For the flame paintwork, the character designs for marketing use were different from the public still photographs of the film, and even the designs of the paintwork itself were not always the same. In the film, Prime has the paintwork on his arm, but on the poster he doesn’t. Some flame paintwork has white outlines, and some don’t. I therefore picked the one with a white outline in order to make my picture much more interesting (Fig20).
(Fig20)
Polishing up Details :
When working on the details, I used a very small brush for the scratches on the metals. Adding stains also made objects much more realistic. By filling objects with brush strokes it enriched the picture, and also helped play a part in catching the audience’s attention. Usually, default brushes are enough for me (Fig21 - 25).
(Fig21)
(Fig22)
(Fig23)
(Fig24)
(Fig25)
For the sparks, apart from using a small brush for the leaping sparks, I used brushes that had many tiny dots in order to give it a spraying feeling, in motion (Fig26).
(Fig26)
Final Adjustments :
In order to make the scene more tense and stressful, in the end I changed the shape of the explosion, as well as Megatron’s pose. He is now looking more like he’s jetting out of the flames, making him and the explosion more related (Fig27).
(Fig27)
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I also moved the character on the right side a little further to the right, and changed his pose so that he would not interrupt the audience’s focus (Fig28).
(Fig28)
On the lit and shadowed parts, I strengthened the reflections from the flame on the left building to make them both carry the colour of the environment. This ensured that the whole tone became more consistent. Comparing this final image to earlier, the saturation was also increased, overall. Now it is complete. Thank you all for following this Making Of (Fig29).
