• Overview
  • Transcript

4.2 Refinements

In this lesson you'll continue to refine the edges of your elements.

1.Introduction
1 lesson, 01:25

Free Lesson
1.1
Introduction
01:25

2.Adding Images, Masking, and Blending
3 lessons, 33:49

Free Lesson
2.1
Base
10:19

2.2
Masking Techniques
15:57

2.3
Blending
07:33

3.Constructing the Sky and Architecture
2 lessons, 26:37

3.1
Sky
10:11

3.2
Architecture
16:26

4.Finishing Touches
5 lessons, 55:21

4.1
Technical Checks
10:39

4.2
Refinements
12:17

4.3
Blending and Color
12:29

4.4
Light and Other Adjustments
08:32

4.5
Final Touches
11:24

5.Conclusion
1 lesson, 00:47

5.1
Conclusion
00:47


4.2 Refinements

Okay, this will be part 7 of our tutorial. We'll continue with the refinement of the edges in our masks to create the orifice. This, all this seventh part of the tutorial will continue to be about it. We need to continue as we previously did, dragging our black layer down below the different layers. So we can detail all of our masks. So we have always clean and nice alphas. As I mentioned before this long, time-consuming process. But yeah, I wanted to include it in the tutorial instead of forewarning it or pausing, you get to see all of the process. And as we did with the castle, the towers earlier, sometimes I prefer to bring back the image, so I can see exactly where it was that the edge of this rock in this case. And redo the whole edge, this time with the lasso tool to be sure I'm deleting everything that I don't need. So I go in quite close right here. So I can clearly define the edge of the cliff. And just dragging the lasso section by section in detail to be sure I'm getting all of that background image removed. Or actually, depending on the detail of the images as I am masking. Or depending on the resolution of the position of the layer of the distance. You can use either the lasso tool or the detailed brush. It's mostly up to you, how comfortable are you with the different tools. If you want to learn more about advanced masking and such, there are quite a bit of tutorials for Photoshopping and doing masks in different ways. But in this tutorial we'll show you how I do it in a simple way, just taking care of what we need to have our clean masks. So right now, as you can see we have quite a bit of sections already masked. And in this case we arrived to the waterfall. The waterfall is a bit different We wanted a soft brush in that waterfall, and since this is not going to be animated, we don't need to go into it right now. So it's better to continue checking the other alphas and niches. Right here I have some dirt, so I'm searching to look for where, in what layer, this dirt's bits and pieces are coming from. So it's just a matter of checking each layer to see where it comes. There it is. And as soon as we find it we can go ahead and fix it. In this case we go with the small chalky brush and edit the mask at that point to get the clean define of. Right here, we have another spot and a couple more, so I need to find out where these two things come from. It seems to be that I did some brush strokes, Accidentally, where it's not needed. But quickly and easily lasso it out and mask it off. When you have all your groups arranged and such, it's easy to find problematic layer. That's why I always like to keep my thumbnails in the layers palette quite big, so I can more or less see what's contained in the layer. It's easier that way to quickly find a reference of the layer you're working on. So right here we drag the black layer one more position, so next up, we have this landscape where we did the quick magic wand selection and mask. So we need to go to it. First, I want to remove this section. Another dirty patch that we needed to remove. And then we go all the way down here to our landscape back there. And since we did the quick selection, it's a little bit pixely at the edges. So with the brush I'm going to edit all the way to the, To this element, this mountain range. I'm gonna go all the way and cover all the edge from left to right. So it's a bit softer and we don't have those pixely bits and pieces, as you can see here. The chalky brush, even if it's small, gives a softer, more natural wedge. And in this case, it's much better. If we do Lasso Tool in this case, we'll end up with the same kind of too sharp of an edge that could be not convincing, and we would have blending issues with the sky. Mostly, you would be able to see the sharpness of the lasso tool. So that's why I am in this case using the brush, it's the same chalky brush. But at this point, it gives us the softer result, so we don't have to edit this edge anymore. So if you take the time to define all your edges, and fix those floating bits and pieces, which are always there in the way I work. Since I work quickly at the beginning trying to find composition, not worrying about this, it's helpful at that point. But then you need to take the time to refine all these kind of technical issues, and be sure you're ending up with clean elements that can be exported, shared and animated without any issues. So I encourage you to take quite a bit of time, review each of your layers, and be sure all of it is refined and detailed. It's a long process, but actually kind of enjoyable at some point, because since there is no technical stuff to worry about it in this process. This is a good time to play your music and enjoy detailing all of your masks. And cleaning up all the layers you placed during puzzle-solving process at the beginning. So as we said, we are now sure we have a good composition, maybe we still could be adding some more stuff. We need to blend and match with a bit of color correction several places, but the overall elements are there. We mostly have everything. So it's the perfect time to get technical and sharpen up and clean up all of our layers. As I said, we're gonna go all over this mountain range, all over the horizon until I finish this, this edge cleaning. And after that, we will be mostly done with cleaning out office and edges. And we will go into the final stages of our image creation, applying those final touches, color corrections and such, until we end up with a final product. Remember this one is only for illustration, it's a pure matte painting. We won't have to worry about any animation in this case. When you do this in a production environment you will be surprised how many times even if it's for concept or something, a matte painting can end up in the final shots. So take your time and clean everything up. Okay, I'm gonna leave it right there. Finish it up, and I'll see you in the next lesson.

Back to the top