Compositing 101

Lesson 14 of 22

Shoot: Love at the Wash-n-Suds Part 2

 

Compositing 101

Lesson 14 of 22

Shoot: Love at the Wash-n-Suds Part 2

 

Lesson Info

Shoot: Love at the Wash-n-Suds Part 2

Guys, welcome back and during the break, what I did is I took a look at our images, basically seeing what we've got going on in the shot, and this is something that I will totally do during an actual photo shoot. We'll take a quick minute break and I'll look at all the images that are going on and say, like, okay, I think we've got this element, I think we need to work a little bit more on this element, so what we're going to be doing now is I think we're really, really close, but I would love to get our subjects back on set, and we're going to shoot a little bit more. There are a couple things that I do want to mention things like we had miguel as a standing here providing cem beautiful leg detail thank you, sir, and we have a lot of frames of that, so what we're going to be doing is we've got we have basically go sit back down and we don't need those anymore, so if we decide we want that in the final shot, we've got it. If we decide we don't want that and more, we're gonna have that,...

too, and he wasn't in front of anyone now. That's an important thing to keep in mind, let's say that he was directly like his legs were covering up our subjects legs, and if we wanted those to not be there in the final, well, in that case, we wouldn't really have that option, because we wouldn't have information of that subject without legs in front of her, so we would either had to like, you know, trying to combine multiple exposures to where we could get the top after, for or in the bottom half of firm, from different frames, or figure out the different way was clone stamping or painting it in from scratch, so those are things we don't really want to have to deal with, that's, why we're making sure to keep each of these elements separate, so we've got this separate element, we've got a separate element here separate element here, and then they're in the background as well. So we are going to be bringing our subjects, and back on what we're going to do is we're going to focus in again, directly back on trial, we're going to be doing the same thing, throwing the close up and everything like that, and then after a few frames, that what we're going to be doing is then focusing directly back on hannah, and basically, shawn is just gonna be sitting there, and he can you know, do all kinds of crazy things and whatnot, but we're going to take twenty or thirty frames where we're focusing just on hannah, we just want to make sure she's, you know, doing all kinds of different things and what we're gonna do, I'm going to stand up here and, you know, kind of direct, and then we might get someone to operate the camera, actually start taking those pictures so it's a really good opportunity to say, like, okay, here's, the action where we did with both people, and then we're going to focus on just sean, which we've been focusing on for the majority of this shoot, and then we're going to focus just on hannah when we're done with that, we're going to take these images and I want to show you guys the cooling process, you're gonna actually go into the light room and choose these image that we like, figure out which ones we like of each one of our subjects and then pull them well back together here in right during the segment, and then we're it for the day, so you guys want to come on back and hang out? We've got some our clothing throwers were good, yeah, yeah, come on up. Perfect. So we'll start the shoot thanks alec and gave appreciate it. All right, how we doing? Hannah? Still good? Perfect let's just make sure you can see directly into that light and then you'll be in the right place. Perfect and we're good to go. We better spot here, so we're basically starting out. Same get a like nice little break. Yeah. Ready to go again? Perfect. All right, so just what we were doing yesterday, guys, it feels like yesterday, but it was twenty minutes ago. That's what happens when you use your brain a lot? Okay. And the last thing I forgot to mention is we're going to make surely is sitting in a few different locations back there as well. So you're okay back there right now if you want to be, you could just continue to hang out and then we'll switch you around us. Well, just don't let me forget because there are a lot of things to keep in mind, but we ready. I'm gonna go ahead and start we'll do a test shots just to be sure the tether is still going and all of our lights are still firing that's an important thing. Make sure your lights are all firing whatnot before you actually get people to do something they would go like you can see into the grid we can see into a grid of the light that's pointing upward it's pointing into the light anymore remember we remove this one we didn't move it did away so it's just going to come there we go like that great john thank you very much. All right and remember from the last segment we did take us some pictures with that light not there it also will be good to go all right, we got to go so we want is that hasn't been refilled it all yeah it's a nice didn't want to make this easy for you. All right? So maximum spillage and if we can don't worry about sean when I was looking through some of the shots, I saw that we were bringing that up pretty for don't worry about, like, coming up a ce far with it let's just like kind of like, let it spill yeah, exactly a trail like that like keep it far down because I really like when you had your right leg up left leg down and you were kind of coming out the cameras just like this. Now I'm doing it here, I can understand how hard it is for you to do it, so go back right? I really appreciate you're doing a great job, all right, we're ready, everyone running rock and let's go for it three two one and go awesome and our goal here is to get everything correct in one frame if that doesn't happen not a big deal that's what frame compositing is all about but if we can then that's exactly what we want all right let's try to keep the keep your torso towards me a little bit more shawn if you don't mind and what we'll do is maybe have your have this so just a little bit lower I think another thing that would be great is if in between takes if we could kind of sweep sweep some of this out it doesn't have to get super clean excuse me just a cz long's it if it's not there so if we have a broom or something like that we just kind of sweep it off towards the camera all right we ready rock guys perfect and three two one let's go for it awesome same thing let's do it again I'm just gonna pull this there we go we're gonna pull this off there just a little bit more all right wonderful okay and three, two one and go really, really nice and if you can try it if you could go back a little bit more I know it's hot but if you can that would be really great perfect and let's go for it again three two one and go for it very, very cool we'll do it basically the goal is just to do it over and over and over again weighing it sorry we're not literally learning much during this period of time other than the fact that sometimes you just have to do with a lot of all right let's go in for it again if you don't want they would go and three two one and guilt perfect and let's dio if you can face your chest towards the camera and do like a little bit like a shocked expression like like kind of like what's happening to me expression that we will be awesome all right we ready and three two one and go awesome very very cool all right well let's go ahead and look through our images of sean just to make sure we've got you could take a quick break I'm gonna pull this back around here so I I think I can go through light room I believe so anyway so mike doesn't have tio have to do it all right there we go and basically at this point I would just basically want to pull through the images that we do have and see you know kind of the some of the teacher point okay so what we're looking here basically for certain elements in the shot and sean did an awesome job I think some of these that we just did are some of the best ones we've got a really nice poor going on here and what we're looking for all those little elements, so we wanted, you know, his right leg up, his left leg down him pointing towards the camera we wanted, you know, his facial expression to be there and everything like that. So as long as I've got sean, basically, you know, doing exactly what I need him to do, we can determine that now, and if we can check that off our list, then he doesn't have to do this ever again, so we're both kind of hoping right crossing your figures that he doesn't have to do this anymore. So this is basically looking for all these different elements and making sure at the same time that it does look like he's being kind, like, pushed up by the clothing. Now, if we didn't need mork loathing and here, keep in mind we do have more photos of clothing that's not necessarily touching him, so we could always bring those in as well. So just kind of going through there. I'm just using the left and the right keys here in light room kind of look a, you know, like something like that is maybe just a little bit less a little bit lost clothing that we want, but we can always add that clothing back because we do have those other shots as well. All right and some of these we look like we're levitating war that was actually pretty good and it definitely looks like he's flying there right really really cool all right, there we go and then we're gonna go these air right back before the break we were looking through some of these shots there we go and some of them you know, like that one definitely looks like a levitating shot right? It looks like he's flying in the air so we just want to make sure that we have exactly what we need I think that last take we we just did I'm just going forward in time now I think that's pretty much exactly what we want I mean, the closer right there the spill is right there I think what you guys think doesn't look like he's actually floating it's pretty awesome let's just make sure that our focus is right and everything there which shouldn't make difference this you can see is a reflection that's actually from our greeted spotlight. Andi this is something that if we do need to take care of in photo shot, which we probably will wind up doing the easiest method to take care of that is probably using something like a clone stamp tool or a healing brush tool so we're going to take care of that sort of thing tomorrow so I think we got it shawn you did awesome man this is really, really cool. Thank you so much. So we got it. I'm gonna have you stay here and now we're going to do is we're going to change our attention and I think, you know, lee, I think we're pretty much every single frame exactly what we wanted awesome, awesome job. So we've got that as well and then and I know we got a lot of amazing pictures of you, but because it's a little bit less of an effort, it's not like a huge deal for handed to do some posing and things like that, we're gonna really put a lot of effort into making sure that we do get exactly what we want there. So either we contrite having me on set in someone else taking the pictures if we want to do that or what we can do is I can just direct from back from the camera, so we're good to go. I think you guys are good to go if you want to alec and game if you wantto everyone give him a hand, you guys it often clothing throwers thing pushed this offset, there we go, perfect! So we've got that element of the composite and now we're just going to work on you not saying we don't have it, I just want to make double sure that we do and this is a good time for you guys to like kind of like give that back and forth type of banter and things like that and some of your faces where you were doing like the face that was like that was pretty much exactly perfect so we're going to try some with this bottle and then we do have a box is well we grab this for you the box is currently full maybe empty it a bit it's full okay we won't we won't have you hold it long but we also have a box of the washington it's too so okay it's okay I'll put it right over here and then we can we can just change that outside ok? So sean if you want to just kind of like maybe scoot back a little bit in your in your chair that'll make it look like there we go so he scooting back which is goingto like effectively change the angle at which she's looking at him so it'll look like your father back but it's going to look like you're farther down so you can just kind of hang out there on perfect alright so and we're going to try a lot of different things were basically to try you like holding the bottle towards me were going to try some holding toward shawn on some of the you know who face and putting the foot up and things like that when you go for perfect let's do it all right let's just start off if you want to hold it up just like you're doing there perfect and look at me awesome and then we can do that like oh, awesome. So we'll just do some smiling shots perfect making it look nice and clean there we go and then let's do some surprise shots perfect if we want to do the same, same exact facial expressions look, lookit, shawn, if you can shine and you khun you asking like banter back and forest like hey baby what's going on wayne and almost clean a big bright eyes there we go beautiful, beautiful, awesome let's lower the box, lower the bottle just a little bit perfect. Here we go love it fresh. All right, we're having when you do shoot tethered, you have to take a quick break this quick teacher point when you do shoot tethered it takes a little bit of a delay. It's a little bit slow with the new would normally shoots, so if you're used to shooting it like a very fast pace, you do have to wait a new camera so you'll just see like a big red light on your camera that basically says, no, I'm not ready yet, so you need to slow down shooting which to me I usually start off a shoot shooting tethered so I can get all my lighting and I can look at it on an external monitor but then I'll rip this court out because I'm way too impatient for it so I usually like to take a lot of a lot of photos and go through it later but today we want to make sure everyone can see him on the on the screen so we'll be a little bit slower but does anyone know yeah quick question christopher b says do you prefer to have, like free posing from your models when you prefer controlling them to get exactly what you're look king for that's a really great question sometimes it really depends on what I guess the concept is sometimes we have like a very part of the pose will be part of the composite in this case that's not really as important it was a little bit more specific was sean the posing we kind of knew what we wanted out of there and that was kind of kind of part of the composite when it comes to you know other posing in this it's not really as important because like you might have other great ideas that I don't have so I'm totally open to it in this case I think it's more of a case by case scenario what I prefer ah lot more than posing is just totally acting like to get actually people acting in a situation that's harder to do when you're doing your composite shot because you do need some of the elements to be like kind of static and you you do need to place things but I think in some ways of the best way to have people actually opposed instead of like, you know, stopping I really love it when people been actually like things so like when you guys were talking back and forth I thought that was really really great so good question and if you guys wouldn't mind handed we couldn't talk back and forth again perfect let's go ahead and change you out here if you don't mind I'll give you this washington's box we can retire the bottle here it's too heavy just let us know when we can we can empty that out too but I think it's nice having having them both boxes perfect there we go and that looks really good actually I really do like the box there. Okay, perfect. If you want to go back and forth and sean if you want to start hating on earth what kind of deserting you got there if you want to look at the camera there we go perfect perfect in big bright eyes there we go gorgeous gorgeous ears box is heavy duty on it you want some of that perfect I'm nervous detergent is far superior that's awesome. Oh, I love that. Yeah, perfect. Maybe up like a little bit less high. Perfect. Beautiful. All right. And we're going to take a quick, quick right again. We're shooting tether and so we have a little bit of it to lay here. Perfect. You guys are doing great. All right, so what I'm gonna do is we're basically gonna do basic exact same thing we were just doing was shawn, and I'm going to do the same thing with hannah here just kind of going through our shots and making sure we have kind of poses and everything like that that we that we do want. So this is part of the cooling process, and if we do something, see something that we like here either during the shoot or directly after the shoot usually don't go through and then we're shooting in light room here, so we'll choose something by him flagging, writing the letter p on the keyboard, which is for pics. So if we do something, see something we like, we could just flip through it pretty quickly and then hit p as we go along cnc our progress bar on the top left is still importing from the camera that's why that's why we're taking a break right now um there we go, perfect all right, so some of these shots are probably going to be the best shots of the day because we're really focusing in on you know what hand is doing and I think that interaction you guys were giving it was really nice all right, well, what looks like we're good to go here and everything is in fact loaded in so we're going to just flip on back forward and then I'd love something from you guys as well like you know what is what are some of the shots you like do you like it with her leg her legs sound what do you guys think? I like that yeah yeah, I agree todd I think that's really nice. I think that looks really good. All right. And do we like what we think you liked looking towards our subject let's go back to where you were looking, shawn. What do you think looking at shawn or do we like it looking towards the camera torch on? Yeah, it depends if you wanted to be campy or if you wanted to be, you know intimate that's more you know, intimate, but when she looks at you it's like it's an aside to whoever is looking at the photos we get what's going on here exactly exactly that's a really good point game did you have ah coming microphone just in case prepping it nice I go everyone on the internet says sean looking at looking at john okay cool yeah you agrees well yeah course ugo she should be looking to be totally and that that is totally a choice whether I'm totally open to you know everything that you guys were suggesting that is the choice that you'll have a ce faras what you want the photo to say, you know, in a lot of photos if you want it to look a little bit more realistic obviously she should be looking and sean if we do want it to look more like an advertisement you know, like, you know, flow in the programs and commercial eternal around and talk to the camera itself on dh that's kind of like what this what this says do you plan on cropping out the tripod in the back next to basket or clones stamping it out the tripod from the back of the basket like right to left of the basket? Oh good good point all go ahead and zoom into that so everyone can see what we're talking about here yeah, we've got a light stand here that's actually supporting all of everything right above us is this supporting so we can't really move it that was here part of the set we didn't play set in there so in this case way really don't have the option of moving that in taking another picture so we can either crop it out or clone stamp it out that's not really that hard of a close damn job so what I'll probably do is going to pull stamping it out and you know basically you khun clone stamp in here from the right over the left on the boards top to the bottom with these boards bottom to the top over here right to the left over here, right toe the left over there and then left for the right over there so we'll probably take care of that tomorrow. That's a good comment cause I didn't even see that in there. So definitely good suggestion. Alright, so everyone saying towards sean, all right, now all we have to do is basically look through our images and see like, you know, do we have what we think about, like, the bottle versus the box? Does anyone have any comments there? So we have the bottle and we have the box the box it's like bigger, right it's like bigger and it kind of like nails the point home a little bit more. Yeah, I think I agree. What do you guys think? The box. Okay, cool. Plus, it matches your box of almost clean, which is perfect and agrees with the box everyone agrees everybody loves the box, all right well, this is I hope that everyone can see like, what an important part of the process this is because we're still here during the photo shoot these are the times in which we can actually make these decisions so we just made a couple decisions we decided as a whole that we like it when we're looking right at sean well hannah's looking at john anyway and we like the box instead of the bottle so those are like two pretty important decisions we've made about what's going to be the final shot right here during the photo shoot so without taking that time to look at those I don't know that we would have actually like been able to make those decisions here on set so we'll just take that bottle right out of their perfect thank you jon and there we go and now we know what's worked with that's pretty awesome you've got some really good facial I love this sort of stuff if you could like do this sort of thing like right toward shawn, I think that would be amazing. Yeah. All right, well let's get started let's go ahead and do a little bit more of the shooting these they're gonna be so cool let's do a little bit more shooting and uh and then we're gonna be doing some light compositing here I'll go ahead and put this back you go back to shooting, there are a number of people who are asking where your focal point is for these shots good point so the focal point for these shots is still directly on shot now keep in mind I'm shooting at thirty five millimeters here and we're shooting it f ate so earlier a loop that we looked at the focus on these images on dh it's such a wide angle shooting at faa really almost everything in the shot is in focus evenly who's in the background she's maybe eight to ten feet behind our subjects she's unfocused actually mike if you wouldn't mind if mike is in the booth being able to zoom in on lee there there we go and we should be able to see she should be in focus as well. So even though we're focusing on our subjects that air here in the foreground she's in focus all the way in the background so in this particular case it doesn't matter as much as some other portraits where you may be shooting it like two point oh, good question. All right, perfect now we got it so we're going to be looking at shawn and we're going to be hanging out and we've got the we've got the beautiful box of washington's can you give sean who face who there we go and the leg slightly crypt I love that there we go all right let's hear your best shot can you hit a what's that no we're not here just pretend like we're not here wait let's have a baby the box instead of so close to maybe like hold it out a little bit more what do you think let's do why called it out on the side maybe perfect yeah there we go perfect and then you could be offering it towards and actually you know I liked how you had it before to be honest yeah let's try earlier with the bottle you were kind of like cradling it almost yeah there we go that's really nice actually and then maybe rotate towards sean just a little bit more there we go perfect yeah yeah let's try it for sure wait I think that would work behold internet just fell in love with you perfect perfect let's try cradling it like maybe done lower yeah there we go beautiful now we're getting into it I love it could you maybe like bend over a little bit towards strong as well there we go beautiful and bring your face around towards me just a little bit make sure you're still looking him there we go I love it very very nice is that rotating involuntarily awesome job you guys are doing great let's just make sure that I'm looking at some of the shadows and everything like that just to make sure our shadows and highlights are looking good they're rio as they're coming in. We can just see. Is there anything that anyone is concerned with? With the images coming in? Was everyone happy with with lighting especially in opposing? That is gorgeous right there. I love that shot. I think that might be the one. Just remember deed too. Two, three, seven everybody let's look back through these and if that's the shot then basically that's the whole goal I don't want to keep you guys up here longer than we need to that's that's not my goal. Oh, a fan! Yes, we're going to like blow your it's gonna be magical. Okay, I'm officially decided we're gonna do this at least one more round because we've got a fan in here it's not the highest powered fan ever, but yeah, it is gonna be awesome. And do you have anyone used a fan on a photo shoot before we have? Can you tell me, todd, what about some suggestions with using a fan? Well, I started off using a regular fan like we're using today and I quickly gave up because the girl's hair was rather long and heavy like this. I use a leaf blower. Yeah, electrically floor electrically onto it works really well and it's very directional if not, I've also used blow it fan I forget john will know that you had to do it it's made for drummers and so it attach is to drum stands it easily attached insta light stands wow I mean is it blow it fan dot com yeah I know it's very powerful for this ice fan it is a rare movers if you look for your movers used for drawing floors they're small ones that really yeah I really like my thirty dollar leaf blower really? Honestly it's it's pretty awesome is it a little bit loud though the ones I have were pretty loud yeah I mean it's it's electric motors allowed but you know you crank the music and nobody cares yeah there we go yeah so we just blew a circuit just turned off the fans it's just this turn it off just popped the flesh is ok let's just double double check miguel, did you have a comment about using a fan? Yeah, I was just going to say that I bought one at home depot and it's a really small fan and even on the lowest setting, I mean it will blow hair like thick hair like that theo only challenges that it drives the model's eyes out we have to take a lot of breaks but fan moving well, yeah, kind of moving back and forth and I've tried it a couple of different ways but it blows so hard that you know, usually have to give him a bit of a break or they go blind. So good suggestions all around. We'll take those suggestions. And, john, if you want to come in and we'll see about blowing cem well, I'm not even behind the camera anymore. What am I talking about? All right, first let's. Go tio here, let's. Just lower hair, right? So, let's, look through these. We can do this for a couple of reasons. First is actually seen what we like. But if there is a specific pose that we really do like, we could basically try to get the exact same thing going on now with some fan movement in there, which is really, really great. Another thing that you could do if you are. If you are looking at just a certain part of your image, you can change your zoom level. Let's just hit tab real quick in here in like rooms. Quick light room tip. You've got a one to one, which will zoom all the way in as a one to one ratio of two to one. But you also have a couple of other options, like a one two four ratio. And what this will do is a little just zoom in like a quarter way into your image and when I'm looking at one specific element but I want to make sure that I do see sorry if you want to get rid of those things up there hit I by the way and that will give you different information on your image one time will give you this twice and then a third time so when I'm doing this usually I will do something like this so I can make sure I'm zooming into my image I can actually see what I'm going to be working on and I could still flip back and forth thiss way you can actually see it it's just a little bit larger in the screen and you don't get distracted by some of the other elements in the screen alright this's really good I love the new face who faces I think that might win it and I'm going to die again just so we can see what was it two three seven is that what we decided there we go through our eye again the who face through the eyes so the two three seven I think this is a really great post what do you guys think? It's dynamic she's holding it your legs look great we've got some of the rim light here is well I'd love to talk about this the rim here on her legs what it's coming this is like a good thing this is a byproduct from our light that's back in the background so we didn't necessarily plan this when we set up the lights in the background but it is providing a nice little rim which is self helping helping to celebrate celebrate celebrate your legs they separate your legs from the background and in this case it it really does help out so I love this post do you think you could do that again with the fans perfect let's do it and we'll do this one more time and then we're going to be done with the shooting process. Guys, here we go. Make sure that's down there all right on john come in as far as you need teo get it going. Uh that's awesome actually, you look like a superhero already come get the face going on. Maybe we can come more from, uh from behind john so some of the hair is kind of coming out this way too. Yeah, there we go. Way beautiful. I love that. And could we get some shots? Maybe a bit? Uh, we can go up and down so it gives the dress the movement as well all right, not too much movement we don't it's not that type of for teo that's very nice very nice actually come more from from the front what I'm saying is just it looks really great but I'm seeing a little bit of a shadow they're from from the hair from the head I'm just going to pump up our feel like just a tiny bit are you still able to see hannah directly into this light perfect all right we're gonna bump up our phil just a tiny bit perfect. I like what that fan is doing. What do you guys think you like it pretty cool food suggest who suggested was that I forgot probably john because he's the man way go perfect yeah and then blowing the dress if you can stay still what we can do is composite that your top half with your bottom half perfect so let's get some of the hair and then down on the dress gorgeous maybe open your mouth a little bit bigger like huh wait do like I'm in dallas as soon like like yeah oh so nice chin down just a little bit more and look a look right there we go so nice here we go. Wait just a second for the camera to buffer there we go we're gonna wait about twenty seconds here letting the camera come in what do you think about the about the hair so far I was just going to say that it kind of cells the motion of the clothing totally like a wind sweeping and it's kicking up her hair so yeah, it sells it'll sell the final image I think I totally agree it really does give some life to it and uh yeah, it does it doesn't cells that affected like the clothes really are sweeping over there that is awesome. Yes, perfect just like that keep those up ahead and we're going to make some amazing amazing images out of this some of these air getting a bit seductive gorgeous all right, let's try it again one last shot and then I think we've got it guys yep perfect all right all you got this is the ultimate who face eyes open really big for me there we go and we can maybe open your mouth just there we go perfect and I think your head back and forth just a little bit there we go gorgeous gorgeous john great job supernatural good face now give like a super cute face like like like almost like a pinup style face like there we go very nice how you doing? Great. All right and back up on her face that we go and open your mouth big smile open your isaac as well I'm sorry I know it's hard wait there we go perfect all right we're gonna go ahead and put it down let's look through those images awesome job guys very, very good okay, so we're gonna look there are images now as soon as they're coming up together making sure we got exactly what we don't but I really do think we do I do think we got everything that we wanted what was that? Okay, no worries, eh? So I do think we got exactly what we want, but I definitely want to make sure here on set before we break everything down and you know, it's a good job and everyone changes out of the clothes that we did in fact get it if there's just a small little thing, we need to fix it. It's just it's a little bit better just do that again rather than rather than try to like cheated in photo shop, so I hope that's a good lesson for everyone. We're kind of finishing up our second day of shooting and again, we've talked about this multiple times, but when people hear the word compositing, they think photoshopped, photoshopped photo shop but like I think, really the key, especially with my style of compositing in a way to get a really great realistic composite is to spend the time in camera spending time during the photo shoot get those elements right and then your job in photo shop is going to be a lot easier so I don't take just have a question for you guys some wants to grab a couple microphones does what do you guys feel about compositing now after watching these photo shoots for two days and seeing the images that we get kind of with your knowledge of photo shop do you feel like a little bit more confident with the ability to do a composite even though we haven't even gone into the photo shop? What do you guys think? I feel way more confident doing composites now that I know how much just prep went in and this just delighting everything like that before whenever I would do compositing I think I'd use too harsh of lighting and it just makes for a tough job in the end like I've already got a couple ideas in my head for when I get back home just to start compositing against I'm really excited to see how these turned out even that's awesome that's awesome and yeah from here basically what we're going to be doing is like simple using layer masks so it's the photo shop part of it's not really me that heart does anyone else have a comments about compositing after watching the chutes? Well, I just I feel like I have a whole new respect for all of the prep work that's going into the composite you know, people say it's it's really easy to just do it in photo shop and I don't think that that's true so thank you good comment coming thought did you have anything you want oh yeah I guess I'm looking at the shoot today especially today versus jessa I already know the skills that I know that I can do this already what I didn't know it was what we did today so I already know the photo shop part and now I have enough information where I could tackle something like this I think that is awesome and that's a great point and that's what I wanted to illustrate teo everyone who's here into everyone at home is like you probably already have the skills to do great composites you just didn't know you had them because we're going to be using simple layer masks here which a lot of people already know how and if you don't know how about something that can be learned in twenty or thirty minutes so it's just things taken each of these little pieces together and then putting them together do we have any comments from the internet about about their newfound way absolutely dio erin willett has a great comment he says I've already learned so much from aaron I was good with photo shop side but this really solidifies the photo shoot said for me makes me really think about it in a more organized way fantastic and indiana jones apparently says this's a goldmine of new ideas we are rich e I love it indiana jones you found your giant golden statue and surgery and gonza says, I can't wait to start shooting now that I've watched this workshop, I've always been hesitating about compositing, but now I can do it with confidence. That is awesome! I'm so glad guys, that really does say a lot about, you know, your skill level and having that confidence and seeing this all come together, we can all say that, yeah, I could totally do that it's really not that hard just showing you as the individual steps the planning was starting off with that sketch and knowing what we want and bringing it to this point and then tomorrow it's really just going to simply putting it together. It's gonna be very cool, alright, let's, look through the shots to make sure we've got what we want, and then we can uh then we're going to work with li just a little bit, and then we're going to see what we can do here in photo shop. All right? So I'm gonna zoom in just by clicking and again, this is on it's on a quarter zoom. If you want to zoom in a little bit more, you can change that. Just hit the tab key, which will bring this up and you can choose from a quarter you can choose from an eighth third, we just zoom in a little bit more mostly we're we're going to focus here you tak e hit the tacky again and that will go away all right, perfect. So we can just kind of look through here and see what we've got now other things like if we did have a shot like this that we wanted but maybe we wanted hannah's hair to be like a little bit more full like there's a little bit of separation here, you know, maybe I wanted another strand there that's a different type of compositing but we can totally take care of that tomorrow in photoshopped too so that that's actually not a really big deal at all. You look like a superhero there look at that it's awesome and you know, the color really does work together complementary colors we've got the red dress we've got them blue and the yellow on the washingtons that's you know, the try out of colors that work together well really does a good job there. These are awesome. I have no doubt that we did get this so we get to decide how how much we want to go on the on the silly side or they can't decide versus you know, the you even have some more seductive shots and they're just really, really great I know we've got enough here to make this amazing amazing image so guys you are you are good to go shawn often works with you thank you so much and I am so excited about these images wonderful wonderful hendley I haven't forgotten about you we're gonna have li's our unspoken hero of this photo shoot um is there a room I can just sweep this up real quick if you don't mind take the fan and booth perfect thank you very much ok cool so we're just gonna sweep this up just a little bit and we're gonna have lee if you want to go ahead and change seats maybe sit in that yeah let's leave the plant and everything like that where they are we're just gonna clean up the floor real quick here he's going to change positions a couple of times we're going to take the shot now does anyone else have any suggestions someone said they wanted to put someone inside of this washing machine which I am definitely not opposed to it doesn't make any sense as far as our final image goes but I'm I'm not opposed to it and throughout this weekend we've put at least three people in there already that I know up so if we want to do that we didn't have suggestions for lee in one of them was that basically we would have multiples of lee looking at each other has has basically twins hanging out in the wonderman that's a really cool idea just to be sure that everything is going to wind up being in frame what I'm gonna do is I'm going to just move this out of frame just to be sure you guys can tell me is this okay? Right over here a little bit over just way over hey, aaron instead of full clothing change a one of the shots lee could just take your sweater off that is a great idea love it perfect so weakened dio is a just in case there and let's, go ahead and move these over. I just want to be sure because I'm looking what's going on here with hanna and I want to make sure if we are going to include that that we have enough room to do so right back there so what we're going to do we've we've taken this element out here just put it over there now we're gonna move both these chairs over just a bit if you don't mind, we're just gonna move them over so that they are then in frame as well as our part perfect and the best way to do this, guys is I've done this type of thing where you look create multiples of the same person the best way to do this is actually used two different people, so do we have someone who wants to be our volunteer to sit here so what we're going to do is have someone in maybe just handed would you wantto come back in? Do you want you shoes or no shoes really doesn't matter she's not going to wind up being in the final, but what it does is it gives it gives me something to look at in some interaction there that's why we want someone else here doesn't sound like it would make a difference, but it does, so we're gonna have you actually sit right here in the sea and you're going to be just kind of like looking at each other, you can do facial expressions back and forth and then I'm going to take a couple pictures and then you guys are going to switch places, so what we'll do in the final is we'll just take hand out completely in just use both versions of lead that makes sense because you have about the same height, yeah talking you're looking at each other just like saying hey how's it going? You could show her something in cat monthly magazine and a suggestion from tim our athens was to have one of them look shocked at what is happening and have the other one looking confused like she doesn't see it and it is wondering why she's reacting that way shocked and confused brilliant all right hannah, can you do shocked and li weaken do confuse wait, are they looking at cat monthly or are they looking at the action so one of them is looking at the action and another one is looking at the twin who is looking at the action they don't see the action there we go okay, so lee pretend like you're looking at the att the people who would be there and then hannah you could just be looking directly at the perfect that's a really good shocked face love it okay let's switch positions over and then we can have lee if you wouldn't mind putting on your sweater shoal not a clothing expert I'm not sure what that's called but waken have you switched positions and now what you're going to be doing is you're going to be looking directly at hannah and what we'll do is we'll switch it out so it'll look like you're both people in the end but hopefully people could without the magazine this time yes good good point okay and then so now hand and you're gonna be looking at the action and lee you're going to be looking at her there we go perfect so we can see now how easy it would be to take one person from one frame and another person from the other frame and just kind of switch them around weii did it actually one more cool cool idea from the internet just came in from shade kay says I would have one reading the magazine and the other tapping her on the shoulder and pointing at sean like look look, look what's happening over there yeah can we do that? Yeah, we can totally do that. Okay, so yeah, exactly. Hannah we could be read a magazine there we go. Perfect wait you're doing awesome. Hey, look at that and how do you can kind of be looking back towards lee like what do you want? Wait, you and let's switch positions ok? And then lee we'll have you take off the sweater again and then now you'll be holding the magazine and then hanna will be tapping on your shoulder it's a lot to keep track of all right and so you'll so hanna will be seeing the action at this point and we will be looking back at hannah. Okay, perfect, beautiful. I think we got it. We're gonna have her have her. I think the suggestion was to have her reading the magazine so and so the one that's tapping is trying to get our attention away from the magazine okay, away from cat monthly. Why would you do such a thing? I can remember I have no idea way go ok let's try that perfect most awkward tapping it feels like you're being really rude lee you have a purpose and not looking up all right, we got it perfect. And now, if you want to just that interaction, we can take either the hand of hannah and replace it with lee's hand later, or just the finger, or even just the shadow. If it turns out that way as well. Great suggestions, perfect. Well, I could go through the images, and we can choose our picks, so that way tomorrow we're ready to go, and I think that we have really good wrap for the day. Yeah, people are really interested, interested to see how you call all these images from the day how we call the images from the day. Perfect. Well, before we do that, let's, give a round out early, awesome job. So you guys can stay here if you hang out, if you want to or you can run off, set what everyone make sure to take some fruit loop ease with you. If ugo, because they're awesome.

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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