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Lesson Info

Editing Using Presets

I see. Let's take a look at these. Let's pick one of these and let's do our favorite and kind of create, like a a really nice signature Look. Oh, by the way, this is like without the backlight. I love this effect just like naturally, just as is I think it looks fantastic, especially if you're shooting like a sunlit scene, and it kind of looks like just beads of light hitting the lens. It looks great, but the best way to do is I'll demonstrate real quick. How we would do in the studio is when our people see something like this, they go, okay, we're just gonna go black crush, and then it just pumps up the image. So, like, you'll notice that it just adds, are contrast. It does all those things on the right side. We get to basic that final look and all they might do is grab a radio filter and then dropped this right over the center to kind of bring the attention right up and into them. Who it felt like a poltergeist took over my mouth for a second. Like, went all crazy. Okay, so that's how...

we process so Let's actually do that by handle. Quick. Okay. So again, in general, we don't touch the contrast lighter until the very last. If we need to make an adjustment there, what I'm gonna do is I'm gonna brighten up the image a bit. I'm gonna add some shadows to the image. I'm brining up because I know that adding shadows darkens down the image. Okay, I like my highlights And whites. I'm just gonna pull them down a tiny, tiny bit and then soften up the images. Well, we're gonna go toe about 10. I'll use my highlight lor if you want to, just to see where the clipping is going. I don't mind the bottom of the frame getting a little bit clipped. OK, it's OK when it goes to print to have a little bit of pure shadow, a little bit of your highlight and a lot of people freak out about that stuff, but it's really were freaking out about Honestly, you're supposed to say now, okay, and then this is an image that would look fantastic. Also, with a little bit of maybe, uh, matted curve. Okay, so we generally be doing this kind of effect over a scene that we're looking for light and airy. Kind of that kind of a look. Right. So you would see a lot of map processing and that kind of stuff in that scene. I'm gonna bring in the highlights a little bit, pump down the shadows a little bit and bring up my shadow clip. Perfect. I know we're going a little bit quick, but let me know if we have any questions and stuff. If you want to target in these tones and take them out, that's fine. But I think it really kind of makes the image I like it. I'm gonna add in my split toning. Okay, 60. If you just want to keep a rule of thumb like 60 10 it'll add a bit of yellows, and 65 is a better number, so 60 is the hue. Number five is the saturation of where this is like a very typical one that will use, or 50 and five. So if you want to just kind of keep those two things in mind and then a tiny bit of blues and teals and shadows, I find it adds a lot of interest to an image. So this is it. I'm gonna ruin every movie for you right now. I find that these this happens to me every time I learn about something like new lighting wise and it kind of ruins movie because then we'll go watch movies. I just think about that one thing. Have you guys heard of the orange teal? If color toning and Okay, so if you haven't heard of it, there's gonna bug the crap out of you. But go watch pretty much almost any movie. 80% of them use orange teal split. Tony, They're putting orange in the highlights where the skin tones are and they're putting Thiel's greens and blues and stuff into the shadows. Now go back and pause Transformers or any other movie that you're watching and you're gonna see orange teal all over the place. It's one of the most used splitting effect, but it actually works really, really well. That creates a very nice look to images. Hence its gentle so split toning off platooning on, I could see it on my side. I kind of like that. Look, I'm gonna bring up the highlights saturation a little bit. I dig it add a little sharpening. I'm not really gonna zoom in and kind of test. These things just cause these air. Oh, by the way, if you want to write something down to our general sharpening settings for portraiture is 70 will do, like 1.3 2060. Okay, well, we'll zoom in. Why not? That gives you a nice outline and nice. Like it gives you nice sharpening effects over edges and everything without going too far. Are general noise reduction. Setting for portraiture is 15. Okay, lends corrections. One of the questions I often get is do you enable profile corrections on everything And we always say, No, I'm gonna show you why it's gonna ruin this photo. Assumes I apply a lens correction for it. The reason that it does this is when I I know my gear, right. We always say, Go out in practice. Go on, test your gear. No, your gear. I know my gear. And I know that if I'm shooting wide open on a particular lens that I'm gonna have been getting around the edges. I know that it's gonna be soft. I know it's going to certain things. Uh, I know those things. And so I'm using it for my composition. There's a reason why we're shooting wide open and I like that looks. It has that natural vineyard and has that Poland has the softening effect. When you go apply profile corrections, this now makes me have to go back and do that again to the image. So now it removes my vignette ing because of the text. What lens I used removes the vignette in and I got to go do it again. So it saves me a lot of time just keeping that off. The other thing that you want. The other reason is that when you're shooting on a wider angle lens even like a 50 mil 35 24 you always position them in camera so that it looks good based on the distortion that you're seeing. Right? So, Jesse, if you go and shoot a shot, you you position them when you're like, OK, there, too distorted on this signs. I'm gonna place him right here. If you have is enabled for portraiture, when you go into post, it can automatically stretch them a little bit and distort them a little bit to correct for what you were seeing in the camera, but you shot it with that intention in camera. So we say for portraiture, you generally leave this off, apply on an as only needed basis, but leave it off. Otherwise, the things that we will use it sometimes will use manual distortion, corrections or lensman getting vignette ing vignette, vignette, lensman getting corrections. We'll do this because these are actually really nice, subtle adjustments, and I know that we have. We have lensman getting effects down here, but these are very heavy handed. This lends been getting right here. It's a It's a gold mine because what that's designed to do is just correct the natural vignette ing on your lens. It's Ah, that's why it's under Lens corrections, right? So it's the correction. Been getting so it has a very subtle, handed kind of look where we can adjust the amount in the mid point to basically create a radio filter. We usedto do this nonstop in previous versions of lightning before they added the radio filter option. Now that we have the radio filters just is easy to go pop that in wherever we want it. So we have that. But since they're in the centre, anyone in this image and that's what I was gonna do with the radio filter will do it with with violence, been getting the post crop in getting is heavy handed. So you guys got to be careful with how far you're going on these. Ah, yeah, 19 eighties. Is that without the eighties or the nineties when these were remember the, you know, like with this kind of a look, The round is kind of like that nice feather like Oh, that's sweet, right? And that's if you're just tuning in. That's how to post produce. Let's take it away now. Okay, so post Crop is a little bit strong, and by the way, that's what brings a really good point. Remember that style it's so definitively attached to a certain decade right? Were like, Oh my gosh, that was 1990 whatever that was. Those are things that we want to be really cautious of. At least we try to be really cautious live in the studio. If a client comes in there like I want filmic, we're gonna shoot it with vintage props with vintage, everything we're going to shoot it with that mindset that it's gonna be looked like film, and it needs toe emulate film. So that way, when you're looking back on the image 20 years from now, you don't identify as though that was 2010 because I see the Ferrari right there with a vintage photo applied to it. Rather, if you do it with everything correctly, like I hate using the word correctly. But if you stylized the shoot so it's vintage. Nobody knows if it was film or if it was actually 19 seventies filmic, right? So that's kind of what we try and tell our couples and stuff. We educate them all right, so we are not applied that let's do one other thing. There's sometimes I like to do, a little detail enhance, and we're gonna do little detail enhancing on this. So what this does is it pumps up contrast highlights a little bit. It also adds clarity and saturation and sharpness around the image. What I often do is paint this over an image. So we painted on everywhere, hold down alter option and just subtracted off skin, okay, and I these effects are designed to come in. We designed them in the presets to come in very subtly. And that way, if you want to enhance or strengthen the effect you can. But if you don't want to, then you just painted off where you don't want it. And the effect that it leaves is very subtle and transitional. So let's take a look at this now, the before and after for this. So here it's a little bit flat. Here we get that nice Poppy look to the image. Looks the nice. Looks lovely. Okay, I think we'll have a few minutes left. So I want to show one of the other images. Oh, this was the lovely, This one. I bet we can take that. Same. It's setting and let's just copied over. Where was that image? Uh, this one. Yeah. Control shift. See? Command shift. See? With copied. All Okay. Um, we'll take it and apply over. I like this one. And then control. Shifty command. Shifty, if you're on a Mac. Okay. This is gonna make, uh, I have to do a couple adjustments. We need to go in and grab our We didn't do a radio filter did we? We did. Ah, lensman getting so it's just hold on, altar option and just click reset on that one thing. And let's go ahead and grab this radio filter. You do an exposure burn right over this and the only other thing we need a tweak. Now, is that that painted effect? Right? Because if you hover over this and you, you can either do this by pressing. Oh, you can see where the mask is or you can just hover over it for a second and I'll show you where the mask is painted. So we're just gonna paint it back on everywhere and then hold down. Alter option and the painted off their skin again. Cool. Not fun. That's fun. Thanks, guys. Okay, the day for nice stuff or it's not really day for night. It was like indoors night, But But look at how different that looks as we start to change the white balance and camera. And the cool thing about this is that you can always change it in camera and decide later if you don't want it. So if we warm this up has a completely different looking vibe to it than that cool nighttime look, But couldn't this look like like, if I was We do a lot of nighttime portraiture because our couple's love the night time will do Sky will do all those kind of things. We're gonna have that course we do nighttime stuff in the city and during those These are the perfect times to shoot stuff like this because in a album that actually looks like it could be the moon, it could be stars. It could be a lot of things. So if you have a wide shot of the ocean and them standing there with this blue sky with the stars up in the sky and then you have this shot next to it actually fits really well. So I kind of think of those things. Like, as you think when you shoot a shot. I know what we did over there was kind of cool. It was effects and stuff like that. But I want you to think beyond that, think towards the final product, the album, the story that you're trying to tell and think how they fit cohesively. Because I wouldn't want you guys to go into a shoot and start doing things that don't really look like they should belong in a set of images like you got this beautiful scene out in the field than one shot that it, like sparkles, sparkles.