dramatic contexts
CGI and photoshop:
in this parctical session we looked at how to use photoshop to eddit images, we looked at how you can using the tools change the shape of the face as well as the colour dimentions and then texture of the skin.
photoshop workshop:
in this photoshop practical i was strugaling to use photoshop, i have used this before but i still dont feel confidant in using it.
i was not happy with the results of this practical the blending and evening of the skin didnt work and i found it hard to smooth out the skin tone without it showing lines of colour.
iwas planning on using photoshop to edddit my final image and to put the face on to the portraite as the costume and and background were to complex to replicate. however i feel after this that i may not be capabal of doing this to a standart that i would be happy with. so i may need to practice and look more at tutorials on how to do this and use photoshop better.
photoshop images:
photoshop is used constantly in advertising now, so much is changed about the apperance of the person the photoshop from the original image.
you can see in this image that they have compleatly changed the body shape of this woman, as well as the colour of her skin and length of her limbs.
i find it odd that they would chan a models aperance this much when they have hired them for the perpose of the shoot for what they look like so you wouldnt think they would want to change anything about the way the look.
CGI in film:
Computer generated imagery (CGI) is now so good that it's often impossible to tell what was filmed and what only ever existed inside a computer.
Game graphics aren't quite that good but they're getting close.
Starting from a 3D model of a scene inside a computer, complete with virtual lighting and a virtual camera, how does the computer render a realistic representation of the model on to the grid of pixels that make up the screen? It's not a simple problem, but there are a few solutions.
Probably the gold standard of computer graphics, used a lot these days in CGI, is a technique called ray tracing, which approaches the problem starting with the pixels. It begins by working out the path that a light ray would take coming from a pixel on the screen to a viewer in front of it. Then it just keeps following the ray backwards into the virtual world behind the screen, finding the closest object in the model that lies along the ray. The pixel gets the colour of that object because that's what the viewer would see if the model really existed on the other side of the screen.
The colour of the object depends on the light falling on it, which in turn depends on the lights in the scene, the colour and transparency of the object itself and reflections and shadows from other objects. So the computer traces additional rays from the source of the first one to discover what the lighting situation is before it colours the pixel on the screen. If there's a lot of reflections and other effects then a lot of rays will be bouncing back and forth.
All this ray tracing can take a long time. That's OK if you're making a movie and can spend hours behind the scenes rendering each second of final footage, but to render interactive graphics in real-time for games there are quicker approaches. The main one is rasterisation, which starts with the model instead of the pixels.
The model in this case is made up of lots of triangular surfaces. Even curved surfaces are approximated by lots of little triangles stitched together. Using a bit of trigonometry to take perspective into account, and taking care not to draw distant triangles over near ones, each triangle is projected on to the two dimensional screen and the corresponding pixels are coloured. Rasterisation takes a less disciplined approach to working out the actual colour of the surface, using a big bag of tricks to approximate the effects of lighting, transparency, reflections and so on.
There are other approaches, too, and its even possible to blend these and other techniques in hybrid graphics systems. But ray tracing and rasterisation have emerged as key technologies in the computer graphics world.
Rasterisation is very fast, but it has many limitations which stop it reaching the photorealism of ray tracing. Photorealism is not always the goal, of course, but real-time ray tracing is just possible at present and as technology improves it is bound to eventually usurp rasterisation, even in games.
http://www.stuff.co.nz/technology/7722928/How-does-computer-generated-imagery-work
i added the paragraph above because i thought it was important to look at how CGI works and how it can be used to re create makeups and creatures in film.
in the seshion we talked about how this can change and is changing the industry. in some characters or makeups it is needed because it does things we can not such as in harry potter and voldermorts nose is flat to his face we could not re create this.
also in films like the pirates of the carabian and how they have created a realistic moving creature and still keeping the movemant and emotion of the actor whilst completely changing is entire apperance.
these are things that with makeup if you were to rcreate them it would not work as well in theses examples.
however their are many times when in films they have chosen to use CGI and it has not worked as well as if the would have used a prosthetic makeup.
this doesnt mean that CGIwill be used to replace makeup as alot of directors still like to use real makeups and it does work better and is alot cheeper in alot of cases.
My area of specialty happens to be one of the newest and most unique of the C.G.I. technologies: performance capture. In movies like “The Lord of the Rings,” “Avatar,” and “Pirates of the Caribbean,” hundreds of unique and fascinating characters have been created thanks to the brilliant synergy of performer and animator. The actor drives the character, providing its voice, emotions, physical movements, facial expressions and, dare I say, soul. The animator provides all the externals of the character and connects the digital dots to make the performance fluid, seamless and lifelike. Both are integral to and inseparable from the creative process.
i think in this section of writing he has put the point across well that CGI now can replace the costume makeup and compleatly change the apperance but still keeping the person playing the character their and you can see the emotion. this has created some of the most well known characters in film.
using photoshop: tools.
during the practical we looke at these range of tools and how to use them to create changes in the image. it was interesting to see how much you can manipulate the face and change the apperance of a persone.
in my picture that i changed in photoshop i used the smuge and blur tool to blend any inperfections in to tthe face.
the small paint brush tool to go in to the areas of the eyes and eye brows to fill in and areas and extent the lengthh and thickness of the lashes, you can also use this change the colour of the eyes.
and by using a softer and larger brush tool you can add makeup to the face bu changing the coulour thatv you are using.
The Photoshop Elements Toolbar has 22 icons, plus a color picker. You can use these tools to make many alterations to an image, including copy, crop, and retouch images, select portions of an image, paint in the image, and enter text.
All the Tools You Need: Every icon in the toolbar represents a different tool with a special action in Photoshop Elements. Just select the tool you want to paint, type, crop, or do anything else you want to your images.
you can see in this image how they have changed and inhanced the makeup as well as correcting the blemishes of her skin.
you wonder why they even really add makeup on some photoshoots when they are going to photoshope and change it so much.
i think this shows how photoshop can change the makeup industry from an editorial or fashion makeup perspective.