So let's work on the rocks in the foreground, which are actually hanging in the air. They are floaty rocks. So let's create a new layer, and I just made the lines of our image a little bit more transparent so that they don't affect the final output. Now I'm trying to get rid of this bright spot here, but yes, I have my foreground rock selected. So I just click on Control Shift I, inverted my selection, otherwise it couldn't paint outside those rocky shapes. This is common. When you hide your selections, be careful because sometimes you may forget you have the selections, and you won't know why you cannot paint on a specific area, okay? So I invert it back, Control Shift I, and now I'm painting on the rocks hanging from the ceiling or floating in the sky, okay? I'm using the same principle of the warm reflections on these rocks, and the cool lights on the other side, okay? So I can have more dimensional rocks floating. Okay. I don't want these two pieces of rock to draw too much attention, so I'm going to stick with a very dark color, low contrast. Actually a good idea is to take them out of focus, so it can have a little bit more of depth. So I'm going to blur, Gaussian Blur, and let's adjust the number of pixels, so I can have the impression that they are much more distant than the bridge. Around 12.5 works fine. Now, I'm checking all the layers to see if there's anything else I can do now. The image is pretty much done, at least the painting aspect of it, but let's use some tricks to finish the image better. So let's save our file, okay? Remember always to save your files, and now what I'm going to do. I'm going to copy merge all the layers into a single layer on top of everything by holding Control Alt Shift E. So I have all the layers, but I also kept my background layers intact. I apply the blur on this new layer, and now I'm going to create a mask here. So I can use a gradient tool with black on the mask to bring back my sharp image, or basically, I'm hiding the layer with the blur, okay? But I'm going to leave some areas a little bit apparent, so I'm going to have the blur on selected areas. You can see from the mask that there are a lot of places where wherever I have white or gray, where the blurriness is apparent, okay? So I'm not actually getting rid of the blurriness I created, I'm just selecting it on specific areas. So Control Alt Shift E again to merge everything into a single layer, Control Shift A to open camera raw. Camera raw is actually excellent for this post-processing of the image. So you can see here, I'm changing the temperature of everything as a whole. I want the image to be like gloomy and dark, so I'm changing the exposure. I'm changing the contrast a little bit. Okay. Let me bring back some of the lights I created. So the highlights is pretty good for that, and also bring the whites up, so they are even more bright and shiny. Under effects, we can create a vignette effect by darkening the areas around the edge of our canvas. This is also very effective on creating this film-like mood. So make all the adjustments you need, and now our image looks much darker with the mood we want. Looks much, much better, okay? So these are some of the, actually elements you can play with. So you can create this mood and the finishing on your image, okay? Right now I'm trying to get rid of this slightly brighter spots around the cracks we created, okay? Just by painting over on a new layer. Again, take your time. Be very careful with that. That will make a lot of difference in the final result. So I'll try to pick up colors from really, really close neighboring areas, and that's pretty good. We're actually pretty close to finishing this. So let's make the light a little bit more interesting here. So I'm using the polygonal lasso tool. I want this to be like a secondary focus or point of attention in our image. So what I did here, I just created this selection, and let's have a brighter color, warmer color, coming from this opening. So Control D to deselect. Look how far we went on this process. We went from exported image from SketchUp, and we now have a fully painted environment concept. There's still one thing I want to do here. So let's select this top-most layer, and let's create a mask on this layer. With my airbrush selected, I'm going to paint with black to bring back some of the details of the temple, okay? I'll do that very, very subtle. So I can have liked some of the details of parent again. I don't want to have this actually dominating my scene. I just want to have this as a detail you can see when you look into the shadows, okay? I'm being careful here with the background as well. Now, as a finishing touch, I'm just going to add some noise to the scene so it has that film like appearance, okay? So what I'm going to do is I'm going to create a copy merged layer, Control Alt Shift E again. I'm going to create a new layer, but this time by holding Alt new layer, and then I'm going to change this to overlay and I'm going to check "fill with overlay neutral color 50 percent gray." Then I have a transparent layer, but with pixels. So I'm going to add noise, and I would say something around, yeah. If you go too overboard with that, you'll see that your picture may get too grainy, and you don't want that. So I'm going to stick with something around 10 percent, 11 percent. A little bit less than 10, I think this is okay because you still notice the grain but it's not too overpowering, okay? Now I'm going to choose another trick. I'm going to copy merged Control Alt Shift E. I'm going to filter other high-pass, and I'm going to leave it at 10 percent. This layer is going to be put on soft light. You can see that it sharpens your image. It sharpens your whole image. It makes the details look so much better and so much more noticeable, okay? Of course, I don't want this everywhere. I want that soft focus sensation, especially in the background. So with a large airbrush and black on a mask, I'm hiding from this high-pass layer. So I'm trying to create the softness you have here on our original image, okay? I'm pretty much leaving the sharpness for our foreground. I want this to be very soft. So I'm double-clicking the mask and adjusting the feather, okay? The more I do that, the softer the transition is. You can see that it's not a sharp line anymore, and that's pretty much it. We have our fully painted environment concept that you can use as a portfolio piece or to present to our directors. Well, thank you so much for following me on this journey. I hope you enjoyed as much as I did. Thank you. Bye-bye.
