All language subtitles for 05 Full Shade.mp4

So we're back here at another
interesting stone structure

here at burnheim forest.

And as the sun lowers, we're here in a
shady area, and we're going to get to

work and capture some great portfolio.

So I have tyre here sitting on these
steps in a very

masculine.

Poe is very powerful pose.

And so I'm not only using her body and
these steps as lines, but I'm also

using the edge of this curve as a
leading line in the frame.

So as you can see, I'm in sun, but tyre
here is in complete shade behind this

stone structure.

So she's actually being lit by the sky
itself all around us in the atmosphere,

rather than the actual sun as the main
light.

And so there's actually no harsh
shadows in this entire photograph.

I think it's an interesting
juxtaposition to have

hard angles and strong lines and
powerful mood, but have a very soft light.

So we're going to go ahead and work
through this and see what we come up with.

A fool

ice lines.

Can I see your hands a little bit more

good?

Flare here

beautiful.

So notice how I'm using these steps
basically as leading lines, and also

this edge to sort of fitter in this
frame.

She's on the right side of the frame,
and we're making this just a unique,

interesting composition that would
probably be otherwise boring

unless

we didn't have all these great lines.

So unlike the last shot where I had to
be very precise with the light

imposing, this gives us the ability
here and shade to really work on body movement

and really work on posing.

And these lines giving the advantage of

creating a unique composition

with both body and structure.

So we've got a few awesome shots out of
this

set, and we're going to definitely take
this into post processing and get to

work on it.

So now we have our next shot with tyra,
and she's sitting in the shade.

So let's bring that into capture one
and get working,

just like all the previous lessons.

We're going to go ahead and grab the
image from the lesson folder

and drag it into capture one.

Make sure that collection is such a
selected album,

select the image and import one image.

We're going to make the new variant

and jump right into color adjustments.

So for this shot, I think it's just a
bit too warm.

We're going to cool it off a bit.

And there is a little bit too much
magenta.

So we're just going to pull the tent
slider down.

So it's at about zero.

Think that's good for the color.

And something I want to do for this
image is I want to bring out a little

bit more detail in the structure.

The way I'm going to do that is the
same method that we've been using for

all the other pre processing.

So I'm going to decrease the exposure a
bit,

increase the shadows to a good balanced
point.

Going to balance the entire image

using the brightness slider.

And I think that it could use

a bit more contrast

at this point.

I think we still need to pull out a
little bit more detail here.

So I'm going to decrease the exposure

a little bit more

and increase the shadows.

I'm going to go to the levels, and I'm
going to bring in the highlights

quite a bit,

and we get some nice, good contrast and
transitions on our face.

So we're going to go ahead and export
that

and get it ready for Photoshop.

We've got our image in Photoshop now.

And just like all the other images, the
first step is do the healing and

cloning.

So I'm going to make that new layer.

I'm going to do all my work.

We're going to speed through this,

you should already know how to do this.

So let's get to Italy.

We've gone ahead and taking care of all
of our minor touch ups, but there's one

problem.

Area that's going to take

both healing and dodge and burn.

And that's this brawline right here.

So we're going to make sure that we're
on our healing brush

and make it a bit bigger.

Sample around here,

and we're going to try and remove this
harsh transition.

Actually, let's make it a bit smaller
for this part.

Sample

the painted way

by using the healing brush, we removed

that harsh line.

But now we need to use dodge and burn
to even out this transition.

So let's go ahead and make our dodging
burn layer.

We'll go new layer.

Name a dB.

Set it to soft light, blend mode

and check.

Fill with soft light,

hit, ok.

Make sure that we're using our brush
tool.

Make it a bit bigger.

And we're going to want to paint black
on the areas we're going to darken,

and white on the areas that we want to
lighten.

So right here,

I feel like

we need to darken.

That

I'm around here

a little bit up here.

I'll zoom out and see how that looks.

I still see a little bit of a weird
transition there that I think we need

to lighten a bit.

So we're going to hit ex on our
keyboard to switch to white,

enlarge, our brush size

a little bit more,

and paint in that area.

And already that looks a lot better.

For this next section.

I just want to do a bit of dodge burn
on her face,

around her eyes.

So I want to take care of

this line here, some transitions on our
cheek, a little bit on our forehead and neck

and a little bit on her legs.

So I'm going to speed this up, and then
we'll be going over something new.

We've just finished up with all of our
dodging and burning.

The skin's looking great.

The rest of the image is cleaned up,

but this image is a little dull.

We've already got this blank patch of
sky.

So I'm going to teach you how to
introduce a flair.

Flares are an excellent way to bring a
little bit more reality to areas that

are pure white or blown out, as well as
bringing a little bit more dimension or

pop to your image.

The first step to adding a flair is to
make a new layer.

We're going to hit command shift.

N,

we're going to name this large flare

and set the blend mode

to linear dodge.

We're going to hit, ok.

We're going to go over to our toolbar,
and we're going to find the gradient tool.

It might be set to paintbucket tool,
but if you click and hold,

you'll find the gradient tool under the
dropdown, or you can hit g on your keyboard.

You want to make sure that your
gradient is set to a circular gradient,

and that we're using foreground to
transparent color

to make the gradient.

You're going to want a whole option and
sample the color of that blow note area,

and then click and drag away from that
selection.

Now we have a flair,

but it doesn't look great.

That's a bit too much.

We could pull back the flair by
reducing the opacity, but you can see

that it kind of lessens the effect
across the board.

Instead, we're going to use film.

Since we set the layer to a linear
dodge blend mode,

as we lower fill,

you can see that it affects

the darks of the image

more than the lighter areas.

So we're going to turn this down quite
a lot.

And then we're going to lower the
opacity

just a bit.

Now we have a subtle flair there,

but we want to add a little bit more.

So we're going to make another new
layer.

We're going to call it small flare,

and keep it on normal blend mode.

This time

we already sampled the color that we
want to use.

So we're going to click and drag away
from that same area,

but not as far as we did with the large
layer,

say, around here.

And you get a little bit of a flair
there.

We want to reduce the opacity just a
touch.

Then select both layers by holding
shift and clicking on both of them.

Hit command g to put them in a group,

and we'll name that group

flairs.

Now, if you hit the I button to the
left of the group, we can see the effect

toggling on and off.

That's right about where I want it.

But let's go back into this and i'll
show you how to add some color to your flair.

We're going to select our large flair
layer.

Hit command you,

and this will bring up our hue
saturation panel.

And we're going to want to make sure
that colorize is checked right here.

We're going to bring the lightness down
a bit

and the saturation up.

And already you can see that since the
hue is set to red, you're getting a red

tint to the flare.

You can scroll through all of these
hues and choose a color that you like

if you're out shooting on a dreary day.

This is a great way to fake sunlight
and Photoshop.

I think I have this image where I want
it before I send it to clay

let's hit.

Okay.

I'm going to save this out and we're
done with this industry.

Now I've just received this retouch
back from Jordan.

We have a really awesome retouch here.

It's a really great image.

It's already leaning on the cool side.

But as I said in the last images, you
want to first analyze the shot and see

where you want to go, because at this
point it's a creative choice.

It's a creative process to color grade,

because tyra is in the shade, and
naturally shade is cooler.

I think playing towards that cool tone
will just make it that much more interesting.

So first we're going to create a
stamped layer of all these layers we've

created so far.

And we do that by hitting command
option, shift e

or control shift alt e.

I call this our base layer.

Then we're going to select a curves
adjustment layer, just like in the

other images, and start out with
contrast.

We're going to select a redshail.

We're going to select the marker point
in the center of this line and pull

this down

around right there.

Looks real nice.

Then I'm going to go to the green
channel,

and I'm going to play with this line a
little bit,

not too much.

We're just going to add a little bit of
magenta to the shadows and the little

green to the highlights.

And the same thing with the blue.

We're just going to add a little blue
to the highlights.

And then I'm going to leave that alone.

All these changes are very subtle, but
that can make a huge impact in the

final image.

Next,

we're going to go to color balance.

And we're going to really start
adjusting these mid tones

when I drag the slider a little bit
over towards the blue.

Same with the green, at a little bit of
green to this,

because this image is already really
cool.

We're going to keep this cion red
slider where it is.

We could actually add a little bit more
red, but we ended up taking out red

with that color curve adjustment.

Change this to color.

Now we have a nice, cool foundation
here, I want to add a little bit of

warmth to these highlights.

And I do so using a technique in levels.

So I select the levels adjustment layer.

And I want to go down to the blue
channel.

I'm going to grab this white output
slider and drag that towards the black side.

And you're going to see that it's going
to add a significant amount of warmth

to these highlights.

If I go all the way across, you're
going to see that it just makes this

unbelievably warm,

almost yellow.

We don't want that much.

So we're going to bring this

to taste.

If you were to drag this black slider
towards the white side,

you'd be adding blues to the shadows,

which could look really cool, but we're
not going to do it for this particular image.

So I'm going to work with this slider a
little bit more,

and land right about there.

Some of that we have are color where we
want it just a little bit.

I'm going to add some final touches,
which is going to be sharpening noise.

And of course, we're going to end with
camera raw.

So what I need to do now is stamp all
these layers down to one layer

and want to duplicate this layer.

We're going to group this together when
it changed this group

to overlay,

and when it changed the first layer in
this group

to vivid light.

I'm going to invert that

when to throw on some surface blur,
just like we did in all the last images.

And we're going to sharpen this

once we have that surface blur applied,
we're going to change this group name

the sharpening,

and we're going to back this sharpening
down to fifty percent.

The next process is to add noise.

And we're going to put some final
touches on with camera raw,

filter noise, add noise

once we have our noise applied.

Now we're going to dive into camera raw

and just add a few final touches to
this final layer.

First we start with clarity.

We don't want to go overboard, because
that would look way over processed.

And then we don't want to go too far
under, because that would just look

like a blurry mess.

So when we get a nice strong punch

with the clarity around twenty,

then we're going to drag this vibrant
slider,

really make this

a nice, desaturated, muted look

on negative ten,

as we did in the last image.

You can play with the temperature
controls a little bit, just to add a

little bit more balance this color,
just in case you've got to a certain 0

and then need to back off your changes.

This is a good point to do this.

So i'll go up here, occasionally into
this temperature slider, and just

play around these sliders, just in case
you haven't locked it quite imperfectly

where you want it.

So here I've added a little bit of
warmth to it, and I've added a little

bit of magenta to this, which has
eliminated some of the cooler tones in

this.

But we have a much more balanced image.

I feel like.

Now,

once we've made our final adjustments
in camera raw,

on the back end of this,

we hit, ok,

as we did in the first images, we
applied the camera raw before we

started adding adjustment layers.

With these two images, we've applied
the camera raw adjustments to this last

layer.

Remember, this last layer also has
noise on it.

So if we delete this, the noise would
go away as well.

So now we're getting pretty close.

Let's take a look at our image before
and after.

This is before.

This is after.

As I mentioned in the last lesson, it's
important to step away from your color

grade and come back with fresh eyes.

I don't have the opportunity with this
image, but as I've moved along in this

process, I just see that this image is
a little too green.

Someone apply one final layer of color
balance, just to even out this green

and bring some agenda back in.

So I'm going to add

color balance,

and we'll rename this to final color.

And I'm just going to add some agenta
to this,

so it's not nearly as green.

I think that looks great.

I think we have a strong image here.

And remember it's important to step
away from this and come back to this at

a later time, because you might see
this image in a whole new way.

But I think that we have a really great
shot here, a great color grade.

And we're going to move on to the next
shop.