Shoot: Working With Animals
Lesson 8 from: How to Shoot and Composite Levitating ObjectsBret Malley
Shoot: Working With Animals
Lesson 8 from: How to Shoot and Composite Levitating ObjectsBret Malley
Lessons
Class Introduction
04:00 2Your Mind is the Camera
08:02 3Set the Scene
06:59 4Get Smart with Your Gear
03:20 5Posing Tips and Challenges
04:51 6Shoot Considerations
04:09 7Shoot Setup
13:02 8Shoot: Working With Animals
09:55Shoot: Creating the Look of Motion
08:54 10Shoot: Levitating Objects
11:04 11Starting the Composite: Organizing Your Images
12:37 12Working With Your Sketch to Assemble the Scene
11:23 13Selections and Masking
30:01 14Selections and Masking Continued: Painting Techniques
08:56 15Shadow Overlays
18:35Lesson Info
Shoot: Working With Animals
All right, you guys ready? Let's do the the real thing here. All right, So however you want to get bucks north Attention. Can you get a policy excited yet? Let's just do a few snaps like that. Um, let's take this great bucks North. Fantastic. Brilliant. Get this leash more on that side story. I should have asked the model. They mind if I have approached? Okay. You re look at focus again. It's to make sure that is that is what we're seeing when they actually do it on that the least since that needs to be unfocused too. Okay. Okay. All right. So let's have mawr angle. So basically, the trajectory is if the dog just literally saw squirrel and launched off from here. So matching this. So pivot bucks north About a little more of that direction, and it looks great. Well, we'll try to get as quick as you can hear. All right. Where's the other one? Okay. And see it paused. Okay. Let's have let's hide the treatment quickly. Okay. Um, so we can't see it and then let's see if we can get him sort ...
of excited about it and showing it. I don't know how we're gonna do that, huh? Who now? You. Yeah. Oh, there we go. Uh, let's see. Can we do? Let's try one. It was my implant. Sending it off there. There we go. Three words. Like, if I'm not getting it, yeah, you know, So we might have to do a couple things with that. So be nice to have the tail. It's hard to make a dog feel something different than what you want, but the tail cannot do the curl up sort of things, so we might try to shoot it a little bit in more pieces if we can. She'll be fun to put together afterwards. Yeah, let's actually, let's shoot a couple just right there and listen. See again? Just whatever shots. Okay. You are perfect right there. Yep. So just keep going to that angle on. Actually, let's lower. You know that I'm looking at on foot. Yeah. And sort of time. Okay. I'm just gonna take some exposures here. Here we go. Oh, yes. Okay. Let's wait for him to chew, okay? I'm not I'm not okay. I'm trying to go for it. So one thing about technology, Okay, let's hold off for a second. You guys can relax you to stop. Uh, so no, it's, uh So what happens? I got a little gung ho was shooting eso the camera technology is so awesome. Now, uh, this camera is the Sunni. I am dyslexic, right? So a seven, it's a nightmare. The way they name these things, seven are too. Has 42 point something making pixels. It's huge. So the processing the way it does it, it it goes, Yeah. Awesome image. Hold on. It has to think about it. Think about it like Okay, I'm ready again. So even if you trigger, it wants to keep on shooting it just with a processor. Even with a fast card, right? Everything you can dio um it's a lot of information, so especially when you're used to just shooting away, you have to kind of rethink. I have to rethink my workflow, so Yeah, OK. Yes, we're getting it. Okay, We'll do one at a time. Okay, Let's go for it. Uh, see, it's a little bit low, but we might be able tow to make bucks north floating a little bit. Can you help him up a little bit? when he gets excited about a treat. And let's just try that, Okay? And I think this guy's ready. Let me check my focus again. And your hand is perfect there. Yep. Especially when she raises it up a little bit. So let's let's do this. Let me. Yeah, let's check for us because it just keeps looking blurry. But I'm not sure if that's the aperture, the overlay or what's going on here. Okay. And of course, you can't minimize that. Live one there. Okay. Where are we? Okay. Okay. There were. I see your feet. Okay, so there's that motion blur. But again, I have motion blur on the child. So a little bit of motion blur. We just fly and let's let's go up to some of these, uh, but what we don't want Yeah, we don't want that ghosting. So I will take down the shutter speed, then? Yeah, that's we're getting that. Um let's take a look at some other ones here. Yeah, Too much ghosting. OK, getting at. Although that one that was usable to see yeah, not gonna work for for hair. That's pretty pretty tough. And the dog, if you notice we're missing the gray background with that. So let's let's bring the dog and everything just a little bit more that way, and I will refrain and refocus. Okay? So let's let's have buck snort as if he's gonna go towards it. Yeah, that should be about right over there. Let me. Perhaps a little bit more long. Is that horizon is staying the same weaken? Work a lot with it? Um, yeah. Okay. Cool. There we go. All right, so let's try this again. Gets more shots here. Yeah. Thank you. Client John's here. Uh huh. All right. That should pretty much knockout ambient there. We may need more still because of this. Um, actually, lets get out this way over here. Do you mind? Okay, here we go. You seem like you've held one of those few times. Okay, so, uh, let's take it off. Heels to white. Yeah. Eso other things. We're also gonna trust you. So we still have to shoot the human on then. Possibly another human that's throwing up groceries, moving out of the way, the child. So we'll see what we can get through here. If we can get through this, um, it may just be You get the gist of it. Will have toe do more of it. But that's the time constraint. Okay, great. Perfect. So this will be hard. Let's have you. Do you mind coming out here? It'll be okay. Um, let's get some. Basically gonna balance this one here. We'll get just a little bit, so perhaps Right. Let's try that right there. So you do a little bit of that Phil there. So the shadows aren't as contrast since I took down the ambient. So again, when you're shooting with strobes, uh, the ambient light that's controlled by the shutter speed. Right. So if you want to control the, um, the amount right that these air getting you can control it with the aperture. F 13 is going to be pretty nice here for this. Okay, everybody ready? Books are ready. Here we go. Good dog. What street? Okay, He's like, I don't know what to do. Okay, let's see you. Can we get him up? Pretty one. What? I that. Okay. Can you wave it in front of him? Uh, something. Oh, you know, it's a squirrel. That's a squirrel. He's like, I know It's not a squirrel. Ah, yeah, That's a hard one. Can we give him a little tiny piece this time? Let's see. Um, listen, can you You could make him jump. Okay, maybe. Let's try this. Okay. Yes. Which day we go? Cool. Thank you. This country? Yeah. Is he full? No, he's not. He just sees that he has it to, and he knows that she's probably easier than, uh, Okay, let's Let's hold this down. Further down. That's a look. Okay, let's to let's try you. I wish we could just photoshopped. L've a little parts of your life. Doesn't work that way. Um, he's like, What are you doing? OK, that's as much as you want to give me their, um, Let's see, what if you're you're holding them like little baby and then just kind of like, whoa, just for a second, because we're getting a like that description. Very technical there. All right. Um, okay. Whenever you're ready, okay. And let's see. Yeah, it's going to probably too much to photo shop there. Um Yep. This is hard with a little dunk, but that's a good motion. Okay, So, 321 Oh, good. Okay, I'm work. Excellent. Right there. This is magic. Good. Bucks North. Okay, maybe giving one. Okay. I think whatever happened there, that's this. Could be, but we got there. I sure hope it's the one Focus. Uh, he's like, No, I'm full. All right. Uh, well, let's call it good for the dog. Whatever we got, I don't know what we got. This is part of the life thing. Thank you. Bucks Nord. Thank you for helping with us. So, um, again, I can guarantee that we probably didn't get enough, So we'll go with what we have. Uh, you know, typically, I might take some rest. You might do some other things, keep the same light set up, and then go for it again. So in this case, cool. Thank you. Um, we're gonna see what we got for that
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Ratings and Reviews
Molly B
I agree a bit with Eric Burke's review (which was a thumbs down), however, I feel like this is neither a thumbs up or thumbs down recommendation, more like a 3 to 3.5 star rating. :) That said, I agree that there was so much talking and not doing in the initial portion of the class sections. I feel like when there is a class offered for Compositing, much of the science people want to know is in the editing tips and tricks AND some of the shooting tips and tricks. Photography of the subjects is important to understand, but examples of live shooting should be kept fairly minimal. Aaron Nace still nails the science behind planning and shooting for composites and also rocks in the editing (in my opinion). Brooke Shaden is also a good example on the editing details. I feel like Bret had something different to bring to the table from the class preview with puppet warp and some of the cutting / masking tips... I agree that all the editing portions of this were super rushed and just touched on a lot of last comments of "oh isn't this neat" and no in-depth instruction on how that feature is used. I just felt like he really ran out of time. At the end he talked about re-shooting the dog, perhaps he could have gone in to puppet warp to change the lower legs and tail a bit as an effort to make it look more like his sketch? Bret seems likable, but does continuously talk about side stories and extra noise that seems could be more focused on the topic at hand. :) I still picked up some tips, but this would be more ideal bought on a sale rather than full price. :) I have a lot of photoshop knowledge and own some other composite classes on CL, so I don't feel too lacking, but this would not be for a very beginner of compositing. I wouldn't mind seeing Bret back with a more refined class structure focusing on the magic of puppet warp and other tricks to get the most out of compositing.
s
Had a good time with this course! Bret is a great instructor, you can really tell he enjoys his work and has a lot of fun engaging the audience. I've done some compositing in the past but with a much older version of PS. This course really helped me take advantage of the new features in PS CC and also helped streamline my workflow. It's a course that both experienced and beginner compositors alike can learn from. A big thanks to Bret Malley and CreativeLive for making this course!
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