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How to Shoot and Composite Levitating Objects

Lesson 9 of 15

Shoot: Creating the Look of Motion

Bret Malley

How to Shoot and Composite Levitating Objects

Bret Malley

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Lesson Info

9. Shoot: Creating the Look of Motion

Lessons

  Class Trailer
Now Playing
1 Class Introduction Duration:04:00
2 Your Mind is the Camera Duration:08:02
3 Set the Scene Duration:06:59
4 Get Smart with Your Gear Duration:03:20
5 Posing Tips and Challenges Duration:04:51
6 Shoot Considerations Duration:04:09
7 Shoot Setup Duration:13:02
8 Shoot: Working With Animals Duration:09:55

Lesson Info

Shoot: Creating the Look of Motion

All right, So now we're gonna do the subject. We're gonna put the subject in here That's gonna be walking the dog, The parents. So anybody a parent experience when a parent parent blue. Okay. Some okay, A few. Uh, any meaning money? More? Um, let's see the pink. That might be a little bit hard to show up blue. No. You want to do it? You could You okay. You wanna be the parent? Okay, You can have him now. Just getting it right. Three. All right. So you This is very familiar territory. Excellent. So, what we're gonna be doing again, this is are soft light. Might need the fill again. So not done quite yet with you. Sorry. Thank you. Um, that that seem to be Well, let's Yeah, let's take a look. Okay. Cool. Thank you. S o for this. We that leash to have the leash disappear. Okay. Cool. Yep. The blue. And so now we're gonna dio I'm gonna switch out that image of the how you can change the overlay with Buck snort there. We're gonna try to match up more or less the leash and go back and forth ...

between which images where we're doing. And if it doesn't work there some other other ways we can do it might just shoot the least bit separate. If I had, Let's say all day just to do this. I might do every little peace completely separate to make sure it's just right for this. OK, so we're just waiting for the leash for you. Thank you for being put this year s O. You have boys. What happens when they're all doing their own directions? What's what's the feeling again? Yeah, Okay. How can you How can you exemplify that? What do you think with, by the way, you're you're not a paid model here with it. So thank you for practicing this model here. Um, you want to do the palm on face sort of experience, So let's see. Let's have your left hand gonna be sort of doing this. You're gonna be sort of walking. You're following the child. Uh, let's have you back a little bit. Yeah, right. Right. About there may be a little bit more this way, You know, I will rearrange where the camera is to sort of match what we're looking at and back it up a swell eso The dog is gonna be about here. So dog and tree. So yep. So leash will be over the leashes. Okay. Perfect. Look at that. Magic. All right, so let's have this year. Let's see another volunteer. You got it the whole time. Gonna be part of it. Okay, We have another volunteer. Okay? Yeah. Um, this important work, that's important work. Okay, I'm sure you can multi task to, but that's all right. Let's see. Okay. Yep. So dog and a little bit lower here and talking. Let's unwind it just a little bit here, okay? Right about their cool. Thank you. Uh, let's see. And it's killing off friends. Let's move this around. So because the dog was was closer and let's actually have you come forward a bit, okay? And let me still this down. Let's take a look at Oh, hey. Yeah. All right. Look at that. Okay, um, so again, I'm not gonna be too concerned with where that's going. Hopefully, we can use part of the other leash for this. So I'm gonna be looking monthly at light for that subject in with Their shadows are casting. Let's have used take another six inch back. There we go. Um, yeah. Right about there should do it. Okay. So, yeah, we'll do focus. And as faras the position that you have. Let's have your just this way. Maybe let's try one head down. Just kind of like, uh, not again. Or it may be your saying Look out to the child that's plowing through people with groceries and whatnot zooming across. So let's have you. Let's have one. Where you just looking down? Just not happy. Yeah. Check the focus on this year. Uh, let's just have it. See? Okay. And we'll see where we has for his overview. Okay. And then the child will be over there. It looks like rising. Quite right. I moved it the wrong way there. Okay. Bear with me. You guys here again? This is sort of experimental, So as long as I have that horizon light, I can horizon, right? I could move the camera around to change the the depth of things. See how it looks like she's literally standing kind of in that same same area. Um, hey, let me recheck. Focus here. Focus on this is a little finicky. There. Okay. Um it sees your face nice. Okay. Um, so, yeah, let's just do some with that. Uh, let's try somewhere. You're just looking back at the dog, and that will create nice life low. So, um, is it sorry? Yeah, I forgot to mention you're gonna be blinded for the next few minutes. It's exactly what you guys signed up for. Um, let's see. So, one of the things with this again, we'll try a few different Fridays. But in general, with this composition, thank you for holding harm out. Let me know when it gets too tired and you can put it down is a good rest for a second. Okay, Um so as faras, the composite in general, be nice to make I flow all about the dog and then bring you back to the child and sort of go around like that so we know that our eyes are drawn to where other people look that sort of, you know, Reese to with cinematic, right, the eye line match. Sort of things. So trying to use those elements where if they're looking back at something wolf, our attention will be drawn to that as well. People might notice a squirrel a little bit earlier than they otherwise would. But we also want to play with, you know, other things are happening here. So we're gonna try a couple different varieties of that, Uh, so you can get your arm back up again. All right? Nice and taut. And how's that looking as faras where things are. Let's have you lower that. Just 96 inches. Yours is good there. Okay. And let's have you yet. Looking at the dog, which is at the end of that here and just yet. Okay. Perfect. 3 to 1. Okay. Is it capturing over there as well? Yes. Okay. Um, Okay, now it's have you Look over where the child is. Here we go. Yeah, right about there. Should work. 321 Let's have it. Like, slow down. Just that. Wait, wait. Yeah. 321 Let's get more of ah motion to. So let's have, um maybe let's can you How's your balance? Um, yeah. So maybe a little more more bent on a little more. Just kind of on the edge there. And let's make that is taught this possible. There we go. Let's see. And let's have you reach out, like, just stop. Something just happened. Okay? Yeah. Okay. He's about to run into someone right now. What do you do with your child, right? Yeah. You got it. That's right. Uh, that slow down. Um, okay, cool. Let's do another one. Where? Let's see any suggestions? You guys have liked it when she was reaching out with her right hand. Let's try some more varieties of that. I think that's a good one, too. Okay, let's see. Reaching out and let's do, um or, uh, let's see. Intense, angry, immediate sort of motion. So, like, Whoa, wait on. Maybe get this little more awkward, make things more awkward. That's what you wanted. A photo shoot s. Oh, yeah. There we go. And then So you're just reaching for maybe bend over a little bit? Yep. And just, uh, so literally the mindset your child is about to bonk into another adult that just happened, like, oh, man like that. Why? Okay. You want to reach him? You just can't. Okay, I think you got the dog. Let's see in all in all seriousness, how angry would it would it make you How frustrated? Yeah, that's the That's the face there? Yeah. Good. Okay, Okay. All right. So we got some of those when we blinded our subjects. Mission accomplished. Now, let's see any other varieties. Anything else that you think would be good to try since were in that stage. Yes. She's really reaching like she can barely get him, But then she's still trying to watch the dog. That's a good one. Yes. So the dogs levitation, because this is reality is pulling her backwards. And let's do that. So let's have you leaning backwards as if he is tugging you back. And you're still trying to keep your balance with it. Yeah, okay. Yes, I do. A little little tug. Let's do a test so it doesn't actually fall over. Get signed. Liability. Right? For Here we go. Um, all right, let's just do a couple shots of this, and then we'll do some of the other ones. Okay? 321 We're just gonna get a bunch of these. Yeah, Yeah. Tug of war. Yes. Beautiful. Excellent. That's the mom. All right. Excellent. They don't. Okay, so

Class Description

Create magic using Adobe® Photoshop® by compositing people, pets, and objects to appear as if they are defying gravity. In this class, Bret Malley will walk through techniques on capturing an image of the object you want to use and how to piece it together in Photoshop® so it appears realistic. He'll go through the entire process from start to finish so that you can create compositing magic using photography, Adobe Photoshop, and your own imagination.



Software Used: Adobe Photoshop CC 2017

Reviews

Molly B
 

I agree a bit with Eric Burke's review (which was a thumbs down), however, I feel like this is neither a thumbs up or thumbs down recommendation, more like a 3 to 3.5 star rating. :) That said, I agree that there was so much talking and not doing in the initial portion of the class sections. I feel like when there is a class offered for Compositing, much of the science people want to know is in the editing tips and tricks AND some of the shooting tips and tricks. Photography of the subjects is important to understand, but examples of live shooting should be kept fairly minimal. Aaron Nace still nails the science behind planning and shooting for composites and also rocks in the editing (in my opinion). Brooke Shaden is also a good example on the editing details. I feel like Bret had something different to bring to the table from the class preview with puppet warp and some of the cutting / masking tips... I agree that all the editing portions of this were super rushed and just touched on a lot of last comments of "oh isn't this neat" and no in-depth instruction on how that feature is used. I just felt like he really ran out of time. At the end he talked about re-shooting the dog, perhaps he could have gone in to puppet warp to change the lower legs and tail a bit as an effort to make it look more like his sketch? Bret seems likable, but does continuously talk about side stories and extra noise that seems could be more focused on the topic at hand. :) I still picked up some tips, but this would be more ideal bought on a sale rather than full price. :) I have a lot of photoshop knowledge and own some other composite classes on CL, so I don't feel too lacking, but this would not be for a very beginner of compositing. I wouldn't mind seeing Bret back with a more refined class structure focusing on the magic of puppet warp and other tricks to get the most out of compositing.

s
 

Had a good time with this course! Bret is a great instructor, you can really tell he enjoys his work and has a lot of fun engaging the audience. I've done some compositing in the past but with a much older version of PS. This course really helped me take advantage of the new features in PS CC and also helped streamline my workflow. It's a course that both experienced and beginner compositors alike can learn from. A big thanks to Bret Malley and CreativeLive for making this course!