tailieunhanh - 3D in Photoshop The Ultimate Guide for Creative Professionals PHẦN 10

Nhân đôi giật gân để thêm một hiệu ứng mạnh mẽ hơn. Sau đó, cho nó một hiệu ứng bóng đổ bên dưới để hiển thị độ sâu từ mặt đất. Ngoài ra, để tiếp tục hài hòa các màu sắc trong cảnh tổng thể sử dụng một gradient xuyên để thêm màu vàng để mặt trời lặn và một màu xanh nhạt để tiền cảnh (hình 10,56). | Painting Texturing and Lighting with Stephen Burns Step 8 Duplicate the splash to add a stronger effect. Then give it a drop shadow underneath to show depth from the ground. Also to further harmonize the colors in the overall scene use a Radial gradient to add yellow to the sunset and a bluish hue to the foreground Figure . Now it s time to render the car with ray tracing. In the 3D Scene panel Window 3D select the scene slot on the scene graph area and under the Quality dropdown menu select Ray Traced Final. You should see that the reflections in the windows are now rendered. FIG Duplicate the splash layer and add gradient to harmonize color in the scene. Step 9 Duplicate the car layer and change it to a Smart Object right-click on layer Convert to Smart Object . Add a Motion Blur with the Angle set to 70 degrees. Here the Distance is set to 41 but you can experiment with this to get a look you like. This gives the car a sense of motion and up and down movement Figure . FIG Apply Motion Blur to get sense of bumpy up and down movement. 185 3D in Photoshop Step 10 Edit the mask of the Smart Filter so that the Motion Blur is mostly applied to the rear of the car instead of the front end. In addition create an additional layer above the car and fill it with 50 gray. Add to this gray layer a Lens Blur Filter Render Lens Flair and then change the blend mode to Hard Light to make the gray pixels transparent leaving only the lens flair. Place the flare over the headlights to accentuate the glare Figure . FIG Apply Lens Flare to headlights. With a little more enhancements to the headlights as well as a light spill onto the street separate layer set to Overlay with white added to the street Figure shows the final render. I really do hope that you enjoyed this chapter. For more information on myself and my art please go to FIG Final results. 186 CHAPTER 11 Creating Lenticulars with Russell Brown Ever go .