Compositing 101

Lesson 15 of 22

Culling the Images

 

Compositing 101

Lesson 15 of 22

Culling the Images

 

Lesson Info

Culling the Images

Now let's, go ahead and talk through calling the images from the from the full day of shooting and generally I do this relatively quickly we're just going to go ahead and zoom back out because it'll be quite a lot faster on the computer if you if you start with zoomed out my cooling process is something that I've developed over, you know, years of doing this and the and the compositing background, but it's, not something that, you know, is necessarily, like unique to me or you guys don't need to use this process is just something that I tend to do, and I tend to do my calling and basically calling is picking the images that you like, I tend to do my calling in a couple of different steps, so I do the first round and that's kind of like a rough call, I do the images that I like, yeah, these air pretty good, then after that, I go through and pick the ones that are like even mohr, and once I've narrowed, those sound like pick the ones that I like even more from that. So the first round, I...

generally just use pick, and if you guys were using light room, which I do, a lot of you guys like light room, okay, perfect, I think it's kind of like the preferred program for for shooting, tethered and going through your images p will pick your pick the images you can hit shift tab here. We can see that if I had a pee on this concede actually says flag as pick if I hit g, we just make the images just a little bit smaller here. There we go. I'm gonna scroll all the way down to the bottom here. I just want to show you that when you hit p on an image that you actually do get a flag so this on the top left here it becomes a flag image. If I hit p again, then the flag is a pic. If I hit you, it becomes unpick. So p is for pick u is for unpick. All right, let's, go ahead and just zoom in right to this image and usually I don't need any of this stuff is well, I don't need, you know the film strip on the bottom, my navigator, anything like that. So hit shift tab and then those things will all go away. I could just look at my images so let's, go ahead and start come from these images I love the suggestions with, you know, looking down the magazine, so I'll say this is a pretty good one of lisa will hit p for that and we'll switch it over and now I want a new image of li I like the one I don't necessarily like where she's looking I like it a little bit more where she's I can see your face and that's kind of interesting someone hit p on that one as well so we've got those two flags just fix and now we're going to continue to go through them now we've got a slightly different scenario it's just we're going backwards in time right now and we've got a different scenario of her kind of like looking at the action there I think it's more interesting that is not as interesting is that in my opinion so I mean hit p on that one as well and then we're going to go back to the right and what we're looking for is there we go what we're looking for is this right here where she's going to be looking at so we've got two different interactions between two different leads which is very confusing but the other cool thing to note is that we actually have two different versions of hannah in this as well it doesn't fit the concept at all, but if we wanted to hannah in the foreground two hands in the background we could do that too so we're getting a lot of options and doesn't remember like from earlier earlier earlier when we actually had a clock on the wall well, we still have pictures of that, clark we shot that like hours ago, but we still have that picture of a clock, so if I wanted to put that back on the wall at any point in time, I can still do that so let's go back and going back in time. I love this. This is just really nice. I love the legs. I love the movement in the hair. I'm going backwards in time. This is really nice. I love you know that compared to that it's a pretty obvious choice, right? The hair blowing really did make a difference in john that was awesome suggestion there's really came out cool and good job blowing it, so we're going back in time. This with the shoulder up, I think is a little bit better and the hair back, so we're going to find that picture so you can see I'm kind of fighting a lot of pics I'm loving this, this is a little bit too in my opinion for this year, it's just a little too silly. I just I'm not opposed to silly, but I think for you know, when we have other shots like this that are just so good and they're not as silly, I think these win out over the silly ones, so we're going backwards in time now and there we go. Now I notice also that here we go for that shot right there. You can see john spending a little bit of time on the dress of the dress has a bit more movement in there so I can hit p for that and then I can choose that for just to be the dress. Now, if I'm going through these and I'm looking at different things all also sometimes work on a numbering or a color system as well. So for extra details, you have numbers one through five hundred keyboard, which will flagg is one star two star three start forced our five star but you also have different colors as well. You can see they're on the bottom, right? Right over here we have a red flag, which is the number six on your keyboard yellow flag, which is number seven in the green flag and so on and so forth oftentimes all develop a system where all keep like the extra detail flags, so when he had the number eight right here and that's going to set, this is a green. So if I have a neck stra detail like I have, I hit this is a pic, so it is an image that I like, but I'm also hitting the number eight, which is setting this is a green so that means that this is an extra detail pick so I remember when I'm going back through him like why did I pick this? I don't like her face is much and the other one's all remember oh, I didn't pick this because of her face I picked this because I like the detail in her dress andi you don't need like, address flag and you know this flag just extra detail if you usually keep the same same system going on that's cool, you don't have to write it down, but if you want to just write down green equals extra detail that's a good way to do it as well so we'll remember that for here all right, there we go and that's a pick a swell and notice it this whole time I'm not really looking at shawn at all, so I'm still doing pics but I'm doing them for hannah when I'm picking picks for sean I'm gonna use the pick is well, but instead of the hitting eight for the green, I'm gonna hit seven for the yellow so we'll know those air picks for sean, so I convention I can see it sounds pretty complicated, I guess actually, but it's using picks to see these are all the images that I like and then I'm using color flights to say I like it for this reason or that reason all right, so going back in time, I'm just going to speed this up a little bit, so I think we've got some great pics there of of hannah, there we go and all these are there we go looking really good, we'll just say that I might actually have gone through and pick these I'm just going to kind of skip over them so we can go ahead and get to shawn so you can see my skipping. We're sorry, my my cooling process with him as well, so I'm going back over left. We really did take a lot of shots, and I'm glad we did because we made a lot of really great decisions remember earlier, we went from looking at the camera with a bottle to looking at the other subject with the box, and I think that wasn't really positive thing we went through a swell, so going back over to the left, this is kind of funny, I really like sometimes like loading these into quick time player and you can like like a slide show, adam, that I really like this is pretty funny, right way, teo always go through one of the cool parts about taking a lot of photos is you get a lot of you get all these shots. Okay, so this shot is really great so we're going to hit p on this one and I'm gonna hit the number seven which is going to label this as a yellow so this is basically it's a pic but I'm liking it for sean now in this mix I might find a pick that I like for hannah's well and I could choose to like that with the number six which would be red so in this case I'm just choosing these colors like kind of arbitrarily but if you were keeping notes on this you could do this this isn't like a huge photo shoot but if you had a photo shoot that maybe lasted several days and you know we're doing a composite that's going to involve you know, three to five people if you were doing something that involved twenty or thirty people you wouldn't want to really have your picking system nailed down and your color system and everything like that's you know, pretty good someone pea and I like that shawn is okay and that but I really like what han is doing in there too so I'm gonna hit the number six on that as well all right, so we're gonna go through and we're gonna hit p on that one as well and there we go we've got this is basically showing the lighting remember when we moved that that lighting the piece of lighting there I think we had a frame with with it completely out did we not that one but we've got john in there but it's not in the way is it all right that that was a kind of a lucky shot but now we're going through it if we had a head shot like if john wasn't in these extreme place I could just do it right now so we're doing this still during the photo shoot I'm gonna hit pete is running remember the color for extra details green right which is the number eight perfect yes that's correct burning is you're going through these so quickly some people have noticed that the scene seems to be moving a little bit like the camera was moved a little bit during these shots are you at all concerned about that or is that something you just fix? That's a great point and they're totally write thie cameron did move a little bit the best way to do it like we kind of did earlier was toe have to do a remote china where we could actually shutter it you know fire the shutter here this is obviously like you know, people have been moving all around multiple people have touched the camera as long as we're not talking about some big move it's it's it's a little movement you know like here the cameras like it's just moving ever so slightly from frame to frame photoshopping does a really good job with a lining those frames after the fact as long as it's like very, very close like these air, you know they might shift up and down a little bit and things like that, but we're not you know we're not like moving the camera up to feed or back two feet as long as they're pretty close photo shop has an audible line feature which will bring everything right back together and that's how we're going to start off this composite together we're going to pick we're going to take all of our picks we're gonna load him up into a stack in the photo shop we're gonna auto will line them just to make sure that they're exactly in the right place great question all right? This is a great pic and I'm gonna hit the number six because I really like cannon and this one as well all right and there we go. I like what shawn's going the spill and everything like that looks great there is well, okay. And going back through these okay, I think yep. There we go. We did flag for that on dna. We could look for a pic with miguel and his foot in the front that looks pretty good with one arm so I can hit p for that and number eight, which will be an extra detail oh, and then remember, we threw clothes of the camera too and it's really cool because I'm glad we did this in the middle of the photoshoot sometimes these cool ideas that you get you kind of forget to do them if I don't think we had thrown these clothes at the cameron the middle photo shoot I don't think we would remember to do them now I wouldn't have anyway, maybe someone else would have reminded me, but I'm glad that we did that now so we can bring in these like here is waken also cut these out and move them around if we need to do that too like if I wanted to cut that out and move it further down, we could do that as well, so we'll just pick on a couple of those maybe I like, you know, something like really high like those jeans on the ceiling maybe they're a little too high in this case, but we can always decide on that later when we're actually bring everything into photo shop there we go and continuing to go back in time here, all right? And here we're working on our lighting basically getting that color in there, so I'm going to pee on that and eight for an extra detail in that as well, so we've got, you know, I don't have to worry I just I need the light from this frame on, lee and I don't have to worry about whether it's on or off for over exposed or underexposed in any other frame. I'm only worried about that one right there that's why we think this was over the break and that's alex squeeze you into the man right here. That was really that he's totally idea, but he didn't both versions of him as well, and I'm thinking that we should combine those tomorrow. That sounds really cool. Yes, please, yes, please let's do it. And remember, before we before we started, when we came back from the break the last time this was basically a completely blank slate, so we're going to hit p for that one, and we're gonna hit a for the extra details as well, so notice I'm not I'm hitting pick, but it's pretty obvious in this one. I'm not picking this because sean looks good, but just two case like sometimes you'll notice like little details and things like that that you want to keep in. All right, so we're continuing to go back in time and we're really almost done here, we've got some pics of hanna we really like we've got some pics of shawn we really like, and we're here back towards the beginning of the photo shoot so what I'm going to do now is we're gonna filter these by picks so what we're gonna do is go down here to our filter and I'm gonna click on this flag there we go hit the geeky which is going to load up all of our images let's just get this guy going to disappear there and there we go so these are all of our picks these air all the pics from the entire cell photo shoot so we did a great job in this photo shoot and we've come up with these air all of our favorite images and you can see each one of those that his flag green remember those air for our extra little details you know what we forgot one thing what was that I didn't pick one with amanda let's go back in time all right so we have two unfilled for the pics and we forgot one other detail does anyone remember what it is? Yeah who said that? Todd nice exactly the clock so there we go and that's a attractive time on the clock so I'm gonna hit p for that one and eight for the extra detail and let's make sure we have one of amanda there we go we got one of amanda where she's not obstructed and I'm gonna hit p in the number eight do have a question do when you moved lee over do you need to take another blink a shot of the set for the chairs that move over for the tears that I move over these two chairs that came over more doing to take another one or doesn't matter that you moved that's a really good question, I think because we did it at the very end we can decide to use those or not use those if we decide to not use those we do then have something else that was covering those chairs up before like those chairs weren't even there it's never bad idea so right now I mean, we could just literally like click that button alec fuels wanna click that button? Then we got a blank shot of just the chairs, so it's never a bad idea in my head I don't think that we need to do it because we have a shot with nothing there and we also have a shot with lee right over here is well and the shot over here we've got something that's actually covering up where those chairs would be so in my head we don't need to but thank you for reminding me it's never a bad idea to check you know it's just in this case is just one extra click of the shutter cool good suggestion all right let's go back and so we picked one of amanda and the clock so let's filter by our picks so we've got here and now you can filter by your pics and then let's go all the way to green. We can click on this is well, and these are all of our extra detail shots so we can see, like, these air, all of the things that I want to make sure that I include. You know, this one maybe want to make sure I include amanda and this one. Maybe I want to include the clock. This is our everything shot. This is the shot of just the lightbulb. So it comes pretty easy to, like, remember how to remember to do these things. You can see that shifted a little bit the camera, but photo shop will be able to align those back into place. This is our shot with miguel in the foreground. This is our shot with no with no light there in the background. And this is our shot with I don't remember. There was one of the o the blowing of the dress, which was that extra additional detail. Okay, and then, if we wanted to, we've got weaken. Turn those back on. Sorry off. And there we go. So these air our picks? Yeah, there we go, so our green picks and then our yellow picks were of sean and then we didn't. We didn't choose to color code the pics of hannah because they were I think they're pretty apparent because it was really nothing else in those on dh then from those what I'll do is this is something I just started doing relatively recently if I want to choose the shop that are like the most of hannah, what I'm gonna do is I'm gonna shift click on at least four or five shots at the same time, and then I'll hit the end key in photo shop, and if these air too small that's something that maybe you can pick fewer shots, but then no call out some of these. So just by looking at these, it could be a little bit hard to see which is my favorite, but like the hare, I think I like the bus, the hair in the pose. I think I like the best usually I'll start with one that I don't like so much, so I'm gonna hold down the commander control key and or you could just hit on this x, and then you can compare a three side by side. It helps if you have a large screen for this, so you could actually see the details if you don't do that in this way. There we go and then comparing these side by side I like the one on the right a little bit better so there we go we have a winner here and then you can hit the number five, which is going to five star it so we've picked from all of our shots we've picked which elements that we liked and then we've compared them side by side and then we've got a five star, which is which is this photo here perfect fantastic absolutely love it. Okay, great. Thank you for taking us through that process perfect and there's one more thing that I think can help people out if if anyone does have any questions if you want to see things side by side, you can shift click two different images and hit the sea key for compare and we've been doing this a lot during these last a couple of days comparing them this you can even zoom in if you click you can zoom in, they're going to go toe one to one right now but if you go right over here just like we did earlier let's just pull this back out you can still tell this to be a one two three ratio even in the there we go even in the compare so when hit see there we go and now we've got a one two three ratio here let's just hit the shift at back out so with this compared to well it's really nice because basically you're comparing the one on the left to the right on dh what do you guys like better do you like the image on the left for the image on the right you like the one on the right a little bit better I agree so you hit the up key and then the image that's on the right becomes the image on the left so now you're comparing the one that you like to a new one so now we're comparing two we want do we like the one I left for the one on the right we like the one on the left so instead of hitting the key which would upgrade the one on the right we just hit the right key in that switches to the next one so this is a really good way what do we like better the one I left for the one on the right still on the left alright let's switch over the next one still on the left probably over the next one who I like the one on the right yeah so we're going to hit the upkeep and that's going to upgrade that one let's look at these two when I left still a winner, isn't it there we go what do we think left or right? Yeah left or right pretty close but I like the left one two we've got like a happier versus a strong I like the one on the left I think it's great so this is a pretty quick way we've eliminated a lot of shots by doing this pretty quickly it's just instead of having to think of like how do I pick the best out of these twenty you just picked the best out of the two and then just keep going with it I still like the one on the left we're gonna keep going oh notice I like the one I left but the one on the right has my five star rating that I chose earlier so you can use multiple different calling techniques let's just on five star that one and then we can go back over here in five star that one just to make sure that's the one that's got the five starts now we can go back through and now we've got our five star rating of hannah so I can hit g, which is going to bring up all of our review and we can be sure of all the images that are like of hannah this is the one this is the winner here pretty cool right didn't take too long, we went through a lot of images and we've found our winner pretty easily in basically we would just do the exact same thing with a wish on a swell. So pretty cool.

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

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Mohamed Rasoon
 

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