On Set Recap
Lesson 19 from: The Business of Professional Photo RetouchingLisa Carney, Simon Peter Raible
On Set Recap
Lesson 19 from: The Business of Professional Photo RetouchingLisa Carney, Simon Peter Raible
Lessons
Class Introduction
11:05 2Who Should Be a Retoucher?
09:18 3Genres of Retouching
15:25 4Comp vs Finish
06:34 5Lisa's Path to Retouching
08:51 6Simon's Path to Retouching
21:01 7Establishing a Look
16:54 8Who is The Client?
11:41What is The Job?
12:30 10How to Estimate a Job
17:25 11Pricing Your Jobs
10:34 12Billing
19:02 13Retouchers at Photoshoots Overview
08:14 14Budget Busters on Photoshoots
05:24 15Photo Coverage on Set
02:29 16Pre Shoot Communication
03:40 17Female Model Examples
12:28 18Male Model Examples
13:00 19On Set Recap
04:12 20Retouchers on Set Q&A
06:40 21Comping on Set
11:36 22Demo Images from Shoot
15:35 23Tools of The Trade
10:28 24Digital Bag of Tricks
14:14 25Getting Hired as a Retoucher
17:50 26Being a Retoucher Q&A
08:23 27Production Management
24:51 28Folder Naming Convention
08:40 29File Naming Convention
15:22 30Mark Ups
31:39 31Workflow Overview
08:44 32Computer Organization Workflow
13:39 33Software Organization & Brushes
11:47 34Libraries & Layer Management
14:31 35Office Space Workflow
07:22 36Build Your Network
07:39 37Finishing Touches Checklist
03:48 38Stacking Order
07:16 39Res-Up Files
03:42 40Sharpening Files
07:28 41Noise on Files
12:23 42File Types
04:10 43Quality Control
25:11 44Delivering Final Files
16:52 45When Issues Arise
03:01 46How to Mitigate Problems on Set
15:21 47Solving Problems in Post
08:29 48Casting Cards vs In Person
03:57 49How to Come Back from Mistakes
05:04 50Business & Promotion
08:31 51Website Portfolio Samples
12:49 52Promotion on Social Networks
05:44 53Organizations to Join
03:54 54Craftsmanship & Work Ethic
11:52Lesson Info
On Set Recap
I hope you guys find this useful, and I think what I'd like to stress, is that while many of you in your mind might be thinking yeah, yeah, yeah, I know this, it wouldn't hurt to have this down on a list. It wouldn't hurt to have your checklist. It wouldn't hurt for you to have a list like this, so when, that rhymed, a list like this. Very nicely done. When you get called for a bid, can you do a photo shoot? You have a list and you say Dawn I would love to do that Photoshop and here is my pre-shoot checklist. Wardrobe. Watch out for wardrobe. Mannequin. Are there pets on the shoot? I've been a pet stand-in more times than I can tell you. I stood in for a dog. To get the shot in. More times. I started as a photo assistant so I've done a lot. The pre-shoot checklist do's and dont's. What I'm trying to tell you. That's not just for you, that's for your client. Okay? That will make you a rockstar and you can command high dollars for that. Coverage, coverage, coverage. I know you think ...
you have a plan. Someone's gonna change their mind down the road and it is so easy to just shoot this and this, rather than re-setup, re-callback the model, and re-do the whole job. Why is that so unnerving to, when you're on the shoot, and it just seem like, it seems so obvious later, but what happens during the day? Is everyone's emotions just running up or someone else will get it, or they don't want to be the person to speak up and ask for that tiny little thing? I wonder. Do you want to know my opinion on that? I would like to know your opinion. I've been on a gazillion photo sets for shoots, and the amount of players involved, in that you've got stylists, you have wardrobe, you have talent, you have photography, you have client, and when you have client, you don't have one client, you have client, agency, product producer, you have studio manager, and every single one of those has a clock ticking, and with that clock ticking is money ticking. It gets very high pressured. You have photographers shooting, and the light went out. You have, at the end we're gonna go over putting out fires. You have models who show up who have some kind of bruise on their face that you weren't expecting, or they don't look like what you thought they were gonna look like. You put the clothes on them and they just look wrong, and people are panicking all the while. And you, Mr. Retoucher, you want extra arms. Yeah. You are so low on the totem pole. Well that's why, maybe get that checklist in as an idea and in and agreed to, when everyone's a little calmer, before the storm comes in. That way, well why do you need, the eyes going this way, well because you tell them the story, and they're like that makes sense. Wow, they're smooth man, way before all the lights start popping. And you've got your argument set, and you're in agreement, and we're like dude, we're not splitting until every one of these buggers has a little check mark off 'em, cool? Cool. Then, you get in and you hit the bells and whistles and music and lights. I will tell you, you do it with love. It's not always gonna work. You do not become, it is not my job to be a burden on Casey. I'm there to help him. If all my input and my demands for coverage is tanking the ship, zip it. Be quiet and let him get his job done. As long as you can be really clear that who you are in service of. Shot checklist. Angle and crop, expressions and positions. Know what is a quick fix. It's your job on the set to know dude fix it now, fix it now, it's quick to ooh, that's gonna take 20 minutes to fix on the set, how much are each of those people getting paid per hour, forget it, I'll take your hourly rate for you to fix it and post. These are all deciding factors going on in the mind. What cannot be fixed on set and adjust the estimate. This is hiney protection 101. That is just you protecting yourself so you're not paying for someone's bad decision. Once again.
Class Materials
Bonus Materials with Purchase
Bonus Materials
Ratings and Reviews
Bill Buckley
I'm a photographer who wants to be as good at Photoshop as possible. In my field few retouchers get hired, so it's all on me. Plus my creative vision cannot be accomplished by photography alone. Not to mention that in the field, as a photographer I can't always be perfect. Photoshop to the rescue. This is possibly THE best class I've purchased on Creative Live, and they've all been good. Great insight, entertaining, well taught Lisa and Simon were awesome. Bought more LC tutorials based on this course.
Kari A. Youkey
This course just opened my world. I started ( back in the Jurassic era) as an illustrator/drafter ( pen and ink), then CAD programmer, then GIS analyst with photoshop just coming onto the scene then...got pregnant and unplugged focusing on parenting and my inner artist. I was gifted an IPad 6 years ago in the mist of my Taxi Mom years. My favorite ‘hobby’ became manipulating images and an addiction to Adobe apps. Now, In my new empty nest status, I have been trying to figure out my next direction in life....and CreativeLive has been a wonderful resource to explore different creative opportunities, feeling somewhere between photography and graphic design, I wanted to ‘paint’ photos with my tool of choice the tablet, not the camera. ...but it wasn’t until this course that I clicked with an Aha! I don’t have to become an photographer? I could get paid to retouch? Other people’s photos?.....and, I have a work history skill set that backs it up! Thank you so much for this course! Loved the instructors and how they shared their experiences and knowledge. You two have just provided a wonderful map and whole new path to explore and inspired a much needed creative spark to get back to work❤️. Thank You!
a Creativelive Student
Lisa knocked it out of the ball park again! Amazing work Lisa and Simon! I just can't find the many words that express how much I gain with each and every course she teaches. Once again, a wealth of information that was given in a down to earth manner. I absolutely love her teaching style! Amazing course Lisa and Simon, awesome job!