The Art of Poser and Photoshop- P5

The Art of Poser and Photoshop- P5:Before you dive into the first chapter, be sure to download the content and images fromwww.chromeallusion.com/downloads.html. You will see the title of the book in boldand below that, you will find the files you need. Please download the files for each chapterand place them into a main folder named Tutorials. You will be asked to referencethe images from that folder as you work through the tutorials throughout the book. Ofcourse you will need Poser Pro and Photoshop CS4 as well....
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The Art of Poser and Photoshop- P5108 The Art of Poser and Photoshop: The Official Guide Figure 2.21 Results of the transition to spot light 3. Now you’re ready to modify the spot light to match the directional lighting in the scene.To make the light visible in the scene, click the Toggle Lights button, which is the third icon from the right on the bottom of the 3D Lights panel. Then, use the light’s navigational tools to position it to the left and above the 3D model (see Figure 2.22). Note Hardware acceleration is required for this feature. That means your video card must be able to render textures and light effects in an Open GL environment. Open GL allows you to see the results of the texture without rendering. Older systems may not be able to render lights if the computer has an older graphics card that lacks the required 3D acceleration. Use the specs in Chapter 1, “Poser and Photoshop Interface Overview,” to see if your sys- tem meets the minimum requirements. If not, you will have to position your lights in Poser Pro and re-export the head. Chapter 2 ■ Creating a Profile Carved in Stone 109 Figure 2.22 Position the lights to matchthe direction ofthe scene’s light source 4. The angle of the light source is too narrow, so you need to widen it using the Falloff option. Widen it so the light affects the entire shape (see Figure 2.23). This exam- ple uses a 60-degree width, but feel free to play around with it to get a result that you feel is more satisfactory. (Note that the hotspot is the strength of the light con- centrated in the center of the overall falloff.) 5. The color of the light appears a little gray. Click on the color swatch located next to the Color designation midway down the Light Source panel. Choose white for the color of the light. Figure 2.24A displays the original color and Figure 2.24B shows the color chosen to brighten up the light source. Figure 2.25 shows the results of the color change. 6. Experiment with all of the lights in the scene and try to achieve what you see in Figure 2.26. Try not to spend too much time here as you’re simply using this as a template for the final results. Knowing the direction and style of a light will help you create scenes more intuitively.110 The Art of Poser and Photoshop: The Official Guide Figure 2.23 Widen the falloff to con- sume the head Figure 2.24 Change the color of the light source Chapter 2 ■ Creating a Profile Carved in Stone 111 Figure 2.25Results of light source color change Figure 2.26 Final lighting results112 The Art of Poser and Photoshop: The Official GuideCompleting the LandscapeIt is helpful to use sketching to visualize new ideas when you’re using photographic com-positing. As shown in Figure 2.27, a new layer is created and a sketch is applied so youcan see how the lower portion of the landscape will be created. The concept is to reflectthe water coming from the mouth of the subject down into a canyon flanked by wallson either side. In this example, the foreground is sketched in red and the water is des-ignated with blue. It is always a good idea to work out your thoughts and draw quicksketches. This can help you resolve issues and better determine how the final composi-tion will look. This will also help you to learn how to mold your photographic mate-rial to suit your vision and not vice versa. 1. Apply layer masking to remove the sky from the hillside as well as to integrate the 3D object into the contour of the hillside. Right-click the 3D head layer and select Rasterize 3D to change it into a standard layer. You a ...