Using Composite Photography to Create a Fantasy World

Lesson 18/31 - Change color of Rabbit Costume

 

Using Composite Photography to Create a Fantasy World

 

Lesson Info

Change color of Rabbit Costume

The only other thing I wanna do to this rabbit before we go on to Alice, is I want to change the color of his jacket. It's purple at the moment and a lot of the pins on Pinterest in the illustrations that I saw were more of a blue color and I sort of wanna match that. Doesn't need to be completely the same color as the illustrations and the artwork that I saw, because I don't wanna copy. But I can change the color of this jacket. So to do that, I'll go into my rabbit folder. And this is why I wanted to keep it as a folder of rabbit, a group rather than a smart object. It's just easier; one less step. Going to my costume copy, which is the layer that I've got turned on at the moment for the costume. And again, it's another adjustment layer that I'm applying here. So adjustment layers are fantastic; they're very, very useful. And this one is the hue saturation adjustment layer. Now what I'm wanting to do here is choose the purples, so my changes don't affect the whites in the rabbit. We'...

ll zoom up. So to do that, I can firstly choose the color that is closest, so I'm gonna go with magentas. And then down here, this is the color that is selected at the moment. I can use the eye dropper tool to pick up a mid-tone purple color. Nothing's happening to that color at the moment. If I change the hue and turn the saturation up, there's still not a lot happening. So I need to make sure that the color is the correct color, so if I move that slider, I can make sure that it's only selecting the colors within this range. This is the feathering, so usually I pull in less feathering of the color and make sure that there's no overlap of the other colors in the scene. So because the rest of the costume is basically white, there's maybe some reflection on the hand there that I'll need to paint out, but the rest of the costume is primarily a creamy white, as long as I've only got the purple selected and those tones selected, I can get pretty close without having to mask too much out. Now, I turned the saturation up so that you could see how it's being affected, but you can change all of these sliders, so what I'm wanting to do now is go to sort of a blue. I can change the saturation, how much blue. I can change the lightness, so I can make it lighter and darker. So I'm looking for more of a green-y blue kind of color. Something along those lines is what I'm wanting for my rabbit. So I can change the saturation if I feel it's too bright. Obviously not wanting it to clash with Alice. And she's wearing blue, so we need to be careful of our colors. I may even go and change this after I put Alice in because you need to consider color; you need to consider complementary colors and things. And again, another benefit of compositing is that you have full control over that. So sometimes when you're planning an image you may not have the right costume color and you may need to change it. When I was doing Peter Pan, my issue was that he had to be in green and the rest of the scene wasn't really working for me, so I had to do a lot of toning and a lot of color toning to get complementary colors happening. So consider the color wheel and complementary colors when you're working. At the moment, I'll leave it this color. But once I've got Alice in and I can see her blue and I can see how it's balancing out with everything, we may go in and adjust that again. Now, it works pretty well; it hasn't really affected the rest of the hand here. But if we zoom up again, in case there's some spillage of color change over here, because if I zoom up I can see not enough selection there. Can you see the difference there in color? I'll feather it out more so there's no issues with the color and then in here, because it's an adjustment layer, I can paint on the hand in black to make sure there's no color spill onto that area. Really not seeing much, but just in case, zoom up, make sure So sometimes if you're wanting to change someone's costume and they are wearing a red or a pink, very hard to change the color of the costume without changing the color of their face. So then you would paint that out. So if you change the color of the costume, you paint out the area that you don't want it to apply to. Okay, and last thing here, we just wanna fix this fur here. So I can do that with a layer above that is clipped to my costume and I'll probably just use the stamp tool, the clone stamp tool, pick up some fur from over here, just paint it in, so that you can't see the rest of the arm coming out of there. Just peeking a little bit out and popping it down on there, blending it in. And again, I can turn that layer off and on, so it's its own layer. Okay, zooming back out. Now we have a rabbit in a green-y colored jacket. Ground to the ground through a shadow. Ready to go for Alice. So this was a question from Jane Ames, who said, "How do you link the layers again? "Like the rabbit to the rabbit shadow? "Can you show us that again?" Yeah, so we're talking about creating clipping masks. So down here, we've got the shadow, is actually not linked to anything at the moment. So the rabbit's shadow, that's underneath the rabbit, is just directly underneath the rabbit feet. If I want to keep everything together, which I think is probably what is being asked, what I would do now is group all of my rabbit together, and I can actually group those shadows as well. So going in here, the rabbit is already grouped. But I can now regroup so that it's basically a group within a group. So if I call that one rabbit, group, you can continue to group within a group. So dropping that down, it has the levels, adjustment layers, and then the rabbit layers within that. So that's the way that I would do that, because I want to keep those levels, adjustment layers underneath the rabbit but not quipped to the rabbit, because that will cause other issues. Hopefully that's a helpful tip. Great; so I know there are a million different ways to do the same thing in Photoshop, but N. Brinheuer says, "When would you use puppet warp versus other warp tools?" And just kind of the, why do they have different warp tools? Well, puppet warp is really so that you can adjust arms, legs, necks. Puppet warp, what it is, is it's called puppet warp because you can puppet your characters. So puppet warp would be for that purpose, would be to move arms and legs around, to move heads around, tilt, whereas the other warping tools are wider spread, so you can warp areas where maybe you wanna make something more wider. I was warping this area down here in my background plate, because I added some path and then I needed to widen that out towards the bottom, so I used the regular warp tool for that. So yeah, different warp tools for different purposes. Great; and another question, so just to clarify, the pins in the puppet warp are kind of like freeze and liquefy? Yes, a little bit like that. Is that correct? But they're more like pivot points, so whereas freezing in liquefy freezes a certain section that you don't touch, the pins lock bigger areas in place. So think of them as pivot points. Yeah, great, and now we have some folks who are tuning in who maybe weren't with is all day yesterday. And so Kathy Tarochine wants to know what type of tablet it is that you are using. Everybody wants to know about this tablet. Everyone wants to know, so here we go. This is the Wacom Syntec Companion Two. So it is a graphics tablet; it is much like the Syntec Medium but it is a computer, it's an all-in-one. It's running Windows 10 and it runs everything that you can do, Photoshop, Lightroom, so I can be in the plane, in bed, sitting wherever and working independently from a keyboard, from everything else. So yeah, it's from Wacom and I'm sure that you can get it from anywhere that stocks Wacom. Great; and a question from Frozen Photography, you showed us to work with that jacket and of course, the rabbit as well. Do you find any textures that are particularly difficult to work with, that maybe you would avoid thinking about including in your composite? Yeah, well I was actually worried about this jacket, because it does have some interesting patterns to it. And even using the 5DSR, because of the way that that shoots I was worried that the patterns would be an issue. So you do need to be careful with patterns, with heavily patterened textures. This worked out okay; I'm happy with the way it looked. But I did do a test shot, so that's one thing that you might wanna do before you actually costume someone up. One of my original images, my first version of a different Alice image that I created, of her falling down the rabbit hole, I used a very highly shiny material and I found that very difficult to work with. So I usually avoid shine particularly. Great, that's very helpful. Question from Laurien Davy, do you know if the Syntec can run on Mac OS or is that why you use it on Windows, cause it can't? Okay, so I wish it ran Mac, but Apple only runs on Apple computers, unfortunately. This will plug into a Mac, however, and run as a Syntec. So you can actually plug it into your main working computer, either a PC or a Mac, and then operate that computer and make it a Syntec. So it only runs Windows on its own, but yeah it does. I am a Mac girl. (laughs)

Class Description


Karen Alsop is known for creating beautiful fantasy worlds through her unique compositing techniques in Lightroom™ and Photoshop™. Whether you're a wedding, portrait, landscape or commercial photographer, this class will show you how to create beautiful and distinctive images you can offer your clients to expand your business.  

Join us for this class, and you’ll learn how to: 

  • Shoot with your composite in mind: lighting, posing and angles.
  • Choose background and subject images that will work best in the composite.
  • Learn Lightroom® and Photoshop® techniques to create a fantastical atmosphere.

Karen’s emphasis on creativity and imagination in her process has helped her to make a product that competitors have a hard time recreating. Karen’s beautiful, intricate work is not simply the result of vast technical skill, but rather is the careful integration of a number of elements. She puts subjects at ease and inspires them with artful direction; incorporates them into fantasy landscapes using Lightroom® and  Photoshop®; and then effectively prices and markets the final product.  


Software Used: Adobe Photoshop CC 2015.1.2

Reviews

Judy Mitschelen
 

I've found many great instructors at CreativeLive and Karen ranks right up there at the top! With her relaxed, thoughtful manner of presenting, I was immediately hooked. Her organization, clear explanations and demonstration, and on target response to questions are superb. This course covers an amazing range of skills and tricks of the trade. Whether you're interested in getting better shots to work with, better workflow at the computer, or better output at the end, Karen covers it all.

Endigo Rae
 

This was such an amazing class! Karen is so talented, inspiring, and such an amazing teacher. Very forthcoming and open about all of her techniques. I'm so looking forward to jumping into compositing, I feel like this is definitely something my soul desires to explore and Karen has made it so easy and accesible through her beautiful course! Thanks so much Karen and CreativeLive!

Kim
 

Karen is very talented and a great teacher and I enjoyed every minute of the course. But what I found to be the best part was seeing what an amazing person she is. The video of compositing the disabled children to make their dreams come true had me in tears. It has inspired me to use my talents to help others and not learn photo manipulation for self enjoyment. God bless you Karen.