Adjusting Skintone Colors
Lesson 47 from: Creating Your Reality with Composite PhotographyRenée Robyn
Adjusting Skintone Colors
Lesson 47 from: Creating Your Reality with Composite PhotographyRenée Robyn
Lessons
Class Introduction
09:16 2Why You Should Sketch Your Composite
03:25 3What to Look for in Your Background
10:51 4Posing Your Model
08:23 5Communicate with Your Team
10:34 6Elements of Compositing
31:36 7Learning from Failure & Criticism
12:27 8On-Location Safety Tips
03:42How to Nail the Right Perspective for Your Composite Photo
07:15 10Gauging Light & Exposure On-Location
03:49 11On-Location Posing
18:37 12Cliff Shoot Location Final Thoughts
12:03 13Tips for Culling Images
09:41 14Culling Images Q&A
11:29 15Preparing Your Image for Composite
07:18 16Composite Image Cleanup
11:01 17Adding Background Image to Composite
17:04 18The Difference Between Flow & Opacity
05:41 19Composite Sky Elements
20:58 20Using Curves to Color Match
05:43 21Adding Atmospheric Depth to Image
17:08 22Using Color Efex Pro to Manipulate Color
07:37 23Using the Liquify Tool
05:15 24Color Theory & Monitor Calibration
10:35 25Adding Smoke Layer to Image
07:55 26Selective Sharpening
05:18 27Crop Your Image
02:29 28Goal Setting for Digital Artists
04:39 29Review of Location Composite
01:57 30Understand Angle & Height for Your Base Plate Image
06:15 31Base Plate Focus Point
04:45 32Base Plate Lighting Tips
06:10 33How to Use a Stand-In for Base Plate Image
03:47 34Capture On-Location Base Plate Image
05:57 35Student Positioning Demo
09:05 36Base Plate Sketching
07:33 37On-Location Sky Capture
01:53 38What to Look for in a Base Plate Model
14:30 39Building Composite Model Lighting
10:03 40Composite Model Test Shots for Angle Matching
19:48 41Composite Model Shoot: The Art of Fabric Throwing
13:34 42Composite Model Shoot: Working with Hair
05:45 43Composite Model Shoot: Posing Techniques
21:26 44Composite Test with Final Shot
06:12 45Lighting Setup Overview
04:52 46Culling Model Shoot Images
03:35 47Adjusting Skintone Colors
04:54 48Merging Background with Model
04:54 49How to Mask Hair
09:49 50Creating a Layer Mask with the Brush Tool
14:23 51Creating Shadow Layers
07:10 52Removing Visual Distractions with Stamp Tool
07:11 53Replacing Sky with Layer Mask
05:15 54Drawing Hair Strands and Atmospheric Depth
10:30 55Creating Contrast in Your Composite
12:23 56Adding Atmospheric Elements
06:43 57Using Particle Shop
11:47 58Selective Color Adjustments
07:58 59Cropping, Sharpening, & Final Touches
10:29 60Closing Thoughts
05:52Lesson Info
Adjusting Skintone Colors
Let's see, do I wanna do any pre-editing here in Capture One, because we're here, otherwise I'm gonna wind up doing it in camera raw. We have a skin tone option here. I'm select these little dot things. I'm in Color Editor, Basic Advanced Skintone. I'm gonna select her skin tone here. I'm gonna say View Selected Color Range. What this means is that everything that is not within my selected color range, is gonna turn black and white. I'm gonna slide back the smoothness. And you'll see the image is getting more and more black and white. I'm gonna bring up that redness. And so you see, this dress here has a lot of skin tone in it, right, because it's a cream color, So that's kind of something that's gonna happen. But, I'm gonna see if I can just pull up the uniformity a little bit, and it's going to affect a little bit of the dress but I'm kind of okay with it. I might pull down the Saturation a little bit. If we look at her skin here, so it's not affecting her lipstick, right because her...
lipstick is quite pink. So, let's bring up the smoothness a bit 'cause I wanna catch her knuckles there. 'Cause here the tips of her fingers, that were catching the highlight, were turning black and white. That means that we're not actually impacting the actual color there, so I'm gonna bring up the smoothness until I'm catching that color. If I turn down the Uniformity. What we're catching right now is her hands are a little bit slightly different color than the rest of her face and her arms. If I pull up the Uniformity a tiny little bit, you'll see that her hands are starting to get a slightly more pleasing color. That's actually one of my favorite things about Capture One, I mean you can do this in Photoshop if you wanna do color layers and everything else, but it's something that's very very nice in Capture One that we can work with that. I turn off the View Selected Color Range, so it's on and now it's off and so everything kind of comes back to its original color. This is very nice. I'm gonna go down to Clarity, and I might just increase a little bit of the Structure, tiny little bit. It's just bringing out a little bit of detail here. If I go to My Curve, I'm just playing it here on the left hand side. Remember there was the RGB and the Luma so if you were watching yesterday, I went through the demonstration of what the difference was. I can just touch on it here quickly today. If in RGB, I go up and I go down, it plays with the saturation of the image a lot. One of the nice things that Capture One has done as we go to Luma instead, I can bring this up, and I can bring this down, and we're not having that crazy saturation problem which is really nice. I'm not interested in cranking up the brightness on this whole image, I'm just looking at maybe bringing up just a little bit of the darkness. Let's bring that back down just a touch. So that's looking pretty nice. I'm kinda likin' where that's at. I'll do the more color corrections and everything else once I get into post-production, or once I, post-production, prior to post-production, once I get into Photoshop. That's where we're sitting. I increased a little bit of structure, slightly brought up the shadows a little bit. And I evened out the skin tone on her hands using the Skintone Tool. We are going to go right click, Edit With, TIFF, 16 bit, 300 pixels per inch, Photoshop, Edit. My Photoshop's gonna load up. And so, what I'm gonna do here is I have these adjustments that I made on this image. Oops, let's go back to Capture One, right click, Copy Adjustments, and I'm gonna go down to the other image that I like here, this one. Right click, and Apply Adjustments. It's just a little bit of work that's been done. I'm going to right click this, Edit With, Photoshop. I'm gonna keep them both open just in case I decide to change my mind, 'cause I really like this first one here, but I also might wind up settling on this one, 'cause I shot it and I was like, ah that's awesome. And, it totally just hit while we were getting ready to pack up.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Dino Maez
i have to say, the class was AMAZING! in every way from the tricks and technique's of mastering this art form to the personalized attention given by Renee. through the class you are able to learn information that would normally take the average person years of trial and error. Renee gives you the gift of benefitting from her her experiences and what she has learned THE HARD WAY! Renee is an outstanding instructor full of passion for what she does, and with a strong desire to not only improve the art, but more importantly, pay it forward, by sharing her knowledge with others. I was fortunate enough to be able to attend the event in person, truly a once in a lifetime experience for me, the staff at creative live were THE BEST! they are helpful in every way and really made this event something special, i can't say enough about the experience i had and would highly recommend that anyone who has the opportunity to go down for a class, it will be an experience that you will never forget. but the best part of creative live is that wether you are there in person or wether you are watching from the comfort of your own home, you are involved in the class in REAL TIME, you have the ear and attention of the skilled artist giving the instruction, being there myself i can tell you that Renee was regularly given questions and comments from the viewers via the creative live staff and she would respond to them as they came, in that way you are very much apart of the class you are never left without getting that personalized attention of an amazing artist or that specific question you have answered, and even better you have the option to purchase the class and have it as a constant resource in your tool kit that you can refer back to at any point that you need a refresher or want to recall that special technique that was demonstrated. thank you thank you to renee and all the staff at creative live you have a life long member in me. and i would recomend that everyone take advantage of this valuable resource dino maez
stephen lenman
I have completed many creative courses. This is by far the best so far. Quite the most amazing and inspiring presenter with a true passion for their craft. The core information is excellent, but the thing i liked most were her subtle tangents, dropping incredible information completely on the fly. A complete real world honest view of business and practical side of the industry. Especially her advice on how she started to her business. Saving up enough in her day job so she could pay the rent, and do photography for 3-6 months.
Sheldon Carvalho
Awesome class. I've been following Renee for a very long time. I love her work and to finally see her work and get an image done from start to finish was quite something.. I love the way she sees things and the way she treats her work and all fellow creative. I would recommend this to everyone interested in getting into composting. Looking forward to creating and making my own art work. But it now :) Have fun creating. :)
Student Work
Related Classes
Commercial