Composite Test with Final Shot
So just put the background, the beach layer, over top of my model. I'm gonna throw this onto overlay just to see how we're looking. And it's not too shabby. How do you guys think that looks? You know, from the bird's eye perspective. Do you think we can sell that? Do you think she's little bit to big in the frame, think she's a little bit too small? I'm asking you guys too, because I want you guys to critically think. It's a little big, perfect. So what we're gonna do, we're gonna duplicate it. I never like to shrink down my original layer. We could get into smart objects, but we'll do that on another, that's way more complicated. I'm gonna shrink down my middle layer. Let's make her a little smaller. Now we're starting to look not too shabby. And actually I like her over here. Now if I move her back a little bit further she's gonna get a little bit too tall again. Shrink her down a little bit. Lookin' not too bad. What do you think? For bird's eye view?
Looks a lot nicer with the mo...
untain in relation to her in the background. Before the mountain looked really tiny compared to her.
Yeah, so in this case here we're kind of splitting the difference. I'm getting close to that threshold that I tend to not want to play in too much where I'm getting, you know, model and background competing for each other. But if I find that, I'm just gonna crop it in. So if I'm sitting here going like oh man I really like this here and this is looking really nice, I like the size of her compared to everything else, of this, what's going on here. I might just crop it in the end. Because I don't want, I don't have enough landscape here for it to be a landscape with a person, but I don't have enough person for it to be a person and a landscape. So I would make the decision and I could either put this little tiny version of her onto this landscape, which could also work. I'm gonna put her on multiply. Right so we could put her here. And actually that's not too bad, that actually looks even better. So this could work. Now one thing that's a little bit off about this is what? From where I have her placed right now.
Lighting's not too bad. It's relatively close, so this is similar to what was going on here, but we just have a fill light. Right so this is our natural light. But then we're pretending that we brought in a fill. Right so but there's something that's a little bit off.
Does it change the focal point there?
Change the focal point? No, this is within that tolerable allowance. She's pretty close.
Is it the angle of the beach?
Not so much the angle of the beach. If we had been photographing her on this location we would see more of this side of her body than we would see of this side of her body. We photographed her, I photographed her quite straight on. So there's a little bit of tolerance there we could probably, you know, fake it a bit, but what I might do is I might flip her and see if that works a little bit better. Because here with her head turned we're creating the illusion that we're seeing more of this side of her body, right? So you could probably fake it a little bit easier this way. So it's not exactly perfect, because when I was photographing this remember I was like okay I'm gonna do this in portrait. Sometimes this happens in composites where it's like oh well you know what, it's not bad but this is better. So this is one of the reasons. So I'm sitting here going like okay if I move her around a little bit, right here she's dead center of the scene. And so there, I think that could probably work. But I mean we'll know more once we get into the post production side of this, once we start masking, once we get closer. Yes?
But you flipped the lining, the lighting, sorry.
Well if you remember when you look at this shot here of her, she has more light on this side of her face than this side of her face, this side here is actually darker. So it actually works.
I'm just curious, because you set up all the lights to like, a little bit brighter on the--
Yeah, because I did plan on flipping it.
And then when we were working on the portrait one here, oh where is it, one more, there. This was actually working, this was like oh it's actually not too bad, I kind of, you know. It doesn't, it's not conflicting right? Because the lighting is so, it's so general here, right, we have so much tolerance. Whereas if we had had really directional harsh light there would be no tolerance for, we couldn't flip that because it would be completely against it all, so in this case here this is working for us. So that's, that's why I wanted to do this with an overcast day, because otherwise like when the sun came out, it just all of a sudden everything gets a lot more complicated. And we're not gonna get into that this class, so.
[Man In Plaid Shirt] Thank you.
Yeah no worries. Yeah I really want this to be like, if you're just getting into compositing, and you're just trying to, like getting your feet wet and you want to learn some new stuff, that's what this class is designed for. I'm not, I don't want to throw anybody into something that is like elbows deep right off the bat because then it's just frustrating, right? This is already, there's a lot to consider. So if you're just getting into this I don't want to scare anybody off of like, nope. Not doing that, right? I mean I'm not here to intimidate anybody away from making this stuff. I'm trying to make this accessible so that every single person here who's listening actually kind of wants to check this out and see if it's their thing, and if it's not their thing that's cool and if it is your thing like let's run with it. Right so, I'm pretty happy with this. I'm totally digging it. Ms. Lady, how do you feel about it? It's good? Awesome, could we give our model a round of applause, she's awesome. (audience applause)