Adobe® Photoshop® Compositing Tips and Tricks

Lesson 1 of 1

Adobe® Photoshop® Compositing Tips and Tricks

 

Adobe® Photoshop® Compositing Tips and Tricks

Lesson 1 of 1

Adobe® Photoshop® Compositing Tips and Tricks

 

Lesson Info

Adobe® Photoshop® Compositing Tips and Tricks

So we're gonna be compositing tips and tricks, so I prepared this like really wonderful little speech here that I was getting memorized I haven't memorized it, so I'm I'm I read it because it sounds kind of cool imploded, poetic, but basically, you know, the camera never lights, right? We've all heard that that this is what this is all about it's about exaggerating the truth and creating complete alternate realities based on nothing but our imaginations. Eso compositing is when you merge more than one photograph together to create something entirely new, it could be very similar photographs and you're doing it for retouching or it could be the completely create something amazingly wonderfully we're ok, so I'm going to read this little thing of those maybe is a little too easy to read it, but I will anyway because I think it sounds chemical, the camera never lies, a composite can exaggerate the truth will create a wonderful new reality based on nothing but imagination. People often ask ...

y photo shop and not just like room this is why one word composite the composites when you combine several elements into a single image, it could be photographed three d elements illustrations it doesn't matter pull from everywhere possible to create the most compelling composites immeasurable this is why people love photo shop when there's a power of storytelling, comes into play in the next ninety minutes, you're going to learn the most important rules that separate a convincing composite from eight obvious forgery we will brief really explore my ten principles for believing compositions for believable compositions of certain, then we'll explore techniques, but creating compelling composites, they will be ticks into tricks and tips throughout the presentation and ninety minutes from now, you'll have the tools and knowledge to step out of a flat world, limited by a single photograph and begin creating multi dimensional imagery of euro two, bewildered too full to entertain and to communicate with your audience. So that's, basically what we're gonna be doing. Thank you, what are being much more interesting committed to memory? But, you know, it was the instances I would rather have a short penciled in a long memory, so so let's, talk a little bit, I'm just going to show a couple of composites before we get started, so we get some kind of an idea of what we're talking about, so I'm just going to have some examples here and the's air some of mine, some of these are new and some of these very early, some of them are good, and some of them are not so good, but it doesn't really matter if we're just gonna get immunity of what we're talking about we're talking about composites so for example this here this is all the same girl every single one of these was shot in my studio and then put together in another scene so you know there's one way you can use it so it could be the same person which would be impossible to do that normally new york city so you know I reflected a building inside the other building of course the chrysler building is not opposite that building so I had to compose it that and um this was just a fun little thing there a little trick that a lot of people using compositing you said a lot of movies and stuff if you look around the legs it goes off into missed because feet a very hard to do so sometimes people just fake it and that's what I did there um this is a mixture of photography and three d so I do a lot of this I call it cg photography I guess will you take three dimensional elements and you pop them in with photographs to create stuff that's fun because you know there's no way I could have these jets flying down chicago river here's another one looking at my hotel room I heard a noise I was like, what is that and happens to be, you know, a jet flying down the street? Yeah, not really um this was the first one ever did. This is horrendous, but I'm going to show it because it was my first of this type of composite this's for book cover. I did was photoshopped throughout. It never was cs. It might have been pushed up. Something the digital photographers, maybe cs one. Um and they told me I would like you to do the cover. Can you please have it ready by tomorrow? So I was like, oh, ok, who do I know, find a model. So what I did is I kind of shot the backdrop this new york in the background from central park, the roots there are, um, in l a. And then I took angela, who was the model of the time, put her in my garage and tried to match the lighting, the direction, the stuff of the lighting with the stuff to make it fit in. But then I kind of went for kartini does any kind of thing, too. Which is why she's, very colorful in the backgrounds faded. So to make it look like a cartoony plates, that was my ferry. So this one here, this is the once again. This is hdr photography and three d, so I created these wasps in three d and maya and put gas masks on them. Because that's, their weapon, they're sting is splits play gas so that, you know, if you're into coming books of stuff, you'll get that. All right, this one here, you know, look at this one a little bit here. This was a shit I did this for the cover of photo shop using magazine did a cover story and you'll see that I'm actually gonna reproduce. That story will be available. Ah, that tire tutorial will be available on my website there. The link that we talked about so post that later this week so you guys can do the full tutorial because we're not going do the whole thing today. We're just gonna look at some of the water and stuff, so, you know, we don't have time do the whole thing once again. Three d thing killer chests unit was actually especially a dragon's head, you know? Hey is a more common composite that you would do when you shoot a model, and then you'll take a background and kind of mix them together for more, you know, interesting environment, because you can't necessarily take your lighting set up into union station. So I took union station to my lighting setup. Um this one is one I'm working on is a work in progress looks kind of horrible right now but I'm just kind of sketching out the shapes and I will finish this um at some point so I'm gonna read duel this but this is just kind of fun death valley in the background model there kind of creating this thing so take back on this this is one of my earlier ones I call it catwoman um some people freak out and find it quite disturbing it was a lot of fun so I took a cat on basic just composite a report from woman's face you know, just fun and this was actually just done from stock photography so you don't necessarily always have tohave um you know, photography skills this one here so the mermaid in my studio composited everything together tell was made in three d and just kind of stuck that together. Um this was another one I did um if you look up here there's actually a villain on the building there so both of them in my studio but it's getting her hair was really hard. I'm not going to cover that and this but I'll tell you because it's not class on selections but little tip when see how we're here is like lucent the ends there um what I did is I actually shot her and then I re shot her again against a dark background and kind of headed flyer here around a little bit then I extracted the hair and it just kind of just top the edges and then just added the composited hair on there for the ages so sometimes you know, cutting hair outs really easy till you get where is loose so I actually have a file of here I blonde here have great hair I have you know we're just shoot you know throw you hear out here, shoot it and then I can add it in just for the ages and that gives the believing composite very quick to people like wow those carriages of really awesome and I don't know that you're really extracted those that are merely a time so this here is a three d uh the I created spit fire inside of three d and dropped this on top of a building in los angeles is a chinook helicopter landing pad be very difficult to lend us but fi there but the challenge and this comes when you want to match the lighting and when we will talk a little bit about that is matching the lighting direction, intensity and color and if you actually look in the front there you'll see in the chrome there there's actually reflecting the environment so it created a three hundred sixty degree panorama and stitch it together and then I used that for mapping the chrome edges and the wheels t will also be mapping environment just a really early thing I did because I realized that what we used to call comme ca lodging is now also composing I did this like probably eighteen years ago, a long time ago um this is another one, this is a very first compose it I ever did said this is going way back now this one I did it was for this site I don't think it exists anymore a nebulous design and they had these design contest a weekly contest and is where does itself? I really really wanted to win second place I didn't want first place I wanted second place because I wanted the price at that time is alien skins in effects and I think that was eye candy or something was the first person I already had and that's what I want in effect, so I want to make this so good at winds but not so good that it doesn't win first place I mean, I don't know that's may be crazy, but you know, it was a lot younger at the time, so anyway, so it created this flying car and lo and behold, I was the most excited silver medalist ever because I got the prize I wanted so let's look at some other people that I know because we just kind of racing through is a little bit good friend of mine ryan for sure it kind of goes I couldn't digest its composing fat showing his work good friend of mine good friend of photo shop cafe being working with him for a long time and this is a serious he has where he has animals and it kind of rooted to the ground on and you can see here and this really goes um it's quite you know, I really should tell you the inspiring story about him this is some of his work um you know, people are sitting here and saying, you know what? I can't do this I can't composite you know, this is too hard for me ryan had an accident when he was young he was free running, which left him paralyzed from the neck down and this is the kind of work that he creates he has a chair which was specially designed where he uses head movements and he blows into a straw to control photo shop yeah, so if he can do this and that some of the best stuff I've ever seen you can do it you know, it's no excuse so anyway just that I've there that mentioning um to check out ryan stuff if you can his work is just beautiful and then uh frank, uh brand camp from aiken, germany let me show you a couple of his pieces he's he actually is a big creative life fan and he learned from creative life how to do this so he actually goes around and he shoots the's beautiful environments he does not shoot models so he works with photographers a lot of the time he's sources from debbie in art places like that gets permission to use their photographs and then he does beautiful composites too. So the thing is you don't necessarily have to be a photographer to do these composites you confined this source material online you can find it from different places and put it together. Now the one thing is I really should mention is if you're doing that, please make sure you have the copyrights or permission to use it. Google images is not free where google images is a searching which finds the work that people like you and I have done on with people can look at it, but it is not use to just grab and use please us permission because not only is it dishonest, but the other thing is it will ruin your reputation were on an online world we're connected world and I've seen so many good artists reputation be, you know, damaged forever because they basically get colder ripper on a ripper someone that uses someone else's imagery without permission don't do it, it's just not worth it, you know, because it will come back to haunt you and you'll never race it kind of like identity theft. All right? So now that we've got into that, let me talk really quickly, I'm just going to mention the basic principles I'm not going to do like a bunch of slides for these because we'll cover letter these principles, but there's basically ten principles that are good for compositing, and what I'll do is I haven't done this yet, but I'll give you these and you could put them on the bonus material for the for the class, for for the creative life class. So ten things to bear in mind if you want your composite to look believable. One is the light direction. Um, you know, there was a famous sculpture when the flags blowing one way and the, uh and his coat is blowing the other ways of washington and was it, um but you know, something like that, you know, they get away with that, you probably won't. Eso if look at that when you're compositing, you know what direction was the light coming in your background, whatever area or if you're putting two people into a image, make sure that they don't let on different sides. Sometimes you get around that what you can do is you can flip you can flip something just make sure there's no writing on there because if there is, you need to flip that as well. So I mean, I've done that a number of times, you know, working for clients, you know, where they're like. We need to compose it this you know, one of them was a toyota tires and I'd be flipping stuff all the time to make it match. But then whenever I had to flip cars I had to remember to go back and make sure that I took the badge is often made them the right way on the ways people like why is that? You know, of the ford badge back to front? So think about that so that's a like direction and the other thing you know, how can you tell you like direction is a shadow so always look for the shadow the shadow will tell you what you need to know about light it will tell you the direction in the intensity of that light uh the other thing is light intensity which is the brightness how bright is this? You know you compose it something that's dark again something that's light, that's, that's a giveaway you can adjust that very easily. The other one is contrast and I seen contrast aa lot it's amazing help people fall for that I remember a lovely movie worst compositing I've ever seen in my life hope you're not watching steven seagal movie under siege to when you're on top the train and infighting and there was a low contrast like the black for the sky for the backdrop was probably about seventy to eighty percent gray, while everything else was a solid black and it just looks so fake so bear that in mind is contrast contrast the strengths of blacks and strengths of whites so make sure they match otherwise it's gonna look strangely odd even though those two words mean the same thing makes when his color charla does the color marriages that the color light the temperature of the light, the color um you know the human saturation think about this what is the actual color and how much of that color the colors could be right could be the same color temperature but if there's more of it, which means more saturation and one in the other it's not gonna look believable. Next thing is atmosphere, atmosphere is what we did in my previous section. When I showed out the window of the car and I put the valley in there, I added atmosphere by lowering the saturation and off of the image basically so as things give further away they don't just get smaller they also you have mohr pollution gets in the way particulars get in the air and the saturation of the color will diminish over distance as well as sharpness if you're trying to imitate something that comes out of the camera lens so that you know, be aware of that too but that's another point we're going to get to number six perspective, which is what we covered with their other cool what told there and make sure your perspective that's the biggest one I see people struggle with, you know, because I'm an illustrator as well. So do a lot of illustration and, um and has the one that people just just really miss up these beautiful images by getting the respect of wrong. You know, I really think about that if you don't know how to create perspective, catch a ruler, create a new layer, a set of vanishing point perspective basically works is everything vanishes to a point in space, draw the lines out if you need to and then make sure everything matches along those lines um and you know, because that just is the biggest giveaway just people struggle with that see in three dimensional space if you can the other thing makes one is size in relation to the objects you know, does the size match do you want it to match sometimes you want to make something look giant, some like that cat that should or you want to make something look miniature. So think about that in size, you know, size can be for reality or compete of bend reality and of course, worth mentioning that size can only be anchored with shadow. So if you look at something in space, is floating until you read that showing it connected with the with the surface, and then that will actually to find the size, um, angle, you know, I don't think I have to say much better angle that's pretty obvious sharpness once again, overall sharpness or sharpness in relation to the other objects. So if you have objects going off in the distance and you're using a, you know, an ef four? Well, guess what, these other objects gonna get blurry very quickly, so bear that in mind your what is your death of field to want to have a dip of field? Would you want everything in focus? Typically you're not going to have everything in focus. The other thing was sharp, mr, too is when you're cutting off and you sharpening your cutting edge is I've seen people do extractions where they have very, very high digits directions with a very wide open aperture looks fake. If you're shooting with a very closed up a tree and you have soft ages, you know when people from round the edges off looks hideous, you know, when you do it too much, it just is that's a big giveaway, so think about that and the way I actually tell the sharpness of an image when I'm cutting an image out and we'll see if we get to that or not if we do, if we do that and listen well, I'll talk about it when we get there, but what I do is I look where the body into sex itself. So for example, my arm here is crossing my hand so I would look on the photograph and a hundred percent view and see how soft is that edge that hide ege in my case, I'm here he finds something that's not so harry, and look at that sharpness of that it's a match that sharpness because that is the lin sharpness of that edge. So the lens is not usually doing things tech sharp I mean, maybe it is maybe it isn't, but most of the time no it's, not so much it there that's kind of how you use that and then finally the last one, which is a huge giveaway that a lot of people full for is grain, grain and noise you know have a look how much grain so you take this I've seen it often you get a backdrop this is a really grainy and then people will add a really, really smooth image on top doesn't look really the other thing be aware when you add blurs if you're doing depth of field blurs and you doing different types of blurs, make sure that you match the grain unfortunate the blur caroli gallery inside of photo shop does not have a grain option lin's blur does so bear that in mind so if you're going to blur the distance and you've got grain in the foreground, make sure that you create some grain and composite that and as well and that will add the reality and bring everything together so that's that's my basic ten rules of compositing so thank you for coming in was a nice dale because that colleen we actually had quite a few requests for you to repeat the name of your friend who you showed a sample of all ryan for sure brian for sure yeah great great thank you because by the handle ri ri ueno are you you know? Okay, um so you know he's in england, by the way, so yeah, it's very inspiring and it was funny because I've known him for the longest time before he even told me I didn't even realize you know, just because the guy one you know, we do design contest every year and he won some of their earlier design contests and just tremendous artist all right, so let's talk about, um you know, combining some photographs and looking at some different things the first thing I want to do it see a basic principle so I'm just going to open this up here and what we want to do is when we combine things I know this is not a photograph it's uh not the olympic rings either. Um I'm gonna have a whole class on masking and channels tomorrow, so we going to channel my deep dive, but I do want to touch on the basics here of masking because this is an essential skill toe have in compositing, so basically, you know, you have two options too to work. You can grab the a race it'll and you can just go in there and you could erase this now this is perfectly ok and is perfectly acceptable to do this the very first time you use photo shop then you should never do it again. So a race a tool is e for racing evil don't use theory settle you can get exactly the same result by adding a lay a mosque so you select your layer and we call it select a mask so masked by the fault is filled with white which means that it doesn't do anything all white musk has absolutely no effect so what we're going to do is we're gonna paint in the mosque and I'm just gonna grab a brush tool let's go up here and I'm going to I grab and a lot of the time when I'm doing this kind of masking I'll use a hard edged bush rather than a soft age burst because I don't want feathering if I want the feathering I can add that in later by selecting and blurring or using the mosque area so what we're going to do is we're going to zoom in here no he is one way you could do it you could grab the black brush and you could paint in this case oh no I went too far with the race a tool you would be pretty much done that's it with the uh brushes we can hit the ex key and we can paint with white so white brings it back and black will erase it now let me grab a soft is burst just so you can see a little see the soft it's when I do that we just had the ex kate and you can see how it just kind of blends now here's a little tip I sit on my welcome tablet because if you're doing compositing you must have a walk on tablet pretty much impossible to do this you can do it with the mouse I've done it with a mouse, but it's very, very difficult welcome tablet is better because it has precious sensitivity. I have two thousand levels of person sensitivity on here, said the hideaway pressed the more I paint with something, the other thing is the pan I sit the back button on my pin, you don't have to do this, but I said it to the ex key because one of the things you're doing a lot is your painting, your cleaning up your painting a lot, said excuse, which is the foreground background color so I can paint I can hit the back button and I campaign away and of course I don't have it sit on here where I should have its it, but uh, anyway, I'll have to reset this up during a break, but anyway, so the ex key I usually sit for their and I conflict between the foreground and background colors, and that works really well or use the excuse so here's. The thing about the precious sensitivity is worth mentioning because this is quite powerful in the brushes is two things that really matter. I mean is that we could get into the whole class, but when you're doing that, um, we're going to do the transfer and you said the a pass itty to pan pressure and the other one is a shape dynamics is this size you consent to penn pressure so those are the two main fundamental things that you're going to want to control you'll see this options up here that were added into photo shop this one is a pass ity and this one is size the reason I'm showing this because this is something people get confused with he is the sittings down here watch what happens in attending a pass city on and off what happens nothing when I turned the size on and off what happens? Nothing because what's in here because you can sit brushes up independently what you have in these bushes will override what's in the panel so what I'm going to do is I'm going to turn off the shape dynamics and the trans for now I can control these up here see how goes on enough there and it goes on enough there so if you want to be able to control them up here, turn them off in the panel and so now with the uh this sit teo the a pass ity here, the harder I press we'll see how I can just blend this now and the reason I'm bringing this up because there's another thing that you have to be aware of with musk pse and I'm gonna hit the shift key here to turn off the must turn it on and I'm gonna have the option key here is going to bring up the mosque. So this is what's happening notice here the different levels of gray control, the amount of transparency that's very important to know when you're working it and compositing, because a lot of the time when you're blending elements together, you're going to have this very, very gentle bland where you don't necessarily want things to be solid on or off, you want a semi transparency so you can control that with the pin pressure, as you can see, or if you don't have the pen, you can change the a pass ity up here and use that with your mouse if you're working with the mouse. So okay, so let me just go back here, and I'm going to turn off that now, because I want to make sure if you're cutting stuff out, make sure that you turn the a passage after your painting at full pressure. So here's another little tip, you can select an honest election from other layers without having those layers active by hitting the control of commodity and tapping on that layer or clicking. If you have amounts to notice how I took this election off that are the layer, and what that does is it creates a mosque, now a musk selection. Where I can paint the top so now if I want to paint a tough I don't have to worry about going outside the lines because it's not gonna work outside of that selection so that's just basically, you know how I'm able to link those two? So if I hit the shift key tenet arm tenet off linking it that's all it is is judge painting that little bit out and that's how you kind of do that, so very kind of basic bet I think an important principle to kind of set the stage with at the beginning. All right, so one of the things that's very important in compositing and collage ing is extractions, so I'm going to we're gonna look at a couple of basic ways of doing extractions because I think that these, uh I'm not going to get to into this because, you know, it's, not necessarily a class on just doing extractions, but I think we should know how to extract objects from the background because it's just important skill tohave so I'm going to take this one here, and I'm going to show you the two fastest methods for doing this for the two main methods that I use most of the time, all right? So here we go get a background here, what I'm going to do is I'm just going to turn off my panel here because I'm not doing any animation, so I'm just gonna close that panel, so right now I've got all these other things I'm going to throw these away, so you don't think I'm cheating and this is just the basic photograph as shot, you know, we haven't done any work on this yet, so this is one way I like to do is to use the quick selection toll there's one underneath it is hiding under there you should be aware of is the tragic wand um the tragic one does pretty much the same as the quick selection, but it doesn't do it as well, so don't use it. It creates really hard religious um, so having said that the quicks elation is a much mohr modern in you little and is an option under here if you look at the options menu well, we can sit size but pain pressure, so if I said the size for the pan pressure, the harder I pressed the greedier it gets and the lighter I pressed, the more delicate it gets. So what I'm going to do is I'm just going to paint over this just to make a quick riff selection, and I'm not going to trying to a perfect solution here I just wanted basically show you how that how this tool works and I could present a little harder there and I let me zoom in a little bit so we can see where we are we're just going to go down here without selection total quick selection and you just hope it's going to the minus key I don't know how that happened and we're gonna grab the plus one which should be on I must have tapped something by accident and the harder you percy hamper seeing light and it's just very, very delicate and then I press harder and it's selecting so I'm using the space bar to move around and we're just gonna paint down here real quick says is the first step it's funny because I remember the first time I showed this image and I mean I was extracting it and I had somebody complain that why is it on a white background um why was it you know that's easy to extract this on a white background? Well, yeah that's the point that's why shut her on a white background? Um there's a little hard for the guitar but the reason I just want to bring it up if you're shooting yourself think about what are you going to be doing um you know, if you are going to be extracting it, try to find a good contrast the background and this reason you know, in this case I could have used black I mean, it would have made it easier for the guitar and it would have made it easier for her, her clothing and stuff like that but who here is where the problems are gonna happen? So a lot of the time if I'm going to do an extraction um I'd like to suit against white a lot because white reflects and creates just a much better rim and makes it easier obviously you should be using room lights to when you're shooting it, but unless I'm working with a blond model, find work of a blond model that I want to shoot against a dark background or just don't point your light at flag your light because a white background could become a dark great background by not shining a light on it so that's you know, that would be a whole lighting class, but basically you guys aware of that? Yeah, okay, all right, so good a basically extraction here let's go a little closer here and I'm just going to grab the neck of the guitar prabha had problems with this and let's have a look and see houses looking so one way I can take check this is to hit the cue for the quick mask, and the cool thing about a quick mask is it basically becomes a paint herbal selection so you can actually see on here what's bean selected and what hasn't you can use a quick last look, I missed a bit there so I could easily just paint on here using black and white just like a regular mosque so I'm just going to go in there and I'm going to use white tio thank these little areas and we drop the breast size down you can see how I can paint that back in now I don't have to get too fussy here I'm just looking from major things because I'm going to be using another told very soon to clean this up a little bit so I'm just looking if there's any big bits that I missed like in here for example I missed that sort of hit the q t and what I can do with the quick selection I know that that's missing if I had the option key I could just tap gently and see how gently tapping will take away from this election there we go so I'm just kind of getting a revelation there and I'm just going to come on zero to fit it in there and now we're going to move to the next tool which works hand in hand with the selection brush is the refining itch so when we turn refine here john, you know the first thing that happens is it looks it looks pretty good when it starts off and then the other thing is if you wantto please your ego choose white and it's just been a little beautiful but you don't really want to please your ego what you want to do is get a good extraction so what I do is I choose on black and it's gonna look bad because now you can see the areas that didn't quite take so it's very quick and easy to do if you've used the maybe the old extract toll in photos and I think cs to us is three they took it out any strict told basically what you would do is you would paint around the edges and with a little brush then you would grab a paint bucket till put it in the middle and say this is the area I want to keep the stuff outside the paint buck I want to throw away and where those edges were was way the decision happened with photo shop so a thicker edge was mohr areas for photo shopped to make a decision senator edge less area to make a decision but a more precise selection so this works basically the same way and you will see this if you turn on the show radius and then if you open up the radius here you can see others ages if I go there that's a big age and you can see ok, this is where the areas of being defined that would be good because I would capture older here but all here is going to start to look really rough, so I'm just drop it down a little bit. So what I do a lot of the time is I'll take it down to the thinnest edge that I can get away with and when we turn the radio off notice how it's already cleaned up a lot, you remember around the legs and stuff was really bad before now that's being cleaned up because that it just doing it so that's eight, where we had three one, so let me turn it off, you can see there's the ages and so by sitting that three point one, which is what it came to were pretty good. We're looking nice there, all right? So there's other things we can do with this, we can create a little magnifying tool and we get a zoom in a little bit and let's do the hair because the hair is where everybody runs into trouble, I need grabbed the brush here. This is a refined selection brush drop it down a little bit, and what I'm going to do is just paint around to hear and as I do this, what it does is each time it samples it, it actually looks at the rest of the photograph and we'll start to make the rest of the photograph looked better. Because it's trying to figure out ok what in here what's not so that's a hair look at that all the way up there and see how it's just kind of grabbing all those hearings you can kind of bring the hair and like that and then you can also go over different portions of the image you know like maybe in the hand there it's not looking good you can clean that up like the neck of a guitar this might work it might not because these cheating pigs and probably a little hard to get like this but there were no bad and I could hit the option key if I wanted to take them out from in there so the option key does the opposite it starts to erase it and see how this keeps updating it's constantly updating here and we can go around there the other thing that's interesting is if we paint over here it will actually give us a semi transparency see how it's time to show through there you might know realize it but if I put it against the color we change here you can see that it's actually taken a semi transparent selection so if you're working with things like glass and stuff like that that's how you do it you use their brush and just kind of paint over there and you can get semi transparent selections as well you can change the you know a lot of these the way you want to view this as you say we've got all kinds of options we can look at on layers this is the flat option but we're going to go back up here to the on black now he's the thing the on black looks really horrible because it's very very contrast if if you were going the other way you'd showed on white if you're working on the dark so the thing is if it looks pretty bad there once you start putting it against a lot of background you're going to get away with a lot so I'm trying to reveal the problems like here I see a problem there see a problem there so we've got other options here so we've got the ages you can see some of these ages we can play around with those one of the things you like to do is just such a tad of feather and actually this was something that we were talking about earlier on let me zoom in here uh you zoom right in remember when I was talking about this election and how how hard the ages in fact I'm going to get a hundred percent it's not very big usually I work on a much bigger image than that, but for the sake of speed you would look at this and look at the edge where it overlaps how soft is that that's about how much feather you want to put in here? So that feathering amount matches the feathering amount where their arm is crossing over there? Because that's showing how much lens blurs in there and that'll give you a pretty believable expression at that point, so there's, other things you can do to is if you've got areas that a kind of showing semi transparent, like here that can be controlled by playing around with things like contrast, so the contrast will sharpen his age is up, we'll make them softer. So that's, another tool you have available, and then the other thing is, if you find you've got a color fringe this two different ways working that and when I say colored fringe that, you know, when we've got around the edges here, you can see we've got a white friends around there sometimes you get a color friends when you work against a green screen, sometimes I'll use a green screen, especially if I'm gonna animates I mean absolutely will do a green screen, but when I'm terming something like this, sometimes I just shoot it against white or black um, green screen, you get spill, so when you have the light hits the green, it bounces back and in around the ages it'll create a rim light with a green color, huge if you click this decontaminate colors option that actually there's a really good job of getting rid of the green, the other option is when you shoot against a green screen or any colored background, bring your model away from it don't put them so close because that's usually how that happens because it too close, and it acts like a reflector and hits the take him a little bit further away through a separation light, and it will be fine. So the other thing we can do for these edges here is we can do the shift edge, so if you wanted to just get rid of those ages, you can just kind of play around with that see them just put it in a little bit, and now a lot of those color fringing has gone around those edges just by playing around with the shift edge. S so that's that's, the basics of the refined age told, um, sometimes when I'm working and getting a lot of the time just to bring this him, you know, I'm not going to do it right now, but I will cut the head out and do they hid separately because the hair needs sometimes different settings and the rest of the body, so you don't have to do everything in one pass, so sometimes that sitting because I might want to push that little harder the contrast of stuff to get rid of that white around the edges of the here that I don't want to happen on the lakes because I want the lake's nice and crisp and sharp so that's just one little I think I would do and then we've got different ways of bringing these out bring it into the picture pretty much what I always use is new layer with lay a mosque the other time I might use a selection notice it's not showing because I'm on a background see that in there I'm gonna background layer and also I didn't start for selection, so sometimes if I've got something that's already being cut out, what I'll do is I'll make this election live grab one of these marquee tools and then I can go into refine ege and then I might go back to selection that's any time I'd use that option of rest of the time I'm working on new layer with lay a mosque, click ok, so why do I want to do that? Because here's our extraction and I can hit the shift key turn on or off the musk we've got the musket, this mosque is completely nondestructive, so let me show you something else I'm going to do with this is going to be kind of fun, so we've got this cut out what I'm going to do here is I'm going to take this background and what if I wanted to kind of composite her over the original background and then what I'm going to do is maybe use that original background and it just kind of play around a little bit, sometimes you'll do that, so what I'll do is I'll take this election here by come on clicking on a selection edge now have created that selections so that's now active, then I'm going to to select and then I'm going to choose the modify expand, so I'm gonna expand this selection a little bit like maybe now fifteen pixels as final is too much. Then we do that let's do five s is to expand what she's five you can't really tell the sittings until you apply them there we go, so going to do five, and what I'm going to do here is I just want to get rid of her, and I'm just going to do a content away of film, so I'm just going to the shift back space. Choose content where shift back space, by the way, opens up the field dialog box, and if you're on windows, there would be shy she shift the lead on max if backspace on windows. Use content aware and we just clicked, okay? And boom could come on decent. And we've created a background so we can put her on here. Now, the reason I did that is now I have the flexibility if I want to move the background around, um, if I want to do different things in the background, I don't have to worry about the little edge is starting to show if I want to blur the background, which is what I'll do a lot is, you know, if I choose the filter and I want to blur it and, uh, you know, we're gonna add at a blur to the background, you know, I can do that now, and what it does is it cleans up the background, and it doesn't show her around the edge. Had I not done that, let me show you something. Come on, j, just hide this and I'm just going on what I'm doing is I'm just creating a duplicate of this background layer. I wanted to leak that mosque, so he is a background with her on it. If I blurred that that's, what would happen, phil to blur put her over the top. You can see the blur, it just looks weird, right, so that's why sometimes I would just fill the background, and then that just gives me that kind of canvas to be playing with, and you can do different things to it and it's not really affecting it so still looks nice because, you know, there's all kinds of things you can do with that background. Um, for example, let me just click that, by the way, there was a new feature there, when you click that I can't now you can convert a background to a layer and one click I don't know if you saw that let me do it again, completing a background to layer it just clicked it very simple, nice bring us gotta love that. Alright, yes, finally, exactly that's what they call a j d I like just do it. So I'm going to make a selection around here and this is something I do sometimes when I'm creating a particular composite effect and I'm just going to do it quickly and I'm too lazy to cut out the feet and everything is you can make a selection around there and you can hit come on, jay, and copy it to a new layer and then I hide that, then you've got the feet with the shadows and everything like that, and you know, if you wanted to get out of mosques, soften the edges and stuff like that or feather or whatever and then you can kind of move that around a different places and then you can just kind of feather this area rim it just kind of paint that in there and then you can keep the shadows and stuff from the person so if the feet are really difficult just take the background with and in just mascot background and that's just another kind of a little trick um so you know I'm or about we're just giving you a bunch of trick here that I'm necessarily building up a collage however we are going to look at something else what I'm going to do is I'm just going to choose the open here and I'm going to show you different method of extracting that where did we put this extractions? I have it under the cut out here guitar go here we go. So water, water how do I create water? Because if you remember let me open both of these I can show you let's grab a couple of those and I'm just gonna click open. So if we look at this particular image here this is what we're kind of working on. This is the final image to concede e where we kind of are here you can see the first thing we did extract her then I kind of disagree touching and stuff like that but then I added this water so if you want to look at that, I mean, I got kind of crazy where I got water drops splashing about. We're here, too, which was funny because one night that the magazine cover there, like we had to, because they wanted to put it in the hitter of the magazine and they said, oh, we got the head of dumb, but, man, it was a lot of work for us to cut out all the splashes, you know, of the water. All right, well, why don't you tell me? I have delayed file? I couldn't just turned it off, so it kind of added the spray afterwards because I thought it looked kind of interesting. So so I just thought it was funny that I had to cut out all the spray so and you can see the sprays kind of here just I don't know. I love little details like that, eh? So what good is the water here? You can see. I just did like some three d stuff and kind of splashing around here. That's my guitar and I did not want to miss my guitar on water because I love that tonight I want to destroy it, so what I did is I got some water here from for my stock and there's a million other stark sites you go you could find what you could shoot it yourself but trust me it's easier to get stock photography and no one is going to look down on you as a photographer you didn't use your own water like trust me it's it's just water all right, so what we're going to do now is we're gonna extract this water and that was kind of I didn't mean that pun, you know, it's just one of this so here's the thing and we use the coloring, we're going to use this select color range and with the color range is really cool basically what I want to do is I just want to get this I'm just going to click on the white and then you basically change the range here and you can play around the fuzziness fuzziness gives you the softness, so if this is here, then obviously nothing insulated you couldn't read it if you want to get this way if you wanted to see a better um or we could go back this way so basically what happens when it's black like this it's fully selected pardon me when it starts to be great in a semi selected see really gonna have to figure out, you know, how much you might have to extract it a couple of times to see how much liquid you want to bring him with you the fuzziness here will give you these you know those kind of softening it just you know just kind of see how that works when you start to play with it and so what I'm going to do is I'm going to go about their I'm not sure exactly how this is gonna look but we could preview a little bit we can look at the grey scale here if you want a bigger a preview of its you can actually look at a new full size image you can do it with their black men into a white man you think I see the edges there you could do quick mosque and a cool thing about quick mask is you can when you go into your quick mask here you can change the color of that so you could look at a different colors and I'll show you how to do that and they just can't get to it from here so sometimes you want to play around here you're like you know I want a little color and he can see a better player and fuzziness maybe there and you've got these drops all right so let's go back to the regular one and I'm just gonna click ok and what that's going to do is it's going to create a selection now typically I like to musk and elected to all those things, but in this case I'm just going to hit the delete key because I just want this water I'm going to grab this water and then I'm gonna move into your the documents so I'm not going to be I don't need it to be no destructive so you can kind of grab that water now see how that we just did that so quickly and then we take it into here and drop it and said, we've got this massive order because it's I reduced the resolution this original resolution was massive s okay, here's, another tip right now I've got this water, which is a million times bigger than my image and I'm going to hit come on tif a free transform guess what where's my handles with my free transform handles I can't see them I can't scale that down two different ways to do it right one way is to hit the linke up here so you link your heightened with and you can just drag and change your heart with like this and move it around like that you know you could see your bounding bucks and you can go in there and you can play around but that's one way of doing it let me hit the escape key the other way to monte for everything then you hit the command zero and command zero will show the full dimension and now you've got your handles and you can drag that down to your heart's content and make it fit so I know for me when I figured that out that was a life changing keep it short cut for me s o we got the water here so water behind her I can put the water on top of her obviously by dragging it on top and if I wanted to kind of mix it together you know where it's going and through the guitar and stuff like that I would do the exact technique that I showed you with those brings remember the rings so I can actually come on click select her selection which will give me a mask and then I can just paint it out and that will very, very crisply get rid of it you know if I wanted tio must get out here in this case I'm going to come on because I want to create the mosque first because if I created this election is going to contain that's elected area within the mosque hey come on d now he'd come to the mosque with my brush here beef a brush and I could paint out these areas that I wanted to go behind her so you can see now some of the water is going in front of some of the water's going behind so that's basically how a did the water stuff here on this particular composite? So what I did is I extracted several bits of water and then the other thing you can do is just come on jay, you copy it, come on t free transform flip it around changes size change the scale and you can see there's another bit of water so you can just reuse the water selecting different parts on we just put the background behind us you can see a little bit better you can kind of get the idea of what's happening there so really that's all it is so that's ah selecting semi transparent and fully transparent objects and starting to composite them together so probably won't go any further on that particular one because I think you get the general idea so I'm any questions on that woman setting up the next image? Yeah, we dio I'm just one question before you roll on do you ever feather that edge when you delete when you delete that foreground to send those that water to the background you ever do any feathering around that just to make it instead of that chris part show usually usually I don't delete most of the time I would actually use a moscow and in nineteen nine percent of the time I use a must but in the case where is using water and I just wanted a hard liquid and I knew that was going to do on my modifications there I just did that but typically speaking, you know, always use a mask but I just found that when I was manipulating the water of the mosques it just became quite difficult because they ended up doing a lot of water stuff and I didn't need the mask right? Okay so that said if you would you feather the mask a little bit what I felt at the edge that edge me heard is always pins it depends if I want to in focus or out of focus okay, I would prefer probably to take it sharp and then I could easily blur those edges later on by just straight it is putting it into a mosque like it's very easy if you have a shape like for example um you know, let me just go here creating you'd layer and let me just do something so if I have something like this and then I just fill it with its not to continue what is just I don't know fifty percent great whatever, so I can do that and then once of god I was supposed to put them to moscow's night, but anyway I can create a mosque here and once I've got a mosque it's your fitness election and she didn't meet do that I'll make my selection first now it create a mosque and then at this point here you got you must properties and you can go in and you can feather the mosque and you know, self images that way see, you've got a non destructive way of doing it so you can change that later so that's usually you know, in a case where I don't do it from ask if I just do a hard cut out then I'll use the most panel later on uh, so and the other reason too is also is doing a lot of stuff with the mosque with grady inside stuff like that too. So head I extracted in a must you apply grady in that really misses it up to sew um, you know, this ways around that, of course you know you can create a mask and put inside a layer group, put a mask on the labor group and then you can double mosque, but we also had a question coming from ronnie wanted to know if you would explain that the smart radius does in refining the smart radius. What it does is just basically, you know, when we talk about the ages, it looks that the edges which would be softer and it just allows those to be to be soft where's thie hardage is it tried to push those down as tight as they can to get those they're just nice and nice and tight. Great. Yeah, so just allows a little variety in there. All right, so now that we've jumped ahead with this let's, see what we're going to do here with ah, yes, I know what we're going to talk talk about no let's talk about shadows because we talked a little bit of that extracting and the other thing that's really important, as I was mentioning before his shadow health shadow anchors you've seen this image before you've seen both of these images before I'm gonna open him up and the shadow will anchor something to the to the ground. So why is that not opening open? Be good to me. Here we go. All right. So what we've got here is the same image here. And this is another picture of the girl with the guitar, same girl. And what we want to do is we want to end the shadows. This is very similar to what I showed you before. But in this case, I mean she's going to get a little bit more detail and super and get more realistic shadow for some reason, photographer seem to be really, really scared of shadows. Um, you have seen people doing compositing, and and they just they were you know they'll dual these take needs to take the shadow with the object which is great and, you know and in some cases that's very, very essential but in other cases it's like you know what? You can fake a shed or pretty convincingly so right now the thing is, you know, we've got her here and, uh let's have a look here so you're looking at this and in this case it's like, ok, is she sitting on the ground? Maybe I should say man a little bit, you know that zeke easy key and the option keesey and optioned by the way we'll zoom out so I mean, she could be sitting on the ground or she could be I really, really miniature person really close to the camera you don't know I mean really, you know, really know, maybe if I had her a little higher up and had a little higher up in the air like here okay, now you see a giant sitting on the road or c floating in the air closer to the camera so you can't really tell there's no sense of scale because without that shadow there's nothing anchoring her to the ground so she could see if I was to create a shadow for example, he would get me just do this just in just in fun if I was to add a shadow here, let me just grab a brush, just grab a brush and I'm just gonna paint in a shadow just for the sake of of illustration here we'll do much nicer shadows in this in a second, just so you know, but, um so if I was to say, you know what let's, just do a shadow here away for that thing to go away like that what's happening now now, she's a genie she's floating, right? She can float. She has these magical powers. If I put the shadow here. Oh, now, she's a giant. You see how important the shadows are inside the photograph really tells you a lot about distance in scale. Now, one of the things I am is I am a scientist studying of reality, and so I look at the real world, and this is where I learned I if I don't know something, I look at it and I'm like what happens like, for example, how does the shadow work? I don't know. How does the shadow work? I'll put my pin down a looking at the table, I'll shine lights that I'll see how the light responds to it in different ways if you want to learn loom from reality you know for example look at this water has got this you can see on the camera but it's got the water the cost ix coming out behind it the caustic says where the light intensifies into a little bit of a beam and creates this glow of light well that's how you know it's liquid you know how do you know this is clear? How do you know it's like because I look at it and it does something once got bubbles in there but if it didn't have bubbles it distorts the background I see displacement that tells me ok ah what else can I say? I could see highlights so I can tell if I want liquid I need highlights and any displacement of the background that's it do that you've got a perfectly believable liquid it's very easy to full reality by copying reality so one of the things I discovered about shadows the closer and object is to the source that it's projecting the shadow on the shop of that shadow is so if you look at it you put that there that's a sharp shadow right there but my arm is a stuffed it should I don't think you guys can see that on the camera but I look at that and in the further I pull it away the softer it gets that's a clue so if you're doing an object that's further from the ground and it's not touching the ground or any part of that object is not touching the ground, and you create a hydrogen hided shadow. People are not going to know why it doesn't look really just going to know it doesn't look real. Um, if you take an object that's touching something and you put a really hard it shadow on, unless you use your very, very soft, diffuse light, or you're in a misty condition and that's another thing to take into account and that shadow is too soft. It's gonna look fake, says the other thing, too, is if you're working in a low contrast environment where it where it is foggy, old misty, don't be using hydrated shadows one work if you're using very, very, very harsh high contrast the environment, then you want to have sharp shadows, so the other thing is to bear a month, so that means that as a shadow gets further away from the object, it gets a lighter and it gets softer. So if you there, those things of mine is going to help you a lot and let's have a look at how we do that now. So I'm gonna take this subject, and I'm gonna pop it on here, this object being this person, and, um what I'm going to do, I don't think this is a fantastic extraction, but it's good enough. What I'm going to do is I'm going to grab a brush so this it could be a two step process or once that process, a lot of the time, what I'll do is I will anchor my subject to its environment first, and then I will create the shadow we're going to grab a hostage, and of course I do have some of that on my class here, a creative life, I have a class on the slr video, so do you cover some of that? And near is well, but I do have some new stuff, which I'm very excited to teach, all right? So brush till I'm going to take a high adage brush I've got my new lawyer, and what I'm going to do is make sure I move my layer beneath my subject because you don't want to shadow on top, although you can, because there's three types of shadows you've not going to know this because I made this up it what the three types of shadows anyone know what I mean? You might actually know there's, a drop shadow there's, a car shadow and the one that you're never going to guess which is very important cause we're gonna cover that in a second self shadow because we always think about the shadow and the environment but guess what? You an object also cast shadow on itself and a lot of people forget that that's way um once again composites don't look believable because the shadow on the object itself doesn't match the shadow on the ground will trouble is that one of your ten twenty or ten steps? Yeah, it was yeah, I mean, we were talking about shadow I mean, obviously we get a little deeper yahoo so so he is one of the things that we will look at that so first thing I'm going to do is I'm just gonna quickly anchor this to the ground I'm going ten on the a pass it e but not the's size I just want to keep the size constant I'm just going to do just like a little bit of painting just around here just where she's kind of touching the ground and it's not a lot in fact that the stuff I did there was probably too much when I went over the edge and then in reality this is where I would actually get into a self shadow so I would actually probably duplicate that come on j for duplicate and drag it over the top here and I would kind of obviously it doesn't look good there right now, but uh we just blur a little bit just slightly phil to blur and, um, what I'm going to do is I'm gonna hide the bottom and zoom in a little bit, and we're going to just kind of must this out because this is where you would use thie self shadow, so scrape the mosque crab brush at the ex key, actually, why don't we let her selection? Thank you that'll help me. And once again is what a lovely thing. Come on, click on any area that has transparency and you can you can live it up, so if you go here and you realize you're on the wrong side, no big deal had the x er come on shift, I got that my shift I because what's happening is she is most right now and I want to move away from here, so I want it in verse this election, and what I can do is I can go here and I can paint this out so we're protecting here, so what I might do is I might put a little shadow and here and I'm going to hit come on, shift I again to inverse it now might blur the shadow now so that we keep the age nice but noble softening ages, blue burgers and blur, and what I'm doing is I'm creating a maybe I probably went too far. But I'm creating a self shatter because you think about it if she's curving and going in is a shadow on her as well there's a shed on the ground and so I'm gonna drop capacity down now because that's where he too strong I'm just getting a little touch of that in there and a little touch of that in there come on d I'm just going to blur that ever so slightly even though I did save sharp when his the ground sometimes I just want to soften it slightly because it's not hard hard and you can kind of see that so I mean this obviously you spend more time getting this perfect but all I'm doing here is I'm just anchoring her to the ground so it's very settled you know, trying to do a lot you just want to show hey this object is on the ground here now what I want to do is I want to do this shadow so let me talk about the other type of shadow which is interesting is that people do drop shadow everyone loves drop shadows but this is what happens if I had a drop shadow in here look at what happens with the drop shadow by the way dropped so you can click and drag to change the distance so what is it doing now is just taken her and this is quite um an acceptable technique but what we've done is we've just taken her from being inside a really environment and now she looks like she's in a movie theater and the background is projected against her so a drop shadow is great if you want a flat in the background so if you did want to do that then used he's a drop shadow but if you don't want to do that another thing that never happened and reality you'll never see your shadow in the sky unless it's super super cloudy and you've got massive light shooting up but it would not be the same plane as the as the mountains so there's a couple of things we can do here we can we can choose to select the shed I would start with it let me show you two techniques I'm gonna click ok for that and we've got the shadow and it is you know you can create layers from the from the effects and you just right click and choose create layers were fakes but I don't want to do it that way so I'm gonna undo it because I want to do the same thing we did before come on j to copy it and I'm just going to fill that selected anyone remember the keyboard shortcut for filling in preserving transparency option to lead and shift bam like that seems so much quicker to do it their way so I'm going to do that make sure that's underneath there and I'm gonna hit command t control teeth free, transform right click once again and I'm going to grab my distort and what I want to do is I'm looking at the angle of the car there so I'm gonna drop this down see how you can change the angle of her environment by simply directing these around and I'm looking at it goes forward there, it goes forward there, make sure the feet kind of lineup and then I'm gonna hit into ok, so we've got the right direction of the shed and we got this kind of cool shadow, which is kind of almost like a cool like rock and roll logo they're actually kind of like that, um but it does not look believable yet, so what we want to do is do two things first thing we're gonna do soften the edges, I'm gonna choose filter and I'm going to choose blur and I'm going to get at a blur, but what I'm thinking about is not the blur in the distance because remember, the further away it goes, the softer becomes the lighter it becomes, so what I want to do is just sit the radius of the blur here match that approximately remember this perspective but that it should be about the same sharpness because that is telling me the quality of the light so there's some things you need to know when you're at a shadow was the direction of the light was the quality and the color so I can see the lights coming from here so actually if I lined that up there you can actually get the exact angle of the sun is where that there would line up on the shadow side line up those edges boom son is here that's how you determine the direction so same thing if I want her to match then that light should come down down there and look and matches see that same light source so remember whether it is sometimes you're working put your hand up there if it helps you mean seriously doesn't matter if you look like a full of songs you picture looks good so the other thing is you could look at the edge you can see ok see how dark that lighters so that says telling me the strength of the contrast the time of the day it's you know it's a hard hard edge because it's in the middle of the afternoon or is this time to get a little softer later in the day the sun starts to get particular it's in the air so you can kind of see that and I know this is a little green color cast in there as well, so these oh, useful information so I'm gonna get the same hardness of that light right now I know hit ok, now I'm going to duplicate this they're gonna hit come on, jay and you'll notice that you come on jay a lot and just you can see I've created a duplicate I've got two of them something I love doing never the reason I'm going to do this is I'm going to hide no the one on top and I'm going to do the one here because I'm thinking ok, now what about the softest shadow? What about the shadow further away? How should that look? So I'm going to choose a filter blur I should grab the filter many if I'm looking for the filter blur and I got a graphic gals and blur and I'm going to soften this up uh now we've got a nice soft edge see that looking a little bit more realistic and we're gonna drop capacity down because I see that's a much softer light. Well, maybe about there and the other thing change the blend mode multiply why multiplied because mult by allows me to add color and it will mix the color in the shed of with my existing environment if this had don't often to the field I would have mustered out but it didn't we looked up we could get away with that we can cheat andi course the object of the lesson is to sell you audience that's as far as you need to go, you can go so far with these and just waste a lot of time with detail that's not necessary. The other thing we're going to do now is we're going to up the capacity down here because I want this a pass city of the two layers combined to match what we've got in the background there see that so I'm doing that they're now they're matching so now I have to make the to blend seamlessly together so the way to do that is to create a mosque on a top player. Was this the top layer here? We're going to do that one there and in what I want to do now is actually make sure we get the right one that's the hard edge let me just double check make sure you get the right one hand I don't want to miss this up so that's how soft that ages and let's make sure we get the right one here, take the hardness of that edge. Okay, that's good drop the a passage he done and then what we're going to do here is create a grady in a mosque so we get this could create a new layer mosque by clicking on the new layer mask here we're gonna grab the grady into which is g figure radiant and we want to set it to black to white. We got it here, make sure you've got the black the white option on the radio, not the radio, the linear option and make sure there's nothing frankie turned on here. Uh, reverse. We contend off transparency we're not even going to use and in all I'm going to simply do now is just dragged this much from here to there and notice what it did if I want to make it a little bit strongest, you can see what happened more. Um let's, turn that one down and attend that went up a little bit more and you can kind of see see that house dark at the bottom and it is there and sharper. So what we're doing is we're masking knows two layers together, and so we've got a sharp, darker one closer to the object and a lighter softer one further away, and then you create that linear grady a blend in between the two then it looks believable. Um, yeah, in this case here, this is looking pretty good. If we wanted to do the color, I noticed that a little bit of color in here, why don't we just do a little bit of color were going to grab the q saturation I'm going to grab a huge situation adjustment layer here, so we're going to go up there, hugh saturation script properties, and I'm going to choose colorized I want to colorize this well, that looks funky and weird. Why? I'll know. So what we can do is instead of applying it to everything, we just want to hit the layers underneath and that's what this little told us here, it clips it to the layer directly underneath it, so we're not affecting any of the other ones, and I'm going to the saturation all the way up notice right now, the situation has no effect, and the reason is because likenesses and neutral so if you want to see color, you're gonna have to either lighten it or darken up in this case, we're gonna line a little bit, see how that reads doesn't come through now and now we're going to change the color to the green that we want and is a green drop s situation back to much more acceptable level, which is here and now we've kind of matched it now only one of these and the other one is not happening, says two ways we can get around that one is weaken just hit the option key click and drag duplicate that had the option key again and clip it to that layer so now what we've done is we've just clipped that exact same adjustment to both of these layers, so when I had the option key and in hit that little clipping thing here, that does exactly the same thing as this till here exactly the same, so I'm just clipping into those to the other way, you could do it, which is probably a more good way of doing it is to just select all of these, like this somewhat because both shadow layers and we've got our adjustment layer, and we wanted to put him in a group kanji for group open up the group, and we unclip it because guess way, make sure a group is set to the normal mode, you know, with what we've done now is we've applied this everything inside a groups if you want more shadows now, anything you paint inside that group underneath that adjustment land now is going to take on that slight green color caste, and if I look at it, the telecast is too much because now it's applying to both shadows take capacity, drop it down and see how I can match it now says, matching perfectly with the other shadow, so that's that's basically that I'm going to jump in real quick, I know we don't have too much time, I wantto talk about another thing that we're going to use in reality and I'm going to grab this one and this one I was going to do the mermaid, but we're out of time. So what we're going to do here is, um, so we've got an object here. This one has a channel and should did I already have a pothen here, let me just reset our work space here. Uh, good my reset, my workspace perfect and yes, there's apotheosis. I'm just going. Come on, click on that path to select it and I'm just going to come on a j to copy it to a new layer. So all I'm doing right now is I'm just separating that using a mosque and saving it here so you can actually save a mask. A mask is a safe herbal selection. So what? I'm going to talk about here's, this kid looks really bored actually upset because he has to wear a tie and he doesn't like that because it just does not go for skater image. Ok, so let's talk about anchoring this to the ground, so he has this guy's a genie flooding in space question. Does he have a shadow? He is a question. Does a reflective surface have a shadow like a mirror doesn't know it doesn't. Andi I really wondered about this I was actually in a murder of a flashlight like, you know, trying to figure this out and then this is how you figure things that you use reality and it's, like I realized, yes, it doesn't it doesn't a reflective surface has a self shadow, which is why I talked about self shadowing, but it does not project a shadow, it cannot because perfectly reflective surfaces projecting its environment I mean, imagine if it stripped the shadows out of everything it would have no definition of what you're looking at so it's doing a perfect representation of what you're looking at, so if you want something on a reflective surface, don't add a shadow is gonna look fake let's go look very fake and once again, a lot of these mistakes mistakes that people are not going to know necessarily why they're just going to look at and get this looks wrong, I don't know why, but just something doesn't look right. So in this case, if it's a semi transparent surface, then yes, you might have a little shadow in there, but you would have self shadow, so what we would do for this is right now he's a genie he could be floating anywhere is not at all anchored, it could be like here he could be a giant you know here you could be you know, regular size so you don't know because there's nothing anchoring him so what I'm going to do is very quickly come on jay to duplicate that layer, come on tv for free transform right click choose flip vertical so a lot of these keyboard shortcuts I'm doing you notice I'm doing the same things over and over again I do a lot of the same operations, those and other things you can program it to you express keys think about that hit enter and now what I'm going to do is I'm just going to drag him down and soto anka him to the ground I'm just going to create a reflection so notice that that foot is not touching so you could kind of change a little bit there and cheat to make they're for those it just touching otherwise that is floating above the ground, which is nice if you d'oh any kind of three d it actually shows the underside of the object, which is more real realistic. So what we've got here is we're showing we've got this we've got the reflection underneath us move the reflection underneath and I'm going to do exactly the same thing create a mosque, grab the grady until and I'm going to do the same thing I did with shadow I was going to grab the grade and go the right way and we can tell like either if I do it very dull like that then that tells me it's not a very heavily reflective surface so actually defining the surface properties now if we go further out then it's actually showing hey that's even more reflective and then if you just did a complete thing without fading it it would show that you know your surface is a mirror like a mirrored surface so the other thing knows if you notice this because of the shape you notice things that kind of blurred so we want to do that too so we're going to select this reflection choose phil to blur and we're going to motion blur and now what this is telling us by changing the death the amount of blur and applying like this this tells me the surface quality is the surface smooth or is the surface rap is a waxy how how is it? And when you compositing these other things you've got to bear in mind that you to think about when you're composing onto surface what kind of surface a my compositing onto so often people I worry so much about the object of making it fit you gotta really consider your environment and what environment you trying to compose it in two so by doing this we're now changed the properties of that floor now that floor is made out of a completely different object there's another thing you might want to look up, which, you know, depending on how far you want to go when you're doing reflective surfaces and transparent surfaces, everything has what's known as a refraction index, so every object has a different refraction index, and you can google it, and you can find out what that is. So so if you're working with different properties like porcelain or glass or crystal, you can actually see that one of them has mohr refraction and the other one and kind of bring that into compositing, too, because sometimes it's the small things that people don't necessarily see that makes a difference between something that looks really cool and professional and something that looks very amateur. So I'm going to say tricks couple of real quick tricks here because they were kind of running out of time, so matching the color to observe but two objects together, one of the things that happens is I'm going to take this, I'm going to drag it inside the other one, holding down the shift key to drop it in the exact center so here we go, we get this ocean scene, I'm gonna must get out creator must create a greedy in just like we did before, and now I'm going toe. Create a great it must ok so we know we've composited these two together you know obviously we just didn't is very quick but that's the quickest way to put two things together is by using that radiant bland okay so it doesn't look believable because two different color temperature it's sunset in the background and it's not in the foreground so what we do is we select the four grand color we go under the image adjustments and we're going to choose match color um that I put it under the looking for you know why I got the mask selected make sure you select the layer because a lot of adjustments do not work on a mask so we're looking for the match color which I'm looking at where we are down at the bottom there it is miss color so what we can do with match color I know I'm speaking little first because there's one more thing I want to show after this so match color we've got a couple of things to look at one is source what is the source? The sources this document that we're working in which is five beach source which is the name of that document is ajay pick so we're going to select their five beach source and now we've selected this document that we can grab the colors from so where do we want to grab it from we using layers so we've got the different layers I'm going to grab that color from the background layer and well I noticed the ads that it's a little too much so we can fade it to match and is another couple of things in here too that you should be aware of let's fade this down toe looks more natural about their color intensity how much saturation of their color or how little situation of their color match that make sure that's the same and luminant is the brightness is a brighter in the foreground wasn't background well you actually should be a little brighter so we're gonna turn that a player of that hit then and you can see now that we've been over to let's click ok to match those colors so it looks a lot more believable and um let's go back and hear and then here's what I'm going to do this is the basic basic basic thing that everybody wants to do and it's just gonna be real basic swapping heads so upping heads the most basic thing in photo shop but the most useful group shots especially when the children involved how many of you have ever got a perfect expression on everybody's face when you've shot more than three people want it can't even do it for adults, let alone children so I've got a shot here looks kind of cool looking at this one and I'm like well which one do you like better? Um you know, this is kind of cool this one's kind of cool but let's let's have a look at here, you know? We're looking at listen to him in a little bit hard to see because it's so small we got that one we got that one let's have a look here, you know? So we look at her eyes on here, okay? She's got eyes there and on here all she squinting how that would have been a good picture, but her expression ruined it. So what do we do? We just go and we grab at the most basic level, we can just grab a whisker best selection in a lasso tool, and in fact we'll zoom in a little bit so we can see what we're doing better. So what we're gonna do just a last night till just going to grab her and this is a cool thing. I always take more than one picture and we're just gonna grab your face just like that and I'm just going to select and this is where all the difficult stuff is feather gonna grab a feather, drop it down to say two pixels I don't need a lot of feather and I want you to grab your face face off and we're going to go teo here, try get on here and now everybody looks like her no, I'm just kidding. All right, so what we want to do is we wanna drop your face on here. Now, he is a couple of tips because they are a couple of tips. Um, one of them is we want to line it up. What do we want to line it up with the eyes? The eyes be all over the place. The mountain mouth moves knows, knows a stationary I used the nose is the anchor. Not that your eyes are moving all over your head, but they can differently change a little bit. So I want to line up. And no. So I'm just gonna go here. He is what everybody does. They dropped the a passage, and I can't quite get it right. Ok, there's. A blend mode that is ugly and it's there for a purpose. And this blend mode is called difference. So difference blend mode is not there as a special effect. It's there so I can nudge and get things perfectly aligned. See the nose it. And when it goes perfectly black, just what that means that there's perfectly aligned. And then I can go back to normal plane mode and you can see face, face, face and that's, basically, how you do a face swap, so

Class Description

A composite is when you combine multiple images together. Create composites to blow away your audience with impossible images, or simply combine several similar photographs to use the best part from each one. Learn rules of compositing that sell the audience and make the images realistic looking. Colin has been doing this kind of work for years in Adobe® Photoshop® for major clients, and will share the tricks of the trade that will make the process easier and faster with more professional looking results.


Software Used: Adobe Photoshop CC 14.2

Reviews

MARISA BYERS
 

Great class with wonderful tips! Well worth the money!

Toni
 

This is only one piece in the puzzle. Some cool little tips and tricks. Has nothing to do with the amazing car picture on the front.