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Removing a Cylindrical Map Pinch
As this panorama is (more than likely) going to be applied to a hemispherical object which encompasses the entire scene, the panorama will be applied using cylindrical mapping which will cause a pinch at the top of the hemisphere. To remove this, apply a Polar Co-Ordinates filter set to Rectangular to Polar and paint out the pinch in the middle of the resulting image. Finally, apply a Polar Co-Ordinates filter set to Polar to Rectangular to put the image back and apply the resulting panorama to the hemisphere.
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Grain Matching
Currently, Photoshop’s grain management is limited to a few simple settings such as the amount and intensity. Chances are that the grain on the backplate you are trying to match is of a different size and may have more red, blue or green. Therefore add a new layer (masked using the opacity of the CG layer) and flood fill it a mid-grey. Change the layer blending type to Overlay or Soft Light (some slight tinting will occur which should be rectified) and apply the Film Grain (or Noise) filter at the right intensity. Now you can adjust the levels for the noise to make it more red, blue or green and also resize it.
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Photoshop as a Compositor
If you don’t have access to any additional compositing software such as Adobe AfterFX or Discreet Combustion, Photoshop can be used as a “poor man’s” compositor. The entire animation sequence can be composited by recording an action, finishing off with a flattened image. Perform a test run on a different frame to ensure everything runs smoothly; if not, insert a stop or two in the Action sequence so you can re-record the offending item. Finally, batch process the entire sequence, not forgetting to output to a new folder as not to overwrite the originals!
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Colour Correction
In additional to compositing your animation onto backplates and adding foreground plates, Photoshop can be used to colour correct an entire sequence by simple colour replacement. By using the Replace Colour tool, and entire sequence’s colours can be amended should the client change their mind on the colour scheme. You can also adjust the entire range, adding additional contrast and slight desaturation to match a background layer, record it in an action and perform it on the whole sequence.
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Rendering to a Specific Print Size
Even though a lot of 3D applications will render out to 300 dpi, getting the final pixel size for a specific print canvas is difficult to determine as there is (often) no physical canvas size (in mm for example). Therefore create a blank canvas in Photoshop at 300 dpi to the correct dimensions (including bleed if necessary) and note down the width and height pixel settings to input into your 3d program. Even if you have to render out at 72 dpi you can still drop the image directly into the 300 dpi canvas without any tweaking by simple copying and pasting straight in.
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Pixel Aspect Ratio
Photoshop CS now includes the ability to display different pixel aspects which is ideal for the 3D artist who renders for production. Although this is simply a temporary viewing tool (it is not saved with the image), it does give a good interpretation of what the final image will look like on-screen. This is ideal when using Photoshop as a compositor as we can constantly check the final image output instead of having to second-guess the result.
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INSIDE THE MODEL DATABANK
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