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Introduction to Character Composites

Lesson 12 of 14

Saving

 

Introduction to Character Composites

Lesson 12 of 14

Saving

 

Lesson Info

Saving

absolute last thing we need to do is do some savings. So there's three different ways that I like to save this. I'd like to save the file itself with all the information that I like to save a high rise J pay. And then I like to save it for Web and save for Web in this case is going to be super tricky because their image has a bunch of science. So first things first. Let's save this as a file itself so f or just right up here in the corner f So as so all that save as. And that's gonna take us into here. And right now this is marked as a tiff. Now my image and my foul right now is 2.22 gigs, so it's too big to save as a tiff. Um, so we're gonna have to say this as a different file. Types were going to say this as a PSB. So if you were working on a file and it's way too big and it's not saving and it's like this is the wrong file type, PSB is the thing that you're looking for. It means that it's a large document format. Now, a PSB file does not open up in back into capture one. And I'm no...

t sure if it opens back up into light room. I don't think so. I think both of them have a two gig limit, which means that either has to be a PSD file or a tiff file to go back and forth. Um, it's some limitation. I'm hoping that it gets fixed eventually because it's super frustrating, especially for people like me who are files are almost always over two gigs. Uh, so anyway, so we're going to save this as a PSB. I'm gonna go save. Now, here's this little button here is called Maximize Compatibility. This is another thing. So if you have no goals of sending this PSD file to anybody whatsoever, you're only gonna be opening it on your computer on your version of Photoshop. You're not gonna be trying. I mean, pretending that it was under a two gig file, um, that it wasn't gonna be open in light room or whatever else you can turn off maximize compatibility. What this is going to do is it's going to make your say file a lot smaller. Now that doesn't mean, though, that if you send it to anyone and they try to open it in a different version of Photoshop Photoshop Pretty user friendly that way. But let's say they're trying to open it in Premiere or just some of the third party app. It's not gonna work. So you're gonna wanna leave maximize compatibility on if you're gonna be sending this to anybody. I like to leave it off because my PSD files say they stay with me. I don't send them out to anybody unless it's an agency job. In which case, of course, I leave it on. So anyway, I'm gonna say okay, and we're going to give us, like, how long it's gonna take to save right? That's it is done. It's okay if it takes a while. Even on fast computers saving PSB files, take some time. Now I want to say this is a J peg. Say that I'm just gonna switch us over into a J peg and that just gives me basically an option. Um, I send this off for print. I mean, sometimes some printing companies, like everything is a tiff, but I save a lot of my stuff as JPEG. So quality 12 maximum progressive scans three and I go, okay. And the most important one here, that's gonna be a little bit tricky. Are is the save for Web. So we're gonna go save for web. So now the job is done. Control out control shift s and what that's gonna do or all. Command shift s for you, Mac users. Now what that's going to do here is it's going to open up this window here, so we're gonna make sure this is such a JPEG. Sometimes this defaults like PNG or something like that. Make sure that that is set to JPEG. I'm gonna set this to 1500 pixels roughly, and it's gonna resize it. Uh, the jury is out. I've heard a lot of different people say, like what size is best for saving it for Web. I just make everything that's going on to Facebook and Instagram and everything else, uh, 1500 pixels, because that's more than big enough. And now, with the latest update of, uh, a CR update where you can super expand and super enlarge images, even 15 1500 pixels isn't enough to save me anymore, but we're going to save this to 1500 by 1000 for myself anyways. Now, here's the thing is, when we go to save for web, it's going to save two s RGB. So s rgb is going to see a lot less into certain channels. So, scion, uh, in particular, you're gonna see, like, a huge color shift between your JPEG and your PSB file and you're save for web file. Um and I don't exactly what you remember. Why, That is basically, like, s rgb just sees less of the available colors. And so basically, it approximates everything that's within, especially the science into an average color that it does see in that limited, um, color profile. So definitely, especially with an image like this, where there's a ton of science that are going to be read as a scion, you're going to see a color shift for sure when you save it for web. So don't be shocked if you make an image like this and then you pop it up online and you're like, Oh my God, my color is that's because it saved as an S r g B. So if you're really worried about that. Just save it as a regular JPEG and then just like, downsize it a whole bunch. Um, but for me, if it's going onto Facebook and Instagram, admittedly, I don't care if they don't see the perfectly color, accurate version of my image. The people I care about seeing the perfect color, accurate versions of the images of the people who are buying prints. So people were licensing stuff and they're putting it big somewhere or they're buying prints and they're putting it up in their house or their business. Those people I care about color accuracy, whereas in this case here, if it's just going online at 1500 pixels, if it happens to be off a little bit, I don't really care. Everyone's looking at their stuff on their phones and their un calibrated screens and everything else that I can't control what everyone is going to be looking at. I can just get it close enough and with S RGB, because it's so limiting on how much into the color channels it can see. It kind of reduces how crazy the swing of color is going to be when they're looking at those images, although never mind a lot of phones and devices now going to have that night shift mode. So everything turns barf yellow. So I don't really get to get out of shape for images that are going online, even if they wind up noisy and like, It's fine, but yeah. So, anyways, this is basically how I have it set. Um, I haven't said to optimize quality is 80 again. You can play around with this if you like, and then I just go safe. Uh, and then here for at least titling it. I put the last part behind it Web so that I don't ever mix up. So it's just like an easy, easy, easy safe for me. That's it. That is basically one on one. How I make these images so and, yeah, we're done saving all the things

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Style a compelling character.
  • Extract subject and replace background.
  • Use textures and brushes to bring the subject into the image.
  • Add a realistic atmospheric element.
  • Color grade in Adobe Camera Raw.

ABOUT RENEE'S CLASS:

We can’t always shoot portraits in our dream locations. Sometimes we go to amazing places on vacation, or we find some great stock imagery online, and we want to transport our clients to somewhere special. For some artists, the most interesting places to create come from within.

For Renee, character portraits lean heavily on a compelling subject, something rooted in reality. In this class you will be guided through her process to style, pose, and hand paint texture and light to emphasize a portrait of a cowboy.

Take your studio portraits from clean and simple to compelling and eye catching!

WHO THIS CLASS IS FOR:

  • Beginner and Intermediate Photographers
  • Portrait photographers interested in compositing
  • Beginner and Intermediate composite artists
  • Artists interested in advancing their styling choices

SOFTWARE USED:

Adobe Photoshop 2019 (20.0.6)
Adobe Camera Raw

Lessons

  1. Introduction

    Introduction to the class and overview

  2. Lighting and Concept

    A quick guide to where the concept came from for the image and the lighting used.

  3. Cropping

    Changing the aspect ratio of the image to make a more pleasing composition.

  4. Bringing in the New Background

    Picking a proper background image and using the transform tool to fit it to the new crop.

  5. Masking

    Using Select Subject and different hand masking techniques to create a seamless blend between subject and background.

  6. Creating Depth

    Using a variety of techniques to create visual depth between the subject and background replacement.

  7. Painting Wet Rain on Costuming

    Creating different layers of brush marks to make the illusion of wet costuming, of someone standing in the rain.

  8. Creating Rain Drops

    Creating realistic raindrops and atmospheric depth from static pixels.

  9. Rain Touch Ups

    Final touch ups on the costume to finalize the look of standing in the rain.

  10. Color Grading

    Color grading using Adobe Camera Raw and smart filters.

  11. Sharpening

    Using Smart Sharpen gently sharpen the image.

  12. Saving

    3 different ways to save your image, including save for web.

  13. Summary

    Quick walk through of the layers and progress in the composite.

  14. Outro

    Quick final notes and thanks!

Reviews

Steve Vick
 

Great hands-on course. I love Renee's straight forward approach. This is the tool, this is what we are going doing with it and here's how to use it. For me it is the fastest and most practical way to learn. No fluff, no long-winded stories... just doing! In some of the other courses I viewed, I find myself skipping ahead waiting for them to get to the point. But this course has a great pace. I will certainly look for more from this teacher. Thank you.

a Creativelive Student
 

I've been compositing for a few years, but masking a subject always presents its challenges. Renée gave a series of tips that were very helpful, including information about how to use the "burn" tool to enhance a mask. That's something I'd never done before. Can't wait to try it! The part of the lesson that explained how to make the subject look as though his clothes had been in the rain was also an eye-opener. The method is simple, but the results are outstanding. I had tried making my subjects look as though they had been rained on, but it never looked real. Now I know how to fix that!

Julie Holbeche-Maund
 

Brilliant Class. I love Renee attention to detail and her explanation of what she is going and why.