Simple Composite - University
Let's go up to our simple composite. That guy's over here. Right there. I wanna show you guys this shot first. So here's the different frames. We got our lights set up, and then once we got our lights set up, notice how this is kind of awkward. This is what I was seeing in camera was that that dip was weird. Doesn't it look like she's pushing him away, their body language? It looks odd. So this is much, much better. I adjusted the hand position, adjusted everything, and we're good up there. I like that shot. What do you guys like? What shot do you wanna do? You wanna do the dip, you wanna do the ... What y'all wanna do? No dip? Let's do the kiss? Let's do the looking at each other. Staring, stare in each other's eyes. So all we would do is this. Let's select out one image. This is gonna be one of our images. I'm gonna press six just to mark it as red for right now, just so I know that that's the image. That's a kiss one, so that one's not it. We're gonna select our second one, so what ...
I'll probably do is I'll use that one, and I'll also use this one. When we took the plate, we took a couple different exposures of the plate just so that we had some different brightness levels. Could easily do that in post, too. For our plate, what we're gonna do as for our shot, we're just gonna produce the image. We always process the image for this shot. We'll process it based on this guy, with the couple inside of it. So I'm gonna go ahead and just keep things a little bit quick. We're gonna do just a nice little ... No, you know what, let's just show you guys how to do it. Let me go full screen also so we have a little bit more view. I feel like we have enough time. We might as well work through it. All right. Oh, what? (laughter) And that might be why I chose the kissing shot, actually. We'll just do it anyway. (laughter) Let's just do it anyway. What I'm gonna do is just, I'm gonna bring my exposure down in this frame. I don't want them to be that bright. I'm gonna bring the exposure down. I'm gonna go ahead and bring back the highlights and the whites a little bit just to bring them down, and then add some shadows in the shot. I'm gonna press J just to look at my highlight and clipping alert, and then we'll just bring back a little bit of the exposure, so leave them right about there. I'm gonna add some clarity to this. This is one of those scenes that's so far pulled back that adding clarity in that mid-tone contrast looks kinda cool. I dig the vibe. With the tone curve, we've already added quite a bit of contrast to the image. If we wanna add a little more, let's actually just use the contrast slider this go-around, just so we can say we did. That's really it. I'm gonna go ahead and grab a radial filter. We're gonna grab this guy and drop it with a 0.5 burn right over our couple. Don't need to worry too much about sharpening in this shot. It already looks pretty good. Let's not zoom in. (laughter) What we're gonna do is now take that setting. If I press the red filter right now, it'll show me the images that I've marked red. These are some of the shots that we're gonna do in the nighttime class. That's gonna be fun. I'm gonna actually mark those as not red so they don't appear right now. I just do that so it's easily visible, but I'll just mark them as red and then paste the settings from this image over to this one by pressing Alt-Shift-V, or Option-Shift-V. We have to be in the develop module. Let's just click that. What happened was, we also got a little bit of the radial filter. That radial filter popped over to here, too. What I'm gonna do basically is on the darker shot, I'm gonna brighten this guy up a little bit, just so that he's roughly the same. But I still want that darkening effect a little bit. I'm scrolling back and forth between the two just checking the exposure, and it looks good right about here. Totally fine. Select both images, right-click, Edit In, Open as Layers in Photoshop. I'm gonna select both these layers now, so we're in Photoshop. Both of our layers have been loaded. I'm selecting both by holding down Shift, left-clicking. We're gonna go right up here to Edit, there we go, Auto-Align Layers, and we're just gonna click Auto. That's done. Here's our layer with the little dude on there, kneeling there. I'm gonna go ahead and ... Little dude, little dude guy. Add a layer mask. Wockum. I love that word. Every time I say it, I wanna go, "Wockum wockum wockum wockum wockum wock." All I'm gonna do now is paint black. I usually go down to a pretty light flow, maybe 10 to 15 percent. And watch how easy this is. If you want, you can speed it up by going up a little bit. When I'm doing more crazy composites, I'll slow it down just because it's nice to have a graduation.
Boom. (laughter) That's as simple as it is to do ... That's why we call it simple compositing. It's literally a five-minute process and you've removed them from the frame. It's a good idea to press Z and just click and drag to zoom in, just to make sure there's no issues. Because you see this? We have a Back to the Future light pole. (laughter) We don't want no Back to the Future light pole, so let's just paint that guy out. Everything else is fine. You can even press Alt or Option and click the mask, just to make sure that the mask is solid around where you need it. With something like this, as simple as this, there's no point in leaving the flow less than 100. Might as well leave it at 100 because it's so easy to just get out, and we're not worried about too much else. There's one other thing that I like to look at, which is, do I want to eliminate any light spill? So if you look at this, where the flash is hitting, I'm gonna go ahead and press B to bring up my brush. Where the flash is hitting on this other side, if we're not using a grid, then it basically is gonna spill onto the opposite wall. So what I sometimes like to do is, now I'll bring my flow down and I'll actually paint this out. What you're gonna see is that the wall's actually gonna get a little bit darker. So if we want, we can just remove that flash that might have spilled. Whoops, that's a click from there. I'll usually use a fairly light flow. That's probably too light. Let's go up to 25. Just paint around. That way, that area has a very nice light feather to it. That's just to prevent one side of the wall from being brighter than the other side of the wall in your final image. Once we get to this point, I would save it out and I would take it back to some Lightroom for some re-fried beans. (laughter) I like it when I make Kenna laugh. I call it re-fried beans when you take a processed image and you reprocess it. (laughter) You cooked it once, now you're cooking it again. So what we're gonna do is we're gonna change our crop now. We didn't do this before because what if I don't want that crop later on? What if I wanna change the crop to something else later on? We'll bring it back to Lightroom and make these adjustments back in Lightroom to finalize everything. And now that I also have my tone there, I can also do other things, so watch. I'm gonna go ahead and I'm gonna use a detail brush. Let's go to a general, all-purpose detail enhancer. This is where our contrast is up to 30, highlights at 20, clarity at 30, saturation 20, sharpness, and we're just gonna paint over the entire frame, and then hold down Alt or Option and just click once to remove it off them. Look at this. There's a big difference in that little, small adjustment. What I might even do also is just put one more radial filter burn into this image. So let's just switch this over to a burn. Just bring that attention right in. I'm gonna make it a large one, so I'm gonna hold down Control and Shift, and we're gonna expand this so that this just subtly pulls attention right into the middle of the frame. If you wanna test it, go back to grid view. Ask yourself, "Does it look like it's transitioning?" And to me, it does a little bit. So I'm gonna go back, click this guy, and just click up maybe one or two notches right there. All right, let's take a look at this now. So I'm gonna go ahead and just reset out this guy. We'll press Control to select both of these, bring these up, and compare these to each other. That's pretty cool, right? Cool effect. Pretty simple, easy to do. Here's that full-screen version of the image. Cool. And I wouldn't use the kissing shot because obviously her tongue is out. (laughter) Not cool. Not cool, man. I'm sure I have another shot of them looking together without her tongue out, but it's fine.