Shooting Second Image with Model


Compositing 101


Lesson Info

Shooting Second Image with Model

This is just for everybody, and so you're going to be in that image on the left, maybe not that exact one, but something pretty close. So keep in mind that's our camera angle here, you're going to be, like, pretty much in the middle here. We got a little like a doughnut for you to kind of, like float in, which is a pretty awesome it's a fruit loopy and so keep in mind your subject here, as as we do, this is going to be sarah and she's right about here kind of like looking into the bowl, so you're going to be interacting with with her kind of, like, floating in the pool, so yeah, we're ready to go, all right, it's a little bit cold, I think, but I already work. You've been weird, tok way to start. How about is it, uh, the beach, florida and okay, we weren't perfect, so we're going to use the pink side up pink side up and there are a couple options that we have here if it works out size wise, if we wanted to make jasper really small, we could actually turn this into a froot loop e in the...

end, which I think might be cool, but that would mean he'd have to get very small or the froot loops and the bull would have to get very big so that might be awkward or we could just have him actually in a floaty with other fruit loop ese so I'm ready whenever you are okay, perfect. Basically, what I want to have you do is kind of sit in it and like, so sit back in it and you're just going to be like, hanging out basically, the goal is for you to be hanging out in the in the fruit loopy floating down the river like this is you own this and there we go perfect. Is it okay? Okay, perfect. There we go. Awesome. Take take your time to get comfortable. All right? If we can't use this, we might just have you, like, float on your back or hang out in a different way or something like that. Okay, perfect. Is it? Is it a little too small? I'm waiting for it to like slip out and like, fly out hit it hit someone in the face which would be really fun too if you have an edge. Okay, perfect. Good point. Well, let's, try it with with you holding on to a niche and is it a little bit too much? Okay, let's, try this alright, perfect maybe could you there we go let's rotate around that way perfect all right, cool. So if you wantto take a break and come right back up or get comfortable, what we're gonna do is now that we have you in here so we've matched our lighting basically, without our subject, you're doing awesome is gonna get really messy and it's gonna get messy and pretty weird but it's a free a lot of fun that's it's already really pretty funny, it's awesome. So the goal here we did, we matched our lighting basically without a subject and now I want to do just what we did in photo shop earlier. John if you don't mind to make sure we're matching our lighting here with our subject actually in the frame so we built in time. The reason I wanted to start shooting during this segment as well as the next one is we wanted to make sure we build in time for things like unexpected like this apparently is not as floaty as maybe we thought it as we thought it would be um there we go. So that's the image there there's been some suggestion if we have a box of some kind that we could put underneath that you could sit on there we go separate suggestion, milady I don't know if we do have anything I'm throwing that out to a producer oh, to reading the news good question I know that when we were setting up the pool there was concerned about putting holes in it, so if we do that let's put that on a on a a towel or something like that, not just to make sure we don't pop the pool because that would be incredibly funny and incredibly horrible. All right, this's gonna be awesome. So what we get to do now is basically decide on how large or how small we want are subject to be in the pool, john, I can probably take it from there if you want me to, so we're going to decide now how large or how small we want are subject to be in the pool and also looked to see if the matching does in fact, wind up lighting everyone there lighting our subject completely. There we go and what I'm gonna do is basically just create a really quick later mask and then paint with black on my layer mask to make sure that excuse me, we're going to paint black honor later mask that basically is just going tio take away uh, the area around jasper here just to make sure that just the just the liquid is showing that the goal now in the original concept, we didn't have him also there we go, we didn't have him like holding the holding the outsides of anything it just turned snapping back off we didn't have him holding the outside of any pool or anything like that. So if we do in fact need him to be holding the outside rim for stability we're gonna have to change just a couple of things we're gonna have to change. Um here we go things like maybe our camera angle will have to change as well as ever go perspective. All right, so this is doing a relatively rough job now I think we can all see from this. We're still not exactly there, right? This is not it's, just not perfect. Um all right, but the milk color, I think our exposure actually is pretty good beside the shadow that we have over here. If we just turn this off and on, we can see the exposure from the milk here. And the exposure from the milk here actually does wind a matching pretty well, all right. And what do we think? Can we bring up the other image of the other image of sarah? I think it was this one. Yeah, I think I wantto no, it wasn't that one either. What was that? This one. Ok, maybe if I go in the light room we can bring in there we go and it's just five star that okay, okay, so this is the image I actually want to edit in photo shop and then we're going to be using this as thie this is the base in which we're going to put be putting you into jesper alright, perfect. Okay, are you comfortable, like not holding the edge? Do we? Wait, try it. He's a little out of the milk. Okay, perfect. Let me just clean up everything that we've got going in photo shop quick, almost back on your feet. All right? It seems like it was working if you're kind of just standing there instead of laying all the way back if you're almost like sitting in it with your feet almost like what you're doing right now is that work. You can kind of sit up, innit? Yeah, like sit for is that okay? Okay, cool let's try a couple shots like that and see how that works. I feel like this is the most weirdest thing. Perfect. Ok, can you bring your feet up? Just look, there we go. Perfect. And you're going to be kind of like looking up in that direction like, oh, god what's happening all right, perfect. And just so we can take a quick break, I just want to make sure the lighting does match from what we're doing here, back in camera again. Does anyone have any questions? We're going to get into it and figure out posing the everything in just a minute. But before we do, we just want to be sure that, like the composite itself is working. So that's what I'm working on now. Do you have any questions from the internet while we wait for the internet to get their questions queued up for you? Teo, everybody here in the studio do any of you have questions, we'll go to the internet, so shoot me wonders whether it matters that the fruit loopy he is floating on his larger than all the real ones. That's a good point in the original concept. This it only looks like a fruit loop. E out of chance. It was actually supposed to be just a regular floaty, but it could there we go. If it works out that they are, we're going to be turning this into a froot loop in the end, then that's a cool coincidence. But the original concept. It was not necessarily supposed to be a fruit loop e. It was just supposed to be this, and it is because of that size disparity that made it like either I think the froot loops they're goingto have to wind up being too big for it to look real or jasper is going to happen we have to be so small in the frame that it it's just not not really what we want to go for so that's a really good question if fruit loop ease, we're just naturally bigger and maybe they are because we kind of invented them for this anyway, so maybe the food lu pi's are big right question about thie final composition and changing your aperture when you just were adjusting the lighting to match you change your aperture and does that at all affect the final product to match up? Good question the aperture in this case because we're not changing what the aperture would mostly be doing is changing your depth of field and in this case going from I think we went to thirteen to fourteen or sixteen it's not going to be that big of a change in the end it's going to be a little bit smaller but change than you know if you were going from like f two point eight two like f ate that will be a pretty big change not only an exposure but also in your depth of field at this point since almost everything is in focus already, it really doesn't want to making that big of a difference in the end but ideally you would want to keep everything the exact same exposure but in this case I don't anticipate it being being that big problem or like a a concern that we'll have all right and we're just going to do a very quick photoshopped masking job here so in doing this, what it's going to help us do is it's going to figure out help us figure out our composite in general you know, like is the lighting working? Is the camera working that sort of thing but it's also going to help us everyone see like live you know like what we're actually what our goal is going to be here and also what you know what poses and things like that might work so we can also figure out you know, the sizing of our subject and things like that as well yes, if you hired jasper for the day to model for you, would you bring him in while you're doing the lighting set up or would you have used like an assistant or something at that point that's a really good question general you want to use someone who's you know similar in like build and skin color and everything like that too for your lighting setup so probably I would I would bring them in during the lighting set up and everything like that but if it's if it's like just not feasible as faras like moneywise goes then you could just try to find like as close to her person as you could to do the final um to the final of person you're going to wind up putting in there all right so we can see camera angles and things like that I think you know, we should definitely have you instead of facing towards the camera maybe laying horizontally so we were able to figure out quite a bit of stuff here we've got about fifteen minutes and here we go. I'm glad we started shooting in this it's this section first all right now how do you how do we feel there's still couple there's still a lot of stuff that we need thio kind of like work on in this but how do you feel about like the lighting for instance does the lighting work for you? The inside of his of his right thigh seems a little dark the inside of his right so if you could bounce him right back this way but you said you're going to change this perspective anyway so that may not mean he's going to rotate wind of rotating in the pool. The one thing I am tryingto make sure we do match is like the light that is coming from from this direction and we can see we do have like a shadow that's actually in the bull so I want to make sure that like that shadow continues in, you know, ones of continuing there as well. But I think maybe we should knock down our our fill light just a little bit. So his shadow continues to be in the milk is, well, so that's a really good question there. So, yeah, I think our lighting still needs a little bit of work. Yeah, I think it needs to come from more behind is what they meant by from the left, and I think the key is right about that, too. All right, so we're going to go ahead and bring these lights more behind theo, everything which is interesting, too, and we talked about camera angle in perspective and everything like that is whether we want this to look like it was shot wide or shot a little bit longer so we can get the same. We can get the relatively the same angle, but if if jasper's looking like he's shot on too much of a wide angle, he is toward the bottom of the frame, which is something we'll run. But if he's looked like he shot too much at a wide angle that what we might have to do is zoom in on the camera lens a little bit in back the camera lens, back out. That's going to make him look like he's just a little bit more compressed on dh that'll keep like his feet from looking like they're so close to the camera and his head looking like it's so far away because if he was really that small, he wouldn't be taking up that much space that makes sense. Okay, cool. Well, already we're really close. We just need to get our lighting a little bit more and we need to focus a little bit more on getting our getting our bubble are our proper working and will be it will be good to go. So if we wantto we're going to move these back in this direction a little bit. Thank you. The other comment is that the lane looks a little harder on him than it is on the on the milk. Do you agree? Yes. I totally agree on that. There a couple of things that we can do to fix that we do have two lights hitting. Yeah, we could come a little bit closer with the light that's a great idea as well. We want to make sure that these air on this I guess they're on the same power. Okay, perfect. Ideally, if there was not a wall there, what we would uses a couple large v flats that would be right here so this is why we're doing it during this segment, but this is like all this problem solving stuff that we're talking about so if the light if we bring these closer and change the power everything like that and it's still not what we want we're gonna have to do is ditch these soft boxes and put up a couple of you flats or fire the light into the wall and have it come back over again so exactly he's like all the little things and that's why it's so important when compositing to kind of like do this rough while you're actually doing the photo shoot so you can kind of see you know is it working while you're shooting and then you don't have to worry about is it working after you do the shoot so awesome good questions all right let's try it like this you want just try like sitting in the sitting in the pool for a second we can take this out and then let's see sit like kind of facing with your head they're in facing your body towards me. Perfect yep and come just a little bit more so you can just kind of like sit straight up if you want to and come a little bit more there we go perfect all right, what was that donna stop each okay, perfect cool that looks good right there that looks good okay I think we're going to need a little just a little bit more fill light so let's see if we can bump the power up all right rotate around towards me just a little bit just there we go perfect I think that's that's looking really good yeah pretty awesome rotate around towards me just a little bit more if you wouldn't mind there we go perfect hey oh it would be really cool we should definitely have you holding a fruit loop e I think in the end I think that would be really good so we'll see about some of those we get like a prop and then in photo shop we'll make it look like it's a fruit loopy get in it that would be pretty cool to all right I like that idea not really actually we can't see it. Okay, so let's say I'm going to bring this back into photo shop and then we're going to check on her lighting and everything here again. All right, so the end goal is once you have your lighting and your camera angles and everything like that matched up the end goal is basically to be ableto just start shooting and have a lot of fun like what we did in the first part of our segment was we were able to work with sara and just have a lot of fun for the majority of the shoot the reason is because before the day started, we spent about thirty minutes getting our lighting and camera angle, right? So now what we're doing is instead of doing that beforehand were taking the time to do it and to get it right here. All right? So I'm just doing a really quick composite here, guys just kind of like taking this down and decide just for your awesome this is already looking so cool, I just love that I get to do stuff like this for a living, by the way guess photographers were just really lucky, I mean, this is our job, we get to do amazing, crazy things, and if you have a wild, crazy idea, cash is just really amazing compositing is just really, really cool tools to be able to do this, to bring your really crazy ideas toe life, and I just think we're really lucky to be able to do this story thing, so there we go, and I'm just doing a very rough job now in the actual course section on day three, we're gonna be doing a great job cutting everyone out of their backgrounds and making sure there, you know, there's seamless and everything is really looking good att this point, what I'm or interested in is, you know, does it? Does it at least roughly match? I think our exposure is just a little bit too bright, especially on the milk. What do you guys feel about, like the milk consistency and everything like that? I think it's pretty good, right? It looks like it it should be there, which is awesome. All right, now if you do need to bring your lightness down just a little bit I'll show you guys a really cool trick in photoshopped you khun grab occurs adjustment layer and what I want to do is see I'm not sure whether we go let's just bring that all the way up there we're just going to bring our brightest point down a little bit and then I'm gonna go ahead and here we go let's close out all that sort of stuff on lock this on there okay? We're going to bring our brightest point down. I'm going right click on this to clip this layer to john, which is just going to make it visible only where john is and now you can see like just with this layer the milk on the bottom like instantly matches the milk from the actual bull so that's, what we were talking about earlier is if it's pretty clothes, you could just do a really quick little just a really quick little layer like this and that's just gonna help out that match just a little bit more and we can later mass that away from from his body and stuff like that. So it's, just a really quick way to help just the milk match. And then we don't have to worry about, does it? Actually, you know, is the color right or things like that? I believe. Was that one of your questions earlier? Top. Okay, perfect. So this is yeah. That's, how we take care of it. And it's just a super quick and easy. All right, so now we get to figure out does this work. And what do you think? Jasper just was looking much more comfy in, right? Totally weird and funny and amazing. And yeah, so that's the start of our composite, I think maybe you're still a little bit too big, and we don't have a whole lot of interaction going on, but I think as segment one for our composite, we managed to get our camera angle. Great. We managed to get our lighting pretty dang close, I think as long as you stay in the highlights your pretty pretty good there. And yeah, I think it's a really good segment one.

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