Image light
Of all the processes involved in an image
this is once again a very creative moment,
because we must introduce the final art, which consists
in which all the elements that we meticulously introduce
function coherently, generate depth,
have correct and homogeneous lighting between all of them.
So we will value the light of the scene globally
and we'll introduce those little tricks, like sparkles, lightning ...
These things that we love
to give depth and emotion to the scene.
Join me because now an important part is coming.
Once we got these new elements on the scene,
it is quite full of information.
We will continue composing, but now we will do it with the light.
I'll bring a texture.
This texture provides
some nuances and a false sense of interior.
We will not use it as such, but we will see what happens.
I will bring it to the group of Textures, Interior,
because light is not something that works in the end with four strokes,
rather, it continues to be in the process of the image itself.
The image is alive and we have to treat it as such.
I will make a group inside the Interior.
I'll call it Environment.
I bring the image to me and it effectively disappears
and I can go placing it here.
Perfect.
Actually, I'm just trying to generate
a false sense of interior that can be quite good.
And if I paint it with this composition, it may be fine.
I'll double it around here and make it a lot bigger.
Actually, I just give atmosphere.
I'll delete this area from here, because I'm not interested either
a layer is mounted, the layer on the right
over the central space and I'll bring her here in turn.
I'm enriching a little
inside that scene
and I'm composing with a light that generates some interest
this golden spiral, perfect.
I will combine the three layers
and I will put some fusion mode that I find interesting,
for example, Soft Light, Overlay, something like that.
We will shoot with soft light.
Indeed, if we focus a little on these areas,
it's a bit nonsense.
So I'll paint with a soft brush
And I'll paint black
You see how this only stains a little
the indoor environment.
In fact, if I come here to the settings
and I give Color Balance,
surely I can still put more yellows and oranges
that usually give a quite interesting atmosphere.
This is affecting the entire space.
Now I want to invert the mask again
and paint with that yellow balance environment
around this area down here.
If I see that I have passed,
I can always nuance it by painting black on the mask,
but I compose some areas of interest that can be attractive
and that the eye can understand to relate
that maybe here are the inputs somewhere.
I don't know, because the building is in process,
but it does not matter.
Over here for more inri, I'll take out the golden spiral
and I will select this area
and I'll paint with a color
that takes on the atmosphere, for example, a yellow light.
A clear polarity is already taking place
and the eye does go to that area.
I'll put some way of blending,
for example, Soft light again.
If I remove the golden spiral, it misleads us a bit.
Right now, that relationship is actually taking place
between the three spaces and between the three buildings.
I think that may be nice.
With this I think we have worked a little inside
and unless you want to give it a touch of color,
that later I will tell you how,
we could be happy.
Now we will work another block,
which is the general light of the scene.
If I come up here and make a group ...
I'll call it General Light.
I make a cape, of course, and paint.
Look because this is quite curious.
I will put the default colors.
Click and with the X
I'm changing to paint white
according to the elements they are further away.
Or in black
according to the elements they are closer.
Then even though this seems weird,
We'll set it to Soft Light blending mode.
Immediately this effect that we just made disappears.
It is quite curious.
Just when we give soft light, it is as if it already exists,
as if everything works,
but the image takes on a totally different atmosphere.
I will use this kind of occlusion to enhance some areas.
For example, here I wouldn't mind if there was a little more shade.
I will lower the opacity of the brush so as not to make it too rude.
I don't care if there was more shade here or here.
Around here a little more in that contact zone
and above, on the other hand, a little more light.
I understand there could be more shade around here.
Also in this area that comes into contact with people.
There may be more shade around here.
I'm painting some kind of false occlusion
between the elements
and that works very well.
But it disappears the moment we draw it,
because the eye understands it perfectly.
I recommend that you paint white wherever you want
effectively enhancing that light
and in black where do you think there are that kind of shadow areas.
You have to play with this image
that, if I give Normal,
actually, it's tacky,
because I make some rare cloud species
that only qualify too much
that glare that the image would produce,
but, when I put the Soft Light mode on it, it works quite well.
In fact, I can use this setting,
with a new cape,
and paint, for example, suppose
that of a yellow color like this, orange.
I can paint with soft light
and enhance some areas that I find interesting.
Without further ado I paint here.
I'm making up the scene a bit
which gives a lot of play,
because it makes the eye go where we tell it to.
I think this may be especially interesting
and, above all, we finally treat the image as a single whole.
Finally, yes I would like the typical tricks
to take a long time making images.
For example, take a tree that we already have,
it is not necessary to take a different one,
one with a certain resolution,
And come on, we turn around and make it gigantic.
Let's see and put it around here.
This is a very good way to vignette the image naturally.
It is a classic that many of us infographics use
that we make images continuously.
Actually, we very naturally vignetting this scene
just putting a tree,
that directly makes us skip this close-up
and the eye begins to walk.
This is the key, I love these games.
In fact, if I go to Resources, Vegetation,
some of the trees that I have left you, for example in Autumn ...
I'll find some of these and bring it to me, spin.
Why is this done?
Not only with the intention of generating that depth,
that also, but with a very beautiful intention,
which is a compositional element of classical light
when taking a photograph or an image,
and it is to put elements outside of it into the scene,
because the eye begins to imagine what the space around here would be like
and break that margin.
It is one of the keys to photography.
If I put that shadow
some interest is already generated
because of the space outside the image
and that enriches the scene a lot.
This part of general light
is perhaps one of the most important parts of the image,
because it always allows us
treat it in an absolutely pictorial way,
thinking only that the eye travels the scene from beginning to end.
To further vignetting the scene, we can put the classic tree,
but actually, all the time I try to make the golden spiral work.
In reality, we are always looking for the same thing.
So I'll put a tree that we already put on the scene
and, in this case, it would indeed be good if it had more quality.
I don't want to waste a lot of time on this either
and I will lower a lot of exposure
precisely so that it is understood
this kind of vignette that I am proposing.
In addition, this space is much richer if there is a contrast
between the shadow of this first tree and the light of the background.
It is much more beautiful.
I will take this very pretty tree
and I will also do the same, flip it
and put it around here, but much darker.
I am already composing the image
just based on the relationships that I want to find within it.
I have this tree and again yin yang, Exhibition
and see how it looks.
I lower the exposure.
Thanks to the fact that it is very dark precisely,
the tree in the background catches a lot of interest.
I will remove the golden spiral and I want you to see the image how it looks.
If we want to come up and see all the work we've done
and, above all, to see where we are directing post-production,
You can always come here and hit Alt in the eye.
We isolate and see how this goes.
All the layers we wear, each of the adjustments.
The truth is a good way to see where we come from
and keep thinking about where we are going when we correct the color.
It is one of the most interesting things
and, above all, more stimulating to make an image with so many layers,
see the before and after.
So let's go for the color.
All these things that we introduce
could have gone perfectly unnoticed
and we could have delivered the picture earlier,
but, if you activate and deactivate the layers that we just made,
the emotion is absolutely different,
the eye travels across the scene at an entirely different speed
and we manage to control every situation that intervenes.
In the next lesson we will rush those last color corrections
that will make the final image,
but, of course, this step we took is gigantic.