By Bill Byrne
Add 3D for your mograph skillset! For the skilled second artist, this lavishly illustrated, four colour ebook offers the necessities to construction and compositing 3D parts into your 2nd global of movie and broadcast. recommendations and strategies are offered in concise, step by step tutorials, countless numbers of that are featured all through. Featured functions contain Photoshop, Illustrator, After results, and Cinema 4D.
Lessons comprise exploring the multiplied 3D performance of the Adobe artistic Suite functions (After results, Photoshop, and Illustrator) via a chain of sensible tutorials. extra complex classes then keep on with, with tutorials and perception supplied in particularly geared classes for 2nd artists operating in Cinema 4D, 3ds Max, and ZBrush.
4-color presentation is additional stronger via a number of sidebars, guidance, and "gotchas" to observe for through-out the publication. The DVD includes hours of undertaking documents with that you would be able to paintings alongside the tutorials within the book.
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Extra info for 3D Motion Graphics for 2D Artists. Conquering the Third Dimension
Now we can turn this mess of blurred static into something that looks like stars. Go to Image>Adjustments>Levels and move the sliders to about the positions you see in above figure. The mid-tones slider has the most control; adjust until you’ve got the amount of stars you need. 6. Use the Blur tool and blur some of the star clusters to give the star fields some depth. 7. From here forward is totally optional. If you are happy with what we’ve done so far, feel free to stop here. However, if you feel the need to make our space scene a little prettier, oddly colored clouds will add to that otherworldly feel.
For designers who are Adobe based, it offers some nice extensions to what your software is already capable of handling. However, complex 3D requires tools with much deeper capability. Throughout this book we will be often addressing the issue of how much 3D you need. Many motion graphics designers will not need to create fully articulated 3D characters; a common need is something like a 3D product shot. The Photoshop/After Effects CS5 solution will work quite well for that. You can’t model complex surfaces; mainly there’s no feature for working with NURBS.
14 When using Repousse you can begin by choosing a shape for the extrusion from the Repousse Shape Presets. You can adjust the depth and scale, and even add twist to the extrusion. You can set different materials for the different angles under the Materials section. Under Bevel you can change the shape of the edge contour. If you want to bloat the front surface of your type, the Inflate section has options for that. 62 Chapter 4 Photoshop 3D Interview: Luc Dimick Lucas Dimick is an artist and an award-winning independent animator.