okay let's start with this guy right here in the foreground,
Mr. Group Two. One thing that can help with compositing people is putting a
adjustment layer an adjustment layer that is black and white and that just
turns our whole scene black and white and we see the tone of the people to see
if they kind of fit this guy's got a dark shirt on but generally he looks
pretty close to where he needs to be and we can just start putting oh one cool
thing about this guy is I turned this layer into a smart filter smart object
by convert to smart object and what that does is when you put a filter on it it
creates a smart filter so homie can actually would be blurred and unblurred
just by turning off that smart filter and he can be masked out so this is one
cool thing about blurring is if you blur the whole object but you realize like
some parts would be moving faster than others then you can just do this and
paint out the parts that you don't want to blur much like that if you use a
smart filter and again you do that by just taking the guy right-clicking on
I'm saying convert to smart filter or a smart object and then every filter you
put on it will be a smart filter that can be masked out or turned on and off
okay but let's get back to the coloring here's a levels adjustment for the guy
obviously that one is too dramatic we want him to be maybe there and just make
sure it looks right for the scene that he's standing in remember that's a light
concrete that he's standing on his shirt is black his hair is black so that looks
like it might be about right yeah he needs his coloring adjusted quite a bit
though so here's a hue/saturation layer let's turn it on this does a good job of
turning his saturation down so we're not seeing so much of his skin color because
he's really just gonna be washed with a cool light so let's turn him down
saturation wise okay let's I want to do a color balance on
him to layer new adjustment color balance and
let's make sure that his shadows especially are blueish they're not so
much cyan they're right around there and his highlights can have a little bit
of red in them okay and now for the final aspect of getting this guy in here
let's do the let's add some lighting to him and we do that I do that again with
overlays so I just create a new layer that's applying only to the guy you know
like this only to the guy and we take some things and we add some light to
them I guess it could be called rim light in this case take it and get a
nice soft brush and start painting so all his arm hairs and stuff aren't gonna
be showing that green light from the bus there his hair on top of his head his
shoulder will be catching some reflection from that and maybe from up
here too right and we're only we're only applying it to the guy so it doesn't
really matter how where you're painting everything is is only gonna be applied
to the dude and you can paint outside the lines in this case I should say okay
so this this bike fender here would be catching reflections from those windows
over there and all that fun stuff okay so we're just painting it on normal mode
but we put it to overlay to make it less dramatic okay but it's still catching
some of that light so now he's really fitting into that scene there this guy
clearly needs some contact shadow down here and some nice soft shadow because
he's not in direct light so keep that in mind and really I mean you can see that
the trick to this is just probably just looking at source photography and seeing
how some you know how a person would look their blur the how they're gonna
catch the light all that kind of stuff in in this particular situation and then
adapting your your particular image of a person to
composite nicely into your scene so a lot of is just looking at it and being
an artist using your creativity and using your ability to perceive light and
imitate light properly with your illustration okay so what I'm doing is
painting black in right wherever his foot touches the ground and the bike
wheels as well and I'm just painting in and then blurring for shadow okay we can
put that on multiply okay there's his contact shadows and then so if you if
you observe someone's standing on concrete somewhere you'll see that all
around like the bottom of their shoe and right up close to where they're making
contact with the object below them there will be a dark and sort of crisper
shadow you know these kind of shadows in this case they'll be blurred a little
bit so okay and then as it goes away from him and we know this from doing 3d
art as it goes away from him it'll become a much softer shadow and instead
of black maybe we could go this deep deep blue so all around him is gonna be
this kind of softness let's actually do that on a new layer that looked really
good though so let's try to do it just as well but on a different layer okay
let's put that to multiply turn down the opacity some so it's very soft okay and
maybe you get some reflection from that bike going on right maybe we can just
take this guy jump them to a new layer and then ctrl T to transport transport
him not transport and transform him flip them vertically except that transform
and put them down here and then maybe blur him again in that direction
up and down
something like that and then maybe put him to overlay no
maybe multiply no put them on normal and then
turn him down way down subtle subtle subtle ok settles the name of the game
here okay he's looking all right I don't like how saturated he is like his skin
color is too vivid for being oh man what we did here is we apply to all these
adjustment layers to the wrong layer that's why it's wrong we want these up
here not applied to the reflection but applied to the actual dude now he's
looking right okay so reflection the only thing I don't like is how bright
that wheel is down there and maybe how bright that fender is the guy himself
looks good bike not so much okay so I'll going in just a few more
things here make it apply only to the guy and I want to turn down
let me turn down overall like that turn down the guy overall like that and
then let's do another one where we turn down even more and apply it just to the
bike area so I inverted the mask and I'm just painting back into okay so this guy
not a lot of light being caught over here so we'll turn him down more on this
side of his body okay there he is okay yeah that looks pretty good okay so
that's a full compositing of a dude into your scene go through and do the rest of
these I will do that offline put some more of these people in and
then we'll move on to the finishing touches for our rendering and pretty
much down
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