Compositing Additional Elements Part 1


Adobe® Photoshop® Compositing: Essential Techniques


Lesson Info

Compositing Additional Elements Part 1

now we're going to take basically the things that we were teaching you during segment one and segment two and we're just going to kick it into high gear we're really going to conquer ah lot in fact I've got a list of things that were going to be doing in in this section which is a pretty long list I think this would be daunting to most people including myself but we're going to get through it so that's going to mean we're going to get a little bit faster than we have been in the past so you know questions things like that they will save them for the end but yeah for now just sit back and enjoy the ride all right so it came to our attention over the break that people were saying why don't we change this city of let's make it look mohr a little more rectangular and we gave it a shot and we liked you know kind of talking with the studio audience we like what was going on there so we're going to do that we're going completely transform our composition right now so let's go ahead and we're ...

gonna go ahead and do that so here's our stadium that we started off with and we always talked about this stuff can be changed at any point in time so I'm gonna do is khun just duplicate our stadium hitting command j on this and then I'm gonna click on our city and we're going to zoom out real quick hit command tea to bring up our transformed dialogue and then we're gonna go ahead and start stretching our stadium outwards now stretching it out like this is basically going to give us the opportunity to make it look like we've got a completely different composition in our image so searching it out you can see it's just basically we take what was kind of converging there and giving it one little bit more like it's just coming from one angle all right and then I think we've talked about we wanted to flip that horizontally as well to kind of get it I'm looking like it's going in that are you is that right in studio audience look that and decided we liked it better the first way liked it the other way inside yeah like this way all right cool then we're doing it like that cool so let's hit enter there and now that we change that we need to go ahead and change our lighting as well because our lighting was basically dictated by what was going on here in our you know here with our background so let's take our bowl we're gonna make that invisible we're gonna make our subject invisible or grass we're gonna keep the same all right so our lights again we're keeping everything really organized so doing all these changes is not really going to be that difficult okay now are left lights we're just going to delete that entire group in our right lights I'm gonna hit command tea on these women to do both of those at the same time there we go so basically just completely changing the perspective on those in the number hit command j on that let's just duplicate that and just call this left and then we're going to move these guys over to left hick manti on that hold all tor option as well as controller command and I'll bring these in his well so now I can kind of re re size and replace these lights kind of moving around a little bit which is what I'm about to do here all right just to kind of fit our new composition so again this is you know something that we decided in studio here like you know midway through our composite but if this is something like you're working on with a client and the client is coming to you and saying you know what I want to completely way change this can we change the angle on things like that now you're able to do this sort of thing so you don't have to go back and reshoot everything you're able to just you know complete whatever your client's asking for you in a photo shop and I can see we just completely changed what's going on in the image all right there we go and the right let's make this a little bit larger because we've kind of change our perspective a little bit there we go and bring that in and then I'm gonna take this guy and bring us in as well all right really really cool the other thing we were kind of talking about over the brake is what's going on here with our grass we just want to make sure the grass on the bottom looks really good so we're actually gonna be repainting the field to make it look a little bit more like a sock her field which is uh I think it's really really cool okay life look pretty good let's go ahead and focus on our grasp so I'm gonna open my grass later we're gonna go ahead and turn off our black and white adjustment layer we're going to zoom in here and go down to my grass and now I'm going to create another layer on top of this let's clip that tour grass and we're just going to use our clone stamp tool and basically I'm gonna clone stamp away our grass the lines on the grass because we're totally changing the angle of the field now we're going to completely change the angle of our our grass and the markings on her grass is well all right this is cool to me I like doing this like photoshopping of fast pace is uh that's what we're calling this segment super super speed photoshopped all right so basically just using a clone stamp tool right now to take out the original lines in the grass sampling right above wherever I'm painting and then kinda there we go painting that in there we go now we want to make this look like it's midfield let's go ahead and turn that black and white layer on again and then here I'm going to create a new layer we're going to go ahead and hit em for the marquis tool and we're going to make a line that's going basically wind up being the line that splits are field into so lets it d for the default colors and a command lied to fill that with black alright sorry filled with white now we're going to make a new marquis selection tool I'm going to make basically uh just around circle like this this is gonna be the midfield that look right all right let's go ahead and hit command delete and now I'm gonna right click in here I'm going to transform this selection I'm gonna suck the selection in just a little bit all right hit enter and then hit the delete key on that one as well not a soccer field does it continue the white line through the center oh and there's a circle in there too as well someone who'd command j hey command tea to transform that as well so we get co centric so I know our world this is all right zoom in here and then we're gonna bring the same so we said we're going superspeed and uh that is exactly what we're doing all right does that look pretty good now to make sure that it's like a pokemon ball to make sure these air co centric what we're gonna do is I'm gonna shift click on all these layers the wiki and then I'm gonna click right over here on the on this aligned tto make sure they're all aligned on the middle so it's going to make sure that this line is centered with our centered with our circle and each of the lines are centered basically all right so let's go ahead and command g to group those together now our goal is basically going to be how do we get this to look like it's on our field command j to duplicate that we have a lot of this might be relatively tough so I'm creating a duplicate just in case I need to go back to the original one I mess up so then I hit command e to merge these together so what was what was a group with three different layers is now just one layer okay so now what we're gonna do is I want to make this actually looks like it's on the field and there are a ton of advanced ways to do this I'm going to try using just a really simple transform so we're going to command tea I'm going to rotate this up in this direction we're gonna go ahead in scale it down there we go and I want this actually looks like it's on the field so what we're gonna do is I'm gonna hold down control or command and click this little guy there and just drag it down there onto the field hold on control and shift and bolt or option there we go and this is going to basically start our perspective now I'm just the control key and I'm going to grab this corner and I'm gonna push it back into perspective there all right so what we're doing here I'm trying to make like a basically a midline so now that we've figured out about our right perspective let's go ahead and shrink that down a little bit more depending on how large your field is going to be now we figured out about the right perspective I can still move this if I hold down the controller command key and click on any of these center lines I can now dictate where this moves in space based on the foreground and based on the background as well so I've taken I don't have to don't draw this into the image I can actually like calculate this is what it would look like if it if it were to stretch along my entire image all right what do we think in studio it's gonna hit command h so we don't see those boundary lines that looking about good or do we need to switch a little bit maybe I think it needs to be like that a little bit more what do we think yes uh all right um just simple transformation tools I mean you know the the transformed tool can be used for far more than just you know rotating and scaling and things like that does that look pretty good there so we're going to hit enter then and then we've got a lot more todo then I'm gonna double click on this adjustment double click on this layer and I'm gonna use blend if basically making this not visible where the underlying layer is darker and this is going to make it look like it's actually painted on the light tips a grass toehold all tor option and click over here from the left or the right all right and somewhere around there we have now it should look a lot more like it's actually painted on the grass rather than just visible everywhere all right there we go so it adds that little bit of variability so we'll just see let's just zoom in here there's the before and the after and if we want to add a little bit more to that which I'm totally okay doing you can actually do it on this layer as well let's just go ahead and bring up our regular last night who if I want this to go like thicker as it comes in towards the end we go towards the subject I can do that and then fill that with white as well give it a little bit more perspective all right does that look okay cool so let's lower down the capacity again so this is something that hopefully you know makes it look a little bit more like a uh soccer field which is exactly what we wanted to do right here was my sketch which is not as good okay cool so able to take something like that and and just warp it and get it into perspective there in photo shop all right that's our grass now here is our stadium copy I will also want to make like a foreground wall here so what we're gonna do is I'm gonna duplicate this stadium copy we're gonna hit command j and then command e to merge that all together so the stadium copy now I have on its own layer and basically what we're going to do is just bring it right down here it command or control t bring our little access point here and then rotated around so now we should have ah foreground wall right here basically this is gonna be like the wall that separates thea players from from the fans all right there we go and I want to put it in about the right perspective as well all right and that little bit of separation should help us out a little bit so we'll go ahead and put that in our city and I'll just double click on here and call this wall all right so we're open this stadium we've got our other stadium um if we wanted to keep this we can see that's really cool we were able to go from this to that in what five minutes or so like really not that long so I'm just showing you guys some of the really cool things you can do with just kind of changing your perspective completely all right so something like this if it's a stadium you know like that that's that's unused I might go ahead and put that into our stadium group and then just double click here and call this like I used we could delete that if we wanted but for now I'm just gonna keep it in there yeah who was your shortcut you used to move that up into the group above it uh controller command opened and closed bracket so command close bracket moves a layer up command close bracket moves layer down if the group then if the group is open it moves it into the group does good question all right so here's our subject now and here is our ball so we can continue to move this around so we can see our images like in just a couple minutes has completely transformed all right I'm gonna cross a couple of things off this list let's get let's get maybe one question if you're already hey how about our request if you don't mind yes folks want do want you to notice that there is a yellow pole yeah okay that it was a baseball foul pole that's a baseball foul pole all right which is just a general foul in this way I don't want that they're so what I'm gonna do is I'm going to hit command tea on that and I'm just going to stretch it right out were just I could clone stamp it out if I wanted to but we're burning time crunch here so I'm just going to stretch it out and we're going to go otherwise we're going to go all right so cloning out the light's changing lights and adding perspective okay the next thing I want to do is add some of the players to the foreground of the image which we talked about doing in the last section so I went ahead over the break and I'm going to show us how to do this really quick but I went ahead and I brought in a couple of players and I went ahead and cut them out out of their backgrounds so we've got these cut out of their backgrounds their let's go ahead and just turn our black and white adjustment layer back off so we can kind of see what we're working with here all right these should go in front of the ball again we're working with everything should be actually you know in the order that you'd actually see it so you know these players should be actually here in front of the ball so to cut these out from the background actually really really simple we weren't able to you know cover their entire bodies with the green screen so basically what I did is just on these layers using a magic wand tool or you could go to select color range just basically using our magic one tool and clicking on our background and using that to create a selection and then any other areas that I needed to clean up like this area down here and around the foot and things like that that I just used the pencil so it took I think five minutes to cut these guys out but I went ahead and did it just so we could save a little time because I want to continue to crank on this but if anyone had any questions on how we did it that's that's how it was done right let's d select and I'm gonna ship click on here we're gonna turn our check group back on all right so now it's up to our in studio audience inside what we want this actually looks like I'm gonna hit command tea on this guy we're going to flip him horizontally and we can rotate these guys scale him they could get like a little blurs and stuff like that originally I was thinking we would do you know something kind of like that and that would add basically if it if this guy in the foreground is slightly covering up you know the are our main character in the mid ground it's going to make it look a lot of time like there is a little bit more depth so what do you guys think do we we want to bring well I could bring this in I could flip it the other way and he's this guy's running the wrong way or o this way all right flip horizontal yeah like that you're right that is totally better I want to insert the audience like all the time I don't know the answer to this all right yeah that's cool and that actually does in my opinion it does kind of a cool job framing the shot as well all right so let's bring this guy in here and we have we don't have to use these again these air you know just like they're they're kind of bonus there you know we can even have like you know just when an elbow or something like that if we wanted let's say command tea maybe hit flipped horizontal bring that in something like that or what do you guys think we need something there or not at all okay without it it's okay without it alright cool why I think that looks good let's go ahead and darken him down just a little bit that'll help call a little more attention to our subject we're going grabbing adjustment layer I'm going to go up to our levels again option command g to clip that and then I'm gonna take my white point and just kind of drive that down a little bit because he should be a little bit more in shadow all right cool and then you know what I might take my black point and just make that a little bit brighter as well so it's not going so black all right that looks really cool as well and keep in mind guys any of these elements that can be moved and changed around at any point in time I can move my soccer ball I can you move any of these players we can we can really do whatever we want with these images all right so the next thing we're going to do let's just hit shift if we've got a ton of extra elements we want to add into this image things like dirt and other soccer players and things like that so I went ahead and export of those out of lighten room I'm gonna go ahead and load a bunch of those layers as a stack into photoshopped so we're going to get a file down here to script and down to load files into stack all right let's hit the brows key and then we're just gonna browse over to wear and I exported these out just as j pegs into just a folder called export so we've got a bunch of different jake jake makes a lot of this is going to need to be cut up cut off from its background let's open there and then hit ok and it's gonna put all these images into one document all right generally if I was working on like if I wasn't in a time crunch and I was working on my own computer these would all be tiffs so I get the maximum amount of like file size and basically these images without compression anytime you're working with the j peg you're going to be working with compressed images so start off with tiffs or or your raw files or psd that's going to make sure you're not dealing with compression alright really cool well let's just go ahead and I'm going really quickly go through these if you guys remember from yesterday we photograph james in a green screen in a in a bunch of different backgrounds so I'm just gonna let sit effort to full screen this out so like this area I'm gonna hit shift man I and then hit the delete key so I'm just going to do this a few more times because they're obviously like a large portion of these areas I don't really need so I'm not going to even bother copying these over to to the other image they're going to take a look up a bunch of file size and they're going to slow the computer down I'm gonna see if I can use his shadow I don't know that I'll need to or I don't know that I wanted will using a shadow but I'm going to include those in the selections just in case all right so just keeping everything really nice and organized and I don't know how many of these players I'm gonna wind up adding to the background it's ah just really going to depend on pretty much what you guys want me to do so you're the client I like that the in studio audience is the client you guys tell me what you want all right and deleting those way and again I'm deleting these instead of using a layer mask your reason being I know one hundred percent for sure that I do not need anything else that's in these images like I don't need john sand so I'm okay deleting it because I know for sure that I'm never gonna need it back I am asking is really great when you when you have an idea that you might actually want to add some of that layer back all right that looks really great and then we've got some some sweat and cem cem um mist and things like that all right so this should give you guys an idea of just how how quickly you can do things in voter shop I mean this is we've covered a lot of ground already in this segment and I'm happy about that it's going to give us more time when we needed do our special effects and all of our really cool lighting and coloring techniques as well all right so we're inverse all that in any clip it okay now I'm gonna go ahead and groupies so they're all basically in the same document I'm gonna group the's like with like so I'm gonna shift click all of those hitman g and we're gonna double click and I'm gonna call this sweat all right we're going to shift like the's through layers command gee I double click that and call it dirt and I'm gonna shift click all those hit command ji and we're going call these background players all right and now we're going to go ahead and place them into our main document and we're going to do these in the correct order as well so our background players that was going to go but say we've got our stadium okay we've got our grass and then we've got our subject so there was going to go above our grass and below our subject so let's go ahead and copy those over we've got a background player players subject bowl foreground players all right we've got that are dirt that's going to bring that in that's probably going to be in front of our subject and then the sweat is going to be right there here we go let's go and make that invisible the sweat is right gonna be right there with dirt as well and then were able to close this so just like a really quick lesson on how we can prepare you know fifteen twenty different files in a really quick way so we can get them now into our image all right so let's say our foreground players are ball in our subject dirt and sweat let's make that invisible and now we'll see what we can do for our background players I'm just going to use him really quick techniques to cut these guys out again really similar to what we've done in the past and they don't need as much of a they don't need as much attention as our guy in the main for brown because they're going to be pushed way back and maybe even edit it and blur I'm not I'm not sure but we're just going to go through some quick techniques I'm going to select color range as well as we're going we're basically going to try to do some magic one tool as well but so what color range looks like it's doing a pretty good job all right so there we are and we'll go ahead and put that as a layer mask it command I honor subject I'm gonna move that down and basically I'm going to do like an assembly line kind of process here so select down here to color range hit okay hold old or option and clicking away mask all right I'm cool answer question while I while I do this if anyone has won so way had a really interesting question from a realtor and let us know if this is not something that you you are familiar with andi this I would love to know the answer to this myself is it better to use photo shop cc two thousand fourteen or photo shop c c sixty four bit do you happen to know they just they just launched a new version I think was about a month ago or so a sixty four bit I was under the impression that photo shops sixty two thousand fourteen was sixty four bit okay um yeah I know well like thirty two bits uh that's good for operating systems that running thirty two bit yeah but as faras the photo shop that's released for the new operating systems for the mac those should all be it sixty four bit as far as I know okay take advantage of the like graphics processor right that that photo shop now has access if you remember back in like photoshopped cs three and stuff like that we really didn't have any access to like using the graphics processor and there are people who know way more about this than I do but from what I understand like using the gpu help porter shop out and using as many processors especially like hyper threading and multi threaded processors I think that's all sixty forbid stuff I could be totally wrong about this I'm not a super technical person but from what I understood I thought it was kind of all sixty four bit now I'd love to know the right answer with that too that's why I guess we'll just put them up there okay that is my guess so I would use photoshopped uh c c two thousand fourteen um that's what I would use it that's all I have been using I didn't even know there was another option all right um that we're gonna basically do the same thing with the floor here selecting that out is a color range and then on our layer mask I'm just going to fill that with black so I selected out all these layers with the put the green in mind and now I'm selecting them all out with the with the floor in mind as well let's just go ahead and hit this plus I drop her there all right and then here on my leather mask we're going to fill that with black a swell we'll use my brush because it looks like because the color of the floor it was a little bit similar to the color of the skin of our subject james it looks like he was making some of that invisible as well which we um do you know what all right let's go up to select down here to color range again there we go all right and you can see this is going to leave us back a little bit of the shadow just in case we needed it and depending on where these guys are if I needed to add more shadow we could do that a cz well either by painting it in or by using the existing shadow that's on the ground if we had um if this floor were not would if it were like let's say painted concrete or just seamless it be a little bit easier to use that shadow because we wouldn't have to worry about the wood grain that's actually in the shadow to do that all right so you can see a lot of this is kind of just like doing the same thing over and over and over again all right cool well let's go ahead and bring our subject back again we're going to bring our four gram foreground players and our check group back again as well and now our background players were ready to go so I'm gonna turn these guys on and there we go we can kind of decide what we're actually going to be doing and how we're going to actually wind up putting them there now it's at this point there's pretty apparent that it's just the same person over and over again andi unless you were like actually trying to do that with like a you know sports like you know if this was your actual goal with like oh look at the versatility of this player they can run this way and that way that would be this would be kind of something cool you could do here otherwise you know bring other subjects into the studio or knocked them way back in the background and dark in them down a bit and this well this well kind of help them look like they're you know not not necessarily front and center but hopefully make it look like they're you know other people on the field especially we do stuff like that like he's covered by that leg now so all right kind of building these people in here transferring him down all right hit command tea right click and that's good a flip horizontal on him all right there we go and who will make him like really small I don't know he's just he's not a bright one he's running that's the wrong way really far away in running the wrong way all right let's go ahead and zoom in and I'll make sure to layer mask these guys out just a little bit better take these away like the little fringes and things like that all right then I'm gonna grab adjustment later we're going to go down two levels and I'm gonna darken him down a good bit of well we don't we don't want him necessarily in the in the spotlight there he's not a star player all right there we go and especially here in the shadow where you khun dark in these areas down hit command I and then use this on your layer mask just to affect the shadow so we can actually make shadows we can we can actually turn them into shadows all right that guy's not even on the ground so let's go ahead and fix him um and again if this were part of our original comp and part of the original idea with these images I would definitely have photographed other players in the studio this is something we just kind of like decided on during the photo shoot like hey what about if you know we wanted to put more players in into this image this is something we decided on during the photo shoot so if this were you know a paid job and your you know your client wanted other players on the field then pretty much everything would be the same with photographing the players you would just have other people in here instead of instead of james over and over again so I hope that answers any questions about like is it pretty obvious that this the same guy yes it is all right we'll make that a shadow alright hey command I am later mask on there all right and there we go I don't think we needed that guy there all right cool so we're now we've got some background players as well and we've got our ball all right do we have any questions with that so far one quick question are you going to add birds birds birds yes we are I'm going to do that right now before I forget all right let's open our I'm gonna use the exact same birds from from our headdress image sock image let's go and find those birds yes in fact I'm never doing an image again without birds all right so our birds let's go ahead and shift click these into our image oh I like that image it's done yeah amazing double click on here and we're just going to call this birds and now this is going to go down here back behind our lights and above our background all right let's take mantee and warp these around something like that looks pretty good but we think guys yes most definitely um there we go let's open up this group and basically we're just gonna do the exact same thing now we're not working with color this time so I'm not going to choose any options that are going to wind up affecting color but I am into changes from normal down to a multiply adjustment layer I'm gonna grab an adjustment layer sorry multiply blending road grabbing adjustment layer and I'm gonna make my whites even whiter which is going to make the make the white areas disappear so we basically just have our just have our birds and then I think they need be a little smaller as well yes birds all right what do you think you like that placement of the birds all right we can make we can put a lot of birds in the background and I'm okay with that at this point all right there we go that looks that looks pretty good okay um just kind of looking at my at my grass here I think I'm gonna darken this down just for a little bit of like focus on our subject so let's go to our grass here we are and I'm going to create right here on the grass we're going to create another level adjustment layer I mean hit option command g and we're going to really just crank this up over here hey command I and then with our brush tool I'm gonna grab a large soft edge brush and just paint a little bit of a there we go little bit of avignon and that's just going to help our player and maybe it'll serve kind of like a bit of a shadow as well all right just in general a note about shadows I didn't plan on doing this but why not let's just do it I'm gonna take our we have our subject group I'm gonna take him and to see command j so when you was subject copy and I'm gonna take man e so now we have a subject just on his own layer and what we're going to do I'm going to go ahead and lock the transparency this which is going to allow me to just fill the transparent sorry the non transparent pixels so locking the transparency that anyone hit shift elite and feel that with black all right so now we've got this hit command and open bracket now we've got just our subject and then we can use our transformation tools like command tea just transform this and put it on the ground just like we would normally do with our ham there we go just like we would normally do and I guess we need to put this on this side right because the lights in the background but even better I'm going to change this like v and the number like ten twenty to make it twenty percent there we go and then I'm gonna hit command jacob time so because he would have a couple of these right because there's always like stadium lights there so like there we go that kind of like centers on on that so um hey command g and then this is like you know multiple versions of his shadow there on the ground all right let's hit command eat emerge all that together and then shift option command g which is our keyboard shortcut we set up in day one toe add a little bit of ah housing blur all right so now we're subject has multiple variations of his shadow that actually are in the shape of the subject that was pretty cool all right did you guys enjoy that awesome all right this's cool alright I like working this fast it's hard for me and it's fun all right let's turn this ball off and the foreground players we're going to bring this in and then here on this layer what we're gonna do is I need a good way to select out just the white so I can try things like changing this from normal toe a multiply layer but I don't I don't want to do that necessarily because I still want the detail in the dirt and the grass is so I'm going to change us back to a normal layer and then what we're gonna do is I'm gonna use my magic one tool actually so w for the magic one tool and we're just going to select out here and one of these is an option for continuous so I'm gonna uncheck that which means it's going to select anything that's similar to where I click this just makes the selection a lot easier so let's hold alter option and click on the layer mask there we go in there we've got our grass so we'll do the same thing here for our dirt alter option click on a ley mask so we can see this was just a little bit if you guys remember from yesterday making sure that we selected the right background makes it super easy to cut these things out did you just highlight your tolerance number and just use your arrow up to make it higher that's good yeah pretty much any arrow this is also cool if you click on just about any word in photo shop and just drag this from the left of the right that'll that'll do that yeah and you can use your up and down arrows to do quite a bit in photo shop it's just always really hard to get like my new movements with the scrubby or thing and so knowing that little chick also another cool one is if you are in your move tool so if he had v free moved to and hit shift plus and minus it it's girls through all of your blending roads so it's you don't have to actually like used the keyboard like try to find him you can just like oh this one looks good and we'll just go with that just don't freak out when you're brushing it doesn't work yes exactly with the brush it's going to change I think it changes the blending mode of the actual brush which you can see right up here so hit v for the move tool first

Class Description

Compositing allows you to bring the vivid images of your dreams to life. Join Phlearn’s Aaron Nace for an exploration of the artistic and technical skills that are essential to creating stunning composite images.

You’ll see Aaron’s core techniques in action, from start to finish – beginning with a green screen photography shoot and ending with an elaborate post-production compositing session. Aaron will shoot a sports-themed action shot and a model in a flowing dress. Then he’ll teach you how to build a background out of multiple images with a focus on making the new background dynamic and believable. You’ll also learn lighting techniques for matching your photo shoot light to the light in the alternate backgrounds. Finally, you’ll explore the best ways to use Adobe® Photoshop® to assemble your images so they match your unique, creative vision.

This course will teach you everything you need to know to conceptualize and produce complex, visual masterpieces driven by your imagination. What will you create?

Software Used: Adobe Photoshop CC 2014 15.0