Discussion in 'Photography Forums' started by Johndm, Sep 18, 2005.
An expert did this for me.....spot the differance..
I need to do more reading on PS..
Yellow plane removed
And that brown tuft of grass at the bottom of the picture removed
...What'd I win
He did a good job though eh? Can't see any trace on the bigger versions.
Looks good to me
He did do a good job, except he has left the shadow of the yellow airplane showing in the 2nd photo.
& here it is without the 2nd plane under left wing & houses to right removed Gave me excuse to try new graphics tablet I bought yesterday. Not perfect but good indicator of what can be achieved
Here it is with the other plane taken out as well.
I've took that too far haven't I
He's gone a wee buit low on his colour correction. The black level is healthier in the original image.
I had to compress it a little to get it back up.
And with the schoolboy error fixed
Looks much better with that schoolboy error fixed.
Good job !
Now that is impressive !. Which method did you use to mask the plane & any actions you had to take to clean it up ? It's definitely an area I need to improve on
Big main hand-drawn matte , quite tight , manually varied blur around the outer edge depending on what the original edge quality was doing. This gets you all the hard edges detail.
The semi transparent areas ( motionblur on the props and the canopy windows and some of the smaller details like the aerial and other thin sticky out bits that have a bit of green overflare from the background) ) are grabbed with a few specific luma-keys to generate a matte and either the transparent areas themselves are "despilled" which is effectively just a colour correction to neutralise the original bleed through colour ( mostly green in this case) whilst compensating for the corresponding drop in intensity , prior to being composited onto the new background.
For the moblur on the prop I just ignored all the original moblur with my first main matte and then added it back with some luma keysby compositing a constant colour sampled from the prop in the original image. I then "minimumed" the original back in the centre area to restore the intensity variation.
The wheel reconstructions are just a little bit of painted clone work. ( I'd normally have spent a little longer than 5 mins on this)
In order to get the plane and the skyplate sitting a little better with each other I "wrapped" the darker areas of the edge and the underside with a heavily blurred version of the skyplate ( really only colour information left). There is only so much you can do with this sort of technique to relight a plate without getting very convoluted with lots of manual matte work so I left it at quite a low level whereas normally I'd have tried to do a major relight on the undercarriage which is a little too dark for the plane to be flying but I wanted to get this out quite quickly.
I felt the right wing was a little too sharp against the now slightly brighter replaced background so I blurred the edge a little in this area . I'd probably use less blurr and instead relight the wing slightly to give it a little overflare to better balance the fg/bg rather than rely on smearing the edge to soften the transition.
Then I did a little bit of manual paint cleanup to hit areas that looked like they might be comp artifacts even if they weren't ( the streak on the left prop blade) and the odd coloured pixel here and there that was left from the original background in some of the edge transparency.
All told I probably did this in 30 mins with another 10 mins varying the compression to get it small enough to upload again.
And I used Shake rather than photoshop , most of its a composite rather than a manual retouch job.
I could probably tidy up a little bit around the nose of the plane and the lower prop blade and the front cockpit glass is possibly a little yellowish compared with the rear section.
What's the schoolboy error? It's driving me nuts, I just can't see the difference.
Flopped the background to better match the foreground lighting direction.
All we need now is for someone to animate that propellor!
That's fairly easy and you could have some exhaust trailing out of it and some flak explosions and a moving skyplate and drift the plane back and forwards a bit and layer some drifting vapur over the front of it ...but it would be a bit cheesy to be honest.
Hey.....no puttin cheese on my pic......
I am sure if I understood a word of it I wouldnt be as impressed as I am
Yes you would..possibly a little bit more
It's all in video editing 'lingo' I think.
Very possibly - I have only just got round to getting a trial version of photoshop and so far I am very impressed with it but certainly havent learnt the secret language.
Did manage to do my first real "editing" on a photo (ie more than just adjusting the contrast & cropping) the otherday but did "go over the lines a few times" so it isnt perfect (hadnt seen the wand tool at that point)
In 6 months I'll come back and hopefully be able to read more than the first word before getting confused
No, you wont come across terms like mattes and luma keying in a life time of photoshop, they are video specific terms.
Rubbish , mattes (alphas, masks et al) and lumakeys are a cornerstone of image manipulation whether its a still or moving sequence and whether you are doing it on a computer or in a dark room. There's more to professional photoshop use than manually pushing pixels about with a brush.
I'm not being arsey guys but the explanation I've given is as jargon free as I can make it ( and I have a fair amount of experience at this as I'm normally the one asked to train people up and explain this sort of thing to students precisely because I don't couch everything in meaningless jargon).
If there are any terms I've used that I have not explained ( and I don't think there are any) I'll be happy to explain them and illustrate them.
Please explain luma keys and where to find them and how to apply them in photoshop or comparable image editing package.
main matte : essentially hand drawn ( well mouse drawn ) with a spline based shapes generator. The only moderately advanced things to note are the user defined variable blur on the edge and the fact its a mixed spline/bezier shape ( not every packake can do this ...mix straight edges and curves in the same single shape)
The easiest way to generate a luma key is to take an image and decide which channel offer the best most relevant contrast level and clip it down so the area you want is at 1 and the areas you don't want are at 0 (black) and any combination in between. Its a matte generated by brightness. You then take this matte and use it like any other matte.
Some packages will have a lumakey tool which essentially does this others will expect you to know how to generate one and others will call it something odd. Its the simplest key you can pull.
despilled motionblurred propellor blades , initial wheel reconstruction fille dwith flat colour to give basic outline.
Basic comp ( despilled original we'll call it the foreground or FG) composited (simple over process) through the main matte onto the background skyplate.
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