Selective Color Adjustments
Lesson 58 from: Creating Your Reality with Composite PhotographyRenée Robyn
Selective Color Adjustments
Lesson 58 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
Selective Color Adjustments
I've added atmospheric stuff, we've added things and stuff, it's looking not too shabby, I am down to start playing with color. So now I'm gonna go, let's do, I like selective color. It's kinda fun. I'm totally gonna jump into Nik Software, it's gonna happen, but I like to play in here a little bit first, anyways. Cool tones looking not too bad. The cool tones is gonna balance out this nicely. This is actually looking a lot better, just like that. Well then. (chuckles) Happy accident. I'm gonna turn this off first, and I'm gonna just quickly do a detail extraction. I'm gonna slide the color up. Detail extractor, there we go. That's way too much, looks HDR, it's awful. Totally gag worthy. But if we pull it up a little bit here, I know I'm gonna mask it out of the sky, like I did before, because I don't really want tons of detail in the sky, but I like what detail extraction does to my subject, bringing it in to even it out with some of the stuff that's in the scene. Knock up the contras...
t a little bit. Not too bad, gonna hit OK. Gonna create a layer mask. Turn the flow up. Let's get that out of that sky a little bit. I don't really want it there. Before, after. I'm okay with it being in the cloud a little bit, just not as hardcore as it was. I have that selective color adjustment, it's looking pretty awesome. Hey, that's what I call a happy accident. (chuckles) Even better, let's turn that down just a little bit. Nice. Neat. That happens sometimes. (chuckles) I've lost some of the atmospheric work that I put in there, so I'm going to take this atmosphere layer, I'm going to duplicate it. I'm gonna drag it to the top again, because I like what that does for that little bit of separation there. I'm gonna turn it down even further, but I don't want to lose that. This is really starting to come together quite nicely, I think it's working out not too bad. I'm gonna jump into color effects again. We're gonna load up. Go into cross balance. Go away, come on. Thank you. Now remember things that are closer up sometimes can be warmer than things that are further away. Day two, my brain is like, nope, we're done. (chuckles) But if we play with this here, and I up this up a tiny little bit, and then we remask out those clouds, so we copy that mask for the clouds and we have the cooler clouds in the background, this could look actually pretty rad. So I'm gonna go OK. And I have this mask here from detail extractor, so I am going to hold Alt, click and drag that up here. So now this is not good enough, and it's a little bit too strong. (vocalizing) First thing I'm gonna do is I'm gonna make the sky super blue, which it's too blue right now, in my opinion. Click that. We're looking not too shabby. Now I'm going to invert this and I'm going to take a really big brush at a lower flow, and I'm just gonna wiggle it across the whole screen. Maybe that will lighten it up a little bit. I'm basically bringing back in some of that tungsten tone into the shot. That's looking better. It's a little too much that time though. Lower flow. That's better. That's not too bad, it's looking all right. Let's play with this a little bit. I'm gonna go color balance. Once again, this is not the end-all, be-all of editing color. Totally just sliding around here, seeing what's kinda fun. I'm gonna add a little yellow to my highlights, shadows, let's add a little bit of cyan, little bit of blue. Too much, there we go. Alright, this is the Bob Ross-y part, I get it guys, it's cool, it's boring. (chuckles) I'm gonna open up a curves here. Gonna just flatten this a tiny little bit. So this is a little bit strong. Gonna bring that back a touch. I'm actually gonna see what happens if I put my curves there underneath this. Nah, not too much. The order of your adjustments makes a huge difference. Huge, huge, huge difference. Lots of things can make big changes there for sure. Last thing, I think I'm getting pretty close here. I'm gonna go hue/saturation, I'm gonna slide down my saturation a tiny little bit. Whoa. Go away. Give me my room back. (chuckles) So I'm gonna put the saturation back at zero. I'm gonna just lightly desaturate a little bit, and I'm going to leave the saturation a little bit stronger on her, because she is my subject, my little walking mermaid. So my mask, let's see here, little bit more. My mask is very, very, very subtle here. It's so, so, so small. Let's add just a little bit more. That's our mask right there. We can probably bring that down a little bit. Cool. Let's see how that looks on your screen. Not too shabby. What do you guys think so far? Anything that I missed? Like the hair strands, that was pretty awesome. (laughs) I see here, curves could maybe be a little bit less. Not too bad though, not too bad.
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. :)