Click on any phrase to play the video from that point.
♫ 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 ♫
