Adobe® Photoshop® Compositing: Essential Techniques

Lesson 27 of 33

Compositing Soccer Player Part 2

 

Adobe® Photoshop® Compositing: Essential Techniques

Lesson 27 of 33

Compositing Soccer Player Part 2

 

Lesson Info

Compositing Soccer Player Part 2

now I'm just kind of like looking around my subject we've got a little bit of a green there we go we've got a little bit of a green fringe which that's gonna happen a lot of the time when you are shooting against a black background so really quickly I'd like to refine my selection just a little bit so when you click on my leather mask shift command are and I'm gonna feather the said just a little bit every go and I'm gonna contracted in a little bit too normally we go normally I would do this actually before I edit the hair because this is actually it might mess up what I just did with my hair so I might have to redo that which you don't know don't want to do that but all right I'm not perfect okay all right so bringing that selection in and we'll see if they're here all right it's just that command z to see the before and after with their here yeah I was a little bit better all right no big deal we've already created the channel we've already got the blue copy here we're just gonna cl...

ick on there I'm going to go to my other mask and I'm gonna paint it white on my leather mask all right here we go and that looks right penny back not a problem at all okay so now we're decently well cut up I'm going to go ahead and turn on our black and white again and we're just going to start working with our image just to make sure everything everything fits how we wanted to has to lead that black layer many command g two group that with itself and we're going to just double click and call this subject all right cool so just looking at this kind of to start off with we can move him anywhere we need teo and I wantto basically start to create my composition hit command tea and I think we're gonna rotate him around a little bit what do you guys think as far as like sizing and everything like that we were good to go with that thinking about the um the stuff you want to put on their left that their goal the goal and everything yeah exactly it's a little bit tough to kind of like figure out exactly what needs to happen right now because we are playing on putting a golden there were planning on putting other players and things like that so right now we're just kind of like roughing everything out all right I'm gonna darken down just a couple areas so we're gonna grab a levels adjustment layer option command g is going to clip that and I'm gonna click here and go to the right a little bit because if you guys remember from yesterday our crash pad was a little bit lighter so we want to darken this sound especially down towards the bottom of the image and that's just going to help him blended and you can see they're on his back as well it's just going to help a lot of these areas blended his face we might keep a little bit lighter but a lot of this is gonna help keep darker alright let's take command I on that layer mask and then we're just gonna paint in with a regular brush that we created earlier all right and I could probably take a question right now if anyone has won so we've been getting a handful of questions erin about using calculations to make selection's okay have you ever done that before it can be pretty complicated is my understanding it can be pretty complicated you know I've gone through a few tutorials on using calculations and the results I get are really never that much better or different than things that I couldn't do with much simpler tools so I've yet to see like how calculations khun really benefit me and again I'm always open to be proven totally wrong it's happened many many times and it's going to happen many times in the future but to this point it's not something that I've put in my tool bag because it's it's always just been kind of like okay that's cool but I know a way easier way to do it so that that's kind of how I treated calculations up until now but I'm I'm again open to be proven wrong okay and this is from m j r does aaron choose a specific area on the edge when he uses the pen tool that is closer to the image or further in the anti alias ng part I think that's a good question it is a good question usually when I'm choosing to use the pento all right so it's just kind of zoom in here and I can click on my path and back on my work path why I moved my subject as well so you can actually hit command tea on a work path and you can move a work bath as well if you need to do that I've rotated around us well um so generally when I when I'm creating a path I'm generally trying to create the path slightly inside of the subject rather than on the outer edge I find that whenever I'm selecting around you know a subject something like that it's usually more helpful to get that clean line the clean line that defines the edge of your subject really well is usually what makes that this election believable even if I were to like dip it in and not include part of the shoe I find most of the time it's not really that noticeable it's just that you know having a nice edge that's consistent throughout the image that's usually what makes a huge image huge difference so when I'm choosing my path usually I'll have it slightly inside like let's say I was cutting the shoe would have a slightly inside the shoe rather than slightly outside so it includes just tissue in none of the background cool all right thank you yeah good questions all right so I'm just going in here and placing a couple layers on here just kind of working on my exposure and this is really really similar to what I was doing with my background if you guys remember just making certain some parts of these images lighter in some parts of them darker just kind of like match what's going on there in the background and you know nothing incredibly fancy here we're just grabbing a couple levels just want layers and darkening something's out or lightning something's up all right there we go I'm gonna take care of the bottom of this shoe here hey command I on that layer mask and because it she was just a little bit too light in my opinion so I'm just making it darker and here I find again I'm still working in black and white all right which I will continue to work in black and white for a majority of this image and then at the end we're going we're going to pop it into color we're going to do all of our color work and erin can you reiterate why you choose that worked well yeah I find it's it's just it makes things a little easier I find that colors are so complex you know looking at colors we've got hundreds of millions of colors to choose from in an image and if something isn't working like all turn this alter the black and white layer off right now like this that looks pretty good right now and I'm able to focus on things that are really important like you know getting all over edges right like that compared to that we're starting to look a lot better but as soon as I turn my colors on I'm kind of met with all these set of new challenges like there's a way to wind blew my stadium the grasses to saturate the sky's not saturated enough he's got too much red in his skin I'm kind of like faced with all these new challenges that I don't have to deal with if this is a black and white so those challenges they're not really that big of a deal but if I can kind of isolate the image get it to exactly what I want in black and white adjusting color is really not that difficult after the fact I find it's a lot more difficult to see things like oh you know I need to make this slightly darker like you know this bit of his backto match the luminosity of what's going on in the stadium like I might not see that I'm in need to make that change but in black and white it's pretty obvious that I need to make that change so I find that you know taking care of the lights and darks first really helps to simplify the process you get those out of the way and then do your color correction it makes compositing so much easier for me anyway uh some people are like naturally really really gifted with color some people can just look at this stuff and we'll just like oh yeah this is one percent to saturated and in these three percent more green and two percent less luminosity and those of look at it and be able to tell that but I've never been that person so I invent these techniques to kind of like ade myself and like give myself a little bit of a bonus whenever I'm trying to do this stuff because it's it's just not like I'm not a savant with color you know monday or something like that so I'm just I'm just trying to create these things that helped me actually do the job a little bit better and make it easier on myself all right um but to answer that question let's really quickly talk about the the green fringe that we have around our image and there are so many really in my opinion easy ways to take care of these fringes I know when it comes to the green screen we're going we have a ton of green screen questions like how do you get rid of the fringing how do you make your selections accurate and things like that on day one we showed you guys some really amazing things we did with selections and here we're going to kind of add to that so on top of my on top of my player and we can say we've just got a few adjustment layers here I'm gonna grab another adjustment layer this time we're going to go to hugh saturation and we're going to clip this to my subject as well so we're kind of just doing the same thing over and over and over again okay now here in my master slider if I were to take my hugh and just click and drag this to the right of left you would see this really effects just about everything in my image it's affecting all my colors but if I nail this down to something like our green channel and start messing with this you can see it's starting to it's not affecting at least the red it might not be affecting all the green swell so we need to make sure we also this a little bit just to make sure I am actually selected on the greens we need so to make sure we're selected on the greens that are actually around our image just kind of give us a little bit of like a visual cue and to do that I'd like to crank my saturation way up and you can see okay what's going on in his hair here right we can see now see there's a difference in the hair so I can see the green that's being affected right now is in his hair and we can just we can either bring our hugh up we're not so craven saturation of that's just a good way to see what we're actually affecting now this slider down here basically it's just a really simple ways saying the color on the top we're going to convert to the color on the bottom so if I drive this you way over here this is going to say it's going to take the greens and it's going to turn him into red that's that's basically what that slider is doing and it's going to basically this is our feathering on this slider so if I convert this if I start pushing this over this is going to now take our yellow range and it's going to be again bumping up our saturation so we want to make sure we're actually affecting the greens that are in the image the offending greens all right and if you need you arranged to be a little bit larger you can just click on any of these areas kind of widen out your whiting out the area that it wants it perfecting all right so I would recommend something like that word starts just encroach on our subject all right and we can always use a lame ass but you can see like really where these greens air coming in you know we've got some greens here but it's mostly right around our edges so like that's you know that's the green that's going to get selected if I bring the saturation down let's go back up to the very top here we can see all right so saturation up and it's affected saturation let's bring these back to you both of these two zero and that's what our original looks like and if I bring my saturation down no longer is that green it's going to be a little bit more grace hell or what I can do is I can choose to push this towards our flesh tone and when I do that then all of my green fringing completely goes away because I've taken that green I've isolated it and I've taken it moved it down to flush him so now anything in that cold and I don't have to use later mask I don't have to do anything else I've taken can everyone see that by the way is that awesome or what that's really really cool so this is I mean right now we're doing it for green screen but any time you have a color fringe on your image at all you can take this into it if you want to get rid of chromatic aberration you can highlight the greens and purples and you can reduce the opacity or you can change the color of those this technique could be used for tons and tons of things if you wanted to like take existing color range in someone's skin like if someone has too much readiness in their skin you khun target just those reds and you can change that color using this exact same technique so in really really quickly I was able to completely you can see all the green in his hair was just human so everyone could see that all this bit of green in the hair is really quickly I was able to completely eliminate it and now we don't have to worry about that at all so we've taken a problem with the green screen and turned it into something that no longer problem I think it's pretty awesome yeah I'm going to jump in if you don't mind we had five questions in a row about how to toggle between color and black and white oh okay for me to show that it's again really quickly yeah really good question okay so let me guess I'm talking a lot about like let's make this black and white I want to show you guys how to do it there a bunch of easy ways to do this the way that I'm using here in this in his group called the czech group I've created a channel mixer layer okay channel mixer is the cleanest way to create a black and white because it won't choose to either make some colors lighter or darker just give you it just takes away color so if you create a channel mixer layer and turn on monochrome that's basically what that's going to do that's going to make your image black and white all right so clicking on monochrome that's exactly what that does other things you can do there's actually a black and white adjustment layer built here into photo shop so you could use that as well you could create a new layer you could hit shift delete and fill it with black and you can change that from normal down to color and that would make it black and right as well so there are a ton of ways to do this whatever way works best for you just as long as you get it in black and white because that again really really helps make your job much much easier in photo shop good questions terrific thanks all right cool so this is looking great we've got our subject in here and we kind of talked about you know a little bit earlier we're going to be a little bit unable to tell if this is exactly what we need until until we start bringing some of those elements in let's bring another excuse me let's bring another version of our soccer player in and let's go ahead and say this in between some of those elements in the foreground so we're going to bring a couple more of those like foreground players remember yesterday when we were shooting and we had him jumping around like right in front of the camera we're going to bring those in and that's going toe that's going to just give us a little bit more in depth here all right and never this opens yes open that catalog thank you all right and back to our image really quick while this is what light room is loading there's still more things like when I'm looking at this image I'm just thinking to myself okay there are still a lot of really cool effects that I want to take care with this a lot of it's going to go on with the lights if you guys remember original comp image he's like so much brighter and they had much more lighting effects and things like that going on so I'm just kind of thinking like all these really cool effects that I can wind up bringing into this image we're going to doing things in our next segment we're going to be adding amazing like really nice blurs that are going to make it look like he's like zooming in to the image we're going to be cutting out or soccer bowl and bringing that and we might have time to do that now depending on how fast fast I can do this in light room all right let's go ahead and hit g for a grid mode all right and these other thing these other areas are going to be a little bit less important like getting our key soccer player like that was obviously super important but all these other layers you know they might not be as important so let's hit p for this one all right and p for that one all right so this is coming in from the left here and now I wanted something coming in from the right and if I needed change any of these colors after the fact I couldn't do that as well not difficult at all all right and I think we're gonna hit p for that one as well so let's go ahead and just really quickly here I'm flagged by our picks okay let's go ahead I know that I like that image and I like so let's go ahead and hit show and find it with this one and you can export these out individually if if that's a little bit better for you right now I'm just doing this again workflow wise I'm doing what I found to be easiest during this creative live broadcast but generally I would be exporting each of these images out as tips all right so this image is three four nine nine was just switched back to boulder and opened this one in photos all right let's go back in the light room this image is three five three seven so we could go back in tow finder you can use this little search thing three five three seven and most of the time there we go that's a really quick way to find folders few individual images if you want hit open images all right and now let's see if we can do this is relatively quickly here let's just bring in our ball when used my move tool the click and drag that from one image to another just close this out use are moved tool for this one click and drag from one image to another and the same thing with this one all right so first let's go ahead and focus on our ball and you guys can see this is this is above the black and white adjustment layer that's why I can see these all right with this I couldn't just really use my magic wants well I don't get much more fancy than that put a lay a mask on their command I on the layer mask and we're good to go with with the ball now since I already used the since I already used this huge saturation just meant layer to take the fringing off of my subject I can actually just hold old or option click and drag on my hugh saturation and bring it up here which is going to make a copy and then option command g I can clip that so I can I don't have to do that over and over again I could just use the same hue saturation adjustment layer and looks like it's carrie creating penniston like weird areas going on here so I'm just going to create my lame ass and we're just gonna paint black on that just to make sure that it's not targeting those areas as well all right let's go ahead and hit command jeon those double quick and call this ball all right and this is going to go right over here hit command tea and size this a little bit more appropriately another quick tip too if I want to shift click on the layer mask where our subject is and go back to my ball image and now I know about the size the ball should actually be so although I photograph the ball completely separately now aiken just scale this because I had a bowl in this image as well there we go so I can scale incorrectly to how large it should actually be so we don't get yelled at by saying that's not a size five ball that's it that's clearly not um all right very cool let's go ahead and just make that a little bit darker as well all right manny was levels see I wanted to use curves there but I'm using levels just to keep things consistent all right there we go let's make our subject um go ahead and cut that off go back to our bowl and then bring this in right about here I can't even put it pretty much at about the same place there all right and now we've got our ball and our subject together so now we can really start to jump into some of these things that make it even more fun in photo shop is I can shift flick that two of those and I can move these around together so now I can really start to do my composition here in photo shop and I can move multiple elements at the same time which in my opinion makes it way way more fun all right guys and that's it for this segment next segment we're gonna do is we're going to bring in these players here in the foreground were going to bring in the players there in the background where we captured multiple versions of that I'm gonna show you how to bring in dirt and things like that and we're gonna be starting to add some effects and flares and things like that into the image so it's going to be it's gonna be awesome I can't wait this thing you're going to just see it's started off is just really really simple and it's just going to continue to build and build and build and by the end of it it's going to be an amazing image cool so how about a little a few more details on what we're gonna do in our next segment all right I'll go over those few details so our lights in the background I really want to add some like lens flare photoshopped has some really cool tools built into ads and lens flare and details of these lice in background and that's what's going to give this image get really cool stylized look we also photographed other players that well it was basically just james running against the campus and I want to cut him out of background and play some of those in the background to make those little more realistic and in our next segment we're really nailed down our we're going to nail down our competition to the other players in front of james I might haven't cover up a little area of him maybe cover up a little bit of the ball to get create that depth make it look like this image actually has like a foreground mid ground and a background and then in our last segment we're going to finish this image off I'm gonna have some really nice lighting effects as a whole to this image we're going to do some coloring and then we're gonna sh very very quickly show you how we can take the portrait of james basically pump it in a really similar version we're going to change the background slightly for that and show you how in almost no time we could get a portrait out of basically the same exact photo shoot

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

Reviews

Kim
 

This was the Best Creative Live course I have had the pleasure to watch. Aaron was so informative and explained each technique very well. He was so pleasant to watch because he was so humble and was so happy and excited about what he was creating. What an excellent teacher. I hope he does more seminars.

Curtis
 

Fantastic Course! I've watched (and purchased) many courses from Creative Live, and there are many good instructors; excellent instructors, in fact. Aaron's course on compositing essentials is one of the best. In addition to being a technical expert, he is a great teacher; a real talent. Great information and good illustrations/explanations. He does go a little fast when using Photoshop, and while I was trying to find the short-cuts keys, I would find he was three more points down the trail ahead of me. (That's part of why I bought the course ;-) )

AJ Photography Ireland
 

I purchased Photoshop Compositing Essentials after watching the course on live, from start to finish here in Ireland. I was so impressed with the teaching style of Aaron in this course ( I have also purchased an earlier course by Aaron), that I just had to purchase this course too. I have always had an interest in Compositing - having tried and had reasonable success.. however Aarons way in which he passes on his knowledge and expertese in this subject is pure Mastery to watch and absorb. This is indeed a complex skill and there is so much to learn.. but,Aaron's manner in which he teaches comes across as almost " one to one" in nature and so enjoyable and absorbing to learn from. Having purchased the course and once again on a personal One to one' teacher pupil experience I cannot recomment Aarons courses enough . Learning through Creative live is such a joy.. ( Im 57 and been into photography since my teens and working as a Professional photographer here in Ireland for the last ten years -- As an ex Cop in London for thirty years and now supposed to be retired ( ! ), I can now experience my Love of photography in a working enviroment and continue to learn my Craft with Creative live. Thanks C.L !!! Andy Jay - Cork Ireland. www.ajphotography.ie and WWW.andyjayphoto.COM