Airi Pan 27.20 Photobashing Basics

 27 Lesson 5 - Photobashing Basics Part 3 - The Basic Tools PT2

P27 - 00:01如何让角色融入环境？ 

 Tackle the question. How do we make our little bird feel like he truly belongs in this world? Well, first of all, i've got all of my things separated once again, just like our vision development piece deleting whatever I don't need. So recap, i've got this guy, I got my hat! I've got my bird! I got my bid! Got my table and my pancakes. You see how every single one of these is completely separated. This is really important. But the steps are going to be really similar to what we do for our vision development stuff, as well as the color adjustment that we did for our demo. You see how all of those things step by step by step by step, all become related at the end. 所有需要的元素罗列在不同图层，上一节技能给下一节课做铺垫。Basically, all of the previous lessons that i've taught you, prepare you for the next one and the next one and the next one. 

P27 - 00:54光和阈值。 

If you remember, in our demo, we first go into our adjustment layers and we go to levels. Everything is at a light and value. So that we have a good base to start off of. 右下角调节层面 选择光和阈值。One thing I'm actually going to do is remove this guy from this because again our sky is pretty much already perfect. We don't need to do anything else to our sky. So I removed my sky from the group.  

P27 - 01:15从天空中移除不需要的。 

And let me show you really quickly the levels layer. I right click and I click create clipping mask, everything that levels layer is impacting, only included inside my group.右击 创建剪切板，只需要包含在组内，组所有图层中水平都会受到影响。如果我选关闭，都变暗，打开，都变亮。只有鸟变亮，背景没有变亮，因为背景不在组中。 If I turn it off, you can see that everything turns darker. If I turn it on, things turn lighter. But only my bird turns lighter. background does not, because it isn't included in the group.  

P27 - 01:49这是剪切蒙版的用处。 

This is what the idea of a clipping mask does. 额外矩形放在上面，右键选剪切蒙版，无论我绘制什么都是在正方形里。If I have a rectangle, I have an additional layer on Top of it. I right click create clipping mask. Whatever I draw will only be inside the square. 

P27 - 02:05不在矩形内绘画，你看不到。 

If I draw here, you won't be able to see it. 但是如果我移除掉“剪切蒙版”，这样你就可以看到了。But If I release my clipping mask, then you'll see that it actually keeps everything that I originally had on the layer. It even kept this ball that I drew up here. If I click create clipping mask that it only adheres to my rectangle. 

P27 - 02:17回到鸟。 

天空光景提示夕阳西下， Now back to the bird. Looking at the sky, we can tell that it is somewhat at a beginning sunset stage of daylight. 因为夕阳西下，光线变得越来越暖和。Since we know our times of the day, we know that the sun sets, the light gets warmer and warmer and warmer. 建立新图层，选多重层模式。I'm going to take a new layer, select the multiply layer. I'm going to try to use a warm light to color him so that he feels like he belongs into the piece a little bit more. 

P27 - 02:44鸟被暖光笼罩，融入夕阳。 

So I just use my paint bucket tool and I drop on the pink. However, because it affects everything. I don't want it to affect everything.比如油漆桶工具粉色夕阳影响了图片的一切， 

P27 - 02:51不想被影响一切。 

点击“剪切蒙版”这样暖光只影响鸟。 I click create clipping mask and now it only affects my bird, already by using the multiply layer. 因为滤镜给作品平添和谐。Because it filters over everything is starting to bring harmony to my piece. 

P27 - 03:07不是我想要的颜色。 

However, this is definitely not the color that I want. So I can go into here a judgments, brightness contrast, hue saturation, or color balance, and adjust whatever I need to my color. 菜单栏调节图层 亮度对比 色相饱和度 平衡颜色。 

P27 - 03:15调节颜色的工具。 

Now my birds definitely feels a little bit more in place. Let's compare it to when It didn't have any of these items. You can see that the bird struck out terribly. 前后对比，暖光中的鸟融入夕阳。没有暖光的鸟不融入背景。 

P27 - 03:33通过切换到多重层。 

But by adding the multiply layer, by adding the levels adjustment, it feels a little bit more like he belongs.多重层和水平调节，让鸟融入环境。 

P27 - 03:39检车黑白底图。 

Let's turn this quickly into black and white. You'll see that my bird has a wonderful silhouette against the sky. 天空中鸟的轮廓凸显出来。But you see how this city here and the building here is so dark and because as we know from our atmosphere and our values lesson, things that are darker when a nature setting, feel like they're going to be closer to us. 天空中耸立城市很暗，越暗离着观众越近。So this is a problem. We need our buildings to feel lighter. 

P27 - 04:05需要城市楼层变亮。 

Let me introduce you to the lighten layer tool. 图层变亮的工具。新建图层，选择增量。 I do a new layer and I select lighten and the idea of lighten and is that it only makes something brighter if the item that your painting over is darker than your selected colour. 适用环境是，如果你绘制的比选择的颜色还要暗才会生效。 

P27 - 04:27点亮的适用条件。 

So let me explain what that means. You can see that this building is very dark and the sky is much lighter in comparison to the building.和天空比，建筑相对黑。比如我选择淡粉色，在建筑上涂抹。 If I take a value, say I take a value like this, and I color on Top of it, because this value is lighter than the building, then I only paint on Top of the building.  

P27 - 04:48亮的颜色只是涂抹在暗建筑表面。 

But because this value is not lighter than my sky, then it does not paint on Top of my sky. 这比楼亮的，不如天空亮，所以可以在楼上着色，不能在天空上呈色。You see, however, if I choose something that is lighter than my sky, let's say I choose the color of these clouds like this. 

P27 - 05:04选择比天空亮的云彩。 

Then immediately it will start painting the sky as well. 云彩比天空和楼层都亮，所以可以涂抹天空和楼层。But this is fantastic for taking out anything that you feel like is a little bit too dark in your piece. But you don't want to color anything else in your piece. 这种方法适用于你拿走图片中暗的，不会影响其它的。And it is also what I usually use. To be able to attract atmosphere. 

P27 - 05:25举例子。 

You can see here, if I want to color only the windows, which are incredibly dark, much lighter, 

P27 - 05:30如何把楼层暗暗窗户点亮？ 

I go through and as long as the color I select in here, is lighter than my windows, then it only affects the windows. And it doesn't affect anything else. This is so useful. And I used this layer all the time.  

P27 - 05:48背景楼被大气层环绕远处隐约了。 

Now the buildings in the background have a nice little bit of atmosphere to them. very nice. 

P27 - 05:55但是鸟身上暗色如何处理？ 

However, my bird still doesn't have any shadows on him. The best way to be able to affect the shadows and my personal opinion is I take my levels layer and I take my original bird layer. 

P27 - 06:09选择级别图层和鸟原始图层复制。 

I'm going to copy paste it really quickly. You can see that when I copy pasted, it disrupted my multiply layers. 干扰多重图层。So now is no longer affecting only my bird. And it's affecting everything. But that's okay. 

P27 - 06:18影响除鸟之外的一切。 

We'll get back to that later. I'm going to turn it off for now, cause we're just focused on the black and white values. 

P27 - 06:26专注黑白图。 

I'm gonna go on here to my levels adjustment layer.  

P27 - 06:29来到层级调节。 

And I turn this back down here. And I turned this all the way down like this. You can see now it is really dark. 

P27 - 06:41鸟变得非常暗。 

But I have a layer adjustment here. If I turn these two layers off beneath it is still my original layer of the bird that is a little bit lighter.如果把调节图层放到鸟原始图层下面，鸟变亮。 And now with these two layers on, I have a bird that is much too dark. 

P27 - 06:59影响阴影的图层。 

This layer will act as my shadows layer, because I don't really need any of these items anymore by photo bashing In terms of photos, it's pretty much locked down.其它的过程图层已经不需要了。 I'm just gonna go ahead and merge these layers, emerge group, and I'm going to put them into a group like this.融合到一个图层，命名阴影。 So a folder name as it shadows. And now I apply a layer mask. 

P27 - 07:15应用图层蒙版。 

to explain to you a lot more directly about what a layer mask does. 

P27 - 07:20图层蒙版干嘛用的？ 

This means that on this mask, if I draw in black and it takes away what is on my original Top layer,在蒙版上，如果在黑色阴影里绘制，阴影从原始图层上剥离。 

P27 - 07:30进一步解释。 

let's explain this a little bit more. I make a rectangle, and I color it orange. 做矩形，涂上橘色。给一个只做黑白的图层蒙版。I give it a layer mask. This layer mask only works in black and white. 只是在本色范围内调节。You can see that I can run around in my colors hue cube. 

P27 - 07:51因为在只有黑灰色域内调节。 

And the only color that it interprets is either in the grey zone, white or black. So even if I go all the way to red, it still gives me grey. So I go white. And this means that I get to keep the square. But if I go to black, this means that I take away the square. 

P27 - 08:06白色保留矩形，黑色剥脱矩形。 

If I go to grey, then I get to do a little bit of the squares, like an opacity filter almost, 

P27 - 08:14灰色剥脱橘色，留下透明色。 

go back to black, and I take away the entire square. This is really useful, 

P27 - 08:23用处是什么？ 

because let's say that you want to erase part of your square. If I go into my original square layer is actually a rectangle. Yeah, I know. 

P27 - 08:36如果黄点绘制在橘色上。 

I'm gonna draw a yellow dot. Take my eraser gonna do it a Loop de loop in my yellow dot like that. But then I think to myself, oh, no shoot. I actually wanted to keep this entire section right here. 

P27 - 08:51绘制黑色时候，橘色消失，补救。 

So if I wanted to repaint this section, then I would have to go in and hand painted like this and painstakingly try to get this Top edge accurate. Drop down here. Take my yellow and painstakingly try to get the side of that circle accurate again. But you see, it's clearly not perfect.  

P27 - 09:10手工补绘不完美。 

However, I'm just undoing this. I can go to my layer mask instead and do the exact same thing that I did, like a loop de loop. 

P27 - 09:19在蒙版图层，重复上面操作。 

Well, I guess not exact same thing, but then I can go into my white and return whatever I wanted. 

P27 - 09:29来到白色恢复成任何想要的色彩。 

You see, it doesn't affect anything. I can change and not change and re change and reconstruct and de construct, all I want on my layer, by only using a layer mask in black and white. It is basically a much better tool for using the eraser essentially.  

P27 - 09:47回到鸟。 

Okay to get back to my bird now I have my shadows later here and I have a clipping mask. What I'm going to do is I'm going to completely fill this clipping mask with black, 

P27 - 09:55给剪切板蒙版图上黑色。 

which means that it basically erased all of my shadows. And it only leaves what’s below, 

P27 - 10:02移除阴影，留下阴影下面的。 

I take my white and I am able to go in and paint the shadows for my character or bird, typically for photographs. I only stick with hard round brushes. So the soft brush, the round brush, soft pressure size, your most basic photoshop brushes. 软刷 圆刷 软压大小。 

P27 - 10:21基本的刷子。 

Because we're dealing with basically trying to paint hyper realistic photo real objects. And you want to be as subtle as you can. 

P27 - 10:29绘制逼真的照片风格。 

If you had to ask me, what is the one thing that I can do to make my piece feel so much more realistic without doing like too much work, it would have to be ambient inclusion. 

P27 - 11:08环境遮蔽让你逼真风格事半功倍。 

When you look at a object that is placed onto any kind of surface. So let's say these spoons and knives wherever they touch the table, light is not able to hit where they touch. 

P27 - 11:21刀叉解除的桌子面光射不进来。 

So you get this dark black outline. 你有深黑色轮廓。Wherever they're touching, you see, touching a dark black outline, or they're not touching a very light shadow.接触深黑色轮廓或者不能接触浅色阴影。 And then when they are touching against sharper and sharper back into that dark black outline, 锐利的浅色边缘对应黑色阴影轮廓。this area will be considered the shadow. Specifically, it would be a cast shadow. 

P27 - 11:45投射阴影。 

And here is this still cast shadow, but because it's so so tight that it is practically touching each other. And it's going to pure black. This is when it becomes ambient occlusion. 

P27 - 11:59环境遮蔽是紧贴的投射阴影。 

You can see that there's ever so slightly ambient occlusion right on the tips here. But this part here, this great outline, this would be considered more towards shadow. 

P27 - 12:10投射阴影对应阴影轮廓。 

You can see here, if you zoom up really closely, you can see the black right underneath the spoon as ambient occlusion.  

P27 - 12:19物体正背面的是环境遮蔽。 

This let me tell you right now, that is the secret ingredient to making things look realistic. 

P27 - 12:25这是让事物真实的秘密所在。 

If you're able to add that little bit of black where things are touching, let me demonstrate to you. 

P27 - 12:32证明推理给你看。 

My shadows here are roughly done. I like them a lot, but they're not gonna be dark enough for me to get my ambient occlusion. 

P27 - 12:40阴影不够深做环境遮蔽。 

So I do a new layer and I select overlap. 新建图层选重叠或多重模式。You can also select multiply. But I just like to select overlay. That's just my own personal preference. They pretty much if you're doing ambient occlusion, they're pretty much the same thing. 

P27 - 12:55进入暗色。 

I go into a pretty dark color. And because the light is warm, I stick around to a generally warm area because you're basically adding black to the piece.加入黑色调，表现为暖区域。 Don't worry about the specific color. That really does not matter. 

P27 - 13:08软圆刷子。 

Go into my soft round brush. As you can see, brush is at this point almost truly do not matter. And I just paint in. 

P27 - 13:29现在环境遮蔽强一些。 

Now let's say that you feel that your ambient occlusion is a little bit too strong. I'm gonna introduce you now to the idea of preserve opacity. 

P27 - 13:38保留透明度。 

So you go into your ambient occlusion all the way over here. And let's say that,   shoot, I made it way too dark because it's so dark. 

P27 - 13:47如果太黑矫枉过正了？ 

You start off like this. And then you go up here. There's a little lock button, this check a Mark and use a lock of transparency. 小锁按钮，复选框，用的锁定透明度。Now similar to a clipping mask, 

P27 - 13:55锁定透明度类似剪切蒙版。 

you are only able to paint and draw whatever you already had on your original layer. You're not able to go outside of it. 

P27 - 14:04不能在原始图层外涂抹。 

Now here's the thing, unlike a clipping mask， for. You still have whatever edits you have on a separate layer and separate mask. 

P27 - 14:12分开的图层分开的蒙版。 

You cannot change what you've done or edit what you've done. You can only do undo redo because it's locked on to the layer. 

P27 - 14:21不能改变，只能做与重做。 

So use it with that in mind. But to do something as simple as just changing the color that I love to use preserve opacity, cause using a clipping mask is basically overkill. I just go up to a lighter grey, do a quick hit and bound. 

P27 - 14:36保存透明度改变颜色， 

Now my bird is feeling so much more realistic. So much more like it's in there in the scene. Let's find our colors back. However, 

P27 - 14:47颜色绘制回来。 

I'm going to group up all of my layers so far that i've done that included my bird. So that includes both my shadows which is here. 

P27 - 14:55包括鸟和阴影。 

I'm just gonna name this ambient occlusion really quickly. Take all of my layers, group them up into one big layer. 

P27 - 15:02打成一组命名为环境遮蔽。 

And yes, I use a lot of groups when I do photo bashing, then I'm just going to name it. Bird bash. 

P27 - 15:12回到多重图层。 

Now I can go back to my multiply layer, attach it, select create clipping mask. 

P27 - 15:17选择创建剪切蒙版。 

Now my bird is feeling like it's a lot more in the scene. It's still not quite there yet. And I think the reason why is because he doesn't have any bounce light or atmosphere, because as you can see, warm light is hitting him. But there's no light bouncing him back. 

P27 - 15:34有暖光但是没有光。 

We should have some blue light reflecting off the right side. So I make a new layer. I go to overlay. 

P27 - 15:42新图层，重叠。 

and I'm going to take my brush, have it on soft pressure opacity and ever so slightly brush in a little bit of bounce light.  

P27 - 15:51软压刷出蓝光。 

If this isn't enough for you, you can go into a new layer, create clipping mask and do lighten. 

P27 - 15:59剪切蒙版增强漫射光。 

Now he is feeling more and more and more in place. Very nice, very cool. Taking this as if it was a professional piece. I look to see my black and white values and double check. 

P27 - 16:15检测黑白。 

And I can see that my bird, even though it's being distinct, he's still kind of blends in with the table. I want my table to be a little bit darker because right now if I had to do a black and white value. It would kind of look like this, where you can't really tell what's going on. I want it to look more like this. Here you are able to more clearly tell what is happening because the table is dark. And so I'm able to differentiate the pancakes and the bird. 

P27 - 16:56重新调节黑白对比。 

with that In my mind, I'm going to make this table darker, which is super easy, because all I have to do is go under here. Go all the way down to my table. Original table. image adjustments, brightness. Tone it down until I get to the brightness that I want. This is looking much better. 

P27 - 17:16原始桌子图层 编辑调节明亮度。 

That to me feels so much better because would typically is polished on their tables. And so it's a little bit reflective. That means that my sky will actually reflect on the wood just a little bit, 

P27 - 17:34桌子可以反射光。 

because my light is coming from a direction that's coming in from the left. So like this, that means that my shadow will cast somewhat around this on the table. Knowing this, I go to my shadow layer right here.  

P27 - 17:45光打在桌子上，对应光影分界线。 

Wow! You can see that when I turn it off, it really looks so much more different than if I have it on. But I go to my shadow layer and I lightly brush in my shadow , then I go to my overlay. 

P27 - 18:04刷入阴影后 到重叠。 

And I brush in the sky highlight using a blue. 

P27 - 18:22蓝天高光。 

 See now there's a hint of a reflection and it feels a lot more realistic. Really place him inside the canvas. I'm gonna adjust my sky as well to make it feel more in tune with my bird. 

P27 - 18:34调整天空和鸟一色。 

Now, to my favorite part, which is doing some minor touch UPS, I go up here, I do soft light, or you can do overlay. But this is the way that I would add a little bit of light into my piece, 

P27 - 18:50柔光 重叠 给作品写入光。 

just like we saw for our original development piece, like a really really big brush and just dab on Top of it. 

P27 - 18:60大刷子轻轻的敷上。 

If you don't want it to affect your sky, you can still click here for, clicking a clipping mask. And now it only affects your birds. Bird is looking pretty professional. 

P27 - 19:09剪贴蒙版专注影响鸟。 

And also my second favorite thing ever to do. selective color go into my blacks. Because you see when someone is outside the shadows will always be colored a little bit no matter what, because of atmosphere. Just like that. 

P27 - 19:27阴影部分写入颜色。 

Our bird is fully engrossed into our scene. If I took away each of these different adjustments. 

P27 - 19:43如果我移除不同的调节层。 

You can see that each one is integral to putting the bird into the scene and making it feel as if all of the images are cohesive. 

P27 - 19:56融入给浑然天成的衔接感。 

This is photo bashing. You can see that you still need a very strong understanding of art. Photo bashing is not cheating. At the end of the day. This is still a piece that you had to paint and fight for. In order to make everything look good. You still have to be the main artist and make things feel good.