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Relighting the dome


Digital Matte Painting Essentials 4: Texturing

with David Mattingly

Video: Relighting the dome

Relighting the dome provides you with in-depth training on 3D + Animation. Taught by David Mattingly as part of the Digital Matte Painting Essentials 4: Texturing
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  1. 1m 51s
    1. Introduction
    2. Using the exercise files
  2. 44m 5s
    1. Why did we wait so long to use photographic textures?
      1m 55s
    2. Prepping the form study for texturing
      5m 32s
    3. Transfer modes
      9m 4s
    4. Color basics
      4m 45s
    5. Creating a stone texture
      3m 26s
    6. Adding the dark side's base texture
      3m 57s
    7. Adding the light side's base texture
      3m 40s
    8. Rounded textures and the Warp tool
      6m 33s
    9. Websites for matte painting reference
      5m 13s
  3. 30m 12s
    1. Creating a photographic crenellation
      7m 30s
    2. Creating a line of crenellations
      3m 27s
    3. The Vanishing Point tool
      4m 54s
    4. Adding crenellations using the Vanishing Point tool
      3m 4s
    5. Trimming the crenellations
      7m 9s
    6. Adding back sides to the crenellations
      4m 8s
  4. 29m 36s
    1. Levels and Curves anatomy
      5m 26s
    2. Camera Raw
      3m 33s
    3. Using Levels and Curves
      4m 55s
    4. Color correcting individual RGB channels
      3m 19s
    5. Toning the base castle
      5m 35s
    6. Toning the crenellations
      6m 48s
  5. 32m 25s
    1. Adding photographic elements
      4m 19s
    2. Distorting the dome and rectangular faces
      5m 18s
    3. Relighting the dome
      5m 59s
    4. Color correcting the dome
      1m 52s
    5. Adding more photographic details
      5m 57s
    6. Relighting the new details
      3m 50s
    7. Color correcting the details
      5m 10s
  6. 51m 33s
    1. Extreme color correction
      3m 36s
    2. Adding a photographic sky
      6m 27s
    3. Adding background mountains
      5m 32s
    4. Integrating the details
      7m 30s
    5. Collapsing layers and more details
      5m 13s
    6. The final paint layer
      6m 28s
    7. Lights and glows
      7m 16s
    8. Smoke and flames
      9m 31s
  7. 33s
    1. Goodbye

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Relighting the dome
Video Duration: 5m 59s3h 10m Beginner Nov 07, 2013

Viewers: in countries Watching now:

Relighting the dome provides you with in-depth training on 3D + Animation. Taught by David Mattingly as part of the Digital Matte Painting Essentials 4: Texturing

View Course Description

A crucial step in building a realistic digital matte painting is texturing your scene. This course shows you how to add light, color, and texture to a basic form using photographic references and the tools in Adobe Photoshop. Author David Mattingly starts the lessons where Digital Matte Painting Essentials 3 left off—with a fully shaded 3D form—but you can also jump straight into this installment to learn more about texturing. Start now to learn how to add crenellations, color correct your form, distort and relight photographic textures, and add glows and special effects that make your painting convincing.

Topics include:
  • Preparing your form study for texturing
  • Adding dark and light side textures
  • Making rounded textures with the Warp tool
  • Creating photographic crenellations
  • Using Levels and Curves for color correction
  • Adding photographic elements
  • Relighting details
  • Adding glows, smoke, and flames
3D + Animation Design
David Mattingly

Relighting the dome

Right now our dome is flatly lit, with no real direction of light evident. But the castle in our scene is lit from the right. So we need to relight it. I want to show three different ways to do that. The first is using the lasso tool to select areas, and then the curves tool to lighten or darken them. Set the lasso tool to a wide feather, say 15 pixels, and lasso off the dark side. You'll want a smaller feather for doing the top of the dome, so set that to five pixels and then marquee that off.

Open the Curves. Pull down on the white point to darken the dark side without increasing the contrast too much, invert the selection, set the feather back to 15. And you might want to remove just a sliver from the light side so that there's a little more room for the core. Open up Curves again and pull up on the middle of the curve to lighten the light side. Then, select a sliver of the dome where the light and dark meet.

Set the feather back to five to do the top part of the dome. Open up Curves and pull down on the white point to add the core. Now the dome is basically relit. Let's undo that. Relighting with selections and curves works well, but let me show you two other ways to do it that I prefer. The first is using the Brush tool set to Overlay. Such your foreground and background color picker to the default black and white by hitting the d key. Now, from the drop-down Brush menu, choose Overlay for the transfer mode for the brush.

This mode works great for relighting since it doesn't destroy the detail on the layer you're working on but rather enhances it. For this to work, all the pixels you want to affect have to be on the same layer. For instance, if you paint in an area of the layer that doesn't have any pixels on it, it won't work in Overlay mode. It'll just work in normal mode since it will only apply the Overlay mode to existing pixels you are painting over. Load in the selection for the dome layer and hide it.

Make sure your brush has a soft edge. You can hold down the Ctrl or Alt or Opt or Alt keys and drag up and down to harden or soften the brush. You want it to be soft. Lower the opacity of the brush to something around 30% so you can build up the tone. And start stroking the dark tone on the dark side. You'll need to resize the brush for the smaller form at the top of the dome. Build it up slowly following the form of the dome as you work. Press x to load white into the foreground color picker, and start building up the tone on the light side.

Resize the brush on the fly to fit the form, and with a smaller brush, brush a highlight in the middle of the light side. Finally, press x again to load black back into the foreground color picker and build up the court where the light side meets the dark side. Resize to add the court to this little top piece, and you're done. Let me show you the other way on these square box forms. For this, we're going to use the Dodge and Burn tools. Dodge and Burn refer to a dark room technique when printing analog photographs in a dark room.

When you are dodging a print, you take a wand with a shape on the end of it that would block out some of the light from the enlarger from reaching the paper. Conversely, you could burn a print, or make it darker, by taking a card with a hole in it and only adding light to the print through that hole. So let's burn a little of the dark side to darken the boxes. Load in the selection from the boxes on the dark side. And hide the selection. Set the exposure of the Burn tool to a low percentage, say 30%.

Notice that you can choose what area of tone to affect, the midtones, shadows or highlights. In this case, we would want to affect the shadows. Now go through and darken those boxes. The great thing about this technique is you can selectively paint in tone, adding it only where you want it. Then select the layer with the light side boxes and load the selection. And select the Dodge tool. Notice that, again, you can choose the mid-tones, highlights, or shadows. We want the mid-tones. Set the exposure to 30% so we can build it up, zoom in so we can see what we are doing, hide the selection, and start painting in the light side.

Make sure that Protect Tones is checked when using this tool, otherwise it will substantially increase the saturation. Even with that Protect Tones box checked, one of the downsides of using the Dodge tool is that it does brighten the color of whatever you're working on. See how these box fronts are getting bright red? We'll fix that in a minute. The other tool here below the Dodge and Burn tools is the Sponge tool. You can use see to saturate and de-saturate the area. Again, lower the opacity to around 30% and then go through and selectively de-saturate or make grayer these areas that got too red.

There is little area on the dome that got too bright, so go ahead and use the Sponge tool on that also. So, there you have it. We've re-lit the dome three different ways, and now we can color-correct it to match the rest of the castle, which we'll do in the next lesson.

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