Adjusting Lighting and Angles for Composite Image


Compositing 101


Lesson Info

Adjusting Lighting and Angles for Composite Image

Back to the final segment of the day. Now, during the break, we had a couple of changes that we notice sometimes when you're in it, it's, you see a little bit things differently, and one of the things that we're seeing differently is the lighting actually wound up changing. We did change our light midway through the first run, and we brought it actually back in this direction now, looking at our lighting in the shadow and everything that was on the original photograph, who was like, okay, never mind the light actually needs to go in that direction, so those things will happen. The other thing, and this is it's actually kind of funny all that time and energy we spent matching our camera angle. Well, we wanted choosing a different image as our base image to to use, so we're going to have to run, redo that magic of the camera angles, and you guys like it took, like, forty five minutes the first time. Well, we're actually going to do it really quickly, so since we chose a different image, ...

we're going to now choose basically to use the same exact principle principles that we did in the last segment, and we're going to be doing them a little bit quicker so we can see here this is just kind of ah, very rough composite that we put jasper was standing there you can see the shadow direction behind jasper that's it about fifty percent capacity. Let me just bring that up to one hundred percent here and there we go. There we go that's one hundred percent so you can see now the shadow direction does in fact match the lighting, so pretend like he's similar to the glass of orange shoots. The shadow direction is in fact matching it weaken darken the shadow down a little bit in photo shop that's not a huge deal, but we do want to do is make sure we do now match the perspective again because the perspective we matched earlier was from a different frame where the camera was just a little bit different actually in the frame. So if we bring this back ino pets back down in opacity, you conceive now we're not looking at it, we're too far down on it, so we actually need to come back up so the milk wind does matching the milk in this final cereal so well, I haven't moved the camera yet it all and we're actually gonna pull it back up so it could probably come back up like another foot or so, so this is one of those things and it's really interesting you guys you know, are seeing the process as we explain it but during a photo shoot guys, this stuff is not going to take that long like matching your camera angles and things like that that's not going to take thirty minutes it's taking a little bit time because we're actually like explaining it and things like that here but you know we're going to get this done in two or three minutes re matching our camera angles so all right, if you don't mind jesper, just hang out there and john's gonna take a picture you and then I'm going to come right back here in the light room in photo shop and we're gonna work on matching the angles again so I think this is actually a really good it's a really good lesson sometimes things change, you know, in the middle of a photo shoot let's just go ahead and edit that here in photo shop, sometimes things change in a photo shoot and sometimes you do things something and you're like, you know what that needs to completely our angle is completely wrong we need to make sure that matches again, but that doesn't mean that it has to always take up a lot of time, you know, in this case we're going to be basically doing the same thing instead of taking twenty or thirty minutes our goal is to take, you know, two or three minutes all right, so we're now matching the pool and we can see the pool of liquid let's just transformed this there we go and scale it we're already doing quite a bit better let's just come a little bit higher if you wouldn't mind john so we need to if you wantto like see what you need to do if I stay you know, kind of stretch this inn that's basically the same ideas pulling this up and that would get us to about about the right size that we want to get there all right? So we're basically using the exact same techniques that we did in the first segment we're just doing it again on like, super fast forward right now so and then once this is done then guess where we're going to take it over and you had some really cool ideas we can use the inner tube like over the top your head would be really, really cool all right? Let's go ahead and make sure this matches is well, so we're going toe just right click here goto edit this in photo shop and you guys should see how quick this really is, you know, once that photo once it shows up in photo shop were just clicking and dragging this right into photoshopped, we're going to lower the opacity and hit command tea to kind of bring our size down a little bit there we go and now we're just going toe match this point here so this really can be quite a quick process it doesn't have to take a whole long time. All right, we're almost there we come up just a little bit more john, would you mind all right, can everyone see how we're getting a little bit closer and closer and closer? All right, sorry we had that spent all that time calculated every angle and then we decided to change it it's mostly just a test to see if you guys were paying attention. Could you do it again and again and again there we go, all right and let's, just go ahead and do this one as well. So we've already taken four different frames and brought them into photo shop and kind of nash's up so even, you know, if a client's here, whatever you can do this stuff on, you know, a relatively short time frame if you do need to, especially if you're not, you know, having teo like, teach it as you as you go along all right? And we can see now that we really are getting quite a bit closer, we rotate that are a little bit and now the milk from can you guys see how the milk from the actual pool that he's in does pretty well match the milk from from our bull here so let's just put a quick layer mask on there and mask out the outsides of our bull and then we're gonna get ready to start shooting way are perfect no because we don't have a harder surface here at the at the right side the shadows they're not really showing up and it's because the the surface that we're using this pool it has like kind of like coming into it because it's a translucent material so that's kind of like not creating these hard shadows so what we're going to have to do if we decide to use an exposure where a shadow will be visible on that war we're going to have to wind up making that shadow in photo shop which really isn't that big of a deal just kind of something to keep your keep in mind all right pretty cool and our exposure is just a little bit too bright as well so what's our aperture john up there it's at sixteen let's bump that up to about eighteen all right just but would you mind coming mohr in the center of the pool yeah perfect let's take another exposure and we're almost there all right so for those of you watching at home and here like what we spent about forty five minutes doing on the first segment here we're doing in what like five minutes maybe s o it doesn't have to take forever just learning it is going to take a little bit of time, but actually, like doing it for yourself should take quite a bit less time. All right, let's, just bring that in. And in this case, what we're going to be doing is making sure our exposure and our light levels look, look pretty good here, all right? And let's put a layer mask on there and go ahead and paint away black. All right? I think we could even go for a little bit. We're at eighteen now, john. Yeah, I think we could go maybe f twenty or so we were pretty close, but I think we're we can go just a little bit more that's gonna help and you're asking to see this, like, color, caste, that's in the it's because of our pool here, we can take care of that in photo shop really easily. So the color casts we're not too worried about just our general if you want to take another picture, look scared. Perfect. All right, let's, just open up light room here and, uh, there we go and was edited in photo shop. So this is, did we just do that five times and just, you know, five minutes or so, it really doesn't take that long, it's really awesome. All right? And then once we get all this, what we're gonna be doing is we're going to be taking suggestions from everyone here, and we're going to be, we're going tio actually put jasper in the serial and we're going to be taking suggestions from our live audience as well as the audience on the internet figure out what are what we're going to be doing, a ce faras posing and everything like that goes perfect. Now there is one thing that I want to do here, because can everyone see how my haven't like that was pretty easy to mass that out, right? And it's just gonna blend pretty easily without milk because it pretty much is milk like, if we have that, I think that that looks pretty much really I don't really have to do that much blending there, but it's going to be a little bit harder to cut out jasper's head, and the reason is because he's on like a dark surface and everything like that, so what we can do is we can bring in a white surface like a white card or something like that and put it behind him. And that's going to make it much easier to actually cut him out in photo shop. So in just a couple of minutes, we completely changed our perspective again, we're doing our camera angles, and now we're pretty close to start shooting as soon as we get that white card in there. Fantastic. In the meantime, sloth is wondering, so is this a lone wolf job? Or do you usually have an assistant like we've got john wonderfully helping us out today because we're shooting the workshop, but do you usually work alone, or do you usually have an assistant? Good question? I don't work alone, I did for a few years when I was first starting. Thankfully, I don't have to work alone anymore on dh it really does help save there some things that when you do work alone, I think it's a good way to kind of like that's a good way to learn because you kind of, like, learn each of the different pieces, the puzzle, having assistance in helping things like that, it helps out for a couple of reasons, you know, one is sometimes you need a separate para hands, sometimes it helps things just go along quicker, and if you are working for a client, you know, and they need something done in a certain time frame. If you do the job you know in three hours less because you have a couple more people there it's going to wind up costing the client less money which you can save them money in the long run so usually on my photo shoots there are anywhere from five to ten people present to help out with basically everything on dh that's including producers hair make up model's styling location scouts to to like photo assistance and usually someone doing like administration behind the scenes sort of stuff talking with clients and whatnot. So, yeah, in the early days, it was just me, and it was all fun. And now there's a huge team it's fun into a different way. That's good question. Okay, cool. And that might need to move as as he moves as well to okay, perfect. Okay, perfect. All right, I think we're ready to start shooting for the majority of the compositing. Looks good. I'm just going to step behind the camera and make sure that that's in the right oh, good point, john. Thank you. That's in a good place, they're all right. Perfect. Yeah. And that is in a pretty good place where we can see if we flip over the light room, we can probably see the sea, the images coming up on the screen there and we can see the fill card and how that's going to make our job cutting him out just a bit easier. And it would be even easier if that was actually on the inside of the pool rather than rather than outback. It did. It doesn't even have to rest in the liquid. But you know something like that. And let's, take a shot. Let's, take a picture. Now there we go. And now we can see how it will be even easier to cut our subject out from the background. There we go. So in this case, we'll just switch over to talk about photo shopped for just a second. If you were cutting him out and you could just use, like, a magic one tool or something like that, select out the white and then he would be left over. So that makes it really easy. All right. Cool. So we matched your lighting. We changed our cameras back. We did almost everything we did in section one again here in section two really quickly. And now already. Jasper, you ready to get into a man? Let's? Do it. All right, well, I really like the idea you had with the think this over your top of your head, I can hand it to you. And if it does work out to make this a fruit loop e I think that would be that would be really awesome so everything that you were doing with that over the top of the head was really cool and the goal here I'll tell jasper, but I'm telling you guys obviously to it's supposed to be like a super fun silly image like this is not supposed to be a serious image as a I mean, you could probably tell that but jasper when he's posing like, you know, like cute poses like when you were on your stomach and you're doing like that like it was it was just really funny and it was really great so all that stuff like there's there's totally room for all that sort of stuff and let's just have fun with it so if you want to start posing, we're getting a little bit of well it's kind of funny yeah, it'll be the shut off yeah that's right? We're around yeah, yeah so that's the thinking and sarah's not directly above you she's above you and that way so almost like almost like directly above john you're probably not necessarily scared of her we're thinking like maybe you're just like on vacation like you just happened to be in this pool and then like she's seen you in there so you can kind of like look up in that direction but that is sort of the issue so yeah okay cool well if you want to just kind of take it over I like the idea of you kind of like resting in there sitting in their playing on your on your belly was really fun to and then we're going to start taking suggestions from the audience and then we're going to strike suggestions from people at home because this is this what it's all about this is when it's really really fun all right just be ready for it let's go for it right on perfect yeah if you want to lean back there we go oh beautiful maybe sit up again a little bit more like you had it perfect can you push that like down on your yeah way perfect good cards floating okay it's okay uh perfect let's rotate a little bit towards me maybe your legs okay and let's push you back in this way a little bit there we go beautiful john if you could move the card back in this way just a bit just a little bit more if you don't mind there we go cool let's sit up not set up but a little bit more than yeah there we go perfect that's awesome I loved it when you were over the break jasper put a little bit of milk in his mouth and his kind of spitting it wait there we go let's go for it ready eyes that wins a medal that's amazing all right let's do it again and this time actually well let's do it without the white card I think oh my gosh that's no let's keep the white card and that was really funny and if we could do it seated up a little bit more if that's okay so scoot that down on your body a little more there we go all right perfect it was a really really fun all right I love the idea you had when you were kind of on your belly I thought that was really fun and you could be maybe facing towards the camera in this case yeah just adorable let's have you bring around so your head is on your head is towards that side if you don't mind you guys gotta see this for the sehgal is the best day ever even if you could turn more around even started the otherway test for if you don't mind there we go something like that perfect perfect there that's awesome that's awesome kind of come a little bit more towards the camera the's air absurd and it's exactly what we want it's really cool maybe pretend like you're looking up towards yeah it should be a little bit further back that way there we go perfect we'll wait for a second for them to load on the computer they're awesome let's try somewhere near maybe kind of like sitting up we do have a snorkel for you by the way lacey just reminded me yeah let's try someone you're like sitting up in the tube so maybe you could actually like sit with your bottom on the bottom of the pool put the foot of floaty like right around you and then just like sit there with the snorkel with the snorkel unlike your like you were kind of like diving and now you're you're coming up on e I wish we had some water wings do that was really awesome. Yeah, maybe instead of on your face on your there we go perfect. Yeah, perfect john if you wouldn't mind coming around back around sorry this way a little bit more there we go beautiful and jasper if you can kind of come towards me maybe about a foot that would be really great there we go and then rotate your chest towards me just will be war perfect perfect and they look towards me and give me that like nice smile, john if we could bring their card out a little bit more there we go. Perfect. Thank you, it's awesome it's like I'm in a giant bull from loops and I'm fun let's have in kind of like splash in the water a little bit there we go yeah, you could actually like splash with your hands a little bit yeah it's so funny that that energy was big too, because it's just the perfect amount of humor that's perfect, awesome! So what I'm gonna do now, guys, is these poses are really great. What we're gonna do is I'm gonna take it just one or two of these, and we're going to bring it back into photoshopped it's just like making sure just final that it's going to work and they were going to pass it on you guys and then everyone's going to hopefully have a go with helping out jasper to create some really fun crazy saying he poses, and in the meantime, I'm totally open toe opened any questions anyone may have and ask this is there is very there's, a lot of love and a lot of laughter for these shots that happened, right? They're really, really good. They're hilarious is what? Yeah, jasper, you're doing amazing these so there's still coming in from the camera here, but there is so good. All right, I'm gonna go ahead and open one of these in photo shop here and there we go, edit in photo shop well, go ahead and bring this in while you're opening that image of andre from ontario, canada, is wondering if you always laugh this much on your chutes because everyone's loving your life in a way I love this is like my favorite thing in the world and I'm just really thankful that I could be able to do this for a living I try to have a lot of fun you know during the photo shoot because it's just well when you're doing stuff like this it's hard not to have fun but yeah, I always try to, you know, it's when when you're there oftentimes in my own photography I'm usually getting people to do really weird uncomfortable thinks that's a pretty typical part of my photographic process esso I take it upon myself to help people feel comfortable and make sure that they know that they're doing well and make sure that then no we're having a really good time s o yeah, first I just I love it and how could you not laugh? But second I feel like it's a really important thing is far as like the photographic process so I always try to do that oh, this springs up another really great point here on dh we might actually john okay, perfect I can't see you but I can hear you. What we might white might wind up doing is rotating that white card because I'm gonna I'm gonna make a cool kind of like teaching point here so this white card here if we rotated around sideways and brought it back like it a little bit of an angle what we could do is can everyone see that shadow let's just zoom in here can everyone see the shadow of of the of the feet there on the white card what we can do in photo shop if we were to rotate the white card and make sure we get all the shadow and pull it back a little bit of an angle well we could do is actually take the shadow out of this image and apply it directly onto syria ble and it would make it look like exactly like those feet shadows are on the cereal bowl which would be a very very cool effect so this is kind of why we're doing this here in camera to check a couple things like okay, is this working as faras our colors as faras are exposures as far as posing and gangel and things like that but also like our happy accident with oh this white card is actually catching these shadows, which is perfect cause then we're going to use them on on the background and we can see if I if I do a very, very rough job cutting this out just like that, you could kind of imagine these shadows actually like being on the back of the cereal bowl I'd make him a little bit darker and that would just like totally finalize finalized the effect and make it really look like he really is in there all right, what do you guys think so far of this it's? Pretty awesome. Right? And I was just chatting with my producer and it's really hard for me to focus on what you were talking about with that lot of jasper. This is so hilarious. And I'm so excited to be able to be a part of this. So thank you for making thank jaspar, man. Look, this is your goal. Yeah. Okay. And now her face totally makes sense. He's, like what is going on? And we're going to the cool thing is here in photo shop because we did take some pictures with some of the fruit loop. Ease in here is well weaken. Then combine them in later as well. So it's not necessarily. I know there aren't any in this photo, but we have photos with the fruit loop ease in there as well. So we can always bring some of those back in around just to kind of like, make make room for him. But let's, go ahead and make a decision as a team right now if he were to be surround. If we were to use this floaty as a fruit loopy, he would have to be like that big. Right or the froot loops would have to be that big either which will not work so I think we're going to have to just say this is a floating and then there will be fruit loops around that we don't make a decision on that cool all right now yeah, well let's go ahead and open it up to you who has the first suggestion on what we want jennifer to do yeah let's go ahead I was thinking it might be funny if he was in there like taking a bath so you know, with the milk he would put it under his arms or you know yourself down let's scrub myself down with it totally okay and then we could probably did the the floaty too, right? If if he's singing about thank you all right, if only we had like, a shower cap or like a rubber ducky you're alright eso if taking a bath yet like scrubbing here like washington, what else? What else would you be doing if taking about? Oh yeah like this plaschy slashing yourself with water or something like that kind of like splashing? Yeah, you don't have to go all the way it's like pretty sticky it actually is like milk you doing your two awesome gesture all right, so take it away whenever whenever you're ready and I'll be here take a break yeah washing the feet was awesome let's do or that yeah way respond to do we have like a big sponge I wonder if we're looking for a big funds wonderful that would be great and oh god she let's do like would be one armpit oh, and if we could let's see john is not currently in the room maybe julie if you wouldn't mind holding the holding the white card and if we can hold it horizontal and there we go that that will be able to use for like, reflections and things like that perfect yep. And you can go ahead and send it directly down in the milk yep there we go. You could look at me as well. Good. All right, this really is really funny over gush where did you find jesper has got the best facial expressions for all right? Well, here's here's a really good, really good teaching point is theirs there's opportunity for him to be like looking at our subject right like looking straight up with subject. But every time he looks at me I'm laughing so hard I can't contain it and I think that's just like that's just pure photographic gold and I don't think we should miss that part of the process so it might make a little more more stage but it's just so funny I think we've got to leave it in just if you could rotate around towards me a little bit there we go just like that? Yep, maybe just a little bit less. There we go. Yeah, both of those would be great. Perfect. Yeah, let's just keep going. And those maybe like under the pits that is so funny. Perfect let's do some more under the pits. Maybe just smiling at the camera will be yeah, yeah, perfect. So erin gilbert he points out that the white board is not getting the whole shadow behind him. Is that something you're concerned about? Oh, good point. Well, yeah, when his hand is up, it's not getting the whole shadow behind him that's a really good point this that would be a great opportunity because the cereal bowl doesn't extend vertically forever also. So what that is it would be a balance between when does the cereal bowl stop and when does the shadow stop? And if the shadow that we're capturing stops before the cereal bowl stops, we can either move the frame up just a little bit and make sure we bring the white board up is well to capture that or we could also do is just try to basically mask in just a little bit of a shadow in photo shop, so yeah, it's a really good question and as I'm seeing these john I think it would be good if we could actually submerge the boards just a little bit in the water so we don't get that kind of like dark line in between milk and the white boards yeah we're short of balance a lot of things like this and this is what's so fun about a composite because this image alone although it is hilarious and awesome is it's just part of the composite so that's you know like this image I don't know maybe someone would put it in the report for you because it is awesome but it's cool to be able to take these like pieces and then put him together into the final into the final image cool I think we got a water some other suggestion I love that taking about suggestions from the internet coming in eric's photo says it would be great if you were a jasper was wearing the snorkel mask and just cooking your eyes and head out of the milk and maybe even brain some of the milk out of the snorkel there we go you think you could do it right? You know where is there a snorkel mask here we go don't spray too hard you get this hey they knew when they were getting into right that's what you get for being a studio audience so about the milk snorkel did it wardrobe malfunction over here that's already that's that's awesome let me know if you need any help. My fingers air more dry. We also had some posing suggestions. Tio have him, like, be surprised and trying to cover himself. Oh, that's a really good too. The girl caught him. There we go. Oh, yeah. Okay. Me under the water. This weather, I don't know. Let's try. Yeah, the any leave with would be goal work. Love that shot. Yeah, if you want, if you want to pull a whoopee let's, go to that. And then I like to surprise idea after that. Yes. And the camera was, for those of you guys who are paying attention to perspective, the camera was much higher in that case. So totally different shop, but, yeah, she was she was laid out like that. Maybe bring your arms a little bit above the water. There we go. Perfect. And actually it's have you, like, rotate around, so you're not. Oh, actually, I was thinking this in my head, but it's actually a decent teaching point. Okay, it's going to sound a little bit weird, but we don't want jasper's crotch facing the camera. Maybe you would think about this on a photo shoot, maybe maybe not note, no big deal, but in, you know, in my head I'm like okay crotch can't face the camera we gotta rotate him around supposed to be like a funny, you know, shot with a kid obviously, you know, that's not an angle that we want to be photographing so you know, just some a couple of cool fun things to keep in mind if you could rotate around this little bit more there we go. Perfect. And then yeah, here we go. And then this would be actually really great angle for you to kind of look up at thea that sara perfect pulling a whoopee let's try the surprise. I like that suggestion from the internet, so maybe if you want to sit up in the milk and then we can act like you're kind of surprised. So what would you be doing out out of surprise? What do you think? Maybe trying to cover yourself up or we could do that? Yeah, that was a suggestion from the internet was as though he were, you know, washing himself and shocked and surprised like, oh, my oh my you do look very scared they're very frightened it's turning into a b horror film perfect let's see, we could do I really like that pink thing tio do we have another idea for shocked and surprised there was one suggestion of a basically like food fight with sarah like kind of poking back up at her oh that's a really cool idea with bloody with the floating you know what because the fruit loop ese are rather small if we do if we get something that is the black let's try maybe the great I don't want to ruin that gaffer tape but if we do have something that just workin holds and kind of like hold up maybe he could be offering a fruit loop what do you think yeah there we go perfect yeah no well I don't know you throwing everyone but holding it might be better because throwing is hard and photos like you guys have probably made you know like in with photography a couple things they're hard like rain is hard to capture because it's it's it's a motion type of thing throwing is hard to capture because it's emotion type of thing so unless you can like catch the ufo someone throwing a football if the football is not like right here it just looks like they're doing this right so it's like some things like throwing are hard to capture so it it might be better if you just held it up if you want to do that but here you go or maybe with two hands like you're lifting it like it's really heavy um yeah there we go can you turn around face the camera a little bit more there we go. Perfect. Maybe if you were kind of like holding it up like that yeah here's your giant fruit loop could you scoot shorts the camera a little bit? We're losing a little bit of the giant fruit loop there we go maybe bring bring your hands down just a little bit so we're not losing it at the top of the frame. That would be ridiculous a little bit lower there we go. Perfect and look up towards sarah perfect. I like that idea really cool. All right, let's switch to the store historical working again. All right, perfect let's switch to that. That would be awesome. And then what do you guys think should be on his stomach or on his back for the snorkel shot on the stomach? Yeah. Are you okay with that? Jesper right on. Yeah. Yeah. It's like been in a pool of milk for now are in front of a live studio audience a, uh ok, which pretty much everything at this point and then just to set up another one, there are suggestions that he be basically afraid of and trying to escape the spoon trying to escape the spoon. Yeah that's a really good idea. Yeah, and there was also another one earlier saying that he should be trying to escape and climb out of the ladder on the side of the bowl that's a really good point ok cool so there is if you guys remember in the original photograph way had a little ladder of made andi was kind of like trying to escape out of the side of the letter s so if we did want him to escape out of the side of letter what we could do is because we can't really use the edge of the pool we would have to kind of like use the white board so we can pull the whiteboard around to that side and have him kind of like looked like he's escaping from that side which I think would be really cool too yeah I like all these ideas yeah yeah um perfect let me see I like it when you're facing the camera I think that's probably like the best it's the most humorous because if you're facing too far back away way lose your great facial expressions and we lose a couple other things so definitely like facing towards the camera I think is is the best what we want I can't believe you're in a giant pool of milk right yeah if you want to like fall uh perfect let's go for it perfect yeah it's just really funny she love it okay are our uh goggles a snorkel goggles maybe a slight malfunction oh okay we're just about ready way yeah more light on his face talk great point so let's do the same thing just for a few with mine and then we'll uh even even more around so like maybe your feet are facing towards the studio audience yeah, yeah, yeah you'll do maybe towards camera first and then towards their uh after if you don't want that's awesome and could you kind of like splash around as you're doing it so it almost looked like you just like landed it's kind of hard to know because you these twenty things at the same time you're going to fall in number to capture it yeah let's do it right on that z do it again let's just do it for real what's that perfect those are awesome let's try it one more time if you don't mind yeah and whenever you're ready cool. Awesome cool. I think we can go ahead and sit back up. What do you guys think? Pretty awesome. So far of those flashes were really, really cool. I definitely need those. I liked the idea of doing this flashes, but I do like to see your face too. Maybe we could do do you need to tell you anything that clean off your face? Okay. All right, maybe we could do kind of like what you were doing earlier where you had let's get the pink floating around you again and here I can help you with that and then you could be kind of like sitting in the middle of the city in the middle school kind of like splashing like you know how like a toddler would just like splash and have fun here we go your your floaties sir that there is really oh, sorry um perfect yeah I love the floaty because it adds like a little bit more of element to humor to it you know what I mean like it just think it's funnier with the floaty which is with the whole goal the thing so yeah if you want to kind of like perfect let's see these as they come upon onscreen awesome job they're so fun let's have you do the same thing but let's face it kind of this way there we go perfect you can't giggle wait put your hands up like we way julia you getting soap actor a little bit? Those are awesome. Yeah, I think that's prices with with the floaty and with a little splashing with you know, the facial expression I think that really helps toe it's making perfect aaron quick questions so we had that list of elements that we identified earlier in the day you want to take a look at that and make sure that we are still on track with that let's do it it is on the white board which is over here even lacey's getting that set up there we can we can well, that around there it's easy to get distracted in, you know, having fun with someone splashing around in a giant pool of milk and then forget to do something that you should have done. So that's, why we keep this all right. So here's our list the elements for the deposit for this composite in particular that we had to make sure we we actually did and I can go ahead and start checking some of these off. So the camera angle for the bowl of cereal we measure that right? We did that one. We can go ahead and check that off the camera angle for the giant pool. We did that twice, so definitely check that off is well, the focal length to shoot the giant pool. What we did is we kept the same focal length from shooting the bowl of cereal to the giant pool. We changed our distance a little bit, but we kept the same focal length and what that's going to do is it's going to keep the same perspective as well? So we did that one check that off the matching the lighting from the both both of the shots we worked on that during the first part of section three and on the second part of section through we brought the lighting back around in this direction which did help and we saw in the beginning part of section four, which is this section how when he sat up the shadow direction did match the shot of direction of the orange juice class do you remember that? Okay, so we did that as well matching lighting from the shots, the rough compositing onset, which we've been doing several times check that the subject's interacting we did stuff with sarah and then you've been looking up in that direction, but we kind of threw the idea out that it was just kind of funnier when we're looking when jesper was looking at the camera, so I think we've taken care of that different takes of the cereal bowl full and empty we did that on in section two the match the wood grain for the foot pops and measure the center of the frame that's basically matching when you ever you're doing this and you can't really see it in the camera but basically if if the cereal bowl is going to be on the bottom side of the frame, you want to do something relatively similar in in the final image. So that's why he's like the cereal bowl is kind of like making up the bottom portion of that frame it's not usually huge deal, especially for cutting out someone like this, but if they are like camera right or camera left pretty for generally let's let's say we're compositing him and he was going to be all the way camera right we wouldn't want to center the camera on him when we were actually taking the picture because you do get some distortion all the way camera right or camera left so it's just it's better to put your subject where they're actually going to be in the final so the distortion on them when you photograph match the distortion from the original image in this case he's relatively toward the center and on the bottom so we're just kind of it totally works here that's one thing to keep in mind is where the center of the frame that you're actually photographed like your original frame and where the center of the frame that you're goingto put the composited as well so cool good point all right guys give it up for jasper yeah do you need help out yeah yeah you're good to go you are good to go jasper thank you so much on behalf of everyone here in creative live and the internet audience you were amazing yeah that was thank you really really good awesome shot chester e I believe there's a shower here too which is you're probably really happy to hear that perfect jasper again thank you eh so we're going to switch to the next section which is the very last section guys and what we're going to be doing is we're going to be photographing a couple of elements that we're going to be putting into the final shot as well. So let me just switch over the photo shop there we go and what we're going to be doing, we have some flip flops, regular sized flip flops and a towel regular sized how and we're going to be photographing those outside, they're not going to be in the pool or anything like that. We're gonna be photographing those on a wood texture, and I think we can actually use this table and then photographing them at a sing similar camera angle, and then we're going to be compositing those in making the minister as well. So we've got really three different elements. We photographed our background, we photograph jasper in the pool and they were going to be doing the flip flops and the tower, so we're going to do that relatively pretty quick, actually thiss pool is not going to move, eh? So what we're going to be doing instead is moving I think we can use this table. Is everyone okay with us using this table? Yeah, perfect, so we'll just kind of take some of these elements off, we don't mind, and we'll move this where we can photograph it and then that's going to be basically get so photographing all three of these elements and photographing them all in one day, which is pretty amazing that we were able to do all this in one day. The other option here would be to use the floor because the floor actually does look quite a bit like the table. The only downside with using the floor is there's a giant pool in the way, so we don't really have the room. All right, so where do you guys think that flip flops in the towel should go in the final image near the ladder? Maybe on the right side of the ladder, they're kind of like in shadow, so when you have something that's in shadow, a couple of important things to keep in mind, anything that's in shot, it was going to have less contrast than something that's in light, so it's not only gonna be a little bit darker, but it's gonna have a little bit less contrast and you can see that there really is not a whole lot of contrast in the shadow there. So as we're lighting like the flip flops and things like that, we do want the direction of like to be relatively similar, but I'm not too concerned about having it bi directional because technically it's in shadows so we can try a couple of things. The first thing that I would do is just put a very large light source really close to our really close to our props here and that would basically ensure that we don't have, like, a whole lot of directionality, it would basically just be almost flat. The other thing which we could totally do is just photograph he's in natural light, which is, like kind of the easiest thing, right? So let's, just try that and if it what was that? Yeah, let's try that. Maybe we could just bring the camera, bring the camera over and we'll photograph from the natural light if it looks horrible, someone put in a life, but, you know, you don't need all kinds of cool fancy lighting and things like that to do compositing. We'll just try natural light and see if it works out because they like just looking at him, they already looked like, you know, they're not incredibly well highlighted on one side there, they pretty much look exactly like how would want and yeah, and then we're gonna be done with it, basically our rough composite and we're going to pick back up on day three to put everything into photoshopped might need the ladder again. We're gonna pick back up on day three to bring everything together in photo shop and not only composite everything together with the shot, but also added like a lot of stylized into the shot and make it really pop out as well. All right, now there are a couple of things that we're going to need a change here john's already making a camera and a little bit higher, which makes sense because we have quite a bit of a higher the table is quite a bit higher here. The other thing is obviously our shutter speed, I can't shoot one over one sixtieth f twenty it is a one hundred and expect to see these at all because we're not letting in nearly enough light, so we do need to change a couple of those things um here we go let's just bring the sound and the same with everything else I am going to be doing like a very rough composite now if you did want to we had a question early about what if you don't have ah circle in this or whatever like that, like this he's just flip flops, how I'm going to make sure we're matching the camera angle from these flip flops to the camera angle that's actually happening there in this case, I'm just going to pretty much fly by the seat of my pants and just make it look like, you know, pretty much like that, but if you did want to a really good way to do it is to actually just put a round object could go up like a piece of some gaffer tape or something perfect a good way to do it is just to use a round object like a piece of gaffer tape and thank you, john just place it next to your subject and that way or where your subject is going to be in that way you could basically used the exact same technique and just mash it up for the gaffer tape once you get your angle correct, take the piece of gaffer tape out, replace it with your subject and then you know you're at the right camera angle so same technique we could just use it for, you know, kind of like replacing a different way so I am to change my camera settings here we're still going to shoot it like f eleven because I do want quite a bit in focus oh, turning off our parker wizard. Thank you. All right, but this time I'm gonna be shooting at, um there were this time when we shooting it half a second exploder turned my stabilizer office. Well, thank you, john. So I'm shooting it half a second exposure, which in this case doesn't really matter that much because the camera's on a tripod and obviously my subject is not moving so that's about what we've got now can you guys tell just by looking at that piece of tape in my too high up on this or too far down too high up right? If you were just looking at the flip flop that might have been a little bit hard to tell but putting that piece of tape in there if we could bring actually if mike could bring oh, my start there what's up mike is someone else in the booth? Okay, cool. No one's right here if this people okay, john can do it maybe s so if we could bring this up and see how this relates teo either the pool shot if you had, I think gi will bring up the grid view, so if we wanted basically use the same technique we can think of this instead of being there we go instead of being, you know, the cereal bowl or whatever, we just want to make sure that, you know, that piece of tape would technically be in the same perspective as this cereal, right? All right. And we can see that it is, you know, from the with divided by the height, it is almost a one to one ratio, so our camera needs to go back quite a bit, which essentially back and down a little bit, which is going to help give us that like a little bit of a lower angle, so with something like flip flops, you wouldn't see it as much because, you know, like if you see a flip flop like this compared to like that it's, not that big of a change, because it it doesn't have a very defined structure, something you know that is, you know, like a square or a rectangle, you would see that quite a bit more because it does have us define structure, you know, that's why it's so easy to composited like skies and clouds and things like that? Because clouds don't have any structure that could be any shape in the world, it doesn't really matter what they are so that's, you know, the tighter a shape has a more identifiable shape has the more you have to get this sort of thing right? It was just like a blob of something like a piece of popcorn that could look good in any shape. In that case, it it tends to matter a little bit less way took another one perfect, all right? And what I'm gonna do is instead of going through, I'm just going to hit the two of those and hit c for the compare, but so we could just kind of look at it. It'll just save a little bit time instead of instead of going all the way through photoshopped in. You know, doing it over and over again, I think we could still come down just a little bit more on dh if you did want to measure this totally that that's up to you, I just want to make sure we're saving some time because it is it is live. I'm sure you guys don't want to watch me do it for another twenty minutes, getting her camera angle right for some flip flops. The other thing that I do want to do is because we're photographing the flip flops on the same surface that we photograph the photograph to syria ble I do want to make sure that our that our direction of the table does match because the grain we're goingto hope to match that up a cz well, so I'm going to be rotating this table around, and I'm super hope that there's nothing attached to it. That's going to fall office to this, uh, we're gonna be rotating this around there we go just to be sure the goal is to hope that basically thie it's the same same angle there. What was that? Yeah, sorry. And if you want to come or like around towards the front john, I think that might that might complete the effect there, and one suggestion from the internet is that the towel looks a little bit to me like as if it was set there nicely instead of just dropped on the floor there we go see take advice from people you trust I trust random people on the internet with everything yeah you're right it did look wait you need that looks way better I totally agree all right? We're looking at it more yeah, more from that angle but something we want perfect yep let's do one with a tell and well, this is pretty much it guys we're going to go ahead and do a rough composite of this back into back into our shot and see it for the day and then we'll be open up for questions and um questions and answer time all right, so we're just going to edit this and photoshopped real quick just to make sure that this works and all right long as our camera angles and everything like that are consistent then um then we're good to go all right? And we're just going to make this very small, you know, kind of like here in in that side of the frame rotate a little bit there we go and then we're going to put a layer mask on there all right? Perfect and again, if you guys you know, if you did have like a client on set and things like that waken see we're over exposed just a little bit here because we're exposing for the median but technically, this is supposed to be underexposed just a little bit because we're supposed to be in shadow here, so we're gonna we're gonna lower exposure just a little bit to make sure it doesn't match, but before we do that let's, just make sure that our camera angle is is what we want let's just make a curve adjustment layer and, um, to clip that let's, just make that just a little bit darker to see that we're good, all right? And we can do a very rough job cutting this out, so if you guys were shooting for a client and things like, I would probably go ahead and call it a wrap before doing this. So, like, when you're working with a client, I would probably just say, okay, we got the shot, and then I mean, you could just spend a couple hours after the client leaves and photograph these on, like, so I guess the idea is like, don't make your client, like, sit around and wait for this sort of thing, like you can take care of this after after they leave like these, they're not like the important details, it's just like all the little, you know, all the little stuff, things like the towel in this case, you can see is you can see it's kind of like over top of the edge of the table. What we would want to do is bring the towel down like this so it wouldn't be so you can see the other side of the table is well, and that'll help out with the with the job masking andi, we do want to match would drain it's not gonna match completely and it's going to be a little bit smaller, but as long as we get it pretty close, you can see that it will wind up matching decently. Well, all right, so I'm going to continue to do, like, a very horrible job masking this out, and they were going to photograph it one more time. And then I think we're going to be done because this, uh, same rule applies when you have a live studio audience don't spend twenty minutes photographing its health if you wouldn't make your client sit through it, don't make a lot of studio and sit through it, I think is the general than general rule. All right, so as long as our perspective looks pretty decent and the towel I think is a disease and we're getting a little bit too much. A little too much highlight and shadow one there can you guys see there's too much contrast it looks kind of like painted in their pasty in there eso what we can do is the light that's coming from hitting these towels to everyone know where it's coming from these windows right here right here so all we have to do is we just get a black card and we do this and can we zoom in on these towels just to see there is the the before it is now has a highlight and now it is completely in shadow so this is how we would want to photograph it completely in shadow and that way it actually isn't shadow so we want to make it look like it's in shadow we're not doing any like photoshopped manipulation we just actually put it in shadow for the for the photograph and john if you want a photograph I'm blocking the sandals oh sorry about that as long as the keyboard and things like this as long as the keyboard is not touching these other objects because we're going to be masking them out anyway oh it is touching the back of their okay cool we'll move that out and we'll move this out let me just go ahead and do this again just one more inch okay thank you all right perfect and there we have the towel photographed in shadow and a final a little suggestion from nissa dark to flip the flip flops because he would be taking them off as he walked up to the letter. Flip him this way. Yeah, facing that way, you guys are on top of your game way. Make him a little bit wet. No, they wouldn't have gotten wet yet. Would they have? All right, I love this. I wish I had, like, six thousand people on every one of my photo shoots reminding me of little details. That would be amazing. All right, here we go. Are we have blocked out all of our shadows? E I can't see him any more. Perfect. And this is ah, lot easier than setting up lighting, blocking a couple shadows, flips of flip flops because if he would be going into the into the actual pool, I think that's brilliant. Right on. Well, guys, that's the end of the photographic process, all we needed to do now is just bring this in. But we're going to not waste our client's time because we know that's going to work. It worked with a little bit of highlight on there. It's definitely going to look a lot better with shadow, so we did it guys, thie end of photographing day one amazing job, everybody

Class Description

Compositing is about making complex, visual masterpieces driven by your creative vision. Through mastering compositing, you will deepen your understanding of color, light, and movement — vaulting your photography skills to the next level while bringing more value to your clients and your pocket.

Instructor Aaron Nace has taught millions of photographers at every skill level how to construct vibrant images through photo manipulation. This 3-day introductory course will teach you everything you need to know about compositing — from basics to mastery.

During this in-depth workshop, Aaron will show you how to conceptualize the idea, plan out your composite, photograph and light each piece of the puzzle, and artfully combine the many parts using Photoshop.

Software Used: Adobe Photoshop CS6, Adobe Lightroom 5