| | 04:58 | So I'm going to go in here, and
let's start naming these layers.
| | 05:00 | I'm going to start losing track.
| | 05:01 | So I'm going this moon, and
I'm going call this the clouds.
| | 05:06 | In the moon layer I'm going to double-click
on it to bring up the layer styles, and I'm
| | 05:10 | going to go in there and give that a
little outer glow. Tiny outer glow.
| | 05:14 | So I'll make it a little bigger.
| | 05:15 | So I get this little glow right around the
moon there, and I don't want that yellowish tone.
| | 05:19 | I'm going to go into the blues to make it
a little lighter, click OK, and I get the
| | 05:23 | nice little blue halo right
around moon itself, click OK.
| | 05:27 | So now we got our moon,
and we need our clouds back.
| | 05:30 | So I'm going to click on
the clouds, right there.
| | 05:33 | Now they've completely hidden everything,
but I have these light tones and what I want
| | 05:38 | is I want those light tones that make
up the clouds themselves to come through.
| | 05:42 | So I'm going to go to the clouds layer,
right there, and set the mode of those clouds to
| | 05:47 | Screen so that now the moon shines through,
and you get the nice blue glow from the sky
| | 05:52 | behind, and now we are seeing that our sky is
starting to look more like the night sky that we want.
| | 05:57 | Now this area down here, we might want to darken
that just a little bit, and that is in the clouds.
| | 06:01 | Still in that layer I'm going to go in there
with my Burn tool--and make the size a little
| | 06:06 | bigger--and I'm going to set it right now to
Midtones, and I'm just going to go in there
| | 06:09 | and just kind of touch that area very
lightly like that just to darken that horizon back
| | 06:14 | there a little more, and there we
see that our sky has now come to life.
| | 06:20 | In the next movie we're going
to add life to the scene itself.
| | 06:25 |
| | Collapse this transcript |
| Creating chimney smoke| 00:00 | Our scene is now almost complete.
| | 00:02 | The one thing we need to
do is add a little life.
| | 00:04 | Now this is back in the days of Renaissance.
| | 00:06 | They didn't have central
heating back in those days.
| | 00:09 | So they still relied on fire places. And
those chimneys that came from those fire places
| | 00:13 | have to be spewing all kinds of smoke in the
middle of the night so that those people can
| | 00:17 | sleep nice and comfortably.
| | 00:19 | So we are going to create some smoke
coming out of all the smoke stacks.
| | 00:23 | Even though we don't see smoke stacks there
is going to be some smoke coming out of them.
| | 00:27 | Now to do that we are
going to create a smoke brush.
| | 00:30 | Now I am going to do that right from
here, right here in our clouds file.
| | 00:35 | Now what I am going to do is I am going to
go in here, and I am going to look at the
| | 00:37 | channels of this clouds file.
| | 00:39 | I am going to look at the red, look
at the green, and look at the blue.
| | 00:43 | Now the one that gave me the most contrast
happens to be the red channel, which is where
| | 00:47 | the contrast information is for any file.
| | 00:49 | So I am going to go in there and use
this particular channel as my source.
| | 00:55 | Now we are not concerned at all with what's
going to happen to the color we're just using
| | 01:00 | this to create the brush itself.
| | 01:01 | So I am going to in here,
and I am going to invert this.
| | 01:05 | I am going to hit Command+I, or I can come
up here and under Adjustments and go down
| | 01:10 | here and say Invert, right there.
| | 01:13 | Now we are looking through here to find a
nice little puff of smoke, and there is a
| | 01:17 | good one right there.
| | 01:19 | So let's get a little closer to that,
and I am going to go into my levels.
| | 01:23 | Adjustments > Levels and in Levels I am going
to push my whites to become a nice pure white
| | 01:28 | all around that puff right there.
| | 01:31 | Now in the movie on creating brushes it will
explain some of the necessity for things to be white.
| | 01:39 | Watch that movie if you really need to know why, but
right now we are just going to create the brush itself.
| | 01:44 | Now that I have pushed this area to white,
I am going to click OK, and I am going to
| | 01:48 | get a white brush and with the paint
brush make sure that the Hardness is set to 0.
| | 01:54 | I am going to go in here, and I am going to
make it little bigger, and let's just start
| | 01:59 | to paint, right into this area here.
Now I got the Opacity set to 0.
| | 02:02 | So I am going to bring it back to 100, and
I am going to kind of paint and isolate that
| | 02:07 | little puff of smoke with
white all around it, like so.
| | 02:12 | Isolated that little puff right there.
| | 02:16 | So now I am going to take my selection tool
and select that little puff of smoke right
| | 02:20 | there, and I am going to
say, Define Brush Preset.
| | 02:25 | I am going to call that brush
smoke, click OK. That's it.
| | 02:30 | I go back to my original file right
there, and I am going to go to my layers.
| | 02:35 | Now I want this to be behind the
city, but in front of the clouds.
| | 02:38 | So I am going to go in there and right now
I have the cloud selected, and I am going
| | 02:42 | to create the layer right there
which I am going to call chimney smoke.
| | 02:46 | And I get a little closer here so we
could see what's going to be happening now.
| | 02:50 | I am going to get my paint brush, and I am
going to choose that brush that we just created,
| | 02:54 | and it will appear at the end of our list.
| | 02:56 | I'm going to click on it.
Right now, it's pretty big.
| | 02:59 | So I am going to create a much smaller
brush, and when I paint it does that.
| | 03:03 | So let's undo that.
| | 03:04 | I am going to go into my Brush controls, I am
going to bring up the brush panel right here.
| | 03:10 | There is my Brush panel, which is going to
automatically show me the currently selected brush.
| | 03:15 | I am going to give it a little more spacing
and increase the spacing to it so I get nice
| | 03:19 | individual tips just like that,
maybe a little more spacing right there.
| | 03:23 | Now I kind of looks like
caterpillar or something right there.
| | 03:27 | That's because it's just
laying down tip on top a tip.
| | 03:29 | I am going to go in there and go to my shape
dynamics where I am going to turn off my pen
| | 03:34 | pressure, but I am going to do is size jitter.
| | 03:36 | So now I have a little variation in the
sizes, and I am going to change my angle.
| | 03:39 | I am going to send that all the way to 100%.
| | 03:42 | So now you can see what's
starting to happen there.
| | 03:44 | I am getting a little
spacing kind of a thing happen.
| | 03:48 | Say OK, and I am going to make my brush a
little smaller, I am going to bring down the
| | 03:52 | Opacity, bring it down to
about let's say maybe about by 20%.
| | 03:57 | So we are going to say that there
is a smoke stack right back here.
| | 04:01 | So I am going to go in there and start to
draw these little tones right in there like
| | 04:04 | that, and I draw a couple right in here,
make my brush a little smaller, and we'll draw
| | 04:09 | a couple back here and smaller
still and draw a couple back here.
| | 04:16 | One right there and one right there.
| | 04:21 | Now I am going to make my brush a little bigger now,
and I am going to bring down the opacity to about a 20%.
| | 04:26 | And I start to draw more little touches
right in there of my smoke couple in there, make
| | 04:33 | it a little smaller and throw some in here,
maybe a little bigger just couple right in
| | 04:37 | there, and we'll throw a couple
in here and a couple in there.
| | 04:42 | I will make it even bigger, and we'll bring
down the opacity all the way down to about
| | 04:47 | 10% maybe even lower than that just so
that we get a little hint, and we just throw a
| | 04:51 | couple, last little touches of the smokes
just as it starts to dissipate the way from
| | 04:56 | our chimney, make a little smaller and
throw a couple in there, like so, and a couple in
| | 05:01 | there, and we are just going to throw enough
in there so that we start to see it distinctly
| | 05:05 | against the sky right into that area there.
| | 05:08 | They are much smaller.
| | 05:10 | I don't have to worry about our building here
because of the fact that it's a layer behind
| | 05:14 | the building so they are not going to cover
our building, and we are just going to throw
| | 05:16 | that smoke right up in there, and there
and then when we pull back to the full scene,
| | 05:22 | and we'll go to full-screen on this, and
there we see that we now have our completed scene,
| | 05:26 | complete with the life on the chimney and a
little guy sitting up really late at night
| | 05:31 | thinking up all these cool
stories and painting about them.
| | 05:36 |
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|
|
3. Castle in the SkyIntroduction| 00:00 | In this chapter we are going to take a
fairytale castle and put it on a large chunk of land
| | 00:06 | floating up in the sky.
| | 00:08 | Kind of surreal scene, but really easy
to create once you have all the elements.
| | 00:12 | Let us see how it's done.
| | 00:15 |
| | Collapse this transcript |
| Creating the castle| 00:00 | Here we see the castle that's
going to be floating in the sky.
| | 00:03 | It's a cloudy overcast day and it's winter time.
| | 00:07 | So you notice that all
the trees are now dormant.
| | 00:09 | We need to bring those trees to life
and take this castle and bring it to life.
| | 00:13 | Now the first thing we need to do is to
separate this castle from the background.
| | 00:17 | Now I have created an
alpha channel for that purpose.
| | 00:20 | The chapter on creating alpha channels will
show you exactly how this alpha channel is
| | 00:24 | created, but there is my alpha channel.
| | 00:27 | So what I am going to do is I am going
to go over here and say Load Selection.
| | 00:30 | So right now it knows that that
other file is open back there. See?
| | 00:34 | It knows that as being an alpha
channel so it's bringing that one in.
| | 00:36 | So I am going to click OK
and my castle is selected.
| | 00:40 | Plus parts of the ground underneath it.
| | 00:43 | So I am going to go in there and
send this to a new Layer Via Cut.
| | 00:47 | We are going to actually take the
background and throw it away. We don't need it.
| | 00:51 | And I am going to go in
there and call this the Castle.
| | 00:54 | Now these trees right now are all dormant.
| | 00:56 | We need to go in there and
create some life in them.
| | 00:59 | So let's get rid of the alpha channel back
there, and I have a file here of some trees.
| | 01:04 | I am going to clone these trees into
this scene here to make it come to life.
| | 01:09 | But one thing about these trees is that they
are pretty solid area and here the trees are
| | 01:15 | going into areas that are open.
| | 01:18 | If we just take our Clone tool with whatever
is the default brush, and I click, let's say,
| | 01:23 | I am going to go from here and come over
here and start drawing them in--let's get a nice
| | 01:28 | big brush so we can see what's going to happen--I
start drawing it and they don't really look like trees.
| | 01:33 | You see that soft edge?
| | 01:35 | So you might say, well,
maybe I'll harden the edge? No.
| | 01:37 | That's not what you want.
| | 01:38 | What you want is a brush that's going to
look like all the tiny little leaves that are at
| | 01:43 | the edges of those trees.
| | 01:44 | So I am going to change to brush
that's being used by the Clone tool.
| | 01:48 | I am in the Clone tool, and I am going to
go in here, and I am going to choose one of
| | 01:51 | spatter brushes that come with Photoshop.
| | 01:53 | In fact, I am going to take this one right
here, which has a nice little clump around
| | 01:57 | it, and I am going into my brush engine.
| | 02:00 | Well, I am going to go in there and give
them a little bit of a space, just like that.
| | 02:06 | So now we got a little variety going on in
there, and I am going to go into Shape Dynamics
| | 02:10 | where I am going to turn off my pen pressure,
I am going to set up a little bit of a size
| | 02:13 | jitter, and turn the angles all the way to 100% so
now we have total randomness happening through there.
| | 02:21 | Let's close this up, and I am
going to make my brush a little bigger.
| | 02:23 | You can see that I am going to get a
nice little clump of trees just like that.
| | 02:28 | I am going to get all these individual little leaves
starting to happen on top of my trees, right there.
| | 02:33 | So I am going to start clicking all through
this tree to bring that tree back to life.
| | 02:37 | Then we are going to go in here
start drawing some of the stuff in here.
| | 02:40 | Now this dark area here is
because of where I am cloning from.
| | 02:44 | You know what I am going to do is I am going
to throw these trees into a whole new layer
| | 02:48 | to make sure they work like I want.
| | 02:50 | So let's go look at that trees layer,
and I am going to start from a fairly even
| | 02:54 | toned area like here.
| | 02:55 | So I am going to say
let's clone from right there.
| | 02:58 | So now when I come back over here, and I
start to clone, there you can see I am getting all
| | 03:02 | these nice light tones happening through there,
and you can see the individual leaves start
| | 03:06 | to look a little more realistic.
| | 03:07 | I am going to throw some of those light
tones into this dark tree here, and we will start
| | 03:13 | putting all of these other trees to life,
and let's pull back a little bit so we can
| | 03:16 | see what's going to happen here.
| | 03:17 | And I am going to just start to draw all
through here clicking away at all my trees.
| | 03:23 | I can make my brush a little bigger, if I
want, just to speed things up, and let's add
| | 03:27 | a little life to these trees here.
There we are getting those dark ones.
| | 03:30 | So let's undo those.
| | 03:31 | If we could just go to history and get rid
of those last bunch of trees we just created
| | 03:35 | there, bring that all down.
Let's start with a nice light area.
| | 03:39 | In fact, what I am going to do is I got my trees
here, I am going to tell the brush to not align them.
| | 03:47 | So I am going to pick it from the same spot
every time, but that might look a little too rough.
| | 03:53 | So I am going to go in there and just make
sure I get a nice even tone there, like here.
| | 03:57 | I am going to pick that up right from there.
| | 04:01 | Come over here and start to
bring my trees back to life again.
| | 04:05 | I am going to start clicking away get all these
nice light color trees and bring some into this area.
| | 04:12 | Now I am going to start to form a circle down
here, a circular area, because this is where
| | 04:17 | I am going to connect this
little castle to my other scene.
| | 04:21 | So I am going to go in here and just start
to cut all this up and all these trees, and
| | 04:26 | we can see where everything is
coming right to life just like that.
| | 04:32 | Now just to know exactly what I am creating here
I can go to my background, and I want to erase.
| | 04:37 | So I am going to hit my F key to bring me
to full-screen and pull back a little bit.
| | 04:42 | So I can see what's going to happen.
| | 04:43 | I am going to just erase this area down here
just so I can get a better sense of the shape
| | 04:49 | of my little castle here.
So that's going to be the shape right there.
| | 04:53 | So now that I have that I can go back to my
Clone tool and continue to add the trees along
| | 04:57 | this edge here just to soften it up.
| | 05:02 | Now that we got all the trees in place,
all the nice little foliage, we'll go back to
| | 05:07 | our trees, pick up some of
these light tones from right here.
| | 05:10 | In fact, let's pick this really
nice bright green right there.
| | 05:15 | Go back to our scene of the castle, and
we'll throw some of those light tones right into
| | 05:19 | there giving us these nice little lighter
highlights of trees right in that area there.
| | 05:24 | So now that we have all that let's
make that castle a little more alive.
| | 05:28 | So I am going to go into the layer of the
castle right there, and let's put those light
| | 05:33 | tones in those trees right there,
there we go, and bring that one.
| | 05:38 | I go to layer of the castle it self, and I am
going to go into my Adjustments and say Hue Saturation.
| | 05:44 | I am going to pump up the saturation for the
castle, bring it up, make it nice and colorful
| | 05:49 | like that, and maybe
darken it just a little bit.
| | 05:53 | Pump up that saturation, click OK, and there we
see that kind of drab looking castle is now alive.
| | 05:58 | What I am going to do is I am going to take
these two layers, merge them together, and
| | 06:03 | I am going to go into my Transform tool and
right here I am going to rotate it so it's
| | 06:08 | nice and straight up and down.
| | 06:11 | And there we see that
our castle is ready to go.
| | 06:16 |
| | Collapse this transcript |
| Creating a floating island| 00:00 | In this movie we're going to take our
castle, with all the nice little trees around it,
| | 00:05 | and we're going to put it on top of an
island that's going to be floating in the sky.
| | 00:08 | Now here's a situation where I don't really
have an island laying around, especially one
| | 00:13 | that's floating in the sky.
| | 00:15 | So this is a case where we're
going to have to create one.
| | 00:17 | You don't have be a professional
photographer with a big giant studio, no.
| | 00:21 | I'm going to show you what I did.
| | 00:23 | I took a dead plant from my garden, and I
just raised it in my patio right here, I just
| | 00:27 | took couple of patio chairs and put them up on a
table, and some bamboo that shoot right across the top.
| | 00:33 | On one of the bamboo that shoots I just put
a large piece of white paper and on the other
| | 00:37 | one I put down the dead Azalea root ball.
| | 00:41 | I shaved it down a little bit just to get
the shape that I wanted, and using my little
| | 00:46 | Cannon G9 I shot the shot that we see here.
| | 00:50 | I'm going to go in there and select that
ball and separate it from its background and in
| | 00:54 | this particular case it's going to be easy,
because I made the background a pure white.
| | 00:57 | So I'm just going to go in
there and select that background.
| | 01:01 | Then I'm going in there and inverse that
selection so that the root ball itself is selected.
| | 01:06 | Just to make sure I don't have little white
haloes or anything like that, I'm going to
| | 01:09 | go into my selection, I'm going
to say Modify and Contract it.
| | 01:13 | I'm going to contract it about 2 pixels to
bring in that selection just to that edge.
| | 01:17 | I'm going to send that to new Layer Via Cut.
| | 01:22 | So there we can see that our
root ball is in its own layer.
| | 01:25 | Now I'm going to go in here, and I'm going to
move it down a little bit and erase this part on top.
| | 01:28 | Even though my castle is going to
cover that, I don't want to see it.
| | 01:32 | I'm going to give this a little more space.
| | 01:36 | Go to Canvas Size here and on the Height I'm
going to make it a full 20 inches, and make
| | 01:41 | the original down at the bottom here, click
OK so that my additional space will be on top.
| | 01:47 | Now that I have my root ball
ready to go, let's get rid of this.
| | 01:50 | I'm going to come over here to my little
castle, which was merged in the last movie.
| | 01:55 | I'm going grab that and
drag it into the scene here.
| | 01:58 | It will automatically fall right on top.
Now it's a little smaller. No problem.
| | 02:02 | We could either shrink this one
down or make the castle larger.
| | 02:06 | So I'm going to go in there
and make the castle larger.
| | 02:07 | So I'm going to drag it, my Shift key to
constrain it and then put it right up in there like that.
| | 02:14 | I'm now going to take the root ball, put
it in position where I want it, I'm going to
| | 02:17 | rotate it slightly just like that to get it
the angle that I want, and move it up a little
| | 02:24 | bit so it's right below my castle.
| | 02:26 | My castle and its trees are now
sitting on top of this root ball.
| | 02:30 | Now I want to give this a little more drama.
So what I'm going to do is I'm going to come
| | 02:33 | over here to my Burn tool, and I'm just
going to go in there and just start adding a couple
| | 02:38 | of little dark tones right through here.
| | 02:40 | I'm going to set this over here to my
Shadows so that I'm going to work with deeper tones
| | 02:45 | right in there. And I'm going to make it a
little larger and just kind of darken along
| | 02:50 | the edges right in here and maybe down in
here just to get some little wedges going
| | 02:54 | through this dirt down here. And just darken
it up along the edges right down in here like
| | 02:59 | that and it starts to add a little more drama to
my little island that's going to float in the sky.
| | 03:04 | So once I have it all together, I can now go
in and take this layer of the trees and the
| | 03:09 | castle and merge it down to the
layer holding the little island.
| | 03:14 | So let's merged visible
into one, and there it is.
| | 03:18 | Now in the next movie we are going to put
this into a nice little scene, but now we
| | 03:22 | see that we have our castle with its trees
resting on top of an island that's going to
| | 03:26 | be floating in the sky.
| | 03:31 |
| | Collapse this transcript |
| The final composite| 00:00 | In this movie we're going to finally put
our castle and its floating island into place.
| | 00:06 | I got another shot back here, it's another
one of my many hiking shots, in fact, there
| | 00:11 | is my nephew right there who hikes with me
and just took this shot looking out over the
| | 00:15 | mountains, and this is where our
castle is going to be floating.
| | 00:19 | I want to crop this, I want just this area here,
but we'll crop it after our castle is in place.
| | 00:24 | So I go back over to this file where I
have the layer with the castle and the island,
| | 00:27 | I'm going to drag that into my scene.
| | 00:30 | Now it's much larger, again these are all
shot at different times, different resolutions,
| | 00:34 | some are raw, some are not.
| | 00:35 | So what I'm going to do is I'm going to go
in here and resize this. So I'm going to hit
| | 00:40 | the F key, which is going to bring me to
full screen mode, and I'm going go in there and
| | 00:44 | shrink my view a bit so I can
get the whole scene of my castle.
| | 00:48 | I'm going to hit my Command+T, which is going
to bring my Transform tools and holding down
| | 00:52 | the Shift key I'm going to shrink it down,
and I'm going to hold down my Option key so
| | 00:56 | it shrinks down from the center.
| | 00:59 | And I bring it into place, just like this, and make
it a little smaller right there and put it
| | 01:03 | into position right there.
| | 01:05 | Let's get in a little closer, we see we that we
got these little white things happening in there.
| | 01:10 | Now I can erase it, or I can go in there
and colorize it, I'm just going to erase those
| | 01:14 | because that's a rough area in
there, so we don't really need those.
| | 01:17 | Now I want it to be even rougher because I
see that some of those spots are kind of smooth.
| | 01:22 | So from my Eraser I'm going to use that same
brush I've been using, that rough edge brush,
| | 01:27 | but I'm going in here and use one of
these smaller ones like that one right there.
| | 01:32 | I'm in my Eraser tool so in my Brush panel,
I'm going to go in there and modify that like
| | 01:37 | I did with the others.
| | 01:38 | I'm going to go in there, give it some
spacing, just like that, and then Shape Dynamics, turn
| | 01:42 | off my Pen Pressure and change the Size and
the Angles so they are all nice and uneven
| | 01:49 | there, so now I got this
very rough kind of an edge.
| | 01:51 | Make it a little bigger, and we'll get a little closer
here so we could see what's going to start to happen.
| | 01:56 | I'm going in there and start erasing from
that area all the parts, and you see as I
| | 02:01 | erase it's making it even rougher now
along the edge, which is what I want.
| | 02:05 | I want it to be even rougher
than my original root ball.
| | 02:08 | So as I erase the parts that I want you can
see that it's giving me this nice really rough
| | 02:13 | edge, right in there, and let's go into some of these
parts that are clean, and let's roughen those up as well.
| | 02:19 | And there we go on this side, and we clean
this up and roughen it up at the same time
| | 02:24 | right there, so we just go in there and just
get rid of this whole little horn right here.
| | 02:29 | There we go, we've got that happening there,
and there just soften that up a little bit.
| | 02:34 | So there's our root ball in place.
| | 02:36 | So now we pull it back a little bit, and we
could see the scene has started to come to life.
| | 02:40 | So now I'm going in there and crop this.
| | 02:43 | So the area that I want is pretty much
this area right in here just like that.
| | 02:49 | I'm going to go in there and go ahead and
crop that, so there, now my image is starting
| | 02:54 | to come to life here, let's deselect it.
| | 02:57 | This is so saturated, I'm going to going go
in there and saturate the background as well.
| | 03:00 | In my Hue/Saturation I'm going to just go
in there and say pump up that Saturation so
| | 03:04 | I start getting that same kind of
vibrant colors that I'm seeing here.
| | 03:07 | This is like a fairy tale thing, so we want
these nice exaggerated colors, click OK, and
| | 03:12 | now we see that we're getting
all this color happening in here.
| | 03:15 | As a final touch this castle is floating in
the sky, so what I'm going to do is a layer
| | 03:22 | on top of the background right here which
I'm going to go ahead and call shadow, our
| | 03:27 | island is going to be
casting a shadow down below.
| | 03:30 | Now we see that the light is coming from down
here somewhere, and we see these strong shadows
| | 03:33 | that's something to consider
now that we have it in place.
| | 03:36 | We might want to go in there and play
around with these shadows in here as well so that
| | 03:40 | they follow the light of the
scene we've brought it into.
| | 03:42 | But right now let's deal with the shadow.
| | 03:45 | I got black for the foreground, I get my paint
brush, and I'm going to get that spatter brush,
| | 03:50 | and I'm going go into my brush engine.
| | 03:53 | And here we can kind of leave it like that,
it doesn't matter, we'll give it just the
| | 03:57 | angle so that it's a little different.
| | 03:59 | Then down here start painting with black,
and let's bring that Opacity all the way up.
| | 04:03 | And we're going to start painting our shadow
right into this area down here just in there
| | 04:09 | like that, there is our
shadow that this thing is casting.
| | 04:13 | You notice that I'm getting away from this
part right here because that's a wall there
| | 04:16 | that we want to keep.
| | 04:18 | So we'll erase any parts that we don't need,
so let's just keep going, and I'm going to
| | 04:22 | start clicking away just like that.
| | 04:25 | And I'm going to take that and put that in
Multiply mode and reduce its Opacity, so it
| | 04:31 | starts to become a much
softer shadow down below.
| | 04:35 | The way this shadow would work since it's way down
below, it should get a little softer in certain areas.
| | 04:40 | So let's get a little closer
and start to see our shadow.
| | 04:43 | What I'm going to do now is I'm going to give
that shadow a layer mask, and that layer mask
| | 04:48 | I'm going to go and get a nice soft edged
brush, make sure that Hardness is brought down.
| | 04:53 | And I'm going to go in there, and I'm going
to bring down the Opacity to about 50% and
| | 04:58 | using black I'm going to start to paint
that shadow to soften it up and make sure that
| | 05:02 | it's not seen at all on
the top of these rocks here.
| | 05:05 | So let's go in there and just paint it out
completely, I'm masking it in the mask right
| | 05:10 | there so it's not visible through that area.
There we have this long shadow down in there.
| | 05:15 | Now, in the castle itself, now I'm going
to go in here, and I'm going to create these
| | 05:19 | shadows in a separate layer, I
can easily adjust them if I need to.
| | 05:24 | I'm going to go in here, and I'm going to
paint some black right on top of this and
| | 05:29 | paint some blacks right up in here.
| | 05:32 | And then I'm going to go in here and
very carefully start to paint some blacks.
| | 05:36 | Now I'm not going to do it that careful
because in fact this just for demo purposes but I'll
| | 05:41 | go in there and start to darken these
little areas right in here just for this side of
| | 05:46 | my castle and some of these areas in here.
| | 05:49 | And you can see I'm going a little over it,
it doesn't matter that I'm going over because
| | 05:52 | of the fact that this will all be masked.
| | 05:54 | So now I got all these darker tones on the
sides of my castle right through here, get
| | 05:59 | all this nice and dark.
| | 06:00 | Then I'm going to go ahead and clip this,
Option-click on these two so that they clip
| | 06:04 | into place, and there we could see that now
it's been hidden inside of the actual area
| | 06:09 | of the castle, and I'm going to bring down
the Opacity just a little bit and put that
| | 06:13 | in Multiply mode, so it's going to just
darken those tones, and then we can pull back, and
| | 06:17 | we look at the overall scene, and we see
that our castle is now floating in space, right
| | 06:22 | above our land, and we have a
whole little fairy tale scene.
| | 06:27 |
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|
|
4. High CliffIntroduction| 00:00 | In this chapter we're going to create a very
high cliff with an entire terrain on top of
| | 00:05 | it, with a little castle, same little castle
we've seen in some of the other movies in this series.
| | 00:10 | Now, I look at things and sometimes see
something else. Kind of like when you look at clouds,
| | 00:16 | and you see a little horse up there or
something floating in the clouds. Well I have here a
| | 00:21 | tree trunk, and that tree trunk is going to
become the basis of the cliffs, and then we're
| | 00:26 | going to build all the elements around it.
So, let's see what happens.
| | 00:31 |
| | Collapse this transcript |
| Creating the basic cliff| 00:00 | Now here we see a tree trunk.
| | 00:02 | When I looked at this, I didn't see a
tree trunk I actually saw it as this cliff.
| | 00:06 | Now to isolate it I went in
and created an alpha channel.
| | 00:11 | The special movies on explaining an alpha
channel will tell you how this was created
| | 00:14 | but this isolates that little tree
trunk from the rest of scene in back.
| | 00:18 | So I'm going to load that channel to make
it a selection, I'm going to send this over
| | 00:22 | to a new Layer Via Cut.
| | 00:25 | Now it's in its own layer and still it's like
a tree trunk but now if you squint your eyes
| | 00:30 | a little bit you could almost see a cliff
here with a big city in the back ground, you
| | 00:34 | can just let your imagination go to town here.
| | 00:37 | Now what I'm going to do here is I'm
going to start to add a new top to it.
| | 00:42 | So I have here another file that I have, which I
called river because it has this river right there.
| | 00:49 | This is a faraway scene kind of like our
little cliff is faraway, so this is going to be the
| | 00:54 | element that I'm going to bring into this scene.
| | 00:56 | So I'm going to take this whole thing
and bring it into here. So there it is.
| | 01:00 | it's much bigger than I want so what I'm
going to do is I'm going to in here and go back
| | 01:06 | to the layer with the cliff.
| | 01:08 | Let's turn this one off for now, and I'm going
to take the layer of the cliff, and I am going
| | 01:12 | to surround this little part up on the top
here, I'm just going to go and surround this
| | 01:17 | little general area being pretty rough about
it just to get a general idea of that shape,
| | 01:25 | there's my basic shape up there.
| | 01:27 | So now I turn this layer back on and what
I'm going to do is with that selection made
| | 01:31 | I'm going to go in there and say give it a mask.
So now it's contained inside of that area.
| | 01:37 | Let me hit the F key to bring me to full
screen so I can pull back a little bit, so I could
| | 01:42 | see the extent of the overall
file itself, which is right here.
| | 01:47 | Here I'm in a mask, now I'm in the layer itself.
| | 01:49 | I'm going to unlink them, and the reason for
that is I'm going to resize that main image to
| | 01:55 | fit my new top there, and if they
link, the mask will be resized as well.
| | 02:00 | I want the mask to stay
exactly where it is so I unlink them.
| | 02:04 | So now any modifications I do to the layer
are not going to affect the mask, the mask
| | 02:08 | will remain in place.
| | 02:09 | So now, Command+T to bring up the actual
handles, and you see they're much bigger than what
| | 02:14 | I have, so let's escape.
| | 02:16 | These files are in their original size in
which they were created so now let's Command+T,
| | 02:20 | now we could see it.
| | 02:22 | So I'm going to hold down my Option and
Shift key to constraint it and size it from the
| | 02:25 | middle and bring it down to a manageable size
like that, put it centered in there, hit Enter
| | 02:31 | that make it happen.
| | 02:32 | And then I'm going to go to full screen here, so now
I can kind of pretty much see my entire scene there.
| | 02:37 | So I'm going to move it into place.
| | 02:40 | Now I want that river just about there and
yes that river is going to be cascading down
| | 02:47 | in the form of a waterfall
coming off this side of this cliff.
| | 02:51 | So what I'm going to do right now is I want
to keep the mask as is so let's just get a
| | 02:56 | little closer and what I'm going to do is I'm
going to take that mask and enhance it a little more.
| | 03:01 | So now what we are going to do is
we are going to adjust this mask.
| | 03:03 | So I got myself a paintbrush with a nice
soft edge, make sure it's a nice soft edge.
| | 03:07 | I am going to switch to the mask, and I want
to expose so I'm going to use it white, I'm
| | 03:12 | going to paint with a soft edge brush using
white, make sure my Opacity is brought back
| | 03:16 | up to 100%, and I'm painting in the mask.
| | 03:19 | So as I start to paint on the edge
you see that the area is coming back.
| | 03:24 | I'm starting to expose more of
what was hidden before by the mask.
| | 03:27 | So I'm just going to kind of go right up to
these little edges right in here, like so.
| | 03:32 | So it's getting exposed into this whole
area right through here where I want it to be.
| | 03:37 | Put the little river going right into
that area, right in there like that.
| | 03:42 | We'll just kind of bring this whole area back in
here through there and right in through here as well.
| | 03:49 | And let's just cover up
that little hole right there.
| | 03:51 | All right so that's starting to get there.
| | 03:55 | This we are going to completely change
so we are not going to worry about that.
| | 03:58 | There is our river, that's what we needed.
| | 04:00 | Now this grassy area I'd like to
expand that into this area here.
| | 04:04 | So I'm going to take my Clone tool, and I'm
going to set it up with soft edge brush as well.
| | 04:09 | And I'm going to clone from right here,
and I'm going to pick up this green and start
| | 04:13 | putting it and make sure
I'm into the layer itself.
| | 04:14 | I'm going to pick up the green and just
kind of throw it into this area right in here.
| | 04:18 | So I'm just kind of getting rid of that little
edge of water that we are seeing right in there.
| | 04:23 | And that will expand this a little into here
just so we get a little more grass going there,
| | 04:28 | roughen that up there.
| | 04:29 | I'm going to put another set of grass in here
so we are not going to worry about that any more.
| | 04:33 | So now we got the river
going along the top of our cliff.
| | 04:37 | When we pull back we see that in our basic
scene we're starting to get the sense that
| | 04:41 | this is a big high plateau somewhere.
| | 04:43 | In the next movie we are going to start to
add all the details that go to the top of this cliff.
| | 04:50 |
| | Collapse this transcript |
| Including cliff details| 00:00 | Now in the last movie we added this terrain
to the top of our tree trunk to make it look
| | 00:05 | like it's a plateau.
| | 00:07 | Now taking that away we see that there is
this really great cracks going through the
| | 00:12 | tree trunk. I'd like to bring some of those
back so that they show through our terrain here.
| | 00:19 | So what I am going to do is I am going to
go in here, and I am going to turn that off,
| | 00:22 | and I am going to make sure I'm in the layer of the
trunk here, and I am going to go look at the channels.
| | 00:26 | I am going to look at the
Red, the Green, and the Blue.
| | 00:31 | Now the Green has nice detail going on
this, nice and sharp, that's the one I want.
| | 00:37 | I am going to duplicate
that layer to an Alpha Channel.
| | 00:41 | Now in this Alpha Channel here what I am
going to do is I am going in there, and I am going
| | 00:45 | to invert it, Adjustments > Invert.
| | 00:49 | So now I see I got these
nice white tones in there.
| | 00:51 | So I am going to go into my Levels, and I am going
to start to darken my darks and lighten my lights.
| | 00:59 | You see how I am starting to get a really
strong definition of all those little cracks
| | 01:05 | in my tree trunk here.
| | 01:08 | Go all the way in there and so I click OK, so
now these areas here are really nice and strong.
| | 01:14 | Now that I have this what I am going to do
is I am going to go back to my color, and
| | 01:19 | I am going to load that selection.
| | 01:21 | I am going to just do it up here so you
could see I am going to say Load Selection, I am
| | 01:25 | going to say I want to use the Green copy,
that's the one, and I am going to say load it.
| | 01:30 | I am going to go back to my Layers and
turn on that layer, and let's see it.
| | 01:37 | What I want to do is work in the mask.
| | 01:41 | Now remember that black hides in the mask,
so I am going to paint with a black brush.
| | 01:45 | Now I am going to start to paint in to
those areas of those particular tones.
| | 01:51 | Let's get a larger brush, and I am going to
start to paint in, and as I paint in you could
| | 01:55 | see that I am starting to
expose those areas of those cracks.
| | 01:59 | And now let's just hide those marching ants,
we just got the main areas so we see where
| | 02:03 | they are so that way we can
see better where we are working.
| | 02:06 | So now I am going to start to go in there
and continue to paint where I want my cracks
| | 02:10 | to appear right through there just like that,
and now we have this nice texture going on
| | 02:15 | to the top of our cliff.
| | 02:17 | We've brought back this big drop here and
a couple of little cracks in front and then
| | 02:22 | this nice crack going through there and
then this main little valley being caused right
| | 02:26 | in there, which at this point it's a valley,
because this is a big plateau on top here.
| | 02:33 | There we see that we've brought back
all the details on the top of our trunk.
| | 02:38 |
| | Collapse this transcript |
| Adding plateau details| 00:00 | Now in this movie we are going to start
adding all the rest of the trees that are going to
| | 00:04 | form this entire landscape on top here.
| | 00:07 | Now I've got quite a few other files open
that are just pictures of trees that I've
| | 00:11 | taken during some of my many hikes and
here is a good start for, right here.
| | 00:16 | I am going to go in here and select this sky
area right there, and I am going to Shift-select,
| | 00:23 | get this white and get these darker tones in
here, these blues right in there, and let's
| | 00:28 | get this blue up here.
| | 00:30 | So now that I have that I am going to go ahead
and Inverse this selection, I've got my trees
| | 00:34 | are selected, I'm going to drag that into
position right on top of my painting here.
| | 00:40 | It shows up pretty big, again these files
haven't been modified so we are seeing them
| | 00:45 | in their original state.
Now right here I could see I get this trail.
| | 00:49 | Well, I don't want that trail, so
let's go in there and clone it out.
| | 00:52 | So I am going to just take area right in
front here and just going to just go right through
| | 00:57 | this little trail and blot it out.
| | 01:00 | So I am using a soft edge brush and just
cloning the areas around it just to get rid of it,
| | 01:05 | that's pretty close.
I am going to pull back, and I can resize this.
| | 01:10 | So I go and do this I am going to go in
there and just resize this down to a manageable
| | 01:15 | size that I want just
going to be about like that.
| | 01:18 | Let's go do a full screen view here, and
let's put these trees in position where I am going
| | 01:24 | to want them right about there, so I
am going to shrink it down even more.
| | 01:29 | And let's just shrink these guys all the way down
to about where I want them right about like that.
| | 01:35 | That's good for now, I am going to have to
give them a little mask so give them a layer
| | 01:39 | mask, and I'll start to paint out
all the parts that I don't want.
| | 01:42 | So we're going to start to let this blend
in to this foreground, right through here,
| | 01:47 | and we want those little cliffs to show
through right through there, and we might want to
| | 01:51 | get rid of these trees
altogether just these on the side here.
| | 01:56 | And let's just get rid
some of the stuff in here.
| | 01:59 | Now although I go in there and get really
tight on this I can get a paint brush, one
| | 02:05 | of the spatter brushes, this
would be a good one right there.
| | 02:08 | I'll just make it a little smaller, I'll
just start to paint into this area right in here.
| | 02:15 | Just to get those trees to start to look
like they are in fact soft edged trees against
| | 02:20 | our background, and let's get rid of these guys,
because they are inside of our cliff there.
| | 02:27 | And a little smaller, and we just
paint right through here, there we go.
| | 02:32 | I just pull back, I got some more trees.
That was trees now we got trees2.
| | 02:39 | Just going to grab this little section right
in this area right in here, that's going to
| | 02:45 | be good maybe a little longer.
| | 02:46 | And we are going to dump the sky so I am
going hold down my Option key and click up here
| | 02:52 | to make sure we get rid of these
bluish tones that we don't want those.
| | 02:56 | Now that we have that I am going to hit F
key to bring me to full screen, I am going
| | 03:00 | to grab that and drag that into here
as well, and again they are really big.
| | 03:05 | So let's go in there and size
this one down to the size we want.
| | 03:09 | So I am going to drag it, my Shift key to
constraint it and put it right up in there like that.
| | 03:15 | Now we have that manageable let's go look
at that, and let's see what that looks like,
| | 03:21 | we'll put this somewhere right about here,
in fact let's do a little Flip Horizontal
| | 03:26 | on it for various reasons.
| | 03:28 | One, the shadows, you see that our shadows
are all coming from the light source over here.
| | 03:33 | I had to flip it because now the shadows
are on that side so that is where we want.
| | 03:37 | So let's go and shrink it down some more
because these trees are even further away.
| | 03:41 | So we're going to put these way back in
here right there, because they are way in back.
| | 03:47 | And we are going to mask that out a little
bit, let's just keep adding the trees for now.
| | 03:51 | Now let's go see number 3.
| | 03:54 | Now here we have some nice little
croppings down below here, these are kind of cool.
| | 03:58 | So what I am going to do is I am going to
just select right through a nice little section
| | 04:02 | right through here and get
these guys right through there.
| | 04:08 | And let's add to this, and it's nice we have some
little cracks happening here like in our general scene.
| | 04:16 | So I am going to take that and drag that into
our overall scene again right in there, these
| | 04:22 | aren't that big so we can kind of
resize them right off the bat right here.
| | 04:26 | And let's start to get these guys down and
these guys are going to be right down here
| | 04:30 | in this little area, let's bring
them down a little more like that.
| | 04:35 | What I am going to do here is
I am going to load that mask.
| | 04:40 | That mask is going to allow me to go in
here and start to actually give that one layer
| | 04:44 | the mask and mask that area out.
Now, I am going to bring back some of it.
| | 04:49 | So I am going to use white, and I am going
to start to bring back some of this tree right
| | 04:54 | in here, right into that area,
and bring back some of this tree.
| | 05:00 | And then with black and a soft edge brush
I am going to start to go in here and get
| | 05:06 | rid of the stuff that I don't want.
| | 05:08 | So I am just going to start to kind of
soften up these edges right through here, and we
| | 05:14 | start to get this nice sense of our area
of the plateau up there in that corner.
| | 05:20 | We are starting to get there.
| | 05:23 | One more set of trees down here, let's go see
number 4, let's see what that looks like.
| | 05:28 | Now this is a nice big plain back here, so I am
going to select this whole section right back in here.
| | 05:35 | And like before I am going to eliminate the
sky so I am going to Option-click on those
| | 05:39 | areas of the sky, and that background
scene way back there, make sure none of that is
| | 05:44 | selected, and I am going to
drag that into my scene here.
| | 05:48 | I am going to shrink this down.
This is going to be way in the back.
| | 05:54 | Hit Return for now, and I am going to make
sure that that layer is, in fact, behind all
| | 05:58 | the other trees, I am going to put it
back here, there it is way back in there.
| | 06:04 | And do we have anymore trees that we might
want to use? Let's just go down here, and
| | 06:07 | let's see number 4.
| | 06:09 | You know what we could take some of these
trees, right here, let's take some of these,
| | 06:14 | this little batch right in here, and
let's drag those into there as well.
| | 06:20 | Those are going to be way in
the foreground down in here.
| | 06:24 | Let's shrink them down a little bit, and that's
going to be this little batch of trees right in there.
| | 06:30 | Let's go in there and start masking these
guys all up, let's see the whole scene, we
| | 06:35 | can get rid of this guys back here,
we don't need to see the trees.
| | 06:38 | So now we are going to start to mask these
guys so that they are all going to fit into place.
| | 06:42 | Say Auto Select so we can
select that layer right there.
| | 06:45 | So now, I am going to select the layer behind it
because then I am going to put a structure here.
| | 06:50 | So what I got is our little castle
in the sky from before, right there.
| | 06:55 | So what I am going to do is I am going to
go to the Layers, and I am going to turn off
| | 06:59 | these two layers, and I am going to cut my shadow
layer, I am going to go ahead and merge that down.
| | 07:03 | It's in the right
direction so that's pretty good.
| | 07:07 | And I am going to bring it into my scene,
and we'll shrink it down just a little bit.
| | 07:13 | Move it down so we can see what we are doing,
and let's just shrink it down just a little
| | 07:17 | bit, put it into position where we
want it right in there like that.
| | 07:23 | Now I am going to start to put this whole thing
together and make it all become one big giant plateau.
| | 07:28 | I am going to go in here and give this a mask,
and in that mask I am going to paint away
| | 07:34 | all this bottom area,
don't want any of that stuff.
| | 07:38 | There we start to expose our
little crevices in the terrain.
| | 07:42 | There is our little castle in position, so
now we are going to select this layer here,
| | 07:47 | and let's go in there and give that a mask, and
you notice that I am masking rather than erasing.
| | 07:52 | The reason for that is that it allows me
to go in there and be little more selective,
| | 07:57 | and it also gives me the ability to change my
mind later on if I want to keep some of this stuff.
| | 08:01 | Now this guy really belongs a little further
out here like that, and we'll give it a mask
| | 08:08 | so we could start to mask out the areas
that we don't want there, like down in here, get
| | 08:14 | some of that terrain showing
back up right into that area there.
| | 08:18 | And finally, we are going to
go in here and select this guy.
| | 08:22 | We have a mask for him so we'll just go and
continue that mask to expose some of these
| | 08:26 | other trees in the background, and we are
also going to desaturate that one, which is
| | 08:30 | going to go in there and get that layer
and desaturate it a little bit because it's a
| | 08:33 | little stronger than all of the others, so we're
just going to bring it down just a tad like that.
| | 08:38 | So there we see that we now start to have
this entire scene on top of our plateau with
| | 08:44 | a little river running through it.
| | 08:46 | In the next movie we are going to create a
waterfall cascading right down the side of the cliff.
| | 08:53 |
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| Creating a cascading waterfall| 00:00 | So now, going to go in here and
start to finish our entire scene here.
| | 00:05 | Now, the beauty of having everything in
layers is that I can still go in there and make any
| | 00:09 | adjustments at any time. So like, for instance,
this particular area here is not looking quite
| | 00:13 | like the others, so I might want to go
in there and do some adjusting to it.
| | 00:18 | So I am go in there, and I am going to
select that layer, that layer right there, and just
| | 00:21 | go see that--select that particular layer.
| | 00:24 | So I can go in there and start to play with
that one, and I'm going to do it in say--if
| | 00:28 | we go into Hue/Saturation--well I am going
to go in there and kind of change those colors
| | 00:32 | a little bit and darken a little bit, so it starts to
become closer to its neighbors right there to the side.
| | 00:37 | Bring down that Saturation just a tad right
in there and bring it more towards those tones
| | 00:43 | right in there and darken it just a little
bit more just a little more like that, and
| | 00:48 | you see that it starts to become
a little closer the ground plains.
| | 00:51 | And these particular trees they are not as
bright, so I go in there and select that particular
| | 00:56 | range right there. And what I am going to do
is I am going to select that particular area
| | 01:01 | for that bunch right there I am going to say,
Inverse that, so I can go in there, and I am
| | 01:04 | effecting just those dark areas.
| | 01:06 | Well, I am going to go in there to Hue/Saturation,
I am going to pump up the Saturation in those
| | 01:10 | areas, lighten up a little bit, just a
little, and start to form closer to Greens that we
| | 01:16 | have elsewhere, click OK, and now it all
starts to get a little more uniform, and that area
| | 01:22 | starts to all start to work together.
| | 01:24 | These we could also go in there and start to
desaturate those a little bit if we want to.
| | 01:29 | But you could do that on your own, because
you are going to have these files, and you
| | 01:32 | can create this whole thing yourself.
| | 01:33 | What we need to do now is to have this water
run off somewhere, because you can see that
| | 01:38 | river comes right up to the edge
so we need a water fall coming down.
| | 01:42 | Now in my many hikes I
have taken shots constantly.
| | 01:46 | So right here I have a shot of a waterfall.
| | 01:49 | So, I go to my Channels, and you could see
that I have an Alpha Channel for it already.
| | 01:53 | Now the way I created that Alpha Channel is
I looked at the individual color layers, I
| | 01:58 | looked at the Red, I was looking at the
Green, and the Blue to find the most contrast, and
| | 02:03 | you see that in the Blue channel, in this case, is
where you really see the waterfall against the rocks.
| | 02:09 | Red, kind of together there, Green not much
difference, but the Blue, the waterfall really stands out.
| | 02:15 | So I duplicated the Blue layer, giving me
an Alpha Channel based on the information of
| | 02:20 | that Blue layer, there is a Blue copy, and
I am in that layer right now. So what I am
| | 02:24 | going to do is I go into my Adjustments and
Levels I am going to punch up all those tones,
| | 02:30 | I am going to go in there and make all those
dark tones real dark and then lighten up the water.
| | 02:35 | So I go in there, and I start clicking on
these guys and make them darker and darker.
| | 02:38 | Once I have a nice configuration that I want I
click OK and then using a black paint brush
| | 02:44 | I am going to go in there, and we get a
nice hard edge brush like this, harden it just
| | 02:49 | a little bit, and I am going to go in there
and start painting away all the area around it.
| | 02:54 | I can do it quickly by selecting the entire
area like this and then go in ahead and filling
| | 02:59 | with black and so on, let's
deselect this little area.
| | 03:03 | I'll go in there and just go ahead and fill
that with little black, click OK, and I start
| | 03:09 | getting rid of all this so that what I am
left with is this little Alpha Channel here.
| | 03:14 | So now going back to the color channels, I
am going to go head and load that by either
| | 03:19 | Command-clicking here or coming up here and
saying Load Selection at which time it's going
| | 03:24 | to show me Blue copy, that's the one I
want, click OK, and now it's selected.
| | 03:29 | So with the waterfall selected I come over here, and
I make sure I am in the layer that I want to cover.
| | 03:34 | So I go see my Layers, and I want to cover this
layer here, so I am going to select that layer.
| | 03:40 | I make sure I have Auto Select selected
for my pointer tool, and then I click on that
| | 03:46 | and then selected that layer right there, which is
the basic river or the plateau layer right there.
| | 03:51 | So now when I bring something in it's
going to fall right on top of that layer.
| | 03:55 | So I go back to my waterfalls, and I grab
this and drag it into this layer here, and
| | 04:00 | there is the waterfall, right there.
So now, I am going to shrink it.
| | 04:04 | Command+T to bring up the tool for scaling,
and I am going to put it right so that this
| | 04:09 | splash at the bottom is gone,
we don't see that right.
| | 04:13 | So I am going to scale it now, some more, but
this time I am going to do it non-uniformly.
| | 04:17 | You can see that I am going to scale it this way,
I am going to scale it like that just like that.
| | 04:22 | I am going to scale this in here, so it
starts to take on the basic shape of my waterfall.
| | 04:29 | So I am going to just keep scaling it a
couple of times till I have it just where I want
| | 04:32 | it, right in that little area, right in there.
| | 04:35 | Okay, and we'll just grab this, no turning,
there we go just about like that, make that
| | 04:42 | happen, and now I got the waterfall in place.
| | 04:45 | Now, right in there it's not quite looking
right so I am going to get in a little closer
| | 04:49 | here, and now that I am really close I can
probably shrink it just a little bit more
| | 04:54 | right in there, now it's perfect the way we
want it, and I am going to give that layer a mask.
| | 04:59 | So I give that layer a mask, and using black,
with that soft edge brush as before, I am going
| | 05:05 | to go in there and just paint into this area
to make the waterfall just appear where the
| | 05:09 | water is right there like that so we have
that nice little area happen, and then we
| | 05:15 | could see that now we have the cascading
water coming down from the edge of the river.
| | 05:19 | Now, right there that doesn't quite look right,
it's in its own layer that's the beauty of all this.
| | 05:23 | So I can go back into my adjustments and
bring it right into that area perfectly, and now
| | 05:29 | we have a true looking waterfall.
| | 05:34 |
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| Building a rock cliff| 00:00 | In all the previous movies
we've gotten to where we are now.
| | 00:03 | And looking at it, our cliffs are really
starting to look like a tree trunk again.
| | 00:09 | So what we are going to do is we are going
to take this section here and change it a bit.
| | 00:13 | So what we are going to do is
add some rocky surface to this.
| | 00:17 | Now in all my travels I take shots of everything, and I
have here a nice stone facade, nice texture of stone.
| | 00:24 | This is going to be perfect for our rock cliff,
and you notice that these shadows are going
| | 00:28 | in the right direction,
it's just where we need them.
| | 00:31 | So we got this little curve here so that's
going to be a nice little area to work with.
| | 00:35 | So what I want to do is I am going to take
this section right in here, I am going to
| | 00:40 | drag that into our scene.
| | 00:43 | Now it's quite large, now I want to make
sure it's in the right place so let's make sure
| | 00:47 | that it's in front of our tree trunk
right down there, that's where it belongs.
| | 00:51 | So now you see it's going to fall and in front of
our tree truck right there, there it is in place.
| | 00:57 | So now, what I am going to do is I am going to
shrink it down to the size that we want, bring it down.
| | 01:03 | There is that nice little curvature that
we saw in that scene there, so I am going to
| | 01:06 | just put right behind the
waterfall right there like that, click OK.
| | 01:10 | Now we see that we have a completely new structure back
here, which almost matches what's happening back here.
| | 01:17 | Now it's a little bright, so I am going to
into my Hue/Saturation where I am going to
| | 01:20 | bring down the Saturation a bit so it's not so strong,
it start to match more what's going on over here.
| | 01:24 | I am going to darken it just a tad so it
starts to look more like the same kind of material
| | 01:29 | but just a little rougher.
| | 01:31 | Click OK, and we do have this shadow.
| | 01:34 | So what I am going to do is I am going to
take my Burn tool, and I am just going to
| | 01:37 | hit the F to bring us to full
screen, so I just brush where I want.
| | 01:40 | And I am going to go in here, and I am just
going to very lightly go in here, and let's
| | 01:45 | set this up to the Midtones, make the brush
a little smaller, and I'm going to kind of
| | 01:49 | darken it behind the waterfall right in
there like that, and I'm going to darken some of
| | 01:53 | these areas in here a little more just to
give them a little more definition, and it
| | 01:57 | just darken that area behind the waterfall
just a little bit more, right in there like that.
| | 02:02 | And there we see that now our cliff
is starting to have a whole new life.
| | 02:06 | In the final movie of this particular chapter
we are going to add the background that this
| | 02:11 | cliff is living in.
| | 02:16 |
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| The final composite| 00:00 | In this, the final movie of the chapter, we
are going to put this beautiful little cliff
| | 00:05 | in an actual setting.
| | 00:06 | So I have another image open here, which I
call background, and that's going to be where
| | 00:12 | we are going to put our cliff.
| | 00:13 | Our cliff is going to be
coming up right into this area here.
| | 00:16 | So, I am going to come over here and what I
am going to do is I have all of my different
| | 00:20 | layers, there is the original background,
which just basically kind of look kind of
| | 00:24 | funny now like a little
Lilliputian kind of a town there maybe.
| | 00:28 | But we have all of these layers.
| | 00:29 | So what I am going to do is I am going to
select my top layer here, and I am going to
| | 00:32 | just say Merge Visible.
| | 00:34 | Now I am going to hold down my Option key
when I do this and before I do that let's
| | 00:40 | just do it just by saying Merge Visible.
| | 00:43 | See what happened, they all
got merged into a single layer.
| | 00:46 | I am going to undo that, and this time I am
going to hold down my Option key and Merge Visible.
| | 00:53 | Now you see what happened, it created a new layer
that merged all the layers below into a single layer.
| | 00:59 | Now the beauty of that is if at any time you
ever want to use any of these individual pieces
| | 01:04 | you still have all those original layers,
so you can go back and refer to pieces of
| | 01:08 | it that you might want to use somewhere else,
so you are basically creating a whole little
| | 01:13 | picture library for yourself based on all
of the pictures that you already used, but
| | 01:17 | now you can re-use pieces of them with masks
and anything that you might need to be able
| | 01:22 | to use this somewhere else.
| | 01:24 | So, I am going to take that layer, and we'll
call this cliff, that's my cliff layer, and
| | 01:29 | I am going to go in there, and I am going
to take that layer and drag it into our new
| | 01:33 | background, there it is.
| | 01:35 | I'd say good bye to our little cliff back
here, and then we'll put this one on full
| | 01:40 | screen, there is our little cliff, which I am
going to now enlarge to the scene that we want.
| | 01:45 | So I am going to go in there and say enlarge it,
and I am going to put it right down here, like so.
| | 01:52 | And I want to be about there,
right about that area there like that.
| | 01:56 | And there is my little scene in place.
| | 01:59 | Now, I want to go in here and crop this,
so I am going to crop this just like this, I
| | 02:05 | want to just see that background,
and that little area like this.
| | 02:09 | So I am going to say Crop.
Right, so now my cliff is going way down.
| | 02:18 | So what I am going to do is deselect it, and
I am going to go in there I am going to get
| | 02:23 | my Burn tool, and I am going to go in and
darken those lower areas, and I am going to
| | 02:29 | enlarged Burn tool, set the Midtones, and I am
going to go in there and just kind of darken down here.
| | 02:33 | Just make it little darker down there so
it's way down below, okay right down there.
| | 02:39 | Now, this tree here, this tree, I want that
tree to come in front, because it's right near us.
| | 02:45 | We are looking down into this deep column like
down here so I want to get this tree to come out.
| | 02:50 | So I am going to give the cliff a mask and
in that mask using black I am going to start
| | 02:55 | to paint my tree back into place.
| | 02:57 | And as I see where my tree is I can now go in
there and start to make it look more realistic.
| | 03:03 | So I'll get my brush, and I'll get one
those little brushes that we had before, one of
| | 03:08 | these guys, let's get one that's a little
looser, little lighter like this one right
| | 03:12 | here, or maybe that one right there.
| | 03:14 | And then I am going to go into my Brush
panel where I am going to modify it slightly.
| | 03:18 | I am going to give it a little spacing just
a little spacing right in there and little
| | 03:25 | change in the size, not much change in the
size, but I am going to play around with that
| | 03:30 | angle just like that.
| | 03:33 | And now I am going to go in here and start
to very lightly start to paint the details
| | 03:38 | of that tree back in.
| | 03:39 | So now it starts to look like the real
tree being seen in front of my cliff, it's way
| | 03:49 | down here in front of us.
| | 03:54 | And now that area that's dark, I am going
to go in there and just get rid of that.
| | 04:00 | I am painting back with white again, where
I want the thing to appear, come back, and
| | 04:04 | there we see that we have this overall scene,
and there is some parts down here, well we
| | 04:08 | need to get to those too.
| | 04:11 | Let's go in there and start masking those
guys in, and we'll just go in there, bring
| | 04:15 | out our tree and just kind of brush in just
the little edges so we get little pieces of
| | 04:23 | the tree just coming through--Bob Ross would
say happy little tree--coming out and coming
| | 04:30 | back to life and just little dabs in the
edges just to get little needles showing.
| | 04:37 | Now we pull back, and there we see that we
have our cliff, and this scene completely
| | 04:42 | from old photographs and things
that you normally wouldn't even look at.
| | 04:47 |
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|
|
5. PlanetIntroduction| 00:00 | In this chapter we're going to go off world.
| | 00:03 | We're going to take a bunch of vacation
shots from different cities in America and Tokyo
| | 00:09 | and South America and even Bodega Bay
right here in California, and we're going to take
| | 00:14 | all those photos and combine them to create
an entire world somewhere out in the universe.
| | 00:20 | And we are going to create a planet with
rings around it. That one we're going to create from
| | 00:24 | scratch, but really easy just having a knowledge of
the tools and being able to click and drag, that's it.
| | 00:30 | No fancy painting just creating what's in
your mind, what your imagination conjured
| | 00:35 | up, and that's what we're going to do now.
So let's take a little trip on this spaceship.
| | Collapse this transcript |
| Creating terrain| 00:00 | This image is going to start with this
vacation shot taken way down in Los Cabos Mexico, and
| | 00:06 | it makes a great rocky terrain for our planet.
| | 00:10 | I'm going to go in there and isolate those
rocks by selecting this sky up here, and I'm
| | 00:17 | going to Shift to select all of the sky,
including that little area down in between there.
| | 00:22 | And I'm going to make sure that these little
birds are also selected, so I'm going to Shift-select
| | 00:28 | them with the Marquee tool so they
will be completely selected, there.
| | 00:31 | Now that the entire sky area is selected I'm
going to Inverse that selection and send those
| | 00:38 | rocks and water into a whole new
layer. I say New > Layer Via Cut.
| | 00:44 | So now, this is going to
be the basis of my planet.
| | 00:48 | Now, it's going to be a waterless planet,
not going to have a beautiful sea like this
| | 00:53 | so I have another shot that I'm going to use,
a little shot taken of a dry lake bed in Bodega Bay.
| | 00:59 | Now this is going to be
perfect for our little ground plane.
| | 01:04 | So I'm going to take this image and drag
it right on top of this one, there it is.
| | 01:08 | So I'm going to press my F key to bring me to full
screen so I can see what I'm going to be doing now.
| | 01:13 | I'm going to take this terrain here, and I'm
going to drag it right into the center, and
| | 01:18 | I'm going to go in there, and I'm going to
press Command+T to bring me my transform tools.
| | 01:23 | I'm going to hold down my Command key so I
can do a little distortion here, I'm going
| | 01:28 | to drag this guy out, little beyond there,
and this guy a little beyond there, and I'm
| | 01:34 | going to drag this down to the base, down
in here, right into this area here, I'm going
| | 01:40 | to pull it out just like that.
| | 01:44 | Now if that's a little too intense, that's
no problem I can go in there and very easily
| | 01:49 | just pull back a little bit, and let's bring
these guys back in so they won't be so distorted,
| | 01:53 | this is all the stuff we can do visually
after the fact once as we are working, it's in its
| | 01:59 | own layer so it's not affecting anything else,
and there we have this ground plane down below.
| | 02:04 | And there we now have whole new set, it's
starting to look more like an alien planet.
| | 02:10 | Here is our background, I'm going in there
and change the color of that sky, so I have
| | 02:15 | this dark kind of an orangey color I'm going to
use here, very dark kind of a color like that.
| | 02:22 | And go to my Foreground Color, and you
know what we'll pick that one in a second.
| | 02:27 | Let's change the color of this scene first.
| | 02:30 | I'm going to go ahead and merge this down
into that rocket plane there, so now we have
| | 02:36 | this as one layer, and I'm going to go up
here and say Hue/Saturation, and I click on
| | 02:43 | Colorize, so everything gets colorized together.
| | 02:46 | And I pump up the Saturation a bit, darken a
little bit, and I'm going to go into a nice
| | 02:51 | warm tones like that, I want it to be kind
of a, almost like a Martian landscape, about
| | 02:57 | like that, click OK.
| | 03:00 | Now that I have that color I'm going go in
there and pick something in that range, let's
| | 03:04 | put that dark color, and let's make it a little
darker now, and we'll put that as a Background
| | 03:08 | and for the Foreground Color I'm going to
go in there and pick one of these tones in
| | 03:11 | here like let's say this dark tone right there.
| | 03:14 | Now that I have that I'm going to go in there
and lighten that up just a little bit, a little
| | 03:18 | warmer right in there, we
have it in the right range.
| | 03:21 | Now that I have those two colors I'm going to
go to my Gradient tool and in the background
| | 03:26 | I'm going to go ahead and throw in a whole
new sky, which will look like that, and make
| | 03:32 | sure we're set to Linear Gradient, there
we go, there so now we have our new terrain.
| | 03:37 | So there is our landscape.
| | 03:41 | Into this in the next movie we're going to
start to add some buildings and some other
| | 03:44 | details which will make this look very real.
| | 03:49 |
| | Collapse this transcript |
| Adding buildings| 00:00 | So now we're going to go through all our files
of buildings and things that we've shot through
| | 00:05 | our vacations and travels all over the
place, and I have some buildings here.
| | 00:10 | Now the first one I'll use is just convention
center, this is the convention center in San Diego.
| | 00:17 | Now bad shot, not much contrast, overcast
day but it's going to be fine for this, again,
| | 00:23 | because we're going to move these things around,
change them, do all kinds of things to them,
| | 00:27 | this is going to make the basis of a
building that's going to connect these two islands
| | 00:32 | way down here, there is
going to be this building.
| | 00:34 | Now I've got an alpha channel that I created
previously, to separate that building. There
| | 00:40 | is the intro chapters that will tell you about what
alpha channels are and how they are created, here is one.
| | 00:46 | I've just created this alpha channel so I'm going
to go up to the color channels and load that channel.
| | 00:51 | So I can now take that and
drag it into my scene here.
| | 00:56 | Now there it is quite large, in back, so we're
going to go in there and start to shrink this
| | 01:00 | down to the size that we want.
| | 01:02 | So I'm going to hit Command+T to bring up
the controls for it, holding down my Option
| | 01:07 | and Shift I'm going to go in
there and start to shrink it down.
| | 01:10 | Once I have it in place I'm going to
bring it down in here and shrink it some more.
| | 01:14 | So I want to have just these little parts
in here visible, and I can kind of stretch
| | 01:19 | it out if I want, because it doesn't have
to exact, it doesn't have to be what it was
| | 01:23 | before, and I can even spin it around a
little bit just to make it even with the terrain
| | 01:27 | down there, and I have this little building
down there, this little connection between
| | 01:34 | these other areas, right.
So there, there is that one.
| | 01:38 | So now we're going to go find another building.
| | 01:41 | And I have another building here, this is
a big high-rise in Tokyo, now this building
| | 01:46 | will be perfect for what I want.
| | 01:48 | Now I have got a path already created for
it right there, okay there is a path that
| | 01:53 | I am going to create.
| | 01:54 | You want to know how to create paths, there
is a--in the intro chapter there is a whole
| | 01:58 | movie on how to use the Pen tool.
| | 02:01 | I'm going to go in there and make
that a selection just like that.
| | 02:04 | Now, I've made it a pretty rough path so
that it incorporates part of the sky. So it's no
| | 02:10 | problem, I didn't have to get that detailed
around all this area, it's pretty clear that
| | 02:15 | it is separated from the sky. So now after
I've made that initial selection I can, say,
| | 02:19 | hold down my Option key and with the Magic
Wand just click in the sky area and all that
| | 02:24 | stuff disappeared, tightening
this selection to just the building.
| | 02:27 | And now that I have that I'm going to
drag that into our scene, there it is.
| | 02:32 | I'm going to transform it and do a Flip
Horizontal, because I want it to be in that direction
| | 02:38 | like that because I see the dark areas on
this side, and I have most of my dark tones
| | 02:42 | as we could see in the image, are on this side.
| | 02:45 | Okay, so now I have it in there, I'm going
to go in and do a little transform and change
| | 02:51 | the size of this building, make it fit
into this area right up in here, like so.
| | 02:57 | So it's a tall building that's visible way
in the background back there just like that.
| | 03:03 | Okay, so now we're going to find another building
and here is this building here, it's a skyscraper
| | 03:12 | somewhere in Florida.
| | 03:13 | I am going to get a little closer, and this
one is fairly easy to select. Now I'm going
| | 03:18 | to use the Pen tool this time because I have
a nice straight line right through here, right
| | 03:21 | there, and I'm going to just go straight across
to here and go right to that corner and straight
| | 03:27 | down and then finish it off right there.
| | 03:30 | Turn that into a selection and just like
before I'm going to go in there and eliminate any
| | 03:35 | unwanted sky like right in there, take
this and drag it into my scene, there it is.
| | 03:42 | Now this guy I'm going to put here in place,
I'm going to transform him so it's a little
| | 03:47 | smaller than what we had before, let's go
in there and stretch it out a little bit,
| | 03:52 | have it bleeding off the page right there
like that, and there is this second building.
| | 03:59 | And one more set of building is over here on this
side, so it's this whole city behind these rocks.
| | 04:04 | And I have here a bunch of buildings
that came from somewhere in Vancouver.
| | 04:10 | Now this one I'm going to select by just
clicking on the sky because it's a nice solid blue
| | 04:15 | sky, I Shift-select to get this
area here, and this area here.
| | 04:19 | Once I have the entire sky selected I could
go in there and just say Inverse it, so my
| | 04:24 | buildings are selected and bring
them in, there they are in place.
| | 04:30 | Now these guys, I'm going to go in
there and shrink them down, like way down.
| | 04:38 | These guys are really far away, they are
going to be right back in this area here just like
| | 04:43 | that, way in the background.
| | 04:45 | Click OK, and I don't want these particular
pieces right in here so I could just go in
| | 04:50 | here and just eliminate this whole side here, and I'm
going to just select it, like so, and eliminate that.
| | 04:59 | All right, so there is all our buildings.
| | 05:01 | So what I'm going to do is I'm going to
take those layers of all those buildings, these
| | 05:04 | four layers, I'm going to eliminate the
background so I see just my buildings, and I'm going
| | 05:09 | to go ahead and merge those together,
merge those into a single layer.
| | 05:13 | All right, so now let's
see everybody else in place.
| | 05:16 | Now that I have them all selected and
they're in a single layer I'm going to go in there,
| | 05:20 | and I'm just going to kind of play with these a
little, I'm going to go into my Levels command,
| | 05:24 | and I'll start playing around with them.
| | 05:26 | I'm going to start to add a little more
contrast here and there, and lighten them up, get the
| | 05:31 | lights going, get the darks going.
| | 05:34 | Just get them into that thing and then go
into my Hue/Saturation, I am going to bring
| | 05:38 | down the Saturation so that's not
strong, a little softer back there.
| | 05:43 | Now, I'm going to take certain sections of
these buildings, and I'm going to select this
| | 05:49 | whole little section right here of this
building and go to the outside areas and just make
| | 05:57 | sure that that little
spot in there isn't selected.
| | 06:00 | And I'm going to go in
there I'm going to darken that.
| | 06:04 | I'm going to use the Hue/Saturation's darkness,
because it's going to be nice and even, I'm
| | 06:07 | going to just darken that area a
little more just in there, like that.
| | 06:11 | I'm going to select this area of this building just
this little corner right here, going around like that.
| | 06:18 | Now I'm going to darken that area right in
here, using my Burn tool, a slightly larger
| | 06:25 | brush I'm just going to darken that area right
in there just so it starts to get those shadows.
| | 06:30 | I'm going to set this up to Midtones here
so I'm going to get a stronger effect, and
| | 06:34 | there we can see that I'm
starting to darken those.
| | 06:36 | Now, these are behind these rocks.
| | 06:39 | So what I'm going to do now is I'm going to
create a layer on top of this where I'm going
| | 06:42 | to throw in some shadows.
| | 06:44 | So I'm going to go in here and with my
paint brush and black I'm just going to paint in
| | 06:48 | a couple of shadows in there.
| | 06:49 | I'm going to get a nice hard edge
brush, soften it up just a little bit.
| | 06:54 | Now I can actually take the rocks
themselves, in fact, let's even do that.
| | 06:58 | Let's get rid of that layer we just created, and as
you're working you start to solve problems in other ways.
| | 07:05 | So I'm going to go in here and select this
section of the rock, right there, here it is.
| | 07:10 | I'm going to say send that
to a new Layer Via Copy.
| | 07:13 | I'm going to put that in back, right in back.
| | 07:17 | I'm going to go here and move it, turn off Auto-Select
so we can move things, there is the rocks.
| | 07:21 | I'm going to put them there, I'm going to
make them a little smaller, little smaller
| | 07:26 | like that, and I'm going to go ahead and lock the
Transparency so I can fill that area with black.
| | 07:34 | So I go in there and say fill it, there it
is fill with black, which I'm now going to
| | 07:40 | go in there, change the mode of that to
Multiply and bring down the Opacity quite a bit.
| | 07:47 | And then soften it up just a little bit.
| | 07:49 | I am going to turn off the locking of the
Transparency so that I can blur it, otherwise it will not blur.
| | 07:56 | I'll go into my Gaussian Blur and soften it
up just a little bit just slightly like that
| | 08:01 | maybe a little more.
| | 08:04 | And then I'm going to lock it, clip it right into this
layer here by holding down my Option key and clicking.
| | 08:09 | And there my shadow is now constrained inside
of that area there so it's casting the shadow
| | 08:15 | of the rocks on to my building and back.
| | 08:19 | So now we have the basics of our planet here,
I might want to go in there and darken some
| | 08:25 | of these areas just a little more, so I'm
going to have this set to Mid Range, and I'm
| | 08:29 | going to go in there and just kind of darken
some of these rocks on the side to increase
| | 08:33 | the kind of sense of there being a
darkening in this area, and I just went a little too
| | 08:39 | far down there so I might want to go in there into
my history and get rid of where I messed that up.
| | 08:44 | No problem, once we have that let's
isolate that area down there, let's just isolate.
| | 08:49 | So we're only going to be
affecting the rocks themselves.
| | 08:51 | So now I can go back in here and start
playing with these rocks, and now you can see that
| | 08:55 | I'm not effecting the area below because
I've selected something to be specific.
| | 08:59 | I'm going to go in there and just darken
certain spots of these rocks just so it starts to
| | 09:04 | give you that sense of being in a deeper shadow.
All right, so now we have that.
| | 09:10 | In the next movie what we're going to do
is to add something in the sky over here.
| | 09:15 | Wait till you see what that's going to be.
| | 09:20 |
| | Collapse this transcript |
| Creating the planet| 00:00 | In this movie what we are going to do is we
are going to put a distant planet right here.
| | 00:04 | Because we are on a moon of this planet.
| | 00:06 | It's going to be about half the size of our
existing file, so when we look at the file
| | 00:11 | here we see that it's 32 inches high.
| | 00:15 | So what we are going to do is create a new
file, and we'll make it a little smaller,
| | 00:20 | let's say we'll make it 72 just like what
we are working at 72, and we'll set this up
| | 00:25 | to Inches, and we are going to make it 24
Inches high, and we'll make it 24 Inches square,
| | 00:31 | there we go, and we'll click OK.
| | 00:34 | So here is our new file where we
are going to create our planet.
| | 00:38 | So what I'm going to do is I'm going to
get my Elliptical Marquee tool and right from
| | 00:42 | the center here I'm going to hold my Option
and Shift keys--Option will help me draw from
| | 00:47 | the center out and the Shift will
constrain it to a perfect circle--and I create this
| | 00:52 | big circle about like that.
| | 00:55 | That's going to be my planet.
| | 00:56 | I'm going to create a new layer, right here,
and I'm going to just fill it with, it doesn't
| | 01:02 | matter just fill it with black
because that's not going to be the color.
| | 01:04 | But to use the next filter, which is what I'm
going to use to create the planet, I do need
| | 01:09 | to have something inside that space.
| | 01:12 | So now I'm going to and
pick the colors for my planet.
| | 01:16 | So I'm going to go in here, and we're going
to pick this kind of an orangey color right
| | 01:20 | here, nice light kind of
beige color there like that okay.
| | 01:25 | And then for the background we are going to
go with that family but go really dark like
| | 01:29 | say this guy down here, click OK.
| | 01:33 | So we'll keep it as a similar color
scheme to our actual moon back here.
| | 01:36 | So now that we have that in that planet, or
that selection, I'm going to add a filter,
| | 01:42 | and it's Render > Fibers, and there's Fibers.
| | 01:45 | Now I can play around with the Variance to
get all kinds of different details and such,
| | 01:50 | but I'm just going to go with a little
Variance I start getting these nice little tones like
| | 01:54 | that, and I'm going to click OK, and
I'm going to get that texture right there.
| | 01:59 | Now that I have that texture, that's going
to work for me, I'm going to start to give
| | 02:03 | it that roundness by giving it another
Filter here, under Distort we have Spherize, which
| | 02:08 | I'm going to go in there, set to 100%
I'm going to go ahead and say do it.
| | 02:13 | And then I'm going to apply it again, so I'm
going to apply it a few times until it starts
| | 02:17 | to have that really round kind of sense
of the planet that I'm trying to create.
| | 02:23 | One more time should do it, maybe one more
just for fun, there, now we have this planet.
| | 02:27 | It starts to have a feeling of something
like Jupiter or something, we might even want to
| | 02:32 | throw a couple of storms in there but we'll
do that in another of our dreamscapes later.
| | 02:37 | But there we see that we have this
nice kind of a texture for our planet.
| | 02:41 | And you know, just for the fun of it, I'm going
to go in here, and I'm going to get a Lasso,
| | 02:46 | and I'm going to select a little Feather
for it, I am going to do a Feather of 20.
| | 02:50 | Now this is set to Pixels.
| | 02:51 | So 20 is quite high because we are working
at 72 dpi, if we were working at a 300 dpi,
| | 02:57 | 20 isn't that match.
| | 02:59 | So keep that in mind when you are setting
some of these things that are set to Pixels.
| | 03:02 | So I'm going to go in here, and I'm just going
to select a little area right in here, like so, just
| | 03:08 | like that, and I'm going to go to another filter,
which I have a filter down here which is called Liquify.
| | 03:15 | And Liquify, what I'm going to do is
I'm going to do some weird stuff to this.
| | 03:17 | I'm going to make my brush a little bigger
and right in there I'm going to do something
| | 03:21 | like little twisting just to twist this around
like that just to start forming a little storm
| | 03:28 | kind of a thing happening in that area
right there just to add a little more variety to
| | 03:32 | our little planet just like that just a
little distortion, click OK, and there we see that
| | 03:39 | we have this little distortion happening to
our planet, that's the portion that we are
| | 03:43 | going to see right in there.
| | 03:45 | Now, I'm going to take this and rotate it so that
our planet is going to be kind of shaped like that.
| | 03:51 | Well, maybe we'll even turn it this way,
yeah that looks good, see we could do anything
| | 03:55 | we want until we have exactly what we would
like it to look like, and there is about the
| | 04:00 | shape that we are going to have.
| | 04:01 | In the next movie what we are going to do
is we are going to add some rings to this planet.
| | 04:06 |
| | Collapse this transcript |
| Creating planet rings| 00:00 | Now we are going to create
the rings for this planet.
| | 00:03 | I want those rings to be quite large, and
I want to use the planet as my basis, so I
| | 00:07 | am going to have to go in there and increase
the size of my canvas to accommodate the rings.
| | 00:11 | Now I want the background to be white so I am
going to return the Foreground and Background
| | 00:15 | Colors to black and white, and then
I am going to increase the canvas.
| | 00:18 | I am going to pull back a bit, and I am
going to press the F key so I get just this screen
| | 00:23 | here, and I'm going to just go back a little bit more,
I'm going to come up and say Image > Canvas Size.
| | 00:28 | I am going to increase the Width quite a bit,
so it's 24 right now, I am going to go head
| | 00:34 | and make it let's go 60 inches and make sure
that that planet is centered, click OK, now
| | 00:39 | I got all this additional space.
| | 00:41 | That's plenty of space
for me to create the rings.
| | 00:43 | So now, I am going to take my Elliptical
tool right here--now this is not the Elliptical
| | 00:49 | selection this is
Elliptical tool which creates shapes.
| | 00:53 | I don't want it to create a shape, I want
it to act as a Pen tool, so I come up here,
| | 00:57 | and I am going to choose Path.
| | 01:00 | Now when I use it it's going to
create paths that are elliptical.
| | 01:04 | So I am going to start from the center of
my planet right here and hold down my Option
| | 01:09 | key, and I am going to start to draw
out this long set of rings just like that.
| | 01:17 | That's what the ring is going
to look like just like that.
| | 01:20 | All right so now, what I am going to go do
is I am going to select that ring, and I am
| | 01:24 | going to copy it and just go into here and
say Copy, and then I am going to Paste it.
| | 01:31 | Then I Paste it right on top, it looks like
nothing happened but what happened is that
| | 01:36 | original one is underneath and became
deselected, the new one is on top, and it is selected.
| | 01:41 | I am going to press Command+T to
allow me to transform the path.
| | 01:47 | And I am going to drag it in from
the top, drag it in from the bottom.
| | 01:53 | Now I am not doing this uniformly because
you are looking at this for shortening so
| | 01:59 | it's going to be a little different.
| | 02:00 | I am going to bring the sides
in right a bit, right like that.
| | 02:06 | Those could be fairly equal and bring this
down just to tad, and this up just a little bit.
| | 02:13 | Now I am going to say do it.
| | 02:15 | So there is my basic shape of my ring, I
am going to have a still selected, I have my
| | 02:20 | Pointer tool selected so when I hit
my cursor keys it can move the path.
| | 02:24 | I am going to move it up so that this will
widen, and that will become a little narrower,
| | 02:28 | giving me the sense that those
rings are way in back just like that.
| | 02:33 | All right so now I am going to
paste again, there it is again.
| | 02:38 | I am going to go in there and transform this
one, and this time I'll do it from the center
| | 02:42 | out so I'll hold down my Option key, and
I'll just bring it in about like that, and we'll
| | 02:48 | put that one right there, and then I am going
to go in there and just shorten this one and
| | 02:54 | shorten that one just a little bit,
there we go about like that make it happen.
| | 03:00 | There we have another ring going on in there.
| | 03:02 | So now, now that I have these basic
shapes, these are going to be my rings.
| | 03:07 | So what I am going to do now is I'm going to go
in there, and you don't need my planet anymore,
| | 03:12 | I am going to go in here and
start to play with the rings.
| | 03:14 | So I am going to select a new layer, and we
shall start naming these so we know what we
| | 03:20 | are doing here, this is the planet right
there, and this will be the outer ring.
| | 03:26 | I am going to go in there, and I am going
to pick a color for that outer ring, and we
| | 03:30 | could pick it right from the planet.
| | 03:32 | So I am going to pick this light tone, right
here, this lightest tone right there and just
| | 03:37 | turn the planet off again, and I am going
to pick a lighter version of it, so let's
| | 03:42 | go right into this area here like that.
| | 03:46 | And in that layer I am going to go ahead
and take that path and fill it just like that.
| | 03:52 | Now I am going to take this inner one
right here, that's that second one right there,
| | 03:56 | and I am going to go and turn that into a
selection, turn off the paths so that they
| | 04:00 | are not on and with that area selected
I am just going to hit the Delete key.
| | 04:06 | Deselect it, so there is my first ring.
| | 04:10 | I have that second set of rings right in there
this one right here, so I got that same color.
| | 04:15 | What I wanted to do this time is make a little
narrow extra ring there and a little lighter too.
| | 04:20 | Let me go a little lighter, maybe less saturation there,
right there, and I am going to get a paint brush.
| | 04:27 | And I got a paint brush right now which is
that size, that's a good size right there.
| | 04:31 | So with that I am going to go in there and
take that path, and it's only going to take
| | 04:35 | into consideration the one that's selected,
the other two are deselected, so it's only
| | 04:38 | going to work with that one.
| | 04:39 | I am going to say, stroke it, and that
created another ring on the inside like that.
| | 04:46 | So now, it's getting nice and close.
| | 04:49 | So we can see what's going to happen, I am
going to go in there, and I am going to blur
| | 04:52 | them a little Gaussian Blur just
enough to soften them just like that.
| | 04:58 | Bring my planet back, and now we see
that have these rings around the planet.
| | 05:02 | Don't worry about that we'll
get rid of that in a few minutes.
| | 05:06 | Now let's go back to a, the regular windows, and we
are going to transform these guys into our scene here.
| | 05:14 | So, there is my scene, so I want the
scene just to happen in the background.
| | 05:20 | So I make sure that I have my background
there, it's selected so that anything I bring in
| | 05:25 | will fall right on top of it.
| | 05:27 | So I am going to take the planet, there is
my planet, and I am going to drag it in to
| | 05:31 | my scene and put it in position
where I want it right about there.
| | 05:37 | Now I am going to take the rings, there is
the rings, and I am going to drag them into
| | 05:42 | the scene, right there.
| | 05:45 | So now just go to full screen so we can see
what's happening and pull back a little bit,
| | 05:50 | so I can see all the elements in unison here.
| | 05:54 | So now I am going to take my rings,
there is the rings I still have them.
| | 05:57 | So I am going to go in there and rotate them.
| | 06:00 | So they are in fact around the planet just like
that, and I want to center them around that planet.
| | 06:06 | I might want to make them a little smaller,
they're a little too big so I can see that
| | 06:09 | curvature so I really get
the feel that they are rings.
| | 06:12 | So I am going to in there
and shorten them a little bit.
| | 06:15 | There they are right in
there like that, make it happen.
| | 06:19 | So now I am going to go in here and make the
planet a selection, and now that the planet
| | 06:27 | is a selection I am going to go in there and in
the rings layer I am going to say, give it a mask.
| | 06:33 | So now we are seeing it only inside there,
so what I wanted to do is I am going to take
| | 06:36 | that mask and invert it.
| | 06:39 | So I just go in there and Invert it, there now
you see it here right, it hit the area in back.
| | 06:45 | I want to bring this part back into mask, I
take white and with a paint brush make the
| | 06:51 | brush a little bigger I'll just bring the
rings back in this area here, and there they
| | 06:56 | are on top of my planet.
| | 06:59 | So now they have to be there, so the planet
we have that light, our light is coming from
| | 07:04 | down here somewhere, right somewhere in this
area I would say just about to our left and
| | 07:10 | forward of this stone section.
| | 07:12 | So what I am going to do is I am going to
double-click on the planet layer to bring
| | 07:16 | up the layer Styles, and I am going to
give it an Inner Shadow just like that.
| | 07:22 | And my light, it's coming from this side so I
can go in there and start giving a little Distance.
| | 07:26 | So we could where it's coming, okay so
it's got to come more from this side because I
| | 07:30 | want that shadow to be down in
this area here, right about there.
| | 07:35 | Let's go little more distance, little more,
there we go, so we are starting to get that,
| | 07:42 | and maybe a little bigger.
So there we have this dark shadow on our planet.
| | 07:48 | Right in there click OK, and
there is the shadow on the planet.
| | 07:51 | Now, the planet has to
cast this shadow on the rings.
| | 07:55 | So in the layer of the rings right here I
am going to create a layer on top of it, and
| | 08:02 | we're going to call this layer shadow.
| | 08:03 | And I got to go in there and with black I
am going to just paint where my shadow is
| | 08:09 | going to be, and I want that shadow to be just
about this area here like this just like that.
| | 08:15 | So, what I am going to do is I am going to
clip that with the layer of the rings so now
| | 08:21 | that shadow is contained inside there, I can
bring down the Opacity just a little, so it's
| | 08:27 | not so dark just a little darkness,
and I am going to go ahead and blur it.
| | 08:31 | I am going to give the same Blur, Gaussian
Blur but soften it up a little more so it
| | 08:36 | becomes a soft kind of a shadow
inside the rings right in there like that.
| | 08:41 | And now that we have that I'm going to take
all three of these guys, and I am going to
| | 08:46 | bring them down in Opacity just a little bit so
that we start to see the background coming through.
| | 08:50 | All right, so now I want to lighten up the
bottom part of this planet, why because the
| | 08:56 | atmosphere is obscuring part of the thing
along the horizon, the visibility of the planet.
| | 09:02 | So, I got the planet, I am going to give it a
mask and in the mask using black and a brush
| | 09:08 | which has a soft edge, really nice soft edge,
and I brought the Opacity down to about 27%
| | 09:13 | just kind of go to very lightly start to
make the planet disappear towards the bottom.
| | 09:19 | And then I am going to do
the same thing to the rings.
| | 09:21 | It already has a mask so I am going to very
lightly just make that part disappear just like that.
| | 09:27 | And now we have this planet up in the sky.
| | 09:30 | In the next and final movie of this chapter
we are going to add a little atmosphere right
| | 09:36 | here on the surface of our moon.
| | 09:41 |
| | Collapse this transcript |
| Adding atmosphere| 00:00 | So, right now it looks like an extremely
clear day on our little moon out in space.
| | 00:05 | So we are going to go in there, and
start adding some atmospheric effects.
| | 00:09 | First thing I'm going to do is I want to tone
down some of the saturation on those buildings.
| | 00:13 | So, I'm going to go to the layer that has
buildings right there, and I'm going to go
| | 00:18 | into Hue/Saturation, and just bring down the
saturation a bit, just a tad, just so it starts
| | 00:24 | to take away some of those strong blues
that we're seeing there, just like that.
| | 00:29 | That's looking good.
| | 00:31 | And these buildings back here, I'm going to
select those buildings, and I'm going to blur them.
| | 00:35 | I'm going to go in there and just give them
a little blur because they are further away.
| | 00:39 | So maybe not that much just a little bit
just so that they are a little further away so
| | 00:43 | they start to get a
little more blurry. Click OK.
| | 00:46 | Now that we have this, I'm going to go in
here, and create a layer on top of the entire
| | 00:51 | scene, and I'm going to pick a color.
| | 00:54 | Let's just pick this color right from here
or maybe the color from the planet back there.
| | 00:58 | It's nice, kind of orangey color, and then
we'll go in there and in that same range,
| | 01:02 | we'll just pick a slightly
lighter version of it right there.
| | 01:07 | I'm going to throw in a gradient.
| | 01:09 | I'm going to make it a gradient that's
going from foreground to transparent.
| | 01:13 | I'm going to throw in a gradient right across,
like so, just like this, and maybe make it
| | 01:21 | a little longer like that. There we go.
| | 01:25 | I'm going to bring down the opacity for it
just to add a little extra atmosphere to our
| | 01:31 | area here, just like that.
| | 01:33 | Now, we're going to go in
there and add some mist.
| | 01:36 | So, what I'm going to do is I'm going to
create a new layer, let's pull back a little bit.
| | 01:41 | I'm going to create a layer
right on top of this one, right here.
| | 01:46 | I'm going to go in, and let's just return this to
black and white, and I'm going to give it a filter.
| | 01:52 | There's a filter called Render > Clouds.
That creates clouds like that.
| | 01:59 | So now, I'm going to undo that.
| | 02:02 | This time, I'm going to hold down my
Option key and say Render > Clouds.
| | 02:07 | And you'll notice that
there's more contrast now.
| | 02:10 | There's more contrast, the darks are
darker, and the lights are lighter.
| | 02:13 | So, it kind of changed the
way that filter was working.
| | 02:16 | So now, let's get back to a full screen here,
so we could what effects are going to be.
| | 02:22 | I'm going to change the mode of that to
Screen so that only the whites are showing through.
| | 02:27 | I'm going to bring down the opacity a bit, quite
a bit, so it's just this little mist like that.
| | 02:34 | I'm going to go in there, and I'm going to
kind of scrunch it down, bring it down so
| | 02:38 | it's closer to the ground level so that my
little mist is down here along the ground, like that.
| | 02:45 | Then I'm going to give that layer a mask.
| | 02:48 | And using black and a soft edge brush, I'm
going to bring the opacity back up to about an 80.
| | 02:53 | I'm going to start to draw in right along
the top here, very loosely painting black
| | 02:59 | so that it's going to start to lessen my mists,
and kind of confine it down to the lower parts
| | 03:05 | of my planet, closer to
the ground like a low fog.
| | 03:09 | There we see that now we have this moon
surrounding a planet way out in space and the rest of
| | 03:16 | the story is something you can make up.
| | 03:21 |
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|
|
6. Secret BaseIntroduction| 00:01 | In this chapter we're going to create a
secret base on a far moon somewhere. We see these
| | 00:06 | in so many science fiction movies.
| | 00:09 | And we are going to create our own right
here based on all kinds of little pieces.
| | 00:13 | Now, one thing to keep in mind, and I've
mentioned this in a couple of other chapters is that
| | 00:18 | sometimes you see things out of nowhere.
| | 00:21 | You just will be looking at something,
and you'll just get some idea from it.
| | 00:26 | Now, this particular sinkhole that I came
across in one of my hikes, I took a picture of it.
| | 00:32 | And I looked at it, I just saw it as a
mountainous terrain, that if I just went in there and
| | 00:37 | isolated parts of it, I can
construct an entire world from it.
| | 00:42 | So now what we're going to do is take that
terrain, and create a whole new world on a
| | 00:46 | moon far, far away.
| | 00:51 |
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| Creating islands| 00:00 | Now, here is a close-up shot of that same
sinkhole that I talked about in the introduction.
| | 00:04 | Now, I am going to carve out the parts of
this sinkhole that I want to use in my image.
| | 00:10 | So, I could turn it into a
mountain range, a big side of a mountain.
| | 00:14 | Now, I have created an alpha channel right here.
| | 00:17 | There is the alpha channel that's going to
encompass the part of the island that I want.
| | 00:23 | Now, in the movie on how to use and create
alpha channels, I explained the process that
| | 00:28 | I went through here, but here, we see
that the alpha channel is already created.
| | 00:31 | So, what I am going to do is I am going to
turn that into a selection, then isolate those
| | 00:37 | sections of the rocks.
| | 00:38 | I am going to send them
over to a new Layer Via Copy.
| | 00:42 | I am going to do the same thing to this
other picture of the same sink hole just another
| | 00:47 | section of it, and again I have an alpha
channel there that I have created that isolates the
| | 00:52 | part of this sinkhole that I want
to use as my mountainous terrain.
| | 00:56 | So, as before, I am going to go in there and
turn the alpha channel into a selection, and
| | 01:03 | send that to a new Layer Via Copy.
| | 01:06 | So now I have layers for each of these
little island areas right there. There it is.
| | 01:14 | This seascape here is where I am
going to go ahead and create my visual.
| | 01:20 | So, I am going to go in here,
and let's go to full screen.
| | 01:23 | What I am going to do is I am going to take that sea,
and put it into a layer of its own, a whole new layer.
| | 01:30 | And that little pelican right there, well,
we don't worry about him, because he is going
| | 01:33 | to get covered by our islands.
| | 01:35 | But if you really were worried about him,
I could just take my Clone tool, and we'll
| | 01:39 | just clone the water right next to it,
and there, here is gone very quick.
| | 01:43 | Hopefully, no environmentalist will be
made at me for doing that, but there, you know
| | 01:46 | the pelican is gone. All right.
| | 01:47 | So now, what I am going to do with this is
I am going to rotate this guy horizontal.
| | 01:52 | I am going to do a little flip.
| | 01:56 | I will have my light area here, and we'll play with
that in a few minutes after we bring our islands in.
| | 02:01 | So, I am going to take
that first one right here.
| | 02:03 | I am going to grab that layer,
and just drag it right into here.
| | 02:06 | Now, it's much larger than we need.
So we'll adjust it in a minute.
| | 02:11 | Let's first go, and get that other island,
take this one right there, there is the other
| | 02:15 | one, drag that into our scene.
So now we have all our islands.
| | 02:19 | So now, I've got a full screen on this,
so I can now start to adjust them.
| | 02:23 | Let's adjust the big one here first.
| | 02:26 | Let's pull back a little bit, so we can get
to see the whole thing, and I'll hit Command+T
| | 02:30 | to give me my controls for transforming.
| | 02:33 | I am going to go in there, and let's reduce
our island here, and put it in position right
| | 02:40 | about where we want it,
right about here like this.
| | 02:43 | That will be a nice size
for it right about there.
| | 02:46 | Then we'll have it kind of
bleed off the top right there.
| | 02:50 | So, there is our island in position.
Now, this one here, we'll turn that on.
| | 02:57 | We actually want this one to
be behind our little scene here.
| | 03:01 | So, we are going to go in there and just
kind of truncate this one down a little bit, and
| | 03:06 | see what we've got.
| | 03:08 | And I am going to go in
there and shrink it down as well.
| | 03:12 | We'll put it in position right about where
we want it, right in there like that, and we'll
| | 03:18 | shrink it even more.
| | 03:20 | This is a little further away, much
further away, way out there like that.
| | 03:25 | Now that we have it in there, we see that
there is parts that we don't want, we can
| | 03:28 | easily get rid of those.
| | 03:30 | Now, there is our other little island, and I
am just going to kind of tuck it in back here.
| | 03:35 | So, it's going to be really far back, and
I shrink it down even more, shrink it down,
| | 03:40 | because this one is way in the back, back
there, and we are going to blur it a little
| | 03:44 | bit in a little while, so we just put it way
back in there, and I am going to darken it a bit.
| | 03:48 | I am going to go in here, and darken it
this way, so this just becomes a little darker
| | 03:52 | and reduce its saturation.
| | 03:54 | And let's go to full screen here
so we can see what's happening.
| | 03:56 | There is my island a little further
back, and we can make it even smaller.
| | 04:00 | Now that we see it in place, we just put it way back
there, way in the back, and we are going to blur it.
| | 04:09 | Because of the fact that it's so far back,
we are going to go in there, and we are going
| | 04:11 | to blur that island.
| | 04:13 | Kind of like its surroundings around there
just bring it down, it's a little further
| | 04:18 | away, way back in there.
There is our little island far away.
| | 04:22 | So now, we are going to duplicate it.
| | 04:25 | And the one that we just duplicated, the
one in back here, we are going to do a little
| | 04:29 | flip vertical on it.
I am going to drag it down below.
| | 04:36 | Now that it's below, I am going to go in there
and bring down its opacity, considerably, right
| | 04:41 | a bit there like that.
| | 04:43 | And let's get real close so we see
what's going to start to happen now.
| | 04:45 | I am going to go in there, I am going to
blur that just a little bit more, go in there,
| | 04:49 | and blur that some more
just a little tiny bit more.
| | 04:53 | I like some of those tones to show through.
| | 04:55 | So, what I am going to do is I am going to
double-click on it to bring up the layer styles.
| | 05:00 | And down here in the Blend If modes, I
want some of those dark tones to show through,
| | 05:04 | so I am going to pull in these lines right here.
| | 05:07 | I am going to bring this so that the
underlying layer is going to start showing through.
| | 05:10 | I am going to Option-Split that,
so I get really soft transition.
| | 05:14 | So, I start to get a really soft
indication of a little reflection now there, and the
| | 05:19 | same thing with the whites.
| | 05:20 | I am going to bring those in so that my whites
are show through, split that, so all my little
| | 05:24 | white tones are show through.
| | 05:26 | And then I am just getting this nice little
softening of the water showing through this
| | 05:30 | little reflection underneath.
| | 05:32 | And as a final touch to it, I am going to
give it a little filter of Motion Blur, Motion
| | 05:39 | Blur, and I am going to go straight up and down.
| | 05:41 | So, I'll set this up to a 90, so it's
straight up and down, and just give it just enough
| | 05:46 | so that it softens it up like that, and
I have a reflection of what's far away.
| | 05:51 | So, we are going to, in the next movie, set
up the foreground for this particular island.
| | 05:56 |
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| Creating a beach| 00:00 | So in this movie, we are going to create a
beach, which is going to be right along this
| | 00:03 | side here, cementing our
island to our foreground.
| | 00:07 | I've got back here one of the many shots that
I've taken along my hikes, and this is somewhere
| | 00:13 | along Tomales Point in Northern California, and
this is going to be perfect for our beachhead.
| | 00:19 | Now, I only want this area here.
| | 00:22 | So I'm going to go ahead and select just
that one area that I need, and I do want to have
| | 00:26 | this foreground here.
| | 00:27 | So let's make sure we get all of that
foreground in there, and there it is.
| | 00:31 | I am now going to drag this scene
into our overall image back here.
| | 00:36 | Now I want to put this into foreground,
it's going to be way in the foreground.
| | 00:39 | So I'm going to flip it.
| | 00:40 | I am going to go in there and say flip
horizontally so that it is exactly where we want it to
| | 00:45 | be, and I could bring down its opacity a
little bit just like to see the island underneath,
| | 00:49 | so I could start to get a
feel of where it should be.
| | 00:53 | So what I'm going to do is I'm going
to start to shrink it down a little bit.
| | 00:55 | So I'm going to go in there and start to
shrink this beach down, bring it out, there is the
| | 01:01 | whole foreground area, and I'm
going to bring it down some more.
| | 01:04 | So it's just into this little area that I want
it to be, right in here, right there like that.
| | 01:10 | Now, this foreground stuff down here, we are
probably going to end up losing some of that.
| | 01:14 | But I will just play with it for
now, right in there like that, okay.
| | 01:19 | And I'm going to bring it down just a little bit
more into this area here like this. All right.
| | 01:26 | So now, I'm going to put it behind my thing just to
see how that beach is forming, it's right in there.
| | 01:32 | It's not quite the way I want it.
| | 01:33 | So I'm going to go in there
and shrink it a little bit more.
| | 01:37 | And I'm going to shrink it non-uniformly so that I can
actually play with this perspective a little bit here.
| | 01:42 | No problem with it, I can do anything I want,
so we'll just move that into position right
| | 01:46 | in there like that. Click OK.
| | 01:48 | So now we are starting to see
where our beach is starting to work.
| | 01:51 | So now, I'm going to go in there and bring its
opacity back up, and I'm going to give it a mask.
| | 01:57 | In this mask, I'm going to start
to now blend it into its background.
| | 02:02 | So what I'm going to do is I'm going to
paint with black and make sure I have a very soft
| | 02:07 | brush, and I'm going to start
to paint up in this area here.
| | 02:10 | Make the brush a little bigger, I can very
quickly paint some of this stuff right out.
| | 02:14 | I'm going to slowly start to blend it into
my existing sea back here and then start to
| | 02:19 | erase right along here.
So I start to bring my island into play.
| | 02:25 | So now it's starting to
mix right in there like that.
| | 02:27 | Now I'm going to start to lower my opacity of my
brush, so I'm going to bring it down to about 50%.
| | 02:33 | So now I can very slowly start to
blend these rocks into the beach.
| | 02:40 | And there you can see that now we are starting
to get our little beachhead right on the edge
| | 02:45 | of our rocks, right in here, like so.
| | 02:49 | There we can see that we are starting
to get all of the beach blending in.
| | 02:52 | And then out here, we are going to start to
kind of loosen this up a little bit, get rid
| | 02:57 | of some of these rocks, we don't want all
those rocks, and this little area right in
| | 03:01 | here, we are going to just kind of soften
this up, and now we can get a hard edge brush
| | 03:05 | because with a hard edge brush, we can
create very, very definite edge to this and bring
| | 03:11 | this back up to 100%, so I can go in there and make
a very definite edge to that little rock right there.
| | 03:17 | There we can see that now we are starting
to get our beach happening here and there.
| | 03:22 | So now, the actual water back here, we are
going to take that water, remember we have
| | 03:26 | a second piece of it here, so I'm going to
bring this out, I'm going to bring this over
| | 03:30 | so that we are going to get some
light along this edge right in there.
| | 03:33 | So now we are starting to get
some light, right into here.
| | 03:37 | Now the reason for this light is because we are
going to put some planets here in the next movie.
| | 03:40 | So now that I have that there, I'm going to go
back to the mask over here and blend it in some more.
| | 03:45 | So let's get that soft brush again and bring
down the opacity, bring it down to about 50,
| | 03:51 | make the brush a little bigger, and I'm going
to start to blend these up just a little more
| | 03:54 | just blend them in there so that they
start to give it that same sense of these waves
| | 03:59 | do in fact belong with this
existing water just like that.
| | 04:04 | And there we can see that now we have all these
nice little waves that's crashing into the shoreline.
| | 04:08 | There we go, and now we have an entire
beachhead that's been established, that fits with our--
| | 04:14 | and see, and I'm just going to clean it up.
| | 04:15 | As I look at it, I start to see little areas
where I want to just bring back the natural
| | 04:20 | cliff side back, and there we can
see that now we have a beachhead.
| | 04:24 | In the next movie, we are going to
put some planets up here in the sky.
| | 04:29 |
| | Collapse this transcript |
| Adding a planet and a moon| 00:00 | In this movie, we are going to create a
planet and a moon and put them into the space right
| | 00:05 | here way off in the distance.
| | 00:07 | So now, let's see the
resolution of our current file.
| | 00:11 | This file right now is 6x5 at 300 dpi.
| | 00:15 | So I'm going to create a little
tiny little planet back there.
| | 00:19 | So we can make it a lot smaller.
| | 00:20 | But we want to keep the
resolution about the same.
| | 00:23 | So we'll create a new file and just to give
ourselves some room, we'll make it 4x4, and
| | 00:31 | we'll make it 300 dpi just like the original
image, click OK, and right here we are going
| | 00:36 | to create our planet.
In a layer, right here, we'll call it planet.
| | 00:41 | I am going to select a circular ellipse right
here with the Elliptical tool, create a little
| | 00:50 | circle like that, I held down my Option key
to paint it from the center out and my Shift
| | 00:55 | key to constrain it to a perfect circle.
| | 00:57 | Now right in there, I am going to throw in
some color just to have something in there
| | 01:01 | it's in a layer, and I am going
to pick the colors for my planet.
| | 01:04 | So I want it to be fairly earthlike.
| | 01:07 | So I am going to pick a nice
green, nice deep green like that.
| | 01:11 | Instead of white I am going to pick a nice,
nice deep blue like that and in that selection
| | 01:17 | right there, I am going to go
ahead and give it some Render > Clouds.
| | 01:21 | It's going to give me that.
| | 01:23 | So I am going to undo it and hold down my
Option key to increase the contrast and say
| | 01:29 | Render > Clouds, so I get stronger blues and
greens, which I am going to get even stronger
| | 01:34 | now by going into my Levels here and bringing
all those whites in there and darkening those
| | 01:40 | tones and just really
emphasizing some of those colors in there.
| | 01:43 | Now you can see that I am starting to get
these really cool delineations happening in
| | 01:47 | there, right there like that, right?
| | 01:49 | So now I am going to give it a little bit
of a spherize just to make it look rounded.
| | 01:55 | So I'll go in there and just give it a
little kind of a curvature like that.
| | 01:58 | So now we got some continents
and some seas happening there.
| | 02:02 | Okay, so now I am going to go in there and
the layer on top of this, I have got the black
| | 02:07 | and white, and I am
going to give it some clouds.
| | 02:08 | I am going to go in there
and say Render > Clouds.
| | 02:11 | Again, I am going to hold down that Option
key to constrain it, and there I get these
| | 02:16 | which I am going to lock into the planet
like that, and I am going to go in there and set
| | 02:22 | the mode of that to Screen.
| | 02:23 | So now I see my planet showing up underneath, and I
am going to go in there and shrink it a little bit.
| | 02:27 | So I am going to go in there and shrink those
clouds just like that, and I am going to erase
| | 02:34 | some of them, I don't want that many of them.
| | 02:36 | So what I am going to do is I am going to
take my Eraser tool, and I could do this with
| | 02:40 | the mask, but I am just going to go
ahead and do it with the Eraser tool.
| | 02:43 | So I got a nice soft-edged eraser here, and
I am going to just go in and start to erase
| | 02:47 | just so it starts to look like
clouds over a planet, like so.
| | 02:54 | We can then take that little
area there, and we'll spherize that.
| | 02:58 | Let's go in there and spherize it.
So now we have got some clouds over the planet.
| | 03:05 | So there is my planet. All right.
| | 03:07 | That's the planet, I am going to go ahead
and merge the clouds down into it, merge them
| | 03:12 | down, and there is that.
| | 03:13 | So now in another layer on top of this,
I am going to turn that into a selection.
| | 03:20 | So I am going to go in there and apply with
black and white except I am going with a gray.
| | 03:26 | I am going to go in there and give that the same
little clouds, Render > Clouds which gave me that.
| | 03:33 | I am going to go in and with my Levels,
increase the contrast, make those darks darker and
| | 03:39 | lights a little lighter.
That's the moon for my little planet.
| | 03:44 | So now they are both in separate layers, so
we'll call that one moon, and we are going
| | 03:49 | to drag them into our scene.
| | 03:51 | Now we want them in this scene
here to appear behind everything.
| | 03:56 | So we are going to put them right
here by our sea, on top of that.
| | 04:00 | So when I drag them in, they are
going to come in right on top of the sea.
| | 04:03 | So we'll drag in the planet
first and then the moon. All right.
| | 04:10 | So now, turn the moon off for a second.
| | 04:12 | We'll take the planet, and we
are going to shrink it down.
| | 04:15 | I am going to shrink it down to the size that
we want it to be, little size about like that,
| | 04:20 | and we are going to put it right there on
the horizon, there is our planet, make that
| | 04:25 | happen, and I am going to blur it a little bit.
| | 04:28 | So we'll go into our Filters, and we are
just going to go and say Gaussian Blur and just
| | 04:32 | soften it up a bit, because it's off into
background, and then we are going to bring
| | 04:38 | down its Opacity because it's just
visible through the atmosphere ever so slightly.
| | 04:45 | And then I am going to give it a mask.
| | 04:46 | In that mask, I am going to go and block out
the areas along the bottom so that they kind
| | 04:52 | of fade in to our horizon, just like that.
| | 04:58 | Make sure they are not
overlapping that sea at all.
| | 05:00 | So I just go in there and
make sure that area is hidden.
| | 05:04 | Make the brush a little bigger, bring down
the opacity some more, and just kind of very
| | 05:08 | lightly hit it towards the top,
so it's softening it up even more.
| | 05:11 | Then I have my moon, there is the moon.
| | 05:14 | So we are going to take the moon, and
we are going to shrink that quite a bit.
| | 05:18 | Now there is just a little moon out there,
right there, and I am going to put that moon,
| | 05:24 | right here partially in front, right in there,
and we are going to bring down its Opacity
| | 05:30 | a bit, so it's real soft, and we are going to blur
it with that same blur as we did before, there we go.
| | 05:37 | So we see this little area right here, we
see into planet right through the moon, we
| | 05:40 | don't want to do that.
We want that moon to be opaque.
| | 05:43 | So what I am going to do is I am going to take
the moon and turn it into a selection, there.
| | 05:48 | And back in the planet's mask, right there
in the mask for the planet, right there, I
| | 05:54 | am in the mask for the planet, I am
going to paint that area with black.
| | 05:58 | So let me get in real close, so we
can see what's going to happen here.
| | 06:00 | Now we can see that the planet is
showing right through there. See the blue?
| | 06:04 | So that area is selected.
| | 06:06 | So with a black paintbrush, let's make it
small, let's see what happens, and we are
| | 06:10 | going to bring the Opacity back up to 100.
I am going to go in there and paint that out.
| | 06:14 | See how the planet just disappeared?
| | 06:16 | The planet just disappeared because in fact
that it is now being masked by the planet.
| | 06:21 | So if I take the moon away, you
see that there is a big hole there.
| | 06:24 | We didn't really cut it out, we simply masked
it with the shape of the moon that's covering it.
| | 06:29 | We come back on top, there is our planet and
moon for this new world that we have created.
| | 06:35 | In the next, and final movie, of this chapter,
we are going to add the secret base right here.
| | 06:41 |
| | Collapse this transcript |
| Adding the secret base| 00:00 | In this movie we are going to complete the
scene by adding our secret base, right here.
| | 00:06 | A secret base, a giant tunnel dug into the
wall of this mountain here where spaceships
| | 00:13 | are coming in and out.
Now, where do we get the materials for this?
| | 00:18 | Well, let's go look.
| | 00:21 | Right here we have the backside of a dam,
this is just a dam, you can see it back there,
| | 00:27 | and this is just one side of it.
So I just took a picture of this dam.
| | 00:30 | Because it looked cool, I didn't know what
I would use it for, but I take pictures of
| | 00:35 | everything because everything can
be useful in one way or another.
| | 00:38 | Now, I isolated this dam by
creating this Alpha Channel.
| | 00:42 | In the movie on creating alpha channels, it
explains how this thing was created, but there
| | 00:46 | you see a basic idea, and you see that the
Alpha Channel is called Green copy because
| | 00:51 | it was based on the Green channel.
| | 00:53 | There is the Red channel, there is the Blue
channel, and there is the Green channel which
| | 00:56 | gave me the details that I wanted right in
there, so this was basically a green copy.
| | 01:02 | So now, I am going to go in there and turn
that into a selection, and I am going to drag
| | 01:06 | that into our scene.
| | 01:07 | Now I want to make sure
that I am at the front here.
| | 01:10 | So let's go to the front of
the mountain itself right here.
| | 01:12 | In fact, let us put it way up at the top.
| | 01:15 | So that's selected so when I drag this in,
it's going to fall right on top of it, right there.
| | 01:20 | There is our base of our entrance right here.
| | 01:22 | So what I am going to do is I
am going to scale this guy down.
| | 01:27 | So it's going to fit into this
side of this mountain right here.
| | 01:30 | So I am going to just scale it down a little
more right there like that and maybe we can
| | 01:35 | crunch it in a little bit, and we'll put it
right into this whole side of this mountain
| | 01:40 | right here. And one last little thing here
is I am going hold down my Command key to
| | 01:45 | skew it ever slightly, right up there like
that and maybe a little tiny bit smaller,
| | 01:53 | there, and we will put it in
a position right about there.
| | 01:59 | Now this is dug into the side
of the mountain here, right?
| | 02:03 | So it has to look like that.
| | 02:05 | So I am going to have to do a couple of things
to it, but first let's do the actual entrance
| | 02:09 | to our little secret base.
| | 02:13 | I have here another file, and
this is actually shot with an iPhone.
| | 02:18 | No big fancy camera here just an iPhone.
| | 02:20 | The only thing I have done is I have
smeared some of that black into this side railing
| | 02:25 | here just to give myself more black.
| | 02:28 | That's the area that I am
going to want right in there.
| | 02:31 | So let's get a little closer right in here.
| | 02:34 | And I want to go in there and
select this little guy right here.
| | 02:38 | This is what I want, right there,
and I am going to deselect the Green.
| | 02:45 | So I am going to hold down my Option key with
the one, I am just going to click on the green,
| | 02:49 | it gets rid of that green area, and I want
to add a little to this area here, I just
| | 02:53 | want to grab that little part.
| | 02:54 | That green doesn't matter
because it is going to get blended out.
| | 02:57 | Now that I have that area selected, I am going
to take that and copy that into here, there it is.
| | 03:02 | Now that is going to be behind the wall.
You can see where this is starting to go.
| | 03:06 | So what I am going to do is I am going to
take that tunnel, and I am going to bring
| | 03:09 | it up into this area right up in here, right
up in there, and that is the entrance to our
| | 03:14 | big hideaway secret base here.
| | 03:16 | Now I am going to go in to my Hue/Saturation, I
am going to play around with some of the colors.
| | 03:21 | So I am going to go to Hue/Saturation, and
I could see that it's a little on the bluish
| | 03:25 | side, so I might want to go in there
and desaturate it a bit and lighten it.
| | 03:30 | Not too much because I want that stuff in
there to get light, but I am going to desaturate
| | 03:34 | a little more, so it starts to bit look more
like that stonewall in front of it down below.
| | 03:39 | Okay and then the stonewall below, I am
going to go in there into Hue/Saturation and here
| | 03:43 | I am going to increase the saturation just a
little bit and bring it more towards those blues.
| | 03:49 | So it starts to match that other wall just a
little more, just like that, and maybe darken
| | 03:55 | it, there we go, bring it more towards
those blues, click OK, and now we have the basis
| | 04:00 | of our secret base.
| | 04:02 | Now let's get in close and start to modify this,
so it starts to look like it actually is here.
| | 04:07 | So what I am going to do is I
am going to go to the tunnel.
| | 04:10 | There is the tunnel there, and
I am going to give it a mask.
| | 04:15 | And in that mask, I am going to take my black
brush here, and I am going to bring down its
| | 04:19 | size, make sure that it's a soft edge, it is.
| | 04:22 | I am going to bring down the Opacity to
about a 50 and slowly start to bring the actual
| | 04:27 | mountain side into it.
| | 04:29 | So it starts to look like it has been, in fact,
carved out of this mountain right in there like that.
| | 04:35 | Just like that.
| | 04:38 | Now to the entrance of this base down below,
I am going to add a mask to that. Go in here
| | 04:45 | and add a mask to that one.
| | 04:46 | So now I got a little flat terrain here, so in that
flat terrain I am going to just bring that terrain back.
| | 04:53 | So let's just go in there and just soften
this whole part, right there like that and
| | 04:59 | start to have this blend into the
mountain side as well just like that.
| | 05:05 | Same thing down here, I am going to just get
a smaller brush and just kind of take certain
| | 05:09 | areas and just slowly kind of blend them
into the mountain side, same thing on this side
| | 05:14 | just little rough areas just so it looks like
it has been built right out of just rock and
| | 05:20 | our little structure has built right
out of this rock, right there like that.
| | 05:25 | And this one we'll just get all this
little terrain showing there. Okay.
| | 05:29 | So now there is a curvature to this.
| | 05:31 | So what I am going to do is I am going to
go in and in the main layer, I am going to
| | 05:35 | just darken that just a
little bit in there like that.
| | 05:39 | Now, see the shadow right here?
Well, it's being cast by this outcropping here.
| | 05:45 | We need to have that down below.
| | 05:47 | So what I am going to do is I am going to go
in, and I am going to select with my Lasso,
| | 05:51 | I am going to start right here at this
edge and just going to draw this little shape,
| | 05:56 | and it's kind of rough so that it seems to
be going over the rocks and goes right up
| | 06:00 | to the edge of where the shadow ends,
and then I go in here and close it off.
| | 06:06 | So now in a layer above the rocks themselves,
I am going to create a layer, right there,
| | 06:12 | which will be my shadow. And I see this kind of a
bluish kind of a shadow and these dark tones over here.
| | 06:21 | So I am going to kind of just use black, and
we'll see what kind of an effect we are going to get.
| | 06:25 | So I am going to use a warmer black, so let's
just use like a really deep brown like that.
| | 06:30 | I am going to fill that with that color,
right in there like that which I am now going to
| | 06:35 | put in Multiply mode and then bring it down
in opacity, so it just becomes this shadow.
| | 06:41 | I am just going to lower it enough so that
it starts to match these shadows in there,
| | 06:46 | bring it down a little bit more, and I might
want to just blur it just a little bit, like
| | 06:50 | that, maybe a little less because it is
pretty sharp on this edge, click OK, and there we
| | 06:56 | see that we now have this big mountainside
secret base on some moon somewhere out in
| | 07:04 | space where bad guys or the
good guys could be going home.
| | 07:09 |
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|
|
7. Crash SiteIntroduction| 00:00 | In this chapter, we're going to tell the
story of an ill-fated flight from long ago.
| | 00:06 | I was in the airport not long ago, and
there was this really cool old plane, so I took
| | 00:10 | some pictures of it.
| | 00:11 | This is the one we're going to set up so that
it had crashed a long time ago and the whole
| | 00:17 | story about the survival and all that good
stuff, whatever the story you want to make up.
| | 00:21 | But what we need is that crash site.
| | 00:24 | So we're going to take that beautiful shiny
new plane and turn it into a complete crash
| | 00:28 | site like this one here.
So let's see how we work this out.
| | 00:33 |
| | Collapse this transcript |
| Manipulating the plane with the Pen tool| 00:00 | Now we need to take this plane out of this
scene so that we can manipulate it and put
| | 00:04 | it into our new background of the jungle.
| | 00:07 | Now the jungle is back here.
There we see it back there.
| | 00:10 | So now it would make sense that the sky here
would be an easy thing to select, but underneath
| | 00:16 | here is not as easy.
| | 00:17 | There are all kinds of intricate parts down
here, we don't really need all these parts,
| | 00:21 | like we don't need this engine, we
certainly don't need the fence over here.
| | 00:24 | So there are a lot of pieces
that we don't want to have.
| | 00:27 | We don't want the landing gear out, because
the plane crashed, it wasn't landed, it crashed.
| | 00:32 | So we need to select just the
portions of the plane that we want.
| | 00:35 | So here is a case where we need to be very
specific of how we're going to select, and
| | 00:39 | that's where the Pen tool comes in.
| | 00:42 | The Pen tool allows me to go
in there and start to select.
| | 00:45 | So we've got to go in here and start to get
real close into these areas here and start
| | 00:50 | defining areas that we
want to start working with.
| | 00:53 | So right here, I'm going to press my F key
to bring me to full screen here so that way
| | 00:58 | I can kind of move it around
and see all my nice edges here.
| | 01:02 | So right here I'm going to start right there.
| | 01:04 | Nice even plane, and it's
also the beginning of image.
| | 01:08 | So I've got my Pen tool, and
I'm going to click and drag.
| | 01:11 | Now when you click, you're getting a corner
point, which means the next click is going
| | 01:16 | to be all straight lines, but if you click
and drag, you get the handle which allows
| | 01:22 | you to go in there and
get a soft or curved edge.
| | 01:26 | I am going to just delete that, and I'm going
to pretty much use that kind of a curved edge
| | 01:32 | all around because if we look, you see
there is a slight curve to the edge here, there
| | 01:36 | is a curve to the engine, there is another
curve here and of course there is a big curve
| | 01:40 | around the propeller.
So that's what we're going to use.
| | 01:43 | I'm going to start right out here, right in
this safe area out here. Doesn't matter that
| | 01:48 | this is not the file here, it doesn't matter.
We can create the path starting out here.
| | 01:52 | So I'm going to click and drag my handle, and
you notice that I'm dragging in the direction
| | 01:58 | of the plane that I'm trying to select.
| | 02:00 | I'm going to go over here to this first edge right
there where the engine starts, and I click and drag.
| | 02:06 | There is another handle.
Now at any time I can adjust these.
| | 02:09 | So if I get in real close here, we see that
there is a slight little overlap there, right?
| | 02:14 | So by holding down my Command key, I automatically
get the Pointer tool which allows me to manipulate
| | 02:19 | those handles to change
that curve, right there, see?
| | 02:22 | I'm going to go in there and just get it
right there so it's resting on the wing.
| | 02:27 | And now I'm going to go up this way.
| | 02:30 | Now if I start clicking over here,
you see this curve? That's wrong.
| | 02:35 | These handles control the
direction of the line that I'm creating.
| | 02:40 | So right now they have to follow the tangent of
the curve, and I have this new direction going here.
| | 02:46 | So I need a new handle on this
side to control this new line.
| | 02:51 | Holding down my Option key and clicking on
the point allows me to pull out a totally
| | 02:57 | new independent handle which I can now
have it follow the tangent of this curve here.
| | 03:01 | So I can go in there and go right up to
this little edge right here and click and drag.
| | 03:06 | And again, if I need to adjust it, I could
do it after the fact, and in fact, I can even
| | 03:10 | move the point itself so
that it's right on the edge.
| | 03:14 | Here, I got a slight change.
| | 03:17 | So I'm going to just slightly change it a
little bit, go over to this edge and click and drag.
| | 03:23 | Now it's going to go up.
| | 03:24 | So I raise it up a little bit, go
over to this edge and click and drag.
| | 03:30 | Now I have to go around this entire propeller.
| | 03:32 | Now one thing to keep in mind is that the
longer your line, the smoother it's going to be.
| | 03:38 | So if I add a point here, a point here, a
point here, a point here, the more chances
| | 03:42 | I have of that line having little dents in it.
| | 03:45 | So right here, I can pretty
much go all the way up to the top.
| | 03:48 | So what I'm going to do is I'm going to Option-
click and drag on the point, pull out a new handle,
| | 03:53 | and I'm going to pull a long one, because
it's going to be a fairly long line, and it's
| | 03:57 | following the tangent of the curve, I come
all the way up to here and click and drag,
| | 04:02 | and there you can see that I'm going to get a very
nice smooth line going all the way across. All right!
| | 04:06 | From there, I go right over the
top of the propeller just like that.
| | 04:11 | I can adjust this later, and I will.
| | 04:14 | And then I go all the way
down to here, click and drag.
| | 04:17 | Now I need to adjust these after the fact, so
I'm going to just move this one here, and this one.
| | 04:23 | If it's not quite right, I can very easily
as I put the Pen tool, right over the existing
| | 04:29 | line, I can click, giving me a new point
which I could then manipulate and put it exactly
| | 04:36 | where I want it, see? Just like that.
Coming back to the point where I left off.
| | 04:41 | I will click and drag a new point, get
around that little curve, adjust it 'til I have
| | 04:48 | it just the way I want it, click and drag
a new one and come over to here, over this
| | 04:53 | little area here and around, and here I'm
going to change my direction again to follow
| | 05:01 | this little curve right here,
and finish it off right there.
| | 05:07 | Now I need to lift this up a little bit, no
problem. I could do everything after the fact.
| | 05:12 | I can make all the adjustments that I need.
| | 05:14 | Now I can just come over here and continue
the selection right across to the end here.
| | 05:24 | And then out to the end of the nose, right
through there, pick it up at the bottom and
| | 05:30 | then start to grab along
this side where I want it, see?
| | 05:35 | And again I can just pull this out a little
bit just to soften that and to meet that whole
| | 05:39 | edge and then go all the way down to--well,
I can go this far, but there is a slight curve
| | 05:46 | here, so let's just go up
to the top of that curve.
| | 05:48 | I can just pull it in and put it right there,
and then we'll go right to this little piece
| | 05:54 | here, whatever this is and go around that.
| | 05:56 | We'll go right around this little curve to
the edge of the propeller like that, and then
| | 06:02 | we'll go around the tip of the propeller,
put it where I want it, I Option-click and
| | 06:08 | drag, and we'll go right to the top of the
propeller right there and then go around.
| | 06:15 | Now here, I am going to pull this really tight,
so we can see that's getting that nice little
| | 06:19 | curve in there, and there I got a
little bit showing, I'll just close it off.
| | 06:23 | Now I can go to the bottom of the plane
right here and here we go straight across.
| | 06:29 | So I just clicked on it without dragging,
so I have no handle, and I just go straight
| | 06:34 | across, and we can get a little closer here,
so we can see exactly what's going to happen.
| | 06:38 | I'm going to go right here,
straight line, so I'm just going to click.
| | 06:42 | And then I'm going to now pull out a
handle to go around this little curve and around
| | 06:48 | this little curve there, back to here, and
now we'll just put that one in position where
| | 06:54 | we want it right about there, and here
we'll just go straight across, right there.
| | 07:01 | Now here we have a big curve again.
Let's pull back a little bit.
| | 07:04 | So we can see that entire piece.
| | 07:06 | Yeah, it's where we want to
go, around this entire piece.
| | 07:08 | I'm going to pull a long handle all the way
out like that, all the way to this edge right
| | 07:15 | about here and drag.
| | 07:18 | Now that I have it, I can adjust this so that
one pull right there, that gave me one continuous
| | 07:27 | line that's nice and smooth all the way across.
| | 07:30 | And right here I'm going to just go down,
let me make sure this is a straight line,
| | 07:37 | go down, go up and then here we're just
going to close it off right here because most of
| | 07:44 | this stuff is going to be on the ground.
| | 07:47 | So right up here and close off the entire
path, the path has now selected so that we
| | 07:51 | can go in there, and let's
just clean this up a little bit.
| | 07:55 | We now have the plane completely selected,
so I can turn that path into a selection right
| | 08:01 | there so that now I can go in there and say
send it to a new Layer Via Copy, and we turn
| | 08:07 | off the background, we see that the plane
is completely separated from the background.
| | 08:12 |
| | Collapse this transcript |
| Adding the logo to a curved surface| 00:00 | In this movie, we're going to add a little
title to our plane right there, a little logo
| | 00:04 | that's going to be at here to this area here.
But before we do that, we have to first position
| | 00:09 | the plane how we want it.
| | 00:11 | Now this plane is going to
be crashing into a jungle.
| | 00:14 | Now this scene back here is
going to serve as our jungle.
| | 00:18 | Now the plane is going to be coming in from
this side right here, and it's going to be
| | 00:21 | lodged in between these trees right here,
it's just going to be kind of anchored in there.
| | 00:25 | So, it's going to be coming this way.
| | 00:28 | So right off the bat, the first thing we have to
do is we have to go in there and rotate this plane.
| | 00:32 | So I'm going to go in there and say Flip Horizontal
so that our plane is now facing in the right direction.
| | 00:39 | So now we're going to go get our logo.
| | 00:41 | Now, I started to think of what kind of a
logo I can put on here, and I remember that
| | 00:48 | a little over 20 years ago, I did this Illustrator
file for this company. They wanted me to create
| | 00:53 | a logo, and I did a whole series of logos for
them, and one of them was this logo little here.
| | 01:01 | It was a company, I don't even remember
which logo they ended up picking, but I thought
| | 01:05 | this would be a great little logo to put on our
plane, except I wanted to make some changes to it.
| | 01:11 | So it is an Illustrator file, and
Illustrator will still open up its old files.
| | 01:15 | So I opened it up in Illustrator
and recreated it to look like this.
| | 01:20 | So I changed the triangle as you can see, made
it a little bigger, and I changed Productions
| | 01:24 | to the word Missions, bogas Missions. I
thought that would be prefect for our dead plane.
| | 01:29 | So this is the piece we're going to do,
and you can see that it's in separate layers.
| | 01:34 | There is the triangle, it's
by itself there in a layer.
| | 01:37 | So what we are going to do now is I'm going
to take the word Missions, the logo and the
| | 01:41 | triangle, and I'm going to merge them together.
| | 01:45 | This also kind of reminds you as to why
it's really important to keep things in layers,
| | 01:52 | and the possibilities of being reused sometime.
Now this is something I did over 20 years ago.
| | 01:58 | But since everything was in layers then and
using Illustrator, it was real easy to use
| | 02:02 | it again now and just make the necessary changes to
make it fit what I needed in this particular situation.
| | 02:10 | That's why I put everything in the layer
because it becomes this great collection of stock
| | 02:14 | photography you might say or
stock elements that can be used.
| | 02:17 | So I'm now going to take this and drag
it into our scene of our plane there.
| | 02:21 | Now I can say goodbye to this, don't save
it, and there is our little logo, which I'm
| | 02:26 | going to put in position right about there.
| | 02:29 | Now I'm going to have to go in there and
modify this a bit, so let's get a little closer,
| | 02:32 | so we can see what's going to happen now.
| | 02:34 | Now I could very easily just go into my
Transform Tools, and I'm going to just say Command+T
| | 02:40 | just to call it up.
| | 02:41 | I hold down my Command key so that this will control
it so that I can go and do a little skew like that, see?
| | 02:48 | Now there is a little skew.
| | 02:50 | Now typically you might say well that looks
good enough, that's perfect, that's just what
| | 02:55 | you need, may be just a little more.
| | 02:58 | Okay, there we here we go, that's perfect,
but not really. It's not really perfect, why?
| | 03:03 | Because of the fact that the plane is
slightly curved, see? There is a curvature to this,
| | 03:08 | and this straight line right here is kind of
hiding the fact that the plane is straight.
| | 03:13 | So if you want to be a perfectionist, and
you want to make things just the way they
| | 03:16 | should be, we're going to go in
there and make that little curve to this.
| | 03:20 | So what I'm going to do to it now is I'm
going to go into my warp, Transform > Warp which
| | 03:26 | is going to set up a nice
little grid for me right here.
| | 03:28 | So I can now go in there, and we're going to
take this side and just warp it ever so slightly.
| | 03:33 | We're going to drag this down just a little,
and we want to make it just a little bigger.
| | 03:38 | So we can now pull this
down just ever so slightly.
| | 03:43 | So there we see that we have this curve
that's now starting to follow the curvature of the
| | 03:46 | plane, and we actually have these
little bolts that we can use as guides.
| | 03:49 | So there they are, following the bolts, and
I can just bring this one down just a little
| | 03:53 | bit, and we'll even curve it in just
slightly just like that, so it starts to have that
| | 03:59 | little bit of a curve to the edge of the plane.
| | 04:01 | And that's all, very slight moves right there,
but just enough to make it look like now it
| | 04:07 | is in fact painted onto our plane, and
our plane is ready to be totally destroyed.
| | 04:12 |
| | Collapse this transcript |
| Compositing and aging the plane| 00:00 | In this movie, we're going to take our little plane,
and we're going to put it in position and age it a bit.
| | 00:06 | So right here what I'm going to do is I'm
going to merge down the logo that we created
| | 00:11 | in the last movie so that the plane is
complete, and I'm going to take that layer and drag
| | 00:15 | it into our scene, right here.
There is the plane.
| | 00:20 | Now I want to put it right in this position
here, so let's go in there and size it down,
| | 00:24 | so I call Command+T, and there. I'm going to
drag the plane down to the size that I want
| | 00:29 | it be and put it in position right
where I want it, right about there.
| | 00:33 | There is our plane in position, where it's going to
have landed after a long flight and ill-fated.
| | 00:40 | It enters, so there is a plane in position.
So now, we have to actually pull it there.
| | 00:47 | So the first thing I'm
going to do is give it a mask.
| | 00:51 | And in that mask I'm going to
go in here and get real close.
| | 00:54 | I'm going to reduce the opacity,
so I can see the tree in back.
| | 00:58 | That way I can see where I'm going to mask.
| | 01:00 | So with a black, hard-edged brush, and
we can soften it up just a little bit.
| | 01:07 | I'm going to go in there, and I'm in the mask,
I'm going to start to paint, so we don't see
| | 01:12 | that part of the plane behind the tree.
| | 01:15 | I'm going to go in here and turn that Shape
Dynamics off, which is on by default so that
| | 01:20 | I'm not going to get a pressure sensitivity
happening, and I'm going to go in there and
| | 01:24 | start painting away the tree to expose it.
| | 01:28 | Now if you're using a mouse, you don't have
to worry about pressure sensitivity, but I'm
| | 01:31 | using a Wacom tablet which is pressure
sensitive, so therefore I had to go in there and turn
| | 01:35 | that off, and I'm going to go in there and
start painting away, right there, we can see
| | 01:41 | that I'm--and let's bring
the opacity all the way up.
| | 01:45 | Now we're really erasing, there we go.
| | 01:47 | Now we're just going to get all this part
of the plane to disappear behind the tree.
| | 01:53 | I can bring the Opacity back up, and there we
can see that now the plane is in fact behind
| | 01:59 | the tree right there.
Now we want to start aging it a bit.
| | 02:03 | So I'm going to go in here and in a layer
on top of the plane, let's press the F key
| | 02:08 | here to bring us to full screen.
| | 02:11 | In a layer on top of the plane,
I'm going to start to add some dirt.
| | 02:15 | Now what I'm going to do is I'm going to
take my paintbrush, and I'm going to use one of
| | 02:20 | the spatter brushes. I love those brushes.
They are so versatile for so many things.
| | 02:24 | I'm going to use the largest one right here,
which right now is just going to do that.
| | 02:28 | So what I want do is go into my Brushes
engine and modify it by giving it some space.
| | 02:35 | Shape Dynamics where I'll turn off that Pen
Pressure, set up the Size Jitter and the Angle
| | 02:41 | to 100%, so now we have this
nice little variety going on there.
| | 02:44 | I'm going to say Color Dynamics as well.
| | 02:46 | Between Foreground and Background give me
100% change between them, and add a little
| | 02:50 | bit of Hue and some Saturation
and a little Brightness Jitter.
| | 02:56 | Now what's going to happen here is that each
tip is going to jump between the foreground
| | 03:02 | and background colors, as it applies them,
because each tip is here, these are all individual
| | 03:06 | tips that are close together.
| | 03:08 | Hue, I kept that low, because right now I
have like a dark brown and a white.
| | 03:12 | If the Hue Jitter is pushed all the way up, I'm
going to have greens and purples. I don't want any
| | 03:17 | of that stuff. I just want to just a little
variance and same thing with Saturation and
| | 03:21 | Brightness, just a little bit.
| | 03:23 | So now that I have that, I'm going to go in
here, and let's make the brush a little bigger,
| | 03:29 | and I'm going to bring down the Opacity for it.
| | 03:31 | I like to work with low
opacities in situations like these.
| | 03:35 | Let's change this to a deep gray, like that, and
we'll change this to a lighter gray, like that.
| | 03:43 | Now I'm going to start to paint, and my
brush is a little too big here, right into these
| | 03:48 | areas, and you can see that I'm
starting to add all this grime to our plane.
| | 03:53 | So I'm just going to go in here, and let's
close down, and we'll start adding grime in
| | 03:57 | all kinds of places where we're
just starting to add some grime.
| | 04:01 | Now I'm going to change these colors.
| | 04:03 | I'm going to change this to kind of a
slightly orange, maybe a little more on the yellow
| | 04:10 | side, slightly kind a beigy color like that,
and I'm going to take my Background Color
| | 04:15 | and make that more of a brownish color,
somewhere in this area here and continue to paint.
| | 04:21 | So now you notice that I'm
starting to add the sense of some rust.
| | 04:25 | Some rust starting to happen around our plane.
| | 04:27 | Now it doesn't matter that I've gone over,
because of the fact that we're going to mask
| | 04:33 | this all up in a few minutes.
| | 04:35 | So it's just adding rust in all
of these little areas like that.
| | 04:39 | Okay, now we're going to go in there and
add some greens, little bit of green, a little
| | 04:46 | soft green like that and a darker version
of it, but kind of a muted green, kind of
| | 04:51 | grayish green, and I'm just going to add a couple of
little touches of little moss in a couple of spots.
| | 04:58 | Now in the next movie, we're going to create
some serious moss, but right now we're just
| | 05:01 | adding little touches here and there.
| | 05:04 | Now that we have all that stuff happening in
there, I'm going to go in there and clip it.
| | 05:08 | Holding down my Option key, I can clip that
so that you can see that right there, it just
| | 05:13 | locked everything into the area of the
plane itself, so we don't see the stuff beyond.
| | 05:18 | And in certain areas, I want to erase
that, so I don't want it inside here.
| | 05:21 | So I'm going to go in there and just erase
that moss, that's right inside the area and the rust.
| | 05:26 | We don't want it in there. We're
going to put other things in there later.
| | 05:30 | So there we can see where we're
starting to get that plane kind of dirty.
| | 05:33 | And I'm going to pull back a little bit
just to see the overall scene, and now we need
| | 05:37 | to darken this down here.
| | 05:38 | So what I'm going to do is I'm going to take
my Burn tool, I have it set to Midtones, I'm
| | 05:43 | going to go to the plane layer itself, and I'm
going to start to darken the bottom of the plane.
| | 05:47 | I'm going to darken that
quite a bit down in there.
| | 05:50 | Now I'm going to take my dirt that I created,
I'm going to darken that as well, because
| | 05:57 | we want that to be pretty dark down there,
and we're going to do this even more so later,
| | 06:01 | once we add a whole new
foreground to our scene here.
| | 06:04 | So there we see that we have started to age
our plane, and in the next movie we're going
| | 06:08 | to bust it up a little bit. We're going to
break some propellers, break some glass, and
| | 06:12 | add the moss, like I said.
| | 06:17 |
| | Collapse this transcript |
| Busting up the plane| 00:00 | So in this movie, we're going to bust up
the plane to make it look like it really went
| | 00:03 | through a massive crash.
| | 00:06 | So I'm going to go in here, and
let's start doing some stuff to it.
| | 00:09 | Now, right now it's still kind of smooth all
along here, so what we're going to start to
| | 00:13 | do is to add some scratches, all kinds of
scratches like it just when through all those
| | 00:18 | trees in that jungle, and I'm
going put it in a separate layer.
| | 00:21 | Let's start naming these
layers so we know what they are.
| | 00:24 | So we're going to call this one dirt,
and this one we're going to call scratches.
| | 00:33 | And it's also going to be clipped
to the actual layer of the plane.
| | 00:38 | Now for this, I'm going to take my paintbrush.
I'm going to use a very small brush.
| | 00:43 | Let's just use a hard-edge brush
like that and make it pretty small.
| | 00:46 | I'm going way down, and I'm
going to start to draw some lines.
| | 00:50 | Now the color that I use
isn't really that important.
| | 00:54 | So I'm just going to use a black. In fact,
we'll go with a nice kind of a medium gray.
| | 00:57 | I'm going to start drawing a
bunch of lines through here.
| | 01:00 | Now these, all these lines are just going
to be, as you can see just a whole bunch of
| | 01:05 | different lines going
through here and just scratches.
| | 01:08 | So they are all just scratch.
| | 01:09 | Now some of them you're not even going to
see just yet, but you will in a minute, a
| | 01:12 | couple of long scratches.
| | 01:14 | We're just getting all of these scratches
going through here, a bunch of scratches in
| | 01:17 | here, bringing all of these scratches and
more scratches down here, all these little dents.
| | 01:25 | Now what's going to happen is I'm
going to go into my layer Styles for this.
| | 01:28 | I'm going to start giving them a
little Bevel & Emboss, right there.
| | 01:32 | So I am going to give it a little Bevel & Emboss,
and I'm going to give it an Outer Bevel, see,
| | 01:38 | right there, something
started to happen already.
| | 01:41 | Now I'm going to change my light source to
come from above, that gives me the lights
| | 01:46 | on top and below, well, I want it the other way.
| | 01:49 | So I'm going to go to bottom, see now it starts
to look like they are dented into the scene here.
| | 01:53 | And they are a little big, so I'm going to
bring them down, I'm going to bring them down
| | 01:55 | to about a 1, just really small, and
I want the Depth to be really strong.
| | 02:01 | These lines, you can see how
they are starting to happen there.
| | 02:04 | So I'm starting to get a nice effect for them.
| | 02:07 | And then I'm going to go in there and just
kind of lighten up that white a little bit
| | 02:10 | and the black just a little so
that it's not so strong. All right!
| | 02:15 | Well, that's good, right the way it is.
Now I can start to continue these scratches.
| | 02:17 | I am going to start to draw a whole bunch more.
| | 02:19 | I'm going to start getting scratches all
over the place, all these little scratches, and
| | 02:25 | some more in this area
here, all these scratches.
| | 02:29 | Now, in certain areas, they are not going
to look that good, they are not going to look
| | 02:35 | good, they are not going to look like
a series of scratches just like that.
| | 02:38 | So what I'm going to do now, I'm in that layer and
what I want to do is I want to separate those effects.
| | 02:45 | So what I want to do is I'm going to go over here
to layer and go to Layer Style and say Create Layers.
| | 02:51 | Create Layers is going to allow me to
separate those scratches into separate layers.
| | 02:58 | So there we see that we have
the lights, and we have the darks.
| | 03:02 | So I'm going to take the lights and the
lights, what I'm going to do is I'm going to give
| | 03:06 | them mask, I am going to give the lights a
mask so I can start to hide parts of them.
| | 03:11 | So I'm going to get a soft-edged brush, make
it a little bigger, nice and big, and my Opacity
| | 03:17 | is lowered, so I'm going to go in here and
just kind of lighten those scratches at the
| | 03:21 | bottom, the lights of the scratches at the
bottom so that they are not so pronounced, see?
| | 03:27 | So now those start to have more of a
realistic look of being the scratches on our plane.
| | 03:33 | There we go through there, see?
| | 03:35 | So we're just lightening--or rather making
the lighter tones start to disappear along
| | 03:42 | the bottoms of the plane--so that
the scratches along top will be fine.
| | 03:45 | Now we're going to go in there, and this
propeller, well, that propeller went through hell.
| | 03:51 | So what we're going to do is I'm going to
actually go in here and select my Lasso tool,
| | 03:58 | and I'm going to go in here and
figure out how this thing cracked.
| | 04:02 | Let's say we're going to crack it this way, came
around, and it cracked like this, like that, all right!
| | 04:09 | Then I'm going to go in there, and I'm just going to
surround the whole thing just like that. All right!
| | 04:17 | So now, what's going to happen here and--in
fact, let's just add a little bit to this edge
| | 04:22 | of the--I'm going to go in here
and start to clone in some of my dirt.
| | 04:29 | So I'm going to just take the Clone tool,
make it a little bigger. I'm going to clone
| | 04:33 | from right here, right there, I'm going to
start cloning from there into the area of my plane.
| | 04:38 | Let's go to the plane here, right there.
| | 04:39 | I'm going to start to clone in, not the
scratches, but I want to actually clone in everything.
| | 04:45 | So let's just say this layer
only just the Current layer.
| | 04:50 | So it's this layer, the layer of the plane,
and I'm going to start to clone in all these
| | 04:54 | little scratches that we have
here, there is a dark of the plane.
| | 04:58 | So now you can see where it's just getting pretty
much rid of that whole part of my plane down there.
| | 05:06 | Let's get some of this stuff up here.
| | 05:09 | I'm just cloning from different parts to get
different tones happening, right through here like that.
| | 05:14 | Now we can deselect, and I
can go in and darken this.
| | 05:18 | Let's just darken that whole piece.
| | 05:21 | And you know what I'm going to come back
and bring back that selection, because what I
| | 05:28 | want to do here is I actually
want to darken right up in here.
| | 05:31 | So let's go in here, make that a little smaller and
just burn in right under there, make it really dark.
| | 05:40 | Now we'll deselect.
Now I can start to darken the rest.
| | 05:44 | Make it really dark.
| | 05:46 | Underneath there you can that
our propeller has now broken off.
| | 05:49 | Now I can go and erase this section of my
propeller because that's no longer visible.
| | 05:57 | Now we don't have to worry about under here
because we're going to add a whole bunch of
| | 06:00 | more stuff, but now we see that
that part the propeller has broken off.
| | 06:03 | Now we're going to come up here, and take
this part of the propeller and break it.
| | 06:08 | Now what I'm going to do just like I did
before is I'm going to go in here and start to just
| | 06:12 | figure out how this thing broke off,
right through there, like that. Okay.
| | 06:20 | And I'm going to go in there and
send that to a new Layer Via Cut.
| | 06:27 | Now this one is I'm going to bring this up,
because you saw what happened, since I cut
| | 06:32 | a layer in-between there, all my dirt and dusts and
scratches were all of a sudden trapped by this one.
| | 06:39 | So I'm going to go in there and
reestablish those clips, all those little clips right
| | 06:43 | through there, so there's all my dirt back.
| | 06:46 | There's my propeller that I just broke off,
and let's just do this and call it the prop tip.
| | 06:52 | So now that I have the prop tip, I can go
in there and say, rotate it a little bit,
| | 06:58 | put it in position, right there, maybe rotate it
just a little more, let's rotate it quite a bit.
| | 07:04 | And move it down, so it's just along the tip of
my propeller so it's just broke off right there.
| | 07:09 | Click OK, and there is a break.
| | 07:12 | So now I'm going to go in here and
break it again, right there like that.
| | 07:18 | I'm going to go in there and tip that, and
bring it down in position, maybe rotate it
| | 07:25 | some more and bring it down.
| | 07:29 | So now we can see that our propeller has
broken off--and maybe that's too much of a tip there.
| | 07:34 | Okay, so now our propeller has
broken off in a couple of spots.
| | 07:38 | Now we got to go in there and do stuff to this.
| | 07:41 | Now, I'm going to grab this
little section right here.
| | 07:44 | Just going to grab this little tiny piece
of my propeller, and I'm going into warp.
| | 07:50 | Remember warp, we've used before, I'm going
to go in there and start to warp this edge
| | 07:55 | of the plane just this little piece right
in here, so it starts to look like it got
| | 07:59 | bent, it got bent along the way, there we go,
click OK, and now we see that we've just
| | 08:04 | bent that little piece there.
| | 08:05 | I'm going to do the same thing to this guy.
| | 08:07 | I grab the end of it, and we'll go in there
to Warp, I'm just going to kind of twist this
| | 08:13 | edge, so it starts to look like it
got really bent up just like that.
| | 08:21 | Now that we added this extra stress to these
guys, I'm going to go in there and start to
| | 08:25 | darken those a little bit, so they got pretty
messed up and add a little highlight because
| | 08:31 | we're going to bend it right there,
and this guy got bent, right in there.
| | 08:34 | So it's going to pick up that little
extra light in that little area right there.
| | 08:38 | So now we see that our propeller has broken off
and the other one down below is completely gone.
| | 08:44 | In the next movie, what we're going to do
is we're going to break the glass, got to
| | 08:48 | have broken glass after
that kind of an accident.
| | 08:51 | So we'll see what happens in the next movie.
| | 08:56 |
| | Collapse this transcript |
| Breaking glass| 00:00 | Now that we have this plane all crashed and broken
up here, we are going to have to break up the glass.
| | 00:04 | So I am going to get in real close here
so we could see the glass, real close.
| | 00:09 | And what we are going to do is create a
layer right on top of this, where we are going to
| | 00:14 | see the broken glass, and so I am going to go
in here, and I am going to take my Pen tool.
| | 00:20 | So my Pen tool will give me a lot more control.
| | 00:23 | I am going to go in there
and start breaking the glass.
| | 00:25 | So what I am going to do is actually I am
creating the negative area for the glass.
| | 00:29 | So I am going to go in here and start to
draw a bunch of splinters, the way I think the
| | 00:34 | glass should have splinted.
| | 00:35 | Now here is a case where you might want to
maybe break a window, not in your own house
| | 00:40 | just somewhere, though I am not suggesting
violence, but you should go out and break
| | 00:44 | a window and see how it breaks.
What does it look like?
| | 00:47 | How does it look when the
glass splinters and stuff?
| | 00:49 | So that's what we are going to do here is
we are just going to create the sense that
| | 00:53 | this glass has been broken out.
| | 00:55 | So we go in here and just create all these
little splinters, and you notice in some cases,
| | 00:59 | it's going right up to the edge and creating this
little stuff going on here and here is our broken glass.
| | 01:11 | I am just going to click around just so I have
enough of area covered where my glass has been broken.
| | 01:22 | And I am just clicking, having good time with
it, and let's just move that one, that's the
| | 01:27 | beauty of the fact that we have our thing
as a path is that I can maneuver it and play
| | 01:32 | with it wherever I want.
| | 01:36 | And those last couple of
points we are going to knock out.
| | 01:39 | So here we go, I am just going
around, and let's pull this up.
| | 01:46 | So we are just going in, and
let's just create a couple more.
| | 01:54 | Okay, there is one glass.
And we are going to break this one too.
| | 01:59 | Let's close this window area and here we go.
So there, there is our broken glass.
| | 02:07 | Now that we have this area selected, what
we are going to do is I am going to turn that
| | 02:12 | path into selection, make it a selection,
and I am going to do a couple of things to it.
| | 02:17 | One is I am going to go in there and in
a new layer, a new layer for the broken glass
| | 02:24 | itself, I am going to go in there, and I am
going to go ahead and fill that with black.
| | 02:31 | So I am going to go in there and choose the
black, a nice deep color for thing, and we
| | 02:36 | will go ahead and fill it, we'll
just fill it, and there is the black.
| | 02:41 | Okay, so now this layer right here, I got
my layer, I am going to go to that layer and
| | 02:47 | give it a Layer Style.
| | 02:48 | I am going to give it a
Layer Style of Bevel & Emboss.
| | 02:53 | Now I am going to sharpen this.
| | 02:54 | I am going to sharpen it and make it real
strong so I get really strong lights and darks.
| | 02:58 | I am going to make it really small, just bring it down
to about a 2, see what that is going to look like.
| | 03:03 | That's fairly good, fairly good right there.
| | 03:05 | In fact, we might even make it
small or make it a 1. All right!
| | 03:09 | So there, so there is our hard edge.
| | 03:11 | Now we are not seeing the black
stuff, so I don't want it to be black.
| | 03:14 | I am going to go in there and pick a gray.
| | 03:15 | So we'll pick a nice light gray, and we'll change
this to Screen, which will allow the gray to show.
| | 03:21 | So now we got the top portion of our glass, but here
we have all this broken glass, these big charred areas.
| | 03:28 | I am going to click OK.
| | 03:30 | Now, when we pull back, we see that
now the glass looks like it's broken.
| | 03:34 | Now that white in that area right there which
is down along the bottom, it's a little strong,
| | 03:40 | so I can go back into here and just bring
down that white just a little so it's not
| | 03:44 | just so strong, and I get a nice little
effect like that, same thing with the gray, we will
| | 03:49 | just tone it down just a little bit.
| | 03:52 | Click OK and here is the broken glass,
which we are going to call it glass.
| | 03:57 | Now, looking through the glass, let's turn
this off for a second, we see that little
| | 04:02 | area of the other side of the glass, the
other side of the window, so what I am going to
| | 04:06 | do is I am going to go in there and select that.
| | 04:08 | I am going to use my magic wand, make sure
I am in the plane layer right there, I am
| | 04:13 | going to select that little area in there.
There is that little area.
| | 04:15 | So what I am going to do with that is in the plane,
I am going to go in there and delete it, see?
| | 04:22 | So now we see the jungle behind it because that's
what it is we are seeing through this little thing.
| | 04:26 | And going back to the glass layer, here is
the glass layer again, now there is the glass
| | 04:31 | layer, what I am going to do is right in
that area there, I am going to go in there and
| | 04:35 | cut that area right out of my little window here by
just going in there and say let's give this a mask.
| | 04:42 | I am going to go in there and say mask it.
Now I am seeing it only in there.
| | 04:47 | So what I am going to do
is simply invert the mask.
| | 04:49 | So I am going to see everywhere else.
Now, see that little edge that came up?
| | 04:54 | I am going to go to my Bevel & Emboss.
I am going to go into the Blending Options.
| | 04:57 | I am going to say that
layer mask hides the effects.
| | 05:01 | So right through that area we won't
see the effect of our glass. Click OK.
| | 05:05 | Now we see that this glass just expanded a
little bit, so what I am going to do is I
| | 05:09 | am just going to go in there and
just cut out that little piece.
| | 05:13 | So I am going to take my little
Selection tool, and I got my glass.
| | 05:16 | I am just going to go in there and cut this right
through here, right through there, cut that piece out.
| | 05:24 | I am going to take that
piece, and I'm in the glass.
| | 05:27 | I am going to go in there and
just add a little black to that.
| | 05:31 | So there we see that we have that little extra
little edge that that way it's showing through the window.
| | 05:38 | So now when we look through that, we see the
jungle through the glass, through the broken
| | 05:42 | glass, and we see that all the glass is broken.
| | 05:44 | Now in the next movie, we are going to
finish the aging of the plane by adding the moss
| | 05:50 | that has grown over the plane.
| | 05:55 |
| | Collapse this transcript |
| Adding moss and lighting| 00:00 | Now we could look at our plane, and it's
starting to look like it's crashed, but now we got
| | 00:05 | to make it look like it
crashed a long, long time ago.
| | 00:07 | So we have got to do a couple of
little adjustments here and there.
| | 00:11 | Now right off the bat, I see
that the propellor is a little blue.
| | 00:16 | So I am going to take this area back here
where I broke it which is right there, a little
| | 00:20 | prop tip, and I am going to go into Hue/
Saturation and kind of bring down the Saturation, so
| | 00:24 | it starts to become a little
more like a gray just like that.
| | 00:27 | And in fact, I am going to
do that to the entire plane.
| | 00:29 | So I am going to go down to the plane here,
and I go into the Hue/Saturation, and we will
| | 00:33 | tone it down a little bit.
| | 00:34 | I want to see the effect it is having on low.
I'm just going to bring it down just to kind
| | 00:39 | of unblue it a little bit.
| | 00:42 | Click OK, and that's
starting to look a little better.
| | 00:45 | So now the lighting in this scene. If we look
at it, overall scene, we have seen that these,
| | 00:49 | all these little blotches of light coming
through it, kind of working on a plane, but
| | 00:53 | not quite as defined as you see it here.
| | 00:57 | So what I am going to do is let's
get close around the plane here.
| | 01:01 | What I am going to do here is I am going to--
on top of all these right here, right there
| | 01:06 | on the top of the scratches, I am going to
create another layer, one more layer, and
| | 01:10 | I got black and white selected here.
| | 01:12 | So I am going to go in there, and I
am just going to give it a filter.
| | 01:14 | I am going to hold on my Option key to
increase the contrast and just add the Clouds filter
| | 01:21 | to that area right there.
| | 01:23 | And then we see the propeller, which are in
front and the broken glass, so we see that,
| | 01:27 | right there like that.
| | 01:27 | So what I am going to do is I am going to
set that into Screen mode just like that and
| | 01:34 | trap it with the plane like
everything else, right there.
| | 01:37 | So now we are seeing it only inside the plane.
| | 01:39 | I am going to bring down the Opacity for
it considerably, right there like that.
| | 01:44 | And I am going to give it a mask so that I
can now start to paint away the parts I don't
| | 01:49 | want it to show, which is right in this--
down here, I don't want that highlights to show.
| | 01:55 | So I am going to kind of paint them out from the wings
and certain parts of the plane that I don't want them.
| | 02:01 | I just want them along the top just like that,
so there is where my little highlights are.
| | 02:06 | Then I got all these nice little highlights
happening through there, see? There they are gone.
| | 02:10 | There they are on top, so now we got
these little highlights, and I might go even--
| | 02:13 | want to go in there and maybe hide a
couple of little other areas, so I'll just set this
| | 02:18 | up and maybe erase a couple of little spots
just to add more of that sense of blotchiness.
| | 02:26 | Now, we are going to add some moss.
| | 02:29 | Let's get real close, and this
is going to be all the way on top.
| | 02:33 | So way up here, we are going to create
another layer, I'm going to call it moss.
| | 02:37 | Now we are going to use our
favorite brush, one of the Spatter brushes.
| | 02:41 | I'm going to go down here and get the
Spatter brush, and we are going to use one of the
| | 02:44 | clunky ones like this one here, it's got
little kind of a cluster in the center there.
| | 02:49 | That's going to be perfect.
| | 02:50 | We are going to go in there, modify it as
we have done in the past, so we are going
| | 02:53 | to give this a spacing, so we the
individual tips right there, and we're going to Shape
| | 02:58 | Dynamics where we turn this off, give it a
Size Jitter, and we are going to set up a
| | 03:02 | minimum size so they don't get too small, and
we are going to bring that angle all the way
| | 03:06 | around to 100%, right there.
| | 03:09 | Okay, and then we are going to go in there,
and we are going to do the Color Dynamics
| | 03:13 | so that we can go in there Foreground/
Background just a little bit of Hue shift and a lot of
| | 03:18 | Saturation shift and Jitter.
| | 03:21 | Then I am going to pick
some colors for the moss.
| | 03:23 | So I am going to pick them right for the image.
| | 03:26 | Close this up, and I am going to pick this
nice deep green here for the Foreground, and
| | 03:31 | for the Background I'll pick
this lighter green right there.
| | 03:34 | So now that we have that I am going to
go in here and start to draw my moss.
| | 03:38 | So I am going to just kind of very
loosely start to just paint right on top.
| | 03:43 | Right on top of the plane, I am just going
along the edge and creating this ridge of
| | 03:47 | moss, right through here and a little on
the glass along the edges of the glass.
| | 03:53 | Then I am going to start to make my brush
a little smaller and start to kind of make
| | 03:57 | them drop down, so we are just having the
moss kind of hanging down, a little build
| | 04:02 | up here and just kind of fall down, so
we are starting to get all this moss.
| | 04:07 | Here I'll make the brush a little bigger.
| | 04:09 | So we start getting big at clumps of moss,
right through here, right at the tip.
| | 04:13 | Make it smaller, and I start to drag them down.
| | 04:17 | All the little moss coming down along the
edge through there, and we are going to put
| | 04:21 | some moss along the top here, a little bigger,
and there, and then there is--right along
| | 04:28 | the edge of the engine right here. We just
create some moss along the top of the plane,
| | 04:33 | along these edges, and definitely right
here because that's too clean looking.
| | 04:39 | So we are going to just kind of cover that up with
our moss, and this edge here, it's part of the motor.
| | 04:47 | Let's make the brush a little smaller and
the propellor right there gets covered, that
| | 04:51 | little wedge right there where the wing
comes in and along the top, and let's undo that
| | 04:58 | part, I just want to go back here and start
adding the moss, and then it starts to come
| | 05:04 | down just kind of curving it around the edge
of the engine here in all these little things.
| | 05:14 | And they could kind of fall down a little bit, and
there I just noticed that our highlights are right there.
| | 05:19 | We don't want those highlights in there from
the lights, so we'll get rid of those in a minute.
| | 05:24 | So we go in there, and we start adding some
more moss and here under wing, we are going
| | 05:28 | to put a whole bunch of moss, let's make it
bigger, and I have the moss going right after
| | 05:32 | this edge of the page, down along the
edge here, and then it starts dripping down.
| | 05:38 | It's just growing all through here, along
the top, and then we are going to have some
| | 05:41 | more coming down right through here.
| | 05:44 | I am going to have little moss build up in
these areas in here, little moss there and
| | 05:49 | all kinds of moss inside there, tons of moss
which is then dripping out all over the place,
| | 05:57 | along the propeller, that stuff just
goes all over the place, doesn't it?
| | 06:02 | Just mossed everywhere, and this plane has
been here for a long time, so we are just
| | 06:06 | going to add all kinds of moss.
| | 06:09 | I am making a bigger brush here, and I'm
just going to fill those areas up with a lot of
| | 06:15 | moss, make that brush smaller, and there
we go, so now we are starting to cover our
| | 06:23 | plane with all this moss
that's been invading it for years.
| | 06:28 | Now go to that highlight that we created a
minute ago, and it's right there, and we make
| | 06:33 | sure we go to its mask where I can go in
and just make sure I get a regular brush, I am
| | 06:39 | going to paint in to get rid of
that highlight inside the engine.
| | 06:43 | We don't want that highlight
in there, we don't, there we go.
| | 06:48 | Make sure it's gone, and in
here I don't want it in there.
| | 06:52 | Okay, so that makes our
engine nice and messy again.
| | 06:56 | And there we see that now we have all this
moss in place and our plane is starting to
| | 07:00 | really look like it has been there for a while.
| | 07:02 | In the next movie, we are going to add another
touch, a little pool of water with a reflection
| | 07:08 | of our plane in it.
| | 07:09 | So that's going to be one of the final touches that we
are going to add a little pool and some additional foliage.
| | 07:18 |
| | Collapse this transcript |
| Adding water and reflection| 00:00 | So now that our plane is in place and old
aged and dirty and mossy, we are going to
| | 00:04 | go over and add another
feature to our landscape.
| | 00:07 | I am going to add a little water here,
because it is very bright down here, it's kind of
| | 00:11 | distracting, we want to add something to
this which kind of relate more to the plane.
| | 00:16 | So I have an image back here.
Here it is of just that, a little water.
| | 00:24 | So I am going to go in here,
and I am going to select this.
| | 00:25 | I am going to take this whole
picture and drag it into here.
| | 00:29 | And now it's much bigger than what I need, so
let's close this off, and let's see what's
| | 00:34 | going to happen here.
| | 00:35 | I am going to press F to bring me to
full screen and pull back a little bit so that
| | 00:40 | I can go in there and see the whole image.
| | 00:43 | Now I am going to take this, and I want to
take this scene and put it right down here
| | 00:49 | below, and I actually
want it below the plane itself.
| | 00:53 | So let's put it way down here
right behind the plane itself.
| | 00:57 | So there is the scene.
| | 00:59 | So I am going to go in here and do a little
resizing of this, press Command+T so that
| | 01:06 | I can get the transform tool.
| | 01:09 | So I can go in here and put it
right into position where it want it.
| | 01:12 | I want it right in this area here
like this, right about like that.
| | 01:19 | I'll put it right there.
| | 01:22 | There is just about where I want it, maybe
we'll make it just a little bigger. There we go.
| | 01:27 | So there is our little pool of water, click OK.
| | 01:31 | So now, I want this to look like it really
is part of this scene here, and in this--so
| | 01:37 | what I am going to do is I am going to give
it a mask, and I am going to start to paint
| | 01:41 | away all the parts that I don't want.
| | 01:43 | So I am going to go in here and just right
off to the bat get rid of the whole top area,
| | 01:47 | don't want any of that stuff in there.
| | 01:49 | Let me undo that for a second, I can keep
some of this little stuff in there right in
| | 01:56 | there, that's not so bad, and let's bring
this all the way down here. We'll just kind
| | 02:03 | of blend this into this area here and kind
of blend it into our area. We can keep that
| | 02:10 | little nice, little stick there.
And it's right in there.
| | 02:13 | So now we got this little area that's just
kind of add a little bit of our--a little roughness
| | 02:18 | to it, so it starts to have the same kind of
lighting effect like the rest of our scene.
| | 02:23 | So there is our little pool,
all right. That's looking good.
| | 02:27 | So now, what I am going to do is I am going to turn off
all these guys so I see only my plane. There is my plane.
| | 02:36 | So what I am going to do is I am going to
come up here to the top of what I see right
| | 02:39 | here--in fact, we don't even need to
see the brush tip or the broken glass.
| | 02:44 | But right here what I am going to do is I
am going to hold down my option key and say
| | 02:48 | Merge Visible, and the reason I am holding
my option key is so that it's going to merge
| | 02:53 | all those elements into a separate
layer leaving everything else still there.
| | 02:57 | So now I could turn everything back on.
All right, bring everybody back on.
| | 03:01 | Now I am going to take that layer I just
created and bring it down and put it right here on
| | 03:05 | top of my little water scene.
| | 03:09 | I am going to drag it down, so it's
right down in here, straight down.
| | 03:14 | Now I am going to do a little flip
vertical on it, little flip vertical right there.
| | 03:21 | Okay, and now what I am going to do is I am
going to bring down its opacity, bring down
| | 03:25 | the opacity considerably, about like that
and give it a mask, and in that mask I am going
| | 03:32 | to pretty much obliterate most of it.
| | 03:35 | I want to see most of it, I just want to go
in there and make sure that we see it only
| | 03:39 | inside of our little pool right there like that.
| | 03:43 | So there we see that we have it inside our
little pool, we are seeing a reflection of
| | 03:48 | the plane above in our pool
of water right down there.
| | 03:55 | Now we've got this in place, I am going to
go in there, I'm going to take that pool,
| | 03:59 | I am going to darken it up a bit, because
it's underneath the plane, so I am going to
| | 04:03 | go in there and start to darken what's visible.
| | 04:05 | I am going to get a nice big burn brush here, and
just going to kind of darken this area down here.
| | 04:10 | Now I am going to do the same thing to the
jungle itself, I am going to start to really
| | 04:14 | darken this area down here, because its
underneath the plane. This stuff is all underneath the
| | 04:18 | plane so it should be
shaded by the plane right there.
| | 04:22 | And now I am going to go back to my plane itself,
and I am going to start darken that a lot more.
| | 04:27 | I'll start going in there and just messing
with this, and I am going to go into my shadows
| | 04:32 | here, so I can really
darken some of those tones.
| | 04:35 | We want to really go in there and darken that,
and the same thing with my jungle. I am going
| | 04:40 | to go in there and really darken that area
directly underneath the plane and in the lake.
| | 04:45 | Directly underneath the plane I
want that stuff to be really dark.
| | 04:49 | Now the final touch. In the next movie what
we are going to do is we are going to take
| | 04:53 | this fern and put it in front of the plane
so that it makes it look like the plane is
| | 04:58 | in fact dug down deep inside of the jungle.
| | 05:03 |
| | Collapse this transcript |
| Applying finishing touches| 00:00 | Now I'm going to add the finishing
touches to our scene to make it look real.
| | 00:04 | Now looking at it at this angle right now,
I see that the moss is not quite there.
| | 00:11 | It's there but not really on the plane, so we are
going to add one more touch to the moss itself.
| | 00:16 | The moss is lying on top of the plane,
and it should be casting a shadow.
| | 00:21 | So I'm going to go to the layer of the moss,
I'll just move this over so we could see what's
| | 00:24 | going to happen, and I'm going to double-click
on it to bring up the layer Styles, and I'm
| | 00:29 | going to give it a drop shadow.
| | 00:31 | Now I'm going to take that drop shadow, I'm
going to bring it down to--just give it a
| | 00:34 | size of about 2 and a distance of about 2,
nice and small. I'm going to have the light
| | 00:39 | coming from the top right about there like
that, and that just gave us a little more
| | 00:44 | body to our moss, click OK. You see if I
undo it, you can see that moss is just kind
| | 00:49 | of lying there, now it's
really on top of the plane.
| | 00:52 | And then the finishing touch is going to be
right here, taking that fern and having it
| | 00:57 | get come to the front, in front of the
plane because it is pretty much in front of the
| | 01:01 | plane, it's pretty large if it's not.
| | 01:03 | So what I'm going to go and do is I'm going
down to the layer that contains that fern,
| | 01:08 | which is right down here, let's
just see that layer by itself.
| | 01:12 | And what I'm going to do is I'm going to go
in and select that to bring it to the front
| | 01:19 | and to select to that fern, I'm going to
use a whole different way of selecting.
| | 01:23 | I can't use the pen tool because
it's just a little too complex.
| | 01:27 | The magic wand, well, it could work here, but this is
going to be kind of hard in all these little tiny areas.
| | 01:31 | So what I'm going to do is
basically work with the color.
| | 01:34 | So I'm going up to Select and say Color Range.
| | 01:38 | And in Color Range, I can go in here and
start to click on the green that I want.
| | 01:43 | And I can go in there and just really start
to see the effect that I want. I'm going to
| | 01:47 | say None so that I can
actually see my green in the back.
| | 01:50 | I'm going to allow my shift key. I'm going
to click and drag right through those green
| | 01:55 | tones and some of the lighter tones.
| | 01:57 | So you could see that it's starting to pick
up all that stuff. I'm going to go into some
| | 02:00 | of these darker greens and
these darker greens through here.
| | 02:04 | And so it's starting to pick up all
these nice little tones for my fern.
| | 02:09 | Once I have it I'm going to say select them
right there, and then I'm going to pull back,
| | 02:15 | and you can see that it picked up a lot of
other things, so what I'm going to do is I'm
| | 02:18 | going to deselect those.
| | 02:19 | I'm going to go in there, hold on my Option
key, I'm going to deselect all these little
| | 02:24 | ranges in here because I don't
want those. I'll just deselect that.
| | 02:28 | And there's my green, right?
| | 02:30 | So in that layer that has all that nice green
I'm going to say send me to a new Layer Via Copy.
| | 02:39 | Okay, so now let's turn everybody else back
on and see all the other layers, everybody
| | 02:45 | else is on and turn on our
background as well. There it is.
| | 02:50 | So now what I'm going to do is that layer
that I created which I want to call Fern,
| | 02:54 | there it is, I'm going to move
that all the way to the top.
| | 02:58 | By moving it to the top, I'm putting it in
front of the plane, and there we see that
| | 03:01 | now the fern is in front of our plane and
our entire scene is now created, and I'm going
| | 03:08 | to hit F so we can see it complete, and
there we could see that plane crashed a long time
| | 03:12 | ago, and it's been laying in
that real muddy creek there forever.
| | 03:17 |
| | Collapse this transcript |
|
|
8. Ruins by the SeaIntroduction| 00:00 | In this chapter, we are going to
tell a story of Atlantis rising.
| | 00:04 | And of course, we are going to use all
kinds of mixed shots to take an ancient city and
| | 00:09 | have it come up from the sea.
So, let's get into it and have some fun.
| | 00:14 |
| | Collapse this transcript |
| Creating the sea| 00:00 | Now, the first thing we need for our scene of
Atlantis rising from the sea is the sea itself.
| | 00:06 | Now I've got a shot right here that I took
one day in Bodega Bay, not a spectacular shot
| | 00:12 | but this beach area right in front, this
is perfect for what we need, right there.
| | 00:18 | This other stuff, well that's not going to
work because Atlantis, well we've got mountains
| | 00:22 | back there and Atlantis is going to come
up all by itself out of the sea right here.
| | 00:25 | So all this stuff has to go, that sky has
to go, we are going to create our own sky,
| | 00:29 | it's going to be a little more misty,
so we just want that foreground area.
| | 00:33 | And back here I have another shot, now this
one you can see it is a very bad shot because
| | 00:38 | of the setting, kind of overcast, one of
those typical summer days in Bodega Bay, both in
| | 00:45 | the Bodega Bay, California here.
| | 00:47 | This area of the sea is
perfect for what we want.
| | 00:50 | So what I'm going to do is I'm
going to select that portion back there.
| | 00:53 | I like the angle of this beach, but I like the
flowing back into infinity of this particular scene.
| | 01:00 | So what I'm going to do is I'm going to
select this whole area right here, and I'm going
| | 01:03 | to drag it into the other sea right there.
Okay, so there it is.
| | 01:08 | What I want to do now is I'm going to go
in here, and I'm going to kind of stretch it
| | 01:12 | out, I'm going to hit my F key to bring
it to full screen so I can see everything
| | 01:16 | there, and I'm going to stretch
this out to fit into that other scene.
| | 01:20 | So I'm going to go in there and do Command+T,
and I'm going to pull it out, let's make
| | 01:25 | it a little bigger, and bring
it all the way out to there.
| | 01:29 | And then I'm going to rotate it a little
bit just to straighten out that horizon right
| | 01:33 | in there like that and then bring it down
so that it starts to match into that part
| | 01:37 | of the sea right out there, kind of
bringing it out just a little bit on both sides so
| | 01:41 | it bleeds off just like that.
| | 01:44 | I want to curve it just a little bit just a
little so we have a little bit of curvature
| | 01:48 | there, and we'll click OK, and I'm going to
move it down just a little more, right there.
| | 01:54 | Now I want these guys to blend in
together so I'm going to give that layer a mask.
| | 01:59 | And I'm going to go in there, and I'm just
going to throw a gradient right into it, white
| | 02:05 | is where I'm going to see it and
black is where it's going to hide.
| | 02:07 | So I'm going to make sure I'm
just going from black to white.
| | 02:11 | And I'm going to go in here and start to create
that little gradient right in there about like that.
| | 02:17 | There you can see where it is starting to
flow together, we'll make it little bigger,
| | 02:21 | there we go, and there we are starting to get
that nice little flow from one sea into the other.
| | 02:25 | So now it's starting to look like a long
expansive of this kind of nice bluish sea.
| | 02:31 | And now, the one in front is a little too
saturated. I want to give it that muted kind
| | 02:35 | of feel because this is going to have a
kind of mystical look to our overall scene, so
| | 02:40 | I'm going to go into Hue/Saturation right
there, and I'm going to go in there and bring
| | 02:45 | down the saturation for that foreground sea,
so it starts to match the one in back a little more.
| | 02:51 | There you could see we are just getting a
nice little match happening there, click OK,
| | 02:55 | and now we have a continuous sea.
| | 02:57 | Now the sky, sky, we are going to go in there,
and we are going to pick a color, right there.
| | 03:02 | I like this color right in there.
That will be for the foreground color.
| | 03:06 | And then for the background color, I'm
going to pick a much deeper version.
| | 03:10 | Let's go in here and say we pick this darker
blue right there. That's going to look really good.
| | 03:16 | So now I'm going to go in there and in a layer on top
of this, I'm going to go and call this the sky, okay.
| | 03:23 | And we are going to call this one just so
we can tell what our layers are, we are going
| | 03:28 | to call this sea, far sea, all right.
| | 03:32 | And now, I'm going to go in there and throw
that gradient into my sky from the light color
| | 03:37 | to the darker color right up in this area
right here like this. Not that high up there,
| | 03:42 | right about there, like that.
That's looking good.
| | 03:45 | Now I'm going to bring down the opacity
just so I could see it there, and I could see,
| | 03:49 | I'm going to give that another mask.
| | 03:53 | And this mask is going to be right in this
little area right in here where I want it
| | 03:58 | to appear, so I'm just going to give it a
little gradient right through there, and there we
| | 04:02 | can see that now we are getting this nice
little effect of--there's our sky, it's
| | 04:06 | nice and smooth going up, and we have created
from this original scene here. We now have
| | 04:11 | a complete sea, which is where we
are going to have Atlantis rise.
| | 04:16 |
| | Collapse this transcript |
| Creating the dome| 00:00 | So now we're looking down at the sea from
the last movie, and the sea could be used for
| | 00:05 | just about anything. You can have a whale
out there or a ship, whatever you want to do.
| | 00:09 | But in our particular case, it's
going to be Atlantis rising from the sea.
| | 00:13 | The first structure we're going to create--
there's going to be quite a few of them--first
| | 00:17 | structure is going to be a large domed building
coming out right over here, large dome building.
| | 00:24 | So I went through all those shots that I've
taken from all those trips, and I found two
| | 00:29 | shots which are going to work perfectly.
| | 00:31 | First one is this one right
here for a dome. There is a dome.
| | 00:37 | Now this is structure in Munich, Germany,
but this dome is going to work perfectly for
| | 00:41 | what I want to do, I'm going to start with that.
| | 00:44 | So I'm going to go in here, and I'm going
to select the dome, right there, I'm going
| | 00:48 | to select this whole piece right here, and
then I'm going to deselect the sky, hold down
| | 00:53 | on my Option key and using the magic wand
I'm going to click on the blue of the sky
| | 00:57 | which brings me down to just the dome itself.
| | 01:01 | Now I'm going to take it, and I'm
going to drag it into my ocean scene.
| | 01:05 | So there is my dome.
| | 01:06 | So I'm going to bring it over here into position,
and I'm going to do a few modifications to it.
| | 01:12 | The first thing is I want to get rid of that.
| | 01:15 | Atlantis didn't have this kind of a structure,
so what I'm going to do is I'm going to go
| | 01:19 | in here and just cut that little
section off and rearrange it a little bit.
| | 01:25 | So what I'm going to do is I'm going to use
my pen tool and just select this little circle
| | 01:29 | right through here, right through there,
right in there, yeah, that little section, and then
| | 01:34 | just go right across and close it off, and I
want to get in real close to make sure that
| | 01:40 | I'm going right along that edge, and yes,
right there, right along that entire edge.
| | 01:44 | So now, that I have that
selected, let's pull back.
| | 01:47 | I got the dome, and let's go ahead and call
it dome, and I'm going to say take that path
| | 01:54 | and make it a selection.
| | 01:56 | So now it's a selection I'm going to say come
over here and give me a new Layer Via Cut, so there.
| | 02:04 | So now I'm going to take that little piece
and put it in back of the dome, and then I'm
| | 02:11 | going to bring it down.
| | 02:14 | So I'm sinking it down, so it's going to
become this second dome on top of the larger dome,
| | 02:19 | so I just bring it down, I'm hitting my
cursor keys just to bring it down, straight down,
| | 02:24 | so we can see this whole little guy start
to slowly disappear and become the kind of
| | 02:29 | dome that I want it to have.
| | 02:30 | The little thing on top that's fine, I like
that, that looks kind of cool, and we just
| | 02:34 | bring it right down into there.
So now we have a whole new kind of a dome.
| | 02:41 | So I could take these two--and let's just
merge these down, they become one--and we'll
| | 02:45 | call it dome again. All
right, so there is my dome.
| | 02:50 | Let's pull back, there is the dome.
| | 02:53 | I need to age it a little bit, but we'll do that
later. Let's first complete the whole building.
| | 02:59 | So what I'm going to do here is I'm going
to go in and get another file that I have
| | 03:03 | open back here. It needs some columns, there
is the dome, we can say goodbye to that one,
| | 03:08 | then there is this building here, a building
in Rome--well, not that little, but a building
| | 03:13 | in Rome--and I just want this section right in
here just this section right here with the columns.
| | 03:19 | So what I'm going to do with this one I'll
just select with my lasso tool, because it
| | 03:21 | will be a little easier.
| | 03:23 | I'm just going to just right up here, and I'm
going to hold down my Shift key to constrain
| | 03:28 | it to like the polygonal tool, I just go
down and then start to follow this shape right
| | 03:33 | through here and follow it down to the
bottom here, go straight across, and I'm not going
| | 03:38 | to worry about those people's heads
because they are going to be taken right out.
| | 03:40 | I'm going to just go in here and select this
little section right through here, go up to
| | 03:44 | the top where I started and go
straight across, there it is.
| | 03:49 | Now the resolution of these guys I can see
is different, but no problem, I'm going to
| | 03:53 | drag into here, and there it is.
| | 03:56 | So what's going to happen is I'm going to
now grab that and put it in position right
| | 04:01 | here, and let's pull back a little bit, so
we can see what's going to happen next, and
| | 04:06 | I'm going to enlarge it so that it matches
the size of the dome structure, right there,
| | 04:12 | like that, and maybe drag it down a little
bit just a little longer, click OK, and let's
| | 04:18 | get a little closer. Let's
see what's going to happen next.
| | 04:21 | I need it to be part of this dome building.
| | 04:24 | So what I'm going to do is I'm going to go in
there, and I'm going to warp this structure,
| | 04:29 | and I'm going to drag this up, I'm going to
drag this right up there like that, and I'm
| | 04:34 | going to drag this side
straight up there like that.
| | 04:38 | Even them out a little bit more.
| | 04:40 | This one up just a little, and right about
there we have it, and I'll bring this guy
| | 04:47 | down just a little, so I could correct for
that curve, and the same thing here, there
| | 04:53 | we go, right in there like that, click OK,
and now, we could see that my little dome
| | 04:58 | structure is complete.
| | 04:59 | Now I need to shade this side, because we
see we have this big strong shade, so what
| | 05:04 | I'm going to do I'm going to just take my
burn tool, and I'm going to start to shade
| | 05:08 | this whole side of it.
| | 05:09 | I got to set it for shadow, then I'm going
to set it for mid tones so I can start to
| | 05:12 | effect all the tones together, I'm just going
to go in there and start to darken that whole
| | 05:16 | side right through there, I got a bigger
brush and just kind of darken that side so that
| | 05:21 | it starts to even out with the dome above,
going to get the dome and just make sure that,
| | 05:26 | that side gets a little
darker as well, there we are.
| | 05:29 | So now, now we're starting
to get this sense of the dome.
| | 05:32 | The dome I'm also going into go in there
and desaturate it a little bit, bring down the
| | 05:35 | tone so it starts to become a
little more on the gray side.
| | 05:39 | And maybe just a little extra touch
right there in the color and click OK.
| | 05:45 | And the same thing with the stone structure,
I'm going to go in there and desaturate it
| | 05:49 | a little bit just so we don't have that same
tonality. Though we are going to effect all
| | 05:53 | these guys later, all the different
buildings uniformly, but right now we just want these
| | 05:57 | two to kind of match a bit.
So now I'm going to go in there and age it.
| | 06:01 | We got that going, I'm going to go and merge
that down so that, that building becomes one
| | 06:07 | big solid building.
| | 06:09 | And to age it it's going to be a pretty
simple process. I'm just going to go in there and
| | 06:13 | use my good old-fashioned spatter brush, one
of those spatter brushes, that one right there.
| | 06:19 | And we're just going to go in there and
with paint, take a little black, and we'll get
| | 06:26 | a little gray like that, and in the layer
on top, I always put things in a layer just
| | 06:32 | in case I mess it up, which does happen
quite often, I'm going to go in there and start
| | 06:37 | to paint with this. Let's adjust that brush.
| | 06:40 | Give it the spacing, give it the size and
angle change and angle change, and a little
| | 06:47 | color dynamics. Let's bring these
guys down, I don't need those anymore.
| | 06:52 | And I'm just going to go in there and
start to bring down the opacity a little bit as
| | 06:55 | well, bring it down to about 50%, and I'll
make it a little larger and start to just
| | 07:00 | draw some tones in here.
| | 07:03 | Just some little tones right along the
edges of my dome in different spots just so it's
| | 07:09 | just given it that kind of an aged look,
come back here, bring down the opacity a little
| | 07:14 | more and just add some more dirt, and what looks
like some grime in different areas, all through there.
| | 07:21 | I'm going to clip it with the dome so that it's
locked into that area right there. Close this.
| | 07:28 | Go in there, click, and there we see that
that's being confined to that area, and I
| | 07:32 | can bring down it's opacity just a little bit,
this is not so strong just bring it down,
| | 07:37 | and we'll call it grime or age, there we go.
| | 07:41 | And there it is the first building completed,
let's put it into position, let's take both
| | 07:47 | of them here and move them together back
into here, and we're going to shrink them down
| | 07:51 | a little bit just to put them into that area
where they are going to go, and there is our
| | 07:57 | first building in position right there.
| | 08:00 | In the next movie we're going to
start adding some more structures.
| | 08:05 |
| | Collapse this transcript |
| Compositing and colorizing the city| 00:00 | So now we have our main building built, let's go
in there and create some of the other buildings.
| | 00:05 | So I have here a archway that I am going to use.
| | 00:09 | Now, I need to isolate that archway, so
there is a lot of different ways I happen to have
| | 00:13 | an alpha channel already constructed.
| | 00:16 | There is a movie that explains what the
alpha channel is and how it's created.
| | 00:20 | I would suggest that you refer to that in
case you want to know exactly, how I created
| | 00:24 | this alpha channel.
| | 00:25 | But that's what I am going to use to
isolate this part of the structure.
| | 00:29 | I go in there and select it, and I am
going to drag it into my scene, right there.
| | 00:35 | Now it's a tiny little guy, and it shadows
around the opposite side so I am going to
| | 00:39 | right of the bat do a little flip horizontal
on it, so the shadows are all facing the right
| | 00:44 | direction, and I'll make it a little larger.
| | 00:46 | I want to go in there and start to make
this a larger building just like that.
| | 00:51 | I am going to put it right here down at the base
of this building here. Let me make it little bigger.
| | 00:57 | There is our little archway there.
| | 01:01 | Okay, now I am going in there, I am going
to desaturate a little bit because it's very
| | 01:05 | strong right now, and that looks good.
| | 01:08 | And actually our shadows are actually going
in the right direction. Let's switch that back.
| | 01:15 | I am just looking at it closer,
now that I raised it up and okay.
| | 01:19 | So now our shadows are in right direction, because
they are just going to the left just like we see here.
| | 01:25 | So now, now that we have it in place, let's
just put it so that we can have a little of
| | 01:29 | the other building showing
through right in there like that.
| | 01:32 | Okay, now let's get rid of that, and I have
another one here, there is another building.
| | 01:37 | Now this one, this one has definitely got
the shadows going in the opposite direction
| | 01:42 | so that I am going to go
in there and flip this one.
| | 01:43 | So let's say flip it horizontally, and I have
an alpha channel set up for this one as well.
| | 01:51 | So I go in there, load that alpha
channel and drag these guys into here.
| | 01:56 | Now in this particular case, I don't like
to save that. I want to put that in back--
| | 02:03 | in back of the little arch that I just created.
Let's put into position here, and I am going
| | 02:07 | to make this pretty large as well.
| | 02:09 | I'll get this enlarged,
and we'll put it out here.
| | 02:13 | Now these bordering areas, we don't have to
worry about those now. We will not worry about
| | 02:16 | those at all, because they are
all going to be changed later.
| | 02:18 | So it's going to kind of put it in position there
like that, and that's going to be a good size for it.
| | 02:24 | In fact, we'll bring it in just a little, click OK,
and I am going to desaturate this one as well.
| | 02:29 | Let's just desaturate a little bit and so
they start to kind of blend in to each other a
| | 02:33 | little better, just a little better there.
Now I like these little columns right here.
| | 02:38 | And so what I might want to do is I am going
to make sure that this guy is selected, and
| | 02:44 | I am going to grab those little columns right
here at the edge, and I got to duplicate those
| | 02:50 | right across and stick them way out here,
there. That's going to be good. It comes way
| | 02:56 | out in the outside area.
| | 02:58 | And then, I have one more set right here,
this guy. This guy is going to be good.
| | 03:03 | Now he's very large, so he's actually going
to be a little close to us and sure enough,
| | 03:08 | I have an alpha channel
set up for that one as well.
| | 03:10 | So we'll go ahead and load the channel, and
we'll drag this into our scene, and it will
| | 03:15 | appear right there, and it's at the top.
So let's go in there and enlarge this.
| | 03:21 | It's going to be much larger,
this guy is like really close to us.
| | 03:26 | So let's just kind of put him right about here.
Right, so there is all our little buildings.
| | 03:33 | So this guy we can turn off for now, and we are
going to concentrate on this little group back here.
| | 03:38 | So I am going to go in there, and I am going
to take these guys, and let's take them and
| | 03:45 | right now we are going to go near and adjust
all that colors and make them kind of the same.
| | 03:50 | So what I am going to do is I am going to
unite them and go in there, and we are going
| | 03:55 | to merge them. Let's turn off the ones we
don't want to see, which is to see and everything
| | 03:59 | else in the background and then this batch
here, these buildings, and we'll select the
| | 04:04 | bottom, I'm going to say Merge Visible.
| | 04:07 | Right, so there they are,
one big set of buildings.
| | 04:11 | Now we can turn back our backgrounds.
| | 04:13 | Now what we are going to do is go into Hue/Saturation
right up here, Hue/Saturation, I am going to say Colorize.
| | 04:20 | So now they are all going to be colorized
into the same color, and I am going to bring
| | 04:23 | them down into a kind of a beige color like
this and bring down the Saturation just a
| | 04:30 | tad, so now they are all kind of like the same color
and maybe darken them just a little bit, like that.
| | 04:37 | click OK, now they are often a distance, so
what I am going to do is I am going to blur them.
| | 04:41 | So I am going in there to Gaussian Blur, I am
going to give them a little bit of a softening.
| | 04:45 | Yeah that's good enough, and now I'm going
to move them up a little bit, so they are
| | 04:51 | right at the top here and what I am going
to do now is I am going to give them a mask,
| | 04:58 | and I want the bottom area to disappear.
| | 05:01 | So what I am going to do is I am going to
just give it a little tight little mask right
| | 05:04 | through here like that, and now you can see
that they are just coming out of the water
| | 05:08 | just out of the water back there, and it
just kind of flowing up coming through, right?
| | 05:14 | So now I am going to take that whole bunch,
and I am going to duplicate that.
| | 05:20 | There's the duplicate. And the one in the back,
let's put this guy in back, 'cause what this is going
| | 05:26 | to be, it's going to be
the reflection, right there.
| | 05:30 | So I am going to do a Flip
Vertical and drag him down.
| | 05:37 | So that they are directly below what we see
in there, I am going to bring down their opacity
| | 05:42 | considerably, way down, quite a bit.
| | 05:44 | I am going to give it in that mask, I am
going to darken of some of these areas down here,
| | 05:51 | so I am going to get a nice soft brush, soft
brush, and I am going to just kind of paint
| | 05:57 | down here, so these areas will disappear and
all these areas will disappear right through
| | 06:02 | there, don't want to see those right.
| | 06:04 | And I am going to give it a
little bit of a motion blur.
| | 06:08 | I get the layer itself, and
I'll give it a motion blur.
| | 06:11 | I go in there and say Motion Blur straight
up and down, and we'll increase that distance
| | 06:18 | a little more, click OK, and there we will
see that that starts to give you that kind
| | 06:23 | of an effect there.
| | 06:25 | Now I would like to show in certain areas
only, so I am going to go into the layer styles
| | 06:29 | for that layer and in the Blend mode, the
Blend If modes down here for the Underlying
| | 06:35 | layer I like those white areas to show through
and some of those dark areas to show through.
| | 06:39 | So I am going to bring this in
just like this and split that.
| | 06:44 | Holding down the Option key I could split that.
| | 06:47 | So that you see that my white tones are
being hidden, and some of those really dark tones,
| | 06:50 | I am going to bring those in
so that they don't get hidden.
| | 06:55 | And I'll Option split that so we get a
nice softening of the reflection in the water,
| | 07:00 | so it starts to look a little more realistic.
| | 07:02 | Then we have that final piece right there,
this guy here we are going to go in there
| | 07:07 | and give it a similar color treatment, I am
going to into my Hue/Saturation and say Colorize,
| | 07:15 | bring it to kind of warm tones that we did
before, kind of grayish, kind of brownish
| | 07:21 | and a little more Saturation and darken them
just a little, and let's bring that Saturation
| | 07:27 | just a little more.
| | 07:28 | Now these are going to stay clear because
they are much closer to us, much closer.
| | 07:32 | So that we'll leave right there like that,
and we'll go ahead and give that layer mask
| | 07:36 | and go and hide that just as we did before
and go in there and just hide the bottom part
| | 07:43 | so they are in the water just like that.
| | 07:46 | And we'll give it a reflection, so I'll
duplicate it, put the guy in back, this guy we are going
| | 07:53 | to go and save flip it vertical and move it down
into position right where we want it, directly below.
| | 08:03 | Now back in it's mask, I am going to go in
and erase all the stuff that I wanted to see--
| | 08:09 | especially in the sandy area. I
don't want it to show anywhere in there.
| | 08:13 | So I am going to go in there and start
to paint away all the parts I don't want.
| | 08:17 | And let's paint right through here, bring
down its opacity, it's just a little bit
| | 08:27 | of reflection, give it that same motion
blur that we did before, and I am going to give
| | 08:31 | the motion blur to the layer itself.
| | 08:36 | And just as I did with the other reflection,
I am going to go in and allow the dark tones
| | 08:41 | from underneath to show through and the
light tones to show through, option split those
| | 08:48 | sliders to soften out that reflection, and
there we could see that now we have that reflection
| | 08:54 | happening for that.
| | 08:55 | Now in the next and final movie, we'll add a
little flock of birds that are flying around
| | 09:00 | saying, hey, what's going on
over here? There might be food.
| | 09:05 |
| | Collapse this transcript |
| Adding a flock of birds with the Pen tool| 00:00 | And now for the final thing that we need to
add to our little Atlantis rising scene, and
| | 00:05 | that's a little flock of birds
just flying off through the sky here.
| | 00:08 | It will kind of round out the
composition and just give it some life.
| | 00:13 | So I'm going to go in here and create my bird.
| | 00:15 | So I'm going to create new file and its size,
in fact let's just see what we're going to--
| | 00:22 | 240 DPI in this particular file, so I'm
just going to work with a low res, it's okay,
| | 00:28 | no problem because it's going to
basically be a brush, so let's make it 72 DPI.
| | 00:34 | All right, and it's 4 inches
by 4 inches, that's fine.
| | 00:37 | So right here I'm going to create a little bird,
and I'm going to use my Pen tool to do this.
| | 00:43 | So I'm going to go in here and just
create basically a simple little bird.
| | 00:48 | So I'm going to go in here and create
the little wing, comes down, like so.
| | 00:53 | and a little bit of a body right there and
then another wing that's going to come up
| | 00:59 | here, here's another wing right there, and
we're going to kind of bring it down, and
| | 01:05 | we're going to adjust all these a little
later, and then I'm going to throw a little tail
| | 01:10 | right here, a little tiny
tail right through there.
| | 01:16 | And then the body that's coming around, like so.
| | 01:20 | and then give it a little beak right here,
come back and to fully understand what I'm
| | 01:27 | doing you can watch the movie on the outlining
the plane in the Crash Site movie, there you'll
| | 01:36 | get an idea of how I was
manipulating these little paths.
| | 01:42 | So let me just go in here, and now start to
modify this just a slight bit, I'm going to
| | 01:46 | just to make my bird look kind of nice.
I want it to be a happy little bird here.
| | 01:51 | So there we go in there, and that's fairly good.
| | 01:55 | Let's bring this wing over a little, and let's bring
this one up there right there like that, and that's good.
| | 02:01 | So now that we have that little bird in flight
there, I'm going to take that path and add black.
| | 02:07 | I set this to black and white.
I'm going to go ahead and fill it with black.
| | 02:12 | I can take away the path.
| | 02:15 | There's the basic shape, which
I'm now going to select that.
| | 02:17 | I'm going to select that little shape right
there and Define a Brush Preset, which I'm
| | 02:24 | going to call bird.
| | 02:26 | Okay, now this can go away.
We don't need it anymore.
| | 02:30 | We don't have to save it.
| | 02:31 | So back in this scene here and then go to
my Layers, and way in the front I'm going to
| | 02:38 | create a layer, and I'm going to call it birds.
| | 02:41 | I get my Paint Brush, I'm going to select
the little flock of birds--or rather the single
| | 02:48 | bird which is going to become a flock.
| | 02:50 | So there is the little bird,
which right now is going to do that.
| | 02:56 | Not very attractive, but
we're going to modify it.
| | 03:00 | If we go into our Brush engine where we're
going to give it some spacing, and I'm going
| | 03:05 | to give quite a bit of spacing to make all
our little birds quite distinct, there we go.
| | 03:12 | And I'm going to go into my Shape Dynamics,
where I'm going to turn on my Pen Pressure,
| | 03:16 | but I am going to set up a Size Jitter, so
there's very definite difference between each
| | 03:21 | bird, and I'm going to set up a Minimum so they
don't get too small. See that one right there?
| | 03:25 | He was really tiny. There's a little
tiny one right there. I don't want it to be
| | 03:29 | that tiny, so I'm going to just set up
a Minimum for about 21%, that's good.
| | 03:34 | I'm going to shift the Angle just a little
bit, just a little on these birds, not too much.
| | 03:41 | I don't want them being upside-down. I just
want to just shift the angle just a little,
| | 03:46 | and I'm going to play around with the Roundness.
| | 03:47 | Now the Roundness is going to flatten them,
so some of them are going to get flattened
| | 03:51 | so they start to look a little different,
see, a little flat, and I'm going to set up
| | 03:56 | Minimum Roundness, so
right there, right about there.
| | 03:59 | So now some are a little longer than others and
so on, right? And then I'm going to scatter them.
| | 04:05 | So now they're going to scatter, and you
can see I'm going to set it up on Both Axes so
| | 04:08 | they're just scattering all over the place,
just a little scatter of birds like that.
| | 04:13 | I'm going to setup a little Color Dynamics as
well, so they will go jumping between foreground
| | 04:19 | and background, little Hue shift and a little
Saturation shift and definitely a Brightness
| | 04:24 | Jitter so that they're going to
shift from tip to tip to different tones.
| | 04:29 | And I'm going to set some Colors here. I'm
going to get a nice dark gray, like that.
| | 04:32 | In fact, we will go even darker, almost black.
| | 04:35 | And go to a very light lighter gray, let's
say about like that, don't want to go too
| | 04:42 | light just so we have enough of a shift
between those, and then now that we have that, we have
| | 04:47 | a good size. I'm just going to go in here
and just draw right across here and do a couple
| | 04:52 | of those strokes so that we have a little
flock of birds just flying through the sky
| | 04:56 | there, and there we see that we now have the
completed scene of Atlantis rising from the sea.
| | 05:02 |
| | Collapse this transcript |
|
|
9. Castle on the LakeIntroduction| 00:00 | In this chapter we are going to revisit our
little castle that has made its appearance
| | 00:04 | in two other chapters.
| | 00:05 | Except this time the castle is going to appear
in a little island, situated in a little tiny
| | 00:10 | lake somewhere way off in the mountains,
and we are going to be peering at it from way
| | 00:15 | up on top of some high cliffs,
looking down onto this lake.
| | 00:18 | So let's see what we do now.
Let's put it together.
| | 00:21 |
| | Collapse this transcript |
| Creating the scene| 00:00 | In this first movie what we're going to do
is we're going to create the basic scene as
| | 00:04 | we look over the cliffs down on to this lake.
| | 00:08 | So here we go. This is where we're going to
create the whole thing, because this is going
| | 00:12 | to serve as our backdrop, way back here, all
these nice little clouds down there, because
| | 00:17 | we're way up on the cliffs looking over at this.
| | 00:19 | Now in this scene we happen to be that way,
we're looking over some high cliffs, but we're
| | 00:23 | not really in cliffs, we're just on a high
mountain. This happens to be a view from
| | 00:27 | Mount Diablo in the Bay Area of California.
| | 00:31 | But right now I'm going to go in
here and get this little lake here.
| | 00:33 | Now I have this lake.
| | 00:35 | This lake is going to be the lake that
we're going to have inside of our scene.
| | 00:39 | Now the first thing that I need to do is to
get rid of this part of the island here, but
| | 00:43 | we'll do that after we've got the other rocks
in place so we see how much of it is showing,
| | 00:47 | we don't want to do extra work than we need to.
| | 00:49 | So what I'm going to do is I'm going to
come in here, and I'm going to start to select
| | 00:52 | just the portion that I want, which is
basically this bottom portion of my image right here,
| | 00:59 | incorporating some of the trees just a little
bit of the trees there and in fact let's just
| | 01:03 | grab a little more of those trees right there,
and that's the area that we're going to bring in.
| | 01:08 | I'm going to take that and
drag it over into our scene here.
| | 01:11 | So now I'm going to put it into
position where we want it, right down in here.
| | 01:15 | So let's just place it, I would say right
about, put it right about here, that's a good
| | 01:21 | spot for it, right there.
| | 01:23 | So now what I'm going to do is I'm going to go in
here and start to eliminate some of those trees.
| | 01:29 | So I'm going to give this a mask, and in
that mask I'm going to start to go in there and
| | 01:33 | start to paint out these trees.
| | 01:35 | I'm going to come in close so we can
start to see what's going to happen here.
| | 01:39 | Now these trees are fairly large, so what
I'm going to do is I want to cut them out
| | 01:44 | by just making them
still look like little trees.
| | 01:48 | So I'm going to use one of my
little favorite brushes here.
| | 01:50 | I'm going to get this one here, which is a
little bit of a cluster, and I'm going to
| | 01:54 | go in and start to modify it as we have before.
| | 01:58 | Give it a little Space and a little Shape
Dynamics where we can just go in there and
| | 02:02 | say the Size Jitter and the Angle Jitter,
so we have enough of variety going there,
| | 02:07 | so I can now start going in there
and start to mask out these trees.
| | 02:11 | I'm going to make the brush a little bigger,
and then I'm going to start to just paint
| | 02:16 | in, right into these areas, so you can see
that I'm starting to paint the trees, and
| | 02:20 | I just kind of painting in a mess as you can see.
I'm painting with black so that I'm actually
| | 02:25 | getting the tops of these trees to show through.
| | 02:28 | See, I'm just kind of cutting them down, and
it's doing it with this brush that has shapes to it.
| | 02:34 | So it starts to make the trees look like
they are little closer to us, and that they are
| | 02:39 | in fact nice little trees, there they are,
and let's come back to this in a minute, because
| | 02:46 | again I don't know for sure how
much of this is going to be visible.
| | 02:50 | So let's go in there and start getting the
cliffs that we're standing behind looking
| | 02:54 | at this scene. Say goodbye to this. And
back here I have a couple of images taken from
| | 03:00 | various heights, it's just a rock, and I have
another one, there is the other one right there.
| | 03:08 | I don't have to worry about the wires
because this is basically just certain sections of
| | 03:11 | this that I want, like here.
| | 03:13 | I want this guy right here,
really good little area.
| | 03:17 | So you'll see that I created an Alpha Channel right
there which selects that portion of the rocky face.
| | 03:24 | So I'm going to turn that into a selection,
and I'll drag that into my scene right here.
| | 03:30 | There is that rocky cliff.
| | 03:32 | Now I'm going to go in here, and I'm going
to make this a little larger in a second,
| | 03:36 | and let's create this rock.
| | 03:38 | Again I have an Alpha Channel I created to
separate that rock, so I'm going to load it
| | 03:44 | and drag that rock into here.
| | 03:45 | So now that I have these two rocks
in place, let's put them in position.
| | 03:50 | I'm going to hit my F key to go Full
Screen so I can see what's happening.
| | 03:55 | Now this rock here is going to go on this
side, so let's just set this to Auto Select.
| | 04:00 | All right, so there.
| | 04:01 | I'm going to put it in place, and I'm going
to press Command+T to give me my Transform
| | 04:05 | tools, and I'm going to just drag it right
up to the edge of the image here and drag
| | 04:10 | it down so that it just bleeds
off the bottom right down there.
| | 04:14 | Okay, right in there like that.
| | 04:17 | Let me just grab this guy, put him
in place, there we go, all right.
| | 04:22 | Now I'm going to drag them
and put them going right out.
| | 04:24 | Now I can see how much of that island is
showing down here, which I'm going to have to get
| | 04:27 | rid of, but there we see that
we have this one rock in place.
| | 04:31 | Now that's a cliff that's pretty
far away from us, it's pretty far.
| | 04:35 | This was a little closer, as you're going to
see when we start to construct this overall scene.
| | 04:38 | So this one I'm going to bring down, and
I'm going to flip it, because we see where the
| | 04:42 | lights are coming from, you can see lights
are all coming from that side, you can see
| | 04:45 | it in the trees as well.
| | 04:47 | So we're going to take this rock, and we're
going to do a little Flip Horizontal on it.
| | 04:51 | And there it is in place, and I'm going to
drag it into position right in there, and
| | 04:57 | I'm going to hit that Command+T again just
to enlarge it, so I can now make it a little
| | 05:01 | bigger, and this one we'll bring
down a bit, there it is a little lower.
| | 05:06 | Make just a tad larger so that it kind of
fills up that space on the side there, and
| | 05:11 | we'll move it out, out of range so that we
can--there we go, so now we can see, now
| | 05:15 | we see how much of the lake we're going to see
and how much of the trees we're going to see.
| | 05:19 | So I'll hit Enter to make that happen.
| | 05:21 | So okay, this is the cliff that we're
standing on, it's pretty close to us, we can see that
| | 05:25 | little moss on the rocks, this
one is a little further away.
| | 05:28 | Now we're going to establish that sense of distance
in a little while when we start adding some foliage.
| | 05:33 | So now we can go back to our other layer
right here, the lake layer and back to its mask
| | 05:39 | so we can continue to paint out those trees.
| | 05:41 | Let's get a little closer, and we can go in
there and start to paint out those trees with
| | 05:46 | the brush that we were using.
| | 05:47 | So we'll go in here, and we'll start, get
a little smaller, and we start to paint out
| | 05:53 | those trees just so that we have it exactly
the way we want it, right in there like that.
| | 05:58 | So there are all our little trees in place.
| | 06:01 | Over here, and we just clean up a couple of
spots, and let's get these guys a little pointing.
| | 06:07 | So there we have all our
little trees and our lake.
| | 06:10 | All right so that's starting to fall into place.
| | 06:13 | Now this portion here, we don't want that.
| | 06:16 | So what I'm going to do is I'm going to my
Clone tool, and because we have this texture
| | 06:20 | here, this texture is very important.
| | 06:23 | I don't want to use it in its default state,
which is usually a very soft brush, and I
| | 06:28 | don't want to go very hard,
because I'm going to have a hard edge.
| | 06:31 | Let's bring the size down a
little bit, more manageable.
| | 06:34 | Now that I have a hard edge, which again, is
going to be make it very easy to see where
| | 06:38 | you're cloning, so what I'm going to do is
I'm going to soften the edge just a little bit.
| | 06:42 | I usually bring it down to about an 85.
That's enough of an anti-aliased edge so that it's
| | 06:47 | going to give me a nice
smooth transition in here.
| | 06:50 | So I'm going to say Option, click here, this
is where I want to clone from, right there,
| | 06:56 | and I'm going to go over here, and I'm
going to reduce the Opacity a bit, and bring it
| | 06:59 | down to about 70 so that as I start to
paint here, and I'm going to paint right here in
| | 07:04 | the actual lake, I'm going to go in there,
and you can see I'm starting to get the--now
| | 07:09 | you see those hard edges, see the hard
edges that are happening? All right, that right
| | 07:13 | there is telling me that, that edge is still
too hard for this particular resolution, so
| | 07:18 | I'm going to bring it down a little more.
And then I'm going to continue to clone.
| | 07:22 | Now since I'm not working with full opacity you
can see that I'm slowly building it up as I go along.
| | 07:28 | So I can start to slowly start to build
this thing, and I bring down my opacity a bit.
| | 07:32 | So I can just very lightly start to add a
little tone which is going to kind of blend
| | 07:36 | the waters into each other
just like that, so there.
| | 07:40 | So now we've gotten rid of
that item that was there.
| | 07:43 | In the next movie what we're going to do is
add a new island and put our castle on top of it.
| | 07:48 |
| | Collapse this transcript |
| Making a castle on an island| 00:00 | We need to add our little
island with our castle on it.
| | 00:04 | So let's go see what we have.
| | 00:05 | I have some images back here, and there's a
picture from one of my hiking trips, in fact.
| | 00:10 | There I am with my nephew Chris.
| | 00:12 | Now why am I using this shot? Right there.
This is going to be a perfect island for what
| | 00:17 | we need, right there. I
need to isolate these rocks.
| | 00:21 | Now I'm going to do it very quickly because
I have an Alpha Channel for it, right there.
| | 00:25 | Now if you want to learn about the Alpha
Channels just refer to the movie on how and why to
| | 00:29 | create Alpha Channels, and it will explain
to you, but I'm just going to go ahead and
| | 00:32 | use my Alpha Channel, load it, and then I'm going
to take that and drag it into my scene right here.
| | 00:39 | Now I had the layer of water selected because
that's the last layer I worked on from before,
| | 00:45 | so it automatically fell on top
of that, which is where I want it.
| | 00:47 | So I'm going to take it, I'm going to put
it down here, right there in the middle of
| | 00:52 | the water, right there, that's
where my island is going to be.
| | 00:55 | Now I might want to darken it a little bit.
| | 00:58 | But let's just do it now, so I'm going in
there and in Levels I'm going to go in there
| | 01:02 | and just darken it a bit, make it a little
darker, that's good like that, and Hue Saturation,
| | 01:08 | I'm just going to bring down the Saturation,
because it's a little too saturated right
| | 01:12 | now, I like it to fit more like with the
rest of the scene back here that we have.
| | 01:16 | Okay, and that's looking pretty good.
| | 01:19 | Click OK, and I just want to go in
there and maybe darken it a little bit.
| | 01:22 | So I'm going to take my Burn tool, I'm just
going to kind of darken this side just a little
| | 01:26 | bit, because we have some shadows
happening all through there, so let's just do that.
| | 01:30 | Now I want to make it blend into the water
a little better, so what I'm going to do I'm
| | 01:34 | going to give it a mask, and let's get a little
closer here so we can see what's going to happen next.
| | 01:40 | I'm going to start to blend it to the water.
| | 01:42 | So I'm going to use a brush that's a little
softer this time, so I'm going to soften up
| | 01:47 | the edge quite a bit, about like that.
| | 01:50 | Okay, and that's the brush I'm going to use
and make it a little bigger, and now I'm going
| | 01:54 | to start paint to my mask
just enough right in there.
| | 01:58 | And I'm going to bring down the opacity a
bit to about 50 just so I can start to very
| | 02:01 | slowly start to bring
the lake up into the water.
| | 02:06 | So it's going to look like the actual
island is going into the water itself.
| | 02:10 | I'm going to go in here and just kind of
mask it way just so we're starting to get a nice
| | 02:15 | little sense of the
island coming out of the water.
| | 02:19 | Now we're going to put a whole reflection
on it in a few minutes, which will complete
| | 02:23 | that kind of an effect, but
we see where this is going now.
| | 02:26 | So we just got to go and
revive that a little bit.
| | 02:29 | Now that we have that in place, now we see
that we have the island, we have the stone
| | 02:33 | cliffs in front, and now we're
going to add the little castle.
| | 02:37 | And here is our little castle back here that
we've used before, and I have a channel for
| | 02:41 | it, so it's going to
make it easier to select it.
| | 02:44 | So I'm going to take the castle, I'm going
to say Load the Selection, and here is that
| | 02:49 | Alpha Channel in the background, click OK.
| | 02:50 | I'm going to take that and bring it into my
scene, and it automatically fall on top of
| | 02:55 | the island because that's
the last layer I had selected.
| | 02:58 | So, I'm going to go in here, and I'm going
to rotate a little bit and bring it down in
| | 03:03 | size just a tad to go on
top of my little island here.
| | 03:07 | I might want to do that a little more in a
second, but first let's put it on the island.
| | 03:11 | I'm going to give it a mask, and I'm going
to mask out all the areas that I don't want.
| | 03:17 | So I'm going to go in here and just start
to erase or mask out these little areas right
| | 03:22 | in here, where we're going to
make it blend on to our island.
| | 03:26 | So now we have a good idea of where it is
right, so let's go in there and shrink it
| | 03:30 | a little more, right from the center and place
it right on the top of our island right there
| | 03:36 | like that, and we'll shrink it
a little bit more, right there.
| | 03:40 | Now that we have that, I'm going
to go in there and play with this.
| | 03:43 | I'm going to go into my Levels where I'm
going to go in and right now I'm in the Mask, so
| | 03:49 | you saw that Histogram
effect, let's look at it again.
| | 03:52 | There, it's very plain, because I
don't have much going on in the mask.
| | 03:56 | When you see things like this, there is
something wrong, you should have more values in there.
| | 04:00 | So look and see, before you start doing
anything make sure you are in the right place, which
| | 04:04 | I should be here in the
layer itself and not its mask.
| | 04:08 | So now when I go into the Levels,
see the difference in the histogram?
| | 04:10 | So I'm going to go in there and bring my
darks in and bring my Midtones in, so it starts
| | 04:16 | to darken my little castle there,
click OK, and there it is, right?
| | 04:20 | So now I'm going to get in close, so I can
now start to refine the mask that make it
| | 04:25 | look like it is in fact
on top of my little island.
| | 04:28 | Go back to the mask again, get my Paint Brush,
I can start to paint all this stuff into the
| | 04:35 | island, so now it's going to start to look
like my little castle is in fact on top of
| | 04:39 | the island right here, like so.
| | 04:44 | I'm not sure what that is so we just
kind of blank it out there completely.
| | 04:48 | We can erase that whole
part, we don't need that.
| | 04:51 | There we go, so there is our little castle
now sitting on top of the island, now we're
| | 04:56 | just going to erase a couple of more spots
just so it starts to really feel like it's
| | 05:00 | inside those rocks there, there we go.
| | 05:03 | So now our island is now sitting
on top of the whole scene here.
| | 05:08 | Now the last thing we need to do at this
point is to give this thing a reflection, so it
| | 05:13 | will start to look real.
| | 05:14 | So what I'm going to do is I'm going to take
the castle, which is right here, and I'm going
| | 05:18 | to merge it down to the island, Merge Down.
| | 05:22 | There it is. Now it's one piece and their
masks went away, because they have conflicting
| | 05:28 | masks, so I might want to go in there and just
erase little leftover stuff, right there that's good.
| | 05:33 | So now, I'm going to take this on, and I'm
going to duplicate it, and the one in back,
| | 05:39 | in fact let's call this one the island,
and we'll call the one in back reflection.
| | 05:44 | This will be the reflection of our island.
| | 05:46 | So I'm going to take it, and
I'm going to do a Flip Vertical.
| | 05:53 | Drag it down into position directly
beneath our island there just like that.
| | 05:58 | I'm going to bring down its
Opacity considerably, about like that.
| | 06:03 | I'm also going to give it a layer Mask,
and that layer mask I'm going to have it kind
| | 06:08 | of disappear towards the bottom just like that.
| | 06:14 | I'm going to then give that layer itself,
let's get closer so we see what's happening
| | 06:18 | here, I'm going to give the layer a little
Motion Blur, go down here to the Motion Blur,
| | 06:25 | make sure it's set to Vertical, and it's got
the right setting right now, that's prefect,
| | 06:29 | click OK, and there we
have that little reflection.
| | 06:31 | Now the little ripples, we need to
see those little ripples coming through.
| | 06:36 | So I'm going to double-click on it to bring
up the layer Styles where I'm going to play
| | 06:39 | with the Blend If modes, right down here and
allow those dark tones of the ripples to come
| | 06:44 | through, and there they
come, right through there.
| | 06:46 | I'm going to split that slider so that I'm
going to get the--just enough of those little
| | 06:51 | tones coming through to give me the sense
that they are in fact little reflections inside
| | 06:55 | of our water, and when we pull back we see
that now we have our little island, and we're
| | 07:00 | peering down to it from these giant rocks.
| | 07:04 | Now we still need to get a sense of where
these two rocks are, so in the next movie
| | 07:10 | we're going to add some foliage which will
complete the scene and add a little color
| | 07:13 | to this area down here.
| | 07:16 |
| | Collapse this transcript |
| Adding foliage| 00:00 | The last thing we need to do is add some
foliage to the foreground to kind of establish how
| | 00:06 | close we are to this rock and then add in
the same kind of foliage way back here to
| | 00:12 | give you a sense that this
is in fact far away from us.
| | 00:15 | Now looking at it right off the bat before we even
start, I think our castle is a little too saturated.
| | 00:21 | So what I'm going to do is I'm going to make
sure I'm in the layer for the actual castle.
| | 00:25 | I'm going to go in there and just going to
desaturate a little bit more, just bring it
| | 00:30 | down some more just so it's not so
jumping in your face there, click OK.
| | 00:35 | So there, now that's looking a little better.
| | 00:37 | So now, I got back here some foliage,
that's the foliage that I'm going put, it kind of
| | 00:43 | go, see, it's growing in the same kind of
environment, so we know that, that kind of
| | 00:48 | plant will grow there.
| | 00:48 | All right, this isn't an important thing,
because sometimes you create something, and
| | 00:52 | you think it looks cool, and then you show
it to people and then somebody is going to
| | 00:55 | say, you know, that wouldn't work like that
because that particular tree will not grow
| | 00:59 | in that environment. Well, we don't need that.
| | 01:01 | So here we know that this plant
will in fact grow in our environment.
| | 01:05 | So I'm going to select the plant, and I'm
going to select this whole area right here,
| | 01:10 | and then I'm going to deselect the blues.
| | 01:13 | By clicking here, clicking up there and
clicking in these blues, we don't want any of these
| | 01:18 | blues showing through, and that's pretty good!
| | 01:20 | I'm going to even go a little step further, and
say Contract my selection by say yet another pixel.
| | 01:27 | All right, now that I have it, I make
sure that I'm in top of everything else.
| | 01:32 | I'm going to go way up on top here, I'm going
to drag that into that scene. So there it is.
| | 01:40 | Here is my little plant. I'm going to rotate it.
Let's Flip Horizontally here.
| | 01:47 | I'm going to put it way down here, right into
the scene, and I'm going to enlarge it a bit.
| | 01:55 | Plants are nice and large, and they are right down
in here, right at the base of our little scene here.
| | 02:01 | Now if there are little pieces that I don't want,
there are a lot of ways of getting rid of those.
| | 02:05 | I can go in there and just kind of select
those particular tones, so I just go in there
| | 02:10 | and select that little thing, and I just go
and tell it to select Similar, and it's going
| | 02:16 | to find all those, and I could
just hit Delete and they will go away.
| | 02:19 | So there, so now I got this
nice looking little plant here.
| | 02:24 | So we're really close to it. We can see it.
| | 02:26 | So what we want to do now is
create this plant over here.
| | 02:31 | But instead of taking the same one and
just shrinking it way down, we're not going to
| | 02:35 | see the detail over here, we're just going
to create the little hints of it, so what
| | 02:39 | I'm going to do is I'm going to select
these greens, this green, and this darker green,
| | 02:44 | maybe not that dark, there we go, and let's
just make that a little bit darker, there we go.
| | 02:49 | And I'm going to take my good old Spatter
Brushes--I love those guys, they work so well--
| | 02:54 | and I'm going to take this guys right here,
and we're going to modify it, give it a little
| | 03:00 | spacing, we have been doing and just a
little bit of this, let's just turn this off, and
| | 03:06 | we just do the angle change, that's all.
See how I am going to do here.
| | 03:10 | And what I'm going to do is I'm going to come
over here and start creating the little green brush.
| | 03:15 | So I'm going to pump this up a little bit
and make sure we're set at 100% Opacity right
| | 03:21 | there, and I'm just going to start to draw
little crops of the bushes right in here,
| | 03:25 | and one more thing we need,
yes, we need the color.
| | 03:28 | Color Dynamics, go between the
foreground and background. All right!
| | 03:32 | So now, there we go, so now we're getting
the little dark tones and the light tones.
| | 03:36 | I want to create a little bush there and another
here, and we'll put one in this little cropping
| | 03:42 | here, right there, and there is some
natural foliage on here, so we can kind of follow
| | 03:46 | the foliage that's there.
| | 03:49 | Just creating little clumps, and maybe a
little tiny one down here, and a couple of big ones
| | 03:53 | up here. There we go, there's a nice one,
right there, happy little bushes living in there.
| | 03:59 | Okay, now that we have that, I'm going to
pick up his yellow right there, and let's
| | 04:05 | make it more yellow, make it a little brighter.
| | 04:08 | There we go, that's looking more like the
real thing, and I'm going to make this a very
| | 04:14 | tiny brush, very tiny brush, and we're
going to get in real close to see what I'm going
| | 04:18 | to be doing here, because what I'm going to do now
is I'm going to just kind of make it even smaller.
| | 04:23 | I am going to go in there and start adding
the little flowers just like we have and the
| | 04:28 | guy in the foreground.
| | 04:29 | So we just add our whole bunch of little
clumps like this, which is going to start to help
| | 04:35 | create the illusion that these
rocks are much further from us.
| | 04:39 | It establishes a relationship between
where we are and what we're looking out into.
| | 04:44 | So we just add a few more to this.
| | 04:49 | So I'm just tapping along here just adding
little flowers to the clumps of green, you
| | 04:54 | can put as many as you want,
and I'll add a bunch here.
| | 05:00 | And I go right on top of that green mess, and
I'm just using that same brush I had before,
| | 05:05 | because the flowers are like little tiny
little bunches of little petals, so they are not
| | 05:10 | like a rose or anything, they are just
these little things going on there, so I'm going
| | 05:15 | to go up to the top here and add a
couple of little flowers to this guy.
| | 05:17 | I'm going to put some towards the top.
| | 05:21 | Now we've established that the same kind
of foliage is growing, but much further away
| | 05:25 | from us on the other side of this big cliff
here, and there we see that we have the completed
| | 05:31 | scene where we've taken our castle, and we've
put it in the middle of a cool little island
| | 05:36 | out in the middle of nowhere.
| | 05:41 |
| | Collapse this transcript |
|
|
10. War-Ravaged CityIntroduction| 00:00 | In this chapter we are going to look at
the dark side of humanity. We'll look at war.
| | 00:05 | I'm going to take a city and destroy it by war.
| | 00:09 | Now to do this, I did a search on the web
for demolition sites. There's tons of material
| | 00:16 | out there, and that's a good place to
go and look for images for your projects.
| | 00:21 | Just make sure that when you download an
image, that is something you have the rights to,
| | 00:25 | that it is royalty free, and that you can
in fact use it, and hopefully then you are
| | 00:30 | still going to manipulate it enough so that it
doesn't look anything like the original image.
| | 00:35 | Another thing about the web, though, is that
everything is going to be low-res, so it's
| | 00:39 | kind of hard to get some real good imagery
if you want to create a giant mural, but it's
| | 00:44 | a good source for a lot of reference material.
| | 00:47 | But we are going to go in here and now
destroy a whole city. Let's see how we do it.
| | Collapse this transcript |
| Composing the scene| 00:00 | We are going to start with this image
right here. And when we look behind, we can see
| | 00:05 | all the other images that are going to be
used, there are just a lot of demolition sites
| | 00:09 | of different buildings being torn down.
| | 00:12 | We are going to take bits
and pieces of each of these.
| | 00:15 | So we go with this one first. This is
going to be the main foreground street.
| | 00:19 | Now this looks like a proper
demolition, so we are going to be hiding that.
| | 00:24 | Right now, let's go in here
and start to separate this.
| | 00:28 | Now I am going to go in here and select my sky.
| | 00:30 | I am going to make sure the entire sky area
is selected, right here. I am going to go in
| | 00:35 | here and select these little
portals in between here as well.
| | 00:37 | Because I want all the areas of the sky to
be selected, and I can get it real close here,
| | 00:43 | so I can see these little areas.
| | 00:44 | And I am holding down my Shift key each
time I click just to make sure I get all these
| | 00:48 | little areas selected, and that one
we'll just take that one away there, okay.
| | 00:53 | So just pull back, and we see that we got
the entire thing selected, and I am going
| | 00:58 | to go in there and Contract it a little bit too.
| | 01:00 | I am going to go in and actually in this case,
I am going to Expand it just a little bit,
| | 01:05 | I'm going to Expand it by a pixel just so
it goes in there a little further, right?
| | 01:10 | So now I am going to Inverse it.
| | 01:12 | So all my buildings are selected, and I am
going to send them to a new Layer Via Cut.
| | 01:20 | So that building is now all by
itself right here in the foreground.
| | 01:24 | Now I am going to start adding stuff to it.
First thing we'll do is cover this guy up.
| | 01:28 | So I am going to take image here, and
what I want from this is this building here.
| | 01:34 | So what I am going to do is I am going to
get a little closer here so we can see what
| | 01:38 | I am doing, and I am going to go in and very
loosely select this section of the building,
| | 01:47 | because we can easily go in there and
eliminate the parts we don't want after the fact.
| | 01:54 | We go in there, and let's just go ahead
and select that, and I want to deselect these
| | 02:01 | areas of sky up here.
| | 02:02 | I don't want that sky, so we'll go in there
and make sure that the sky is deselected and
| | 02:07 | in there, and okay, that's looking good.
| | 02:10 | So now that we have that, I am going to take
this and drag it into my scene here, and there
| | 02:16 | it is right in front.
| | 02:17 | So we are going to use that to
cover up our tractor, right there.
| | 02:22 | Now I am going to go in, and I am going to
call up my Transform tools and hold down my
| | 02:26 | Command key to automatically turn this into
a distort, I am going to kind of distort this
| | 02:30 | building into a different perspective, so it
kind of fits more into the scene that we have here.
| | 02:35 | I am going to go in there and just kind of
drag it down a little bit, it starts to kind
| | 02:40 | of fit the perspective of the scene that
we are working with, like there, like that.
| | 02:44 | I'll bring this up a little bit just a tad,
there we go, and we got this happening here.
| | 02:50 | Now I'm going make it blend in a little
better, so I am going to give it a--let's get a
| | 02:55 | little closer so we can
see what's going on here.
| | 02:57 | We got this little piece of what looks like
a coke machine, right? Let's get rid of that.
| | 03:01 | So I am going to go in and get a nice little
Clone brush, and I am going to make sure it's
| | 03:06 | a little sharper here.
| | 03:07 | And you know what I am going to do? Because
I don't want to go beyond this, I am going
| | 03:11 | to say lock the transparency so that I can
go in here, and I can just pick up right from
| | 03:17 | here and start to clone and not have to
worry about it going outside of that little area.
| | 03:23 | I can grab from here and start dragging that
down a little bit, so I got this little window
| | 03:28 | action happening right in there.
| | 03:30 | Let's grab this and throw right in there--
oops, a little off. Let's just undo that.
| | 03:36 | That's the beauty of having History is that
we can easily go back there and undo parts
| | 03:40 | that we don't want. There we go.
| | 03:42 | All right, so now that we have that, I am
going to unlock the transparency, so I can
| | 03:46 | kind of pull some of this stuff in.
| | 03:47 | Here we go, and there we are getting all this
starting to happen in there, get some of this
| | 03:52 | groundwork there, and I am going to kind
of pull up some of these other dirt right in
| | 03:59 | there, there we go, and I'm going
to kind of eliminate some of this.
| | 04:03 | And now I'm going to give it a mask.
| | 04:06 | So in the mask I can kind
of blend it up even more.
| | 04:09 | So I get my brush, I'll make it a one of
these solid brushes here, make it a little Harder,
| | 04:17 | and I am going to start to go in there and
start to paint it, in the mask, painting with
| | 04:22 | black, so I can start to kind of hide it.
| | 04:24 | And I am going to bring down my Opacity to
about 40%, so I can just slowly blend this
| | 04:28 | stuff into its existing
background like that. There we go.
| | 04:32 | So now we have got the beginnings
of our construction going there.
| | 04:36 | So this building can now go away.
| | 04:39 | Let's take another piece. We have got
this guy here. Let's put him somewhere.
| | 04:43 | I am going to just go ahead and select this
whole section right in here like this, and
| | 04:49 | I am going to deselect the sky, and I am
going to deselect it right inside there.
| | 04:54 | Now that I have that, I am going to
take this and drag it into my scene.
| | 05:00 | Now this one, we can see that right off the
bat, it is not as strong as the other guy,
| | 05:04 | so what I am going to do is I am going to
go into Levels, and I am going to increase
| | 05:07 | those darks right there, there you go.
| | 05:10 | Now we have a little more contrast happening, and I
am going to go in there and make it a little larger.
| | 05:15 | Larger like that, and I am going to
flip it, I am going Flip it Horizontally.
| | 05:19 | Now this building is going to be right here
off the side, right in there like that just
| | 05:26 | a little chunk of it, right in there.
| | 05:28 | Now, I can erase or mask, but in this case
I am just going to erase I am going to erase
| | 05:32 | some of the stuff in here, and it could just be
rough, because the whole thing is destroyed, right.
| | 05:38 | It looks pretty messy anyway.
All right, so we got that.
| | 05:42 | So now we got this building, this is a
pretty intense looking destruction site here, so
| | 05:48 | what I am going to do is I am going to
select this entire area, all this, and I am going
| | 05:54 | to deselect the sky, all right, and
let's get rid of that little area.
| | 06:00 | Now I want that in a specific spot, so I am
going to come back here to this original file
| | 06:05 | and go to the background, and
that's where I am going to put this guy.
| | 06:09 | I'm going to drag him in, and
there he is. Now, he is really big.
| | 06:13 | These are all different resolutions.
| | 06:15 | So I am going to hit my F key to go to
full screen and then pull back a little bit.
| | 06:19 | So I can see the whole thing.
| | 06:21 | So now I can go in there and bring up my
Transform tools and start to shrink that building way
| | 06:26 | down into position where I
want it, right back in here.
| | 06:31 | And we are going to have a kind
of going off to the side like that.
| | 06:36 | Let's go to full screen here,
so we can see where it is.
| | 06:38 | There is that building.
| | 06:39 | It's just back there, and we might even
make it a little bit smaller if we want.
| | 06:44 | We can do that and just kind of lift it up a little,
and there is that building in place, way back there.
| | 06:52 | And we got this little opening here, so let's
just go back to our regular view, and we can
| | 06:59 | say goodbye to this one, and we have
one more scene back here, this one.
| | 07:02 | So this, I am going to take.
| | 07:03 | I am going to select this whole section right here,
that section, and I am going to deselect the sky.
| | 07:12 | Don't want the sky, and then we
can leave that sky in there for now.
| | 07:16 | So I am going to bring this into
here, and it's also way in back.
| | 07:24 | So what I am going to do is I am going to
do a little Flip Horizontal, and this one
| | 07:28 | I am going to shrink way down, because this is
going to be our street way in back, back here.
| | 07:36 | Now when I see in, and that's
because this other building is still there.
| | 07:40 | So we'll just leave it there for now.
| | 07:42 | Let's go back to this original building,
this building, and we are going to get rid some
| | 07:46 | of that visibility back there.
| | 07:47 | So I am going to go in a little closer here, and
we're just going to kind of erase it a little bit.
| | 07:53 | We don't have to really go in there and
mask it and waste time, because this stuff has
| | 07:57 | all been destroyed, including those trees.
| | 07:59 | Don't want those trees, but
those tress are going to go away.
| | 08:02 | I am going to make my eraser a little smaller,
I am just going to erase this stuff back here,
| | 08:08 | which is exposing that
building we just brought in, see?
| | 08:11 | Then I will just get rid of all this stuff, and
we can get rid of that whole thing, there we go.
| | 08:18 | So now that last building we brought in, there
it is. Let's pull back so we can see the overall
| | 08:24 | scene, and we'll pull in just a little bit.
| | 08:27 | I'm going to go in there, and we got it set
up, I am going to in there, and I am going
| | 08:33 | to distort it so that it takes on the same
perspective of everything else and then shrink it down.
| | 08:40 | Now this is the building way
off in the background back there.
| | 08:44 | Now that one is a little bright, so what I am
going to do is I am going into Hue Saturation
| | 08:48 | and bring down the Saturation for that building,
so it's way in the back, and darken it, because
| | 08:53 | it is further back, click OK, and there is
our basic destroyed city, which we are now
| | 08:59 | going take a step further and darken it and
start to add some explosions that are still in progress.
| | 09:04 |
| | Collapse this transcript |
| Creating explosions| 00:00 | So in this movie what we are going to
do is start to create the explosions.
| | 00:04 | Now I need a special brush for that. There's
not an explosion brush that comes with Photoshop,
| | 00:08 | so I am going to create one.
| | 00:09 | So I am going to create a New File here, where
I am going to create my little explosion brush,
| | 00:14 | so right here, and let's just hit F7, so we
don't have to see all this other stuff going
| | 00:20 | on, and we'll go to full screen. There we go.
| | 00:24 | Now what I am going to do is I am going to
use black, and I am going to take my existing
| | 00:29 | paintbrush, I am going to
soften it up quite a bit, very soft.
| | 00:32 | And I will make it a little bigger, too, and
what I am going to do right here is I am going
| | 00:37 | to just draw a couple little dots.
| | 00:41 | Just drawing a couple, little dots, make it
smaller, increase my Opacity a bit and start
| | 00:51 | drawing other little dots.
| | 00:53 | Now I am going to start to kind
of connect these a little bit.
| | 00:59 | So I am going to just do a couple of things
to do that, I am going to smear a couple just
| | 01:04 | so I get a little smearing happening going in
there like this, and let's just smear a few.
| | 01:11 | And then I am going to go in with the brush
again and kind of just bring down the Opacity
| | 01:16 | way down and just kind of add a
couple extra little tonalities inside here.
| | 01:22 | I am just basically almost looking
like I am creating a little puff of smoke.
| | 01:29 | Okay, it's kind of like the little cloud,
the smoke that we created in the moonlit night,
| | 01:35 | but this one we are creating from scratch.
| | 01:37 | So it is the basic shape of
what I want to create right there.
| | 01:40 | I'll make a little tiny brush and just add a
couple of little wispys in the edges like that.
| | 01:47 | I am going to select that and turn that
into a Brush, and we'll call it Explosion.
| | 01:57 | Now it's going to serve a multitude of purposes,
but its main purpose is going to be the explosions,
| | 02:02 | so we will just call it an Explosion, so
now we can close this. We don't need it.
| | 02:07 | Now back in our overall scene here, the first
thing we are going to do is change the sky a bit.
| | 02:11 | Now the entire foreground is going to be
changed in the next movie, but for this movie, we
| | 02:16 | got to just change our background scene here.
| | 02:18 | So what I am going to do is I am
going to pick some darker tones.
| | 02:21 | So I am going to get a dark blue, kind of a
murky blue like this, going into a lighter
| | 02:27 | version of that same blue, like that, and I'm
going to throw a gradient in that background.
| | 02:33 | So now we can say, we have set the
foreground and background, and I'll just throw kind of
| | 02:37 | a murky tone like that to our sky,
maybe a little too purple, but that's okay.
| | 02:42 | It's a war ravaged city, they are not
really worried about a nice beautiful blue sky.
| | 02:47 | So in a layer on top of that is where we are
going to start to create our explosion, and
| | 02:51 | we are going to name this one.
We are going to call it explosion.
| | 02:54 | And I am going to choose a nice Bright
yellow color, Bright yellow like let's say almost
| | 03:04 | white, not like that, I think we'll
go even lighter, right there like that.
| | 03:08 | I am going to take that brush I just created.
There it is, there is my brush I just created,
| | 03:14 | which right now is going to do that.
| | 03:16 | So what I want to do is I want to
go in here and start to play with it.
| | 03:19 | I am going to go in and play around with this
brush, I am going to give it a little spacing.
| | 03:24 | Give this some spacing, you can
see what is starting to happen there.
| | 03:27 | I am going to go to Shape Dynamics, where I am going
to move that angle around, so it's not so pronounced.
| | 03:31 | And I am going to do a little scattering on
it, but not that much just a little bit of
| | 03:36 | scattering just like this.
| | 03:38 | All right, so I have a little
spacing and stuff right in there like that.
| | 03:42 | Click OK, I'm going to make the brush much
smaller and right in here I am going to start
| | 03:48 | to draw, and I am going to bring the Opacity
back up, back up to 100% I am going to start
| | 03:54 | drawing with that color I
just created, that yellow.
| | 03:58 | Now I am going to just draw in here all
these little kind of shapes like this.
| | 04:02 | Now this is going to be the basic explosion.
| | 04:07 | It doesn't look like an explosion yet, but it
will start to look like one in a few minutes.
| | 04:12 | Now I am going to make it a little bigger,
bring down the opacity a bit and start to
| | 04:16 | throw some softer puffs
along the edges like that.
| | 04:20 | Now to this, I am going to go in there, and I
am going to give this explosion a Layer Style.
| | 04:26 | I am going to give it an Outer Glow, and
this Outer Glow is going to be a Bright, Bright
| | 04:34 | orange, very Bright
orange, almost red like that.
| | 04:41 | This is an Outer Glow, which
I am not going to expand that.
| | 04:43 | I am going to expand that glow so it comes
out like that, really strong kind of a glow.
| | 04:48 | Then I am going to give it a--and we'll
even increase the Opacity of that a little
| | 04:53 | bit, we get this strong glow going on there.
| | 04:56 | And then I am going to give it an Inner Glow,
and the Inner Glow is going to be a nice deep
| | 05:01 | kind of a warm yellow like this, which I am
then going to go in there and start to--and
| | 05:08 | this is set to screen, which we are not seeing,
because it is actually darker than the original color.
| | 05:12 | So I am going to set that to Multiply.
| | 05:14 | So I am going to get that kind of color
happening inside, and when we increased the size of
| | 05:18 | that one a little bit, so you start to get that
kind of an effect happening right inside there.
| | 05:23 | I am going to bring up the Opacity a little
more, so I get a really strong effect of that
| | 05:28 | color, right in there like that.
| | 05:30 | Click OK, so there is the
beginning of our explosion.
| | 05:33 | So now what I am going to do is I am going
to bring our colors to black and gray and
| | 05:40 | a nice deep gray like this, and with that same
brush I am now going to start to create the smoke.
| | 05:47 | So in a layer behind it, I am going to hold
down my Command key and click New layer which
| | 05:51 | we have created behind, and
I am going to call it smoke.
| | 05:56 | I am going to start to throw in little puffs.
| | 05:58 | And let's add one more feature to our brush,
and that is the Color Dynamics so that it's
| | 06:02 | going to go in there and create a little color
dynamics, and I am going to go in to my Shape
| | 06:07 | Dynamics and set up that Size Jitter.
| | 06:10 | So I am going to start getting more of a Size
Jitter and a little bit more of an Angle, click OK.
| | 06:15 | So now I am going to start to throw all this
smoke back in here, and I can throw much bigger
| | 06:20 | brush, so I can start getting bigger puffs
of smoke all through this area back here,
| | 06:26 | all this smoke that is starting to happen from
this main explosion that's just happened back here.
| | 06:31 | All this smoke is just pouring up into the sky.
| | 06:35 | Then back here we have a smaller brush, and
there are some other smokes from some other
| | 06:40 | explosions that happened, and I am getting
too much color, so let's go to Color Dynamics,
| | 06:45 | we'll just get that Hue slider over
there and bring the Saturation down.
| | 06:50 | All right, so let's start throwing some puffs of
smoke that are just coming from other explosions
| | 06:56 | down in this area here.
| | 06:57 | And then there is one really far away, so
I am going to make the brush much smaller,
| | 07:01 | and we've got this other smoke coming
out from back, way back there somewhere.
| | 07:06 | All right, so we are going to go in there,
and let's just go to a full screen here so
| | 07:13 | that we can really see what we are doing here.
| | 07:16 | And I am just going to start to create this
smoke, I am going to make it larger now, much
| | 07:19 | larger brush and bring down its Opacity so
that start to blend that smoke in with bigger
| | 07:25 | puffs, same back here.
| | 07:27 | And I am going to add a few more to that main
explosion that just happened just so we start
| | 07:32 | getting some more smoke
happening all through that area in there.
| | 07:36 | So here's the other
explosions that have been happening.
| | 07:40 | So now I am going to create a layer on top
of the explosion right here, right here.
| | 07:48 | We'll call it front smoke, and we are going to take
that same brush, so at this time it is going
| | 07:53 | to be really small, and we are going to start
to add little puffs of smoke all through this
| | 07:59 | area right in here so it
starts to break up our explosion.
| | 08:04 | Now I am just going to start drawing all
these little shapes that are just going to cover
| | 08:10 | up parts of the outside edges and start
blending our explosion into our little smoky patches.
| | 08:18 | And some of them we'll
start making it even darker.
| | 08:21 | We'll start getting all this smoke and
fire happening all through this explosion.
| | 08:28 | Now we'll make it bigger.
| | 08:29 | I am going to bring that Opacity some more
and just kind of add bigger puffs along the
| | 08:35 | top, right through there like that, and now we
see this major explosion that's just happened
| | 08:41 | way back there in our city.
| | 08:44 | Now in the next movie, I am going to add all
the final touches to this, including all the
| | 08:49 | debris that's being
thrown up from this explosion.
| | 08:54 |
| | Collapse this transcript |
| Adding flying debris| 00:00 | So now we are going to create all the debris
that's flying from this explosion way off in a distance.
| | 00:05 | Now it sounds complicated, but
it's not, it's just creating a brush.
| | 00:10 | So what I'm going to do is I'm going to
take my Marquee tool here, and I make sure I'm
| | 00:13 | in a layer that's mostly transparent,
and the front smoke is mostly transparent.
| | 00:18 | So I'm going to go up right here. I know
there's nothing there. Let's go look at that layer.
| | 00:21 | See? There's nothing there.
| | 00:22 | So I'm going to just create
long little rectangle like that.
| | 00:27 | And I'm going to go ahead
and fill that with black.
| | 00:32 | I have it selected still, so I'm going to
say Define Brush Preset, and we'll call it debris.
| | 00:38 | I can throw it away, you select it,
it's gone, but it is a brush.
| | 00:45 | So I'm going to go into my brush and select--
there it is right there. It's just this little
| | 00:50 | black which you know it's going to do this.
It's got some modifications now, it's got
| | 00:53 | a full opacity, and you could see it's
just doing that. It's following whatever I set
| | 00:59 | up for the smoke the last time.
| | 01:02 | So we'll undo that, and we are going to
create a whole set of flying debris here.
| | 01:08 | I'm going to go into my brush
engine where I'm going to modify this.
| | 01:12 | I'm going to give it a lot of spacing.
| | 01:15 | I'm going to go into Shape Dynamics where
I'm going to give it a lot of Size Jitter
| | 01:21 | and set up a minimum, so they won't become
too tiny, but very small, because I do want
| | 01:25 | some little tiny things.
| | 01:26 | And I'm going to set my Roundness, so some
of them will be flatter, right?
| | 01:33 | Flip that all the way up. Minimum Roundness,
we will bring that down as well.
| | 01:37 | And then I'm going to go into my Color Dynamics.
Color Dynamics, I'm going to go in there and
| | 01:43 | say Foreground to Background and add a couple
of extra colors in there and throw some jitter--
| | 01:49 | maybe not that much Hue, okay, right
in there--and I'm going to scatter them.
| | 01:54 | I am going to scatter them in
both directions all over the place.
| | 01:59 | Now we can see the spacing.
| | 02:01 | Let's go back and bring them a little closer
together, so now we start to get--okay, there we go.
| | 02:05 | That's starting to look little better.
| | 02:06 | And you're starting to see
what's going to happen there.
| | 02:08 | So I click OK, and I'm going
to make it a much smaller brush.
| | 02:15 | And I'm going to go to the top of my layer
stack here, so we go all the way to the top,
| | 02:19 | let's bring our little layers here, so we
can see that, then we'll go way up to the
| | 02:23 | top--actually, it should be in
front of the explosion itself.
| | 02:27 | So where is that front smoke?
There is the front smoke.
| | 02:30 | So right there is where I'll create a
New layer which we'll call flying debris.
| | 02:36 | I'm going to pick some colors. I've got a
nice deep brown for my foreground, and for
| | 02:43 | my background I'm going to pick kind of beige color,
somewhere in that neighborhood, right about there.
| | 02:52 | And then I'm going to just start to draw
right in here, and there we can see that we have
| | 02:56 | all this flying debris, stuff just flying
around that's from the explosion just stuff
| | 03:04 | flying around, and I'm going to make the
brush a little smaller and kind of fill up this
| | 03:08 | area here with a lot more of it.
| | 03:12 | And there we see that we have the
flying debris from the explosion.
| | 03:16 | Now in the next and final movie, we are going
to finalize this by adding all the nice little
| | 03:21 | touches and little more drama to the lighting
and the effects of the explosion on the other
| | 03:27 | buildings that are in front of us.
| | 03:32 |
| | Collapse this transcript |
| Applying finishing touches| 00:00 | So now we are going to finalize this
image and make it look like the way it should.
| | 00:05 | So I am going to go in here and add a
little drama to this scene, so I am going to take
| | 00:08 | this building here, and I just selected it
by clicking on it with my Move tool, set to
| | 00:13 | Auto Select, so it's
selected that layer right there.
| | 00:17 | And let me go in there
and apply some Levels to it.
| | 00:21 | I am going to in there and just take the
dark tones and make them darker and the midtones
| | 00:24 | and make them darker just to add a
little more drama to that building there.
| | 00:28 | All right, now I am going to do that to all of the
other buildings as well, but we'll do them uniformly.
| | 00:34 | First what I am going to do is I am going to
select this particular building right there,
| | 00:38 | that building just way in the back there,
and I am going to add a layer in front of it.
| | 00:44 | And this layer what I am going to do is I am
going to add a couple of little tones in here.
| | 00:48 | Let me take away everything that I did to
my brush before, and let's get in real close,
| | 00:53 | so we can see what's going to happen right
in that area there, let's go right in here,
| | 00:58 | and let's go to full screen,
so we can get into that area.
| | 01:01 | Now I am just going to draw a
couple of little tones right in here.
| | 01:04 | I am going to get the brush little smaller. I
just kind of throw couple of tones into this area.
| | 01:10 | And see, you can see I am just drawing
a couple of little weird little shapes.
| | 01:12 | What I am going to do is I am going to clip
that right there to that scene, I am going
| | 01:18 | to split that layer in overlay mode.
| | 01:21 | So what's happening here is as you can see
is that I am starting to get light coming
| | 01:25 | in from that explosion
that just happened over there.
| | 01:27 | So what I am going to do now is I am going
to slow make it fade away, so I am going to
| | 01:31 | add a layer mask to that little thing,
and I am going to throw in some tones.
| | 01:35 | I don't want it to totally disappear, so I
am going to start my black out here and slowly
| | 01:40 | work its way into the white, right about here.
| | 01:43 | So you can see how it got a little softer,
let's just do a little more, and there we
| | 01:46 | could see that we are getting just that
little softening happening right along the edges.
| | 01:50 | I will that last one there, we can see
it's stronger along this edge, getting lighter
| | 01:54 | as it gets further back.
| | 01:56 | Okay, so now that we have that,
that's looking pretty good.
| | 01:59 | All right, so let's just pull back to a full
scene, and at this point I can now go in there,
| | 02:05 | and let's eliminate the stuff in the back, the sky,
the explosion, the smoke, and the flying debris.
| | 02:15 | And there is the flying
debris and the front smoke.
| | 02:17 | That leaves only our buildings.
| | 02:20 | So what I am going to do is I am going to
go in there and merge all those buildings
| | 02:23 | into one, Merge Visible.
| | 02:27 | And we are going to go ahead and
call that layer our foreground.
| | 02:32 | Now we'll see everybody else, bring
everybody else back on, and we are going to take that
| | 02:36 | foreground right there, and I am
going to go into my Levels again.
| | 02:40 | And we can see that we have a lot of light
tones in there, so we are going to just kind
| | 02:45 | of bring the whole city down,
bring it down, so it's really dark.
| | 02:49 | I am going to go into my Hue/Saturation
so I can bring down saturation.
| | 02:54 | I don't want all that color in there, this
is a really drab looking dead city. Click OK.
| | 02:59 | So now, for the final touch I am going to
give that a Layer Style, I want to give it
| | 03:07 | a Inner Glow, and I am going to pick that
same orange I just picked up a second ago.
| | 03:13 | Nice bright orange like this, which I am
going to bring up the Opacity and the Size just
| | 03:18 | a little bit, right in there, like that.
| | 03:21 | And I am going to choke it, I am going
choke it a little bit more, so it gets a little
| | 03:24 | shaper, and now that we choked, we can bring
it down Size just a little, about like that.
| | 03:30 | That's looking good.
| | 03:31 | All right, so what I am going to do now is
I am going to take that Layer Style I just
| | 03:35 | created, and I am going to
separate it from the rest of the image.
| | 03:38 | So I go over the Layer Style and say Create layer.
So it's a separate piece altogether.
| | 03:43 | I am going to select that, and I am going to
start to erase it from all the places I don't want it.
| | 03:49 | So I am going to go in, make a nice big
brush for my eraser. I am going to just erase it
| | 03:55 | from the edges. We don't
want it there, of course.
| | 03:58 | And I am going to raise it from here, and
I am going to go in and start to erase it
| | 04:02 | from very selective spots.
| | 04:03 | I am going to go in, and I am
going to just erase it from here.
| | 04:06 | I am going to erase it from certain spots
in here, this side can be completely erased,
| | 04:12 | and this little corner here and
up here, we don't need it in there.
| | 04:16 | So we can what's happening is just creating
this little halo, and let's get it real small.
| | 04:21 | This little halo being caused on the edges
of the buildings where they're picking up
| | 04:24 | the light from that explosion right into
these little areas in there, let's lower this one
| | 04:29 | up in there, and let's get there.
| | 04:32 | And there we can see that now we have all
these little explosions happening, and we
| | 04:37 | have the light coming from it, and when we
pull the full screen, we can see there is
| | 04:41 | our totally destroyed city.
| | 04:43 | It was all done with little pieces all put
together and with a couple of specialized brushes.
| | 04:48 |
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ConclusionFinal thoughts| 00:00 | So now you've learned how to create all these
dreamscapes, learned all these little tricks,
| | 00:04 | there are many more that
you can find on your own.
| | 00:06 | It's just a question of going on there and playing,
pushing those buttons, and seeing what they can do.
| | 00:12 | Go through all your photography and come up
with your own dreamscapes, let your imagination
| | 00:16 | go wild, and I'd love to see the
kind of stuff you come up with.
| | 00:20 | Go in there and have some fun!
| | 00:23 |
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