Сообщение

Lopsie Schwartz - Adobe Photoshop for VFX Artists [2005, PDF, ENG]

Сообщение Солнышко » 30 янв 2018, 06:50

Adobe Photoshop for VFX Artists
Год: 2005
Автор: Lopsie Schwartz
Жанр: CG Photoshop
Издательство: Course PTR
ISBN: 1-59200-487-3
Язык: Английский
Формат: PDF
Качество: Отсканированные страницы + слой распознанного текста
Интерактивное оглавление: Нет
Количество страниц: 332
When I was contacted to write this book, I responded as most people in my situation would: Why would you want yet another Photoshop book out there? How about if
I come up with a better idea for a different book? Their response was not “How about you just do what we say?” Rather, they patiently explained that there weren’t any
Photoshop books out there addressed specifically to VFX artists. Despite owning about 100 pounds worth of books— that’s by weight, not by British currency — I didn’t believe them. Surely I must have just missed the section on Photoshop for VFX artists, been at the wrong bookstore, or missed the last copy that was just sold. So I didn’t answer my e-mail and went to the bookstore. A few bookstores later, my fingers bleeding from paging through the shelves upon shelves of Photoshop books, I returned to my computer and I answered my e-mail: “You’re right.” (Okay, so maybe I was exaggerating about my fingers bleeding, but isn’t poetic license part of the benefits of being an author?) There are plenty of Photoshop tomes, a plethora of digital photography Photoshop books, and an abundance of web-focused Photoshop books. There are a few books on texturing 3D models that obliquely refer to Photoshop. As a wilder whose degree is not in VFX (not that there were any 3D degrees at the time anyway, but I’m dating myself), I started off self taught, learned everything the hard way, and am acutely aware of how hard it can be to teach yourself a tool, let alone the jargon of an industry. As a supervisor, I am surprised at how many times I have had to explain the same principles to people who were already working in the industry or who were freshly out of school and not yet exposed to these insider tips. As an artist, I am always looking to learn more and increase the depth of my knowledge. Knowledge is the real tool in bringing fantastic paintings to fruition. What I wanted to create was a book that would be informative to those who are
already in the industry yet clear enough for those who are just coming into the VFX industry. I wanted full color (because a black and white Photoshop book just doesn’t make any sense), cool images (photorealistic should look photoreal!), and something that would make a great reference book long after you have gone through its covers. What I didn’t want was inane descriptions (“this button is a button…”), boring litanies, or an entire section devoted to all the cool things that Photoshop can do for web designers.Not that I have anything against web designers—I just don’t want my book weighed down by information I don’t use and therefore don’t really care about. What You’ll Find in This Book Throughout the book you find some elements that give you additional information— Photoshop tapas, if you will.
■ Cautions: Things that need the extra highlight, because the world can crumble if you skim the instructions and miss this part. Generally, missing this point can cause quite a bit of pain.
■ Notes: Information you might find helpful to know and alternate ways of doing things. Something that others might say (and which is correct), but not my way. Sometimes the information is an aside and not necessary for the basic functioning of the program— sort of trivia.
■ Tips:Wisdom gleaned from experience and often a useful shortcut.
Who This Book Is For
You need to have Photoshop, but hopefully you figured that part out. Ideally, you should have the latest version, but if you have an older version, you can still articipate
in most of the book. If you are working on Photoshop 3 or earlier, this book is pretty useless. Then again, why would you be buying a book now for a program version that is more than 10 years old? It’s easy to say that this book is for intermediate to advanced users, since it is aimed at the visual effects industry. In actuality, I think I explain the steps clearly enough for a novice to follow, but keep it interesting enough to keep the attention of the advanced users. Plus, I don’t believe that just because someone is already in the industry that that person is an advanced user. However, if you just purchased the software and you’re not sure how to install it,
or if you don’t know what it means to click or double-click with your left mouse button, you can stop right here and put this book down. There are other books out
there that you should probably start with. Once you have become a little more familiar with computers in general, then you can pick this book up for the techniques.
How This Book Is Organized Part I, “Starting,” is the reference section of the book. It starts with an overview, explains the nitty-gritty details of a few important areas, and finishes with an essential guide to VFX. Part II, “Textures,” is the texture-emphasis area, and Part III, “Matte Paintings,” is where I focus on matte painting. Both
parts have techniques that can be applied to either, but Part II’s techniques are most often used for painting for 3D, and Part III’s techniques are most applicable to 2D
painting. Of course, since a texture for a 3D model is still a 2D painting, it makes sense that there is crossover. The techniques used in Part II, such as the customizing
of brushes, can be very applicable to matte painting. You can do the straight cover-to-cover thing, but if you are not a linear type of person, you can pretty much jump in for whatever piece you want. In other words, this is not a ramping book where each chapter builds upon the last. My usual method is to just scan the table of contents
and see what interests me, or look something up in the index and find the chapters that deal with that topic. What about the photos I use in the examples? You can go to this book’s companion Web site at www.courseptr.com to download the specified pictures. Although most people like to apply the technique to their own pictures right off the bat, I think it’s good to use the example pictures so you have a control image to compare your results.What else is on the companion Web site? Besides the images specified in this book, you can download a few of my custom libraries—free of charge!
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii
Part I:
Starting 1
Chapter 1
Preferences and Settings . . . . . . . . . . . . . . . . . . . .3
Do This First . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Work Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Menu Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Toolbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Tool Options Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Palette Well . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Palette Navigation . . . . . . . . . . . . . . . . . . . . . . . . . .15
Visual Palettes Overview . . . . . . . . . . . . . . . . . . . . .15
Chapter 2
Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Finding Brush Controls . . . . . . . . . . . . . . . . . . . . . . . . . . .23
The Brushes Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Brush Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Brush Tip Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Shape Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Scattering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Dual Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Color Dynamics and Other Dynamics . . . . . . . . . . .31
Other Brush Tip Characteristics . . . . . . . . . . . . . . . .32
Putting the Brushes Palette to Use . . . . . . . . . . . . .32
Brush Blending Modes . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Normal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Dissolve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Behind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Clear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Darken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Multiply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Color Burn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Linear Burn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Lighten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Color Dodge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Linear Dodge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Overlay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Soft Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Hard Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Vivid Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Linear Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Pin Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Hard Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Difference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Exclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Hue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Saturation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Luminosity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Chapter 3
File Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Basic Navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Finding Your Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
Using Your Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Batch Renaming Your Files . . . . . . . . . . . . . . . . . . . . . . . .53
Creating a Custom Layout . . . . . . . . . . . . . . . . . . . . . . . . .55
Exporting Your File Browser Changes . . . . . . . . . . . . . . .60
Chapter 4
Customizing Your Workspace . . . . . . . . . . . . . . .61
Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
General Preferences . . . . . . . . . . . . . . . . . . . . . . . . .62
File Handling Preferences . . . . . . . . . . . . . . . . . . . .64
Display & Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . .66
Transparency & Gamut . . . . . . . . . . . . . . . . . . . . . . .67
Units & Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
Guides, Grid & Slices . . . . . . . . . . . . . . . . . . . . . . . . .69
Plug-Ins & Scratch Disk . . . . . . . . . . . . . . . . . . . . . . .69
Memory & Image Cache . . . . . . . . . . . . . . . . . . . . . .70
File Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
Color Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Color-Management Policies . . . . . . . . . . . . . . . . . . .75
Color Management and Color Space . . . . . . . . . . .75
Profile Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
Default Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . .77
Customizing Shortcuts . . . . . . . . . . . . . . . . . . . . . . .77
Chapter 5
Image Essentials . . . . . . . . . . . . . . . . . . . . . . . . . .81
File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
PSD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
TIFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
TGA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
PSB (Large Document) . . . . . . . . . . . . . . . . . . . . . . .84
CIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
IFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Contents ix
x Contents
Filmstrip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
3D Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
SGI RGB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
PhotoCD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Pixar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
RAW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
JPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
GIF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
EPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
BMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86
PICT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86
A Word about HDRI . . . . . . . . . . . . . . . . . . . . . . . . .86
Aspect Ratios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
Film Format Nomenclature . . . . . . . . . . . . . . . . . . . . . . . .88
File Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
Matting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
Part II:
Textures 93
Chapter 6
Starting with Color Maps . . . . . . . . . . . . . . . . . .95
Color Map Versus Matte Painting . . . . . . . . . . . . . . . . . .96
Making the UV Test Map . . . . . . . . . . . . . . . . . . . . . . . . .97
Diffuse Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Base Tile Method . . . . . . . . . . . . . . . . . . . . . . . . . .104
Projection Method . . . . . . . . . . . . . . . . . . . . . . . . .106
Painting on Unwrapped Wireframe . . . . . . . . . . .109
Chapter 7
Bump Maps and Grayscale . . . . . . . . . . . . . . . .113
Bump Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113
Desaturating: Tolerable on Occasion . . . . . . . . . .114
Channel Mixer: A Better Way . . . . . . . . . . . . . . . .115
Grayscale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Simple Range Adjustments . . . . . . . . . . . . . . . . . .118
Advanced Range Adjustments . . . . . . . . . . . . . . . .120
Chapter 8
Custom Brushes . . . . . . . . . . . . . . . . . . . . . . . . .127
Getting Dirty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
Creating the Brushes . . . . . . . . . . . . . . . . . . . . . . .128
Adjusting the Settings . . . . . . . . . . . . . . . . . . . . . .131
Save! Save! Save! . . . . . . . . . . . . . . . . . . . . . . . . . .132
Natural Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Brush Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137
Chapter 9
Tiling and Transformations . . . . . . . . . . . . . . . .139
Basic Tiling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Preparing the Image . . . . . . . . . . . . . . . . . . . . . . . .140
Offsetting the Image: Horizontal . . . . . . . . . . . . .142
Cleaning the Seams . . . . . . . . . . . . . . . . . . . . . . . .143
Shifting the Image: Vertical . . . . . . . . . . . . . . . . . .145
Tile Cleanup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146
Using Transformations . . . . . . . . . . . . . . . . . . . . . . . . . . .147
Types of Transformations . . . . . . . . . . . . . . . . . . . .147
Changing Perspective . . . . . . . . . . . . . . . . . . . . . . .149
Creating Tiles from a Non-orthographic Reference . . .150
Think Before You Act . . . . . . . . . . . . . . . . . . . . . . .150
Preparing the Reference with Transformations . .151
Squaring Off the Tile . . . . . . . . . . . . . . . . . . . . . . .153
Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156
Making the Pattern . . . . . . . . . . . . . . . . . . . . . . . .156
Checking Out the Pattern . . . . . . . . . . . . . . . . . . .157
Combining It All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158
Chapter 10
Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Creating a Snapshot . . . . . . . . . . . . . . . . . . . . . . . .164
Using Snapshots with the History Brush . . . . . . . .165
Layer Comps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Saving Out a Layer Comp as a File . . . . . . . . . . . .169
Color Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170
Color Match . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170
Chapter 11
Automating Tasks . . . . . . . . . . . . . . . . . . . . . . . .181
The Actions Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181
Defining an Action . . . . . . . . . . . . . . . . . . . . . . . . .182
Using an Action . . . . . . . . . . . . . . . . . . . . . . . . . . .182
Other Action Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . .184
Creating Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184
Editing or Changing an Action . . . . . . . . . . . . . . . . . . . .188
Saving Your Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188
Batch Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189
Creating a Droplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .191
Cross-Platform Compatibility . . . . . . . . . . . . . . . . . . . . .193
Part III:
Matte Paintings 195
Chapter 12
Matte Paintings from Pictures . . . . . . . . . . . . . .197
Automatic Photomerge . . . . . . . . . . . . . . . . . . . . . . . . . .197
Correcting Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201
Cleaning an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204
Using the Clone Tool . . . . . . . . . . . . . . . . . . . . . . .204
Using the Healing Tool . . . . . . . . . . . . . . . . . . . . . .206
Stylized Matte Paintings . . . . . . . . . . . . . . . . . . . . . . . . .207
Pen and Ink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207
Cartoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211
Chapter 13
Quick Fixes for Common Problems . . . . . . . . . .219
Looking Sharp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .219
Method 1: Using the Unsharp Mask Filter . . . . . .221
Method 2: The High Pass Method . . . . . . . . . . . . .224
Color Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .229
Neutralizing a Color Cast . . . . . . . . . . . . . . . . . . . . . . . .234
Placing Markers . . . . . . . . . . . . . . . . . . . . . . . . . . .234
Neutralizing Highlights . . . . . . . . . . . . . . . . . . . . .236
Neutralizing Shadows . . . . . . . . . . . . . . . . . . . . . .239
Choosing Midtones . . . . . . . . . . . . . . . . . . . . . . . . .240
Evening the Light . . . . . . . . . . . . . . . . . . . . . . . . . .240
Desaturating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241
Contents xi
xii Contents
Chapter 14
Masks and Mattes . . . . . . . . . . . . . . . . . . . . . . .245
The Transparency Selection Method . . . . . . . . . . . . . . .246
The Color Selection Method . . . . . . . . . . . . . . . . . . . . . .249
Easy Case (Read: Ideal Case) . . . . . . . . . . . . . . . . .249
Difficult Case (Read: Life Example) . . . . . . . . . . . .252
The Channel Selection Method . . . . . . . . . . . . . . . . . . .255
The Path Selection Method . . . . . . . . . . . . . . . . . . . . . . .257
The Extract Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .261
Chapter 15
Noise and Grain . . . . . . . . . . . . . . . . . . . . . . . . .267
Explaining Grain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267
Show Me the Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . .268
Testing, Testing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .270
Turning Down the Volume . . . . . . . . . . . . . . . . . . . . . . .272
Chapter 16
Lighting Effects . . . . . . . . . . . . . . . . . . . . . . . . .279
The Lighting Effects Filter . . . . . . . . . . . . . . . . . . . . . . . .280
Day for Night (Quick and Dirty Version) . . . . . . . . . . . .284
The Real Assignment: Day for Night Advanced . . . . . .286
Turning Dark Into Night . . . . . . . . . . . . . . . . . . . . .288
Fine-Tuning the Dark . . . . . . . . . . . . . . . . . . . . . . .292
Lens Flaring Up . . . . . . . . . . . . . . . . . . . . . . . . . . . .296
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
Доп. информация: www.courseptr.com

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