The Art of Poser and Photoshop- P11 docx

The Art of Poser and Photoshop: The Official Guide288 Figure 6.3 Texture display for the head Figure 6.4 Texture display for the body Figure 6.5 Preview of the texture on the head and body Chapter 6 ■ Image Based Lighting in Poser Pro 289 Figure 6.6 Parameter dials for the eyes Figure 6.7 Parameter dials for the jaw Figure 6.8 Parameter dials for the lips Figure 6.9 Render the character to see the final tex- ture 5. Now let’s add a backdrop to the character. The image that you’re about to import is a backdrop that was created for the purposes of this tutorial. It is taken from the scene in Photoshop that you will create later in this tutorial. Oftentimes, it’s a good idea to do a quick render of the 3D model and construct the basic scene so you can see how the colors and lighting intensity will look so that you can import the JPEG image back into Poser to be used as the IBL light source. So, access the Advanced texture panel. With the Open GL preview setting open in front of you, click on the background located anywhere behind your 3D character. This will automatically bring up the background’s Advanced texture environment, as shown in Figure 6.10. You’re going to use a photographic image for the background. Go to the tutori- als/ch6 folder and open the backdrop.jpg file, as shown in Figure 6.11. Apply this as the image source for the background’s Color channel. Doing so will automati- cally apply the image to the backdrop to be previewed in the Open GL environ- ment. See Figure 6.12. The Art of Poser and Photoshop: The Official Guide290 Figure 6.10 Display of the Advanced texture panel Figure 6.11 Display of backdrop.jpg Understanding How Image Based Lighting Works To get a better understanding of how the IBL environment works, let’s apply it to a sim- ple primitive—a cylinder. Access your Primitives library and bring the cylinder shape into the 3D Open GL environment. When asked, make sure that you save the scene that you have just created. You should see something similar to Figure 6.13. 1. Make sure that the lights in the background (designated as Light 1 and Light 3) are turned off. You can do this by accessing the Parameters panel for each light source and making sure that the On check box is deselected. For Light 2, however, make sure that the check box for On is selected. Then do a render (Ctrl+R/Command+R) to see how this single light affects the object. Figure 6.14 shows the result. 2. The previous step shows the result of the directional light source. It produces a strong shadow on the opposite side of the cylinder. Take a look at the light’s Properties panel and notice the Ambient Occlusion check box on the left side (see Figure 6.15). Select this check box and do another render. Notice that the shadow details have become more intense and they are most noticeable along the floor in front of the lighted side of the cylinder. Ambient Occlusion gives more detail to those areas that create shadow details between objects. In this example, it creates more intense detail between the cylinder and the ground plane. 3. You’re going to apply IBL lighting using the same lighting setup that is used in Figures 6.14 and 6.15. Figure 6.16 shows the lighting style for this primitive. Chapter 6 ■ Image Based Lighting in Poser Pro 291 Figure 6.12 Display of the Open GL pre- view and the Advanced texture panel The Art of Poser and Photoshop: The Official Guide292 Figure 6.13 Primitive cylin- der placed into the scene Figure 6.14 View of the render with only Light 2 active Remember that the two darkened light nodes on either side of the lighting ball are inactive. The only light source that is active is the one that is designated with the color white in the upper left. With the active light selected, go to the Advanced tex- ture panel and apply the ivy landscape.jpg file to the light source’s Color channel. See Figure 6.17. 4. Now, create a render of the scene with the digital image applied to the IBL light- ing setup. The results are shown in Figure 6.18. Chapter 6 ■ Image Based Lighting in Poser Pro 293 Figure 6.15 Turn on the Ambient Occlusion option Figure 6.16 View of the lighting setup The Art of Poser and Photoshop: The Official Guide294 Figure 6.17 Apply ivy land- scape.jpg to the Color channel Figure 6.18 Render the IBL lighting scene 5. What you are viewing is the object that is lit by the colors in the digital image. Because the intensity of the image is fairly low, the intensity of the lighting shown in the render is also low. Also note that the object is mostly greenish in hue. This of course is a result of the green that dominates the digital file. Increase the light- ing intensity so that you can see how the object is affected as you increase the light source. See Figure 6.19. Chapter 6 ■ Image Based Lighting in Poser Pro 295 Figure 6.19 Increase the intensity of the light source 6. To get a better idea how colors and values from a digital image affect your scene when render through the IBL lighting engine, let’s use another image and view the results. Access your tutorials/ch6 folder again and open the sunset.jpg file, as shown in Figure 6.20. Apply it as the IBL light source. Figure 6.21 shows the final render. The Art of Poser and Photoshop: The Official Guide296 Figure 6.20 Render the IBL lighting scene using sunset.jpg Figure 6.21 View of the final render using sunset.jpg as the IBL light source Applying IBL to a More Practical Image Now it’s time to go back to the original concept scene that you are creating. With the background in place and with the character in the 3D scene, you’re ready to apply IBL based on the backdrop. 1. Close the current file and open the one that was saved with the textured character. You should see the character with the backdrop.jpg file as the backdrop for the scene. With the Properties panel for Light 2 open next to the preview, do a render of the first three lighting types (Spot, Infinite, and Point). Spot light allows you to control the angle of the light source. This type of light source is very close to what is used in the theatre, where you can control the diameter and the intensity of the light source. The Infinite light resembles sunlight; light is emitted from a distant location in the same manner that the sun emits light onto the earth. Finally, the Point light resembles a light bulb emitting light in a multi-directional pattern. Figures 6.22, 6.23, and 6.24 show examples of each lighting style on the character. 2. Now, apply the backdrop.jpg image as the source for the IBL lighting. See Figure 6.25. Chapter 6 ■ Image Based Lighting in Poser Pro 297 Figure 6.22 View of the Spot light properties [...]... Blur Radius of 18 This option controls the edge feathering of the shadow detail The higher the number, the softer the shadow; the lower the number, the sharper the edge Render your scene 4 Let’s experiment a little more and apply a setting of 1.0 to the Shadow Blur Radius option, as shown in Figure 6.27 Press Ctrl+R/Command+R and take a look at the final render Note that the outer edge of the shadow... detail to the shape of the leg Since you want to restrict this detail to the outline of the object, you need to create a selection in the shape of the figure Go to the figure layer group and select the Poser character Hold down your Control/Command key and click 308 The Art of Poser and Photoshop: The Official Guide Figure 6.41 Position the bark detail over the left shin on the thumbnail Photoshop... toward the figure to lead the viewer’s eye from the foreground of the frame toward the figure Access the tutorials/ch6 folder and open the tree trunk 01.jpg file Give it a layer mask and edit the mask so that the three main roots are exposed, as shown in Figure 6.53 Next, apply the Warp command (choose Edit > Transform > Warp) so that the roots extend toward the center the frame and the rear of the trunk... detail over the left foot 309 Figure 6.43 View of the tree trunk 03.jpg file 310 The Art of Poser and Photoshop: The Official Guide Figure 6.45 View of the tree trunk 01.jpg file Figure 6.46 Use the layer mask to isolate the tree trunk 01.jpg image to the inside portion of the character’s lower leg Chapter 6 ■ Image Based Lighting in Poser Pro 311 9 Moving on, duplicate this layer again and resize it... shape Edit the mask so that the only visual elements that remain are the ones that will be attached to the left leg Keep in mind that the goal is to continue creating lines that lead toward the character See Figure 6.55 316 The Art of Poser and Photoshop: The Official Guide Figure 6.54 Duplicate the tree trunk 01.jpg layer to add more detail Figure 6.55 Merge the layers and integrate them with the left... across the front of the body appears sharper and less diffused 5 Next, set the Shadow Blur Radius option to a value of 20.0 and the Shadow Min Bias to 0 Do another render You will notice a fairly strong application of the shadow to the chest region, which has a strongly feathered edge See Figure 6.28 Figure 6.29 shows the effects of Shadow Min Bias when you set it to 4.0 Figure 6.30 shows the effects of. .. 1.5 6 Check the Ambient Occlusion check box and set it to 0.7; do a render Notice in Figure 6.31 that the shadow detail where the body parts meet is more intense 300 The Art of Poser and Photoshop: The Official Guide Figure 6.26 View of the Light 2 Properties panel Figure 6.27 Apply 1.0 to the Shadow Blur Radius option Chapter 6 ■ Image Based Lighting in Poser Pro Figure 6.28 Apply 0 to the Shadow... between the highlights and the shadow regions falling on the 3D object Increase the Shadow Blur Radius to 20 Figure 6.34 shows how the softer edges are rendered in the Raytracing mode 9 Experiment with the settings When you achieve a result you like best, render it to the resolution of the document you will be working in within Photoshop, as shown in Figures 6.35 through 6.37 304 The Art of Poser and. .. Photoshop: The Official Guide Figure 6.33 Render the scene in Raytracing mode Figure 6.34 Set the Shadow Blur Radius option to 20 Chapter 6 ■ Image Based Lighting in Poser Pro Figure 6.35 Select Render Dimensions from the Render panel menu Figure 6.37 Example of the final render 305 Figure 6.36 Set the render’s dimension and resolution to fit your Photoshop document 306 The Art of Poser and Photoshop: The Official... establish the midtone and highlight information above the valleys in the bark to create the ridges Duplicate the layer that you worked on in the previous step This time, instead of Multiply, change the blend mode to Normal This will bring back the original identity of the texture Now, fill the layer mask with black (choose Edit > Fill > Fill with Black) and paint with white over the areas that represent the . The Art of Poser and Photoshop: The Official Guide288 Figure 6.3 Texture display for the head Figure 6.4 Texture display for the body Figure 6.5 Preview of the texture on the head and body Chapter. Poser Pro 291 Figure 6.12 Display of the Open GL pre- view and the Advanced texture panel The Art of Poser and Photoshop: The Official Guide292 Figure 6.13 Primitive cylin- der placed into the. the Ambient Occlusion option Figure 6.16 View of the lighting setup The Art of Poser and Photoshop: The Official Guide294 Figure 6.17 Apply ivy land- scape.jpg to the Color channel Figure 6.18 Render the IBL lighting scene 5.