Adobe® Photoshop® Compositing: Essential Techniques

Lesson 33 of 33

Compositing Soccer Portrait

 

Adobe® Photoshop® Compositing: Essential Techniques

Lesson 33 of 33

Compositing Soccer Portrait

 

Lesson Info

Compositing Soccer Portrait

let's go ahead and go back in the light room so we're going to open up our light room we're going to support a portrait and there we go open up light room we're going to just choose a portrait and then use a very similar background we could probably even use part of this exact background for the portrait that was kind of the idea is like we wanted to create this portrait background but we didn't want to spend a ton of time doing it so we're going to choose a portrait that looks really good that's basically everything that we want and then we're going to cut our subject out from the background who's in the same techniques we did today and then we're going to be placing in a new background so the whole idea what that was again try to get as much as you possibly can out of a photo shoot okay well they're scooping up how about a question all right so how much sharpening to usually do do do any final sharpening and I don't think we hit any any sort of uncharted mask or anything like that ye...

ah generally it really depends on the type of image that that I'm editing but like for this image you saw how I created that stamp visible layer and then I changed the adjustment mode teo overlay and then I did basically just ah hi passed layer and use that sharpen and then I just sharpened parts of an image and that's usually what I do generally I won't sharpen an entire image I find that if you sharpened just parts of an image it'll help draw a person's I just to that part which I find is more helpful usually just sharpening the entire image as a whole so basically just what I did there and you khun depending on how much you want you can just kind of do the same step over and over and over and it will continue to sharpen the image even more all right so here we're just going to kind of choose that's cool what do you think that one yeah that's grade all right oh I think these air after we got a all right I think this is after we sprayed the water so I yeah let's go with this one awesome so we're going to right click here and I'm going to go to show and find her all right and once we've found this image in the finder window we can go ahead and close out light room so basically just using this I probably just could've scrolled through these images here but no big deal all right so we found three six nine zero in our final week no let's go let's go ahead and hit command q in our finder sorry in leg room we're going right click here and I'm going to say open with photoshopped cc two thousand fourteen so if there are any questions left on how we can actually integrate a subject into background and account for cutting them out with a green screen this uh this should do it all right so let's go ahead and cut our subject out we're just going to use this exact same background here and to start off we're going to go to select and then down to color range so when you select a color range that's here in our backdrop even uses plus I dropped a couple of times all right there we go really cool let's hit okay and we're going to just click on a layer mass button make command I and this is what we've got all right now we're going to make this a little bit smaller and basically I just want to use my background from this image so let's go ahead and start turning some layers off oh and by the way when I'm doing these things like all turn these layers often on and I might decide like after the fact that like you know what maybe I didn't like that so much and this is why it's so awesome to be able to work in layers like this is because even after I've done all this I could still move my subject like I can still put him wherever I want teo he's got some other like layers around him but if I did want to move him this is still open to me and open teo your clients as well if you are shooting these images for clients so just another reason why composites are just amazing a year later you can go in and you could photograph new players and you could put those new players on the background if you wanted to make it look like you know someone else is back there so there's really no end to what you can do with these all right let's go ahead and take this background I just made a stamp visible air shift option fan e and I'm gonna click in drag from one layer over to another and I'm gonna place this behind our subject there all right let's go ahead and delete that and I'm gonna turn all these back on all right so hit f four full screen now I'm gonna hit command tea let's lock our within our height all right there we go very cool and you know what let's go ahead and I'm going to crop this in just a little bit I want background to be a little bit smaller I don't know what do you guys think you like that or make the background smaller okay and then we should crop in then all right something like that great so it's c for the crop tools make sure your delete cropped pixels button is unchecked all right that's really cool so if I need to move my background within this image I can move my background as well and keep in mind I just took a stamp visible layer and pull this in but if I were to take all those layers I could move on my individual lights around if I needed to a swell so we're not really limited even after we've done all that we're not really limited tio there were two we'd like it over here or like that cut so difficult that just probably means it doesn't matter way got birds coming out of his head okay so let's go ahead and shift click on this later we're going to clean up her selection right there should click on her later mask okay we're gonna go to our channels look at a red green and blue in this case we're going to use our blue channel because there's a big difference between light and dark here so we're going to duplicate our blue channel he controller command l to bring up her levels etcetera black point right there and then really just crank up our white point there we go and remember the lights are going to selected and the darks are not going to be selected so where the lights are selected we want to paint white on her layer mask now because this is our ah here this is our hair and we want to make sure that it is visible all right there we go cool all right and we're in hit shift command I hydra selection and hit x and then we're gonna paint black right over here all right then doesn't remember how to get rid of this green fringe really really easy to do we're gonna grab our hugh saturation just nuclear option command g to clip this on our subject we're going to go down to our greens I'm gonna make sure to crank up our saturation so we know what area were actually affecting here there we go and then we're going to bring this back down to zero and I'm gonna bring my hugh odor left here there we go and now we're in a normal color range for the hair how ride really really cool and if I need to click on my lame ass canned hit shift command are aiken feather my edge a little bit and I'm going to shifted and a little bit a swell that's just gonna help it make sure that there's no um there's no edge right there no green around the edge rather all right that looks cool I might need to bring a little bit back with hair I did that in reverse order again take it no big deal all right let's paint on our hair and I'm gonna paint white on our layer mask all right looking it so this looks like it's doing a pretty good job if I want to do even better I can create a new layer option command g I congrats my brush tool and actually grab some of the color that's here in my hair just like that and I could just change my layer blend mode from normal down to color there we go or from normal down to hugh and that's going to make sure that it's the correct there we go that it's the correct you so that's going to totally get rid of all the greens that we need to grab it got the uh years and do the same thing all right coop and this looks like it's got a little bit of green reflected in there as well too so I'm gonna try this again we're gonna go to hugh saturation it's already clipped we're going to go to our greens and I'm going to crank up the saturation on this and we're going to make sure we're actually selecting this area greens now what I'm actually going to instead of bringing this down to zero I'm going actually push this towards the blue range it's krieger saturation all right where is the blue range what is going on never mind I will not I will never do that thing that I just said I'm going to do all right I've been trying a different way we could nuclear I'm gonna go to select down to color range and then let's try this a different way I must like this green that's actually in a skin right there there we go I think that's it right all right and then let's try a huge saturation just one layer just on that color there no that's not right either delete that all right one more time you saturation just men there I know we're going to get this guy's don't worry everyone's like I'm not worried you're the one who's doing it you need to worry all right there we go that's the color range that I want to change right there let's go ahead and bring that down saturation and I'm going to push this back towards reds are normal color range all right there we go looking good and then if I wanted to either bring in let's go ahead and group all those those are my subject I could bring in some of the blues of the background remember how we did that on original image when we actually colored the mountains I brought in a cul arise so let's go to hugh saturation vestment layer option command g I hate colorized and now we actually want to color kind of similar to what's going on there in the backdrop right there we go and then if we double click on this layer I can basically have this only be visible where the underlying layer is darker and what this is going to do is it's going to bring in that color into the shadows of my image and it's going to make it look like he's actually in that scene because the colors of the background are now going to peer over top of the subject and it's going to make it look like it looks like he's there which is awesome all right there we go let's go just move our background chest a little bit all right and then I'm going to make a stand visible layer let's clip that to him as well let's go ahead and changes to an overlay layer shift command you to de saturate and set this to be a high pass later all right this is actually quite a bit of sharpening here but first porch tortured like this I think it totally works so let's put a lame ass from that he command I on the layer mask there we go and painted white over this especially all this like grid on his on his mouth and things like that we really want that to look like it's got a better color all right let's make sure we lighten up all this here in the background too so anything that we do on you know on our subject now we're totally able to effect all right take command I anything that I do on the subject because we've asked him out so well we're able to have this just effect layers like this little bit of hair and things like this in the background if it was a little bit too dark I mean we'll just lighten it up and it's only going to fact this little bit of hair right here it just helps the transition a little bit better all right let's go ahead and as an image is the hole I'm gonna grab a curve adjustment layer or were doing levels holy doing level today all right bring this down I'm going to create a little bit of a vignette on this image we're gonna hit command I on our layer mask and we're gonna grab our grating tool I'm gonna paint from white out alright lets it plant I again kind of dark in this stuff down let's go ahead and create a levels adjustment layer here make this a little bit brighter all right we're almost done guys this is what we really wanted to show was how quickly we can do this sort of thing even after after the fact that looks great as well let's create another one of these levels adjustment layers bring this a little bit brighter all right so basically our composite's done at this point compositing is already done I'm just kind of like playing with the portrait and making it look a little bit cooler all right and then here at the end if I wanted to do a little bit of color balance you know what because I could stylized this a little bit let scrabble levels adjustment layer and I'm gonna grab our blue channel and I'm gonna add some yellows into blue that deals in the shadows and blue in the highlights like give it kind of like that cool stylized portrait look all right and you know what I want oh I want to make sure I sharpened the out his uh his suit as well because that looks pretty cool all right that's a pretty cool looking image isn't it and he's got birds flying out of his ears all right and just let's see there's a little bit I want to make sure we've got a little bit mohr red in his skin because it's looking a little bit on the green side yeah nothing dramatic there is adding a little bit of color in there just to make sure he hasn't gone over to the to the wrong side they're all right here we go and hugh saturation adjustment layer option command g clip that we read and cook this guy as well and when they click on colorized I'm gonna see what I could do in his hair just to make it match a little bit more so what's going on in the background there we go command I on that were in use air brushed pool paint white on this there we go and let's double click here and see if we can use it blending like a blend if to make it visible where the shadows are the highlights are that's going to help out a little bit that's it okay there yeah just kind of dole's that down a little bit I think that helps out a little bit there all right and then on top of everything we're going to need a lens player let's go filter down here to render and over to lens flare all right here we go let's do this again shift delete to fill this plaque command f to reapply the same filter we're going to go toe screen command j command tea flip horizontal hit enter shift click command e change your blending road back to scream shift option command m put a layer mask on there be for the brush tool excess which are colors shift for to change our flow painting a little bit v and then the number of five and we're good to go they asked me before they classify wanted show mouse jose without my keyboard shortcuts and I was like no it will be so in a way if it showed everyone keep a shark it's all right command squiggly to change our document commands quickly to change where other men document command w d do not save shift f and uh we're good to go command w to change our other document and here are our two amazing images from today

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

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