This was a fast photoshop job and I’m kinda out of practice when it comes to photo editing but whatevs
I wanted to PS my version of young Ardyn, and here it is. Since the original screnshot was from a dark scene with cold rim lighting I did some color and exposure correction first, so the “after” pic is closer to what he’d look like in daylight. Then I smoothed his face quite a bit, getting rid of wrinkles and making the texture more subtle, after that it was some shape modification to account for how his face would’ve changed as he aged, and finally I got rid of the fedora because my headcanon is he didn’t wear that back then :P Scruffy facial hair stays, I don’t believe this boy ever shaved regularly >:B
The hair is the most sloppy job here, but I wanted to have it there so eh. Maybe I’ll revisit that part. I also wanted to change his clothes but it would’ve been soooo much more work. Again, maybe later.
If anyone’s curious, this is basically what Trash Uncle looks at age 26, in my fic Second Life Syndrome. So there. Some visual reference or whatevs :B
Heads up: Animating the chatrooms isn’t a simple task. If you’re just starting out, you’re likely better off making ‘static’ chatrooms instead of animated ones. If you’re still with me, however, here’s a quick overview of how I animate the chatrooms:
do you use photoshop? how do u get ur lines to be so smooth because mine look messy ;A;
Yes I use photoshop. I draw on at least a 2000 x 2000 px canvas, but mostly I go larger.
I use a 5 px round hard brush to draw, like the one below:
Once I’m done (with the colors as well), I flatten the image by going to Layer -> Flatten Image.
Since I have no real need for the image to be that big unless it’s for prints, I resize the image to a small size and save a it as a copy. Resizing
usually makes the lines more crisp, but if you want more you can use Smart Sharpen in the Filter menu to add a little more sharpness like I do. I just go with Gausian blur, an amount of 20% and a radius of 0.8 px.
idk if the difference is as obvious to anyone else as it is to me, but it’s there:
47. Any advice for novice gif makers/people who want to start making gifs
TUTORIALS ARE YOUR FRIEND like literally go on all the photoshop resource blogs on tumblr and look up all the tutorials, because having a guide that shows you how to do things step by step reallyyyyyy helps ! ALSO DON’T BE AFRAID TO EXPERIMENT editing programs like photoshop have soooo many things you can utilize to make your gifs look pretty or smooth or sharp, so don’t be scared to play around !!! and i honestly learn most of what i know bc i just fiddle around on photoshop in my spare time lmao
and most of all just kinda have fun with it and don’t get stressed if it doesn’t turn out too good on the first try - learn from mistakes you may have made, figure out what options and techniques work best for you, and go for it ! :^)
So I finally colored this comic that I drew of a couple weeks ago of a scene from leafygirl’s story “Fated.”
There are things I really like about the finished product and some things that I don’t. I don’t care for filling in backgrounds with marker because it just doesn’t out smoothly enough when you have to fill that much space. So I decided to give it a shot doing the background in Photoshop. The contrast between the style of the background and the style of the marker-colored characters makes me wish I had colored the entire thing digitally. I initially went for some rough coloring with the characters and then ended up setting them in front of a very smooth background lol
Separately, though, I am happy with both parts, and it is nicer to look at then a lot of empty white space. In particular, I think Sakura’s expressions in the first and fourth panels benefited from some shading. And I really like the background on the last panel.
Okay so Photoshop used to lag really slightly on my computer, but now I’ve got a new graphics card and suddenly it’s all smooth?? I drew America to test it out and it felt really weird because I’m not used to that omg
I really love how this turned out, with the overlaying colors, despite the fact that his skin looks far too smooth. He’s just so wickedly creepy when he does this smile that says “I know something you don’t!”
This is NOT a Photoshop filter, every stroke is painted by me.
Top-right GIF: Photoshop and After Effects | Method 2
Middle GIF: Photoshop and After Effects | Method 2
Bottom-left GIF: After Effects | Method 1
Bottom-right GIF: After Effects | Method 1
Before starting any edits on After Effects I have to make sure the composition has a frame-rate close to the original video. For example, the How to Train Your Dragon footage of Hiccup i used has the frame-rate of 23.959 per second (23.959 fps); therefore, I set the frame-rate in After Effects to a frame-rate close to that. In this case I chose 23.976 fps (24 fps is also good). You must choose a frame-rate your program can render or else it will round off to a different frame-rate, so in other words, do not type down a custom frame-rate, just choose one your program has offered.
Choosing a frame-rate far off of the video’s frame-rate will result in duplicate frames when creating the GIF. It may not be much of a problem but some people might notice the stuttering effect in the GIF. When you create a manip you are combining two videos together, so if two of the videos contain stutters in random areas then it will not appear right and the GIF will look odd. Another note to add is that the keyframes added in the video will also not sync with the footage.
This is a GIF I uploaded in 29.97 frames per second.
Pay attention to Rapunzel as in some frames she does not move. Even though it’s happening, Hiccup is moving in the frames she is not moving in. You can also see an error that occurs in the 4th frame with the outline of Rapunzel’s hair, an example of the keyframes not matching up.
NOTE: If the original video contains duplicate frames then you should remove the frame using Photoshop or After Effects.
METHOD 1 - After Effects & Pen Tool
In this method I used the Pen Tool (G). In the top-left GIF, I used the pen to draw around Rapunzel. If you’re familiar with vectors and handles in Illustrator then this will make more sense to you.
At the bottom-right of the screen you can see some diamonds, which represent a keyframe. For every keyframes I had to draw around Rapunzel that many times. As you can see not all of the keyframes are in every frame. If I did do every single frame then not only would it waste time, but it would also make the manip appear “choppy”. The spaces between the keyframes are like tweens in animation, so the movement of the mask around Rapunzel will be smooth.
^This would be the result if all frames were done with no tweens.
^This would be the result if not all frames were done. The areas where the most movement occurs determines if a keyframe should be added, in this case it is Rapunzel’s hand.
METHOD 2 - Photoshop & Background Eraser Tool
I only use this method for things with complicated shapes such as Merida’s hair or Hiccup’s hair. The Background Eraser Tool (E) is used whenever a character is in a background where it heavily contrasts with the character. Refer to the top-right GIF where Hiccup is the one being edited into Tangled. In the original footage Hiccup is in front of a waterfall where it is mainly white and grey, it contrasts with Hiccup’s dark brown hair so therefore the Background Eraser Tool can be easily used.
But it’s not as simple as that, eventually I found a trick to make it smooth when creating the manip. Instead of erasing the background in every frame where the colours of the background constantly change, I added a colour palette around the character.
Ignoring the text, the colours are merged with every frame in Photoshop. This may take a while to prepare but it will save you many hours of work and the manip won’t look “fuzzy”. The colours are selected by the Eye Dropper Tool (I) and then created into a shape. The shape of the colour is merged to the frame of Hiccup. Then the Background Eraser Tool is used on the selected colours to see if it works. So basically creating the colour palette is just by using trial-and-error.
After doing this step the colours are then erased in a particular order, that order must always be followed in every other frame. This method is more effective because in every frame, the Background Eraser Tool will remove the same colours so therefore it is consistent. Whereas by not adding the colour palette as a guide for your eraser, it will remove different colours in every frame. The tolerance and limits are always varying, choose the ones that suit your needs.
^Without using the colour palette.
^Using the colour palette.
NOTE: The green background is a separate layer, so it does not interfere when I add it to After Effects.
After erasing the background in all frames, the file is then saved as a Photoshop Document (.PSD) and then it is import into After Effects to merge it with the video; In this case it would be the lantern scene of Tangled. Extra filters and masking is done to polish the final product.
1. Always keep the frame-rates as close to the original as possible in After Effects.
2. When creating masks, add keyframes to frames where a lot of movement is present. Leave gaps to create tweens if those frames don’t need a keyframe. This will save a lot of time.
3. Create a colour palette and merge it into each frame before erasing the background of the frames.