Introduction

 

Compositing 101

 

Lesson Info

Introduction

We're back on set today we have our super what was hidden set yesterday no one could see what's going on and we actually have a complete laundromat behind us which is insane this it is all brought in like we're in a studio right down everything you see behind me was custom built for the shoot and I just I feel really special to have everything brought in here for for a concept so I do want to talk about a couple of things before we began and here in section one we're going to be doing is mostly kind of talking about the concept we're going to be talking about the development of the shot we're gonna be talking about a lot of things and then we're gonna go ahead and start shooting for the day so yesterday was a blast and what we did was one type of compositing and that's the element compositing now today is going to be totally different we're gonna be doing a different top compositing and that's frame compositing so I'll just talk to you guys for a second because sounds like you guys sho...

uld learn this but element compositing is basically when you take a different elements and you combine them together so for instance yesterday we had the sarah with the cereal bowl and then you know with our concept we said okay we need someone in this giant pool of milk so then we got that elements as well and then we shot like the sandals and the towel on things like that so that's one type of compositing and in a way that's a little bit more difficult than what we're going to be doing today each of these things has like their difficulties during the photo shoot and during photo shop so I'd recommend you know that wood is like a little bit more difficult during the photo shoot itself but this one what we're going to be doing today is just a little bit easier and today is called frame compositing and basically here's the goal today everything that's we're going to be putting into the frame we're not we're not bringing in extra elements I'm not photographing anything on a white background or anything like that every single thing that's gonna happen today during the composite is gonna happen right in front of your face so it's a really really cool way to do compositing and this is no matter what your guy's a skill level like right where you're at right now you're going to be able to do frame compositing it's really not that hard what we're doing here we're tricking a couple things we can trick things like gravity weaken trick things like time weaken trick things like you know is are these people going to be interacting with one another so today we're actually going to be pulling off some levitation which is going to be sick and I can't wait for it levitation is it seems like something that might be really hard to do in photography but it's actually not that hard and the only thing you need to know how to do is frame compositing, which is all day today we're covering frame compositing so you guys going to be basically the entire process it's going to be you know, here on set and you will be able to see the whole thing and then tomorrow we're going to go into photo shop and I'm gonna show you really how easy it is to bring everything together using frame compositing so I am so excited before we get started with today there are a couple of things that I wanted to talk about and the first is just kind of like a message of inspiration. Last night we went out to dinner with some friends with the creative live through and I don't remember how it came up with someone's like you're pretty weird, erin was like, yeah, I am pretty weird and it's taken me almost my whole life. I've heard that a lot by the way, girls and guys and you know, people I respect and a lot of people have told me that kids never tell me that because kids are weird and they're cool with it, you know they like to someone who's weird but it got me thinking, you know and it's easy to take the defensive when someone says you're weird it seems he didn't take the defensive millions of that weird but you know, last night we were just having a great time and no one no one meant anything but I was like, you know, j r are talking is pretty weird like the hobbit and dragons and trolls like that's pretty weird like hansel and gretel these fairy tales these things we grow up with like that's weird like it's not at all normal and it just got me thinking like the weird people and the people who like who embrace being weird and having these crazy ideas and then having like the like guts to like say yeah, I'm weird and I'm going to go do these crazy ideas they're usually the people who want to changing the world, you know, and usually the people who were lined up like giving us these amazing stories and, you know, bits of culture that we then shape our lives around we learned about in school so if those I'm not trying to tell you guys if you are not of the weird spectrum, I'm not trying to tell you guys to go be someone or not, but if you are if you feel like yeah, you're a little bit weird embraced that, you know, I do those things that that you feel are a part of you and that's that's really? The only thing that I've done throughout my entire career is the photographer is embraced the weird I've had crazy, wacky ideas, what we did yesterday, we put a guy in a giant pool of bill get out of washington and that's weird is totally weird, but it was so much fun and it it's just a little bit out of the ordinary and that's, I think that's the only reason why I'm here, to be honest in front of creative lives had these weird ideas, and then I've pulled them and actually like bringing brought them to life. I think that if I had done more run of the mill photography, I don't think that I would have been here so that's, just my little message of inspiration and hopefully encouragement if you guys are weird and you guys have that little thing inside, you embrace it, embrace the weird, make things awesome happens a day one and day two is all about the photo shoots themselves and then tomorrow's photo shop, which a lot of people were kind of like curious about because it was, you know, everyone says, oh, they hear compositing, they think, okay, it's all going to be in photo shop, why are we even doing a photo shoot and what they realizes it's a lot more what happens in the photo shoot? If you want a varied tar job in photo shop, then you rely on photo shop, but if you want your job in photoshopped to become easy, then you do your work on the photo shoot and it's just going to make the job a lot easier and photo shop and it's also going to make the end image a lot better so you don't have to be an amazing photo shop artist or, you know a creator, you don't have to use it for years and years and years you can be comfortable with your skills as a photographer and then bring those together with a couple simple techniques that I'm sure you guys tomorrow in photo shop between we awesome all right? Because we were gonna talk about today it's going to be very good to be wacky it's gonna be cool it's gonna be weird. We're gonna have a lot of fun way have a sketch. I think maybe we could bring it up on the screen of today and again, you guys can lay witness to my amazing sketch skills, and it looks like from your places, you have no idea what it is that's, okay, because I'm gonna explain it to you, okay, so today's concept is called I just scribbled on their washington because it would be funny but it's called love at the washing suds and it's a double love story these don't really exist in nature. I've created a double love story and it's it's really going to be an amazing image in a cool concept basically here's the whole idea behind her double love story which is the love love that the washingtons guys coming in the morning to a laundromat and decides he's going to clean his clothes so he's going to be using these laundry bin's, whatever their coal washing machines with some might call them behind us basically he's coming in the morning and he's about to do his laundry and he's using this like off brand of laundry detergent so he's coming in and his clothes see the laundry detergent that he's about to use, and they decide to rebel against that they're so we're not using this crappy laundry detergent we want something better so literally his clothes like come out of the washing machine and pick him up and push him over to another side of the room where there's, of course a gorgeous girl and she's holding the proper brand of laundry detergent, which is washington between made for this tutorial so it's a double love story it's the story behind the clothes, finding the proper laundry detergent that they actually want to be washed with and they're also introducing our guy hero to our girl hero and then they fall in love so double love story in one image with levitation and flying close in the air at a washington that was specifically built for this photo shoot so it's going to be wild? You guys excited? It's gonna be really, really cool. Basically yesterday we brought all those elements together and we had some of it kind of like thought out and like our lighting was already set up when sarah was on set today is gonna be kind of like a different pace. We're going to be taking you it's going to be mohr instruction, especially when it comes to lighting and posing and worked with models it's going to be I'm going to instruct the entire thing is you guys can see me, I don't know, maybe the cameras can come up all this lighting that's up here, I didn't do any of this. This is actually all set up for the video that the video feed that you guys are watching right now to make me look really pretty, which they needed a lot of light to dio so this is not going to be affecting our photograph, what we're going to be doing is using fast shutter speeds that are really not gonna have any of this like this continuous light affect our our no our image we're gonna be doing is using strobe light affect our image and that like, if you do use strobes, you khun out power the light like this continuous lighting so that's going to be our goal today we're going out power this and start completely from scratch so a totally different way of teaching today because we're we don't have anything set up like you can see there's you know there's not a soft box with a strobe over here there's you know, there's, nothing set up today, so the idea and the goal is to take you through the entire process from start all the way to finish on how we're actually gonna build this concept and how we're going to put everything together not only that, but we're going to focus on some of the important things when it comes to compositing and how you actually should or maybe could like something like that to make sure you get your point or your concept across. So the first section is very cool we're not actually going to be bringing our subjects or anything like that into the scene during the first section. If we're going to be talking about our lighting and building up the scene and getting everything ready for you through the concept's, there are a couple of things before we go ahead and start off and remember yesterday we talked about during the photo shoot sorry before you start the photoshoot how a sketch can kind of determine a few things like camera angles that containment maybe you're apertura can determine your shutter speed and things like that we're basically doing the same thing today we're looking at the sketch and figuring out things like maybe our shutter speed we've got some levitation going on which means that we needed wind that pretty much frees action especially if he's closer than you'd find in there and some of you guys are going to be throwing clothes in the air later which should be a lot of fun we're going to be basically throwing these things in the air and freezing some motion we've got a little bit of levitation going on and we need to freeze motion for that so music slow shutter speed or do we have to use a fast shutter speed exactly we've got to use a fast shutter speed and that's going to freeze that motion so if we were using ambient light something like this if it was very bright and you're doing this on location you could probably pull it off maybe shoot it one five hundredth of a second well we're going to be doing today is shooting at one over one sixteenth of a second and we're going to using strokes actually freeze that action so from just a sketch and basically our environment I can figure out my shutter speed which is pretty amazing now we can see behind me, we do have some really nice detail here that are set builder built calo did an amazing job, all this detail behind me, I don't want it too out of focus as well, so we're probably going to be shooting at maybe a five point six where fate we're going to be shooting with relatively wide angle lens as well, because I want to make sure we have all this in the background. Now. The original sketch was going to be at an actual under matters like that with a like this is a roll of washing machines in case you couldn't tell and today it's going to be on set. So we have a little bit of a different, a little bit of a different atmosphere and that's going to actually wind up changing our concept just a little bit, the concepts going to say the same, just the actual like interaction between the subjects that's going that's going to wind up changing. So that's what we can get out of the sketch and we're going to go ahead and start bringing it in, so we've got the camera basically it's it's right over here and it's a rough camera angle that's capturing what we've got here so we're going to start off and I'm gonna actually build this from completely nothing. I would love some suggestions from you guys and suggestions from the people at home, and this is what it's all about. So today, it's just really going to be a cool learning experience and frame compositing means unlimited possibilities, so our subjects are not going to be in the same place all day. They're not gonna be doing the same thing all day, they're going to be doing a lot of different things, and we're going to capture every one of those moments and just pick and choose our favorites. Not only that we're not having two subjects in frame today, I think we're gonna have five or six people in this frame we're having people in the background there going to be doing all kinds of things we're going to be doing amazing stuff with lighting. We've got a really cool idea. This is actually a a lamp that's just hanging, they can probably zoom up and see it's I don't even think it's plugged in. I mean there's, no light bulb or anything thing and what's really cool is we're gonna actually like this, we're going to make it look like it's, a light done with our strobes. And I'm going to show you guys how to use frame compositing to basically take care of this type of element, where you can kind of, like, make this look like it actually is a light source, even though it's, not a light source. That's. Just including. Maybe you have a soft box and on set during something like during. If the subjects here and you need them little little bit better, you put a soft box on them that you take its frame with the salt box out of there. And you composite those together later. We're also going to doing a little bit of rough compositing as well, kind of bringing these elements together.

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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