Color Change and Motion Blur


Skin. The Complete Course


Lesson Info

Color Change and Motion Blur

Okay let's see uh she was wearing kind of ah a green um green leotardo and I'm thinking that maybe maybe that green color doesn't go very well with this color scheme so um let's but you know we have photoshopped so way can make that any color we want so let's just do that uh I'm gonna I'll make a quick selection of this because it should be easy enough I'm going toe you know use my quick select tool it is pretty much caught that gonna make another uh let's see what should I do this okay this is our this is our shaping group let's just make another layer appear and I'm I'm gonna put this election into this layer maso click on that I've mask that off and we can make this be in color mode okay and uh let's let's give her a red leotardo so I'll pick up a red color here and just brush with red make it one hundred percent into some in the layer mask so even I make mistakes I see I've got the layer mass elected so I was even though I thought it was painted with red eye was actually painted wi...

th a dark great so I gotto select my empty layer first before selecting the color that I want I'm just picking it out of the sky here uh you pick this this kind of red color and I'm painting into the empty layer with with solid red but its cull arising the underlying layers instead of just being applied hiding it I'm I'm colorizing that cool like that just a little so you know you have complete flexibility you don't like the color well, you know, so fix it uh and maybe I'll do a little a little dodging here I'm gonna again do that same trick with this layer I'm goingto well down option when I create the new layer make sure it's a clipping group and I'm going to put that layer in overlay mode and uh let's I'll pick like a really light pink and I'm just going to kind of like oops what's happened here overlay let's make this sure this pink is really pale and actually what I need to do probably you know, I just think you know, this first time I'm trying to do this him so after I'm thinking on my feet here, so now I've got a switch what I was doing if I do overlay into the color layer it's being this color layer is being applied in color mode so I'm not doing what I think I'm doing I wanted lighten up this red and I kind of wanted contour it a little bit so I need to do that in overlay mode but not grouped with a color layer, so I'm going bring it underneath the color layer and we'll just make it white so now I mean brightening up the green uh leotardo but it's still being recovered into red so I can that's maybe a little too heavy handed reduce my capacity here of my this's the capacity that the brushes applied so I can just sort of gradually kind of build that up okay? So I'm just I'm just sort of adding a kind of core highlight there just to kind of shape the shape the figure a little bit ok, what else can we do let's see um I'm gonna turn off everything except the figure and we will we'll get we're going to merge visible which now the only thing visible is this figure so we're going to get another version of this emerge version of this in another layer hold down option and I'm going to select merge visible and I keep up shin held down so that it goes into an extra layer okay, now this layer I'm going to run I'm gonna drag underneath all right drag this underneath the figure so I've got this copy dragged underneath the figure all right we'll turn on the other layers now this copy which is all the color and all the contour and all the shade and everything in it into this layer it's in a transparent layer has no layer mask or anything but it's already been cut out right so I'm going to now do a little motion blur filter on this okay, so I'm gonna go to blur motion blur and we're going to try to get the direction here of the motion blur to sort of line up with the direction that we're imagining that she's flying through the air okay, so and then we're gonna have to get enough motion blurry just kind of see it a little bit beyond her face there so I could see the foot right? All right, so this is this is how you kind of do this this motion blue thing I'm gonna run the motion blur once and then run the filter again so in order to do that I can I can select the filter again it's always at the top uh and aiken run it again just by doing command f so I do it a couple times and what happens then is it it's sort of fades out a little a little more gradually and the only issue with a month motion blur filters it it's also blurring in front so very often what I'll do is I'll just actually move it, move it to pick to push it back a little bit okay? So I've got, you know, kind of an extreme amount of blur showing here I can reduce the capacity of this kind of put it where I want it and usually things you want that the trails to come off of leading edges of things you know somebody was asking about getting, you know, doing long exposures to get that motion in there and it's it's true you're going to get a little bit different effect because the highlights will tend to bleed a little more uh in real motion and it'll also be have a curve to it because she's sort of curving through the earth's not really traveling the straight line um so we can waken do something like um let's see what should I do here? Let's let's use a new feature and photo shop toe actually distort the blur path okay, because it's it's a little too straight and I'd really like it to get just a little oven arc so I'm goingto do something um unusual unusual application of ah tool uh it's the puppet work too so let's see where's puppet workers down under the edit menu I've got the blur the motion blur selected so I'm going to the edit menu and I'm going to do puppet warp now puppet work is a very strange filter let's see if it's going to get the interface here hello uh normal mode distort normal show mash here we go ok, so here is ah puppet or puts this sort of odd little mesh over the image and this allows me if I if I place a pin that becomes a point where I can I can distort the position of the of the effect of the of the layer like its animating it like it's a puppet so I'm I'm stretching and curving this this motion blur using puppet work first time I've tried doing that that it's kind of interesting so you move the pins they move relative to the other pins so here see like I needed now curve that back around so that it follows the hand a little bit curving that trail see so this is you know, puppet warp is like a very kind of controlling sort of liquefy I could have used the liquefied brush to do this but this way I kind of everything is sort of adjusted around these points normally I use this to actually manipulate the figure so for instance uh we could we could take and manipulate her leg position and unbending leg little using puppet work you might do something like that with the other shots, but here I was see I got a nice little kind of arc of sort of swooped and shape that blur so that doesn't look straight anymore and that goes a long way towards making it look a little more natural and I could see now I'm after distorting that I've got like a weird hard edge here so looks like I'm gonna have to add a layer mask to this anyway this this blur layer and feather some of these you know these these trails here's I'm getting I'm going to paint with black and here uh in the layer mask uh let's put this upto about thirty percent I'm gonna hide that hard edge ok, same thing here we got sort of hard edge action that this is the kind of an artifact of the distort once we distorted it pushed it into the edge that was the transparency and strengthened enough so that we got a hard edge so I have to kind of get in there and repair that. Okay, so you just get the idea and we can also still play around with you know how how strong that effect is maybe doesn't need to be quite that strong. Um okay questions anybody it came in and see us five it was brand new and c s five. Yeah, yeah making a distinction from other photographers that I've studied event photographers have a tendency to work on things and then archive them very quickly never come back to their files at all. You work very concentrated, very specialized in very detailed are you keeping all of your files in this kind of structure when you are kind of them or do you get to the end process and somehow just get rid of them now on enough I I I will save you know my work in progress files so actually it's gets worth let me show you what what I do so my folder structure kind of looks like this there right now we've been using creative lives full destruction I'll just I'll share with you the way I do so I make a folder uh my folder always has the date um and I don't do twenty twelve I just do twelve right in the month is away and the days one eight that's the date of this project right uh and I will put the name of the assignment or the client name or the job name or some other descriptive uh, name in there so we'll put creative life okay? And if I could spell as good as I could do photo shop I'd be a happy man. Okay, then inside that folder I've got all the folders that hold the specific image so you know I'd have a folder called raw okay and next next to that is my work in progress images, right? So this kind of layered photoshopped document with retouching and stuff goes in the work in progress. My raw files all stay in the the raw files if I if I, uh exports say a bunch of jay pegs client wants a bunch of j pigs or a website that they're working on I would have a folder called j pigs right and that would that also could be things that I e mailed clients and things like that right um and then in the end, if I very often with my clients I'm delivering the raw files if I'm going to deliver a final file ah some clients you khun you khun make the stipulation that you will only give them flat tips which would be my preference I don't want to give my clients my layers to kind of like mostly out of concern with them messing it up it's like you give them too much control and they're bound they're bound to mess up with it so I'd rather flatten this now as a finished image make a new folder that would be my finals and they would be in whatever form at the client needed you know if they need it seemed like a what thes were the final scene like a files to go over the final flat tips and that's what I'd be delivering to the client but I archive all of this this all stays inside this job folder and gets backed up and I make three copies on three hard drives so I you know uh I have a very detailed version of my archiving strategy and system as an e book that I saw on my website so anyone's interested go to my website nine ninety five and get the but a book called quick before you're gone before they're gone and it's complete backup system for the photographer so way have to back up all your stuff but yeah, this is what I do like I archived everything. Would you ever match the highlights on the skin to reflect the colors in the sky? Yes, in fact, to really sell this, um I'd probably want to get a little more pink light in there. Uh, since I've cull arised the green green leotardo, I feel like the the edge lighting here is not as big of an issue. You, uh if if I had left that green eyed still need to somehow get some of that pink light into the green and it it would be difficult to make that look natural, but I would I would definitely attempt if my client said no, she has to be wearing our corporate green color, you know? Then I couldn't colorized leotardo read the way I would want. So because this leotards read it has a red highlight, which sort of helps that blend in with sky these hot highlights air going toe white. I can almost, uh except, um but yeah, you could you could cull arise these and in fact, probably, uh, what I would do is do that leiby trick right take the image in the l a b and then paint in over this with that color and it makes it easier to blend in the color into the hot highlight um uh if we don't do that let's see weakened dio this was this was my my color colorizing layers were in here I believe this oh, no that's right that was up there. I think this is my color rising later. Um I would want to constrain my layer my colorizing layer to the to the figure so I'd make an empty layer here and make sure it's using the previous figure layer is a clipping mask so this would be our color rim helps change the climate to color. Um yeah, we'll see how this works maybe, uh overly may be better, but um let's try let's, try color then pick up a rich color in this case because I'm going to be going over white. I want to make sure I get enough color into the image so I'm going to hold on the option can sample from the image ah pretty rich red color here and let's just see what happens as I tried to color this rim color and one hundred percent here so the trick is so I'm really kind of just touching the flesh tone to put just a little bit of red into the edge so you see, the white kind of stays pretty pale, and the sense of color comes from how it's interacting with with the the darker skin, so I'm just kind of getting into that area just a little bit toe colorized that that rim, rim like, same thing here and, you know, I probably would spend a lot more time on this, and I don't have a walking tablet, so it was hard for me to be really good at this, but yeah, it is in this picture, but I'm kind of on a birth I, um our lady of the lake, the top one? Yeah, if that were, like, a tan line, how would you paint that? How would you get rid of the tan line? A tan line? Um, you know, it's kind of ah, that's a retouching trick. Really? Uh, sort of illustrating. And not sure I'm going to be able to do such a good job with it without having a tablet, but I would try to darken it down toe, make it match. Um, might be able to get there with with an overlay layer. Um, I'll make a keep this clip here on dh er, let's see, it's gonna, uh, I'm gonna sort of paint with black but a very low opacity in in this overlay layer will make it overlay and that'll act sort of like burning this area in just a bit. So, uh, you see that much easier to do with the tablet and ok, so I've been painting with black, which is sort of color neutral, and it seems like this area is a little yellow or than this area, so I'm going to need to adjust my color a little bit, maybe l I'll sample the browner color here and and start painting in a little redder color, and that also will affect, um, the overlay over this color and, you know, it could gradually build that up until it blended nicely and, you know, I want to take the time to do that now, but that's, what you have to do and very skillfully kind of burn it in if it's a really hard tan line that's a that's a bit harder, and I would try to mask and get it to mask over the edge, or it might just be easier to just go ahead and clone over it. You know, it depends on how much untended skin is showing, you know?

Class Description

Skin. Everyone has it, everyone wants it to look good, and if you're a photographer who shoots people, you need to be able to light, shoot, and retouch skin. Hollywood photographer Lee Varis has shot celebrities, movie posters, and magazine articles where the skin has to be perfect. He is the author of the popular book Skin, and he's coming to creativeLIVE to share his knowledge with you! Lee will take you beginning to end through multiple shoots with different types of people covering how to pose and light them well, and will then cover in-depth how to post-process in Lightroom and Photoshop. You'll learn how to fix blemishes, smooth out wrinkles, and address other skin concerns so you can make your clients look their best.



Skin tones correction and portraits editing are new to me. This course provides a set of tools for me to improve my portraiture work. Lee doesn't just show you how things are done, but also the reasons for the corrections. The delivery is a bit dry because the topic is quite technical. You can have a break between lessons, if it becomes too overbearing for you. I highly recommend to take this course, if you are planning to do portraits, head shots, or even senior pictures.