Compositing 101

Lesson 11 of 22

Test Shoot with Models

 

Compositing 101

Lesson 11 of 22

Test Shoot with Models

 

Lesson Info

Test Shoot with Models

We're going to go ahead and start bringing in our subjects and working around the lighting and things like that now over the break we did make just a couple of changes with our lighting you might see back here instead of having a c stand right back here we just push it back further. So it's the same light that's actually hitting our light up here, it's just the c stand is hidden, so we are going to be compositing this in and out of the shot. It was just a little bit easier of a composite without having that sea standing there. The light back there changed as well. We did increase our aperture just, I think, a third of a stop on our camera because we wanted to lower the amount of light that was coming from overhead light here earlier, we talked about that being one of the strategies that you could actually use to lower the amount of light that's coming down, you can change your aperture and that's going to work as well. We just didn't want to get on water and has changed that again. I t...

hink we did that enough time, so we did that bring that down at the same time we had to make sure we had enough feel like coming from our light that's now instead of paint pointing against the back wall pointing against the side wall so we brought that up just a little bit so we can go ahead and take a frame and john you were to come here and throw some throw some clothes around and we could just throw it right around over here and then we'll go ahead and take a frame and see what our shot looks like now and then we can pull up before in the after so it should be relatively similar we just got like a little bit tighter of a lighting ratio so this is not going to be as bright or his hot and our film is going to come up just a little bit so we can go ahead and see them before and after that all right we ready ready just yet capture whenever you throw it one two, three perfect all right so we're going to continue working with our lighting as we go along it's not one hundred percent where we wanted to be just yet but I think it's definitely getting there so our goals here are to make sure that this is a well lit image we don't want anything to look over exposed we don't want anything to look under exposed and we do want to call attention to certain objects in this image making sure that we do actually get the attention that we want so we're still getting these relatively hard shadows you can see they're not oh that's me taking a picture right there is pretty cool you can see that they're not as dark as they were earlier and that's because of our fill light, our fill light is going to brighten up the darkness of all of our shadows in our entire image, we're going to change our set around a little bit, make it look a little bit more organic now there is another option for this claire that we see here in this photo and the final option is just take care of it in photo shop if someone's in a frame like this and you want to get them out in photo shop well, that's another element of what we can do with frame positing you can take one shot with maybe some ones in the camorra, another shot with, like a great card up there right there, which is going to eliminate the shadow there. So that's another thing you can do with compositing in the frame composites just you know any little area that you see like that just keep a mental note of it and say, okay, now we need to make sure we take at least one picture where there is not a reflection or maybe the door is open just a little bit to take care of that, so we're gonna go ahead and bring it we did bring another light in didn't we all write the next line we brought in? We talked about bringing this in in the first section part of the first section and this is just a strip box which is literally right there and that's going to be shining in this direction the power of this is its balance, basically with the with the light we have here so it's going to provide a little bit of a rim on our subjects that are going to come through and if we do open wind up opening these doors it's going toe just provide a little bit of illumination on those as well, so the power hasn't really been dialed in yet, but that light is there to kind of come in, so we're going to continue working on that through this part of it. So the first part, basically I was getting the scene set up toe where it looks like a pretty good it's not like the most dynamic scene ever, but we I think it's like set up in a decent way to allow for the movement and the actual action that we want happening in the same and then the second part is building our lighting with our subjects in there, so you guys wantto come on over, come on either side, we've got the beautiful hannah here say hello to everyone I guess you'd have to they're not miked up so you don't have to yell and this is shawn and this is lee so lee's going to be in the background here reading something like cat monthly magazine whatever we whipped up I'm not sure and shawn's going to subject sean you're actually gonna be levitating and you can see right here this is about where you're going to be and the whole idea is that this is it's a little bit of a love story so your your clothes have decided that they're not going to allow you to be washed by our time you wanna hand me that almost clean laundry detergent that kallio the set designer built this is almost clean, which is usually thirty six ounce ish it's just very, very cool so this is what you tried to wash your clothes with here was the almost clean your clothes basically they saw that you're trying to wash, wash them with the almost clean and decided instead they wanted to be washed with washington's, which is of course much superior brand of laundry detergent. And so you're going to be holding the washingtons we have both of bottle made up as well as a box made up and sew your clothes basically decided that they don't want to be washed with that they want to be washed with this so they're coming out of the washing machine and they're literally picking you up off of the ground, and they're pushing you towards hannah who's going be holding this detergent so it's a double love story, it's your clothes wanting to be washed by this and it's the introduction, the man and the woman of the hero shot in the story. So imagine you're really cheesy for romantic comedy. This is kind of like the makings of it. I think that happens like romantic comedies like people meet in laundromats kind of a lot in romantic comedies, don't they so kind of works? And then we've got cat monthly magazine in the background and lea that's a very important role in this because we do want this be like a realistic looking shot in a laundromat that probably would be more than just, you know, our two main subjects in here, so having you guys in the background and if we have, we do have our opportunity, so, you know, anyone here in the studio audience if you wanted to take a frame, you know, sitting in the background, maybe perusing kathmandu way? Well, we could do that, too, so we're gonna go ahead and get two guys in place during this segment it's going to be a lot of, like, continuing to test our lighting and things like that in the testing some things out you're actually gonna be levitating in the final shot and we have some ideas on how we're going to do that we were through around the idea of having you like jump we were going to bring in a crash pad here have you jump on it, but I think we're going to have you be on a stool we're going to take some pictures of you on the stool and then take some pictures without the stool and then replace those using using the pulsing so that's the whole concept so lead you wantto follow me and you could just hang out back here had looks like someone drew way got to get a close up of this because this is just awesome who drew this way I'm covering the er the logo with my hand that does not say frisk ears that's pretty amazing yeah that's our that's our close up of the cat magazine cat monthly there we go either one we're just going to yeah and work yes please we are going to be bringing in fruit loop ease from yesterday we want those as a problem and there's some also hidden gems from you guys at home and in the studio audience back here you might notice there are a couple like hidden hidden jams that we like to throw in some of our photo shoot so it's just kind of those fun little easter eggs so we're gonna kind of, like, move these around and right now, it's not it's, not really as important exactly where everything is for these shots, this is probably gonna wind up being somewhere around there, maybe is hopefully not block a lot of stuff. Is that okay? There cool. So we want some, like, foreground elements in this too, so we wanted to make sure that it actually ones of looking real. So, hannah, you're probably going to be right about here and you're going to be the washington's girl and then sean, you're going to be right over here, so you're gonna be right here let's, go ahead and pull in. We have a stool that you were going to be levitating on, but for a minute, we're just gonna have you sit on this stool and eventually we're gonna have you warned of holding this in the air and spilling it out while you are levitating. So it's kind of heavy way might shouldn't go ahead and open this up and spill some of it out that's like a pre preliminary spill. All right, so now we have our subjects in the actual scene and we're going to start taking some pictures, so if you wanna hang tight, this is going to be incredibly exciting for the next few minutes, but what we're going to do is basically get our lighting like kind of dialed and so as you guys are just kind of hanging out there we're going to make sure our lighting what looks like a good on the scene it's gonna look good on you guys as well all right so let's take some pictures because I have no idea what it's gonna look like which is part of it perfect so we're looking out for a couple of things here we want to make sure that I don't know what way want to make sure of a couple of things that are going to happen in this shot you can see here that we can't even see me right now because she's being like completely blocked by by hand so if you want to move over to this chair that would be good so these are the kind of things that we're we're doing here maybe had if you want to come a little bit more forward she's supposed to be the the leading character in the shot and yeah you look pretty good let's have you scoot over this way just a little bit there we go and maybe rotate your feet over towards hannah so what we're doing is trying to like basically figure out a rough positioning of all of our subjects at this point we're still gonna be doing some work with our lighting to make sure that everything does come together now when we actually start like the composite and start you know the levitation everything like that that section is going to go relatively quickly because you know, we have a lot of options and we're just going to be like levitating and throwing stuff in the air so that part of it is going to go pretty quick but before we get to that we just want to make sure that we do quite a bit to kind of get prepped for that so let's take another shot and see how we're looking here I suppose I could just get out like to do it right? Okay if you don't mind right on let's see how this looks but then I'll be in the frame all right way solved a problem and created another problem so what we did is way move teo edley but it's still blocking very nice so let's try this and said I'm gonna click clear this area here and there we go ali I'm gonna have you kind of sitting back here if you don't if you don't mind if I put you in that chair right there all right let's take another shot and I'll see you I'll just get out of the frame alec if you want to go ahead and pop off a frame there we go and just like with the first section that the laundry cart might be blocking lee in this case no it's it's not too bad maybe this will be your your laundry cart look at them I love it I want to talk about a couple of things which are which I think are pretty pretty interesting in this case okay first couple of things by having lied back there it adds to the scene a little bit where I think I want to bring in more subjects I think would make it even more interesting they have a really cool thing in my opinion is that it gives a little bit of depth to this image so early we had a question about adding depth to this image well people are a really good indicator of scale before we had lee back there the scale wasn't as apparent but now we really can see the depth because we have a subject you know obviously quite a bit larger in the foreground and quite a bit smaller in the background so giving that depth in the photo and she lets you really get a sense of the space itself all right now are lighting I'm going to take some questions and comments and concerns of your guys is from the lighting with our subjects in place what do you guys think ableto see what's going on yeah so in response to this side like you have over this destroy thing off to the camera right you're a little close so obviously you're kind of blown out a bit but I don't know that it's affecting him that much if it's reaching him or not right that's a really good point maybe in the way I might totally just be in the way so maybe why don't we take a frame without me in the way and we'll decide on that, so I'll just get way out there like you don't mind I'm just gonna I'm gonna leave, I'm going to go back to chicago, you guys take it from here, all right? So that rim light is I'm not looking for like, the harshest room in the world. This is not supposed to be something that's like, you know, a jill greenberg type of portrait or anything like that. I just wanted to make sure we do have some definition coming from that side of photograph, but I do think we could pump it up just a little bit, so I'm gonna bring up the power just a little bit, and I'm also going to point it farther outwards, so I don't necessarily want it hitting my washing machines here because it's going to, like, create a hot spot here in my washing machine. So although it's pointed out words, it might look like it's going to miss shawn but like tends to feather out, so it should still wind up hitting sean good suggestions, so aaron so where he's at assuming that's where we're going to want himto levitate that's why we set him right there pretty close okay okay yeah good question and we don't really know this at this point he might be here he might be a little bit forward but once he starts levitate I mean if we get the shots where it looks pretty good here and then he's you know he levitates here and we're like no really doesn't look good he should come closer hannah farther away that's something that we'll have to kind of just that as it goes on just like yesterday when we were getting like pretty close and then we like threw in some more ideas and we had to change things on the fly so it'll be a lot like that as well. All right, what else do we think about about the shot and the lighting in general we're pretty happy with everything no other comments okay to me there's a little bit of perspective distortion? Well, this we can't even see in the frame can we? Maybe we'll pull this right back behind you here there's a little bit of perspective distortion going on with hannah here so that tells me a couple of things basically the because she's towards the edge of our frame she's going to get that perspective distortion so if I don't want is much perspective distortion I'm going toe there's like zoom in a little bit so we're not shooting as wide orman have to shift my camera angle over a little bit or we're gonna have to pull her into the actual frame now I do there's a there's a tv right next to her s o shifting in the sari shifting the camera angle over that way is probably not gonna work so I might just have you kind of stepped in just a little bit there we go and we're going to take a shot there we can always zoom in our camera angles a little bit and it depends on which which of these washing machines we want I think for the story it'll wind up making sense if this door is open waken go ahead and start throwing some clothes in there john if you want you won't do it there's some clothes right over there and over here to these your clothes here we're using shawn's actual clothes for this thes air not propped closed these air is really clothes that everybody I think you know any time you're going to be doing something like this, it just it makes sense these were his real clothes are dirty or clean half in half for a guy it's pretty much always happened half isn't it right like yeah, this nose okay, I'll wear a couple more days it's half of half perfect I'm going to take a shot right here so we can see I'm gonna check things like our perspective again as well as everything that's going on in the background now I think he's getting a decent but a bit of light she's not too underexposed or anything like that, which is nice we're seeing a little bit less perspective this sport distortion here with hannah and we'll just start you know, like working with are framing just a little bit more so we want to make sure we include some elements in the foreground as well a sum in the background and I'm not totally opposed to you know, maybe if we have this up here I'm really not that opposed to even if we wanted like one of the audience members to kind of like be sitting in the foreground like off to the left side or something like that reading a magazine as well that would give it even more depth. So do we want to try that out? Does anyone feel like doing it? We go, you want to come on, you just used the chair you've got there and come on over here and I'll tell you I'll tell you when to stop, so this is going to give it depth and whenever you're doing something like this although you know the whole goal today is maybe just right over there I might have to tell you that move because I can't see what the camera sees right now but we want to make sure yeah you playing on your phone that totally just don't don't actually play on your phone what you to pay attention right lighting diagram notes on this but you know, having this little bit of death although this is totally a compositing image we want to make sure like that it has like feeling of depth and everything like that that you would normally have in a photo shoot so I'm gonna just look behind the camera here real quick and hopefully be able to frame this up just a little bit I'm gonna go a little bit tighter I think that I think we can handle that and all right there we go and miguel if I could have you come in like quite a bit actually yeah uh even more you're still pretty far out of frame there we go continue to scooch over and I hope this is not going to interrupt with our with our cameras and everything come on just like six inches sorry six inches towards the hosts if you don't mind all right, there we go in back just like two or three inches there we go pretty cool so basically we've got like just feet in the shot right now and let's take a picture and we can see what that looks like a swell so right now, we've built up from a shot that's relatively static to something that's quite a bit more dynamic with, you know, now we can see there is quite a bit more depth going on, so we've got quite a bit more of a dynamic set going on instead of it just looking like we've got two subjects here now we've got someone in the foreground, witches, they're obviously big, we've got lee there in the background, she's obviously quite a bit smaller, and we've got the depth going on and that's just going to help, I'm kind of, like, make everything look a little bit more realistic and like the camera is is capturing this moment in time rather than everyone's posing for the camera and with my own work that's something that I definitely try for. So this is I think we're off to a great start because I'm looking at the tv it's a little bit hard to tell my exposure, and it looks a little bit over exposed. What do you guys think here, here in the audience? Maybe a little bit? We have another monitor here where I'm just gonna kind of bend down and look at this other monitor. It actually it doesn't look as overexposed looking at this other monitor but I'm going to try to do some other interesting things let's bring our aperture up maybe just were at seven point one right now I'm going to change the aperture to f ate there we go and let's try taking picture all right so that should help it a little bit here now if we are under exposed a little bit too much we can always change that we can change that after the fact we couldn't bring it up just a tiny bit in photo shop usually I do like to get my change quite a bit, didn't it? Okay so usually I do like to get my exposure is pretty right straight out of camera so it's looking a little bit dark there and it looks ok here kind of balancing things out let's say we wanted a little bit more interesting we want a little bit more separation between the foreground and the background. Well, that will be a good time to put our life that if you guys remember from the last section are like back there we could make that a little bit brighter and that's going to give us a little bit of separation back there or we could make it darker and that would give a separation as well so john, what do you think let's make that light a bit quite a bit lighter, maybe bump it up a stop or have to stop back there and we can see how that's gonna work out didn't think you were gonna be ableto get in this picture. I've been called a tool before to what does it mean? Get out perfect. All right, so that light is a little bit brighter back there. Let's see what we think I'm going to hang out this pretty comfortable on here. I'm gonna hang out here for just a little, but yet let's pump that up just a little bit more. John, if you don't mind it's kind of giving our shot a little bit more interest that light coming from the back wall. All right, cool, what this is also going to do if it does? In fact, the light does in fact wrap around and hit our subject. What it's going to do is it's going to wind up giving our subjects just a little bit of a room or a back light too? Yeah, can we see how it's kind of evolving it went from something that's pretty flat and it's just getting a little bit more interesting. There we go now we really can see the evolution of it can't wait let's go with top right in the bottom, right? If you don't, if you don't mind my top right and bottom right? There we go. Hey, aaron. Yes? What? Who is your focus in this image? Is it hannah or sean? Good point. Is that the focus of the camera itself? I don't know, because I haven't started focusing yet, but right now I mean that's yeah, you're not worried about that. I haven't started with me and you're not worried. Yeah, yeah, I mean, I'm probably not gonna wind up using these frames in the fight off unless we want to go for something that's a little bit. I mean, this this would actually be a little bit closer to some, especially with hand holding that laundry detergent there that reminds me of some photographer's work that I've seen where people are standing in place is looking a little bit awkward, no offense, but it looks like you're getting ready for a photo shoot, and I've seen a lot of great photos that have that kind of look to them in this case. I don't think it's really what we're going for, but I really haven't started focusing, but when I do decide to focus so I'm shooting right now at thirty five millimeters, I'm also shooting at f a ce o quite a bit is going to be in focus. I don't know if we could mike would you want assuming in on on our subjects here on the right most image and we can zoom in there on shawn's face and see if he's in focus he looks pretty much and focus right let's zoom in on lee's face li's back there she looks pretty much and focus and let's try zooming in on hannah she looks pretty much and focus and let's try even on mike's foot let's see what that looks like a swell yeah there we can see we're starting to lose a little bit of focus but it's it's really? I just called him like I'm sorry sorry this's not mike mike is in the back control reminding sorry mcgill so we can see although I really haven't started worrying about focus because I'm shooting at thirty five millimeters at f ate we got a pretty deep focal plane here I am to go ahead and focus on shawn because he is supposed to be our main subject sean and hannah and they're on about the same focal plane from the camera so those are going to be my focus is so I'm going to just move the camera right over focus here on there we go, we're going to focus on shawn and then I'm gonna move the camera right back over so once I decide there we go this is looking pretty good once I decide that this is pretty much the the framing that I want I'm gonna do my best. You can see the camera did move just a little bit there. I'm going to do my best to really not move the camera a whole lot because that's going to change, you know, like, if I if I move the camera just like that comments earlier that's going to change what's going on with our with our composite and being able to do that compositing later. Yeah, I think so. What do you guys think is a frame looking? Is it too crowded? Could we fit one more person beside lee, or do you like her being there alone? What do you think? Do you have any suggestions coming from the internet on composition and how we might make this a little bit more? The goddess is saying what if we change miguel's position and we take a picture like the camera's behind him for a different perspective. So the camera coming over here, I think, maybe have miguel over here and shooting over his shoulder. Yeah, right. You want to come on over? We'll try it. I'm always down for suggestions. And the best thing about, you know, suggestions is all right, cool, so you were, like, right in the frame. Just the side your shirt and we'll see what we like better so the great thing about this sort of stuff is when you're when we're just starting off I mean there's really no harm at all in and just trying these things out you know it's just trying them out like do we like this or not? I'm not totally opposed to that but I like that I could see can we pull up maybe mike side by side with ease and there we go what we think is a a studio audience the left one okay, yeah, I like that we can tell that it's ah it's a human this is just kind of like a amorphous blob and well yeah you're going to be called a lot of names today beginning law my tool let's get you back over there if you don't mind all right, there we go and all have you pull in just a little bit there we go perfect and go ahead and lean back and then you can play with your phone, cross your legs or whatever it is that you want to do perfect there we go and I'm just gonna frame it up and there we are all right? So I think we're looking pretty good and at this point I don't I don't know whether it's to crowd whether it's crowded or what not having actually, could you come forward just a little bit towards me? There we are. Perfect. So we might stick someone else and back there with lee if we don't want you wanted john, you want to get back there? Yeah, right now I have a amanda I know we talked about that. Our dear producer amanda, I know that I was telling her outright long. If amanda was in here right now, it hurts and amanda's hair looks fat so many and they're so good today it was beautiful. I don't know how she does it. It's like this is the beacon of wanted hair. Could be as amanda walks in she says really in the way you want t with john back there all right, john, I'm actually gonna have to displace you. Hear it's good for your vote is in and you're out. Hey, if you could use a little bit little certainly that would be great way. Do we have to cover the logo on your okay? Yeah, we're good. Ok. And then, john, you can kind of be yeah, back there. Just stand back there and stare at the camera like what's going on. There we go. I love that, okay, perfect, so we can see here is let's, go ahead and there we go yeah, why not? We'll have you right there way what we're going for here is a balance of you know making sure the image looks populated but not having it too much not having like too much in the shot and john I think at this point we might have you come back out if you don't mind I'm going to get out perfect and yeah, this is what do you guys think we'll put it to a vote do we like with just leave back there or let me take a shot? Amanda, can you scooch a little bit closer, lee and then rotate sort so your laptop is facing mawr in that direction? Yep, there we go perfect. There we go like you don't want you don't want to see that you're also reading cat monthly magazine when you have the online copy there was also suggestion and I didn't catch it was from that one of our background people be eating a bowl of froot loop ease with the same expression as sarah had yesterday I don't know we have a war we do still have the fruit loop's barks back there if we could put that on display I love that sort of stuff and that's like with photography and this sort of stuff like I there's really no rules right like why not do it? And I think that's what I've met a lot of photographers who they've been doing it for a while and sometimes they tend to they can fall out of love with photography and I think it's because they stop including things like froot loop ease in their photos or you know so if you can have the fun and if you can do these crazy things like wine onto it like that's the whole point that's why we're photographers is to be able to create these amazing silly things that make you happy I love all the detail that is placed in that the images it reminds me of those games that you can play on a computer or even in print words like find the hundred items in this photo and it just makes it so much more interesting because your eye wants to see swim around in the image and and engage with it more so I totally great I love those so let's talk about a couple of things that are looking good here how's our lighting looking back here on our back here on our subject I think pretty decent right there in the background but it is still looking pretty good I think the shadows they're definitely working here now earlier we talked about this which is that's going to stay in frame for pretty much almost the entire photo shoot guys the control arm here in the light that's shining this light here that's going to stay in frame not a big deal because we are using frame compositing so all I need is one a picture with that knot right there and aiken aiken then composited out so not a huge deal there we're looking is there anything distracting audience members? I'm going to get on the other side of the tv here what's distracting in the frame anything that's you feels like a little bit off yeah, I will say that the only thing that I see that draws me is I'm drawn to the brightest sections in the picture obviously and the washing machines would be that but they're part of the subject matter so that's not a problem the basket at amanda's feet in the background seems a little bright to me things a little bit bright. Okay, just you know I'm not saying it's bright, it just drew my attention and I don't think you want me to look back there so muchas in the foreground that's a good point you know what I think it is and I agree with you I think it's this red I think it's the saturation of the red that's drying my eye back there so let's maybe we can remove the remove the red object there we go and just throw it to me and we'll we'll bury it under some of these clothes here that's a really good point so we've already got we've already got hannah here which she's wearing this bright red dress we obviously want to look I mean that's why we asked her to wear this bright red dress we want to be looking right here in venice and we don't want we don't want anything distracting to me this like kind of far that's coming up here is a little bit distracting is, well, it's kind of like cutting right through amanda there s o the way to get around that is just to take this little laundry hamper that we have and just rotate that around as well. I think also the verticals are the horizontal support on the basket that's right behind you, it's coming right out of the side of the model's head and also it's coming off the sign so yeah, totally right? It doesn't yeah, that doesn't work well, so let's bring it more forward and if we can, if we can bring him more forward, it might actually wind up framing something's pretty nicely. Yeah, you definitely don't want things sticking out of your model's head if you didn't happen to catch that during this part of the photo shoot, we could always move that later as well, all right, so I totally agree is there anything else how's our lighting, looking do we maybe go like a half stop brighter on the background just to get a little bit more contrast back there? What do you think? Yeah, cool. Would you mind maybe a quarter stopped to a half stop, but all in all, I feel like our image is already coming together. It is decently well lit in other words like every you know, we don't have, like harsh shadows and things like that on any different parts of our image is still relatively interesting what's going on here and we have basically the hard shadows that we talked about building in earlier for our key light, which we built up so it's pretty cool I think this is going to be really it is going to be cool. The majority is a cool image we haven't done any levitation yet. All right, are we ready to start? And josh actually pointed out that once we've got levitating clothes carrying a man, the focus will probably be on yeah, probably probably be on the fact that what we're doing levitation that's insane. We do have a subject and this is a really good point of our frame compositing is well, amanda, who works here and she's awesome is in this part of the photo shoot now if she has to go actually do her job at any point during these during this photo shoot, she says she's good, but if she did have to leave, we already have pictures of her now, as long as the camera doesn't move and as long as we don't move any of these props in a crazy way, then we have that picture on her of her she could go, you know, being, you know, do her thing and she would be able to be in the final image. Justus she is now so that's a really, really cool part of compositing, so you can do this and, like, you know, let's say you were in a laundromat or something like that and you wanted you wanted a like another person to be in your photograph, you couldn't say, hey, man, you want to come and be in this photo for a minute and they could come and, like, sit down, be like a second in the photo shoot, you know, coming there for a couple of frames, and then they could go about their day and they could be included in the final, so it would be a cool way to have, like, basically, you know, like twenty or thirty let's say you wanted, like, twenty or thirty models in your final photo. As long as you're going for a shot that looked like it was supposed to be real people in it, you could bring it could bring a couple of these people in for just a little bit of time, then having back out that way, you don't have to pay someone a couple hundred dollars or whatever it is to feel like they're modelled for the entire day they just come in and sign a little bit leaks released, they can go back out and that's that's pretty much the shot. So another really cool way about frame compositing is you can save money during during a photo shoot and for the production. The other way to do it is to use audience members as your as your subject, which is really cool. All right, I think we're pretty much clothes to go as far as a frame compositing and are almost cleaned set up, and I think I think we're looking really good, okay, so do we solve some of our problems? We definitely solved the problem with this frame that was kind of coming out of hannah's head we solve the problem with this little area that's blocking our subject, amanda adding a little bit more light in the background I feel did help out a little bit because it's bringing some of this like shadow from the background it's. Just making a little a little bit more interesting and giving the image from death. And I think that everything does work pretty well. Agreed that this is it's, still kind of like blocking the blocking that sign just a little bit. So maybe we could move it over in this way, just a little bit. But other than that, I think we're off to a really good start. And this is exactly where we want to be. So once we kind of, like, figure all this stuff, then it's time to time to, like, bring everything 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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