Excellent, thank you very, very much. I'm honored to be here. Today we're gonna talk about hair and how to do it and all that kinda good stuff. I'm gonna give you a little idea about some of the stuff I do. I'm an entertainment industry retoucher, primarily. I work on movie posters, TV posters, print, absolutely print gal. Gaming boxes, advertising, all that kind of fun stuff. I'll show you a few things that I've worked on. Give you an idea. I get advertising campaigns, which are fun. Lot of stripping out and compositing. Movie posters. I actually got to design that one, which is kinda fun. Illustration, more and more, we're getting more illustrated work. It's all the same. I have to say, I believe Photoshop is really about painting. I know it's photography and painting, but to me it's really, if you think about it the painting way, especially in this class, it'll help you out. Animation, and animation's fun, really fun, 'cause in animation folks don't decide if...
they look good or not. They're pretty forgiving. Lot of hair work. A lot of hair work. They needed a little more hair, as you can imagine. Get to work on some fun, cool campaigns, now and again. This is Outsiders. Witches. This was a lot of hair. This was actually, interesting about this job is, they used ink splatters to do the hair, instead of actual paintings of ink. It was a whole campaign, big outdoor campaign. It was fun to work on. Some Zoolander stuff, so again, entertainment. It's all really fun. Did I say fun? It is fun, yes, it's fun. Cool, all right, so I wanna talk a little bit about hair and in fact, maybe I wanna show you this one first. Here's the thing in this class. Here's what I'd like to approach. How I'd like to approach hair. We're gonna look at it in two different kinda avenues. One, if you're isolating out an object and you need to composite it with something else, or if you just have a straight shot and you need to do the hair on top, a lot of the techniques are exactly the same, except the masking part. If you can leave the shot alone, cool, but the painting of the hair is all the same. We're gonna talk a bit about, a brief bit on masking, because here at Creative Live, they've got copious amounts of classes on masking. I'll spend only a brief time talking about it, since we do have to get there. We're gonna talk about removing halo. You know, when you mask out someone, and there's a halo? I'm gonna go through a few techniques. What we're gonna do, primarily, is concentrate on this one image. Note that some of the halo effects are not gonna be the halo effects you're gonna need for your piece. I wanna show you a bunch, in case your image is darker and you need a light halo, or you have a light image and you have a dark halo. I'm gonna go over multiple techniques, painting hair. We're gonna paint hair today. It's gonna be really fun. It's a lot of painting. Lot, lot, lot of painting, and we'll make it easy, I promise. We're gonna talk about brushes, making brushes, hair brushes. That is also crazy easy. It seems daunting but it really isn't. We'll talk about having a hair library. What a hair library is, is where you get shots, like you can take a shot of me, for example, and all this spiky hair, and you just keep it in your bag of tricks. When you go to jobs or clients, you have it and you can utilize it later. All right? We're gonna talk, if we have time. We're gonna talk about quick crosshair techniques, how to get crosshairs out. And then at the end, I've got a kind of fun little illustration thing, if we have time, I can show you, which will be fun. That being said, let's talk about masking methods. This is the first breakdown I have, which is just methods of masking. I really wanna reiterate, I'm gonna do this part very quickly, as their are already classes on this. I don't wanna repeat what you can already get somewhere else. I wanna talk about the stuff that you can't see anywhere else. Quick selecting or masking. There's channel pulling. I love channel pulling. I think it's fantastic, and hopefully we can demystify that a little bit for some folks. Doing a levels move on mask and all that is about is about changing the contrast on a mask, so you can better utilize it. Dodging and burning on a mask. I think often times, as we get through this process, folk, when they pull a channel, they start creating a mask, they expect it to be perfect as it is and I'd like to get your guys familiar with the idea of retouching on the mask.