Welcome back, everyone, to 3-D Modlin Holby doll scene with Glenda two point nine and Adobe Photoshop.
So now we've actually back in Photoshop.
Let's bring in all background.
So I've supplied with this called five backgrounds for you to use.
So just go and have a look at them and pick which one you want.
I'm just going to move these over here now so you can see them.
So I think for me, I'm going to use this one here.
Let me just make them extra large so you can see them a little bit better so you can see the quite colorful
and we have to do a lot of work to actually make the actual retina that we've taken fit into this.
So I'm going to pick this one.
As I say, I recommend playing around with them and having a little which one you like best.
So let's bring this one in.
Let load up now on Wednesdays, I'm going to bring it down.
I do want a bit of my sky in there, so I'm going to do is I'm actually going to control mine is just
to zoom out a little bit and bring it down and actually keep my sky in that I'm not going to worry about
this.
But here I think we're actually going to cover the OK, so then I'm going to press return.
I want to zoom in now with control plus again and just make sure that there's no gaps round the outside.
OK, so the next thing I want to do is I need to actually bring in now Myranda.
So that's the next thing I'm going to do.
So here is Myranda.
I'm going to drag it and pull in.
To my actual image, I've already got another moment, you can see that there's a huge difference contrast
between this and this, but we can say that we've got it on 2048 by 20, 48.
That is the one that we actually opened.
And we've done that for a reason.
And we can put this on multimedia, like Facebook, things like that quite easily at this site.
It's also, again, quite high on the resolution, which is something that's good because we did actually
render this out a two thousand samples, which is pretty high.
Now, let's get this to actual scale.
So I'm just going to pull it out like so and then I'm going to sit it where he actually wants it.
So what I want is this step here.
To actually come to the bottom and then I'm going to do I'm just going to pull it across and look where
I actually want this to end and where I want it to stop one, two percent to four now and explode what
that's actually going to look like.
And I think at the moment, I'm pretty happy with that.
Now, what I need to do is I need to kind of ricola this a little bit and do some of the things with
it just to make this look a little bit better.
So first of all, what we want to do is I'm going to do the whole image, so I'm going to saturate both
of these out a little bit.
So let's, first of all, come to this the way to do it.
Click on this and you'll notice then it actually selects that layer for you when you've actually got
this movement to along.
And then what you're going to do is you're going to image, you're going to go down.
Some adjustments come across and you'll have one that says levels.
Now let's mess around with the level.
So open this up.
What we're going to do is going to bring it just down a little bit just to make it a little bit brighter.
And I think I'm going to be happy with that for now.
So a look may maybe a little bit, Brid, just to bring it to the same kind of brightness as the background.
So I'm happy with that now.
OK, and now let's deal with the saturation.
So, again, image adjustments come down to it, says you in saturation.
And now let's bring the situation down just a little bit and you'll see that we can really, really
bring it down.
OK, so something like that seems fine, finally.
Now let's go to Mountain and we'll do the same thing on here.
Also, we can see now this is changed a little bit and maybe it needs brining up and that's something
else we can deal with.
So let's come to a mountain now and again.
We'll do the same thing.
So adjustments come down to levels.
Let's mess around the levels first.
Let's bring it so do we want to talk?
I don't think we actually want to bring it down.
I think actually with the levels, do we need it?
Yeah, I think with the levels, actually, we're going to leave that now.
We're just going to be putting back to where it was.
I'm going to bring down just the saturates.
And so adjustments, saturation and let's bring down.
And there we go, we can see now it's really, really starting.
To.
The actual scene and then we go, you can see now it really, really looks like it's actually fits in
the scene.
The one thing I would say is you might want to bring yourself a little bit more here.
It looks a bit of a drop off there.
So I want to click on that.
I'm happy with that now.
And then I'm going to click back on my image.
I want to press controlled say, and you can see now, I can't actually do that because it's being previewed
at the moment.
So I need to do is before they would go.
Now it's come up.
So that's minus out.
And now.
Well, there is should I think.
When a person to now bring back that image and then we go now you can say, look, we look around,
this is all looking really nice, maybe, except this bit that needs brighten up a bit.
So I'm going to do is I'm going to go in and I actually coat this out.
So I went to grab this bit like so and then I'm going to put a circle around like so and just get a
real.
To the edge of here, maybe pull it down a little bit and pull it in something like that, and then
what I'm going to do is I'm just going to zoom in a little bit more.
I'm going to press control, see, and then I will press control, and that then is going to pull on
a no the window here and now.
I can actually mess around with this window so I can zoom out a little bit and walk.
And also do is I can now bring in another image and basically put it over this window and just make
it a little bit more lumpy.
So within your textures pack, we double click it.
You will have one that says glass overlay as well.
And then when you open that, you'll say it's just kind of a glass overlay.
Bring that in.
Let it go, no.
And there we go, and now let's make it a little bit smaller, something like that.
And then what you can do is you can put it as a overlayed like this, Bob Hope's not there.
Let's click overlay like so.
And now you can see that if we put this away, we'll see, like Heizo.
It looks a lot more like glass.
And that's exactly what we're going for.
Now, the other thing we can do is you can come down, you can click Olt and click, and then it will
just put it over the actual glass that we've actually been working on.
Now, let's zoom out a little bit and you can see now it's looking really, really nice.
Now, how I did that was all added.
I hope it over.
Hold the button down and then you can see you've got a little kind of down arrow and just click over
there and just make sure it's all the the everything you can do, of course, is come in and just turn
the opacity down.
And as you turn that down, you'll see that it gets less and less lumpy.
So we want to kind of a happy medium, something like that.
We don't want it to lumpy, but we do want it to look like stained glass.
Now, the last thing I want to do is I just want to come to my actual stained glass and now I'm free
to come in.
So an image adjustments and now I'm brightness and contrast.
And what we can do here is we can turn up now and make it much brighter, much taller.
And I feel like it just needs to be a little bit dull, it just to kind of fit the actual scene.
So I'm just going to mess around with this.
I want to click, OK, and there we go.
So let's press control minus zoom in it and there you go.
That's the actual scene.
Now, you might not be happy with this little bit in command.
You can put this way and saturate now a little bit more.
That's something you could do well actually do.
That's what I'll do, is I'll come to my selection, which is this one here.
Just have polygon, lazuli, something like that, and then come in.
And just around.
Just this past here like so.
Come to the end and then we're going to do is going to right click over and over it, I'm going to take
layette viscose.
And you'll get this problem here, and the reason is because I am not over my actual mountain, so let
me come over my mountain, do that again.
So, Leya, buy a copy.
Let's try that.
And then hopefully by minus this off now.
Yep, it's there now.
OK, so that's exactly what I want.
So I'm going to put my mountain back, come back to my land now and now.
I should be able to change this.
So image adjustments.
Let's do the human saturation, pull this over to this side and let's now say, yep, there you go.
Now you can make it brighter or we can saturates Albert in much, much easier.
Let's click.
OK, and there we go.
Our final round of Hobbit dull.
So all you need to do now when you finished is you want to file and you go over to save us and let's
save out this final render.
So I'm going to come down to this photo shop, come down, put it on PMG, and then what I'll do is
I'll find I want to save out.
So here's my renders.
I'm just going to pull final render albedo and then press antwaun and then just press enter again with
the little box appears for PMG percent bond and there we go, it's safe down.
OK, so just a few things I want to say.
And now, of course, everyone brings us to the end of the course, although the course is quite short
in comparison to the rest of the 3D Chuda Course Library, I'm sure you will agree it's compact with
what you have learned.
If you did enjoy this course and please review.
And if you can include a written explanation of what you like most, this will help the cost trend and
in turn help me encourage more courses.
I'm really looking forward to create more courses and if you enjoy this teaching style and course layout,
then please check out my other courses which cover everything from medieval to sci fi, stylized to
fantasy hundreds and hundreds of hours of content.
Finally, with all that said, thank you so much for taking the calls.
And I was always happy.
Modlin everyone.