07
SEAMLESS INTEGRATION
Once the characters are placed within the scene we focus on blending
them in and seamlessly integrating them. Specular lights, rim lights and shadow
casting will [help to] create the illusion that the characters are living within the
portrayed environment. To simulate natural light propagation we use radial
gradients. Additionally the use of progressive contrast helps to create the illusion
of physical space and as a result objects closer to the camera will [look] more
saturated and higher in contrast, whereas items and areas further from the
viewer will look more washed and brighter.09
ENVIRONMENTAL EFFECTS
The addition of natural or cinematic style environmental effects can
come in handy when working on a concept piece like this. Adding some extra
layers of haze behind the characters helps enhancing the depth between
layers; a rose tint around the main light source can simulate the pink tones of
a hazy sky and subtle reflections bouncing off objects or rolling off round
surfaces. A bit of extra smoke or mist in specific areas can at last help
simulating a smooth and natural decay of light.11
ADD ARTEFACTS
The addition of artefacts can add the extra
details that can truly make the composition stand out
and give it the cinematic feel it needs. Elements like
lens flares in correspondence of light sources, lens
dirt in the areas around the outer corners of the
frame, some subtle noise to add some grunge and
roughness to otherwise smooth and clean surfaces,
and chromatic aberration to simulate camera lens
imperfections, are all great examples of very subtle,
but effective add-ons.08
USING BLUR TO PUSH THE DEPTH
When creating scenes that live on multiple planes and extend in
z-depth, away from the spectator, we can resort to blurring specific portions in
order to enhance the realism of the scene. By using the soft Blur brush we start
blurring out the areas right in between the two characters and immediately
adjacent to them. We want to follow the natural geometry of the scene, so areas
that are closer to the camera should appear in focus, with the main focus being
the characters, whereas areas further away should appear less sharp.10
VIBRANCE AND COLOUR CORRECTION
When working with large files structured in multiple layers and groups,
it is inevitable to have areas more or less loaded with one tint or value. Rather
than offsetting each group with adjustment layers in order to better blend the
overall image, we can resort to the use of adjustment solids. By creating two
new layers, one entirely filled with a Cyan solid and set to Overlay with a 3%
Opacity and another one filled with purple and set to Screen with a 2% Opacity,
we can reduce the chromatic discrepancies, uniform the tints, and even bring out
some extra detail in the process. Add in a final pass of Vibrance to give it the
extra punch and we are good to go!12
FINISHING TOUCHES
At this point we can adjust and fine-tune our
colour correction settings by accessing the adjustment
layers and export a final raster image. Always make
sure your colour profile and document settings match
the required output formats. Keep in mind thatEXPERT TIP: ADJUSTMENT LAYERS
When working with complex lighting constant fine-tuning is necessary.
Always use editable adjustment layers instead of non-reversible actions.
You can apply adjustment layers to a single layer or to a group of layers by
placing them directly above the target layer or group and using the Cmd/
Ctrl+Opt/Alt+G command.© Saizen MediaSTUDIO SECRETS FOR STUNNING GAME ART TECHNIQUES
typically, due to the natural ink absorption process on
paper, there is a 10% Luminosity drop from screen to
print, so if you are delivering ready-to-print files make
sure to save a print-specific variant with an additional
10% punch in Gamma Curves.