Transcripts
1. Intro: Manipulation. It's one
of the train notes. And in one, and I see a
lot of adsorb made by adzes reach a really
amazing summer landscapes, summer poetry. They are really, really amazing. And expressed in spite
of these is that you can split them
manipulation with 3D. You can also mixed with
them pollution, painting. And now with this,
it is very easy for allergies who have
less idea about benzene to create
ads work easily without stressing by
making use of servers, dogs, images, you can
create a natural we ease with Photoshop or any other program which
you are convenient. But most people make
use of Photoshop. I'm like, I'm a digital
artist and illustrator. I've been at Forever naive. But in this period,
I've done lots of ads, including portraits,
stylized portraits, illustrations, and
photo manipulation. In this course, I am
going to be giving you the basics of photo manipulation
with photo manipulation, and you can create
games and movies. You can also use this for
personnel to predict. You will learn how to manage several images into
one color correction, matching of flights,
license, and color grading. You also learned how
to export videos from Photoshop and give it
a finite search in premium, I'm really excited to meet and discuss,
put down for that. Let's get into Photoshop
and my family.
2. Introduction To Photoshop: In this lesson, we
are going to take a basic introduction
to Photoshop. When you open Photoshop
for the first time, this is the interference
you are going to get. And if you are connected
to the network, you are going to get
some instructions of how you can get tutorials to
get started with Photoshop. For now, I'm disconnected
from the Internet. And right here you
can see a lot of the humane on my
Photoshop interface. This is our decided
current document I've worked on recently. That's why you're seeing
all these right here. If you just open Photoshop
for the first step, you wouldn't be getting anything like this you address go into get a blank interface for you
to create a new document. You just want to go over to this button right here
and I say create, or you can go over to a new, when you click on the Create
New or you go over are new, this new document window, it's going to open up for you. From here you can select any document says you
wanted to make use of. If we wanted to make use
of many transit by 1080, you can go over in
the film and video and you are going to get
different kinds of resolution. You want to use it. But if you don't want to
make use of any of the present available in this
new document window, you can come over to the
red part here and just impute any value which you want to make
yourself right here. And that is going to create
the document for you. We'll go back to my recent
and click on the 19th, eight by 108 C, because the resolution
is set to 600, walk over the resolution in
the document you create, it's going to retain a higher preexisting
of fear at work. Now it's going to
make your artwork look so much good and nice. Now you need to
keep this in mind. Go and hire with your resolution depend on the kind of system
you are making yourself. And secondly, it depends on the kind of document
you wanted to create. I just make just like making use of the 600 as my own resolution. You can make use of
300 as the default, or you can even go lower. We are making use of 1 fifth. Now, if you wanted to save
your work for the web, you can make yourself 72 or 150. And if you wanted to print, you can make use of 300 as the resolution where I just
choose to go higher course, I want my document to
be of high quality. Now once you are done with
already said it's coming over to this spot right here where we have the Brownguard content. You can change this right here. It can go into Photoshop
and also change that. But if you wanted
to change the color to any color you want, you can just click
on this spot and select any color from here. And it's going to change it
at the multiscale for you. But I'm going to leave it to white because I can
change it right inside of Photoshop and coming
over to the color profile. This is something we need
to work on separately. It needs to go on and
learn a lot about his color profile before you
go in and start working. But for now, I'm
going to stick to the sRGB present right here, and a big aspect ratio, I'm going to set that squared. Once you're done with
all the settings, click on Create, and that is going to take you
into Photoshop. My interface might be looking a little bit different from yours. Well, it's nuts and
difficult right here. And notice Russia, you
can just drag around and you can get this kind
of workspace I am using. Now right here I have
my brush brand new. I just wanted to
be easy for me to assess my brush brand
name by default, the two bytes always at the left part of
Photoshop workspace. But my habit at a right, but just to make it easy for me to access it whenever
I just move my hand, I can easily assess the tools right here because I'm
right-handed user. And if you are
left-handed users, you can also move
that to the left or leave it to the
left by the foot. Right here I have
my globe plugin, which is not available
in Photoshop, and this doesn't really matter. You can make it vertical up. You got available in Photoshop
or you feel like you don't need a color picker since
you are not painting motion. Right here I have
my Layers panel, which is very important. These are the ten
Julie want to keep in your Photoshop workspace. All right. Here we have the windows wherever document you
created in Photoshop, which is given to be
arranged right here. So let's say I go over to File New and I create a new
document and I hit on Create. You can see right here
that we have under that document entitled
to untitled one. When I click on untitled one is green and taken up
bugs on Title One. And when I click on title too, it's going to take
more bucks on tight. So how can you know you document that has been
selected at the moment? When you look, I
don't dare to go on it a little bit grayed out. Haven't default. Colo reads the empty
bar right here. This is telling you that for a moment on tattooed
one is not selected. But when I click on
on tight should warn. You can see now that
on T22 it's now having the same color as the
empty bar right here. So you need to keep
that in my array here we have the default windows which we can use to assess one thing or do
add up amir phase, which you can use to
manage your files. Right here at this
your current document add some things and Sue on, work on Image
Adjustment and so on. Layers type select few that
3D view plugins and Windows. Windows and help. My final day may
not making use of all these as you keep
going at the moment. It depends on the
kind of work you are working in that it's
really going to help you decide if you want to make use of all these
tabs right here, or you don't want to make
use of any of those steps. Now coming over to the
main part of Photoshop is all about customizing
your worst ways to fit how you work. Now, this is how I walk. My workspace is
looking like this. I always make use of
the color picker look whenever I paint
the Layers panel, which is important,
and brush bundle, these are the themes I use mostly whenever I make
use of Photoshop. So let's say you want
a different workspace. So you can go over to Workspace and you can make use
of Android works. We already have a
workspace saved here. So let's quickly check that this is the workspace
I have right here. Have the workspace. Now, if I wanted agenda
works with I can go over to Workspace
and click on motion. Now you can see that
workspace is going to change. Everything I have before. It's no longer available yet
except of the layer panel, the toolbar right here. Now what if you don't need anything from me or you can just go over to your tab right here. When you click and hold
and you left-click, you can drag it out and
if you don't need it, you can just close it. If you need something which
you want to add to this part. So let's go over to Window and let's see we need
the history panel. We can click on the history
of binding energy is going to open up the
history panel right here. But if you don't want
the history panel to be at this place, you can just click and
drag it out for a moment. Click and drag it and move it up here to the moment you
see the blue highlight. And you can release the left
click on your mouse and you are going to have the
history panel right there. So if you don't
read your workspace and you want to save it
for next time you can go over to Windows workspace
and then new workspace. This window is going to open up that in the name we
wanted to use in seven-year workspace and hit
on Save once the heat on. When you go over to
Windows Workspace. And right here at the top, you are going to see
your current workspace, which we just created
and saved in Photoshop. We'll go back to my default
workspace that I'm using. And I can just drag
this to the left and adjust it so that it's going to be smaller as it is before. Well, this is just a basic
introduction to Photoshop. You can go in and practice
more with Photoshop. The moment you keep working
with Photoshop and lemon, you go into a lot
of the workspace. See you guys in the next lesson.
3. Layer Mask: One thing we are going to use invoiced in this class
is the layer mask. Layer mask in Photoshop, you can use it to hide and to reverse some certain
part of your picture. Now we have this
picture right here. If I wanted to take away
this bottom part of it, I don't want to delete it. Now there are two
ways to do that. I can go over to my toolbar
and select the results. From here. I've
selected the results to come down to respond. And I can erase right here. Now what is going on right here. There is no background
rates here. And my foot background color, it sets to this brown
that I have red hair. That's why as I'm erasing, it is giving me this
color right here. I'm going to undo that, create an empty layer, unlock the background,
and drag it blue. And now when I click, when I erase again, you wouldn't be able to
get that background. Now this is it. I make use of the results who to erase this part as
I keep working, there is no way I
can bring this, but there is no way I can do this with the results to
accept and make use of the contributor Z on my keyboard to bring back that pleased
that I have deleted, what would a layer
mask will be able to bring back the areas
which will delete. Now to make use of
this layer mask, you just have to select that layer which
you want to apply. The layer mask, you go down to the bottom part of your screen. And this icon you have right
here is the Layer Mask icon. Click on that and
it's going to add a layer marks to these
layouts for you. Now right here, when
you look at the colors, we have rates that
you can now see by default it's black and white. Let's take a look at what
is going on right here. So if I go back to this, but look at this part right
now you can see that we have a blue light selection
around our layer mask. This is telling us that we have our layer mask selected
at this moment, if I click on the layer, you can see now that will have
the layer itself selected. When I go back to this part, you can see that will help the previous color
I have before. But when I select the
layer mask right here, we only have the
black and white. What does this mean? This is telling us that whenever we have the
layer mask selected, we are only permitted to
work with two colors, which is just the
black and the white. Now, why do we, why is it that we have worked
with only these two color? Now is that wherever the
layer mask has been selected, the black hides and
white, white reversed. Take a look at this layer,
this layer and add a layer marks to this layer
and the layer mask scholar, it's white and
everything we have on our document, it's
still available. We can see everything
right here. But a moment I switch the
foreground color to black. And with brush to select it, I'll go over and select a brush to come down to this file. I start painting. You can see though we are
taken away this area. This is exactly what we
did with the results. But don't get too comfortable because there
is a difference between making use of this
method and making use of the ways that to
take a look at this now we have arisen
with a brush to end before were actually
originally resides. Now, what's the difference
of making use this book, we can use this
brush too alongside Layer Mask and making
use of the Eraser tool. Like I told you before, the black hides whenever we have the layer mask and
white reviews, Whenever we have the layer mask. During the process
of doing this, make sure that you have
your Layer Mask selected. As you can see right here, I
have my layer mask selected. The moment I switch back
to white and come down to this area which I have erased
and start painting again. You can see that there is
an erase, it's coming back. Now you understand
the concept why it is called Alia Muslim. Think of this when you
have a mask in reality, like let's leave
Photoshop for a moment. When you have a
mask on your face. The places you use that
markets cover wherever people wouldn't be able to see that please use the March cover, but please you did not
use that much to cover. Those are the places
people are going to see. This is just exactly how it is with the layer mask
available in Photoshop. Whenever you are
trying to forget the concept of the
layer marching, just remember these and you
will able to understand, I remember the layer mask. Now this is Joseph basic
use of the layer mass. We have two type of layer
mask available in Photoshop. We have the black
layer mask and we have the white layer mask. Right now we have the
black layer mask. Whereas the difference between the black layer mask and
do white layer mask, the black layer mask
automatically hide everything on our document. A wide layer masks give us
the option to hide some areas of our ads work or a document we are currently
working on at that moment, I go over to this place
again and I switch the foreground color
to black again. If I paint, you can
see that the area is, I am painting areas
that have been hidden because we have the
wet leiomyomas gradient. Now looking at a layer masks, you can see that
on the layer mask, this part that we have
black at a pad that are now being reviewed
right here from Mia, you can also see the
visual representation that on this layer mask without even looking
on our document itself. You can see it right here that the bottom part of a document, it's hidden and why the top part of our document, it's reviewed. So now if I go back again
and paint with white, everything is going to comeback. Now let's take a look at
the black layer mask. To the layer miles, you can just go over
to the layer mask, click and drag and drop
it on the Delete icon. And you are going to get
this pop up right here. And if you don't want it, if
it's very annoying to you, you can just check on
this little square area. Don't show this again, but checking these, it's
not really important. Whereas in my found that,
that you are deleting the layer mask that
you actually need to have in this option is
going to help you undo that instantly or you can actually make use
of the country Z. Well, I'm just going
to hit on applied because I wanted to
delete that mask. Now to add the black
layer mask to this layer, you hold down the Alt key on your keyboard and click on it. It's going to add a black
layer mask to your layer, looking at his spot
now you can see that all the hoop picture
has disappeared. What happened is still the
concept of the layer mask, black hides, and white review. We have the black
layer mask gradient instead of first to go in and start painting some setting areas with
black which we want to hide. This is going to help her is
that is if we want to hide everything instantly on
that particular layer, we can hide everything instantly by just applying the
black layer mask. What if we wanted
to start revealing some certain areas of our layer? The symptom apply just measured, they are foreground
color is set to white. Go over to your document
and then start painting. You are going to review the
areas that you want to. Make sure we're doing this. You have your Layer Mask, selected notes, your layer. Let me show you where
it is going to happen when you have your
layer selected. If I have the layer selected, take a look at it, but the color has changed dramatically. Well, there's no way we are
looking up to right now. When I go over and paint, you can see instead of erasing, I am painting or my picture, this is where you
need to have in mind whenever you
are making use of the layer mask and
you wanted to hide some certain areas
with a layer mask, make sure that the layer mask
selected at this moment. Now you can really see what
is happening depending on what you want to do at
that particular moment, it's you determine the kind of layer MySQL to make use
of in order to theme. You can also invite this
layer mask right here. Now let's say we
have this part being rewarded for a moment
and we have the bottom, but not being rewarded
when we select the layer mask and hit
Control I on our keyboard, you can see that it
magically reveal the bottom part and
hide the top by DCT or the shortcut for
you to quickly switch between the two sides
of your picture, you just need to keep
all this in mind. These are the common
functions with a Layer Mask, which will find that you
are going to be using and what we'll be
using in this class. Now I want you to
understand symptoms. There are other things added
to this layer mask auction, but won't be making use
of them in this tutorial, since we are only
composites in a node trained to erase a full
background from a picture. That is just what we are going
to be doing in this class. So this is just
the basics of how you can make use
of the layer mask. And I hope this really gives you a full understanding of how the layer mask
work and how you can make use of
this layer mask in your composites and see you
guys in the next lesson.
4. Smart Object: In this lesson, we're going
to walk in with Smart Object. Now, Smart Object in
Photoshop is a container that help us to stack multiple effect onto
one particular layer, giving us the ability to go
back and edit those effects. And also smart object is
a container that helps us to stack multiple
layers into one. Also, given us the ability to go in and edit those layers. Now, I give it to the
definition of smart object. The first one is Smart Object
is a container that helpers to stack multiple
layers of effects, given us the ability to go
back and edit those effects. And the second one
is a smart object, is a container that helpers
to stack multiple layers, giving us the ability to go back and edit directly as well. Let's take a look
at the first one. For you to get the smart object. You just need to go
over to your layer, right-click and go
over and skirts you find the option that I say
Convert to Smart Object. Click on that and it's going to create a smart object for you. When you look at this
part right here, you can see that we have
a little icon right here. Telenor's now that our, our layer, it's now
a Smart object. Keep that in mind. Whenever you're layer
is a smart object, you are going to get this
little icon right here. Now how do we understand the definition of
the smart object? For us to understand the
first definition that says Smart Object layer is a
container that help us to stack multiple effects
on a particularly given us the ability to adult
dose effect lift that. Let's take a look at it. So let's say I go over to Filter and I scroll all the
way down to blow layers, make use of Gaussian blur for a moment and I hit on
the Gaussian blur. Instead of this
Gaussian blur window, Let's say I go over
to the radius and the radius is
something like this later say I blew out my photo.
It doesn't really matter. This is actually a mistake. Yeah, it is a mistake. Alright, so I'm
gonna hit on, okay. But before I hit on, okay, I wanted you to take
a look at something on the smart object layer. Look at smart object, they are very well. You can see that throughout the whole smart object
layer, looking at this, but looking at layer as the WHO, we only have icon right here. But on the other
parts of this layer, we don't have any
icon on this layer. So take note of that. Now, I will go back
to Filter and scroll all the way down to Blur
and then Gaussian blur. Instead of regarding Bloom does, is going to increase it
in a way that is truly going to blew out the
details of my picture. Well, we are going
to fix that later. I'm going to hit on, okay. Now, coming back to this layer
itself, look at this spot. See that we'll have a
little icon right here. Now what is this icon doing? This icon is actually
telling us that we have a few that are
attached to this layer, which we can go back to edit. Now, if we click on this drop-down menu right
here, we'll click on this. You can see that we have a
smart view that anorexia, we have the Gaussian
blur right there. I totally blew out the
theories of my picture. If I want to adjust this back, I can just come down to
this spot and double-click on this Gaussian blur
effect I have right here. Now you can see the
window right here, the Gaussian blur and he
seemed valid data apply. Now I can reduce
these to devalue, which is not go into the blew out the details
of my picture. And now I can hit on, okay, so right here you can see
that will have the option of edits in our field that well, let me show you how this works. So let's make a duplicate of this layer by dragging
and dropping right here. And this is going to make a
duplicate of layer we have. I'm going to turn off
this layer for a moment, delete these smart filter
that I have right there. And I'm going to right-click and locate the option that see Rasterize Layer want to take this layer away from
being a smart object. Now take a look at
these two layers. This is a smart object, and this is not a smart object. You can actually see the
difference right here we have the icon over Smart Objects
showing or is there a year, these layers as smart
object right here, we don't have that icon
of a smart object, which is Telenor's
that this layer is just arrest that layer. Alright, so now let's repeat this same process
by going over to Filter Blur, Gaussian Blur. And I'm going to take this
old way up like I did before. Right here. I don't have any
D2 on my picture. Looking at this layer, you can see that
that little icon we have right here when we apply the Gatlinburg fleet
Gaussian blur filter. It's no longer available here. These are the things you
need to keep in mind when working with a
Smart Object layer, you will be able to
edit your filter. And when working
with a raster layer, you wouldn't be able
to edit any field that you apply on that layer. This is the first
definition, that's it. A Smart Object is a container
that help us to start multiple filters until one layer giving us the ability
to edit these fields. That lithium-ion, I'm going to delete this layer because
I no longer needed, and I'm going to
review this layer. This is the mostly you can go back and delete the
few that if you don't need to feel
that and of course I don't need the
Gaussian blur filter. I'm going to click
drag and delete. And another function of the
Smart Object in Photoshop, it helps us to preserve
the quality of our food. So let's say I make
a duplicate of this. Now this might not
really be that risible, but what I want you
to do is for you to take time and practice on
these to see how it works. And I'm going to right-click
on this layer and go back and rasterize
this layer. I'm going to read on
Control C on my keyboard. To transform this layer. I'm going to scale it
down just like this. Click on Okay, and I'm gonna hide this
layer for a moment, and I'm going to hit
on Control C again. And scale this layer. Just like this, I hate on, Okay. Now you can see what happened. You can see that will
launch the details of this layer is just like we
apply the Gaussian blur. Few of the end of
which we did not apply the Gaussian blur
filter to this layer. Alright, so let's hide
this layer unless review this blue layer and
I'm going to select Dahlia. Don't contribute C, scale
it down to the smallest, even more than what I secured the previously
had done before. Okay. Hint or Control T again, and I'm going to scale it up. J are the same size hidden. Okay? Now you can see the difference. On this one. We have
the same quality, white on this one will last
the quality of our pictures. So these are the things
you need to keep in mind. This is the third years of the smart object
inside of Photoshop. I'm going to drag and delete
this layer heading over to the last one of this
smart object right here. Let's say I want to
erase something from this picture and I don't
want to do it right here. I wanted to add details
in a way that I wish they have some other options
to do some editing radio. Let's take a look at this. Let's say I go over to Filter applied legacy I applying
noise filter right here. Should I make use of, Let's
say I sharpen these ads well, by making use of the
high-pass filter, I shepherd the document
and I'm just gonna leave it this way so that we can see where it's going on
right here I'm gonna hit, okay, right here, I have
the sharpen right here. Let's say I want to change
something right here. I just want to delete this photo right here without affecting this
filter right here, I can just double-click
on the smart object. I went, I double-click,
it's going to open a new document from me
or let me just see. I don't want to delete
anything from me. I just want to take
away these limbs, right yet, when I double-click, it's going to open a
new document for me. We'll look at is the
brighter you can see they will have layer 0, PSB. Now, this new document, it's also working together with his previous
document that will have this new document
is a smart object. We have right here. Wherever edits we do right here. And civic, it is going to affect this current
document we are working on. But the only difference is
that it won't be affecting these effects we have right here because we have it
as a smart object. Now when I go back
to this, but NIGMS, always this name
virus making use of the regular few are making, is every Content Aware few. Narrow way and I repeat the
same process right here. Making use of the
Content Aware few. Alright, This is fine. It doesn't really matter. I hit control D to deselect. When I go over to this
document right here, you can see that this is
still remaining, right? Okay, so how can we make this thing we
just do right here, take effect in this
document to do that, just go back to this
document and go over Phi and hit on Save. That is all you need to do. You just need to do
now is to go back into the previous
document right here. You can see that we have these
names are no longer there, but the effect is the lesson. We want to apply another
effect into this document. I don't know that picture into this current layout
we have right here. So let's close this one before one and another picture into it. You can just
double-click on that. And right here I can
create new layers. And instead of this layer, I'm just going to add
maybe a little tags. I'm just going to add Lisa. Maybe I'm really
going to show up. It on, Okay, here on
Control C to transform. And I'm going to drag it and trust for me to
something like this. Okay, that is fine. And now I can hit on V, hold on the Alt key
on my keyboard. Click and drag to duplicate all these
layers just like that. I'm just showing you how we can start multiple layers into our smart object and also have the ability to
edit odors layers. Right here we have about
123456 layers right here. So go over again phi
and hit on Save. Now go back to the previous
document where you have it right here you can see
that we have Photoshop, photoshop, photoshop, photoshop
in the previous document, any previous picture
we have right here, URL is on one layer, but behind this smart object, we have six layers. This is the ability
of the Smart Object, giving us the ability to stack multiple layers
into one layer. And also at the, let me
show you everything. This works together. So if I go over to this part, you can see that this
layer is in raster mood. When I scale this down, it is going to
affect the quality. But right here, if I scale, it wouldn't affect the quality. But we have a raster
picture inside here, right here, we have the
layer as a smart object. Now if I scale everything down, it shouldn't affect the quality. Okay, so let me
quickly delete this right here and go
back into this layer, select one of the texts layer. I'm just going to right-click on this one and hit
unrest that rise. And I'm going to try
to locate these layer, that is a layer right there. So I'm gonna hold down
Control C to scale it down. Okay? Control C and scaling
up very well on, Okay. Now you can see that will
lower the quality of this. I'm going to go over Phi and then going back into
the previous document, you can see now they will lose the quality wherever
he didn't control C. And scale this down. You don't know, conjured
seed and scale these up. We did not lose any quality. So now you can take a
look at that right here. We no longer need this because
it's really crazy, right? And I'm just going to
drag and delete it. And they don't control
urge to go back into the previous document, to come back into this
previous document. Now we can come down
to this bar and apply individual field that
has the oldest layers. But we want the filters affect every layer inside of these. By now you can go in and
instead of blend this 11, but it's gonna take a lot
of work if everything is arranged properly
and you want to make it a width in
the same document, you can just convert that
into a smart object as well. We have right here. Then go over to feel that and apply any kind of fields
that you want to apply, any it is going to affect
everything right here. Now you have every option
stack into one layer. For Branca, you can resize this layer without
losing its quality. You can also a deed, though, which apply to all these
five layers right here. Lastly, you can also modify any single one of these layers you
have right here. Let's say I just want
this to be only photo. I don't want Photoshop
and complete heat on. Okay, here uncontrolled
S and go back inside. And now we have the photo, the same Gaussian blur has
been applied right there. And we'll have orderly
us right there. And I can double-click and take the Gaussian blurred
down here on okay. Area. We have everything, yes. So this is just the use
of the Smart Object. Smart object is really helpful
right inside of Photoshop. And that brings us to the
end of this lesson and see you guys in the next lesson.
5. Assembling Your Stock: In this lesson, we're going to start our
stock on our document. Now, this order Stokes, we are going to be making use. There is actually one that
is missing a video file. I couldn't get that,
but before the ending of the whole lessons, I will be able to get
that this is other VDD. I was looking up to making
a cornerstone dance, but I finally got it Then album making use of all
these added Stokes, we are going to
be making result. Well, we might not be making
use of the whole stock, but we are going to
be making use of, of the stocks, right? Yet the ones which
we can make use of, we are going to
make use of them. Now it is time for us to start assembling our
Stokes out together to form what we want to create like after
you've seen before, while we are creating a JD from a picture which I see
and I really love it and I want to
create something like that in a different way, but Justice shoot the
way I want it to be. This can be a drain
which are liked. It really depends on
what you want to create. Okay, So we have
everything right here. So I'm gonna start with the sudo for a moment and
I'm just going to erase the background from the
studio and then try to arrange everything in one of that d or minimize these and just drag the
Sudhir into Photoshop, drag and drop it right here. We have it right
there, right here. This is just what we have now. And I really don't want to spend much time with this because this is going to be
small in our ads. To go over to the two and
select the Lasso tool to select the magic
wand to right here. And I'm going to make
use of the option that say Select Subject. We're going to click on that
and see what Photoshop can actually do for us by helping
me to select a subject. Alright, this is,
It's nice that it gives me a nice
tight right here. I think this is really
fun for me and there is nothing I really want
to select right here. This is good, really good. I love these. I
really loved this. All I'm just going
to do right now, I will go into the Select
and Mask option right here. And I am just going
to add a little bit of smoothing or
jurist lesson one. And I'm going to come down
to the federal notion and yours add in 0 points phi. And that is the really fine. And I will scroll all the way down to the output selection. Click on this menu, and I am going into new
layer with a Layer Mask. I'm going to click on
that and click on, Okay, now this is going to create
a new layer first with a layer mask and everything will be taken away just
like the background. For a moment, I'm going to
disable this layer mask by holding down Shift
and click on Layer Mask. I just wanted to
verify if I have everything completed
on our subject. Yeah, everything is really
complete on subjects. I'm going to and it
wouldn't lay out my square. But we have this laser
issue right here, but that is really fine. I'm just going to
open up the brush. We are going to
be using a nurse. You are going to be getting loose brush in the project file. I'm just going to select the hard round brush right here and switch my
foreground color to black and just paint over
this part to take it away. All right, this is fine. Right? Now I'm just going
to right-click and convert this layer into a Smart Object. Alright, this is ready. I can now select the move to drag these into the current
document I am working on. All right, we have this right
here and I can scale this down with ease because even
if I scale it up later on, I will be able to, to scale it back
or without losing any quality course it's
already on smart objects. I'm going to click on Okay, heat uncontrol plus
0 to fit to screen. The first thing I am
going to do is to go over two phi and heat on Save. I'm going to click on Save. And I'm just going to save
it on my desktop for now. Save it on my desktop for now. And I'm just going to type
in the name it with DICOM. Dicom. Really OK. Computer. Okay, I'm going to hit
Save inherent oaky. We have it right here. Next thing I wanted to input, it's the it's the grass itself. So I'm just going to drag this
in and drop it right here. I'm gonna drag and drop it
right here. This is here. This is a little bit cool. Really going to drip it,
scale it up to fit in. I'm going to scale
it up to fit in. This is a little bit okay. And just drag it down a bit. I don't need that for a moment, so I'm just going to keep
it that we go back into. I have this dog food. Right now. I can drag these
two into Photoshop. As I said that I can see how
I can make it a little Dale. Secure resorb. Clinical nurses carries OK. Click OK. I'm going gonna reduce
the opacity of this one. Reduce the opacity of this one. I'm just going to see
how they can actually match in together less
than we saw for now. This is where we have blood. I'm going to hide this role and reveal this layer, the subject. Going to drag this
down a little bit. All right, so I think
I'm ready to make this. Now. I'm going to grab the Quick
Selection Tool right here. And I'm just going to increase
the size of the Roche. I'm just going to make our
selection of this file. I just need only the
grass the grass alone. All right, this is fine. And I'm going to add
a layer marks that he didn't Control I to invert
and select the grass. I'm going to repeat the same
process on this one high discern the brightly apart city. Make a selection
of just Despite. To subtract from your selection, you can hold down Alt and neat, and it's going to help
subtract from a selection. The selection again. Now I can add a layer mask
can also invert that. We have these two right here. I'm going to drag
this down a bit, so let's see how it can fit in. So we have some
irregularities right here, like all these posts here. Alright, so with the
layer mask selected, I'm gonna hit the B
key on my keyboard. Just select the brush tool
and select Layer mice. And I'm just going to be raised. Spots that I don't need. That is fine. I know where I
still have some extra bars, so I'm going to hit
them, be read them. Quickly. Check how these two. Alright, so we can quickly
check on this one. Just only here in
the upper part. Alright, so this is
fine. This is fine. Now I can reveal this layer
right here and see how I can merge them together to
give me what I want. The layer mask selected, I'm gonna select the V
key and just memorandum going to select a
soft round brush. I try to erase this fight. We're going to hit on Control C to transform
butterfly transform. I will mention
that I didn't have the layer mask selected
at the moment. You don't Control T to
transform and go over and just right-click and select
Warp option. Click on. Okay, good. So I can just drag, I can drag this
down a little bit. Limited this down, and
bring these studies. All right, this is
really looking good. I'm going to select
this top layer and your select the brush to fade this edge so that we don't have this
hard edge right there. Maybe I can take
away or disrupts. The rock is at the bottom one. That is fine. Bring it down, leads to B. You don't control. C,
hold down control and bring this down a
little bit, too much. Alright, click on Okay. This is looking good for now. And now I can go into my stock folder where
I have right here. In this demo, I'm going
to input these grasses. Jurors, that would
have bet that bird, I can just pick it up. They keep blue. Release you. Whereas this is like a mountain. I really don't, It's
really like a mountain. I'm going to drag it
up, bring it down. Unless I'm going to
add a layer mask, select the brush to and try to erase this and see
if it's actually, if it actually blends
in. No, it did load. So I'm gonna delete the layer
mask and drag these blue. Blue, it's fine. Yeah,
it's really fine. It's fine like this. This is really okay. And now I am willing to
select this layer here on Control C Again it down
and just bring it down, hold down control and bring
it down a little bit. This time I wanted to
fill the edge of it. I'm going to select
the layer mask, selected brush to injures Fed
the Fed the air leads to B. This is really
looking good for now. I can zoom in and now
looking good for now. Now I'm going to hit
on Control S, save, go back into the
stock for that and see what I can bring
in this Tamara. And each time I'm going
to look for the comp. And let's quickly take a
look at these graphs and see what destroys and see what we can actually
pick from here. In addition to that, alright, this is going to make the tree look a little
bit different and no jurist know jurist random. Alright, so I'm going
to add a layer mask by holding down the Alt
key and add a layer marks eraser using the B key and a foreground color
is set to white. You can toggle this by hitting
the X on your keyboard. And it's going to toggle between the foreground and
background color. Whereas I'm going to
paint little later. See what I have right here. If I do that, I'm gonna get
on Control C to scale it up. If I click on Okay. And now the grass is looking
at a little bit differently. I think we don't really need it. This is, this is
absolutely fine. Okay. This is absolutely fine. I'm going to delete
these. I don't need that. I'm going to bring in the 10s, go over to my stoke
for that again, drag and drop it into Photoshop. Here we have retained
in Photoshop. I just need only
tend not to deliver. So I will go over to my toolbar and select
the Magic Wand. And this time just
hit Select Subject and see what Photoshop
can do me this type. Okay, so we have the
scents selection, but we still have
some issues that we still need to fix level needs to select all
this part right here. We can actually make use of these two to just move
your selection of this. So let me quickly check and see how it is going
to be some going to move my mouse cursor
outside of the selection. And I'm just going to click and give it some time and see
where it's going to do. Since we have the
highlighted at this moment. This is a decent selection
will go right here. I'm going to select the move to, this is really
looking so much good. Now I'm going to come down to this file and add a layer mask. Now we have only detained,
but restate however, some issues right here, which I think they
are really not good. What I'm going to
do at this stage, since these two are already
given us what kind of error? I'm going to select
the brush tool, the size of the brush, and I'm just going to select
a regular soft round brush. Set my foreground color to white, which I
have right here. I just write already. Then I'm going to go over
and review all these places. The agreed job board. We just have some issues that
we're still need to fix. That is fine. Now I'm just going to select
the print two years ago inclusively and make your
selection of this place. And now I am going to
clear this selection. I can now right-click
and click on, Okay, and have the layer
mask selected our set, my foreground color
back to black by clicking on that
little icon right there, or here on the x kids there. And I'm going to hold down
Alt and click on backspace. So right here we have
y is I'm going to undo that and make sure that I
have the black selected, hold on and Rackspace. And now it is going to take away that bad app already
bringing back, well, I'm going to leave
everywhere apart like that and go over to phi and then deselect right here to
take away their selection. All right, This is really cool. We can fix everybody I'd
seen litho or so now, I'm just going to come
down to the lab part, right-click and convert
it into a smart object. Select the move to drag
these into my composition. Alright, this is
really big and it's in-between going to
drag that up here. Don't control C to trash, resize these and take it all
the weights and disposition. And I think I'm
going to resize it. They sold it to be.
Alright, this is fine. And I'm gonna hold
down control and try to bring this down a little bit. This is a real
kin, so much good. This is fine. And I am going to hit on okay, to just keep that for a moment. Now I'm going to review sodium
layer thick it right here, it's already on Smart Object. Remember, keep your layers
as smart object here or Control C to transfer and
remedies download liter. We'd come over to this part, right-click, scroll
all the way down. So flip horizontal. I'm just going to put it
this way for now, later. Similarly b, I can just
bring it up a little bit. This is fine. But now
we're hidden, okay, and Control C. Control
Zero to preview. And see where it's
going. Alright, This is looking good for now. Now, back into my
stock for that. I'm going to drag the
chopper into Photoshop, drag and drop into Photoshop. Select the unlike any selection. So but I don't want to make
use of the Select Subject. Give Photoshop times
to do its thing. Alright, now we have nine
selection right here of this. Yeah, I think this
is pretty cool, but we have some
issues right here. Inside of all these parts
are not selected for. Now, I'm going to
hit the O key on my keyboard to select the
lessor to as a free-hand to. And I can hold down Shift to put on odds to subtract
from the selection. And I am really going to my
knowledge around these areas. It doesn't really
have to be perfect. I'm just going to
do this gluten-free 100 years like this
because I am we can use a digit
that they believe. You can make use of the
pantsuit or so duties. And you can also make use of the polygonal lasso tool
to do this and wonder few easy and breath out for you. You can use it to do that. All right, I'm just going
to keep these sweet and add a layer mask to that again. Now we have a struct
background from our chopper. Alright, I'm just going
to right-click and rasterize and convert
this into a smart object. Select the move to drag
this into my document. This is a little bit bigger, so I'm going to take
it all the way up to this spot right here, I think somewhere on the heroic, quite shrewd. Hold down control. Drag this police
to bring it down a little and make it smaller
because it's right here. Kate, and I'm going to
click on Okay, that's cool. Now I can go into the folder. Now I'm just going to place
all these and when I'm done, I'm gonna meet you guys when
I'm done placing all these. Yes. Finally, don't listen
all my stokes together. Now this is how I want
everything to be. You can go ahead and
use my police, yours, and you can just be creative and do something
which we wanted to do with what I'm going for its discount over night
loop to in the last lesson, we are going to start matching the light and give
these nine few, but before will match the light. We are going to make sure it fits over this like
right now you can see that it's subject is fluids
in on our background. So as the plane, we only have these
very cool right here, balanced under Grant because of the shadow we already have
alongside with very good. And the 10th, it's
really out of it. It's not making any
sense like these. So we'd need to match
all these things to make it look like it's
attached to the ground. We're going to work on that
in the next lesson and also match delight right here.
6. Blending Your Stock: In this lesson, we are
going to start making our subjects to feel like they are standing
on the background. It's like the ode to
get over the bargain. Looking at the first
subsidiary right here, you can see that it's
not even marching with the background like ears
feel like it's fluids in. And also the tenth right here, this one right here, and also these troppo
we have right here. So we really need
to make all these. They are attached to
this bar graph itself. We're going to start
with, since it's this part dance group
which is right here, we're going to create
a new layer, a dense. Now there's something we
call the grass brush. I actually don't have
that in the brush pack. I will be given to you guys, but there is no grass brush and the brush bark and I don't
have that right now. We are going to improve race because I don't want
to download anymore. I will be using on this. So I'm gonna create a
new layer right here. And this time I'm just
gonna hit the S key on my keyboard to select
the Clone Stamp tool. Before I do anything, there's I wanted to
make sure that I go over to this part right here. If yours is set to
current measure, you click on the drop-down
menu and set it to current. And below. That is
very important. It is going to help you sample on this layer and
also paint write it. When you look at this layer, this layer is empty because
you're just an empty layer. Every other thing
we have right here, it's on a separate layer. When you set these
to jurors current, when you come down
to this part in your whole brand, or to sample. When you hit an odd n clique when you move your mouse square. So you wouldn't be able to
see anything right here. But when you go
over to this spot and set it to current and below, when you come down
to this by again, now you can really see that we'll have something right here, which we have some. When you hold down
Alt again and sample, you will be able to say lazy
I sampled from this chopper. I'm going to write it now. It can't sample from
the chopper because we only set the Stuart
current and below. But if we say these
two only right here, when I sampled from the chopper, I can get from the choker. Well, in order to maintain that, I'm just going to click
right here and save it to current and below. So that is going to sum from
this currently it in blue. These particularly at, at, at how, right here. I want to work on the 10th. I'm just going to come
down to this part of the subject layer
for the moment. And I'm going to
zoom in this time. Alright, right here,
I'm just going to reduce your park scenario, the size of this brush. Click and sample from this part. And I am going to paint now if we see right
here that this is having something like making use of the Bridger
sensitivity here I'm showing you just
want to undo this and go over to your brush
settings right here. And make sure that you
find that the four general version of Photoshop or you
can select it from here. Now it is very far from my Sue. I just wonder, select these
from S. I'm going to select the default brush in
Photoshop right now. When I paint, user's going to
be really okay right here. That is really doing something, but it's not doing something
that as much as we can use a brush itself. Well, we're just
going to make use of that and improve Rice. I'm going to sample from here
and paint it right there. Sample from here. Parents him system
perform, prints it. I'm just going to
print just mixture. I did some cool you
didn't sample in around. That is getting better. This is looking so good. What I want to do now is just looking flat at the
top right here. What I wanted to do, I
wanted to come down to this part and select a brush. Let's see, I'm going to add a
landmark study, surrealism. Very easy for me
to work on that. And I'm going to select this brush right here because it's having a sharp edge
version is very sharp. I wouldn't double-click here and set the foreground
color is black. Now, go into all the spot, reduce the size of the brush. A lead sous true, D soda. It's really going to look
like grass at this stage. Alright, nodes, if you have to get a
graduate to do these, just go ahead and get a gradual
growth of that gets into gratitude residues
needs to sample from the color from oddities, grasses and make use of it
to just paint over the ten. And it's going to give
you what you want. That is really going to be easy then making use of these method, I make Jesus off right here. But I just loved the winch,
something in the frame. All right. So now this
is looking more lack of Grice and we have the taint
attached to the ground, which is really
looking so much good. Now let's head over to
a chopper right here. I felt like whichever is kind of like it's going up that much. I'm going to select Move to and drag it
down a little bit. Don't go intrude. See. Bringing these portraits
see and hold down control. And bring this down a
little bit like this. Click on Okay. All
right, That is fine. Now above the topology
will create a new layer to list them for I start
walking on the grass. I will just go in and select
the brush to release them. I'm going to select a ratio
of boxes Briscoe and flew out a soft pressure approximate
and flow brush and make sure he did decay to reset the default color back
to hit the D key, to select the default, set, the default color back to black, and select the foreground
color as black. Understand why I'm just going
to paint on this layer. I'm just going to
paint this is a boost. I'm going to drag it below
and review that layer. Make sure Steve, to keep
it inside the group. I'm going to paint over there. This is looking good. Now it is time for me to
query and undoubtedly SQ, just like the clone stamp to sample from the
groceries, from the grasses. Over at least, I'm
going to drag it. Now I'm going to repeat
the same process again, add a layer mask. Select this version instead
of foreground color to black. Size of the brush and x2 to
be arisen from these errors. Just looking at more true
than what we had before. All right, this is cool.
It's really looking good. Looking so much night. Now first lag, we are
having an underbar ground. Now let's head over to
the subject itself. Right here. We have the
first subject right here. And I'm just going to move
this subject to this part, moving into subdirectories, but it's really going to march Beta. That is fine. This time we're just gonna
create a new layer, drag it below that subject. Hit the V key to select the
brush tool and the stem. Select the soft round brush foreground color set to black. Now we'll go below
leg of the subject. We can do just like that. This is before and this
is where we have f dash, that is a Bodhi subjects. I'm going to drag it
down just like that. So this is before and this
is where we have outfit, marriage really McKinley
to look like subject. It's standing on that
rhetoric we have right there. So I'm going to walk
more years like this mode to describe. Just looking with it. I'm going to zoom into
these fired and also walk. All right, so all of these
won't really matter. But what will go in and start? Address them, the
light and balancing the whole color,
everything usually Green. March properly.
Finally, we have the campfire and that is where
we're going to walk over. So let's go into the
prayerful that are both just create a new
layer KT S key on your keyboard to select
the clone stamp to injures some paint over. Okay, so we don't need to repeat anything right
here on this one. Right now everything is looking good and really
better at this stage. Now in the next lesson, we are going to go in
and start balancing the light and make it
look good before we head over its color gradient and
applying with the light.
7. Matching Lights: In this lesson, we
are going to start matching the light
of all composition. I want to, you need to do you
need to put these lightly, the matching of
this lightning into a separate group just as we
have it within right here, make sure everything is
in separate groups so that whenever you want
to make an adjustment, you know which group
you have to focus on, in what particular Leah, you have the full herself. Know that when you have
everything right here, Lias by layers and so on, it's difficult for you to
locate the particularly yeah, which you want to work
on where I made it's a night scene right here
at Vanguard for Photoshop, we have some glucose available in Photoshop
which we can use. And there are several
ways of a planar these adjustment you can go over to Image Adjustments and
then apply the address. But that is going to affect
only one layer itself. As you can see right now, the adjustment that is
already grayed out. So for us to link these to
be visible for us to use, we just have to
come down to this, but later sewer select this layer and we can go
over to Image Adjustments. And now we can pick any
adjustment right here. We have every address man here, but I don't want to
make an adjustment because I wanted to
have a tool that come true of the adjustment which I will be applying to
that if I want to, at the end it's only odors adjustment which I will be
applying. I can do that. I'm going to come
down to this spot and click on this icon. From here, I can create an
adjustment layer later. See I wanted to make use
of the curves, right? And I'm just going to click on that button and
select the curves. And it's going to create
a new layer for me above everything or the steel
wherever I do right here, it's going to affect
everything on my composition. So these are the
kind of, this is that the kind of adjustment me as I will be
using right here. First I will be making
use of this course. I'm going to drag a bleed or
screw all the way down to this file and Luke photo1,
lessees color lookup. Click on that and this
window is going to open up. I'm going to click on
the drop-down menu. And Lou photo won that seat. Day from night or night
from day event, correct. Length from date when
I click on that. And this is where we have Luke consumer good
amazed that right here. And this is actually really, really look in our
sum at this stage. I'm going to close this for now and see what is given to us. First. I'll just, I feel
like this is already looking symmetry at the moment. So I can just come down
to this fire and try to play with the adjustment
layers and see if it's actually going to work with
anyone right here. Let's see. It's not really a
worker with anyone, so I'm just gonna
leave it this way. Back to normal liver though. Alright, everybody
really looking so much nice for we are having some reflected light right here
which not supposed to be sued. So right here I'm
just going to select that color leuko annulus. Click on the Group icon
to group it right here. I'm just going to drag
it and drop it inside. I'm going to double-click
on this group and set that. Suddenly move that
group to adjustments. Just meant that as an uppercase adjustment and I'm gonna close that group. Alright. Now I can go ahead and create ever layers instead
of this group right here, I'm going to click on that adjustment layer and select a curves
adjustment layer. Now, I wanted to
targets, but a moment. I wanted to target the chopper. I wanted to make this
upper part dark. So I'm going to look
at a chopper itself, reduce it at the moment. I see that I'm no longer getting those light
electrophile. That is really Okies. I'm going to close these. Select the layer
mask and here on control I on my keyboard
or badly Amherst. And I'm gonna scroll
over to my brush File New and select
the soft brush. Now I'm going to switch the foreground color to
white and paint over the lighter areas on my
chocolate to reduce the lights. This is looking good for
moving, don't worry. We are going to address that. However, it is a
bit of an error, so I'm going to switch endures, erase some parts of
this edge switch rack. This is looking for a second. Reduce the opacity a little
bit too simple like that. Create another adjustment layer. And this time we'll
go into that, Leah and come all the
way down to the chopper, which is right here. And I am going to create new curves adjustment.
This demo. I'm just going to
take this down. Alright? And it's
affecting everything, but I wanted you to
affect only the choppers. I'm going to click on
this icon right here to set a Liao March know it's going to affect
only that chopper. Take this o per liter. That is strength.
For the moment. I'm gonna come
down to this layer and see what's really going on. Alright, now I'm
just going to reduce the ACCC a bit. Just like that. It's really looking
like a light and I really love what I
have right there. So I'm going to click
on that and reduce it. Alyssa region should
actually go into March. This is phi n. I'm going to repeat
the same process, but I'm gonna hold down and
drag it to the dump vehicle, which is this one right
here. Elizabeth Fry. And I'm going to limit
seats to that one. I'm going to double-click
on this part, then bring this down. This is really fun, really fine. Now I'll go work. So I'm going to
duplicate this again. I'm going to drag and drop it inside of
our subject folder. Open your subject
for their salaries as clipping masks, that layer. Now these Sue I'm
marching to get our light of this one
are really matching with this limited
double-click on that and see if I can
reduce it a little bit. This is fine. That is absolutely fine. You don't have control
J to duplicate, drag this down and place it
on top of that right there. Now I can increase
it a little bit. Alright, this is really fine. This is really the French.
Now I can color these. Now we have to work on
the background itself. Will over to the background or above the background group. I'm going to create new
Curves Adjustment Layer, and I'm going to
drag these down. This is really fun. I'm
gonna duplicate this and put it inside of the file
group of Fire group. And when you say I said that as I said that out as a clipping
mask and we're going to click inside of groups and we'll bring it
out and say that as a clipping mask
only onto the fire. I don't want that
to be much darker because that is the visible
light that leads to beat. This is fine. Now I wanted to
do so until about the sky. The sky is really, really break. This guy is really bright. So right here on this guy, I can come down to
this part. For now. I think the background, I'm going to drag these
interpret inside the background. These, I'm just going to group
these and leave the group. What do I'll do that for now. I'm gonna leave the group
or nymph for the moment. Right here, I'm going
to walk on this guy. So on this background, I'm going to create a
new adjustment layer. Create a new coach
at your estimate, will click on this and click on the sky and drag it
down a little bit. Let me see. I can
take it down again till I no longer see
the sky is fine. Now I'm going to hit Alt
Control I to invert the group. To be key. Mr.
full-grown sets white. I'm going to paint
over the sky just only to make the sky a
little bit darker. This is over how before, and this is what we have
after looking better. But we'll have some of the
blacks are fixing the grass, some gridded is going
to cheat on X to toggle to the white black as
my foreground color. And I'm just going to
very similar these areas. This is fine. This is really fine. Alright, so now we have all these eras term
for us to go in and start applying our light
effect, bringing the slave. And we'll make any loop so
much good and really cool. Alright, right here we need
to make this light bulb, CSU have light of fire going on. We need some made a light
bulb and we also need to make the light effect all these
areas and delight in the tent. We need to bring the
light on the dance to affect all these areas and also some of the light
affecting these vehicle. Right here. In the next lesson, we are going to start
applying those lights.
8. Adding Light Effect: In this lesson, we are going
to start applying effects on We've been in halfway and
it's really looking so good. But there are actually
some things we need to do. We need to match the light right here and do some other address. But before we do that, we really wanted to
understand how we want the few of our
artwork to look. Is it going to be cool or
is it going to be one? Now we need to
understand that we have the atmosphere right here. And it's night and the night. It's always good at this. By the wheat, we have
the fire right here. This is actually going to cause some kind of issues right here. So we need to have a warm and
cool effect on our artwork. Now when you look on
our artwork right now we are having
this cool effect and just really look into good. It's matching with all
these places right there. But inside of the dance, we have a warm light. And right here we also have a warm like now we need to
work with all of this. We have to first of all walk
with warmth and laid out. We can now walk with the, in effect, the first
thing we need to do, we need to come down to
this spot right here, click on that and select
the color balance. Now the color balance is
used to adjust the midterm, the highlight and
shadows of your walk. When you look here,
we have the cyan, we have the magenta and we
have the loop right here. These control the cyan
and the reds of fuel. This country, the magenta
and the green and this also control
the yellows and the blue on your ads work
together with all these later you will be able to tweak your artwork to give
you what you want. There is no particular
value you have to use whenever you are working
in every ads work, you have to make use
of some certain value. And getting those value, you need to play around with
these sliders right here to give you that particular
value you are going for, that is where you
need to keep in mind. So right here, I'm
going to start with delete tuned squares.
I want it to be warm. So come down to the yellow a little bit and add a
little bit of yellow. Go over to the red and
add a little bit of red to make it look
a little orange it, so right here you can really
see what is happening. We've not done Zoom
what we've done, the lead x2 bar, we have
a big change right here. When I turn this off, you
can see what we have. When I turn this on, you
can see what we have. Now. This is where
we have before and this is where we have after. You need to keep that in mind. I will go over to
the shadows and also play around with it to
add a little shadows, I will add a little bit of
warmth moving into the blue. I'm just going to
add a little red. That's too much, too little bit, or I guess the red is
just going to be at 0. And this is before and after. And I can move over
to the highlight. The highlight, I think
I'm going to make the highlight warm a little bit. Yeah, I think minus
four is okay and add just a little touch of blue. Yeah, this is really looking
good now we have that warm and the Khufu right here, but we still have the one pooping out which
is really cool, which is exactly what we want. But this is really
looking so good than what we have before. Okay, so we have a bit
that stat right now. This is looking nice, red here. I'm just going to leave
this adjustment for now. And now what I wanted to do, I want to start lighting up
these areas with the fire. But first I wanted to pop the fire and I wanted
to really look bright and really,
really bright. To do that, I'm going to
come down below this layer, this layer right here
to color balance layer, create a new layer. I'm going to select a brush too, and I think this time around
I'm going to make it soft brush just that from
my color picker, I'm going to pick an orange
color just like that. Orange like this is
really okay from me. Thanks. Something like
more yellowish orange. This is cool. This is fine. Now I will come over, zoom into the fire. I am going to dab, dab begin. Now we have the
fire right there, but it's looking bright. Yeah, it should look in
bright and it's looking good, but the color we just
apply, it's not real. So we need to make
this loop grip. Go over to the blend mode and make sure that the
layer is selected. Right here. Go over to the
blend mode and set the blend mode to color dodge. Alright, now the color dodge is not really looking so weird. It just pop the
fire a little bit. Now let's see, let's drag this up and see how it
is going to be. The color dodge is still
not looking so much goods. So we have to play around with something and see what gives us the British that is colored
overlay soft light. Now we are going to
make use of screen. Now this is a little bit better, but not really looking at
is exactly what we want. Well, we are still going
to work on this and three kids really
give us what works. I'm going to apply more
of these right here. To really make it pop. Right now the fire
it's Pork Board. I can just do this.
Oh, and don't respond. It's really look
into good board. It's not really looking
like what we want. Well, that doesn't
really matter for now. Let's go in and paint some flames over this
word right here. For now later spin the light. Makes it so much easier right
here I'm going to undo, delete this layer for now. And I'm going to select more
orangey color right here. Now create a new layer. And I can dab right here. This demo, I'm going to
try and set the blend mode to color dodge screen, overlay soft light and
I think lighten screen. All right, screen is good. Screening is really
screening really good. I'm going to create
a new Solid Color. Click on looky, play around with the blend mode and see
what's going to be good. I think the color dodge
is looking at sugar, going to hit on Control I
to invert the layer mask. Now with that, I can
use it to paint, which later brush through
and measure them. I foreground color
is set to white, and now I can paint in the
area where I need the lights. Right now we have
the light butter is something going
on right here. It's different from
the color of the fire, it's different from the color of the light, so we
need to fix that. I want you to come down
to this white grid, a hue saturation
adjustment layer, clip it to this layer below. And right now we are
going to find the light that is going to match our fire. I think this is really close
to what we have right there. Yeah, this is really
looking at clues. We can add every other I
just meant to eat later on. This is really looking good, but we still have to make
anodal like right there, right here we have the
light from the tenth, so we need to make
that light effect already spot right here. So this time we are
going to create another solid color layer. Click on Okay, find a blend mode actually go
into be good right here, I guess we're still going to be making use of the color dodge. Click on looky.
Leon Mars here on Control I to invert
the layer marks and this time Xu in with white. And now we will go in and make those slides
brighter right here. So quickly, let's say
could true between the before and the after. This is looking so good. It didn't really look into good. I think we need to grab the hue saturation again
and drop it on that layer and set that as a clipping
mask. This is Lulu. This is really looking good. It is really, really
looking good. Let's come down to
this button again. Since inspired exclusive
to fire less SRE to make the light more intense. This is looking good. I'm going to select
every layer right now. I'm going to select
these hold down shift and select this one. Here. Don't control G. I'm going to name these. You don't. Okay? So this
is what we have before, and this is where we have out
there before an alphabet. This is really looking so good. Now we also need to have some reflection of this
light on this guy. Just a reflection. Let's go back to this
layer right there, and a little bit of reflection on the jurors. Need an OSU only Studio. Don't need to be
precise. Just like this. Okay, So this is it
before and after, before and after, in just a little bit
of light right here. This is looking too good. So let's quickly see between
the before and the after, before and after,
before and after tau. This is looking so good. Now it is time for us to
implement some light. We are having some kind
of issues right here. I don't know if you notice it. When you look at this
part, you can see we are having issues right here
and also right here. Well, we are coming back
to fix all of these. I think we still need
to go a little bit. Alright, I think I would sharpen needs to be higher
than this boat. We can go come back
to that later on. This is really looking too good. In this lesson, we will go
into apply more adjustment to our artwork and really make it look real and bring
it more to life. We can quickly see
from where we started. So I'm going to turn
off a whole row hood on and click on the background layer to
turn off everything. In our studies from here. We have the things. We also have our subjects. We have the vehicles. We have the fire, where double-click
on this and limb. We have the fire. We have the first adjustment
which we're using transforming need
from the, tonight. We have the lights. This is really look into good. This is really looking to, I'm gonna hit Control S and a meet you guys in
the next lesson.
9. Correcting the lights: This lesson, we're going to match the light of our adsorb. Now when we look at
these very well, we can see that the lights here, it's not really that much. And so it really
depends on the kind of theme we are going
for now for once, leave it like this
additionally, okay, credit, the atmosphere is great
and right here it's right. But this is somewhere
like Omid, a religion. What we really want these to be someone like a night
or real names, so we need to work on that. But before we go into
the wind and now I'm going to look at these charts. I feel like it's no Really. Okay. The perspective
is not really okay. So we'll go into the
vehicle for their correct and try to locate
the chopper itself. Alright, this is the Chopra. I'm gonna select that in
the adjustment layer. You don't control C. And shirts
bring these elite to be. I think symptom
like this is okay, so this is where we
have before and after. Yeah, this is
looking really good. I think I might want to
increase that a little bit. Yeah. This is fine. This is really fine. Yes. We can hear we are having issues right here
which I think we need to fix. We can actually come back
to that and fix it later. So for now, let's clues
every old I think we really need to fix this
right here because it's not really
looking good at all. So let us go into
the wake R2 again, unless locate this is
the that is the chopper. Okay, first let's turn off the light layer adjustment layer and try to click on this
part to look at the grasses. Those add to grasses. Now, we really need to end this isn't really
coming down the list. So let me bring me
down. That is frame. Let's look at the grass layer, which is this right here. There are no really
looking good at all. I'm going to create a resistor
effects in everywhere, okay, only the chopper. I'm just going to drag
and delete these, create a new layer. Hit the S key on my keyboard is later close down two
and make sure that your current and below it
selected and measure that you have a default brush from
regenerate our brush selected, which is the soft
round brush lecture that I have that selected. And now let's repeat the same
process. Pick from here. Let's look at this
is looking good. It needs to still
take this in, lead to loose, a little bit
crazy right here, and we need to balance
this fight to make everything goes in properly. Now create a layer
mask and select the brush tool and
make sure that you select the sketch burst
from the brush pack. Select the default
color, which is black. And now we'll just use that to layer minus the grassy Luke. Let's zoom out a bit CSI. Alright, This is
looking good nurse. And now I can go
back or can just close your vehicle layer and now apply the adjustment layer
and also applied a light. Well, this is looking
so good at this stage. Now it is time for us to go
in and balanced the legs. I want this tree to be
a little bit darker. So as the sky and all the spot
of the way crew and right here now we can assume
there is a little bit of moon which is reflecting. Since this is an open ground, then that is really good. It's something
that's really good, which we can live that way. Leisure, stretch,
balance, the light. Okay, so now let us
go over to this part. Now just create a little bit of a Curves Adjustment Layer. Curves Adjustment Layer. And now you want
to look this guy, all these upper part right here, that is
why you want to look. So I'm just going to
create a point in the middle and drag it down. I think this is fine. I'm going to hit on Control I to invert the layer mask
and select a soft brush. I'll go with this brush right here and make sure I increase the size and set my foreground
color to white. I think. Okay, the brush has
pressure of packets, the option, but if
you are loading, we can use a tablet. You want to reduce the
opacity to somewhere around 50 or just find something that actually
go into okay, for you. I'm going to paint
with white over to review some of the area. I want this white suits
be a little bit darker. This spiral of this guy. Also part of this to
be a little darker. Think this is fine. Alright, so let us quickly see, this is before and
this is where we have after them for
an Alpha, well, I can just double-click
on this pad and take it down to darken it more. Okay, and I think this is fine. And I will come back to
this car. Right here. Be switchback and your pen. I'm on the car. Alright, that is frankly,
this is before and this is where we have
after, before and after. But this is really looking
good at this stage. Now it's balanced
out this slide we have on this right now you can go in individually and
stats COVID older slide, but I really don't
want that one a little bit of a
reflection of mood, since this is an open
ground right here. What we are going to
do at this stage now, there is no way we can put into mu now what I want to
put in the moon, right? And so we can just
assume the moon is coming from this
part right here. We're going to
create a new layer. Reduce brush right here. We're going to
select a warm color, something like a bluish color, something like is. That is fine. And we are going to apply, Miro, going to apply
that right here. I'm going to dab and keep dabbing down satisfied,
just like that. Alright, so now
I'm going to play around with the blend mode. Let us see what are going
to see the blend mode actually going to
be nice to have screen light and I think it's
soft light it really okay. There is soft light
is really okay there. So we're going to make
his own soft light. Now that is really
looking so good. So I'm gonna select the move to back and generally
go in there. All right, whereas
select the move to work. And this is low how
before and after, before and after adding a
whole lot of lives, that part. So we can hit on Control
J to duplicate seed, and that is really looking good. It's really awesome
at that point. So I'm gonna reduce
the opacity of the top one. That is fine. So these right here, we
have this amplifier. So I'm just going to limb these. I'm just going to limb
that the firelight so that it's very easy
for us to understand. Alright, that lambda
or firelight. And now I can click that and
select these and you don't control G. Name that lights. Hit on Enter. Alright, so
this is really looking good. Now let's take a look
at what we've done so far. Have the lights. This is where we have before and this is what we have after. So now we're now at this point, we now have appropriate
direction of the light, which is really looking good. Before we have the lights, before we have the light
coming from this part here is later and we house them light if it come in right here, which is really opposite and
not really making sense. But now as we adjust this industry really
looking so much good. Now at this stage, now this slide we're
still needs to make this slight POP or leads
to B over this area, go into the lights. Who go into the firelight. And I think I want to yeah, I'm going to hit on control. Increase the intensity
of the light. Now I'm going to
reduce the opacity of this one or I
just did right here. Let us go down.
Yeah, this is fine. Alright, so this is what we had before and this is what we have after, before and after. This is really
looking good for now. Now everything is getting
so much in place. It is time for us
to go in and start balancing the overo things
we need in this work. Here, this brings us to
the end of this lesson. So now you can really
see the little, we'll learn how we
just apply the light and make it balanced
little bit narrower. So many things we need to do. Really so many days
like right here, so I have to cover up
that butt right there. I'm just gonna take a little
bit of flame to do that. So good there. Intellect brush to reduce
the size of the brush. And with the white as
my foreground color. I'm going to paint
over displace. I don't want a light
coming over here. And so our displays
carriers there is the truck should be casting a shadow on his clot so
we don't really need any light from this slide is not supposed to move
bright that much. That is fine. Well
from here it shouldn't be any form of lights
all over the spot. Ledgers dark and
despite all right. Just from here, they shouldn't
be shouldn't be displaced, shouldn't do much light. Here, there shouldn't be much light. This
is looking good. This is where we have
before and after, before and after each change a whole lot of
Luke's, our artwork. In the next lesson,
we will go in and do more on our artwork.
10. Ajusting The Colors: It is time for us
to do something nice that ligaments
make the absolute to look more mature and really make it look outstanding and nice. Now we have everything ready, but it is time for
us to go in and apply some kind of close
deck is really going to give us that kind of fuel want first we're just going
to do a little play around with the
adjustment layers and see how it is going to be como, which it is fire, and go
back into the lookup table. And I'm just going to
select the first one and see how it is going to move for us to go into in blue
with all these and see which one is really
going to make sense depending on the kind of
few you are going for. I couldn't see anything. So
let's try let's close that and let's reduce the Oak
Park CC unless you're a gender blend mode
to soft light, then reduce the APAC scenario, which this is fine. We still needs length
of this guy so much so that the light is
given to affect some variable. Well, since we have
everything separate groups, we go into Azure that later. Let us quickly see how
before and this is what we have after Donald
decided on the outside. Now, I'm just going to create
a new adjustment layer. And that layer, it's going
to be the selective color. Now the Selective Color
give us the ability to adjust each color especially
or our artwork, the radio. When I click on this
drop-down menu, you can see that I
have yellow, red, green, cyan, blue, magenta, white, neutral, and Black. Each of odors colors right here, do separate thing on our
artwork and the ones that affect our artwork alert whenever we play
around with them, it's mainly the neutral
white and the black. Well, we actually go into, take a look at this. We are just going to
set this to relate sieve for all these sliders, this slide I will use to address whichever colors
we'll pick right here. Well, there are no
preset right here, and you can also save your own preset
board early further, that is linear Stephen
your own preset. And once in you
need to know above these selective color is data. There is no one way of making use of this
legacy of color, leg or **** go in and you know that weights you get where
you want on your artwork. You just have to move. You just have to come down
to this part selected red, move your science led at the beloved movie or
magenta slider to the left, yellow slider to do right. And you're black
slider to the left. No, it doesn't work that way. So you just have to play around with the values and
see what is going to give you and how it's really
going to suit the kind of ads work you are working on
at that particular moment. Right now I'm just
going to click on the drop-down menu
and I will go over to the neutral face for now and see what I
want to play with. Now we have this cyan, we have the magenta, we have the yellow and
we have the black. Let me quickly take a
look at something and see if I can get you some. So let's go over to
the color balance. Now when we look at the
color balance right here, you can see that the
opposite color of cyan is red and opposite
color of magenta is green. The opposite color
of yellow is blue. So we will go back to
the selective color. You can see it right now. You know that if you are
bringing down to this, but we are going to say
from moving into this file, we are going onto green, the opposite of cyan, red and the opposite of magenta. It's green, the opposite
of yellow, it's blue. So you need to
keep that in mind. So what we are trying to
target right here is just a warm few on our ads to exit, this is nine and we have
the light and also we still need warm and also
the Khufu right here. And we are going to actually
work on older stuff. So now let us really color grid, but let's really
work on that phrase. So I'm just going to
come down here to this part and create
a colo balance. First of all, create
a color balance. I'm going to drag
this in-between the selective color tone of the selective color
adjustment layer. For now, what we want to do
with this color balance, It's photos to give
us the ability to play around with our shadows. And like now, this is going
to help us to achieve that warm and the code tune on
our artwork right here, I wanted to target
the wound and warm, warm stood from the midterms
or I'm just go over it. So the highlight right here,
which is the highlight, I want to make the highlight
warm as you can see. So I wanted to make the
highlight warm leads to a little bit of blue. And I want to add a list with
a green so that the grass or trees or go into support
or from the background. So let's see the result
before and after. This is looking a
little bit better. Before an Alpha, you
can see emerge good, but now we have the fires. The lights looking warmth. So now we'll go over
at the mid tones, and now we are going
to apply a little bit of yellow to the mid turns, add a little bit of red
because of the fire. This is it before and after. And now we will go
over to the shadows. I'm going to keep going to keep it
that way and try to play around with the magenta. No, we don't need it
in magenta right here. And now, what reds? We actually don't
need the red squares. It's really hash right there. I'm not going to close
this reduces overhead before and it is what we have
after, before and after. It did alert helpers
who controlled the highlight and shadows. Now this is looking good. So now let's turn on the selective color
address mentally, double-click on this thumbnail
to open nodal properties. And I'm going to shoot the study spot right here because you can keep it right here
and drop this here. Now we are going to play
around with all these. We have the neutral
selected before in case you just forgot to click
on this drop-down menu and select the nutrients
I'm going to play with Sarah and certainly it's something a little bit
warm summer heading over it. I'm heading towards to
do what to the CPU. For now it will have the magenta add elicit bit of red, pulp. The lights go to the yellow. I guess I'm going to
add yellow right here. If I didn't know the blue
suit from green here, I'm adding more of the yellow, so I think a little
bit of a yellowish. Okay, right here. So let's
just quickly cities will have before and this
is what we have after. That is a little bit
reddish, but don't worry, we are going to fix
that. For the blacks. The blocks is not
really doing anything. So I'm just going to
set that back to 0. Right click on the
drop-down menu and try to play
around with whites. And I will go over
to the magenta. There is nothing really
to do with the whites. I'm going to set that back
to 0 and play with the cyan. There is nothing
really here to do. I'm going to set that back to 0. I'm going to click on
the drop-down menu and less play around with a black and see what we
can do right here. Well, let's individually
go in on right here, so I'm gonna hit
it on, put in 000. Now let us go over as
respire and select the red unless straight to
both the red again, not really much still happening. Even with the red suit. You can really see
what I'm telling. A shadow play with the
absolute and see what so great here, nothing. Now this is wherever, this is exactly what I'm telling you. Making use of the selective
color doesn't really give you exactly
what you want right? Now. You need to
keep this in mind. We have cost them
selected before. We will just reset everything we do and everything has
gone back to the number. So we'll go back to neutral. We don't have anything again, address mistakenly
click on that. I'm going to
readjust everything. Wow, we have this done. Okay, So I'm going to re-add, let me just reset this. Let's start from the neutral. Let's play around
with the neutral. Wonder light support. It's gonna be this way and need a little bit of magenta
to make it look good. Just like that. A little bit. And we'll need yellows
to make light pop. What again, we don't release, add a little bit of black. Click on the drop-down
menu goods wide, recession to play with in white. Okay, so click on the
drop-down menu again. And goods from black. We have lots of play
with the black. Cyan. Let's add a little bit. Oh, just because of the fire, I think just 1% is fine. Oh, minus one. I think 1% is fine.
Let us check. Minus one. Minus one is okay. It makes the place look warm. And let's go to magenta. We don't want much
green, I think. Minus 12. It's okay for these. Let's play around
with the yellows. I think minus one. So Q for the yellow
and the black, little less straight to
feed it should be, I think. Let's go four minus one. So this is where we have before and this is where we have alpha. Let us go from minus one
is a little bit okay, Now let's click on
this spot and let's go for the reds unless strike. Mainly we do fire, so let's add more intensity to the light and
the fire itself. Let's add a little
bit of magenta. Yellow, unless adolescent
middle of yellow. And overall, this is
what we have before. And this is where we have after, before enough that this is
really looking good for now. I think play with the black. So I think this is what
I wanted to do for now. Legally clear that out. I'm going to select
all these colors. Oh, the adjustment we just
applied and click on that. You don't control
G. And I'm going to name that adjustment too. Just meant to, I'm
going to hit on, okay, So this is
what we have before. And this is where we have after making liberty into
balance and look good. So after, before, after, before, lattice is good. This is everything we are having right here. This is
really looking good. Now we are coming to
the part where we have the nice look
on our artwork, everything literally looking
so good at this moment. So I'm gonna catch you
guys in the next lesson.
11. Color Grading: Now I'm going to show you
a little bit of a kind of trick that is given to be
really good for you lift. Now you can do any
adjustment you wanted to do, but there are so many Azure, there are some adjustment
we need to do before we finally roundup our ads work. Okay, so now I want
to make use of the camera raw filter to do some adjustment right
here that is really going to make the absolute
collude to merge. Nice wherever. Before I'm going to do that, I'm just going to select
every layer right here. I will group right here. I'm not sure I'm
at the top layer. They'll hold down
Control or Shift plus to make a merged
copy of everything. So now everything
we've done right here, we have the match
copy right here. I'm going to right-click and convert that
into a smart object. I want to apply a call. Now there are some
adjustment I wanted to do, but I wanted to show you a trick in case you forgot there is a way you can fix that
right here I have this now, it wherever our
filter we apply it. So you're going to remain on this layer and we can go back
and add details later on. Now, let's go over to
Filter camera Raw Filter. Alright, instead of
the camera raw filter, we wanted to do
some adjustments. I want to play around
with warm to make it warm a little bit unless you wanted
to add it seems of green. To make the grass Pop. I think I wanted to decrease
the exposure with minus. That's a little bit of contrast
to bring back the fading, we add the shadow and highlights
to make the light spot. The shadow. I wanted
to take the shadowed down to darken the ducks. For Dwight, I really don't
want to do anything we do. I think I'm just going
to add a little bit of whites, the blacks. I'm just going to take
it down a little bit, just like that for a
texture and so on. I really don't need
that for the vibrance. I think I'm going to be vibrance to it to
make the colors pop. And for saturation, I guess five is okay for
me, for the saturation. Okay, so now we can
quickly see what we've done with
just a basic tab. This is the before, and this is the after. We've done this with
just the basic tab. So let's quiet down to the
column mixed cell right here. From here, let's see what we can do if we can play
around with that. So we can play around
because you don't want to tamper with and it's in radius, I'm going to set this 0. Let's head over to the
color grading tab and see what we can make out of this color grading tab so we
can break down the shadows. A leads to B. It is few. I want to give the
bluish few leisure. See something more reddish. I think this is
fairly quickly cities wherever hope for
enough the array, we see how the CPU, and we
still have a fire right there. We can play around with light. So right here, I'm
working with the guys. Let's quickly see where we are working on working
with the shadow. Let us work with the
mittens and see if we can get with the meat
what we can do the meetings. I think I want more of
yellows in the midterm lab, more of orange book that, Let's see research here. Let's try to create a light of the mid change
to make it loop greater. For the highlight,
I want a little bit of blue for the highlight. Wanted to lead to veto
blue for the highlight. Now let us increase the highlights and
make the light bulb. Let's check the
color gradient types of resumes before and after are far enough that everything is
looking nice and good. Now coming down to
the blending layer should make this blend with our image
improperly or arthropod. Okay, I'm going to
increase the blending. Let's see, I'm going to
increase brand blend into somewhere around 68%. And for the balance, I think I'm going to balance between the shadows
and the highlights. I think I need more
available to highlight. All right, that is good, that is really fine. Everything is looking so good. Perfect. Let's take a look at, let's take a look between the
before and after. So this is how before. This is where we have after, before and after,
before and after. Now this is nice.
This is really cool. Now you can do everything
that the image won't do when I'm
degree heat on, okay. To go back, this is
a little bit darker, so I need more light on this. So I'm just going to create a new Curves Adjustment
Layer or latest IFC, go back into the Camera
Raw Filter because I wanted to pack
everything onto one, particularly, we'll go back into the basic tab and I will
go over at the highlight, will increase the highlights
a little bit, too much. And exposure increase the
exposure mode to somewhere. I think something
like this is okay. Okay, I'm gonna click on Okay. This is really fine compared
to what we had before. This is over how before on our ADSR and this is
where we have after, before and after,
before and after. This is looking so good. Now there are so many, some
adjustment we need to do, but this is just a basic
way of how you can round up your work to see
what it's going to look at the ending. And that is really
going to help you do a lot of adjustment and
come back the fixed ovaries. This is just how I color grid my ads work
stress will delete. It seems now there are
some artwork you do, you go ahead and add more color gradient technique based on this kind
of an artwork. This is just how I wanted to
color grid my own answer. The last lesson we
will go in and apply every final adjustment
that we need for our artwork to look so
much good and better. And I hope you've been
enjoying this lesson so far and you are learning a
lot from this lesson. I can't wait to round up this lesson with you
guys so that I can see what you guys will create after going through this course, I will see you guys
in the next lesson.
12. Final Adjustments: Previous lesson
of color grading. This is the stage we love. Previous lesson,
I showed you guys how I color grid my artwork. It is just a very
simple step by just making use of the
camera to color grade. Now what I did is
just to give you the end of how everything
in it's going to loop. There are some folks
who just wanted to see the end of our artwork stood at, will be able to know
the kind of adjustment we wanted to do to
make the artwork look good and re-look exactly
the way we want it to be. That is what I just did here right now after applying to
find out why adjustment, I'm now seeing some
things I need to do, like a needs to add up the fire. I'd see it lies right here
to be visible here a lot. And one thing we keep in
mind in the last lesson, it's that will make
his over smart. We make use of a
smart object right here to apply our
color gradient. Which simply means
that if we make any modification to the
below layers, right? It, we can also convert all these groups into
another smart object. Then we can just copy and
paste this smart filter. Then we're still
going to arrive at the same color grading
we have right here. This is something we really
need to keep in mind. But before we go in and start applying our final adjustment, let's quickly see how
far will go on in this. We started out from having
jurist a background, just like these two different backgrounds
merging together. Then we add detained. After adding the tens, we add the subject, which is to subject right here. Then I'll do a
very good which is the chopper and the Jeep. Then we added the fire, which is the
campfire right here. Then we add a little bit of
adjustments to move it from day to night because we are
going for a night scene. Then we added the fire
effect right here. It's light up our scene because of the fires
we have right here. And we go ahead and modify
the direction of the light. So since we have, since we have the light come in, we have light from the
spot and also we have the light on the chopper and the light hits in this
part of the jeep, we can have the light's
coming from this area. It make an adjustment to that by controlling
the light properly. So maybe the light's coming
from this part right here, which is really nice, affecting everything
in good and nice way. Then we apply some
adjustment layers right here to try to
adjust everything, make the fire intense and so on. And finally, we apply
our color grading, which really brings
out the beauty of the ads work we are
going to so far so good. This is over the
whole process will make use of now I
wanted to work on fire, so I'm just going Don't of the layer will have right there, this mud layer we
have right there. And I'm going to locate
the fire lights, which is This is the firelight. I'm just going to select on
any one of the group and hit the B key on my keyboard
to select the brush to. After I selected the brush, to make sure I have the
layer mask selected, my foreground color
is set to whites. I can now go ahead and paint over displays to bring
out the fire right here. And also a little
bit of it here. I'm going to click on
this layer again on the layer miles and
repeat the same process. We just only to note I am making use of the
soap brush will do Park City right here
with the flu and proximity. And I'm really going to
add it right here. Again. I'm just going to light here or little bead will know that. Okay, that is fine. I'm not going to light
here, note that much. I'm going to undo
that layer selected. To do that. Now I'm just going to
paint a lead to rise here, to just bring the fire. That is, that is
absolutely fine. All right, so now let us
quickly see what we've done. Now look at what we've
done right here. We've added a fire
lights right here, and also identify
our light right? So now what we are
going to do before we apply our final address
now we just really wanted to see what we're just going to measure
if it's in my way down Control or Shift plus e to make a merged
copy of everything. And then we're going
to right-click and convert this
into a smart object. Then we can come
down to this part, hold down the Alt key on our keyboard and drag
on this smart view that and drop it on this
new layer we just created and convert it
into a Smart Object. Alright, so now we have it. Now you can see where
he's looking at. This is the previous
one we have. This is the after one we see a whole lot of light just added, a whole lot of live just
added to our ads work. Now it is time for me to add
some depth to this fire. Fire is really looking good, but not as much
as I really want. Hub. Now, I want to add moving objects you,
these ads work. I really want to
make it outstanding. So I got this stock
footage right here, which is fire, which we are
going to be making use of. It looks more like a picture. We're actually this, the video. When you look right here,
you can see that we'll have video group here. Okay, So now what I'm
just going to do, I'm just going to
select these video group layer, the video group. And I'm just going to click
on this hamburger icon, click on duplicates group. From this document,
I'm going to click on the drop down menu
and select the comp. Now, this is the
current document we are working on right here. So I'm just going to
restrict the comp. Click on Okay, and
give it some time. It's going to duplicate and
drop it inside of this group. But before we come
back, so this group, Let's go back into this previous the document
we are working on. So go over to Windows, scroll all the way down
until I see the timeline. Click on that, and it's going
to open up the timeline I'm going to drag and
increases right here. Now you can see it's
in the video group and already showing that
this is a video. When I hit on the
play icon right here, you can see that a fire
explain it truly looking good. Alright, so that's fine. I'm just going to
hit on his face, but to purchase it and
watching a leg bodies via its, that it has a continuous loop
which is really going to make it look so much like you can see that just
something like that. Okay, so I'm just going to
come down to this file, and from here I have duplicate these and I'm just going to click on Create Video Timeline
when you click on that. And now you can see that we
have everything right here as having a play
head right here. But we don't really want to work with any one of all these. We only just wanted to work with the fire, which is right here. But now you can see that
as we apply to fire, it covers everything
on our ads work. How are really going
to adjust this? So we just wanted to go over to the blending mode options. Scroll all the way down to
find the screen. Right here. Click on that and
apply the screen. We see how some kind
of issues right here. It's okay, everything's
looking good. So let's quickly these DR, everything is really looking. Occasion now hit on Control C to transform this
and bring this down. Just going to move these O. And I'm going to try to
bring it down to this. Here. I'm going to
click on, Okay. I'm going to click on the playbooks in to
see how it is going. This is really going, whoa. I'm just going to
come down to this BY includes these play
head right there. That's fine. Now, it
can loop constantly. Come down to this
file and resolution. I'm going to set the
resolution to 25 and set the loop to play whack. Now when I hit on, when I hit on play. All right, this is just looping unless see
how it's going. Okay, so now this
really looks good. It's really looking so good. So I'm going to pause that. And now it is time for us to really address this
fire to make it loop. So we're gonna click
on the video group who don't control C. Again, try to transform this to
fit in with the fire. I'm going to drag this
down just like that. But first I wanted to turn off every adjustment layers
that I have here, leaving only the fire so that
I can really blend that in. Now I'm going to drag
this and drop it here. Now we have the video
group right here. So I'm gonna hit Control C and try to transform these very
well to really look at, okay, so I'm going
to drag it down to this part right here, but this is not really looking
strokes I were to click on the layer marks
to that group would have video group praised and
be key to select the brush to measure my foreground
color is set to black. And I'm just going to erase some of these
areas right here. Right now I can take
the play head back. So let us really see, okay. Measures go forward in time. You know, we just go into
erase everything here. We're just going to
erase everything. Now let's play this and see. This is looking good. So unless you don't control
C, select the whole layer. I hit Control C to
transform a ledgers. Drag this up a little
bit. Just like that. Click on, Okay, now
let's zoom out. And then I'm going
to return this back to 2% so that it's going to be clear in
order for us to see. I'm just going to hit
on the space bar. That's looking good. Now I'm going to turn on
all the adjustment layers. Now I'm going to hit on play unless really see
where it's going. Alright, this is
really looking good. This is really looking. Or some like, I love these. Alright, so there is something
lives we need to do now. But when you look
at these, you can see it's splaying very fast. It's superficially
removing slew, little bit slow, but we
are going to work on that. We'll go into
Premier and jurists finalized this right here. So let me just go back or
little b and now later split. This is looking good. It is really looking good. Now what we need to
do is to make sure to apply all this
right here again, right-click on the
video layer and convert that into
a smart object. Unless quickly
see, alright, now, the video is playing
right here. So this is z. This is looking good. Right now what we're
going to do leisure, see if we can walk only. So we're going to
select this layer, select this last layer. Now you can make a duplicate of this if you want Control J. And now scroll all the
way down and turn off every layers you have below because you don't want
to, you don't need them. Select the first group and
select the large group. Kiran, Control G
and double-click on dad's anime that
as a backhaul. This is actually about cobe Iran Enter and I'll
turn of that layer. Now you wanted to select this
one, the city's background. You want to select
that one and select the last one by
holding down Shift. And I want to
right-click and convert everything into a Smart Object. Hey, everything is converted
into a smart objects. So let's see what's
going on right here. There's gonna hear
them play ledge. Really see this is
playing right now, and that is absolutely fine. But when you look right here, you can see that it's not really filling out
the whole screen. So I'm just going to do
you don't control it. See you again. Just
zoom out a little bit. Skewed is just a
Li2 click on, Okay. And now he don't control
Zero to fit the screen. This is really looking good. Now, I can drag these smart filter and
drop it on the spot. But before I do that, I
just wanted to rename this. I'm gonna double-click on that
and just name that finer. Aidan. Okay. Now, I can just drag this in drapey right here. Let's really see
what's going on. Alright, This is amazing. It is really looking nice. Now we can just move
the play head and see, yeah, this is released his plane and is
really looking good. In the next lesson, we will go in and see how we are going to export our artwork as video
and finalize this in Premier.
13. Exporting Your Artwork: Talk about experts in our
adsorb from Photoshop. As for video, now we are going to export this as
a video in Photoshop. Go into Premier, do to
find out the g's and then we're still going to export that as a video in Premiere. But one thing you
need to understand that what we want
to do in Premier, you just to slow down the
fire to make it relu, good, Just really know if
it's truly going fast. It's wouldn't be
that nice Bowman to fire up. It's going slew. It's really make a lot of sense, give a whole lot of
dimension to our artwork, attraction to our adsorb, that is where we
want to achieve. But first of all,
let's finish out with exploring as a
video in Photoshop. Now we can go over, I guess we don't need
these two layers anymore because we
have our final answer. I'm going to select both
of them here ON delete. And don't always,
don't always forget to hear on Control S
Whenever you are, you've got some certain
progress of your ads work now to render these
are the video in Photoshop, whereas helps to go over it. So phi scroll all the
way down to where we have experts and
scroll all the way down. So here we have random video. Click on, Okay. Give it some time. It is your
hands and put everything together and bring
up a new window for you which you are
going to use to get your videos decisions
you want it to be and also export your artwork. Alright, so now here we are in the Render Video
tab in Photoshop, we have several options
which we can use. We have the limb. If you want to change the name, you can go ahead and change
the name right there bumpers, you're going to leave
mine to the comp. And if you want to
create, solve for that on this desktop,
and of course, yes, I wanted to create sub-folders
and I'm just going to name these com. That is a sub folder I want
to create and render engine. We want to make useful
Adobe Media Encoder or you want to make yourself
Photoshop sequence of, of course, I wanted to make
use of Adobe Media Encoder. And I'm going to live
that the format, where do you want
to make yourself, do you want to make use
opaque disease for it? I was going to turn it
into an MP4 or you want to make use of the
QuickTime format, I'm going to leave
that to the H.264. That is what I use. And coming over as it is Pi, we have the document size, what the community
says wanted to make his I'm gonna leave
it to the third because this is huge D and represent what quality
you wanted to make user. I'm going to leave
that to high-quality. And the frame rate is 30 frames per seconds
and the deferred, it is obvious that if frames
per seconds and I'm going to set that title
frame per second, then fill that, just leave everybody at the
end the way it is. Expert ratio, depending on where
you want to do, boundaries are gonna do that. I wouldn't say it's a queer. Go ahead and set it to square. I'm just going to leave
that in a document 1.1. And the range, this
is very important. So right here we have 400
and that's eighth frame in the whole video playlists in
plane right here, 438 free. If you have any particular place where you want to
frame this that all this later say you wanted to
frame to start in ledger. Say I wanted to film to start
from into frame and export. And why did you start
from Trinity frame and export everything
from 20-foot since you want frame upward
up to 408 frame, you can go ahead and do that, but I don't want these. I'm going to go
to work in areas. I'm just going to take this down bucks 0 and come down to this, but work in areas with 024149. That is all I wanted
to do quality. When you click on
the drop-down menu, you want to see a
rich rays, ray trace. Finally, I'm going to
leave that open GL because I didn't know
much about that, but I'm just going to set
that to open geo now, once you've done with all the
hosts settings and so on, you just wanted to
hit on these rent out birds in right here
and Photoshop, it's going to start rendering
your video for you. Now, these stages go
into based on your PC, how fast your PCEs, or how fast your PC can process, or a scan of stops, it will be seize a
little bit of slow day. You wanted to get a cup of coffee or you just want
to do some scenarios. Maybe you just want
to watch Netflix and chew or you
just wanted to do some nails and width for
Photoshop to finish rendering. Now we'll learn to express it
in Photoshop less quickly. Preview what we're going
to hit the Windows key. Plus E on my keyboard to open
up the Windows Explorer, I'm just going to
browse through in my second screen and just
open up the dura we have. Okay, so here is the mp4. We have exploded from
Photoshop and we'll have that at 0.9 megabyte. So I'm going to
right-click and open up. We'd, I'm just going
to reproduce with Windows Media Player and I'm
going to drag it into this. I'm going to drag it into
dispersal less quickly than, alright, this is where the
n is really looking good. Now, you can keep this way
if you like it like this, or you can still proceed
in Premier right now. I'm just giving you a cooler. Is that and I'm going to
clear this up Photoshop. I've already saved
that and I'm going to clear this up Photoshop here. And Lord of Adobe Premiere
is what we wanted to do. We just want to go over these
products in new project. Click on the new project right here and you
can give it a name. I'm just going to name that comp are the same way we
have it in Photoshop. And right here you
want to make sure that you have your render right here. When you click on the
drop-down menu, you have. To select Mercury
Playback Engine socio only omega0 Playback
Engine GPU acceleration. Now, I'm not really
going to go in depth to explain premium does is going to give you just a lead to understanding above this. It's doing this is talking
about your graphics card. When you make these
Mercury Playback Engine is talking about making use of the premium itself to perform
all the tasks on your PC. But if you're talking about
the Mercury Playback Engine, it's going to make
use of the support of your graphics card to speed up your workflow in Photoshop. Now, speed up your
workflow in Premiere. Once you've done with
all these settings, just make sure to click on Okay, to take you into Premier. Alright, this is the basic
endeavors of Premiere. When you open up Premiere
for the first time, you might want to get the
lemon tab right here, that is the learning tab
you are going to get. But right now I said
My into the editing. That is why it is like this. Right here we have all the
tabs which you can use to edit your videos or do wherever it is you
wanted to do in Premier. Right here we have the Phi style options which you can use to do one
or two things, right? Instead of premium, right
here we have the source clip. Wherever clip you
have right ear. And when you click,
double-click on that, it's going to show
here is source clip, right here you have
your project where you are going to drop all
your project files, video or audio is
pictures and so on. Drop them right here though
we have the media browser, which you can use to
browse Elizabeth, the accumulator,
or some document and put them into Premier. I didn't have the libraries, which is your CC library, aggressive
collaborative library. And here we have input is
going to give you info about the videos already
I had them you have selected on your project
section right here. They'll have the effects out. The effects are
available in Premiere, just like the filters
available in Photoshop. And right here we have markers, here we have the timeline. You are going to see the video
and play head right here, just as we have in
Photoshop when we are working with the
timeline in Photoshop, this you just have it right here and right here we
have the program. This is where you
are going to see your video wherever it leads
in you I'm doing right here, wherever if there's your outline on your clips right here, you are going to be seen
everything right here live on your, your premium. Now I'm just going to input
my video right into premium. I'm going to find a comp for
that which is right here. And I'm just going to drag, drag and drop it in
this spot where we say import media to start when a click and drop it right there. Alright, so now you
can see that I have the video input into premium, but now we need to get
this into timeline. It proprietary DDoS, we just
have to go over at phi, come down to this virus, the new, come down to
the next part and click on sequence is going to help
us to create a new sequence. Well, I'm not going to go in
depth and explain all these, but you just want to click on a frame rate that
match your own video. For you to know the
frame risks that much of Vireo just want to
come to your video right-click and locate
the police Dies sei provides these,
which is right here. Click on the Properties
and it's going to open up the Properties panel in a if you just wanted
to do anything, you guys want to locate it just the frame rate,
which is right here. So right here you
can see that we'll have the frame which sets that are frames per seconds,
going to close that, go back to File New
and then sequence, create a new sequence and make sure I'm just
going to deselect these. The NX HQ, then ATP two into
9.97 frames per seconds. You want to see it right here. If we can find that. If you're near sequence,
if you're new, if you're a new sequence window is slightly so you
just want to locate the DNA and click on that. You want to locate
the one that match the particular frame you
are looking for right here, you can see that we have no dataframe per seconds
itself right here. So here's want to
locate the one that's close to what you
want to make use of. So right here I'm just
going to make use of the ten HCP two into 9.7. Since 9.97 frames, that
is what I'm going to use. Instead of that, I'm just
going to select the DMNX HQ, then ATP 2.979
frames per seconds. And right here you have
the sequence name. I'm just going to name that too. Again. I'm just going to
name that to camp. And right here I
can click on Okay, when I click on Okay, you can see that
will have something going on right here in our time. Here we have video will be
due on video to video three, audio one, audio to audio
three and audio four. This is telling stories that
display head right here it's for video and this one
here it's for the audio. Now you can also
see a little bit of a demarcation right
here that you can see. Right here, you can
see now in our program we have the black
screen right here. We just didn't notice
that we don't have any clip available right here. Odors have to do you just
need to click and drag that video which will input in suprema and drop it
into your timeline. Now in case you get
this popup right here, that's this clip does not match the sequence settings
change sequence to match. The clip settings are what edges I'm just
going to hit onward, keep existing, but you can
also just click on that. I'm gonna keep it
exists in right here because what the host settings is
still the same thing. How my video as if ten ECP, 30 frames per seconds. And I also have my sequences as TCP and 30 frames per seconds. That is now right here. You can see that at
this part right here I'm having the yellow playhead, that's because of
my graphics card. If you are having
the red playhead, he just wanted to hit on
Enter to render your video. When I come down to
these by heat on Play, you can see that we have
in plane right here, which is really looking good, but looking at this part right here now we have these
sparse sets of foo. If by any chance
This was freezing your PC of giving you some
kind of issues, right? I just wanted to come down
to this part and click on the resolution and
just want to set it to maybe one over two or just one or two or four
depending on your PC. But for me it's really
okay right here, the source monitor I'm
telling you about. If I double-click
on this video clip right here, you
can see it's here. Now, if I need any part
of this video clip or there's some part I don't need to let us say I need
this beginning. I can put in endpoint, and I need this part right here. I can put in outpoint
now this part and this part won't be
included in the video. And if you just want to
clear that you can just, um, can just right-click on this file and just
click in and out, and it's going to disappear. Now I have everything
right here, which is these two now everything that I
wanted to do is I just want to slow this
down a little bit. So there are several
ways of doing that. You can just right-click
on the clip and you can go to speed
and duration. You can now type in dispute he wants to
put in right here. So right here you can
see that iteration is set to 000429 seconds. You can just see
that right here. Now, if you wanted to
increase that and you can see this purity sets a 100, you can just click on that part and lasers
to one hundred, one hundred fifty percent
of the speed and click on. Okay, you can now see that
the duration of our clip has been extended to somewhere
around nine seconds. So when I take this back, now you can see that we have
resets in nine seconds. Now when we're here on the play, you can really see how slew and really nice looking
so much good. Now there is something I
really wanted to show. There is no way you
can do this aside. I'm just right-clicking
enclave and go over to speed and duration. Now when you come down
to this part right here, when you click and hold
down your mouse-click, or when you right-click, I can even right-click. When you right-click
on the screen, when you click on this little
arrow right here, it is. Go into Open. Nope, everything. You can see that we have the rich stretch through right here. When you click on that and
select that which stretch two. From here, you can increase the duration and you can
decrease the duration. And I went, I click on Play. You can see how slow
it is right here. When I click and drag it back, later sits somewhere
around here. When I click on here, you
can see how fast it is. And I don't want
something like that. I really wanted to be
a little bit slow to somewhere around later,
see ten seconds. It's really fine for this clip. And I'm going to hit on Play. And now this is what
I have right here. I really love these leisure. See, it makes it look
cinematic later, say 12 is okay, and I will go back, hit
on play and leisure. Really see what's
going on right here. Now this is really
looking at are so absolutely fine, really nice. Alright, so this is
how I want it to be. If you want to add a music, you can just drag and music
and put it right here. But for now edges, I guess I just want
to make these. Let me just show you
that I don't have any nice music that can really match with this clip
for the moment, but I'm just going to
show you something, a little bit of a track. Just want to drag an MP3 or an empathy and drag it
and drop it right here. So this is very, very long. And dad, and I'm going to hit on play and you are going
to hear that right now. All right, so now you
can hear that you can just add a broad background
music of your choice. You can trim the
background music to any land of like, oh, you can also go take this
into Adobe Audition and remix the tracks that it's
going to match the length of your video clip right here. But I don't want to
do any of these. I'm just going to here ON
delete and also come down to this spot and delete that once
an hour to do right here. I just want to delete this OG we have right here
causes no, it's not useful. You have two ways of doing that. You can just hold
down the Alt key, click on this and you can hit
on Delete on your keyboard. Or you can just right-click on your clip and located
where I say unlink, right here, you
can now click and delete the audio is way. It's all about
just making use of the Alt key when likelihood
down the Alt key, click on the audio clip, and now you can delete
that right there. And this is fine decisions. All I want, experts just measure your timeline
is going to select that, go over it's five scroll
all the way down. So you see expert
and then media. And this is given to pop up
my LCD pop up right here you have the name and the Match Source, which
is high by trade. I just wanted to keep
that high byte rates. Now come down to
the output name, click on that output name. And I'm just going to go over to this PC desktop and
located the comp. And I'm going to save it
right here inside of the CMS. I'm just going to click on
the name right here and limit come to or later say com, slow mo. Sorry about that. Go back. Slew, hit on Save and can provide some
primary right here you can see how the states of 15 MD, Well, it doesn't really
matter for simple like this. I just want everything to be of high-quality and I'm
going to click on Export. And right here, just give
it some time and it is going to finish exporting. Once it's done, just go into your folder and this is it
right here, right-click. Oprah. You can make use of VOC, but for now I just
wanted to make use Windows Media Player. Now you can really see what we have right here, and this is z. This is how you can export your artwork from Premiere
and also in Photoshop, making use of Photoshop
and Premiere to achieve. So now we've come to the
final stage of the artwork. We're done with everything
we wanted to do. And I hope you learned
a lot from these. And I'm gonna see you guys
in this lesson. We will. We are just going to summarize everything, not really a lesson. We're just going to
make a conclusion and wrap up everything. See you guys in the next lesson.
Mac Moses Michael, Digital Artist/Photograper
