Challenge #3 The Big Merger
Lesson 4 from: Photoshop This 2018Jared Platt, Lisa Carney, Rafael "RC" Concepcion
Challenge #3 The Big Merger
Lesson 4 from: Photoshop This 2018Jared Platt, Lisa Carney, Rafael "RC" Concepcion
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Challenge #3 The Big Merger
Alright, so they've replaced a sky and they've given us explosions. Now the real challenge begins. How many images can they put together in one photo at the same time? That's the real question. We've given us fire, we've given us sky, now can you give us as many images as possible? And the winner of this round will literally be the person who can give us the most images believably placed on their canvas. Are you ready, I'm going to give you three minutes. Oh my lord. Yes, so this will tax every skill you have especially cut out skills. Ready and go. This is the one I would never want to do, this one's crazy. Yeah. Yeah yeah yeah. Alright so it looks like. Is that where we use that folder you gave us? Oh and I also gave them some extra photos that they can use. So it's yeah, there you go. Let's see what you gave me. You can use whatever you like out of the folders. I gave them some extra photos, I'm kind of like Adobe Stock lite. I only gave them three. I think Adobe Sto...
ck has like a billion but I gave them three so. Okay so we're selecting right here I see. Yeah, a lot of, I'm just trying to get a little bit more stuff out of this. And I'm thinking what I want to do is I want to be able to take this lady, who's an anesthesiologist by day but she hates her job. So I figured, I was like, you know what, let's just kind of bring her out, get rid of some of that translucency there and then what we're gonna do is I'm just gonna grab a scene from inside of here. And we'll pull that. Oh boy. Inside of here. Okay so now I'm officially scared of your anesthesiologist. I hope this is not personal experience. What are you doing Lisa? I'm doing something kind of warm and fieldy like. And nothing scary, so I'm a little nervous sitting next to him. Yeah, most people are. Yeah let's get a prairie gal going on. Let's see what I can find. So right now you have. A little prairie scene. A prairie scene plus a mountain scene. Yeah, you know, little alpine thing and then let's get a gal in there. And then you have Laura from-- Right! Little House on the Prairie. Little House on the Prairie, so that's good. That's her name, right? Laura? It is now. Kudos for me for remembering or naming her. Alright. Nicely done. Alright so let's get going. I'm so in the habit of saving any time I add a new element. Yeah don't save anything. I know, I'm sorry, it's just habit. Alright what is-- Now I'll tell you what I would do to make it faster. I would just move her down enough so I don't see her connecting to the ground, and that's the way I roll. Right, you're just not brave sweetie. Yeah I'm just not very great. Brave I said, not great. Brave, that's you are, oh and there's the House on the prairie, that's awesome. You know, little house on the prairie, come on. I like the fact that it's already on grass so you don't have to really be brave about cutting that thing. Well you're gonna have to do something, but here. And the house is behind her. I like that. That's brilliant. Oh my god. (laughing) No pressure here, I don't know what you're talking about. That is beautiful. I am, you're gonna be awarded extra points for using more photographs from my collection, my Jared Stock collection. It's the premium collection. It's the premium collection, that's right. Yeah Adobe Stock actually has two different collections. They have some that are really really affordable, and then they have the premium collection which is like all the amazing photographers and they're like really quite interesting photographs. So this is from the premium collection. (buzzer sounding) Oh, what the? Man alive, did we really? That was nothing, oh man. Boy three minutes goes like that. I am so sad, it goes like that, I know. I was just so engrossed in what you're doing that I didn't even watch the time. Well let's see what you've done so far and in this case, tell me what you would do after the fact. After the fact. Let's start with you Jesus. Well I wanted to put some of these birds on top of his head but obviously I didn't have enough time so I would probably just come in here, make a selection, actually that mask sucks so I would make a new one, and there he is right there. Very good, that's the symbiotic relationship between pelicans and goats. Exactly, right. Yeah, yeah, and this guy's really happy about that. Yeah. I noticed that you took the guy and you put him in the background but you also had to do what in order to make the-- Depth of field. Yeah, so you blurred our guy because I actually photographed him in focus. Right. So he's back there super happy that he's lost his goat. I love the fact that the goat is right up front in our face, that's fantastic. Okay Lisa, what else, what did you, oh. Well good lord, I had a lot more to do, but you need to add some effects, you know a little, a little atmosphere. Oh were you gonna give us a little bit of sunshine in that there? I was and it was gonna go up here and then we could do levels a bit, and I was gonna, oh birds, what about the birds. Gotta add some birds. You were gonna put some birds in the skies? Yup. Nice, flying by. Well I like birds, birds are nice, right? They make you feel good. Little multiply, little stick 'em in the back here, flying birds. Oh so beautiful. See, I mean don't you feel happy? It's just a pity you didn't have the time. Right, well three minutes. Time is a killer. It is. But you know if you can do what you guys have done in three minutes, think what you could do with six. Are you giving us more money, more time? More money? I'll take the money too, see that was Freudian. You're getting paid for this? I'm paying you by the minute. 25 cents a minute. And what have you got? Oh my gosh. Okay so clearly you're using a very specific brush in this. Well actually, no. No? Well this is kind of where I was going with it. Oh geez, okay yeah? So but what I wanted to do with this is a lot of-- Okay we can see what would have happened had we given, how much time did the other one take you? Probably 10 minutes I'd say. 10 minutes? At the most. Okay so don't ever give him 10 minutes of time. No, it's trouble. I'm gonna keep your next one at five. Because what happens is a lot of the times, like if you don't have a brush, right? Like this is what we had before. And I was like well how do I get blood splatter on this person? I have problems, I know I do. Yes. But what I wanted to do was I was like alright well let's paint some blood into these things. So all I did was I went into the wand and I deselected continuous to get rid of all of the white, from there just kind of got rid of this and deleted it and then-- Oh so now you have-- now I have a blood brush. Right. So I just grabbed that, you can just define the brush. Define the brush preset, and now I got a blood brush. So then I just went in and just kind of started splattering the brush around the person, but we don't need that. So we added like that and then what would do, what you do from there is probably just do something like a displacement map to kind of fold-- Oh to fold it so it curves around the arm. So that it curves around the actual fabric and it does stuff like that and then we added some zombie hands with some puppet warp to to kind of come in. Very nice. But I mean, I really, like when you, I'm not a big compositor, like I don't do a lot of compositing. But one of the things that I thought about is like I'm always thinking about PhotoShop and thinking about PhotoShop tools, right? And I think that a lot of the times people tend to make it a little harder than it needs to be. Right, if you look at something like select and mask it does a really good job when you try to do things like refine edge and if I were compositing I would be looking for places where I call bull S, right? Where I go yeah that's not the way it is, yeah that's not the way it is. But to be able to look through a translucent-- And see the blue behind it. And see the blue behind it. Would be the part that starts selling that kind of emotion, and it doesn't require a lot. It just requires going to a couple of different tools. Yeah, very true, it's, I think a lot of times we overthink our project and we get in and minute pixel when quite frankly PhotoShop can do most of what we need with a specific tool if we choose the right tool, right? As RC was saying too, you lose the story. When you get so into the mechanics of what you're doing in PhotoShop, you forget what the story is you're trying to tell. Right, absolutely. Very good, give them a hand for their third challenge.
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