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Why did we wait so long to use photographic textures?

From: Digital Matte Painting Essentials 4: Texturing

Video: Why did we wait so long to use photographic textures?

We'll start our texturing project using the final form file. As we start to use photographs, it's important I often get questions from students as to whether using photography is I think that if you use photographs the way I'll teach you, it I truly believe that even the great

Why did we wait so long to use photographic textures?

We'll start our texturing project using the final form file. FormFinish.psd. That file is available to premium members in the exercise files for this section if you want to use it to follow along. I bet you thought you'd be using photography earlier than this. But by working through these three stages, concept, perspective, and form, without relying on photographs, you now have a roadmap to creatively use photography but not be a slave to it. As we start to use photographs, it's important that you retain everything we've done so far.

When I teach this project in my digital matte painting classes in New York City, there are often students who completely forget about what we've done so far and start slapping in photographs without regard to lighting or perspective. I'll teach you how to not be that student and how to make controlled use of photographs from diverse sources to create a cohesive photo-realistic castle. I often get questions from students as to whether using photography is quote, cheating, and whether a real matte artist wouldn't hand paint everything.

I think that if you use photographs the way I'll teach you, it isn't cheating and you can achieve a level of realism that would be very difficult to match when hand painting. I truly believe that even the great masters of matte painting, like Peter, Allan Shaw and Albert Whitlock, if they were alive today, would use photographic textures in their work. In every matte painting, there are many areas that are very repetitive. Like the stones in the walls of a castle. Using photographic textures can free you from what can best be called the grunt work of that kind of task.

And produce very realistic results in a fraction of the time hand-painting would require. So with that said, let's prepare our final form project for use in the texturing section.

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Digital Matte Painting Essentials 4: Texturing

39 video lessons · 3321 viewers

David Mattingly
Author

 
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  1. 1m 51s
    1. Introduction
      59s
    2. Using the exercise files
      52s
  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
      33s

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