Hi
It's a rainy day at this mill and the doors are tightly shut. Can you open the doors and show us what is happening inside, or even cut away the whole wall and give us a perfect view of the interior?
Anything goes as long as it meets the forum rules on decency, copyright etc.
Anyone is welcome to have a go - whether you are a complete beginner or a Photoshop expert.
There are no prizes - just the chance to practice, show off, or bring a bit of humour and fun.
When posting back your edited images please use jpeg and downsize to 1200px on the long side.
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Have fun
Dave
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Looks like it's me kicking it off 
.
I used to want a Tesla - until I started to look at them more closely. The thing is, manufacturing tolerances seem to be all over the map. The body parts simply don't match up. I made this illustration up, but this is a very common sight, and I've seen much worse than this. Just look for it:
This is something you never ever see in a European or Japanese car. Yes, it does 0-100 km/h in less than 5 seconds, but my VW Golf GTE hybrid does it in 7 and is properly built.
The Tesla I saw had a listed 0-100kmh time of 2.5 seconds Dag which is astounding. If that is the quality of build, then it has a long way to go - but it does bode well for the future excitement of electric cars.
Back to the SFTW thread. The wheel is a 3D model - the hamster isn't ........
Dave
https://forums.adobe.com/people/D+Fosse wrote
On a serious note, I see you guys are really working on the water reflections. That's harder than it looks, you basically have to make it up from scratch, because you're looking at it from below. The ripples are the least of it. Very nicely done.
The original reflection is a great help as it demonstrates what the reflection should look like. I am a big believer in looking at reality before trying to fake it, as we don't always remember. Clouds a good example — people tend to forget that clouds are layered, and that the layers have shadows.
I did my reflection manually last night, but it was late, and I forgot that I have Flaming Pear Flood 2 installed now. Its UI is positively archaic but it does give you enough options to get close to what the scene 'might' show — we don't know how much wind and current is effecting things. In this case the horizon is tilted, so we set Flood's horizon to the water's furthest point...
And mask back to what we think it might be. Dag made the point about heights and eye-lines which is crucial. We couldn't possibly see any of the car park surface reflected because of that. But we would see the top half of the car's side and rear. We wouldn't see the top of the car as viewed from the water's surface, and I'm not sure what we would see if the reflection extended further towards us. Probably sky.
Flood 2 has a Brilliance setting which I left too high, so I need to reduce opacity to get closer to reality. Here again we have the original to help us. This is probably a more accurate reflection than my 1AM effort.
Ussnorway wrote
the councils dirty little secret
??? Is this some sort of state housing reference? The building is not all it purports to be? It reminds me of the Beatles movie Help, where they arrive at a row of terraced houses, and each go into their own door, but on the other side is a different story
davescm wrote
A bit subtle for us
Dave
I'm guessing that's a tap up in the corner. That hoist beam presents opportunities — having said that, I can see a frame animation with endless buckets lifting water. It would be one of the animations where you wouldn't need too many frames, as you'd only need to loop the distance between two adjacent buckets. If you know what I mean. I have a video I have been putting off doing and have to get done, or I'm in trouble. but maybe later in the week.
Is the strong perspective making this week's SFTW tricky? It's a bit of a slow start I'm thinking. 
Great job of the internals Dave. It's put me in mind of a wee tip/trick...
You might think it would be tricky to animate the hands because of the perspective, but all you have to do is make your layers, and then Frames from Layers, and Group all the clock layers. Then select all the frames in the timeline, and Free Transform the Group to match the perspective. This took me about five minutes. Of course adding an hour hand would be a different matter.
What the heck! Of all the clock faces I could have grabbed, I managed to get an upside down one, and I didn't even notice!
Sacred-Seduction-Correct-Clock.png (1453×1454) | Fabryka papieru | Pinterest
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