Merging Background with Model
Lesson 48 from: Creating Your Reality with Composite PhotographyRenée Robyn
Merging Background with Model
Lesson 48 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
Merging Background with Model
So, I'm just gonna scan through, and I'm just in File Explorer. It doesn't really matter, I just need to see what's going on. So this one I kinda like. This is from standing. That's from squatting down, so this I can tell, higher, lower, you can look at the bottom of the image. You can see more information is bigger here, it's closer to the lens. Standing up these little rocks are quite small, so that's one of the ways that I like to tell where I was standing or whether I was sitting closer to the ground. So I'm gonna use one that was shot closer to the ground. I think I'm gonna try this one here. This will be pretty nice. We have some city crap to get rid of here. I'm not a big fan of that stuff, so we'll be digging through that. So 4443, doop-de-doo. Somebody in the comments yesterday, 'cause I read the comments, so all of you that are saying nasty stuff, you watch yourself, be nice. (laughs) Somebody said a comment about hey, she does the doop-de-doo thing. So yeah, I can't shut mys...
elf off when I'm doing this kind of stuff because my mindset when I'm editing is still pretty consistent and just instead of talking inside my brain, I'm talking outside my brain with a PG filter. (laughs) All righty, so let's pull over this one here, so Control A, Control C, Control, Shift V, so of course she's way too big. I'm gonna duplicate it and I'm just gonna hide one of these, so I'm gonna highlight this here, and I'm gonna call those high rows. So I know that if I squirrel around with this other size here I already have a layer that's saved that is exactly the resolution she was to begin with, and yes, I could work with smart objects, for those of you who are more Photoshop advanced, but this is not intended for you know, people who are as that advanced. So if you're comfortable with smart objects, use a smart object, but we're not gonna get into that today. So we are just going to go Control or Command T and I'm gonna hold Shift and make her a little tinier, and let's figure out where we want to put her. 'Cause remember there's my rock. I know right here I'm like okay, that's the spot that I focus because I made it something that I'm gonna notice, right there. That's what's in focus, so my playing area is right about here. So let's try this, I'm gonna put her onto overlay so we can see, multiply. I'm just changing the blending mode of my layer of the model, so that I can move her around and see kind of a little bit more accurately what's up. So in this case I'm turning a photo into a landscape, so in my mind, normally, she has a little bit too much information. I would have liked to have shot this, I did shoot this with the intention of making this portrait, where it's model in landscape as opposed to a landscape with model. But sometimes what happens, especially with compositing, and when you're doing stuff live, you change your mind. So in my mind she's gonna have a little too much information and I would've liked to have shot her a little bit smaller, but we'll probably be able to get away with it today. I just want to make sure that we have all the right information, so remember before we were talking about how she's facing the wrong way, because we would see more of this side of her body if we had actually photographed somebody there. So I am just going to go Command T, right click, and flip horizontal. So it's just kinda faking it, really, at the end of the day. And actually locking her in the middle isn't the worst thing. I spend a fair bit of time moving things around, and I'm pretty much okay with it. (laughs) How do you guys feel about this? Thinking that's sitting okay there? I'm totally okay if somebody says no, but in my mind that's looking pretty good. (laughs) I'm just zooming in here, looking at with the blending mode, I'm just looking here, so these rocks here are a little bit soft, just a teeny bit. Let's see if I can move her back a little bit more. In this case we're also probably running into a difference of lenses, so she's probably gonna be just a little bit sharper because it's a prime lens versus a zoom lens.
Class Materials
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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. :)
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