This is an attempt to emulate the result of miniature effect/tilt shift, where a real place is made to look toy-like by clever usage of blur to simulate the loss of focus caused by the forced depth of field. The principle is explained here:
To further help with the feeling, let's use an isometric view. Quoting Gustavo Pezzi, it's "a method for visualizing 3D objects in two dimensions, but [...] we make the angles between the x-axis, y-axis, and z-axis equal 120 degrees." pikuma.com/blog/isometric…
With that out of the way, let's take some shots! Pick a place with lots of interesting details around the subject, and set the camera to a position roughly matching that isometric feeling.
Keep lots of space around the subject. Let's use a gshade preset with subtle contrast and colors. For this example, I used Neneko Cream and disabled all DOF shaders.
Next, let's enable the Tilt Shift shader (TiltShift.fx). It provides us with a handy Center Line toggle that informs us where the focus will be strongest, with no blur effect.
This needs to be adjusted (by using the Angle and Offset sliders) to match the contact point between our subject and the ground. Also, make sure to make the focus is somewhat narrow (Blur Curve ~1.5-1.8), a decent multiplier (~12-15), and max samples for quality.
Disable the Center Line Toggle, and take a screenshot.
Now disable the Tilt Shift shader, and enable both the Chroma Key shader and the option to save transparent screenshots in GShade.
That'll allow us to basically create a cut-out of the subject with high contrast! Adjust the Chromakey distance to isolate the subject, and take a screenshot.
Depending on the complexity of the subject model, you may need a few more shots while moving the Chroma limit closer and closer.
Once we're done with the shots, let's move to GIMP; load up the screenshot with Tilt Shift shader, and then load the Chromakey shot as a layer. (In Windows you can do that by opening the Tilt Shift shot first, and then drag-and-drop the Chromakey from Windows Explorer.)
Hide the background layer, so you can better see the contents of each Chromakey layer, and remove everything that's not the subject from the Chromakey layer.
Once you show the background layer, what you get is a shot where the high-contrast subject is placed over the scenario with a very pleasant focus blur near and far from the camera!
Floating subjects are much easier to cut out with Chromakey.
Here's the same approach, with a different scenario:
Larger models (i.e. mounts) work better, but you can also apply the same technique to solo characters:
Now that you know how it's done, the whole Eorzea is your (very tiny) oyster. Give it a try, and show us your model figurines!
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GShade Tip: Vertical Shots with VerticalPreviewer.fx
Pixels - the most expensive commodity in the Glamour universe. A considerable amount is discarded when focusing on vertical content. So let's reclaim them with the help of a GShade technique!
A typical situation when gposing is to have our subject(s) centered on our screens. If you're preparing images for Twitter or Eorzea Collection, you may need to crop them, keeping only the center intact. That means that everything else is discarded.
One way to make better use of the screen real state is to tilt the gpose camera and get the viewport closer to our subject. That translates into a higher pixel count for the zone that really matters to us.
We just talked about posing dark-skinned characters. So let's use the opportunity to talk about Maya's Skintones subset from the Purple Cocoon collection, created with these tones in mind!
@MayaPurrrple Maya Purple Cocoon is part of the default GShade collection: You can find it under gshade-presets.
@MayaPurrrple The presets are implemented in two subgroups. Obsidian is focused on skin tones with some color component to it, while Shungite is geared towards pure grey skin tones. This example shows the Warm preset variants:
I got some questions about how to work with dark-skinned characters - and also heard some comments on how hard it is to gpose them. So here's a compilation of use cases, some techniques, and setups!
This is where dark-skinned characters shine, pun intended. Point lights give a lot of flexibility, and character/environment lights are great tools to give volume and detach characters from the background.
In this example, 3 point sources are used to provide volume to the characters, without relying on character brightness at all. The Neneko Nikuman preset gives great brightness, contrast, and depth of field (DoF) options.
You can use the 3-point light sources and the Character lighting setting to bring attention to the subject, making it pop from the background.
In the example below, Noemie is pretty dim against the background; so we position a yellow source to reinforce the sunlight, a blue source for the sky, and a cyan source for the pool reflection.
There are 3 different kinds of lighting control available when in gpose: Global, Character, and Points.
Global illumination is controlled by the manual brightness adjustment slider. This is equivalent, in real-life photography, to exposure.
Character lightning has no real-life equivalent, but may be thought of as a brightness control that only influences characters and similar entities (minions, NPCs, and enemies, for example.)