Duplication Light Sources
Lesson 5 from: Transforming Day Into Night in PhotoshopBen Willmore
Duplication Light Sources
Lesson 5 from: Transforming Day Into Night in PhotoshopBen Willmore
Lesson Info
5. Duplication Light Sources
Lessons
Lesson Info
Duplication Light Sources
Alright. So now let's say that that's one particular light source. Now I'd like to add another one and I'd like it to be over here. Well, I don't need to redo all that work. All I need to do is duplicate this layer. So with this layer active, I'm just gonna choose layer new layer via copy right there. Keyboard shortcut is what I use all the time command J control jam windows to jump it to a new layer. So I'm gonna choose that and then that's gonna double up our brightness that's over there. And I'm just going to use my move tool now and move it over here until I get to more of this area. I might need to drag it up a little bit and I just need to change my layer mask because the area where the little beam would be there is not gonna be exactly the same. In fact, it would be flipped horizontally. If I really got this to be symmetrical, I could probably tell it to flip the image of that layer horizontally. But what I'm gonna do instead is click on the layer mask and I'm just gonna fill it...
with white. My background color is white. Currently in command delete will fill with your background color. Then I could zoom up and I'm gonna turn off the other layers we have. So I get down to the original picture so I can see that little beam sitting there and I'll grab my selection tool and I'll say, well, right across here is where it wouldn't show up and I'm gonna follow that little beam. Imagine I'm being a little more precise. I would usually spend a little bit more time with that. And I'm just getting into this area where the roof is, would not be affected. Now, let's turn all the layers back on. Let's work on our layer mask and let's come up here and just say we would like to fill and I want to fill that with black, black means hide things. And so that area becomes hidden. Let's get rid of my selection with the select. And the only thing is the light sources here, it should be moved. So it's right behind this. Well, here's the problem if I use the move tool and I attempt to reposition this, not only is the light source gonna move, but so is the mask, I'm gonna choose undo by typing commands. E if you look at my layers panel, you see that little chain symbol in between the mask and the layer. If I click on it, I can turn it off. So now, I can either move the mask or if I click over here, move the layer itself. And so I'm gonna do that, try to get that positioned as if it looks like it's behind the beam, then I'm gonna zoom out. And if this needs to fall further down, then all I need to do is again, make sure I'm working the left side of the layer and that the mask is not linked. And then all I need to do is choose free transform. And with free transform, I can grab this and pull on it to change its length or its width. Now, the only thing is I like to use this little cross hair. Yours might not have the cross hair visible. It all depends if you have the check box in the upper left right up here turned on and I do. If I had to turn it off, it would go away. What I like to do with that cross hair is place it in the area where I want to keep things consistently positioned, which would be right about there. Then there's a trick if I grab one of these edges and just start pulling on it, it's going to completely ignore that cross hair and I don't want it too because now you see the beam doesn't line up with where it used to be. I'll choose undo by typing commands. E in order to get it to keep that area consistent. But allow me to adjust the height and the width and all that kind of stuff. I need to hold down the option, key Alton Windows. Now, if I grab one of those sides and pole, that area is gonna stay consistent. And so I could make this light fall further down if I like. Uh if I want to adjust the width separate from the height right. Now, you notice when I pull on this, both the height and the width that are changing, let's say I got the height just right and it's only the width I wanted to change. Well, if you find they're both changing, that's big because this little link symbols turned on up here, you can temporarily toggle it to the opposite of whatever it's set to by adding shift. So I'm holding shift an option at the same time right now. And now I can adjust the width separately from the height. And if I grab this with both of those keys held down, I can adjust my height. And once I get it the way I like I press return or enter. And what I haven't done here is I have not grabbed that little blur tool, but the one that looks like a drop of water to blur my mask to make that look a little bit. Oh In fact, I gotta choose undo it's the mask I need to blur right now. I'm working on the image. Let's work on the mask, just paint there to soften that I can also grab the paintbrush tool and paint with black to get it off of things like this little speaker or up here where it might not be appropriate. Just make sure I have a soft edge brush. Now, we can add as many of these as you want and you can continue to do so by just duplicating this layer, just type command J to duplicate, then use your move tool. And if I want to put it down here, let's say in this area, then I might need to have the light source much taller. So again, make sure you're working the left side of the layer, then I can just type command T control team windows. Put that little cross here, right where you want to keep things positioned and then I can grab here, just hold option, option. Alton windows means keep that cross hair where it's at and I can pull this down if the width is changing at the same time, add shift and now you'll just be changing one. So I can do that. I control how wide it spreads and press return or enter when I'm done, Command J one more time to duplicate and then use your move tool, move it over somewhere else. Reposition. Also when you type command T control team windows where you can move that little cross here. The other thing you can do is if you move your mouse outside of these little handles. Uh then you can swing it from that little cross hair. So if you need your light to be a slight angle, you can do so. And then again, I hold option to keep that little thing, the cross hair consistent and I could fine tune these. The bottom two have not been masked to make them look like they're underneath of the particular pillars that are there. But you get the idea, I'm gonna add a few more of these and I'll speed it up so that you don't have to watch the whole time and I'll also mask those. Mhm Now I'm gonna turn back on the adjustment layer that was trying to make it look like nighttime. And since all of these have the same brightness, I might as well put them into a group. So click on the bottom most layer that has it hold shift and click on the top most. And then I'll click the group icon. So they're in the group. When they're in a group, I can adjust the opacity of all of them at once. So I can decide exactly how strong they need to be or I can drill down to the individual layers. So let's say the bottom three are too much. So I can grab each one of those and you can make multiple layers selected at the same time. If you can find all the layers. In my case, I'll make it these top three and then we can adjust the opacity together. You can also work on the individual layer mass. And if you find something like the very top of this to be just a little bit too bright, you can grab your paintbrush tool and with a soft edge brush, maybe get a really large one and all I'm gonna do is paint with black and get my opacity down. I'll bring my opacity to 20%. And I'm just gonna paint right here to say that's just a little too much at the top. Then I'll go to the next one and say this one. I think it's also just a little bit too much at the top and come down to the next one. And if that was the case, I could do it there as well. So you have a lot of adjustment that you could do. And with each one of these, I might adjust those tops just because they feel a little bit prominent. I think it's only this last one. If you want to get more sophisticated, you can actually make these light beams out of multiple layers. Let's say I want the middle of this light beam to be more prominent. Well, I just need to figure out which layer it's in. It's in this one right here. I can type command J to duplicate the layer and then I can do the transformation that we did earlier just making sure, the layer mask is not active. I'll type command T control team windows, I'll move my little cross here to where it needs to be. And then maybe I would make this slightly skinnier more like that. And then I'll lower the opacity dramatically. I'll bring it way down because this is now made of two layers. And therefore, I can make the center of the beam to be a little bit brighter than the outer portion because the center of the beam is on a separate layer. All depends how crazy you want to get with it. Uh The other thing we could do is get fancy to say, why don't we make all these beams of light break through this layer that's underneath, that's called nighttime. There's a couple different ways that can be accomplished. One of which is to take this group and to go down to the letters FX and choose blending options. And in here is a choice called knockout. Knockout means take whatever is inside this group and cause it to poke a hole through anything that's underneath it until you get to a layer called background. And therefore, we might get a little bit more of the natural color of the image. Although I don't know what it's going to be dramatic, but I'm gonna set this to knock out deep just to see if it helps. Sometimes it does, sometimes it doesn't so knock out deep, then I'll click. OK. If you want to see before and after I'll just type command Z here's before and then I'll reapply slight difference, but it brings in a little bit more of the original color in the image if you do that.