All right, so we'll do the main mirror and glass reflections now, so I'm just going to walk through
it and show you guys exactly what I did.
There's no specific like no techniques or anything like that that I don't think we need to necessarily
do it practically because it's just a couple of notes.
And it's exactly what I just showed here just on a little bit of a different sort of way.
So I'm trying to explain it, walk it through.
And, you know, if you guys want to walk through the scripts, take a look at this section, the script,
feel free to do so.
And that'll give you a good hang on exactly what I'm doing.
So essentially, we have original image, a reformatted it to flip it over and I transform that down.
I take this and blur it, blur it a little bit vertically so you can in the blur, you can click this,
hit the two button and you can increase the horizontal like so.
And after that, I did degrade to just add a little bit of contrast and brightness to it, and that's
kind of the main image.
So, again, it's exactly what we did with our little radio here.
We just flipped that radio over and stretched it vertically.
It's the same exact thing.
So pretty basic.
But then what we did for the the Alpha, instead of using just a noise pattern like we did on here,
you know, you remember we used we used just a noise pattern to make this be distorted and it was connected
to an eyeglass.
Instead of that, I used Aluminite ski.
So I keyed the highlights and and created an outfit that looks like this.
And I created another Alfa that looks like this.
So a bit of a brighter one.
And then I just combine the two of them together with a shape, so I get something like that, and then
if we put this result, it's just it's just aluminum.
Keep plugging that into the image.
We get a result that looks like this.
So you see on the tiles we're starting to distort based on the brightness of those tiles.
And what I want to do is also I wanted to make these reflections a little bit trickier as well.
So I just added a noise pattern that looks like this.
So just just to add some little tinier kind of water, ripply streets in there.
I just added that on top of the alpha.
So if you look at the Alfa, that just adds a very slight pattern over it.
And even though it doesn't look like it makes a big difference, it actually does enable and disable.
You see that just by adding that little pattern, we get more streaks in there.
So it's just the noise pattern combined with the Lewinsky and then putting it through this glass window
that I've provided you guys, then the last thing we want to do is essentially mask it off.
So we just we look at our original image.
I'm just going to disable all of these for a second.
So it looks like this if you plussed over and then I just went in with a paint and then started to mask
the areas.
So I take the rotor, paint a mask, I erase all of the stuff up there.
So we just have the road and then I mask some more areas so that we just get the puddles.
So you see that it's just being very isolated to different areas.
And then I just took some areas that maybe were too reflective and I just erased them.
Use the stencil, another row to paint and again for the same back area.
And then what I did was I went back and I in the areas that might need to be brighter so I can go back
and just look at our pure reflection and just grate up areas that need to be slightly brighter.
So that's how I did that.
And yeah, that's pretty much it, so it's pretty straightforward, but it's starting to give us our
of highlights.
You know, we have the really hot one, the center.
The only thing that I noticed when I was looking at this, I was like, oh, well, Mike, that's my
my ground still feels a little bit flat.
So I actually went before these highlights and I did this.
So you see, I added a bunch of contrast just before I call it like the Daquan Wet effect.
And the reason I noticed that this was flawed.
I'm going to explain this in a minute here exactly what this is.
But the reason I notice this is because I went and studied my reference.
I went up here, I looked for a reference of a wet road.
And, you know, I look at this and you notice that you have these, like, really bright highlights
in the center.
And then we have kind of that area around, like we've talked about numerous times now.
But then if you look in this area, it's pretty dark.
So there's a really big contrast between this area and this area or this area and that area.
So I know that the areas around my highlights need to be a little bit darker.
But based on looking at reference like this and you guys don't have the specific picture in your reference,
I recommend either going to this guy's website, download it yourself.
So I'm not redistributing this photo live blog, or you can just go to Google and type in Wet Asphalt
Road and you're going to find that results.
So let me go back to where we were.
So, yeah, I was looking at this picture and I said, OK, I've got my reflections in there, but it's
starting to feel like flat again.
So it's always this battle between contrasts.
So essentially what I went in and did was I started to just gain down a little bit and I painted that
in.
So I just kind of take down some of that area back there.
And then I gained up some areas.
So here I gained up a couple of areas and painting in just like different areas, and then the one that
really makes the difference is this this one.
So it's a luminesce based on the shadow area.
So I took a luminous key.
I inverted it.
So normally luminance Keywell isolate the highlights, but if you had to invert, now you're seeing
the shadows.
And then I mask that out by the Rodo paint, which is just the ground area, and I just darkened it.
So basically I just darkened the shadows in the midterm in this midtown range a little bit.
So you can so essentially the easy way to do that, if you're trying to figure it out, is start with
Illuminists, key of kind of the ground area.
You start to do your affect there and then you can go back and paint in the areas where you want to
be less affected.
So they need to do this, these Rotel paints before where you're kind of either brightening a darkening
to affect where that key is doing this effect.
So sometimes it's easier to
yes.
Sometimes it's easier to start.
At the end and then do the little things that you want to do beforehand.
So essentially that's the difference before and after.
It's just it's just a contrast.
And you're adjusting where your eyes looking.
So I don't want this to be super bright back there.
I kind of wanted some more detail and this sort of affected the foreground.
So it really, really helps.
So if you look at it before and after, it really helps.
So that's the main kind of mirror like reflections.
Next, we're going to go over a technique and I'm going to do a theory lesson about it first or just
put it in one maybe.
But we're going to go over a technique called a frequency separation.
And this is a more advanced technique and this is how we're going to create the secondary glossy reflections.
So basically, for go back to our really simple technique, how we're going to create this this sort
of rippling effect around.
And we can't just use a noise pattern because then just going to look like a noise pattern.
So we actually need a way to use the image and illuminates key is not going to work.
So I'm going to go over his techniques.
And next lesson.