N
owadays it’s hard to be a Photoshop artist and not use 3D at all, just as it is to be a 3D artist and not use Photoshop. The most modern techniques overlap different branches of computer graphics, creating images like never seen before. Over the following pages, you will see that 3D post-production isn’t harder than the usual compositing techniques that you are used to. It isn’t a strict cookbook only teaching you how to create aeroplanes, as you can apply these methods to any type of 3D render. On the way you’ll pick up some Photoshop tricks that will be helpful in many different cases.At the beginning of the tutorial you’ll learn how to create a landscape background from scratch, from sketch to photo compositing and colour correction, using matte painting techniques. You will then polish a 3D render using a lot of adjustments and differently blended layers, and will discover which passes of a 3D render can be very helpful for post-production. You will then learn how to composite photos again to create a photoreal cockpit. By the end of the tutorial, you will have learnt how to easily add some special effects like a burning rocket trail and scattered particles. So don’t delay, let’s go!
SOURCE FILES
On FileSilo.co.uk/bks-609, you can find the basic 3D render files. The photos for compositing and special effects can be found atcgtextures. com and istockphoto.com.
06
COLOUR CORRECTIONYou now need to reconcile the different photos with each other. Create a new Solid Color layer in Color mode and choose a blue-grey colour. Set the Opacity at 40%. In order to diversify the colours, create a new Curves layer. Vary the channels individually: for Red, move the bottom marker up, and for Blue, move the centre of the line down. To make the colours more natural, create a new layer in Soft Light mode. Paint with broad strokes using large soft brushes in different colours.
05
FOREGROUNDChoose a tree photo or download ‘24864654’ from iStock. Replace the preview with it and improve the mask with artistic brushes, like the Rough Round Bristle brush. Create a subtle speed effect with the Motion Blur filter. Set the Angle at -6 and the Distance at 31px. Create a new clipped layer and another one beneath the photo. Use a soft brush with low opacity to brighten pieces of the landscape where it’s needed, settling the pines into the scene.
04
0,!#%Ĉ()'(Ɏ2%3Ĉ0(/4/3When you are happy, replace the previews with high-res images and refine the masks using brushes. Some photos will need colour correction, like ‘25817889’. Deepen its shadows using a Levels adjustment. Clip it to the photo and move the left slider to 37. Desaturate the photo using a new Hue/ Saturation layer. Set the Hue at +3 and the Saturation at -55. Then create a Solid Color layer in Soft Light mode and choose a tan colour.
08
MORE FOG!Go to cgtextures.com and find the ‘Smoke0403’ set, then download the first photo. Create a group and place the file into it. Remove the sky, the chimney and excess smoke using a layer mask and brushes. Reduce the opacity. Create a Levels adjustment, clip it to the group and move the centre slider to 1.51 and the right to 138. Add a Solid Color layer filled with grey-blue in Soft Light mode.
07
!%2)!,Ĉ0%230%#4)6%In order to make the scene deeper, use aerial perspective. This means that the distant objects, especially on the horizon, are less contrasted and lighter than the foreground ones. Сreate a new Brightness/ Contrast layer. Set the Brightness at 28 and the Contrast at -29. Clean the foreground using a large soft black brush on the mask of the layer. Create a new Levels layer and move the centre slider to the left to 1.65. Make a similar mask for it. Refine the result with other adjustment layers if it’s needed.
QUICK TIP
When you place a new photo into a scene, convert it to a Smart Object. This way you have the possibility to re-transform it without any losses, and you can even change the Filter settings! This trick is very useful in real-life work when you always have to go back and adjust things you’ve already finished.
13
ADD CONTRASTIn order to put the fighter in the foreground, you should hugely enhance its contrast on the nearest details. Create a new Brightness/Contrast adjustment layer clipped to the 3D render. Reduce the Brightness and lift the Contrast up to get a really contrasted plane. Then make a fully black mask for it. Grab the Brush tool and paint contrast areas using a soft white brush on the mask.
11
COLOUR TONES AND REFLECTIONSColour reflections are one of the most important things to settle a stock image into a scene. Tone the fighter a bit using a clipped Solid Color layer in Soft Light mode filled with blue. Set its Opacity at 10%, then add matte colour reflections. Create a layer in Soft Light mode. Grab the Brush tool and choose a green colour. Paint the lower wing and the lower side of the cockpit with broad strokes using a large soft brush with low opacity. Pick a blue colour and paint the higher parts of the fighter.
10
AERIAL PERSPECTIVE ON THE FIGHTERThe first helpful pass is ZDepth. It’s a greyscale image that shows the distance from the camera. The closest objects are white and the furthest ones are black. Place ‘render-ZDepth.png’ into the scene. Align it with the fighter and fill the empty space with black. Invert and cut the layer. Create a Brightness/Contrast layer clipped to the fighter and paste into its mask. Brighten the furthest part and reduce their contrast. Use the same mask for a blue Solid Color layer in Soft Light mode.
09
IMPORT THE RENDERYou can import your 3D render or use the supplied ‘production-render.png’. The attached fighter is a stock 3D model. It was rendered using V-Ray. The landscape created before was used as a HDRI environment map for reflections. The surface of the fighter is quite matte, but this trick can be very helpful in other cases. Once you have placed the render, make a group called ‘Guides’ and place it above the others. Draw some perspective lines. You will be able to check against them to avoid mistakes.