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Samurai Poster (Part 2)

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♫ fast music playing ♫ Welcome back to the Russell Brown Show and the second part of a two-part series all about creating this Samurai poster. As you recall from the first part I extracted the Samurai warrior from the green screen background and I showed you some great tips and techniques. In this tutorial, I am going to discuss how to change the lighting. Let's go over here to...back to Adobe Bridge. And as you saw in this project I had the Samurai warrior, but I didn't exactly have him in the lighting that I wanted for the poster. I have this light source up here in the sky it's beaming down and it's leaving these tones as if the Samurai is being lit by that light source. But that's not what really happened. So let's go over to Photoshop and check this out. So here's our extracted Samurai warrior that we did in the last show. We got this great hair and the edges look great. And you can see that over here in my layers panel right here I have the mask. And if I hold down my Command key excuse my Option key on the Macintosh or my Alt key on the PC I can see the mask right here. And its tied to this smart object and I really recommend working with smart objects because you can always go back in to the camera raw image and adjust its color and its lighting. It's fantastic. But, one of the great things that I want to do is change the direction of the light. Check this out. I'm going to show you what I did. I'm going to go up here and I'm going to turn on this layer. Now watch the way the light changes. Did you see that? Darker on the right. Lighter on the left. So I'm readjusting where the light source comes from. And I'm going to do that in these steps. Let's do this. First I'm going to go to the mask. I've turned off that top layer and I'm going to rebuild it completely. On the Macintosh I'm going to hold down the Command key. On the PC it would be the Control key. And I'm hovering right over the mask. Do you see this? I click on the mask and it reselects the mask as a selection the little marching ants around the edge. because now I want to create a new layer right here at the base of my layers tab panel. Create the new layer. And I want to fill this layer with black. Now this may be the long way of doing this but it works for me. I'm going to go ahead and do an Option Delete key on the Machintosh or an Alt Delete key on the PC and its going to fill the current selection into layer number seven with the current foreground color. It's my favorite, one of my favorite tips and techniques. It just instantly fills that with black. Just like that. And I just have this...If I turn off that base layer and I hide my selection under Select and select "none" here I can go in here and work on this. Because what I want to do is use a layer style to bring back in the lighting. I use this all the time. A layer style for lighting. Now I can't exactly apply the layer style directly to this because there's a mask tied to this layer. I need that something that is silhouetted against a transparency a true transparency because now if I double-click here in the blue space, the blank blue space next to layer number seven I can bring up my layer styles. And this is the focus of this entire presentation it's the power of layer styles for relighting your subject. And it all has to do with Bevel and Emboss. I'm going to turn on Bevel and Emboss by clicking it here. I'm going to soften my light source. I might increase the size of my light source. You see how the highlights are coming in on the left. And the shadows come in on the right. Notice that my highlights are screened my shadows are multiplied. And I can adjust the angle and position of my light source. That looks pretty good right there. It's actually in about the same position as my light source in the sky. So I've got the right lighting I'm looking for. But what I don't want is I don't want the internal black shade that's inside this shape. So if I go back here under, excuse me under Blending Modes Blending Options right here I can adjust the fill opacity. Not the opacity of the general blending itself but the fill opacity of the shape. Now check it out. I'm reducing the opacity but I'm leaving the tonality behind. Like a ghost sitting here. So I've taken that out and now I click OK. So I have the tonality I want. I turn back on my Samurai and I now have that tonality and that light playing on the Samurai. But the light is a little bit...It looks like it's glowing. That's an interesting effect in the way that the lights are glowing around his face here. But let's go back into the special effects and let's do one more thing to the Bevel and Emboss. Let's change the screen to something like Vivid Light. I like the style of Vivid Light. Vivid Light comes in and brings in a color and a shade over this. I can then go back in here. Let's drop the opacity of this down a little bit. It's a little bit too extreme right there. But I have an almost color quality. In fact I can go in and change the color. I can click here on this patch and in this case there's sort of a dark blue sky in my background. So I can go in here and I can actually change not only the direction of the light but the color of the light that's coming down here from the sky. A little bit of a blue cast to it just like that. And notice once again I can move this around and adjust where my lighting sits and I want the back, his backside I want the hair to fall into shadow. Do you see that? So I've got a nice shadow on the right highlight on the left. I didn't photograph it that way, I adjusted it here using layer styles. Great controls. I click OK. And I can turn back on my background just like this. So I've got that highlight coming down shadows on the side and it looks great. Let's just finish this off. Let's go over to my finished poster over here. So here's the combination of my background. I just want to show you a few other things that I added to add to this. I added up here at the top a lens flare. One of my great capabilities. It gets overused a lot. Lens flare mania. You see this in all the movies but I've added a lens flare here at the top as my light source coming down. Let's turn off that layer we just created. So here's before and here's after. So I've brought in...The light source seems to be coming from above there. What else did I add in? Bring in my text here to add to this. Oh, and you always have to do this technique. Stars. I've gone star crazy. Don't forget when you're working with lens flare and stars always target your star layer and set it to Screen. Notice that a normal layer of stars is simply white specks on a black background. But if you target your stars move them into position and set the Blend mode for stars usually to either Screen or Soft Light excuse me, Screen or Lighten as your choices you get a slightly different result. And here's a great one. This is a rule to live by. If one star pattern looks good duplicate it because two may look even better. Okay, here's, here's before. That's one. And here's after, that's two. I always, always live by that. If one looks good, duplicate it and it may look better and you can see the same is the case here. The screen value is set for the Blend mode for the lens flare there at the top. So there you can see a combination of different techniques. My first technique was to get a really nice extraction, the green screen extraction. And then I really wanted to show you how to readjust the lights with your layer styles. There you have it. Creating posters here inside of Adobe Photoshop CS4. ♫ fast music playing ♫

Video Details

Duration: 8 minutes and 57 seconds
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Language: English
License: All rights reserved
Genre: None
Views: 67
Posted by: adobetv on Oct 6, 2010

In part 2 of this 2 part Adobe Photoshop tutorial, Russell Brown finishes his Samurai Poster using some very cool lighting techniques.

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