Skin. The Complete Course

Lesson 27 of 43

Compositing

 

Skin. The Complete Course

Lesson 27 of 43

Compositing

 

Lesson Info

Compositing

I want to use this is my kind of starting place now I'm going to get multiple hand positions in here, and then we'll go through the whole luminosity blending thing on the whole thing. So I'm going to bring in those other elements. Uh, first, before I do my kind of global color correction. So, um, I'm gonna just this is my hero image just wanted right here in the middle of ninety seven, twenty six, so I'm going to just start dragging other images on top of it. I'll go ahead and line it up, although, well, they're probably going to have to be re readjusted. Soho, you know, change the capacity here to kind of, you know, see where I want, you know, the shoulders really relative to the so I want these arms to kind of come in over the shoulders, and I'm I'm gonna layer mask them in. So, um, right now, just turn that off, bring another layer in on reduced capacity to get kind of a position here for this we'll see kind of where I'm sort of looking like, where am I going toe? Be creating this b...

lend and I'm not going to be using the center portion of this I'm only going to be using arms so uh all right let's turn that off let's see about this one uh this is kind of cool we'll drag him in change my capacity here I'm using the shoulders more than the head to kind of because I want to create the illusion that is his hands are moving um and we may not use all of these layers but we'll just get them all in there anyway okay all right one more okay so starting with her so I've got like two positions it's almost like an animation right? So here's here's kind of my strategy I want to end up with a mass that hides most of this second layer with these with these heart arms up like this so I want to hide most of that extend and bring in just those arms in you know next to the figure in a way that kind of blends them in so my strategy here instead of starting from black and painting him because if I hide this layer right now I won't be able to see where the armed position is so I'm going to leave it visible I'll leave the a passive sixty percent so I can see where the other figure lines up but I'm going is a a white layer mask and I'm going to paint with black over the parts of the arms that I actually want to end up with so I'm sort of doing the opposite here I'm covering up the portions that I want to keep right now and then we're going to invert the mask so uh I'm just gonna paint over that all with black and keep just the top part of the arm hide that arm completely high just the top part of the arm okay, so now what I'm gonna do is is invert that mask the normal matt this is what the mask looks like and I really want these arms the arms or appear where it's black when I inverted it's going toe reveal those arms so I've inverted the mask let's show how that works in ok, so here's here's my arms kind of blended in right where I want him and I may or may not want to use them at full capacity waken maybe just not come back just a little bit to give a kind of ghosting effect all right, so let's let's try the next one where is the next one? These next hands are really close uh, so I don't know let's wait on that one let's see what this one looks like yeah, let's put these in for sure uh, same strategy white and a white layer mask here and I'm just going to use the lower part here with the hands uh, and when you bring the capacity up here a little bit, so I'm going to hide the parts that I want to keep. So I'm painting out arms and it's really kind of almost like the lower part of the figure. I want to keep your so I'm going to go ahead and hide all of that. Let me solo the mask and I might have some holes there in that mask. Yeah, I'm just gonna go ahead mask out this whole section here, because when I invert that it's going to bring him back so let's, look at it from this side here. I've hidden him. Now when I invert that layer mass, those those hands going to come back, right and let's see what this looks like at full capacity. Well, I could change my mind later, but I'm gonna leave it in and fill opacity and, um, let's. Now I have a kind of little edge thing here. Part of his shirt is showing up. So I'm gonna try and see if I can hide that his head's probably not exactly the same position so this is where I'm gonna detail the mask now I'll paint with black to hide the part that I want to hide which is that bring that part back uh let's hide that so I wantto service sort of get the effect that this rope is coming around um naturally mr painting it in here okay, so this it's this these two layers are being applied a one hundred percent capacity so it's kind of blending between the two I may change my mind with that uh but so far so so good let's see do we need one more let's see at least one more may be how is that we're gonna play over this one yeah, I think maybe this is the one that we're gonna eat so we'll drag this one on top here on dh actually I've already got those two let's throw those away because this is the one that I'm getting all right so we're start we're getting somewhere it's it's looking pretty interesting um same thing will make a white layer mask and hide hide the kids the's arms here right here um that I want to use so let's see I'm gonna hide that and hide this will invert that mask all right, so now I now I just have to kind of blood play around with maybe positioning uh maybe, uh rotation let's see a command t to get into the free transform and I'm gonna kind of rotate a little bit here and kind of squash it so they get the hand in I'm really distorting this but I think because of the kind of nature of the the animation that's going on it's going it's it's not going to be noticeable is and it's helping me get those things into the right position to kind of create this it's almost this kali effect their multi armed uh kind of thing okay, so um let's see, maybe we'll knock back to capacity of these hands ghost him back and now we're going toe actually uh let's see, I will I'll do that my my sir luminosity tricks here because he's sort of dark although is it's really not that bad? Let's let's go ahead and check though and see if we can you know, brighten up uh skin town a little bit it's obviously going to be in that red channel that's going to give us that? Um let's see what happens so I'm gonna go to the top europe's sorry if you double click on it the empty part of the layer you will call up the blending options is another shortcut to getting into the blending options which will probably do something with blending options before we finish this image um but let's now let's do that get kind of put some a little more light into the dark skin and to go to that channel mixer we'll use black and white with red filter okay and fly mode luminosity okay it's a little still it's sort of a little hot on the highlight side and the hand is blasted out here uh before I just reduced capacity let me just see if if I can't remove some of that with the the blue channel here so let's uh go into full screen mode so I could move this over. This highlight is in the blue channel, but the blue channels really dark everywhere except for the shirt and we can we can pull out, pull out some luminosity as not gonna work. Well, it wasn't it was a try let's see if I can use blending options to blend out that highlight part because I liked the lightning effect that's that's happening on the dark sides here I'm bringing out his more detail in the shadow side of his face and I like that so let's do blending options if I if I double click in an empty area see that usually don't do that because I will edit the name of the layer by double clicking on it I get into these blending options and this layer represents that that grayscale red channel thing so I can hopefully bland out the highlight part of that sea. Ok, so if I take the highlight part out just by moving the white slider, I'm going to get this kind of ugly post a rising transition. I have to split the slider tio to smooth out smooth all that out, and in fact I'm going to leave the slider at the end here and split it at the get go. So in order to split the slider, I hold down the option key one night while I click on that little half of the slider and I pull it apart. And now I'm going to be dark and he's sort of taking out some of that application of the lightning from the light half. So if I bring this all the way to one twenty eight, I'm ramping office soon as I hit the mid point, which is, you know, the light in half of this luminosity. I'm ramping it off so I gradually softly rampant off so it's not as strongly applied. So here that's the preview of going from this to this let's see what my yeah, I'm okay with hand this way to see I put back the shape from that highlight in the hand. And I've got I've got kind of nice lightning uh I think still maybe not one hundred percent we'll knock it back just a little bit a little bit of lightning okay? And, uh this this has darkened the blue a little bit so maybe I'll do another a channel mixture on top to put paint back in those blue rim lights on this so let's let's go ahead and do that let's see channel mixer uh black and white with blue filter and I'm gonna cheated a little bit I'm gonna add a little little brute blue brightness here and gonna equalize the background tone by subtracting uh a little bit as well here ok a little red alright luminosity make sure that's doing enough to the blue yeah I'm really cranking that that's good uh let's see if we can blend out the blue half are the darkening effect that's happening on the red um so let's see in the red channel everything is lighter and the blue is black so I'm gonna try and uh no it's not working let's drive blue channel um not not working it's live folks says I haven't I haven't prepped this it's like you're looking at my thought processes and I'm always looking to save some labor unmasking if I can if I can get it with a blend it's just it looks more natural and it saves me having to kind of paint things in it looks like it's unavoidable here, so I'm going toe uh, invert the mask, hide everything and then I'll start, uh, brushing it in, I'll start painting in my my blue highlights here, lee, that is the beauty of creative live is that we get teo your thought process is love live I mean, it really hopes that's why they're watching so, you know, I'm kind of looking to see how I'm gonna make those blue blue things visible and do it kind of is organic away as possible, so I'm just painting over the rim edge highlights on that on that blue back here I'm getting and picking up a little bit of the blue arm um not you know, I think I'm ok with that left a sort of evaluate this later, alright, so bringing in some lightning effect here uh, maybe just I'm going to open up the darker shadows here in the blue, but not by one hundred percent maybe just sort of feather it in a little bit there, just on and now let's, see where my where this is, um I want to work this mask a little bit here for those for these hands in the front I want I want to work and blended in a little nicer up there and also this area here where the arm comes in under the armpit so I'm gonna zoom in here a little bit and just kind of feather in a little more to cover up um lips such to white in the foreground here bringing it in there on dh I think I need to hide it up here with neck positions a little different on that not layer so uh I'm gonna hit the ex key toggles the foreground and background colors and I'm I'm toggle it from white to black so I'm going to hide this little patch of skin here sort of feather it in just revealing the neck from the underlying image and I know I'm seeing a little bit of the rope so I have to kind of go back and forth here I don't want to you want to see that rope it all okay everything way like this is this interesting? Um all right. Well let's let's finish this image off a little bit uh let's at this point they're questions I can answer about this process the masking um and he was pretty clear toe the audience out there in the internet I you know, I don't want to leave somebody wondering what's going on now we do it we do have more questions um and noise keeps coming up is we're talking about channels and so well tech just asked or wittek just asked how do you do with the blotchy noise that is sometimes visible in individual channels especially in the red and the blue and that came up also when we're talking about sharpening yeah um right so that when we're sharpening you know you do you do want to try to avoid sharpening the noise and the noise uh is this kind of uniform low of level changes that happened so that's what the threshold slider does if you moved higher thresholds settings they're gonna keep away from the noise you don't want to sharpen the noise eliminating the noise way haven't had a huge problem I think today even though this is very low key image I don't think there's a lot of horrible noise um waken look at the individual channels and see if we can see things um hard to know what's going on here on my monitor it looks like I've got some posters ation effects going on which may or may not be in the mask I you know I'm I don't I don't have a really good example here I would have expected to see it in that that red channel uh blue channel ex priests move green channel the red channel might have some watching this in the background but it since it's so dark it's really just going to disappear so it's not worth attacking it you know every strategy for reducing noise involves blurring the image somehow uh and I usually kind of try to avoid that um so uh let me think about that for tomorrow I think I'll come up with an example that we can uh we could look at about noise reduction because there's nothing in this image is gonna be a great illustration right you know so yeah, that sounds great. You want to take another question about sharpening or would you like to move on uh sharpening questions when this goes kind of back to the beginning this is from lab girl what is the best sharpening technique for very soft images would you recommend the high pass on sharp mask or something else so just out of focus images yeah if they're really out of focus I would recommend the high pass wide radius you know, just to kind of bring out the shape a little bit often if if it's really blurry there's no edge to really you know accentuate and if you apply kind of regular type of sharpening on it it can look really nasty so uh the wide radius to match the wide blur and and then just you just know that you're not going to ever get it to be one hundred percent sharp you're just trying to put some some sense of detail and even what I even if you're not going to get sharpening um I was going to actually go into this image and and now to help finish it off I'm going to have to do the color correction do the sharpening so let's let's move move move along on dsi you know how far we get before I have toe wrap okay um so now I've this is kind of a workflow thing I'm generally trying to do uh the harder things first so in this case the hardest thing was blending in all the arms and that that is all these layers at the bottom here so this is kind of my pixel layers and I'm really masking and blending and doing all this stuff then uh although I'll attack the next global type of thing you know my my color correction in this case we did the the channel blending which was the next problem was kind of trying to lighten the dark skin and and put the you know, light in the blue sweater, bring it out of that all that darkness so on top of that to go to the next phase is sort of stepping back to deal with the least lesser problems the lesser problem here the color is really not that bad but we do have to do our due diligence and check the numbers and you know, I suspect that I might have some through saturation issues in the face again um so yeah yeah the thumb on the left hand side it has a blue border around it. It's the shirt. Okay. That's the shirt, uh, and that's helping to separate that. You know, I kind of like it there. In fact, I might want to illustrate something like that on the other side, so we could see that, uh, to make it a little more symmetrical. Um, but I won't. I won't do that just yet. But let's, let that go for now. And I'm gonna kind of work the color correction here. Check my skin tone values. Uh, not we're not really a bad skin tone. It's uh, it's about a ten percent split between magenta and yellow science down there around twenty two percent. So it's, um, a little it's, a little less than a third of the split. So it's, this is a reasonable color again. I'm not quite sure how this looks out there in internet land. Uh, but I think by the numbers it's not really bad, maybe a little colorful, but I actually kind of like it. It's not, you know? Uh, not horrible. Um, so just in general, it seems like maybe all we really need to do is set a black point and we'll be ok, so let me go in the top and do that before we do anything else, so we'll do our little fresh old trick again. So many parts of this image of really close to black and it looks like my deepest parts right here, under the arm, in the shirt so we'll put a color sampler right there that's my shadow point and we'll throw away the threshold adjustment, okay? And, uh so my shadows low and it's not neutral. Seven three four um oddly, even though it's in a blue shirt is kind of on the red side, which is kind of strange, so let's correct that will put a curve in there. I'm going to elevate everything until that red, which is the highest value, is at fifteen and then I just make my my green match it ok? And my blue match it on let's sort of talking this on and off, okay, I'm actually seeing a little getting a little sense down here. I can I can seize the edge of one of the frames now that I've done that lightning uh and I can see that this this hand also is sort of just going out of frame I would probably be inclined to illustrate the end of those fingers and paint them in. Uh, but right now I'm too lazy to do that. So I went to crop, uh, and there's nothing more boring than watch somebody paint, you know, like something, and it takes so long to do it right. So let's, get rid of my square crop. And this crop tool is now kind of snapping to the edge of one one of the frames when it gets close to an edge of the frame, it snapping to it and let's, see if it helps us out with this one it's going to snap right to the edge of the frame that was left dangling there. So, uh, now I'm I'm good. I'm crop down to exactly where I want to be, ok? And now we'll, uh, we'll go back on, finish off our color correction. Uh, and I think at this point, maybe way think about sharpening, um, what we can do here and, uh, often often in our, uh, sharpening strategy. We're not we don't apply sharpening equally over the whole image and this is one of those images where I think we're gonna have different areas of interest that I'm I'm gonna want to make sure their sharp and other areas I let be ok? You know, maybe not any sharpening the ghosted hands they will let those being soft because they're not they're not the primary thing there's sort of the hands and movement so and I'm going toe I'm going to use high pass first this time instead of doing it the other way around so I'm gonna apply a sort of a gentle wide radius sharpened into this and uh so we'll do the the high pass effect and I'm gonna again merge all these layers we've got several layers contributing to this image including one layer that's turned off and throw that away and, uh we're gonna put emerged version of all these layers combined up into the top, so hold on my option key and select merge visible and there's that my emerged copy um I will always d saturate this for the high pass effect because you can actually when you run the high pass filter there's still a little bit of color left over and it shows up in those emphasized head transition so I don't wantto apply anymore saturation that I've already got in this image so uh that's why I'm here I'm dee saturn's I'm doing command you hear which pulls up the huge saturation adjustment which is being applied instead of a layer it's being applied directly onto those pixels so I'm gonna just crank the saturation down to zero minus one hundred percent I have a black and white ok this is the black and white layers what I run that high pass filter on so I'm going to do other filter other high pass and now just kind of trying to side how wide a radius do I want I'm thinking fairly wide here so I'm kind of sixty pixels and let's let's see what overlay looks like uh I think that again we're in that situation where the darkening half of this overlay application is is too much so I'm gonna restrain it now to just the highlights again sort of using our little friend the blending options which we can get from the menu here or I'll double click this empty part of that layer in the layers panel and I get the same thing I get that layer style dialogue we're again looking down here in the blend if and I just moving this all the way to one twenty eight which is halfway one twenty eight as faras the calculations are concerned one twenty eight is middle gray and anything darker now in that overlay layer is just taken out of the equation so I'm on ly containing the parts of the overlay that are lighter than medium grade so I should be able to get uh yeah, so that really harsh dark black shadows are now taking away and I'm on lee left with this sort of pinging highlights, right? So adding all this extra contrast in the highlights uh maybe a bit much sort of bring it back just a little bit so it's just sort of I like to do this largest sort of paying the highlights it really improves the look of the image overall, but now I'm going to let my ghosted hands fade back by hiding this this this highlight pinging from those features so I'm gonna put foot uh, I could do this one of two ways you can hide the effect and then painted back in or I can, uh, mask off the places I don't want it to apply, so I'm going for hide it painted back in so you hold down the option key before I click on the add layer mask and that makes a black layer mask and now painting with white I'm goingto pay with a nice big soft brush here and just painted in uh, where I wanted so I've got one hundred percent capacity and just painting white into this layer mask and revealing that sort of highlight pinging in the areas where I wanted uh maybe not so much on the palm of the hand here, because it's gotten pretty bright, but I'll just kind of painted it over the knuckles. Did I get it? I got a little bit of highlight opinion in the hair, so I want to make sure that comes in there as well, and I think in my blue channel mix righted, I didn't let me just double check that mask from my I didn't put any in on the hair, and I think it will probably help, so I'll paint in to bring out that rim light on his hair. All right? So final final sharpen effect, we've done a sort of, you know, wide radius hi pass kind of sharpening, which is is really just sort of pinging them the highlights and giving an impression of more sharpest, but it's more of a contrast kind of thing it's really kind of popping the contrast, and now I'm going to just do my fine ed sharpening, and I'm gonna use the same strategy. I'm not gonna play it everywhere. I'm only gonna play it in portions of the image that this will act as a good review for that. That whole process of theon sharp man's so we'll get to do it all over again and I do want to kind of judge the effect at fifty percent um zoom so right now way zoomed out have to kind of zoom in to fifty percent and most the sharpening I'm kind of gonna want to see over his face is that's the part that really one way want to be zoning in on okay so selecting my top layer gonna go back again and put my merged version into the top layer so holding down option again my layer options flyaway menu merge visible while I hold down option puts that I must have lifted it off see how I normally if you don't hold down option when you do that this is what happens it flattens iam and merges everything into one layer so I'm going to undo that command z and I have to make sure I keep that option he held down and I don't release it to quickly so here we go I'm holding down uh option key emerge visible now I've got it on the top okay so you you people out there and live internet land you get to see me make the stakes I don't get the option of editing these out later you know um okay so uh we're going to sharpen so my filter sharpened on sharp mask again real men sharpened and five hundred um threshold um you know, it's kind of interesting, I am a list would prefer not to take too much of this sharp in office skin because when I knock back the strength of it, I might be okay. The thing that really makes the skin look batter that lightened halos. So let's, we're going to go for zero threshold because there really isn't enough noise in the image may be a little bit a little bit of noise back here in that black areas, maybe just just a touch. Yes, he had seven levels of threshold. I've totally eliminated any noise in the black here. Ah, and I'm gonna let it go ahead texture his face just a little bit immediately after running the uncertain mask, you want to go to fade. So always remember this at it. Fade on sharp mask, change the mode from normal to luminosity. Okay, now pass. You don't have to worry about because you can handle that with layer so I fade toe luminosity that make sure that the light and dark and don't enhance any saturation in the images that ends up looking a little nicer. Ok, so now I duplicate this layer because I want to have a light inside and a dark inside. To my halo's so I had to split uh that and I need two layers to do that we're gonna call this our lightened one ok and this one will be our dark and one I'm better photoshopped person in this spelling so way correct that light and dark and I'll turn off the light one and so we're going to change the climate to this to darken and uh it you can almost get away with just dark and accepted it it does sort of draw attention to the darker spots so we do need a little bit of light to kind of counter act that so let's go back to our lightened layer I'll change the mode to lighten and then back off thehe pass it e until I think I can live with the relationship between light and dark in which to me is I think coming in here a little under fifty percent right now I want to put those two sharpened layers into a group so that I can manipulate the group as one thing so I select hold down the shift key select that second layers I've got now two layers highlighted now going to select a new group from layers and that's my sharpened group ok and now it's like now after I've sharpened I've been looking at a chart for a while and it's almost like I can't stand to look at the blurry one you know it's amazing so uh really everything needs to be sharpened but maybe not quite this much so just reduced capacity just a little bit okay and I'm also not gonna book apply it universally everywhere it's unnecessary so uh I'm going to go ahead and uh will hide it with a with a black layer mask same sort of thing hold down option when I click on add layer mask and it will be a black leather mask so now I've hidden the sharpening and I know I want to have the sharpening on the face so let's go ahead and paint that back in here on the face and zoom in just a little bit I think these foreground hand I'm gonna get those that sharp and kind of bring it forward a little bit um maybe his shoulder here um well I don't know maybe just a little bit of sharpening their sharpen that is just a little bit and that's that's enough if I really I was concerned about that sharpening effect on the skin I can also kind of mask that off in that in the areas where it's kind of bugging me so you know, maybe these these sort of speckles on his cheek here I'll just kind of smooth that I'll just mask off the sharpening keep it off you know of his skin like this, you know and I want it definitely in the hair but maybe not on the forehead so I can, you know, just kind of paint it off. That's. Another strategy for dealing with that, you know that that rough skin effect. Okay. All right, what do we think? Questions? Very cool, very cool. Any questions in the audience watching? Thanassis that's? Not in the book. That's, not cool and, you know, you don't. You don't often look out with a great model and did some interesting things in this. This idea, sort of I I had no thought that I was going to be doing this today. So I'm I'm kind of pump that, you know, I got to do I get to play here and share my my plane. I mean, this is what what I really enjoy just enjoy kind of creating, uh, it's, really conceptual image that is showing you him moving things kind of energy and I and no idea that this is going to happen today. And I'm really happy with this. In fact, I'm going to save this one while the internet couldn't be happier. Like ian said that. Exactly. It going from start to finish from even before you you know, you started shooting today, so it really was the whole gamut today. So let's, see, way, have some questions. Do we have a question from hootie and who he would like to know? What do you recommend for editing a larger group of images, like a family shoot? So I'm not sure if they mean more people in more people in them. More people in one shot. Yeah, um, I recommend doing what we've been doing. I mean, just, you know, use photo shop and, uh, you know, like, I think I mentioned this yesterday we were looking at that huge saturation shifting technique to take the read out of the skin. Um, that's especially useful in group shots where everybody's skin tone is different, and some nights you want to bring him a little close together, but, you know, not necessarily make them all match, but certainly, you know, kind of bring him a little closer together. So you don't see kind of really crazy mismatches where somebody's got really all of colored skin, and then the next person's got kind of rosy pink skin and, you know, so that sort of thing would be very useful there, um yeah, I mean, more people in one image is sort of like more arms and what images just kind of you know, work it you know sally who he said that what they actually met was multiple images multiple images yeah ifyou're you're delivering a lot of images not everything can be worked up in such detail and uh usually you know, like uh when we're in in light room uh you know, looking at all of these images let's see here um way got a whole bunch of images here and uh uh you know, I was trying to make one image out of all of these images and usually you're you're hopefully your client is going to pick one image auto sequence but if you're doing like a wedding where you really need to deliver like, you know, three hundred images you obviously can't go in there and do luminosity blending and all this kind of stuff to try and, you know, working out so I would use light room and just get it as close as possible and batch him all you know so you know, uh we didn't really cover much what you could do in lighter but in light room here even with this this group I could just take one of them and uh you know, way can elevate the shadows if I'm even seeing this effect here yeah, I'm elevating the shadows um maybe reduced the contrast because it's a very contrast the lighting you know increased exposure just a little bit it's not it's not idealized to the same way that we did with all our luminosity blending and stuff where I could bring out the edge highlights and all that kind of stuff um little clarity is sort of like takes the place of that high pass effect so kind of a little clarity like that and call it a day you know like I'm going toe select all of them and sink it and then we'll select everything now justcause I you know I want a mall a match everything so we're synchronized and and now you know maybe that's good enough I'll just you know that I can't you can't really apply this this much intense massaging on you know that many images and this is exactly the way I use light really is to take groups of images and get him kind of roughly good or at least so that I know I can present this to the client they could look at these and they all look good and they're all look good enough for them to go yeah this is my favorite right? So I'm not going to send them the wrong material I'll felt tweak it but I'll do this sort of thing globally and in light room just to sort of make it look good enough um you know so and then but then I typically to really massage and I will take it into photoshopping duel that that kind of stuff to really chariot out so I just have one more final question is there anything that you don't know about photoshopped or light room or do you pretty much know yes there's uh there are people that no more about light room than I do I want more people definitely more there are people that know more about photoshopped that I do in fact I think one of them I heard a rumor that one of them might be in the house so I I don't know um yeah I don't know everything we don't know what you're talking about I don't I really don't know anything everything I I'm good at you know what I know how to do uh but really like and photoshopped I really don't know very much about the three d aspects of photo shop there's some pretty amazing things and photo shop in three d sorry can't help you don't know a thing about that uh and uh you know, nobody can that photo shop is is incredibly deep uh program but and I'm approaching it from photographers perspective so you know, I know what I know hopefully that that helps somebody out there especially our photographers one follow it ok? Is there anything that you are really excited to learn that you don't know that you are treating yourself that I want to learn it, um, I'm actually doing more video. Um, so, uh, I'm kind of excited that now photoshopped has some really powerful video capabilities, and I just started looking at that. I started, I've shot shot video a number of times. Now I've done a music video, actually, I think there's a lot. I gave you guys a link, so there might be a link out to that hour of separation, which is kind of cool. I didn't edit that, but I was really impressed when they put it all together. It looks fantastic, and I got to tell you, when I was shooting primarily for stills, for the the book album booklet in the album cover and the video and really low light conditions without five d, mark two was just unbelievable, so I'm actually very excited about getting more into video.

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.

Reviews

Luis
 

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.