Matte Painting Tutorial – English subtitles – Magyar nyelvű

Matte Painting Tutorial – English subtitles – Magyar nyelvű


Hello everyone! My name is Bence Monori, and well as it was shown in the title, in this video, i will show you, a half-heartedly, fast, by definition fast, but well explained tutorial, in the Matte Paint category. There are not so many videos of this kind in Hungary Most of the source material you find, most often are in external channels, in forums, is how to get started with this type of work. so I found it important and interesting, maybe, it would be good if in Hungarian others could get a better idea of these things. While the video will go, from time to time I take it to tell you what’s going on on the other hand, this is a multi-week procedure, so it is very difficult to speak, about the work process itself, to keep it exciting, because practically, the story consumes a lot of time. What we see in the video right now, it’s a sketch, a base Matte Paint usually starts with a fixed concept that is either sketch-level, black-and-white, is made up of layers and works with photo references or 3D render image formats, places them in space and creates such a photo-realistic, yet artwork can be called but rather montages using photo references rather than explicit drawings. there is also a drawing and painting part as an example, when the creator overshadows, he places things in space. All in all, most talking about photo montage is just digital. Where does Matte Paint appear? Matte Paint is most often used in film backgrounds. Practically, when you watch a sci-fi movie or you follow one of your hottest video game series trailers, what you see in a beautiful, beautiful backdrop environment is not first and foremost made in a 3D studio. A huge landscape will not be put together by the animators, but will be spun off with a technical solution that creates backgrounds that are practically painted in the background. Once we have placed the pictures, the layers on the screen, one begins to disguise the superfluous elements that are not needed in the picture. Let’s talk about the sky or various items we don’t want to show here, for example, ships, houses, people, all of which are worth eliminating if not in the plan. Most of the time, when working with landscapes, we have to pay attention to what is farther away, from the viewer, is farther away in space, much fainter, and any feature or object is adjusted to the light conditions we say when defining the sky. In this case, it may also be important to know what image we use for montage. Saving a lot of time and energy by using the artist specifically for pictures and photos where he gets the scouring lights from the right angle according to the particular composition. You can also look strange and these little bugs can add up and give you the feeling that I can’t believe that this castle or that rock or the spaceship is in space and time where it simply jumps out of the whole thing. People doesn’t first see what the real problem is, then if he zooms in a bit and starts researching, he’ll see that uhh … yeah .. well..this side doesn’t turn the shadow like that or it shouldn’t appear that way for small details because they don’t get that light. Displaying water here was a bit complicated, because on the one hand I started with a basic yellow, but in the meantime I realized that it was going to be a lot and unrealistic. I believed that with a very bright yellow light, the water would obviously be yellow, but no … no. It just didn’t work. That’s why, gradually, first, I made such a blender bump map render, then used it, it wasn’t really enough, and then I started looking for photo references and began to work on it as separate layers to get a more realistic and believable water surface. Reflecting objects is another thing, there for example, there is, for example, a much simpler job for man one thing to note is that the reflection on the surface of the water and its shadow on the water are not the same. That is, it has a separate shadow and a reflection of the objects. Technically, the reflection looks like you are copying the layer you want, mirroring it vertically and then applying a motion blur. Another phenomenon is that the photos themselves will usually not look exactly the same color as you imagined. In pictures, people usually play with saturation, using contrasts in Photoshop, for example, the curve, with the levels, color balances and so many very large and dull-strength brushes. One can also bring these up to the color world without having to jump out of the picture with many, many attempts. By the way, during the video, as you can see, I was very, very cramped in trying to get the foreground and background together, but now my projects of the last few minutes have stayed that way. I basically cut them out because they just didn’t work. By the way, it’s the whole workflow and kind of experimenting. I mean, when you get into something like that, you might have a good idea, but it’s not completely engraved in your mind that exactly how each wall and water ripples and clouds will be located, unless it is preceded by a very serious concept art. In most cases, at least I’m more of an instinctive character, which is not necessarily beneficial, but you can try it. By the way, I’ve been watching a lot of video material on the internet about how to get into a similar, where it starts to get experience and how long it takes to get there. When does someone expect to be professional, when does someone expect to be good at this imaging, to find out it takes and the thing is that there really is not very good, there is no perfect and there is no job that will excel.At first, if you take a picture, you are very proud, very fresh,
very crackling, very working, you look at it in a month or maybe the next day and you say, oh my God … what is this … We must not be frightened of anyone who would say that they would like to do something similar, and should not be frightened if something fails as they imagined. The secret is very simple, you don’t have to complicate it. Practice, practice and practice. Whatever job you do you really will always have where to improve but each job is basically a step up to getting to a level where you are practically though I don’t have any professional relationships yet but let’s say a professional says yes, this person is serious you can buy, it really has materials that are valuable. On the other hand, you should not be scared of criticism either. For example, I only like to work, I like to take pictures so that, even if I don’t know the person I am showing them to, but they tell me exactly what the problem is with the picture. One should not be biased towards oneself, obviously one does not have to be very strict, but it is not permissible in a creative work that one only listens to the criticisms that give positive feedback, for example. Because for me, these are not good feedback. I’m not curious about how much I like my job on a 1 to 10 scale, but what can be improved. I really can only recommend to everyone that if you do similar work, you should rather give opinions that say yes, these pic look good, but I’d rather do something in an other way, and then you get the info with a note and, as a function of that, draw the lesson. Now, however, we have moved into a completely different area, the structure of the image has ended, and we should have a castle. What do we do then? We start sketching, we try to do a photo reference, but it won’t be the case that in artificial shapes, unfortunately, you don’t have that much luck. Then 3D modeling remains. Ahhh … but I’ve never done 3D modeling. How do I get started? It’s very simple. We have a SketchUp program that is basically used for home decor and and visuals, for a lot of boring things. But who’s got a little insight into the thing, and beyond the possibilities, it’s starting to work, for example, and anyway, there’s plenty of videos on the internet, I can only recommend it. Great for hard surfaces, and for beginners, SketchUp is great for spaceships, buildings, guns, all kinds of things that can be done in a mechanical way. Otherwise, I recommend the technique to those who would love to do 3D work, not just one-on-one, but first build Lego-like elements. What we see here in the video and what I see is that I did not start practically doing the specific thing, but I only produce elements from which later people start to taste. But this technique is called Kitbash and is usually used in 3D through the knight’s armor, it can be terribly quick to learn processes that they can take away from a person’s time, so with this method, it’s practically a rough Well now I’m saying something, within one and a half to two hours I was able to complete the dungeon castle. I spun the story with one more thing, that I did not build the whole thing around, but only half cut the center of the castle, and the other half of it, reflecting what was practiced later, would be fitted with a symmetrical object. We’re not texturing here, but in Blender, we can already see in the picture that the completed castle is a bit overwhelmed, since it will still appear in the distance what it looks like. This is within the Shader setting Blender itself. Unfortunately, there was a problem with the Video Recorder and I couldn’t properly fix Blender, I promise that once in a while, there will be demand for it, and let’s say someone is really interested in making a separate Blender video of how texturing is done. At the moment we can see how our castle is placed in the picture. Great experiments are under way to not get a bright light at the same time because it is behind the mountain but its peaks are practically free of sunlight and besides being a bit foggy. There’s a lot of rework done inside my wait while here in Photoshop. I’m not at that level yet, but somebody sure can do that he’s virtually a readymader, sorry if I’m stupid to say he is practically completely origine ready to snap. It is also recommended that when one does a job, the human eye will faint after a while and it is advisable to periodically reflect the entire artwork. the mistakes we haven’t seen so far because we are completely accustomed to our eyes are practically popping out in a new perspective. After a long long period of experimenting and thinking and with a little tip I will now note, Thank you very much Álmos for the tip, my dear friend, I will place a boat on the water for any other place that will make it exciting. We came back to SketchUp to start scrambling for small boats, originally I wanted a port and a lot of small boats, but eventually I stayed at one piece, which looks like it will sink halfway into the water, it will be such a shipwreck. I use the same technical process as I used to make the castle, I make small pieces, put them together, place them, mirror them, copy them, and slide them together to make the ship. The video is not visible, the video recorder is almost always taking only the programs that I used for my main purpose, here I kept flipping a boat that I found on Google for reference, and I started to formulate it based on what elements it will build on my 3D model. Later, after the ship is finished I called Blender this way, and one thing to know about Blender and SketchUp is that the only meaningful thing that can be called into SketchUpbol Blender is a front Wave object format, which is actually the most basic 3D format. Whit shader I was trying to give it a wood texture like that, but practically everything in Blender didn’t really work with the current ship. We got back to photoshop and here you can see how he was fooling myself with the render ready format, I tried many versions, trying to find something that wouldn’t break the composition. The challenge for the ship was to consider where the center of the picture was, where the composition of the picture was navigating, I started what it was like to mask the water from the ships I had hit it with in Blender and constantly felt that the shipwreck played too, too much a role. I tried to play in perspective, to break this horizontal horizon, to play with a bit of space and I was constantly having problems. It wasn’t exactly a one hour process either, so for a few days when I realized what was working and what was not working, I was planning to make different sails for the ship itself in Blender, and then I left things out, because I thought Truth be told, these little things, once all that stuff in a person’s photoshop has come together, this can be solved in the same way in photoshop, the little injuries, the vegetation, the dirt and stuff that appears on them all build. You can see in the video that I call such torn rags as pictures texture, my warpmesh distorting a little bit of darkening on it so that it is not so clean, it does not shine so well, so it gives itself up, this way it gives up. Actually, of course, if you are skilled you can put them together in a 3D modeling program, but otherwise, for function’s sake, as I do not crawl directly on board, it doesn’t get that much of a role and doesn’t have to go into details. -What is a green slime? They ask, this green slime, it will not actually be slime, but vegetation, but instead of starting to paint its pattern nicely on how they turn like woodpeckers, plastic, I just did a mask, highlighted it, called in a moss texture and what was outside of the green surface became virtually invisible, and the green spot became there and the moss texture appeared. Likewise, the big white stripe we saw on the ship just while I was doing the reflection is practically meant to shift the reflection to the left or right a little further, so that the reflection is ripple because it is practically not on ice the whole phenomenon of objects, but also on a constantly moving and changing surface. There is also a separate feature that is called Fill in Photoshop for similar things and can be accessed with the Edit function, which is to delete the selected area and make it a miniature montage of the environment, pushing the blank spot out. Our picture is slowly getting finished, and when I finish, I use two techniques, one is a very, very fine minimal chromatic aberration, which blends the little details a little bit together, and I put a noise filter on it, which makes it kind of poster-like. I can still recommend you when you go to very high resolution, such a 5000 times 3400 Pixel, because after the picture is taken and let’s say we export it, because in doing so, it virtually compresses these tiny details that we may have left mistakes and virtually works the picture. But unfortunately now I have to cut short at the end of the video, so thank you so much for hanging out with me, i hope i was able to help everyone. If you are interested in more Matte Paint jobs and would like to see more videos like this, please let me know! 😉

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