Photoshop for Game VFX #4: Pro Tips

September 11, 2019 0 By Peter Engel

– Oh hey guys, you made it. This is the final video
in the Introduction to Photoshop series, video four of four. Okay, so we’ve talked a
lot about the different things that Photoshop can
do, and how David Shovlin created these awesome paintings
that are showcased here and also used in the class, there’s a link in the description to
the Visual Effects class that I’m working on. So, this last video’s kind of a catch-all, it’s all of the stuff
that I didn’t quite get to in the other videos
of what Photoshop can do. Things that I commonly use. Okay so, we learned a
little bit about Undo. If you go to the History panel, here is some different things that are showing up here and
stuff that we can do. So if I brush, I don’t
want to use green, I just. So if I hold Alt, I can do, I don’t know if you wanted to do it over
right, this crazy brush. And then it’s got these
four brush strokes. Now if I hit Control-Z multiple times, it undoes up through the list, you see the History goes up and up? If I hit Control-Shift-Z,
it comes back down. Now this is different than
it used to be in Photoshop. It used to be that Control-Z was, now it’s Control-Alt-Z where it toggles between the last or the
most recent, oh my gosh. It’s not quite working. Okay, Control-Alt-Z does this, right where it toggles between them. Used to be that was just
Control-Z, and now Control-Z is what used to be Control-Shift-Z, and Control-Shift-Z is something. It’s all very confusing, I apologize. But if you play around with it, you’ll know from your version
of Photoshop what it is. Control-Y which used to be redo, is now entirely different. Control-Y is now Proof, what is it called? Proof Setup or, it says
up here Proof Colors. So your proof colors
are determined off here in Proof Setup. And right now I have it set to Custom, which is if you choose a
device to simulate here, it’s gonna be Gray Gamma. There’s way too many different
ones to even compare. There’s Epson Gray Gamma,
I don’t know what that is. Gray Gamma works just fine. You can do either one of these. I honestly don’t know the difference. So you choose one of those, say OK, and now when I
hit Control-Y it toggles. And this is super-useful to your workflow because in every other art discipline that uses painting of any kind, whether it’s user interface
design, environment design, character design, it’s super-valuable to check your values, get it? So checking your values ensures that your focal points are right and that your contrast is working and all that’s coming together in spite of whatever
colors are on top of it. And if you use other
techniques, especially in old Photoshop, older Photoshop. If you just change it using Image, Adjustments, Hue/Saturation, and you just strip the saturation out, especially older versions of Photoshop, it doesn’t actually give you
an accurate representation of what a de-saturated thing is. Also it’s not easy to toggle it on and off the way it is with Control-Y. So, I would just recommend
using that trick, Control-Y, super super handy. Okay, so I want to also
talk about selecting layers a little bit more. And I want to find a really
soft feathery layer to do this. So, let’s maybe look at,
where is a nice, soft layer. There’s one, why not? So this Inner Glow has
a nice quality to it. Now we learned before that we could lock alpha channel, and then I can come in here and select my color. Let’s say I want it, I
don’t know blue green or something like that. And if I lock the alpha channel, then it will only paint the same amount of alpha as what was on this
fuzzy layer before, right? But there’s another technique which is really, really handy. And David Shovlin uses this
in his tutorial videos. And that’s to control-click on a layer. And what that does, it looks like it’s only selected half of it. That’s because the outline
only shows up around where it’s 50% opaque or more. 50 up to 100%, and then everywhere else where it’s more subtly transparent. It just doesn’t show that outline. But you’ll see it still works the same as locking the alpha. And this is actually really handy because I can come in here, I can grow or shrink that selection. We learned before about Select, Modify, and then you can contract or expand it. So that’s handy. Or, I can, if I undo this, I can go to a new layer, and now on that new layer, I’m painting the same
amount of transparency in here and I can do whatever I want. So, super-handy, I can come along and smudge it within that
and play around with it. But the transparency and the
edging will stay perfect, just the way I want it to. Also you can do Control-H,
which we learned about in a previous tutorial
to hide the selection, but it still totally works,
the same as you would expect. You can do Control-H
again, you can do Control-D to deselect that selection. Or of course you can
do V for the Move Tool and you can then move
that around, looks like a, oh nope, that’s just on this layer what? Something didn’t get selected. I guess moving is a little
spotty, sorry about that. Okay, so that’s a little
more on selection and layers. It’s again, it’s control-clicking on the icon of the layer, not
the text, that’s important. Finally, there’s the F key. I don’t think I went
over the F key before. F key’s nice if you want to just remove all menus around and you
just want to maximize your screen space. And then you just hit F again
and it cycles back through. Sometimes you’ll lose menus with the F key and then
there’s Liquify, Liquify, I probably should’ve covered Liquify in the Filters tutorial. Let’s find a good layer to
Liquify, that’s a great one. Okay, so let’s turn all this on. I’m gonna Liquify on
this, make sure you’re on the layer that you want to Liquify. And I’m gonna come over here, and this is the Liquify popup. So Liquify is a lot of fun. It’s like Smudge, but much cleaner. So it keeps the edge
fidelity at where it was. And you can really sort of
push and pull these shapes however you like. You can come in here and
really mess around with it. And it works nicely when
you’ve got darker shapes. If you don’t have darker shapes, I guess you could Show Backdrop. Yeah, that works, just click Show Backdrop and then that way you know
how it’s all looking, whoa. Okay, so yeah. Turn it off when you’re doing this and then Show Backdrop when you want to kind of test it out
and see what it’s doing. And then you just say
when you’re done with it you say OK, and then now you have a distorted liquefied outcome, it’s kind of really handy. So that covers pretty much everything that I use on a daily basis. There’s some more advanced
stuff, but honestly guys, you’re gonna be great. You’re gonna do just fine just with these four videos. Okay it will be plenty for you. I don’t think you need to go out and really dive too deep into Photoshop. Yeah, it’s a complicated tool, yeah, things are not intuitive. Hopefully we circumvented a lot of that through these
videos, and hopefully you find enough interest in this stuff that you want to learn how
to create these paintings and you sign up for the class. I would love to have you. I’m always open to feedback, always open to having people come and
let me know what’s working, what they want to see
in future classes, etc. So head on over, check it out, and thank you, thank you, thank you so much for all your
support and for watching, and good luck making
awesome visual effects.