Compositing: Create the Backdrop
Some backgrounds to that our bonus blisters textures with this course it's a little bit about the texture is what I saw because I know is a digital artist how hard it is to find a really great stock so I started opening up some of my libraries for sale so I have a stocks shop through my web sites if you goto renee robin photography dot com and you go to buy stock, you'll see a bunch of the stock practices or they're so those textures I'm building some skies that's a motion stuff things like that so I've included uh, four images for textures with this course if you buy it so and then if you want more you can check them out so yeah it's just I know from a digital our standpoint I couldn't find anything so it's like, well, I'm using these anyways, you know and why not share them with everybody? And so they're they're they're also cheap so because I also know that getting stuff for digital art is expensive so you can do whatever you want with them use it for commercial whatever just don't ...
sell them again because that's just rude so we're going to go into create a new layer here and I'm going to use a stamp tool and I'm gonna keep using this textured brush I'm gonna have a set teo seriousness current layer gonna go all theirs and get rid of some of this stuff so I'm using a textured brush because these edges here have texture so just going to clean this up here and this is going to be a little bit quick that's okay? Like I said, if I was doing this with more than ninety minutes, this would be very, very clean it's going to get rid of that city stuff already, and so now I'm just gonna get rid of this city here, so this is going to be another textured brush that comes with photo shot everything that I'm using today comes standard with it. Where is it? So I'm using this texture over brush because it looks like the trees, so I'm just going to go in here, get rid of all of this. So if we have any questions right now because this party is super boring, we can totally ask questions while I'm stamping stuff out, how do you maintain perspective when you're shooting a background in a subject at different times in different places? You write it down before your shooting or do you just wing it? Joshua asked that I did both. I'll totally wing it sometimes sometimes I'll write it down, I'll make notes, I have a notebook that travel with a lot and so it's just a question of how comfortable are you with the stuff that you shoot right so if you shoot all the time and you're super used to it you know your formula then you're going to need to write down less and less and less today I had a question I see you you know you're using a walk home wake up, wake up so tablet would you recommend anyone for a beginner getting started with totally wakame used to make this thing called a bamboo and I'm sure they making equivalent now and it's basically like a beginner tablet kind of thing if you're not used to using a tablet, I highly recommend getting just a cheap one fifty sixty bucks will get you awake on tablet um and then learn on it because these into us pros are extremely sensitive right? They do a lot and they're amazing, but if you're just learning how to use um if you're just just just learning how to use these it can be extremely frustrating as well. I know a lot of people who have been using them and they're just like, oh my god, I'm so frustrated I want to quit I want to try this thing out going to sell it and that's just no fun for anybody right it's like takes the joy out of it so it is it is a little bit tricky tto learn s if you get yourself a cheap one that isn't quite as sensitive then once you get used to it, spend a couple of like a year to want it um once you get yourself into us the ones that are really sensitive it's like stepping into a lamborghini you're like, oh, this is great you want to get into a lamborghini when you're first learning how to drive because it's frustrating and it's too much it's the same thing with these tablets so they can be extremely frustrating and extremely overwhelming and that makes the entire process not fun for everybody so this is driving me nuts I gotta fix this the world of o c d can't leave it alone so normally there's like there's a ton of repeating patterns going on right here and I'm just trying to get the concept across at this point so if you're doing this normally these repeating patterns are bad, so I'm just re stamping to get rid of all that survives ing about when you look at this and I go before after all signs of civilisation are done, so we're good step number one step for step number two is let's add some stuff, the atmosphere and some depth to this image, so I'm gonna go here and I have my stock files and how these mountains that I shot and this is another thing uh, when you're shooting your own stock, try to be aware of what you're shooting so I shot these mountains super far away with the thoughts that maybe one day I'm going to take an image where I'm gonna need a mountain line far away so to match that I went into my stock I'm gonna hit control a which is copy control see control shift v v as in victor so if I put this on here this blending mode to multiply hit letter v which is move then move this up here this actually doesn't look like it looks like it belongs it works because it was shot far enough away and it matches that perspective in that horizon line so I'm going to create a mask take my brush and in this case I actually will use a large soft brush so in this case I'm going to sit here and I'm just going to blend this up here now the reason why I'm allowing myself to have a soft edge brush here and why I'm allowing for this little bit of hailing going on is that if you ever been to the mountains and you look at mountains that are super far away they fade as they get closer to the earth and the reason why I'm using the blending boat multiply as opposed to just cutting it straight out is that things that are further away have less contrast unless saturation which is a nice thing about this image it was already shot that way I'm just adding to that and I'm making it a little bit more believable. So next thing from here, I'm going to make adjust my crop, so this was not something I'd usually do right away, but I want more cloud stuff up at the top here, so, uh, I'm going to totally screw up my perspective a little bit, bring this up a bit, so I'll probably do post cropping later so that it fits whatever I'm going to print the size gonna hit, okay? And I'm so you have this line right here because this is the blending mode. I'm going to create a new blank layer underneath my mountain layer control shift and to create a new blank layer going to go to my brush and I'm going to sample this color and paint kapow these clouds appear totally suck, so I'm going to get rid of them because I'm using a leather mask so I could do that do that all righty. So soloing the fake believe a bullish right looks pretty good so far. Next thing gonna do is I'm gonna add some clouds because I, like got in clouds. So this is where clouds once again have to match your perspective, you can take clouds and put them on your horizon line if you shot them straight up like this I don't really work right, so clouds stack, they have bottoms, they have tops, they have light, so I was out getting totally soaked in the rain. Thank god for kenan five d mark to, uh, water resistance because I was soaked. I look like I just got a shower, but this looks actually like it would work so it's far enough away. The clouds are a little bit big, but we're selling a story control ship, be gonna move that up. So I do a lot of same stuff over and over again copy, paste, drag blending mode could use multiply again because of dark could use a layer mask going to go to my brush on. I'm gonna blend this out a little bit, but I'm just blending this in here just a little bit, going back and forth between black and white, and I want to make sure that you don't have that line across the bottom. Here we have cuts, which is cool.