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Lesson Info
13. Editing: 3/4th Rear
Lessons
Meet Aaron
13:26 2Workshop Overview
02:53 3Equipment Breakdown
16:16 4Building Your Brand
07:32 5Getting Work Through Spec Shoots
25:39 6Pre-Production
09:29 7Shooting Hero Shots During A Technical Angle Study
15:44 8Getting Creative with Exterior Detail Shots
08:10Shooting Interior Panoramas of The Dash
13:38 10Illustrating Motion with Rolling Shots
09:34 11Editing Concepts & Philosophy
02:10 12Editing: 3/4ths Front
20:06 13Editing: 3/4th Rear
15:03 14Editing: Finishing the Interior Dash
18:13 15Editing: Making A Preset
32:33 16Editing: Adjusting Presets for Specific Photos
09:39 17Shooting Rollers of the GT3 RS
10:49 18Adding Aesthetic with Atmospherics
16:44Lesson Info
Editing: 3/4th Rear
So we are gonna go ahead and get right into the three force rear and why I'm doing that is because the three force rear and the three force front they're similar obviously but you're getting both sides of the car. So I think this is like a very important way to show to establishing shots for a client and even for a deck, if you're gonna make one. It's just always nice to have a front and back. So let's get into that. With this image, I bracketed four different exposures. So I'm gonna click these four, right click again. We're gonna go to photo merge. One more time, HDR. And this again, this is gonna give us a clean consistency throughout the entire image. So just wait for that to merge. All right. So you can see here, it gives you kind of a little preview of what it's gonna look like, click merge if you're happy with it. All right. So there you have it. As you can see again, it's dark but that's okay because you're gonna have all the information to pull from with highlights and shadows...
. And that is a very important part to have when you are editing with vehicles. So let's... So again, I copied the preset that I used in the front shot. So I'm gonna paste it to this. And again, we're gonna have to do some tweaking 'cause already I'm seeing green here on the back window which I do not like and everything else just looks blown out and that's okay. 'Cause it's all trial and error. Bring down the exposure. Let's see here. And you... Again, you're gonna wanna make this as consistent as possible with that first image. So this green spot, this green saturation here I do not like, so I'm gonna come down here to the HSL and mess around with the greens, a little bit. Also the brake light right here was really red, so I'm gonna bring that down and I'm gonna come down here to the greens, take that all the way down as you can see it got rid of that instantly which is really nice. Usually I'll try to mess around with the blues a little bit but again, I kept it very desaturated and pretty subtle in the sky area. So I'm already liking that a lot. So let's go ahead and do the radio again. And I'm basically gonna just copy everything I did from the last image and you can go back to the previous image that you just edited and make sure you're doing the same things. Obviously it's not gonna be exact, but get it as close to that first image as possible. So I am working around the vehicle here. I'm gonna bring this radius up a tiny bit. So I have a little bit more room and I am gonna make a tiny bit of a vignette around the subject. So as you can see, it's pretty bright over here and that's all right, because you have all that room to play with, with the highlights. And so as you can see, I'm gonna bring these down and you have a lot to work with, which is really cool. So I'm gonna bring it up just so you can see a little before and after and when you're happy with it, I like that vignette again. So I'm gonna try to make it a little bit more vignette but not too crazy. And before I do a radial in the inside of the car I'm gonna go to the brush and mess around with the subject, on this one. So let's bring up the highlights a little bit, the shadows just a little, and you can mess with either or, the texture on right here is gonna mess with like sharpness. And you're gonna get like really, really obviously textured panels of the car, which sometimes looks good sometimes doesn't. And clarity will give you noise. But if you use clarity, right it also makes a really cool effect on your images. So, but you never wanna go overboard with it Bring up these whites and I'm just gonna brush over the car. As you can see it's already getting pretty bright and that's okay. You have everything in your column to work with and you can adjust it in a second. All right that is a little bright for me. So I'm gonna tune down shadows here a little bit. 'Cause I want these panels like the the fender flares to stick out a little bit and anything that's dark, that's contrasted on the vehicle 'cause you're gonna wanna see these lines right here on the door panels. You're gonna wanna see those lines and the fender flares 'cause you're... Basically this body style, you're gonna want to see the trim of the vehicle. And that's kind of another key point to be mindful of when you're editing a car you're gonna wanna see all those lines 'cause that's I mean the car was designed to see lines and you're gonna want to see those and enhance those. So just be conscious of that. So right now, I'm basically just seeing what I like and what I don't like. Messing around with the highlights a little bit, looks a little too bright still. Let's see what these blacks do. Again, blacks kind of are harsh to play with But that looks good. So let's keep it at that. I'm gonna close that out. What you can do is just click the brush again. It'll close it out for you. Click it again. And then basically this gives you another layer to play with. So I'm gonna darken the shadow of the vehicle and I exited out of... I zeroed out. So I reseted the entire thing so I can play with whatever I want again. So I'm just gonna bring down the shadows a little bit. You don't wanna go too crazy. Again from what you guys remember on that first image, I didn't go too wild with the shadow just because you don't want it to look like just a block underneath the vehicle but you wanna see some texture in there and remember you have the eraser tool. It's always your friend. So come down, get the eraser tool and then kind of got some of those shadows darkened on the tire. So I'm gonna erase that a little bit, bring back that tread make sure you do it on both tires. Cool. All right. And so one other thing I'm gonna point out too is on these tires right here, it was very dusty and I don't really like seeing the white almost like a white wall on it. So I'm gonna darken that and kind of mess with it a little bit. Just so there's some contrast in the tires 'cause that just looks a little funny to me. So let's zoom in on that and work around tires just a little bit and I'll probably end up going back to the three force front and doing the same thing. So it's just little things here and there that you're gonna like realize what you like and what you don't like. And that's just the fun part of editing. It's just, it's never ending and you can do literally whatever you want with it. So let's bring down highlights a little bit. Let's dehaze it a tiny bit, not too crazy. The dehazer's pretty wild. It's... You can mess around with it quite a bit. So as you can see it's not doing much right now, but it's like just perfect. You don't want it too crazy. And that subtleness right there is like really nice. Let's dehaze it a little more, just a little. See if you go too far, you're going a deep water and it's just a, it'll look like another tire on top of a tire. So don't go too crazy with it, but you want to make sure that you're still seeing texture on those, but it's not a white wall as it was before. Once you're happy with it, go to the next tire, looking pretty good to me. Let's go over those highlights again and just be sure you're getting those highlights because if you're going over the shadow just right above it right outside of those, those are gonna be really dark too. And it's nice just working around whatever you want to work with and you can see right now that I'm just working those highlights and bringing them down to match the, just that top of the tire right there. Zoom out just to make sure it's looking good. Computer is taking so long. As you can see, it's a little better from before . I like it. So let's roll with it. I was looking back on the three force front and I didn't like the saturation and the color as much as I thought I did. So I'm gonna actually bring up a little bit of the saturation in these bushes. Just a tiny bit. I'm not even gonna worry about hovering over. I'm just gonna do it all singles over here. So you can kind of have fun with it and go at your own pace and do obviously what feels right and what's realistic. And there's a time and a place to get weird with editing, but when you're doing it for a client and they specifically ask for like a like catalog shots, catalog shots are different from basically an editorial. Because with editorial you can kind of like, usually they'll have like a creative brief and you can sometimes get weird with it. But most of the time they're gonna want like a pretty clean realistic, consistent photo. So just be aware of that. Make these, I'm gonna make the rear lights not stick out too much, 'cause it looks like almost like the brakes are on, but they're not. It's just the sun hitting it. So as you can see right here, it's pretty bright right over that rear light. And what's nice is you can come down here to the red luminance spot, bring down the light of that. Just a little, you don't wanna go too dark but you wanna match just what's in that whole section, so. Play with it a little bit. When you're happy, you can move on to the next step. I'm gonna check the before and after just to see if I like it. It's looking good. I'm gonna do, let's see. I'm gonna try to pull the contrast in a tiny bit. Looking cool. And let's get rid of this flare from the sun like we did on the last image. Setting should be like right where you left off from the other image. So you shouldn't need to mess with it for the most part, but let's see how it works. Cool. It's looking sweet. And I think... So that's basically it. And when you're happy with that establishing shop go back and forth, compare the two and you know sometimes you're gonna look at it and be like, okay I want to change the colors with the bushes or I wanna change the color of the entire vehicle or just even the split toning. But yeah, again, it's all trial and error but this is obviously my favorite part because there's just so much room for creativity in editing. So there you have it for those two images and let's get on, let's move on to.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Ben Waugh
Worth Every Cent! Keen For More! This was awesome, definitely keen to see more of these in the future! Keep them coming dude! Loved seeing your edit breakdown and workflow. Would love to see some more of the behind the scenes of planning a shoot too - @benwaugh
Allison Gregory
From Zero to Hero Awesome workshop to not only get my first taste of automotive shoots, but I am walking away with a shoot set-up and planned to create speck work and present brands with decks. I loved how Aaron really explained everything he was doing. He rocks.
Adrian Mirabal
Amazing and WORTH IT! I have followed Aaron Brimhall for a while now and when I saw he was releasing a workshop I knew I had to get it! If you are wanting to shoot anything in motion or automotive action this is the workshop for you!