Compositing 101

Lesson 4 of 22

Developing New Ideas On-Set

 

Compositing 101

Lesson 4 of 22

Developing New Ideas On-Set

 

Lesson Info

Developing New Ideas On-Set

Back from the break, guys, this time we're going to be doing some or really interesting stuff we're going to switch it up and during the break I had a chance to talk with, you know, the host and they had a couple of questions from the audience, you know, like why? Why the orange juice? Why the light coming off across from the side? Why is it dark things like that? And these are all really great questions now, keep in mind we've got a lot to focus on during these composites, and if we spend more time with the lighting, maybe would get a little more fine, and I did agree with a lot of people who said maybe the field like could come up a little bit in brightness, so one thing we did over the break it's just brought forward this v flat just a little bit, so that was a really good comment. The next thing we're going to be doing is jon is actually going to be bringing in a white card to kind of fill in our shadows a little bit, a swell. Now we talked about during section one how we didn't wa...

nt a giant ark box here because that's going to kind of like block a lot of what you guys can actually see, so we're not gonna have this year for the entire set and again, we can brighten these things up in photo shop a little bit so you know, if it's not a perfect exposure right here straight out of camera it's not usually the biggest deal in the world, but we are going to bring in a white card as well we're also going to doing several different varieties or different shots of the actual cereal right now a cereal bowl is just kind of like soggy cereal has been in there for hours and it doesn't really look good it's not like that nice like krusty beautiful looking cereal so we're going to change that we're going to do some shots with no serial in the cereal bowl, so we have those options, so we're going now focus on creating like a lot of different options for ourselves as faras like the composites go when it comes to, like the cereal in the cereal bowl, your subject doesn't really have to be there for that sort of thing, so don't waste your time like if you're going to take, you know, thirty different shots of different configurations in a cereal bowl do that after you photograph your subject that way, they're not like, you know, okay, thanks for wasting twenty minutes my time while I'm sitting here, so we're gonna be doing that after and we're also going to doing wacky time which is really fun and then sarah, I didn't ask you but can you do you feel comfortable pushing this button just like that? Yeah, okay, cool and some things that I also do is we're gonna switch places too so I'm gonna actually sit where you're sitting and you get to take pictures of me to have fun she'll be really cool yeah looking forward to it so that's another really fun thing then I like to do with our subjects as well is you know, whenever I'm photographing a person, I'm never gonna ask him to do something that I wouldn't do well get in there place a lot of the time and that just really it has that nice little way to like, you know, it makes a lot more fun so we're going to be doing that as well so are you ready to get it going? Perfect let's get started so I think we're going to start off let's see what a difference maybe john, if we bring in this phil carded we can see already a little bit of difference here because there we go thank you. We did bring rv flat in just a little bit closer so we can see the fill light sarah if you want to kind of get right up close to the ball here alright beautiful there we go thank you very much and then we're going to just take a look at the monitor and see what a difference having a phil card is in here for the shot I do we'll take another shot looking me beautiful um I do prefer this to not be here just because it's going to be better for us actually see this here yeah but we can see it does feel in the shadows a little bit. The other cool thing about this doing the composite is I only need one photo of the cereal box that's a little bit brighter I just need this one as long as that cereal box doesn't move I can't take this phil card out and I can use just a cereal box from this frame and I never have to worry about using a phil card on my cereal box again it's just goingto just use that part of the image so that's another thing cool thing to realize like if you don't want this here well, we've got our photo with the film light in there it's not necessarily on sarah's face so if she moves it's going to change that a little bit but I can always bring that up in brightness a little bit in photo shop so yeah let's go ahead and yeah let's bring this away and we can see maybe they could pull up like that before in the after the phil car there we go I think that's maybe one before the one on the left yeah, so we can see that's not actually that big of a difference is a little bit of difference oh, there we go now someone's thinking there we go perfect so that's bringing in a little bit more phil and what we also did which I think did make a big difference is we brought rv flat in a little bit closer which light as it gets farther from your subject gets you know darker so the closer you'll bring your subject it in quotes you bring your light and the more light it's going to make and yeah, I think I think that was a great suggestion so thanks a lot guys and that's another thing that I would really suggest we're gonna change thiss bucks that's a little because I liked it a little over there but during a photo shoot you have all these things to keep in mind and you have your idea of the vision but I would really suggest like don't be afraid to, like change things up as they go along or you know oftentimes you're not going to doing these photo shoots alone I would always recommend like having a couple of people on set, you know, trust them if they're saying like aaron, what about this might look good this way sometimes those suggestions there cannot get in get in the way, so you need to be able to say, like, okay, now is the time when I'll take suggestions now is the time when I just need to focus in on something, but I think, you know, suggestions from the internet were great, the fill light, I agree it wasn't bright enough to bring that closer, and we now have a nicer fill light on that. So not only for this lesson actually, like taking the people's advice on the internet, but during a photo shoot, I would totally recommend that having a couple people you trust, we can kind of step in and be like this better, and then you'd be, like, all right, cool, because that doesn't that doesn't really matter, like the only thing that would stop you from doing that is pride, but in the end, if the shots a little bit better that's, what really matters, right? And if someone really does play a really important part of, like, you know, creating a photo, I really recommend giving them credit, even if it's just like, you know, helping out in this way or like, lighting assistant or whatever like that, please credit these people because, you know, we're all it's tough to remember this is a photographer, but like, we're all just little pieces of the puzzle like I'm just the dude who pressed this button. But, you know, like ultimately, if sarah wasn't here doing a great job, we wouldn't have a picture if kaleo hadn't made these amazing props, we wouldn't have a great picture, you know, crew created five wasn't here doing their great jobs. We wouldn't have this either. So it's easy to think it's a photographer like you're the man and it's all you but it's it's really not it's it's everyone around it just helps you do your job, so just give those people credit if you can, um awesome sara, you ready again? Let's, go for this, I love it, we've got a new floating man in here and we're going to straighten this out and also we're going to bring in sara, we're doing great, we're gonna have a lot of fun, but sometimes during a photo shoot, like if I'm if I'm working with a model or with the subject and we're just not connecting in some way like I really do try very hard to connect with my subject, but sometimes it doesn't happen that well, it's really great to have other people on the set that maybe can connect with with that person so like let's say I was photographing on an animal like a dog you guys created I've had a dog that animal workshop a couple weeks ago which was amazing let's say I was working with the dog that they're just really wasn't anything there I would bring in someone who is really good with dogs and they could kind of get that interaction so as a photographer, you know your job is to get the end image to be great but if you're not interacting with your subject and you're not getting that emotion that you want don't be afraid to like bring someone else on set and see what they can get out of the subject as well so we're actually going to be doing that in a little bit we're going to bring our one of our producers in here to help her interact with our subject before let's look why didn't strain out this serial? Can we do that? I just use my hands ever never normally I would just use my hands but I feel like we're a little bit more formal than that today and I'm totally have you eaten any of that sarah it's really good I'm not in the cereal box but here I'm gonna actually eat some of this it's reminds me my shop if you want to eat some of this you're more than welcome to if you're hungry roy goode if you guys have never had fruit loop e's not froot loops, I really do suggest them they're they're really good, so we're starting up the returning of the cereal from this from the first session and then we're just going to kind of like dumps a new serial and we're also gonna be taking some shots without any cereal in there and then we're going to go for it. Yeah let's leave the guy and so the guy we've got a new guy if we want to switch to the screen, we can probably see in this photo we've got a new guy in there that's actually really good. So he's a good place holder as teo. You know what the actual final shot is going to look like he's going to be in that area you might be bigger than that. He might be smaller than that, but just having something there is a really great way to help your subjects interact with one another. All right, serve some tea first. Yeah let's do some empty I think that'll be good. What all we really need is going to take this guy really quick here. There we go. All we really need is just like one shot as long as really not much else moves what was that that's a great question, yeah, maybe take the spoon now all we really need is like one shot thank john with the cereal bowl looking like that and a lot of people asked like why's that orange juice in there it's casting a shadow on the cereal that's a good question and the reason is because I wanted it to look less stage sometimes if we make things like too perfect for a composite like they just looked like you were trying to do composite like if I wasn't worried about a composite there might actually be a shadow there so like building in things that make it not looked like okay, we want this bull to be perfect so we can put a person in there perfectly I think a shadow kind of adds a little bit of like accidental nature which makes compositing wind up looking a lot more really in the end makes it look less staged all right? We're going to put a person in there and then john if you want I just put some more fruit loop ease in there any preference on color all of the colors of the rainbow we're gonna hand place these wow. All right, so for the next thirty to forty five minutes while john and cool I think that's a great start yeah let's take maybe this like purple purple one out of there it's attached it's okay, we'll get a new red one there we go beautiful all right, sarah we ready? Perfect let's grab that spoon let's just take a test shot make sure we're still doing good let's grab that spoon and come on forward if you can for me perfect. All right and look straight up with me if you can wonderful let's change your spoon hand to your other hand maybe there we go really cool. All right, so let's do same like we were doing earlier I love that energy was really, really good let's get it's kind of like fling it out just just like we were doing for you ready for it we've got some like a kleenex if you need a wipe off all right, ready? So go ahead and come on forward for me get your face nice and close and look up into the camera errico and flee it when everybody that's really, really good omar gauss I went everywhere you're doing a great job let's do it again. Cool. Yeah. Look at that. I'm gonna try to catch yes fling a fruit loop get some fruit loops. That's a really good idea. Yeah wait, you mean froot loop, ese? All right, ready in three, two, one go all we got a froot loop e in the air you did awesome let's do it again, I'll photograph a little bit quicker this time look at that fruit loop feet in the air let's go have a couple of them yeah once you've got that big big cluster there we go perfect. All right in three two one go oh, that is so cool we're just gonna keep doing this isn't are you having fun? Yeah yes for we're going to keep doing this why don't I just throw some more in here and we're just going to keep going on they don't make your job a little easier the fruit loopy flicker put that on your business card to sarah groupies liquor all right, come on nice and close for me. All right. And three, two one go very, very cool let's try it again let's go a little bit less far this time perfect. All right and bring in nice and close there we go in three, two one wow, that last frame is just incredible. I can't even believe we're way captured that wait till you guys see this this is like did you see it? That is amazing. I want to get that exact same thing but a little bit closer to the bull's so let's try that let's see if you can grab all those see how many you can grab in the same yeah that's awesome all right let's do it again three, two one and go oh, I might have missed it that was my fault yeah I think I missed it lets go again it's okay someone else or clean this up it's not your way don't have tio all right perfect and let's try it again here we go three, two one and guilt perfect let's see if we can maybe hold your spoon in a different way what do you think about like if you were holding it like if it came out this other end look like that there we go that looks a little bit more weird which is fun way gotta hole there we go I don't mind these things are good all right one of the perks of just shooting for rupees alright and three two one and go for it cool let's do exactly the same thing again you do an amazing job I couldn't fling cereal better there we go and three two one guilt very, very cool I could just actually just do this all day let's see oh, there we go. I like that one a lot here we go let's keep going and we can keep on we'll just pick on the final ones like which of these we want and then we could just composite those back in all right and come on forward for me beautiful and three two one go I was a good one everyone here on since like stop that is this electrical wires over there we're very safe I promise all right let's do just a couple more times and then we can kind of pick through them let's get even more this time we're going let's take the little man out of there so you don't have to dodge him and I'm gonna have a low jeff how's that we'll just load you up we'll put a lot of fruit loop ease in there there we go grab a huge spoonful of perfect oh yeah my cup my cast a shadow that's a good point john thank you perfect all right in three two one go let's go a little bit less hard this time good job good job all right this time instead of like clean it out like that just kind of like bring it up and maybe a little bit like fall back into the ball just like that yeah like you were you were about to take like a bite and you saw him and you were like oh my gosh okay and come in nice and close for me there we go and let's try it three two one and go perfect and let's try it again alright in nice and close fri there we go in three two one and go all right let's turn the spoon around the other way let's see so yes we can face the camera with the fruit loop ese it's a lot to think about I know but you're doing great. In a minute I'm going to do the same thing and then you get to take my place you get to tell me what to do all right ready in three come on a little bit closer for me there we go in three, two one go very very nice loving this are you having fun? Yes, that's the whole goal is to make sure you're having fun oh, you know what? And I really like the you know, the like the froot loops and stuff like that on the ground that looks really cool as well dig it all right, we're going to bring this over here is well and then all right let's do it just do it may be a couple more times and this time instead of freaking flinging it let's bring it like straight up and then like tilted so they're just kind of spilling out yeah just like that exactly just like that perfect and come on nice and close for me there we go in three, two one and go wonderful let's do that just a couple more times and then we'll be good is your arm getting tired? We'll start our promise all right? And three, two one and go very, very cool you've got to see this last one you'll like it all of our froot loops or fruit loop ease there we go spilling out of the way awesome. Awesome. Okay, perfect. So we're going to switch gears and we can take a break if we want to get maybe we could do like a little bit of a clean up is that okay? I think we can probably get someone to do that cleanup crew sorry about that. I apologize. Yeah, everyone is very impressed with your ability to fling cereal you you know, the way this when we were kids mom like she's had practice, okay, but she was younger, she just this pretty much every day very, very cool. Maybe we can pull up a couple of the images so we can kind of see more. We've got at this point if I was shooting tethered, which is basically, you know, having the camera attached to a computer, what I would be doing is looking through the shocks and kind of seeing like, what I have and figuring out like, do we need to shoot a little bit mohr or do we have something that we actually like? Well, it's, actually, if you don't mind whoever's controlling the screen, maybe we'll just start at the end and just hit like the back button so we could kind of just like, look through them in sequence sarah, can you see? Okay, perfect, so going back, we can see very, very cool I love it, and we're keeping in mind here that I'm not necessarily as worried about her facial expression in that sort of thing is that I can bring that in from later shots, that one is just really, really nice. So since you're not looking at her facial expression, what what are you specifically looking for from these shots? Great, I'm looking for a really nice action with the spoon and with like the milk flinging out and things like that, so I'm looking at, you know, are we getting a really nice stream like that is really cool, right? Like that's just like what? How did you even capture that so that's the kind of cool thing that we're looking for? Another thing is like, you know, does this look like it's it's? Maybe like forced or does it look like she's? Actually, like would be pulling it away if she saw something crazy, andi other things like, if we could go back one slide, I apologize back one five like this, like it's great, but it's the other way, that one right here this is great, but it's too much like her hands all the way out of frame. So let's say, for instance, had we got two on ly shots like this? Then I would know okay, we've got to go back and do it again how do we gotten shots on ly like this? I know we would need to go back for another couple of minutes and doom or like less vigorously and that's what we would be looking for us so here if we can back up a couple more in time yeah like that shot there is really great because it's weaken see like the fruit loop ease in the shot you know, it is just like a really nice, interesting stream of milk that looks like it's coming from the from the bull. Then again, we don't have to use these shots we can use the shots where she's just step sitting there with a spoon if he has remembered from the original sketch there was there was no like slinging of milk it was just her sitting there with a spoon, so if in the end we way decide hey, we want to use the shots of her sitting with this food we could totally do that too, so we're getting a lot of options right now. Really good question. All right? This is really good all right, next we're going to do because you're doing a really great job and I want to see what lacey can do way talked about this earlier having someone else come on set and lacey and sarah, you guys already know each other, right? Which is so cool. So lacey is going to be actually helping you out, and the camera is all set to go, actually, if you can take the pictures and I'll just talk. Yeah, so what we've also done is all I'll go ahead and talk, we've locked down our focus, so the cameras on the lens here is actually set to manual focus. I've focused there on the bowl of cereal, which we'll still shooting it out fourteen so she our subjects, sir, should be in focus as well. We've locked that down, so basically we've got a manual exposure here going on, we can see we're shooting at one over sixty f fourteen and I saw one hundred and our manual focus has also said as well, so this means anyone could come up to the camera, they don't have to move it, they don't have to focus. All they have to do is hit that button right there and it's going to come out great. So now lacey is going to come in and do you want direct? Yeah, let's go for it and I'm going to stand back and I do this on set it might look like cheating, but, you know, hey, yeah and like you're going to dive into that bowl of cereal yourself ready one, two, three and maybe maybe do it without holding your nose and just widen your eyes and as white as they can and look up at me one, two, three and pretend like that time that you went skydiving and you're about to you went indoor skydiving and you're about to go up in the air and you're scared and open your mouth wide one, two, three come forward just a little bit more sarah there we go perfect and just pretend like you were just about to dive in there yourself one teo three what's your favorite cartoon character I don't know a guy named finn pretend try and pretend like you look like him right now at his goofiest face one teo three look up. Um, what about what is another favorite cartoon character? Hey, aaron, while they're shooting over there for you, why is it so important to change up you being the photographer in this scenario? Why did you step away and now are observing another photographer shooting sarah that's a great question. Part of that reason is because they already have a relationship. Today is the first time that I met sarah so some of the expressions and things like that that I'm going to be able to get out of sarah are a little bit like they might come across this contrived they might come across this something like we only have this relationship that's you know, just here, but they've already met each other they've worked with each other a couple times, so you're getting like that really interesting relationship and there's like a trust there that that I don't have on dh again this might look like cheating but it's my job to make sure these end images are great whether I'm pushing the button or she's pushing the button in my opinion it doesn't really matter not only that, but in my head I've got like six or so poses that I think would look really cool for these photos but lacey's got all these other cool poses that might look cool for these photos well, stuff that I would have never even thought of so introducing her to kind of like help out like we just had sarah was like covering her like mouth like I wouldn't have thought to do that so by introducing someone else to do that it's kind of like this shows us like, oh, well, okay, you know, covering the hand that actually looks really, really cool maybe when she's done here maybe later I can step back in, make sure we do a couple different variations on that as well, like tear with like, you know, nasty nasty face yeah, like that? I don't think I would have thought to do it a really good question. So it's it's just kind of introducing these things and I'm sure there are a lot of comments right now coming through on the chat rooms like, well, I thought aaron was the photographer what's going on here, this is shooting. Will you do this often on a really live set for your clients just to get different energy and report between the photographer and subject? Definitely it depends on who the subject is now, I will say working with children and I don't want to compare them, but some subjects are harder to work with than others. You know, if I'm working with a twenty eight year old model who's been modeling for ten years and she knows what she's doing, she can kind of take the game if I'm working with children or with animals or something that's like a little bit more on the unpredictable role you want to like put him in a situation where they can do well, like I wouldn't necessarily want to put sarah in a situation where she's like trying to be like a high fashion model like that doesn't make sense like put her in a case where she's like having fun with a bowl of cereal and we're sitting up we're setting her up for success so with some subjects like you no children and things like that it can really help toe have like a different type of report I think it's important as a photographer just any any type of business person or whatever to like I understand what you're good at and I'm good at compositing I love working with lighting and things like that I love working with children but lazy is better than me so like why would I you know, why would I not allow that to come through in the photo? I think that there's a couple ways to look at it one way it could be like, well, that's cheating you're not exactly taking the pictures and yeah, you're kind of right about that but I'm still responsible for the end image and if I am going to be delivering these to the client the client is not going to care if I'm the one talking to the subject or if someone else is there like I said it's a set up of the lighting's it was still the concept everything like that so thiss isn't something that I'll do one on every shoot mostly I'll take care of a lot of the details myself but if it is a subject like a child or something like that I'll make sure to bring in someone who has like a good report think these air is just priceless these were really good so I think you're doing a really good job and I hope everyone in the audience and people at home you guys what do you think is this cheating or not really say my cheating not at all okay cool uh sarah you're doing a really really good job aaron while we're on the subject of this when we're doing a shot like this where it's it's a fantasy it's something that's not really there dale our photo is saying when working with children to get a more natural looking expression would you normally create an element to react to buy like putting something funny in the bowl do you do that or you just generally more like ask them to imagine that's a really good question I think having something there is really usually a better idea if we had like you know, if we had something very small and funny I think that would be that would definitely be the best case scenario yeah I think what let's look through them because sorry I was talking to the camera for a little bit and talking with r with our audience here if we wouldn't mind who would look through them and we can kind of see and sarah you can see which ones you like that one I love that's so yeah that's just really really good yeah and some of these where you're kind of like crouched down next the ball that was really cool to oh, that is really cool. Okay, let's posit there. So sometimes this is gonna happen during a photo shoot to, like it just did. This is a cool case for interaction. It kind of looks like sarah's about, like, poke a dude was right there like, so maybe if we decided like, hey, I really like that, I think that's cool. What we could do is we could photograph the guy maybe like looking like this, like, oh, don't please don't poke me or something like that. So that's kind of like a different a different idea that can kind of spring about during a photo shoot andi think like being opened for that sort of thing is is really it makes things a little bit more fun, a little bit more fluid and in my opinion, you usually leads to like a better picture. We continue going through them, please. We did have a suggestion from creeping al saying sarah should put her fingers in the bowl like she was grabbing the person like she's grabbing the person you won't do that let's take the fruit loops out, sarah, maybe we could wait just a second. Let's, take the fruit loops out because she is going to be maybe grabbing a a person in there now, that's another really good points if sarah is to grab this person, if she's close to grabbing the person that's one type of compositing, if she's actually grabbing the person that's a different type of compositing, because we would then have to photograph the person being grabbed by something large in order to make sure the shadows and the highlights matched so oftentimes like that, it could be a little bit of a difference can make a huge huge differences faras a technical challenge, so her pointing at the subject is like on a scale of one to ten, like a four on difficulty, her actually grabbing the subject is more like a nine so that's that's something to keep in mind as well. Again, nothing is impossible, but it is a bit more difficult and way didn't we didn't set up anything? If I were to have her actually like grabbing a subject, what I would do is have, like, have made like a large, fake hand that would actually grab a person. It sounds totally weird, it wouldn't have to be, like, done very well, but you could make it out of foam or something like that, and that would make sure you have the best end image because for photographs photographing this person he's supposed to be like, grabbed around the waist by a giant hand. And he's just standing here not grabbed by anything, the shadows and the highlights and, you know, his reaction and things like that are not going to catch up. So cool that I think for this level of class, if we could just go, like, grabbing near like now, you or something like that. Okay, perfect. All right, sarah, you ready to grab near a person? It's just yeah, I don't know. What do you guys think? How would you have her grab near a person? What about if she was using the instead of her hand? What about shoes? Using a spoon to look like she was about to scoop him up with? That makes sense unless laying in the spoon that's a really good way. Khun, try that for sure. One thing that I was thinking in the original is that he would wind up being bigger than that. So this that also also, you know, an interesting thing to keep in mind. If he's going to be laying in the spoon, then he needs to be quite a bit smaller, which means he's taking up a lot less of the frame, and then we would maybe have to zoom in a little bit more, so there were all these things to keep in mind when we're doing these composite in my opinion, that's like that's the fun part about this andi do want to make sure like we're staying on like the original concept and everything like that, but also like so if we put him in the spoon, we need to be in zoomed quite a bit closer and he's going to be quite a bit smaller in the frame. So really good suggestions and they're all just kind of like they changed the concept a little bit as we go along and that's why we need to kind of keep things things in mind like, okay, he's smaller now that's going to change a lot in the final image? How did you have a question continued comment if she was to be scooping him with the spoon couple things, if the spoons in the milk submerged, we don't really see that concept, but if it's half submerged, we just really have to work on the angle at which she scooping the person right? Would that matter when you shoot and the person later this afternoon? Would you have to match those angles? Would you just rotate him around? However you need to be at that point? Good point. I would definitely want to match that angle, especially if the spoon the spoon if it casts a new kind of shadow or anything like that. But let's give it a shot why not I mean there's there's a million possibilities when your compositing and that's that's part of the fun so if you want sarah can you kind of come in really close for me and look at the camera just like you were doing like a super surprise and then well let's keep him in the middle and kind of like diggin right forward I'm going to try to photograph you as you're kind of like digging in there we go perfect come in just a little bit more for me perfect there we are I'm trying to get out of the way of the light from the v flats here just in case anyone's wondering why I'm stepping aside so that feel like really does come through all right let's get you actually like dig in there like there we go let's try maybe your other hand so do we think we can get maybe like a splash is you're coming in like yeah maybe a little less angle maybe further from down there we go yeah and we could just take this out but I want you to pretend if you can that the man is right there in the center okay and come up with a splash perfect let's try that again let me just and if you could scooch in just a little bit closer there we go perfect and let's try it again in three two one go. There we go, you can really do it if you want to like get in there and try it again there we go and I'm just going to move this actually if we could clean thistle splash up so you're doing great yeah, I think this is really it's really cute we're going to move the orange juice now just a little bit because the concept did change and so you're with the concept did change a little bit now she's going to be scooping this guy up or something like that then the shadow of the milk is not going to be part of that is anymore, so we're going to be pulling this back just a little bit there we go perfect and this is it's totally a to us to decide at the end like we don't have to make these decisions right now. That's why we're taking a break we're going to look through all these pictures that we shot during section one and then we can decide like, which is our favorite image and then we actually build the pool and build that seem to our favorite image so a suit can evolve and change just make sure that you have your decision like you know before you start shooting the second element alright ready again let's do it kind of come from out and then scoop in for me three two one and go you can do it even faster if you weren't there we go and try it again hosam yeah it looked down at him this time he's writing that all three two one go all right let's try it again three get comfortable however you want to do it perfect and future on ford's towards me a little bit more yeah there we go in three, two one and go scoop him up is trying to get there we go in three, two, one perfect perfect. Let me just move a couple of things if you don't mind I'm gonna move this back just a little bit more and can I have you scooch forward just a little bit there we go let's have you do it again and if you khun let's see let's aim like right over here so you're kind of coming in right there so we'll be like that kind of angle right there is that work you can you can hit the side of it it's it's it won't break all right three, two one and guilt there we go and kind of look into the bowl as you do it three, two one and go and let's try it again three, two, one and go really cool let's take a look at these they're coming up now so we can see yeah, I love this it's kind of like giving that you know, scooping concept so that one in particular maybe we could kind of pause on this one she's not looking at the camera which brings up two points first is that we don't see her eyes which is kind of like a negative in my opinion but a positive in my opinion is that it doesn't look like she's posing for a picture so that's another thing where you kind of like have tto figure out the mix on that I like it when she's looking at the camera because we could see that expression everything like that but it definitely makes it look like she's posing for the camera so what do you guys as an audience? What do you what do you prefer like looking more natural or looking where you can see your face? Maybe we could bring up two side by side if you don't mind doing that we've got a really good team here I've asked them to do a lot what do you guys prefer? Well, the last was not looking at the camera but in reality she will be looking at a man floating in your milk so it does make sense it doesn't make more sense yeah what do you guys think the second one does look a little more candid so I mean it looks a little more natural and when you're doing this, you decide I mean, are you taking notes like I like this image for, like, the spoon entering? Or is that all later on, you're going through them and kind of jotting down which element you like in each image? Good point that'll definitely depend on where we go with this, so if you guys remember we started off, we took some images of her just holding a spoon, and then we said, why don't we throw some cereal around? And now we're scooping subject so all those images, if we decide we like the scoop contacts concept best, so after this is done, probably during the lunch break, we're going to go and look at a couple of them and then we'll talk about that and say like, you know what concept that we liked the best and then we go with those, so if it turns out that we like to scooping the bull concept, then all those shots we did with her splashing in the milk, they go away, so in one sense it's a shame to lose those like cool splash images, but in another sense, like if it makes for a better final image that makes a little more sense in his coherent it's just the right decision to make and sometimes you have to sacrifice the cool shot for the shot that's actually going to be the good shot russ has a question so we have just a punch people in the chat room her responding debo likes the more natural and not looking at the camera down easy second one looking at the bowl looking down sounds like most people like the looking down okay perfect about and in the creative lounge they say michael ports field says looking down and paris twenty twenty looking down as well and karen joy doctor guy and that caffeine decoder all agree as well with looking down there we go the audiences soon so shoot me does say that it looks e so shoot me it says that the spoon looks awkward though with the way it's being held do you agree with that? Well that's something you're concerned about in my opinion it's a person's right to hold their spoon however they want but if it feels awkward to sarah we could do a couple with her a while to get how she would actually hold it I have met people who hold spoons like that I did think it was awkward at the time but who might a judge when she's looking down we could make for you you can make them the subject like in the bowl more the focus because if we have two people that are the focus it could be like um oh no too distracting I think there we go that's a really good point so instead of the focus being on the subject the focus would go more towards the person in the bull and that's a really good point which happens often but I actually like the one where she's looking at the person this one isn't you know it's great but I think it's going to depend more on the guy that you're shooting and how interesting he is and how zany he khun b has most like the other images where she's the one that's being crazy flinging the froot loop ease and all that so I think either of the two could work it's just going to depend on that guy that we shoot and how oh expressive he might be good they're going to shoot so yeah which that this discussion is great by the way and I hope everyone's really enjoying this I have like two thoughts in this and I totally agree with you the fact now that we have the option is great let's say we get the person in the pool and he's just not giving us that much you know expression either like we come back we find a new model we throw rocks in the pool because I know russell who could I got that s o that's the option but let's say he that's not really comes out as interesting as we think it is then we have the option of using a photo of our subjects so these air these are all of our options thie other thing that I will say is that sometimes you'll get a client let's say our client for this shoot let's say we're not just doing this for fun because we're totally doing it for fun but let's say our client really is froot loop ease and the art director has said the kid has to be looking at the camera that's one hundred percent part of what we need so you might in your heads say like it's better without the kid look into the camera so I say kid, I apologize but the art directors like no they have to look at the camera that's part of the campaign sometimes you have to sacrifice the better image for what other people say as well so that let's say miguel is the art director for the shot we wouldn't have a choice right? Because he's paying me to do it I kind of have to do what he says, which you know that's the whole part about sometimes with commercial photography like again, you're just a little piece of the puzzle and sometimes your opinion is not the most important one which sucks a lot, but it happens sometimes we've got some great questions coming in from the internet another one from fashion tv over in singapore, says aaron, we often I thought that while shooting composite we should keep as much of the scene fixed as possible the objects removed during cleanup will this affect your editing later on that's a great question now with this type of composite the majority of what we're actually gonna be doing for the composite is keeping this like this is what's going on inside of the cereal so this other stuff can move around during the composite it's not going to make that big of a difference because we're really just going to choose one frame probably of sarah and then we're going to be putting the other person into that frame now if we were choosing like six or seven different frames of sarah and the cereal box and things like that, then we would want to make sure to keep everything in place. But as of now, I don't I like how these concepts sort of developing I think we're on like a really good I mean, this is just it's really great I can imagine him right there and her scooping him up in like as these developed, I think we're getting closer and closer to the shop where we can just say that's it we nailed it and then once we nailed it that way we're going to take sarah back out and then maybe I will try putting a little bit more feel light and things like that but I don't think we're there just yet. Maybe we're really close, but when we say like, this is the shot, then we would do things like take the subject back out if we needed to photograph the bowl in a couple different ways, because the camera probably has changed a couple of times during this entire process. That's a really good question. Awesome. Follow up questions that from viki clark I was wondering if you ever use green screen teo key out the action shots that's a really good question I do use green screen in some types of compositing sometimes when you put someone in the background where they're not where they're not actually going to be in let's say that you're photographing a person in your studio and you want them to look like they're in a jungle. Well, a green screen might be a really good way to kind of keep that out in this type of compositing where we're doing element, compositing, she's actually going to be here, we're not going to put a jungle behind her, right? It doesn't make any sense at all, but if we were going to put a jungle behind her than yes, we would totally put a green screen behind her or a medium gray seamless or a white, seamless any of these options but the interesting thing about using like a green screen is there are a lot of options you have if we were going to put her on a background that was like very like teller, maybe like a morning sunrise that was like very bright outside, I wouldn't put them on a green screen, I would put them on a white, backgrounded said, because their background would closer match the background that I actually wanted to put them on if they were going to be like in a night scene, I would use a dark like a black background instead of green as well and because the reason is it that's a different type of compositing but objects in three dimensions, they reflect the things that are behind them as well, and that doesn't seem to make a lot of sense, but you can see like our lights here are behind sara, but you can see they're they're kind of like curving back around there so some of the color that's behind your subject will actually come on and like, show up around the rim of your subject as well it's not like a really great example in this case, but if you are putting someone on a different backdrop like that, make the backdrop a similar color to what you're going to finally be and some of that light will reflect around back side of the person good question. Okay, cool. Are we ready? I like this. What do you think, sarah, do you like this the one on the right where it looks like you're going to scoop the guy? I like it too. I think you're doing great. So let's do it let's do a couple more like just like that? And is that spoon hold how you're holding it comfortable or would you rather hold it a different way? Oh, I'm fine way you're so easy you're easier to please than me that's awesome. Perfect. Well, let's get you just for the folks at home let's get you maybe hold it how you would normally hold it there we go. We'll just do a couple more of these and then we're going to switch it up a little bit and then we're going to do wacky time and then you get to take pictures of me. Ok, cool. So let's have you come in like directly from the side like scoop just like that? All right and scooch nice and four for me and let's put your other arm up on the table. If you can hear, we go perfect and scoop and you're going to be looking right down into them and you want to make it seem like you're really going to get it like you were going to get this guy and whenever you're ready three, two one go perfect let's do it again and come on nice and forward for me three, two one and gil perfect let's try it again three to look up just a tiny bit there we go and down with your eyes three, two one and go all right and you're going to be looking right in the center of that bull beautiful three two one and go all right and maybe until your head a little bit there we go just like this and perfect can we bring like a little bit of hair from out of my face you want to just push it back there we go just pretend you're in a shampoo commercial do that alright and three, two one and guilt perfect let's try it again in three two one and go awesome! I think these look really great let's get your hand may be closer to the close of the orange shoes there we go okay and let's try it just a couple more times three, two, one and go boston and let's try just a couple more times you why don't you just keep doing it? Why don't we start wacky time how's that sound you do? Why don't you just keep going and I'll just take pictures as you do it? How does that sound all right let's, start it go ahead and do it everyone just make a whole mess out of it here let's put him actually in there and you can you can scoop him out and pretend like you're going to just give him a giant milk bath he's going to hate this you get to play with your food this is the one chance you get to play with your food perfect maybe you want to use two hands I don't know yeah there we go. Get him out of there. Okay, you should two ingrate and let's check out these sarah you're doing awesome. Wow, that looks really cool like are you stirring the milk up? Oh, that could be really cool if you're almost like creating a tidal wave and he's like riding on the title way yeah, there we go just do a lot of splashing what do you think? Yeah, maybe off to the side a little bit more there we go perfect let's take this back out we're going to put some fruit loop ease back in and then we'll just do a little bit more wacky time oh, you got it. Look atyou natural you could need some by the way if you want to as well yeah perfect that's a beautiful a beautiful mosaic of froot loops you fed all right and let's just go for it yeah, there we go way yeah, I like your hand on the bull that looks really good perfect all right really cool. We'll just wonder if we could refresh back to that the six things to keep in mind what you're looking for is as you should I can most definitely that sarah you're doing a great job by the way. He's really fun okay, so the first thing we've got is our camera angle for the bullet cereal so what we do before we're going to pack all this up, I just want to make sure I figure out about what angle we're going to be looking at and I'm going to show you guys out for the break a really cool way to figure that out a little bit of math but it's not too bad the next thing is the camera angle from the giant pool basically, well, you want these things to be the exact same it's going to look the best if they are the same in the end the focal length to shoot the giant pool that's also a good question if you can do it, you actually want to shoot both objects at the same focal length? It's really helpful here because we could see I'm shooting at fifty millimeters if you're not checking these on on a computer screen, you can just like, make a little tick mark or just see that you're shooting on fifty millimeters, which is on your lens, the matching the lighting from the both shots. We're going to have to set that up during the break to kind of match, but we're going to talk you through that is well, doing a rough composite at this point, we don't have the other element for the composite, so we can't do that just yet, but after the break, we're going to be doing that as well. Subject's interacting? I think thanks to you guys and the folks at home, I think we did a really good job getting our subjects to interact, so I think we're nailing that right now, and once we choose the images that we're going to finally use of sarah, then we're going to use the we're gonna make sure that our other subject interacts with the giant sarah who's way coming down, which is a really good point, the different takes of a serial, so as long as things don't really move, we're going to be doing is in just a little bit. We're going to take some of the shots out and fill some of the cereal bowl with well, we've got a lot of shots of the cereal the camera hasn't really moved available has moved so I can choose which, when I would like maybe what I want one with mohr cereal in it, less cereal we can choose that after the fact, so the fact that those elements didn't move the cereal did move the box of cereal as well as the orange juice, but the cereal bowl itself has stayed in the same place matching wood grain for the flip flops that is for, like, the end of part to our part three pull it apart for a lot of parts for this and measuring the center of the frame that is going to be taken care of during the rough compositing. So all the elements that we needed to take care of during this part of suit we have done, and I think we've done a really good job. We have any other questions? Where do you wanna take a couple pictures of me? Come on over? Yeah. Okay. All you have to do is press this button right here. So we'll give it a test shot. Come on over and you could just press that button. You press it as hard as you can. There we go. Perfect. And now I could be in here and you can look at me and you can tell me what to do. Sometimes I would do this on earlier on the shoot, because here, in the place of the subject, I might have some ideas in this place that I wouldn't have had in that place so sarah you want to tell me what to do? I'm gonna beat the guy that's a good idea okay, I think I ok should I put some fruit loop is in there he would be so scared. All right, tell me what else I should do now I kind of try teo poke him with a spoon right him yeah, I'm angry at him around my happy happy I'm happy okay oh, look at him he's fun that's a really good idea perfect. What other ideas do we have now kind of just trying to scoop him up with with my hand you really want me to get dirty? We're doing this all right? I'm gonna put this up like this and I'm gonna scoop him up with this and is that okay? All right, we're going to get him. I'm going actually scoop up milk will you be ready to grab it as a scoop up all right, three two, one guilt we'll start again in three two one gil what do you think? Perfect. You know what I really liked? I liked your idea of trying to eat him. Would you mind? Can we trade places again and then you can pretend like you're going to eat him because I think that was a really good idea all right let's drive my hand off a little bit thanks job that was a really good idea perfect let's pretend alright get get nice and in there there we go pretend like you're going to eat him let's get your spoon so it's not coming out of the milk so much there we go perfect perfect let's bring your spoon back in let's just like that so maybe he's like right over here you haven't picked him up just yet but you're going to go in for a big bite can you go in for a big bite? Very very cool bring your camera your camera for your face just a little bit closer and your spoon just like that and then could you look towards the camera just little bit more and going for a big bite there we go he's scared isn't it? You're going to eat him why would you come up with that idea that's how very nice and you're like well why would he be in my cereal that's not nice very cool you want to poke him like you had me poke him there we go yeah hey, what you doing in there? You're doing great so you're really good you're going to grow up to be a really great photographer or cereal eater e I still eat cereal that's amazing sarah you did a great job you are done young lady five five everyone really, really good sir you did great thank you so much sarah the internet said you did a fantastic job and that you were really creative and they love all your ideas when aaron was sitting down's a good job, you were really created more creative than me. I gotta have it to you wonderful, thank you so much. They're five perfect. Well, I think that that was just a really great end of the segment of the shoot. So that's, what I would call a little bit of the crazy time or wacky time is like, you know, having the subject kind of like, you know, having her come up with these ideas, there's a lot of fun and then it's just it goes from that like, stagnant pose of an idea that something that's just a little bit more natural, and I hope you guys, because I really did it was the internet actually love the whole segment that wacky time, and they're wondering actually, how often do you get the shot from the wacky time? A lot of it is embarrassingly a lot, which I think is it's part of the magic of photography because you have that, like, you have that thought in your head write like you have this sketch of I wanted to look like this, but if you don't take the time to let the shot kind of evolve into something else like it it can take on a life of its own, and I think that's, usually when the magic happens, sometimes depending on your shoe, depending how much fun you're having, sometimes it takes three or four minutes. Sometimes it takes more like twenty or thirty minutes, but you tend to kind of know when that magic happened, so it goes from, like, you know, here I'm imposing toe, like now what? Having fun. Now we're getting into it, and, um, embarrassingly amount of the time. It's. The wacky time at the end, when I'm like that's it, but it's it's, weird, because you can't start off with the wacky time you have to kind of go through like the more structured and that'll give you what it's like wouldn't wind up these. They're really good. Sarah, did you see that? Me scoop in the cereal? That was very 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

Reviews