i recently got an ask [x] for blending anime gifs for two of my sets [x] [x]. i usually don't encounter that big of a difference between blending live action and animation scenes, so this will be more like some tips/ tricks i use whenever i blend scenes - regardless of the medium
this guide is split into three sections:
composition
overlay mechanics
colouring
1. composition
choosing scenes for overlays can be a little tricky if you don’t have any particular scenes in mind, or even if you do but aren’t sure how to put them together in a way that works best. i usually fall back to one of these four compositions. from there, it helps me choose the scenes to use and how they might look together. i’ll show examples for each one, from both animation and live action, so that it’s easier for you to picture
ofc, it doesn’t always work, e.g. if i really want to use two particular scenes, but both don’t really fall into any of these. one such instance this may occur is if there’s a lot of movement/ action in both scenes, like the one i've used in the header. in such a case, you probably need to experiment a little to see if it works
2. overlay mechanics
lighten vs screen
i usually use one of two blend modes for overlays: lighten or screen. without going into the technical difference between the two, the layman understanding (it me. i am the layman.) is that screen will allow more of your bottom gif to be seen through the top gif, while lighten will select the pixels that are lighter in colour between the two gif layers and show that one, regardless of whether it’s at the top or bottom
which blend mode you use really depends on the scenes you’re working with: sometimes, screen might be too distracting because it’s showing too much going on from both gif layers, while other times, lighten reduces the overlay effect because most of the darker scene is hidden. at times, the difference between the two is minimal, at this point it’s up to your personal preference - whether you wanna trade off between just a little bit more distraction vs. a little more obvious of an overlay
i’ve put in some examples from the gifsets you linked here, to show the blend modes i chose for them and why i didn’t choose the alternate
masking
after you’ve selected your blend mode, the two gifs might not overlay exactly the way you want it, with some parts still being hidden because of the contrast in brightness of the two gifs. for instance, in the first example above, half of the face on the right is hidden by the scene with the face on the left, because the latter is brighter than the former. this is where the layer mask comes in
i follow three main “rules” when masking for overlays:
use soft brush
the bigger the brush, the better
click, don’t drag
here’s a demonstration of these three tips
brightness adjustments
once you’ve done your overlay and masking, it’s the step for brightness adjustments to finetune the contrast between the two scenes. or in some cases, this might be much more than finetuning because the contrast between the two scenes still isn’t working out or can’t be masked away
i won’t go into too much detail here because i’ve talked about it before here [x] in step 2. in general, the rule of thumb is: if you want more of a particular scene to be visible, make it brighter. if you want to more of a particular scene to be hidden, make it darker
this can be done by one/ two/ three/ all of these adjustment layers:
gradient map (especially relevant if you want your scene to be b&w or with a colour gradient - see next part on colouring): by toggling the percentage of black vs. white/ whatever other colour you’re using
brightness & contrast
curves
levels
3. colouring
if you haven’t noticed by now, whenever i do overlays, i prefer to keep the colours as minimal as possible, since overlay effects tend to already be very busy visually (also bc i’m lazy). bringing back some examples, i usually go with one of the following combinations
i usually fall back to 1, 2, or 3, just because they’re the most straightforward, easiest, and provide the highest contrast. they also work especially well when you want to keep the whole gifset to a very fixed colour palette, which makes all the gifs look more cohesive altogether
4 is where animation and live action differ. i usually do this more with live action scenes just because it’s easier to mask specific areas with live action scenes, as compared to with animation scenes. because with animation scenes, if i want to mask a face, for example, because of the lines in animation, you will need to use a hard brush to mask the precise area of the face for the gif to look as cohesive as possible (not fun, especially for characters with spiky hair tips). versus in live action scenes, you can get away with using a soft brush and not going too much into the details, at least for scenes with not that much action. for both kinds of media, another layer of tediousness comes in when you need to shift the mask around as the scene or character moves. so i don’t use this colour combination very often, usually only with (usually live action) scenes that are more static, and when i really wanna show a more natural face colour in contrast with a coloured background, instead of slapping a coloured gradient map onto every single scene
5 is a lazy way to work around 4. however, it only works when your subject (the part of the scene you want to keep in its natural/ close to natural colour) is a very different colour from the rest of the scene, such that it can be isolated with colour adjustments. this isolation can be done with selective colouring (more on that here [x]) or with the hue/ saturation layer by reducing the saturation of the particular colour(s) you want to hide. for me, i usually like to emphasise reds and get rid of blues, so this works especially well if i want to keep a character’s face colour in a scene with a lot of blues
i rarely go with 7, just because if there are a lot of colours in the two scenes, it tends to look very messy. in such cases, i’ll also usually try to use some colour adjustments to get rid of any unnecessary colours (e.g. blue in the above example)











