Soccer Shoot: Shirtless Jump Shot


Adobe® Photoshop® Compositing: Essential Techniques


Lesson Info

Soccer Shoot: Shirtless Jump Shot

we up the ante a little bit and we're going to be nice we're going we're gonna be doing basically the same thing so I'm never opposed to showing some skin in our images and what are we using for the for the effect here olive oil and water I've used baby oil on photo shoots before we use blistering basically anything that's going to make someone look shiny and sweaty like they've just been playing with that coke okay it is good for the skin use it use it in my hair all right so let's see the same shots I think coming from the front was kind of like what we what we voted on and yeah it's just let's keep rocking these out and hopefully we can get something really really nice which I think is gonna happen so let's go for it yep oh sorry you were right I do need to refocus you do in my job for me thank you okay yeah we're good to go awesome that's already just really really cool so doing multiple versions of these shots with ease let's just keep going we'll keep going we'll see what kind of...

variety we can get if you want oh sorry you never knew that you're um okay if you don't mind doing the like the yelling I thought that was actually awesome yeah yeah and then yeah making sure you're like looking at the ball with intensity and doing what was that okay perfect um yeah if you don't mind doing a little bit of a yell when you jump that'd be amazing awesome so cool as long as you want to go I'll just hit the button awesome congo and you're doing great wow wow these are amazing let's do one more and then let's try from the other side all right yet from the other side whenever whenever you're ready awesome all right and with these if you want to take it just a really quick break I'm goingto talk about sculpting our light a little bit more so this looks awesome but james got such a good body we can do a better job with our lighting toe highlight his body so what we're going to do we're going to bring our beauty dish forward a little bit because I want this right now it's behind him which is creating a bit of a rim but we've already got rims so if we bring our beauty dish forward a little bit what it's going to do is it's going to scrape the front side of his chest and when I say scrape I mean like lighting scrape it's going just the angle is going to come in from the side and it's going to give us highlight shadow highlight shadow which is really going to help to define to define basically what you've got going on so oh yeah that's ah great idea and it gets the stands out of the shot perfect all right ready when everywhere uh all right let's take him but that would take a look yeah I think it's good if you wantto just let's keep going some of this you know when someone's just standing still you could really get your light very fine tune but when someone's jumping in the air it's going to depend on where there bodies twisted and things like that so a lot of the time it's just better just keep trying awesome if you wanted to start maybe from over here yeah yeah let's try that all right let's bring it even even mohr ford I think yeah we're still I think we can still see a little bit more of a highlight and weaken we can pop the power up a little bit here yeah let's keep going all right thank you be enough room what with that ok and yeah I think I think you guys are right I think we might not I need the flag but let's keep it in their point alright ready whenever you are james okay like I did yeah there we go let's take a look at this shot and kind of talk about moving moving the beautician kind of like why that's you know why that's important let's lower the power a little bit maybe on the beauty dish if you don't mind um yeah so let's just kind of like back up a little bit and show the difference on his body between you know not using any type of any type of rim you know here we see some definition there but I like I want to see you no more definition across his body as well and I think with some of these later shot especially like that shot there you really do see that definition the highlight in the shadows so that's something that your manager that's awesome that really does look like you're in the middle of a game which is really really cool when you are doing using rim lights especially something like this let's lower the power of that of that pro photo if you don't mind you might get artifacts like this and that's what we really want is this rim light that's around his body you know this sort of thing we don't want as much but it's usually a pretty quick job using a clone stamp tool to get rid of that so if you do have all these little artifacts like generally it's not that big of a deal to worry about all right and we do see some movement here with his hands in this case I really don't mind it so much but it's probably because the flash duration of the life that we're using is a little bit too long most of the time you can lower the power of your lights and that'll kind of help for that if you do need to lower the power of all your lights most of the time you get up you're so we're shooting it I saw one hundred it's a cannon five d mark three I'd feel comfortable in studio shoot shooting upto four hundred generally I like to keep it at the native so just because it's going to do the best job of removing is you know as much noise and things like that as possible but there we go if we didn't need thio crank that up a little bit we could but it looks like everywhere else is pretty pretty sharp just his hand which I actually don't mind I I think it's a nice little detail alright look like then half like in that shot it's awesome all right we're ready to do a couple more games all right yeah let's do it stand maybe in the centre if you don't mind we'll get we do our focus alright and then we'll do a few more days they're awesome wow very cool all right and I want to do one more thing will take just a second james I'm actually going to move this light here we're going to move it so I'm going to see if I can scrape even mohr more from the front because another thing to keep in mind is that these shots are part of what you want out of this is to make pointing out there better all right cool so part of what I want when I'm shooting this stuff is I wanted to look like you know somewhat realistic like I want the lighting to match what's going on in my city and I do have run lights for that but I also want him to look at good as possible and if I can use these lights to kind of like bring them around and really scraped so like here for instance if this light were further around I might seymour highlight and shadow definition on the front side of james and you know I don't know what that's gonna look like but it's usually worth a test like actually see if we can do that sort of thing so well try bring that forward and uh yeah let's go for it oh man that made a difference was awesome let's take a look at that shot there we go you want take a look at that shot james so there is we can see the difference there let's just go back and forward so here's before and then and then the after and all that is is just light just moving you're light a couple of feet changes changes the dynamic the shot quite a bit um can we maybe bring the whole crash power forward what do you think just a little bit all right and john if you khun back up just a little bit as well I'm trying to get larger and more of the more of that you know kind of like your kind of kicking towards the camera all right yep that's awesome I kind of want to be not right here all right we'll take just a second give you a little bit of brake I know this is probably exhausting I'm gonna move this light even more forward we moved your crash pad forward I just want to make sure we're we're honoring it so we have a question from a handy andy wanting to know james are you tired yet you're doing an awesome job these are amazing james you really are killing it wow yeah these air those just just really really great um is awesome yeah composited in the back I already know these shots are going to be there going to be amazing yeah let's take a few more and then I don't know what that yeah and then we'll shoot because we're going to want to make it look like they're actually multiple soccer players on the field but we just have james is our subject today so I'm going to be some really amazing things you could do here on set that will make it actually believable that we're going to have more people on the field later that's just awesome really really is and looking at that shot there is there's not really much that I'm thinking about like you know I look at these shots now and I'm like how could I improve this with things like lighting like how could how could this possibly big be better and really nothing is coming to mind I mean maybe if there was a little bit more of a rim light here on this shin guard or maybe if the sneaker was a little bit more side lit but really it's uh I think we're doing exactly what we need that's probably not hitting it anymore let's yeah let's see if we can bring that in and uh way just do a quick test shot to make sure that we're not getting super flare from that yeah we're getting a little bit a little bit of flair weaken you dish anymore maybe I could move the flag aaron come questioning you a lot of folks were noticing the shoes and the bottom of the shoes would you add cleats to them or question um if ok if we totally needed cleats in in the end photo I would you probably just prefer to shoot with cleats I think for this workshop we're good we're good I want to play that out because people ask yeah if this works okay if this were going on you know the cover of ah soccer magazine and it had to be a hundred percent we have also getting some player off of which is that okay if we just put my finger there use the old finger method and see what we get oh you're right I think those are from the from the top yeah is there any way can we get behind the green skin and just raise those up like a foot there is high is the scans show they are okay in that case I am going to just lower my camera down a little bit and often times you can actually I'll just put my hand up here okay sometimes that'll work too all right cool yep ready whenever you are yep my hand did nothing ready whenever you are john if you can back up just a little bit yep oh man that's awesome all right wade got it I think more than got it these shots are absolutely amazing james awesome job awesome job so we've got that we've got the shots with his shirt on and we've got some shop what's with the shirt off way have a shot that we like with a shirt on and with the dog so let's say you were shooting this for a client and they wanted that variation now you can give your client that variation to so you could say look we got some with the shirt on or shirt off you can choose which one you'd like

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