Introduction Welcome| 00:04 |
Hi, and welcome to Artistic Concepts with
me, Bert Monroy.
| | 00:07 |
Now in this course, what I'm going to
cover is not just techniques in
| | 00:10 |
Photoshop, but basically some basic
concepts about design.
| | 00:14 |
Not design in ways you put something, but
how it should look when it's put with
| | 00:19 |
other objects.
If you're going to take a photograph and
| | 00:23 |
make it look nice, that's fairly simple.
Sometimes complicated, but still, fairly simple.
| | 00:27 |
But if you're going to take two
photographs and put them together, that's
| | 00:30 |
where certain complications come in.
So I'm going to teach you about shading.
| | 00:35 |
How to add shadows, how to find out where
the light source is?
| | 00:39 |
Things like perspective, a very important
thing, because one thing might have been
| | 00:42 |
shot on a tabletop and you're trying to
put into a scene of a plaza.
| | 00:46 |
The perspective has to match to make it
look like that item is, in fact in that plaza.
| | 00:51 |
And things like shadows, and reflections.
If something's shiny and it's put into
| | 00:55 |
another scene, well, it has to reflect
the environment around it.
| | 00:58 |
So, what we're going to talk about is how
all these things work together and how to
| | 01:02 |
use them to make your images look real.
| | 01:05 |
| | 59:59 |
(MUSIC).
| | Collapse this transcript |
|
|
1. PerspectiveUnderstanding the basics of perspective| 00:00 |
What is it that makes things look
three-dimensional?
| | 00:03 |
It's a little thing called perspective.
You look at the two blocks that are on
| | 00:06 |
the screen right now.
The one on the left looks kind of flat;
| | 00:09 |
the one on the right has dimension.
It really looks like it's moving in
| | 00:13 |
space, and it looks real.
Now, what makes them different is the
| | 00:17 |
fact that the one on the right is
following the normal conventions of perspective.
| | 00:22 |
So I'm going to go in there and set up
what's called the horizon line.
| | 00:25 |
This is my horizon line.
And if I go and look at my paths here,
| | 00:28 |
right there, you can see that I have
these little vanishing lines, that are
| | 00:32 |
converging on the vanishing point right
there.
| | 00:37 |
And these lines will follow every edge
and converge eventually on that point
| | 00:42 |
back there.
If we were to look at something like say,
| | 00:46 |
this one here.
Let's turn these off.
| | 00:49 |
And look at these.
Now those blocks all look three-dimensional.
| | 00:52 |
We see the tops, we see the sides, and so
on.
| | 00:56 |
What makes them look real, is the fact
that they are also converging on the
| | 00:59 |
vanishing point.
Here we're dealing with two points of
| | 01:03 |
separate vanishing points.
And we look at them here.
| | 01:07 |
There's a vanishing point, and there's a
vanishing point.
| | 01:09 |
Now if I was to grab this line and start
to follow, you'll see that every single
| | 01:14 |
line follows that perspective.
Same thing is the case on this side.
| | 01:21 |
Every single line will follow the same
perspective.
| | 01:25 |
Now in a case of reality, well, when we
look at something like say, this image
| | 01:29 |
here, you can see that it's going back in
space.
| | 01:33 |
Well, when we go and look at the
perspective lines, there you see, that
| | 01:37 |
there's our vanishing point on the
horizon, and all the lines are converging
| | 01:41 |
on that same spot.
The pier goes all the way down, the tops
| | 01:46 |
of the girders, the tops of the building,
and the edges of these little piles, all
| | 01:51 |
of them go and converge on the same
point.
| | 01:55 |
Now when I create my paintings, I take
that into consideration.
| | 01:59 |
In my Times Square series, it's a very,
very complex set of perspective, because
| | 02:03 |
of the fact that you're dealing with
multiple vanishing points from two
| | 02:07 |
different avenues and side streets.
In this particular case, we're dealing
| | 02:12 |
with a single vanishing point.
And what happens here, is the vanishing
| | 02:16 |
point is way off down there at the center
of our painting.
| | 02:19 |
And if we look at the actual perspective
lines that were created, there you can
| | 02:22 |
see them.
And as I get in a little closer, you see
| | 02:25 |
that there's that single vanishing point.
And all my vanishing lines are converging
| | 02:29 |
on that point, so that the tracks and the
girders and everything, the platform tops
| | 02:32 |
and everything, will converge on that
same point, including all the windows and
| | 02:35 |
the buildings and such.
It is these that I then use as a guide,
| | 02:41 |
where I start to create all my elements.
So we see here where the girders are
| | 02:46 |
conforming to those perspective lines.
So vanishing points and horizons, these
| | 02:52 |
are the things that make something look
three-dimensional, by having things
| | 02:56 |
receded in space so as they get further,
they get smaller.
| | 03:01 |
By following that concept, your objects
and your images will look three-dimensional.
| | 03:06 |
| | Collapse this transcript |
| Understanding the vanishing point| 00:00 |
Establishing where the vanishing point
is, and for that matter, where the
| | 00:04 |
horizon is, is crucial when you're going
to composite images together.
| | 00:10 |
If the perspective does not match, it is
going to look off.
| | 00:14 |
Well, here's an actual project that I did
very recently.
| | 00:17 |
I decided I wanted to put an awning on
the side door of my studio.
| | 00:21 |
And, I went online and I found an awning
that I liked, which was this particular
| | 00:25 |
one here.
I looked at it, and it came in colors.
| | 00:29 |
So, I went in there and I looked at the
different colors.
| | 00:33 |
So then, I wanted to put them into the
scene so that people could see how it looks.
| | 00:39 |
That's the way it looks for my neighbors,
and this is the way it would look from
| | 00:41 |
looking up into the studio.
There's the awning, see?
| | 00:44 |
Now, looks like it's there.
It looks like it's actually there, it has
| | 00:47 |
its shadow, it has everything it needs.
And looking at the awning here, you could
| | 00:51 |
see it there, it's there.
Now, how did I make it look real?
| | 00:55 |
Well, what you have to do is to go in
there and match the existing perspective.
| | 01:00 |
Well, how do you know where the
perspective is?
| | 01:02 |
Where is the actual horizon?
Thing to do is to look at existing lines
| | 01:06 |
in the image.
Because all the lines will converge on
| | 01:09 |
that horizon, so they will be your guide
as to where the vanishing point is.
| | 01:15 |
So what I do here is to take a Pen tool,
right here, and I'll click like right here.
| | 01:20 |
These lines are perfect.
See how they angle downward up here and
| | 01:23 |
angled upward up here as are these, see?
So, what I'm going to do is I'm going to
| | 01:28 |
start right here at this point and click
down and then click down.
| | 01:32 |
All right, these two lines are going to
help me.
| | 01:35 |
So, what I'm going to do is I'm going to
put this one right at that edge, and I'm
| | 01:38 |
going to put this one right on that line.
So, now what I'll do is I'll move the
| | 01:43 |
point where they intersect.
Both lines match up right about there.
| | 01:49 |
You can see how this is following that
line.
| | 01:51 |
And this was following that line.
I have now established that this is the
| | 01:54 |
vanishing point right there.
So, now I can move these out a points to
| | 01:59 |
where ever I want to become the guides
from my awning, which we'll see the
| | 02:03 |
bottom of the awning there.
And where they meet and the top and so on.
| | 02:08 |
Same thing for the second one here.
Here, I have very little lines, but those
| | 02:12 |
are the lines that we're going to rely on
again.
| | 02:14 |
So I go with my Pen tool, and I click on
this line, come down, and back.
| | 02:19 |
Now, I'm going to again, line them up
real close to where they're going to go,
| | 02:24 |
right there.
There's a good line, right there.
| | 02:27 |
Now I can move this around, move it until
I have my lines converging.
| | 02:32 |
Right there, there it is.
And you can see here that the vanishing
| | 02:35 |
point is even outside the area of the
image itself.
| | 02:38 |
But there it is.
So, now I can use these as a guide so
| | 02:41 |
that I have the top of the awning and the
bottom of the awning.
| | 02:44 |
And all the lines in between are all
following the proper perspective.
| | 02:48 |
So when we're done, and look at the image
itself, it starts to all come in to play.
| | 02:52 |
And as long as you start adding the
shadows, and the other things that are
| | 02:55 |
necessary, it will look like, in fact,
the awning does exist.
| | 02:59 |
| | Collapse this transcript |
| Establishing the vanishing point| 00:00 |
Now here's a case where establishing the
vanishing point was crucial, and also
| | 00:05 |
quite complex.
This is the city of San Jose, except it
| | 00:08 |
doesn't really look like this.
This is the way it's proposed that it's
| | 00:13 |
going to look, say 50 years from now.
I was hired to go in there and create
| | 00:18 |
this illustration.
So now, let's go in here and look at it.
| | 00:22 |
This is what it looked like originally.
And then I went in there and added quite
| | 00:26 |
a few buildings, and even a baseball
stadium.
| | 00:31 |
So there you can see all the different
buildings that were added.
| | 00:34 |
There are quite a few.
Now, here's where it was very important
| | 00:37 |
to have the perspective established.
Other things like going in there and
| | 00:42 |
creating the grain to match the photo and
all this stuff, that's totally separate.
| | 00:46 |
What really is important at the
beginning, is to establish a perspective
| | 00:49 |
so that the buildings will, in fact, look
like they belong there.
| | 00:54 |
Here's the original shot.
I put a film over on top of it, so we're
| | 00:57 |
going to be able to see what I'm going to
do.
| | 00:59 |
So I just have this film on top, but
there's the original shot.
| | 01:03 |
And when we look here, you see that I
have taken that original shot and I
| | 01:06 |
distort it to get rid of the camera
distortion, and so on.
| | 01:09 |
And then I added all the additional stuff
on top of it.
| | 01:12 |
But looking at the original, this is what
I had to start with.
| | 01:17 |
So here, I had to go in there and find my
perspective.
| | 01:20 |
So what I did is, I went in real close to
where I can see the buildings and the
| | 01:23 |
windows and such, and I looked for a
certain series of buildings that I knew
| | 01:25 |
would be straight.
The same thing with streets.
| | 01:29 |
I also looked at aerial views to make
sure that certain streets were, in fact,
| | 01:32 |
parallel to each other.
Certain cases like, say, Washington, DC.
| | 01:37 |
That might be very difficult, because
things are circular.
| | 01:40 |
But here, there is a certain grid to the
downtown area which was easy to follow.
| | 01:45 |
Using that as my basis, I went in there
and created a path.
| | 01:50 |
So here we going to look at the path.
And there's the path.
| | 01:53 |
I created this path just so I could go
and see where exactly my horizon was.
| | 01:58 |
Just like I did with the awning in the
last movie, I picked certain windows, and
| | 02:01 |
I used those to establish where the
vanishing point is.
| | 02:05 |
Once I had that vanishing point, I
established the horizon.
| | 02:09 |
Once I had the horizon, it made it much
easier to go in there and select the
| | 02:12 |
second set of paths that would then give
me the full range so that I can go in
| | 02:15 |
there and start to create the elements
that I needed.
| | 02:21 |
Once I had the two basic paths, from
there I was able to then create all the
| | 02:24 |
necessary additional paths that were
necessary to go in there and create
| | 02:28 |
certain buildings.
So when we look at this image here, we
| | 02:33 |
see that once we have the perspective
lines established, then it was easy to go
| | 02:37 |
in there and create the building that
didn't exist.
| | 02:41 |
It was put in there, and it fits in there
because the fact that it is following the
| | 02:46 |
laws of perspective.
| | 02:48 |
| | Collapse this transcript |
|
|
2. ShadowsUnderstanding the basics of shadow| 00:00 |
Shadows are important to make something
look like it is, if fact in the scene.
| | 00:05 |
Now, I don't guess at how shadows work.
When I need to create a shadow in a
| | 00:08 |
certain way, I'm going to go in there and
study things.
| | 00:11 |
I might make a little model or just look
at things around me.
| | 00:13 |
In this particular case, I need to see
how a shadow was going to work as it went
| | 00:17 |
up a staircase.
I don't have a staircase handy, so I just
| | 00:20 |
took a piece of paper and I folded it.
And then, I lit the stylus and just
| | 00:24 |
watched how did shadow travel up the
stylus at certain lighting conditions.
| | 00:29 |
we're going to look at this little piece
here.
| | 00:32 |
Now, I did something similar to this back
in my original photo realism series that
| | 00:37 |
I did back in 2004.
But here, we're going to take it a little
| | 00:40 |
step further, because we're going to move
things around a little bit.
| | 00:43 |
We're going to create a shadow for this
tree.
| | 00:45 |
So, I've got the tree here, and I'm going
to duplicate the tree.
| | 00:49 |
And the one in back, which is going to be
the shadow, I'm going to go and lock
| | 00:52 |
transparency on it and fill it with
black.
| | 00:55 |
All right, so there it is.
Now, I'm going to need two of them.
| | 00:59 |
Why?
Because the shadow is going to travel
| | 01:01 |
across the ground and then up the wall.
All right, so I'm going to duplicate it.
| | 01:05 |
There we go.
So now, this one here I'm going to skew
| | 01:08 |
or twist to go down the wall.
I'm going to go into my Transform tools,
| | 01:13 |
and hold down the Cmd key to make it a
distortion.
| | 01:16 |
Then, I'm going to go in here and distort
it and pull it way out because it's a
| | 01:19 |
long shadow, going across the ground like
so.
| | 01:24 |
So, there we go.
Shrink this down a little bit.
| | 01:28 |
All right, there's our shadow.
Now, I'm going to go in there and I'm
| | 01:31 |
going to hide part of this shadow.
So, I only want to see the part that's
| | 01:34 |
against the wall.
I'm going to go in here and select this
| | 01:37 |
portion of the wall over to here, and
then while I have it selected, I'll say
| | 01:40 |
give it a mask.
So, I only see it down there.
| | 01:43 |
I'll bring down the Opacity a little bit
so we can see the ground underneath it.
| | 01:47 |
And the second shadow, we'll now take
this one and move it across to here.
| | 01:52 |
We're going to put it down in position.
Now, it's a little further away so we're
| | 01:55 |
going to shrink it down.
There you go.
| | 01:58 |
Put it in position where we want it.
That looks fairly close, and I'm going to
| | 02:02 |
bring down the Opacity for that one.
And we'll give that one a mask.
| | 02:07 |
The mask is going to be inside the wall.
So, we'll just go in there and select the
| | 02:11 |
wall like that.
And say, give that one a mask.
| | 02:15 |
There we have our shadow going across the
wall.
| | 02:17 |
Now, what if the wall looks like that?
So, now we have a whole another situation.
| | 02:23 |
So, how do we handle this kind of a
thing.
| | 02:25 |
Well, let's get rid of these masks.
Delete it and get rid of that one, delete it.
| | 02:31 |
Okay.
So, what happens now?
| | 02:33 |
Let's turn this one off for a second and
we'll deal with this.
| | 02:36 |
What we're going to do with this is
simply going to rotate it.
| | 02:39 |
So then, it starts to look like it's
coming across this way.
| | 02:42 |
Let's bring it up.
There we go.
| | 02:44 |
There's our shadow and we'll make it a
little thicker.
| | 02:49 |
Let's make it even thicker.
There we go.
| | 02:51 |
And put it right about there and rotate
it just a little bit.
| | 02:54 |
There we go.
That's a little better.
| | 02:56 |
And we're going to get the ground area
where we want it right there.
| | 03:01 |
And say, give it a mask.
All right, so there's our shadow.
| | 03:05 |
So now, here's that second one.
Now, do we do this?
| | 03:09 |
Just put it over here.
Nope, that ain't going to quite work.
| | 03:12 |
Why?
Because it's a long wall, and it's angled.
| | 03:15 |
Our shadow is going to be angled as well.
So, I'm going to take the shadow and
| | 03:20 |
distort it.
So, I'm going to go in here and pull this
| | 03:23 |
out, and bring this in.
Now, do you see what's starting to happen?
| | 03:28 |
You're getting this long shadow that
works across there, like that.
| | 03:32 |
Click OK, and we select our wall and we
mask that shadow.
| | 03:40 |
Now, there's other things that have to be
taken into consideration here, and that
| | 03:43 |
is that the shadow gets softer as it gets
further away.
| | 03:46 |
But, here we see how the shadow is going
to work.
| | 03:49 |
It gets elongated because it's going
across the wall.
| | 03:52 |
Want to go ahead and do that transition?
What I'll do is I'll just create a
| | 03:55 |
channel here, and we'll see there's the
stuff on top.
| | 03:59 |
And we see that we want our effect to be
on this side here and not at all over here.
| | 04:03 |
So, what I'm going to do is I'm going to
go in there and get my Gradient tool.
| | 04:07 |
And going from black to white, let's make
sure we're going from foreground to
| | 04:10 |
background, and linear, and I want the
effect out here.
| | 04:14 |
Create a gradient right across, like so.
So now, I go back to my RGB, and I load
| | 04:19 |
that, so now I can go into my layer,
right there, and we'll give that a little
| | 04:23 |
blur, we'll give that a Gaussian blur.
And you see how nothing's happening?
| | 04:30 |
Why?
Because the transparency is still locked.
| | 04:33 |
So, let's go in there and do that blur
again.
| | 04:36 |
Remember that when something isn't
working, look around.
| | 04:39 |
It's not that Photoshop woke up in a bad
mood.
| | 04:42 |
No, it's usually some kind of a setting
that you have that isn't quite right.
| | 04:46 |
So, I'm going to go in there and blur it
like that.
| | 04:48 |
And then, also I'm going to give it a
little Motion Blur, because Motion Blur
| | 04:51 |
is going to really kind of stretch it
out.
| | 04:53 |
And I'm going to follow the angle of that
wall and then we'll just give it a little
| | 04:56 |
less distance.
There we see that.
| | 04:58 |
Now, we have the shadow which should also
get a little lighter as it gets further away.
| | 05:03 |
We have the mask for it right here.
In that mask, I'm going to add an
| | 05:07 |
additional tone in there.
So, I'm going to look at the mask itself,
| | 05:10 |
I'm going to select that white area in
there, in fact, let's select that whole
| | 05:13 |
area right there.
And what I'm going to do, instead of
| | 05:17 |
black, I don't want it to totally
disappear.
| | 05:20 |
I'm going with grey, and I'm going to go
from grey to white.
| | 05:24 |
Right in here, like that.
And now, when we go and look at our image
| | 05:29 |
again, there you see that the shadow's
not only stretching, it's starting to
| | 05:32 |
fade as it gets further back.
But there you see the basic concepts
| | 05:36 |
behind how a shadow is going to work in
this particular area.
| | 05:41 |
So now what we are going to look at next
is how to establish the light source so
| | 05:44 |
you know exactly how to put that shadow
| | 05:47 |
| | Collapse this transcript |
| Establishing a light source| 00:00 |
Establishing the light source is very
important when you are compositing two
| | 00:03 |
objects together.
Because that will determine how the
| | 00:07 |
shadow of the new objects is going to
fall and relate to the other objects in
| | 00:10 |
the scene.
So we have here just a train platform and
| | 00:14 |
we're adding another object, a simple
little cylinder.
| | 00:18 |
But right now, you can see that, that
cylinder is just sitting there.
| | 00:21 |
It has a shadow on its side here, but
where is the shadow that it's casting?
| | 00:26 |
There are some strong shadows throughout
the scene.
| | 00:28 |
Those are going to help us determine
where the light source is.
| | 00:32 |
What I do, is I'm goin' to create another
layer here, which I'm goin' to make my
| | 00:35 |
guide with, and I'm going to get a nice,
bright color, that's going to make it
| | 00:38 |
easier to see my lines.
So I'm going to pick a color like red,
| | 00:43 |
which is going to stand out, and I get my
line tool, get my line tool, and I'll
| | 00:46 |
have it set to, let's say, five pixels.
So now where is light source?
| | 00:53 |
We see that the train back here is
casting a shadow, and it's straight across.
| | 00:57 |
So we have a good idea that the sun is
pretty much straight to our right-side
| | 01:01 |
over here.
But how high up is it?
| | 01:04 |
Well, to determine the height, we can
kind of see it here, but right here is a
| | 01:07 |
perfect example right there.
This awning is casting a shadow right
| | 01:11 |
here on this little railing.
So by drawing a line from that edge of
| | 01:15 |
the awning down to that shadow right
there, we have now established where the
| | 01:20 |
sun is.
The sun is directly in that direction to
| | 01:23 |
our right.
So now we have a guide as to where that
| | 01:26 |
light is coming from.
We can now bring that right over to the
| | 01:30 |
edge of our cylinder, because that's
where it's casting the shadow.
| | 01:34 |
Alright?
And then we can see how far that shadow
| | 01:37 |
has to go.
And we know it's going to go straight
| | 01:39 |
across because the train is straight
across.
| | 01:41 |
So right now that we have this, we can
now go in there, and let's get a little
| | 01:44 |
closer, so we see what's going to happen
next.
| | 01:47 |
We're going to go in here, and I'm just
going to draw a little cylinder like this.
| | 01:53 |
And across.
And close it.
| | 01:56 |
And we can just kind of move this til we
have just the way we want that shadow to be.
| | 02:01 |
Right about like that, and then a layer
behind our little cylinder, I'm going to
| | 02:07 |
go ahead, and fill that path with black.
Now I can go back into my layers here,
| | 02:13 |
and turn off my guide.
I have my shadow.
| | 02:16 |
I see where it goes.
Now, it should be a little soft, because
| | 02:19 |
the shadows here are just a little soft.
So I'm going to go in there, and blur it
| | 02:23 |
just little bit.
We'll give it a little Gaussian blur,
| | 02:26 |
just to soften it up a tiny bit.
About like that.
| | 02:29 |
That looks good.
And then I see the intensity of the
| | 02:31 |
shadow right here.
So I'm going to reduce the opacity to
| | 02:34 |
that same intensity.
I'm going to put it in multiply mode and
| | 02:37 |
then I'm going to reduce the opacity til
I have the same intensity as that shadow
| | 02:41 |
I have there.
And there we see that now, our little cylinder.
| | 02:45 |
Is in place.
Now in the next movie what we're going to
| | 02:49 |
do is move that little cylinder a little
closer to the wall and see what happens
| | 02:51 |
to our shadow.
| | 02:53 |
| | Collapse this transcript |
| Creating shadows on surfaces| 00:00 |
So now we're going to see what happens
when our object's shadow goes over two
| | 00:03 |
different surfaces.
We're going to take our little object and
| | 00:07 |
its shadow right here, and we're going to
just move them over so that they're right
| | 00:11 |
here, okay?
So now the object is right there.
| | 00:14 |
Well, we can see what's happening to the
shadow right off the back.
| | 00:18 |
Lets look at our light source again.
So we know where our light source is, so
| | 00:21 |
what we're going to do again is we're
going to move our light source right over
| | 00:25 |
to there, okay?
Now we see that the shadows going to come
| | 00:29 |
right across here.
So, basically we need two shadows to
| | 00:33 |
represent the single shadow casting over
two surfaces.
| | 00:37 |
So, I'm going to duplicate the shadow.
There's my second shadow, so let's turn
| | 00:41 |
this one off for now.
The one in back, what I'm going to do is,
| | 00:44 |
is I'm going to select the platform,
which is where that shadow is being cast.
| | 00:50 |
And in that shadow I'm going to say, give
it a mask.
| | 00:53 |
So the mask conforms to the area that it
was selected.
| | 00:56 |
So here's that second shadow.
What I'm going to do with that shadow,
| | 00:59 |
is, I'm going to rotate it.
And I'm going to go in there and rotate
| | 01:02 |
it 90 degrees clockwise.
There it is, so, let's look at that
| | 01:06 |
shadow and we see what it looks like
right there.
| | 01:11 |
I'm going to go in there, and just kind
of do a little transformation on it.
| | 01:14 |
I'm going to make a little thicker,
going to make it just a little bit thicker.
| | 01:19 |
And I'm going to skew it, so I get that
little rounded shape on the top there,
| | 01:22 |
just like that.
So let's just bring it down there we go
| | 01:26 |
that's looking a little better.
So now I'm going to move that into
| | 01:30 |
position and have it match up with my
light source.
| | 01:33 |
So what I'm going to do is turn that off,
and just like I did before I'm going to
| | 01:37 |
go in and select this railing, and give
that second mask.
| | 01:43 |
And there, we see that now we have a
single shadow.
| | 01:46 |
What looks like a single shadow going
across the platform, and up the wall.
| | 01:50 |
It's basically two different shadows that
we had to create.
| | 01:53 |
They still conform to the same direction
of the light.
| | 01:56 |
So that way, it looks like that little
pole is, in fact, sitting on top of that platform.
| | 02:00 |
Because it's casting a shadow very much
like the rest of the scene.
| | 02:04 |
| | Collapse this transcript |
|
|
3. ReflectionsUnderstanding the basics of reflection| 00:00 |
Reflections don't have to be that
complicated, but they are necessary to
| | 00:04 |
make something look like it is a
reflective object.
| | 00:07 |
Like for instance, this particular scene
here, the windows.
| | 00:10 |
The windows in the store front are glass.
Without reflections, they're not going to
| | 00:15 |
look like glass.
They're going to look like just big
| | 00:17 |
hollow areas where you can kind of look
into.
| | 00:20 |
Getting real close here, we see that this
one.
| | 00:22 |
Now this one was done back in 1995, it's
actually dated down here.
| | 00:25 |
See?
1995.
| | 00:26 |
Can see right here there's some
perfections in the window.
| | 00:29 |
Not very clear.
This one's a little clear, but not very
| | 00:32 |
clear reflections.
It's just kind of an indictation that
| | 00:35 |
there's reflections there.
There's little light glows and so on.
| | 00:38 |
Well, if we look at an earlier version of
that particular image, and we come in
| | 00:41 |
real close because here's where we still
have our layers intact.
| | 00:45 |
There it is, there's this little
reflection.
| | 00:47 |
We go in here and we see that there are
some layers called reflections, right there.
| | 00:52 |
There it is.
Now, if I look at that layer alone, and
| | 00:55 |
let's bring up the opacity, bring it back
up.
| | 00:58 |
You see how it's just a rough drawing.
It's basically, me holding old Nikon
| | 01:02 |
camera, taking a picture.
Which is what's there, but it didn't have
| | 01:05 |
to be that clear.
It didn't have to be that detailed
| | 01:08 |
because of the fact that.
Once it's in the scene, I'm going to
| | 01:11 |
bring down the opacity considerably.
And it just becomes this little ghost in
| | 01:14 |
there, giving you the hint that
something's going on.
| | 01:17 |
In some cases, you can just use an
existing image.
| | 01:20 |
For instance, in this painting here, if
we come in close, come in close to this
| | 01:23 |
window right here, get in real close.
You'll see that what I've actually put in
| | 01:28 |
there is that pick and pack painting we
just saw a second ago.
| | 01:32 |
I simply took it, flipped it
horizontally, and stuck it into the
| | 01:36 |
window here, and it becomes the
reflection.
| | 01:39 |
So, you could use a photograph as the
reflection or objects within the exact
| | 01:43 |
same scene.
But basically, the reflection is
| | 01:46 |
necessary to make something look like it
is in fact glass, or mirror, or whatever
| | 01:50 |
it is that's a reflective surface.
| | 01:53 |
| | Collapse this transcript |
| Creating a close reflection| 00:00 |
Here's a painting I did a few years ago,
and it has a couple reflections in it.
| | 00:05 |
Come in real close here, so we can see
reflection.
| | 00:09 |
This yellow section here is a loose site,
some kind of a plastic which is reflective.
| | 00:15 |
So we can see the tubes of the neon
reflecting inside it.
| | 00:19 |
Also you can see the little neon holders,
these little tube holders right there.
| | 00:23 |
They're also reflected inside the plastic
area.
| | 00:26 |
Now, those reflections were done quite
easily, but they did require some kind of manipulation.
| | 00:33 |
I have another file here where I'm just
going to zero in on just that L.
| | 00:37 |
When we come in and look at it, we see
that there's the actual tubes.
| | 00:42 |
Now, what happened on the inside is I
simply took the tubes, duplicated that
| | 00:45 |
layer and brought it in and clipped it
with the back.
| | 00:49 |
As you see, here's the metal base folder
here and in here, you'll see that there's
| | 00:53 |
the reflections right there.
See?
| | 00:56 |
That's just clipped in there.
So here is the one I just duplicated a
| | 00:58 |
second ago, so you can see how this is
going to happen.
| | 01:01 |
And I'm going to go in here and move that
into position right there like that.
| | 01:05 |
We'll put that right there, I'll bring it
down and the (UNKNOWN) starts to look
| | 01:09 |
like it's the reflection of the tube in
there.
| | 01:12 |
See, you can move it over just a little
bit more.
| | 01:16 |
There it is.
It looks fairly good, except when you
| | 01:18 |
come over here and look right there.
See what's happening?
| | 01:23 |
There's your original tube.
It's coming down, as is the original
| | 01:26 |
tube, and this one's coming down and
over, and here it is, down and over.
| | 01:31 |
So it needs to be modified.
So it was just a question of going in
| | 01:34 |
there and bending this going this way.
And this guy would have to be twisted
| | 01:38 |
going up that way.
So when we look at the actual reflection
| | 01:41 |
the way it was then manipulated, you
could see a little piece of it down here.
| | 01:45 |
And then I turned this so that it starts
to get closer to the tube because it's
| | 01:48 |
getting a little thicker.
Because it is getting closer.
| | 01:52 |
This is further away, so it got a little
thinner.
| | 01:55 |
And then here it got a little thicker to
be directly below the tube.
| | 02:00 |
That's casting the reflection.
So there, you can see how a simple
| | 02:03 |
manipulation of one layer created the
reflection of it in the plastic area below.
| | 02:09 |
In the next movie, we're going to take a
reflection and totally distort it,
| | 02:12 |
because of the surface being irregular.
| | 02:15 |
| | Collapse this transcript |
| Creating a distorted reflection| 00:00 |
So here's a shot of the East Bay in San
Francisco area and we're going to put a
| | 00:03 |
pole right there in the middle of it.
Well, that pole is floating, but we're
| | 00:08 |
not sure where or how far from the water
is it.
| | 00:12 |
Well, it's actually going into the water.
So, we need to make this look like it is
| | 00:15 |
in fact sticking out of the water.
So what I'm going to do is I'm going to
| | 00:19 |
very lightly just kind of erase a little
bit around here, just to kind of make it
| | 00:22 |
look like there's little ripples along
the edge.
| | 00:26 |
And I'm going to duplicate it, right
there.
| | 00:29 |
And the one in back, this one right back
here, I'm going to move down.
| | 00:33 |
And I'm going to do a Flip Vertical.
Now, in this particular case, it's not
| | 00:36 |
really necessary to do a Flip Vertical
because it's exactly the same.
| | 00:39 |
But if it was, then we would do a Flip
Vertical so that this would be the
| | 00:42 |
opposite of what we see above.
All right, so there it is.
| | 00:46 |
So I'm going to bring it down in Opacity
a little bit.
| | 00:47 |
Okay, and I'm going to give it a layer
mask, so it starts to disappear as it
| | 00:51 |
gets away from us.
So we've got linear gradient and I'm
| | 00:55 |
going to say I want to see it appear, and
make it disappear towards the bottom down here.
| | 00:59 |
So there it goes.
All right, so there's our little pole,
| | 01:02 |
but the surface that it's reflecting on
is all irregular.
| | 01:06 |
It's all ripples, right?
So we're going to have to go in there and
| | 01:08 |
distort it.
So I'm going to go in here and select the
| | 01:11 |
reflection right there.
And we're going to give it a filter.
| | 01:15 |
And under Distort, we have a thing called
Ripple.
| | 01:17 |
That'll work in this particular case.
Let's say we'll give it a little bit more.
| | 01:22 |
Make it a little more exaggerated.
Click OK, and we have some ripples.
| | 01:25 |
But, they're not quite right yet.
Right here.
| | 01:29 |
Here is the object and here's the ripples
of the water.
| | 01:33 |
Now, how are we going to see those
reflections on those ripples?
| | 01:36 |
Well, we are going to see those
reflections on this side of our water,
| | 01:39 |
but, we're not going to see them on this
side.
| | 01:43 |
This side will not be reflecting the
pole.
| | 01:46 |
This side will be reflecting the space
behind us.
| | 01:49 |
So, with that in mind, we're going to go
in here and get a little closer on this
| | 01:52 |
reflection here and see how is this water
acting?
| | 01:56 |
We'd look at it and we notice that the
dark areas of the water are facing us and
| | 02:00 |
the light areas of the water are away
from us, facing the pole.
| | 02:06 |
So what we are going to do is eliminate
this reflection in those dark areas.
| | 02:11 |
To do that, let's move it over here so we
can really see and have plenty of room.
| | 02:14 |
I'm going to go into my Layers Styles.
The Blend If section, way down here in
| | 02:19 |
the first Blending option section, we
have these two sliders.
| | 02:23 |
Now, this one up here, this layer deals
with the actual contents of the layer.
| | 02:28 |
If I move these guys over, you're
going to see that those dark tones, there
| | 02:31 |
they go, they're starting to disappear
for this layer.
| | 02:35 |
Here, the light tones are going to start
to disappear for this layer.
| | 02:40 |
The underlying layer is everything
underneath it.
| | 02:43 |
So, here's what we want to do.
Here, instead of seeing, we're not hiding
| | 02:47 |
the dark tones, because those are the
tones that are facing us.
| | 02:52 |
That's the way we will not see the
reflection.
| | 02:54 |
So, I'm going to bring those guys over
until the dark tones start showing
| | 02:57 |
through our little reflection, just like
that.
| | 03:01 |
Now, they're a little hard-edged.
And any slider that has a little line in
| | 03:04 |
it means it can be split.
So I'm going to hold down my Option key
| | 03:07 |
and split the slider to soften up that
transition.
| | 03:11 |
So there, we can see that I've split it
up.
| | 03:14 |
And when we pull back now, we see that
the reflection is in fact in the water.
| | 03:17 |
It is distorted as it should be ad we're
seeing it the way it should.
| | 03:21 |
| | Collapse this transcript |
|
|
4. LayersCreating multiple objects from one start file| 00:00 |
I always stress the need for keeping all
elements of an object in a separate layer.
| | 00:06 |
Now here's a good case why it's
necessary, and it makes the work process
| | 00:09 |
a lot easier.
Looking at my painting Damen here, I'm
| | 00:13 |
going to zoom in on this train, right
here in the center of the painting.
| | 00:17 |
Made up of three different cars.
Now, I didn't have to go in there and
| | 00:21 |
generate each one of those cars
individually.
| | 00:23 |
They're basically the same kind of car,
the difference being the number, the
| | 00:28 |
dirt, and the reflections in the window.
So, I'll show you how this was originally created.
| | 00:34 |
Now, the front of the train was created
right here.
| | 00:37 |
As you can see in the layers panel that
it is made up of many, many, many, many layers.
| | 00:43 |
And way up on top here we can see that it
has been composited, right here, the comp layer.
| | 00:47 |
This is where I've taken all the layers
and put them into one.
| | 00:51 |
Now when we start looking at these
individual layers, we can come down here
| | 00:55 |
and see there's the under and there's the
face edge, there's the face, and there's
| | 00:58 |
the shade, and there's the light, and
there's the door frame, and it just keeps
| | 01:02 |
adding up.
And each one, they all get brought up
| | 01:06 |
into a single image right there.
This is then brought into the train's side.
| | 01:13 |
Now this also has many, many, many
layers.
| | 01:16 |
And it also has been composited.
And there you see the train face comp.
| | 01:20 |
That's the one that was brought over from
the train file.
| | 01:23 |
Now, if you look at train three, notice
the difference.
| | 01:26 |
Okay, the numbers change, the dirt
changes and the reflection inside.
| | 01:32 |
See, that's the only thing that's making
these two cars different.
| | 01:36 |
Because they're in a different position
on the track, which means they're
| | 01:38 |
going to have different reflections.
They've worn the weather differently, so
| | 01:42 |
they're going to have different dirt.
And of course, they have the different
| | 01:45 |
number, because of the fact that they
are, in fact, different cars.
| | 01:49 |
So, I don't necessarily go in there, and
completely redo the train.
| | 01:53 |
No, since everything is in its own
individual layer, it makes it real easy.
| | 01:58 |
Like for instance we come in real close
here, and look at the reflection in the
| | 02:01 |
windows, right there.
Well here's the glass.
| | 02:04 |
Notice it's in a layer by itself.
And it does have a little inner shadow
| | 02:08 |
which is giving me this little dark tone
right inside the edge.
| | 02:11 |
And it is a gradient, and there are two
layers that are clip with it.
| | 02:14 |
One is a layer six copy, and then the
second one which I actually call reflection.
| | 02:19 |
Which is just a little brick that's put
on top of it.
| | 02:22 |
And that's the reflections in the glass,
which makes it different from the other cars.
| | 02:26 |
So, what happens then is I have two
separate cars.
| | 02:29 |
So, what I'm going to do, is as we look
at them, they're in separate layers.
| | 02:34 |
So, what I'm going to do is I'm going to
take the car in front right here, we'll
| | 02:37 |
move this one in here, and this other one
back here which is moved in back.
| | 02:43 |
See, now they are exactly the same train,
so it doesn't quite look right.
| | 02:47 |
But by taking that second one and doing
the transform on it, and bringing it down
| | 02:51 |
so that the body just about matches,
right about there, and it's a little bit
| | 02:55 |
off to the side there, just like that.
And make it a little bit larger, there
| | 03:01 |
you go.
Now they're matching.
| | 03:03 |
And give it a little bit of a twirl
because there's a little rocking in the
| | 03:06 |
train track.
Click Ok, and there you see that we have
| | 03:09 |
two cars to our train and all that
required was changing the little bit of
| | 03:12 |
reflection, the layer that had the dirt,
and the layer that had the number.
| | 03:17 |
And then just taking those individual
comps, putting them together and you can
| | 03:21 |
have multiple objects.
We can have ten car trains, of course, as
| | 03:24 |
they get further down, you don't really
have to concern yourself too much with
| | 03:26 |
the reflections, because of the fact that
they're going to be so tiny, you won't
| | 03:29 |
really see them.
You should make a difference because even
| | 03:33 |
when it gets small you see this dark up
here and then this light green?
| | 03:37 |
Well it's the next three of the exact
same colorization, then the eye's
| | 03:40 |
going to pick it up as being the same.
So, you don't have to get as elaborate
| | 03:44 |
with the reflection, as long as there is
some kind of a nuance going on inside of
| | 03:48 |
that window area.
| | 03:50 |
| | Collapse this transcript |
| Creating paths for multiple objects| 00:00 |
Now, I usually use the Pen tool to create
the paths that will generate the general
| | 00:04 |
shapes of things, like the girders and
pretty much the tracks and the boxes back here.
| | 00:09 |
Everything's done with a series of paths.
Now, in certain cases, I need to create
| | 00:14 |
multiple paths, getting in close here
like this, and we see this railing that's
| | 00:17 |
going back in space.
There's another one back here in this
| | 00:21 |
other side, which also has the same kind
of an effect and you can see it's small,
| | 00:24 |
getting real closer to where they're much
larger.
| | 00:28 |
And you can see that they're basically
the same shape, but multiple times, going
| | 00:31 |
all the way back in space.
And in fact, this one's skewed a little
| | 00:35 |
more 'cuz there's a slight change to the
angle of this last railing here.
| | 00:39 |
We're going straight across.
Now, here's a case where I will rely on
| | 00:42 |
Adobe Illustrator to create those basic
paths.
| | 00:46 |
Because it has one feature that Photoshop
currently doesn't have and that is the
| | 00:50 |
Blend tool for blending paths.
So let's switch here to Illustrator and
| | 00:55 |
show you how I create that.
Now I've gone and created two perspective
| | 00:59 |
lines for myself.
So I have an idea of the perspective that
| | 01:01 |
I want to do.
So, I'm going to go in here and with my
| | 01:04 |
Pen tool, I'm going to create one of
those shapes.
| | 01:07 |
So I'm going to just drag it up to here,
and drag like that, and pull this down,
| | 01:12 |
and come over here and finish it off.
So there, we see that we have this basic shape.
| | 01:19 |
I'm going to grab my little handle here
just to kind of straighten it up a little bit.
| | 01:22 |
And there we go, there's that first path.
So now, what I'm going to do is, I'm
| | 01:27 |
going to select that path, and I'm
going to duplicate it.
| | 01:30 |
And make the second one way over here.
And what I'm going to do with this one is
| | 01:33 |
I'm going to reduce it.
I'm going to make it smaller, bring it
| | 01:37 |
down, so that it fits into my
perspective.
| | 01:40 |
Here is the perspective plane where I
want it to go.
| | 01:43 |
Got a little bit smaller.
There we go, and we bring it up.
| | 01:47 |
That's fairly close.
That's close enough.
| | 01:49 |
There we go.
There's the two pieces.
| | 01:51 |
One is further away so it looks a little
smaller and this one is much closer.
| | 01:55 |
So now what I'm going to do is I'm
going to Select All, and over here under
| | 01:59 |
Object, I say Blend, Make.
And it's going to go in there and create
| | 02:04 |
all the paths in-between.
Now, I have full control about how I am
| | 02:08 |
going to do this, like afterwards, I can
go into my Options and say, I want the
| | 02:11 |
specified number of steps.
Right now, it's using 6, the default.
| | 02:15 |
I'm going to go in there and, let's say,
we use 4.
| | 02:17 |
And we turn on our Preview, we see there
is four steps, but six is what I wanted.
| | 02:22 |
So I'm going to stick to 6.
Click OK, and there's the six steps.
| | 02:26 |
Now, you'll notice that they're
overlapping here, and here, we've got
| | 02:28 |
some space.
And that's because it's not looking at it
| | 02:31 |
in three-dimensional space.
What it's doing is making each one
| | 02:34 |
equidistant from each other, which is why
these two look like they're overlapping
| | 02:37 |
and these are separating.
So, what I'm going to do now is come over
| | 02:42 |
to Objects and say Expand.
Make sure expand all aspects of these
| | 02:47 |
objects, click OK.
Now they're individual objects.
| | 02:50 |
So I can go in there and say, grab this
one and move it over to where I want it.
| | 02:56 |
Grab this one and move it over so it gets
a little closer and this one, like so,
| | 03:01 |
that one over, and then, these two can be
moved together.
| | 03:06 |
Let's take this one and move it down, a
little more.
| | 03:10 |
And then finally, that one, we can move
down.
| | 03:12 |
And there, you can see that we have all
our little objects going off into space.
| | 03:16 |
Each one getting smaller as it gets
further back.
| | 03:20 |
And creating the necessary paths which I
can then bring into my Photoshop file and
| | 03:24 |
stroke them or do whatever's necessary to
create the image that you see there.
| | 03:29 |
| | Collapse this transcript |
| Aligning layers to remove objects| 00:00 |
There are many uses for line layers, but
the one I want to show you here is to
| | 00:04 |
remove an unwanted object.
Now this requires a little planning ahead
| | 00:08 |
of time.
So, I have this image here that I really
| | 00:11 |
like the way the tree had this position,
and there was this bizarre shadow against
| | 00:14 |
this huge brick wall.
The problem was, this sign right there.
| | 00:20 |
Now, I knew I would have to take it out
to get the effect that I wanted.
| | 00:24 |
So, what I did when I took the shoot, is
I took the shot, and then I moved over
| | 00:27 |
about three to four feet to my left, and
shot a second shot, of the same thing.
| | 00:33 |
Now you'll notice that they pretty much
look the same.
| | 00:35 |
But look at the shadow, see how the
shadow of the tree is more visible here,
| | 00:39 |
whereas here that little curve is hidden.
So, there's where I'm going to use
| | 00:44 |
aligned layers to fix that little spot.
What I'm going to do is I'm going to grab
| | 00:48 |
this image and drag it right into here.
Right on top of this one.
| | 00:52 |
So, now we can close this one down.
So, what I'm going to do is I'm going to
| | 00:55 |
select the two.
Now, even though the background is not a layer.
| | 00:58 |
Align layers will convert it to a layer
so we can align them.
| | 01:01 |
So, I come over here, and I say
Auto-Align Layers.
| | 01:06 |
And I say use auto, in other words, bend
it, twist it, do whatever is necessary to
| | 01:09 |
make these two match up.
Click OK, and there it goes.
| | 01:14 |
They have now aligned.
Now, looking at it, you can see that
| | 01:17 |
there's a little bit of a break on the
top there.
| | 01:20 |
Because they're just a little off, I
didn't use a tripod, I was standing on
| | 01:23 |
the street.
So, what I'm going to do is, I'm go in
| | 01:26 |
there and just crop it, just the part
that I want.
| | 01:29 |
Just right here like this.
This is what I want right there.
| | 01:33 |
Now I say Crop.
So, there's my image.
| | 01:36 |
So now, what I'm going to do, is I'm
going to go in here and give the top one
| | 01:40 |
a mask.
There's my mask.
| | 01:43 |
And in the mask, you know that when you
use black, you hide.
| | 01:47 |
So, I'm going to get a little closer, so
we can see what's going to happen next.
| | 01:50 |
I'm going to take my paintbrush, and in
the mask going to make a slightly larger brush.
| | 01:56 |
I'm going to start to paint, and you
could see that what I'm doing is actually
| | 01:59 |
painting the pole right out.
Because I'm exposing the one underneath
| | 02:03 |
where the sign is slightly over.
And there you can see that now we have a
| | 02:07 |
quickly eliminated the sign, giving us
the tree and the shadow.
| | 02:12 |
Now, in the next movie, what I'm going to
do is use aligned layers to add an object.
| | 02:16 |
| | Collapse this transcript |
| Aligning layers to add objects| 00:00 |
In this movie, what I want to do is use
align layers to add an object.
| | 00:05 |
Unlike the last movie where I wanted to
remove something, here I want to add something.
| | 00:09 |
Now the situation comes up quite a few
times.
| | 00:11 |
I've seen many people take portraits of
themselves and their spouse or their
| | 00:14 |
friend on a trip.
And they always hold a camera up in front
| | 00:16 |
of them and they take that picture.
Well, what if you want to take the
| | 00:20 |
background with you and have a little
more room around the image?
| | 00:23 |
Well, here's a shot I took early in the
morning in Germany.
| | 00:26 |
I took a picture of my wife standing in
front of a hotel.
| | 00:29 |
Now I anticipated putting the two of us
together.
| | 00:31 |
So, what I did was I had her stand in a
specific spot by the hotel.
| | 00:35 |
And I stood in a particular rock and took
the picture.
| | 00:38 |
And I had no tripod so I couldn't set a
self timer.
| | 00:41 |
There was nobody else walking on the
streets that I could say, hey please take
| | 00:44 |
this shot of us, so I had to do it this
way.
| | 00:47 |
I took the shot of her and back here you
see where she then stood in the exact
| | 00:50 |
same spot and took the shot of me.
It might be the same spot, but the
| | 00:54 |
angle's different because she's a little
shorter than I am but this is going to work.
| | 00:58 |
I'm going to go in here and I'm going to
take her and bring her right up on top of
| | 01:02 |
my image there.
So now, you can take the one in back and
| | 01:07 |
throw it away.
And here she is, both images are together.
| | 01:10 |
Now, they're not as you can see, lined
up.
| | 01:13 |
So, I'm going to select the two of them
and say, Auto Align Layers.
| | 01:18 |
Leave it at auto so it does whatever is
necessary to make these two work together.
| | 01:22 |
It's going to go in there, there it is,
they are now right on top of each other.
| | 01:26 |
See?
Slight difference, but that's okay.
| | 01:28 |
It doesn't matter because we're only
going to take a small part of him.
| | 01:32 |
So, what I'm going to do now is go in
there and crop the image the way I want it.
| | 01:36 |
So I want that part of the image right
there.
| | 01:39 |
And I'm going to say Crop.
There's the shot.
| | 01:43 |
So now, what I'm going to do is I'm going
to get in kind of close here.
| | 01:46 |
And I'm going to mask this part of the
image right here, right where she is.
| | 01:50 |
So, I'm going to go in there and add a
mask.
| | 01:53 |
And to that mask, I'm going to bring
myself in.
| | 01:55 |
So, I'm going to go in and start to erase
or mask out the part of her image which
| | 02:00 |
is bringing me into the scene, just like
that.
| | 02:06 |
Now, any parts that might not be exact,
it's okay, but we can always fix those.
| | 02:09 |
This is a mask, so nothing is carved in
stone here.
| | 02:13 |
Alright, so I'm just going to bring
myself in completely.
| | 02:18 |
And we'll get in close, and I'll get as
close as possible so we get, make it look
| | 02:21 |
nice and clean.
It's okay.
| | 02:25 |
If anything is lost because it is a mask,
we're not erasing anything, we're just
| | 02:29 |
going in there and masking all the way,
there we go.
| | 02:35 |
And then my feet, got to have feet.
Alright, there it is.
| | 02:39 |
So we're in place.
Alright, now get in real close and just
| | 02:42 |
get all those things just right.
And if there's something that's wrong, I
| | 02:46 |
can go in there and use white and bring
it back, like her arm there.
| | 02:50 |
There we go.
Now her arm is nice and straight.
| | 02:53 |
And let's get closer just to be a
perfectionist here.
| | 02:56 |
Let's go in there and mask out that
little hole in there.
| | 02:58 |
There we go.
And there, there's my foot in place.
| | 03:02 |
Now, what's necessary to make this
complete is the fact that I am standing
| | 03:05 |
behind her.
So, what I'm going to do is go into that
| | 03:09 |
image and back where I'm standing and I'm
going to use my Burn tool.
| | 03:13 |
And my Burn tool with my mid ranges, what
I'm going to do is add a shadow right
| | 03:17 |
there on me where she's standing.
Right there.
| | 03:21 |
Add a shadow on my leg that she's casting
onto me.
| | 03:25 |
Right there like that.
Went a little further but that's okay
| | 03:28 |
because we can get rid of that.
So, I go in there and there's my shadow,
| | 03:31 |
right there.
Let's make it nice and deep.
| | 03:34 |
And now, remember that it is a mask, so
if I go in here and go to that mask
| | 03:38 |
again, I could just mask out this area.
And we are now complete.
| | 03:44 |
You can see that now the two of us are in
the same scene, where before it was just
| | 03:48 |
one individual person standing in front
of the hotel.
| | 03:52 |
| | Collapse this transcript |
|
|
ConclusionFarewell| 00:00 |
Well now you have a good grasp of some of
the basics.
| | 00:02 |
Keep in mind that the best way to learn
this stuff, is really to go through life
| | 00:05 |
with your eyes open.
Look at things, look at the way they work.
| | 00:09 |
Look at how shadows work, look at how
reflections work.
| | 00:11 |
It's just a question of looking at
things.
| | 00:13 |
If you're stuck in a little room
somewhere, well make a little model for yourself.
| | 00:17 |
But it's just a question of being
observant.
| | 00:19 |
And that's how you're going to learn how
things work.
| | 00:22 |
| | Collapse this transcript |
|
|
