Composite Model Shoot: Working with Hair
Lesson 42 from: Creating Your Reality with Composite PhotographyRenée Robyn
Composite Model Shoot: Working with Hair
Lesson 42 from: Creating Your Reality with Composite PhotographyRenée Robyn
Lesson Info
42. Composite Model Shoot: Working with Hair
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
Composite Model Shoot: Working with Hair
So let's add one more level of complexity to this and let's get a little bit of movement in her hair. So I believe we have a reflector here somewhere. Yes, we do. So who wants to be wind machine? Wind ninja, wind ninja? Cool. Fabric ninjas and wind ninjas. Speaking. So what we're going to do with this is we're going to make sure that we're using the black part of this up, because if we use the silver part of course we're going to get a reflection. Let's get you in that pose. So we can just go like, one, two, three. And hopefully her hair moves a little bit. It totally covered my face. One, two, three. Yeah. In other case, there we go. So I don't necessarily want her hair to like, floof, fly out from her head. I just want just a little bit of movement, kind of how we had with the skirt. Just that perfect little bit so that we don't notice it. It's not just like, whoa, that hair is everywhere. It's just a moment. Let's see. (chuckles) So we're just making these infinitely hard. (chuc...
kles) Awesome, so you got your poses, you look beautiful. I wanna make sure I don't lose your hand. In this image here that we took, let's bring it in just a little bit more. Awesome, and just bend your elbow for me a little tiny bit. There we go, that's great. I tend to, if there's a joint, I like to bend it. Just a tiny, tiny little bit. Right now, see, her wrist, has just like, well, you can't see it from here. I'm just gonna photograph your hands. One, two, three. (shutter snaps) So she has just the slightest drop. It's very, very, very gentle, in her hand right here. So we look at her muscle in her arm, it's coming here, and it's extremely slight, but it's just a little bit down on the wrist. And it's very, very, very minor. It's another one of those little, tiny details that we don't notice. But it's all going to go into making a very nice pose. Just try, there we go, great. Should I do it on three, or on two? Let's try it on three and see what happens. (chuckles) Because I'll be watching for the hair. It's gonna take about half a second for the wind to get to her, and it'll take about half a second for the fabric to fall. So we'll see what happens. Worst to worst, we photograph your hair separately. Alright, let's do some fabric throwing. Awesome. One, two, and three. Nope, not quite. You're gonna have to grab just a little bit tighter on that. Actually, that did have a nice push on the fabric though. So try to grab... This? Yeah, I want you to grab a little bit higher up here, if we can. Oh, okay. Just so we have less flex. So let's try floof. There! See what that did with the hair right there? So let's try that. Like I said, we can stitch this if we have to. (chuckles) And if we're shooting this on tripod, we can get pretty darn close. Alrighty. One, two, and three. (shutter snaps) That's okay, I shot two seams, but that's alright. There we go, we got the hair. Let's try this again. One, two, and three. (shutter snaps) Nice. There we go. Very nice. So I was looking at this, and what I'm seeing in my head... (groans) Let's just do this right here. Let's go right-click, edit with, Photoshop. I go here. Come on. Where's that fabric one that I really like? That one. Right-click, edit with, Photoshop. So if I take this picture here with that little bit of hair, copy it, paste it, so select all, Control + A, Control + C, Control + V. Put that on multiply. Come on. What I'm looking for is the hair. Multiply is too dark, so let's try overlay, because I just wanna see what's going on. That mouse. So what I can probably do here is I can add some more density to her hair. That's that hair there, and I can add more of it here. Masking is gonna suck. But, in other case, though, we can do that. So I am not 100% sure that I will do it, but I know that that little bit of extra curl in the hair and that little bit of movement is nice, and it's subtle, and it's pretty and it's feminine.
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. :)