You are on a production and the director wants very colorful buses in the background for a particular shot—but the second unit shot this with a plain yellow and white bus center frame. The director asks that since this is a locked-off shot (there is no camera move, so a matte painting can be substituted for the background plate), can you change this to a yellow and purple bus? Oh, and he would prefer you to make the yellow parts purple and the white parts yellow.
Life never is easy, is it? Luckily, this isn’t hard to accomplish. Take a look at the background image in Figure, which you can download from the book’s companion web site.
The director wants a different color bus center frame.
Figure shows this step.
This gives the same effect as going to Image > Adjustments > Hue/Saturation, but allows more editing freedom.
You can give the layer any name, but I accept the default naming convention.
Don’t worry about any color other than the purple.
Normally, the default colors are black foreground with white background.
The Hue/Saturation layer is still there, but is masked out so you only see the original image underneath it.
The white and black parts stay white and black. If you try to paint in the white areas, you see no results. See Figure for the results you want. Now you have the purple parts; Figure shows them in all their glory. You already saw that the Hue shift doesn’t work on white, so how are you going to make the white parts yellow?
Painting with a white brush paints onto the Hue/Saturation mask and reveals the purple.
Purple parts accomplished!
Selecting the white areas of the bus.
If the wand goes outside of the white area and you want to subtract it, hold Option (Win: Alt) and click the area you want to subtract. Don’t worry if it is not exact; you clean it up after you have most of the white areas selected.
Similar to what you did with the purple parts, you are defining the area you want to affect with the Quick mask.
Choose a yellow that you think would look good in the picture.
Changing the layer’s blend mode to Overlay gets rid of the yellow paint's graphic look.
You’re almost finished. Just tone down the colors a bit, as they are much more saturated than anything else in the plate.
Since you had a selection in memory, the adjustment layer comes in with the selection as its matte.
Here are the results! I have hand painted back the patches into the modified bus as an added detail.
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Adobe Photoshop Tutorial
Preferences And Settings
Customizing Your Workspace
Starting With Color Maps
Tiling And Transformations
Matte Paintings From Pictures
Quick Fixes For Common Problems
Masks And Mattes
Noise And Grain
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