2D to 3D, How do you do that? (chapter 1)So..., uhm, ...stereoscopic conversion...More Like This
There must have been dozens of times I've been asked the same question: "How do you do that?" There is really very little useful information to be found on the Internet about this subject, while there is actually so much to cover.
The other day George pointed out to me that he'd be interested to see how it's done from my perspective. Though not considering myself to be any authority, I liked the "my perspective" idea a lot, so, instead of linking to someone else's tutorial, I figured that I might try doing some explanation of the (my) process myself and spread it over some short articles.
Before I start with the technical conversion stuff, I feel the need to make some things clear.
Our binocular sight makes us able to determine our position relative to our surroundings and to focus on really minute details in the images we perceive. It is an extremely delicate system which doesn't allow for many mistakes. Both our eyes observe a scene fro
2D to 3D, Careful with that axe Eugene (chapter 2)Chapter 2 - The Pixelshift method.More Like This
Having explained the basic needs and rules to stereoscopic conversions it's now time to explain how the technical stuff works.
I will take you through the creation of the Yes-Fragile conversion, step by step, and try to give some extra tips here and there...
Initially your image does not contain the depth information required to see stereoscopically. That information lies in the parallax between the left- and right image. This parallax has to be created by hand, by shifting every single object a certain amount of pixels. You will cut and paste every selection to a separate layer and shift these layers horizontally. Hence the name "Pixelshift method".
With every shift you make, you actually rip your image apart and create gaps between the objects that made your 2D picture. These gaps will have to be painted in with the "hidden" image-information that will make your 3D image.
Maybe you are in for a little experiment. Pick a sm
2D to 3D, Depth maps, Cut it out! (chapter 3)Chapter 3 - The Depthmap method.More Like This
In the previous chapter I showed how nearly any deformation can be accomplished by using the pixelshift method. However, even though you may come a long way with the standard deformation tools, these tools are quite linear in what they do. They are good to change the direction of an object and you can, to some extent, divide your objects into smaller parts to do tricks with, but the possibilties remain limited.
If you need to be totally flexible with any shape or size and want to give your conversion a real natural look, then you need a depth map, or displacement map. A displacement map is a secondary greyscale image that lets you shift pixels a certain amount and direction. The amount of shift depends on the shade of grey. We still consider the right-eye image as the one to be edited. A grey value of RGB 128 would indicate neutral depth. Any value toward 0 (darker) will make its pixels move to the right, so further away. Any value
What do do as an artist in training.There are many ways to Rome they say. But I find most aspiring artists lost and asking me for guidanceMore Like This
and this is what I tell them.
Find out for yourself what you really want to do with art, there are so many different professions.
Graphic designer, Concept artist (mobile and high end), Illustrator of bookcovers, or card games.
Once you can make your pick, or at least pick 1 or 2 you must find the best work on the market in those fields.
Find out what makes the best art of your favorite field the best art. What do they paint? How do they paint it? With knowing this you can find out about the things you need to study.
The most basic study aims are the following:
What forms of light art there? And how does it influence things?
The book Color and Light by James Gurney will give you a lot of insight.
How do you paint shapes? How do you light them the right way?
You will learn a l
Introducing an artist #4: Tim SimmonsQuoting featureshoot.com:More Like This
"Tim Simmons is focused on an appreciation of nature and the connection between man and his environment. His large-scale artworks capture the feeling of a place within landscape, natural or urban, interpreting contour and texture in a way that alludes to its deeper, more elemental presence. He creates a haunting sense of atmosphere with lighting in a way that invites people into the space, into a room for reflection. He likes to communicate his ideas and is passionate about sustainability and balanced living. In 2011 his compelling images were shown on billboards along expressways across America."
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