All language subtitles for 07 Natural Light Scrims.mp4

So we're here in a different section of
the Falls of Ohio, move up the bank a

little bit.

And now I'm going to touch on diffusing
the sun,

otherwise known as cutting the sun or
flagging the sun.

So I position Kurt

and our hard light Rembrandt style of
lighting using my hands.

And now I'm going to take a quick shot
using this hard sunlight.

So I just don't think that the
composition really calls for this

hard style of lighting.

So what we need to do is introduce that
same tool used to bounce light and to

bring in Phil to reduce shadow density,
to now diffuse that sun.

So now Lewis has brought in this
transparent white diffusion disc.

What we're doing is using this as a
modifier

to completely reduce those harsh
shadows on kurt's face.

So what is happening is that the sun is
now hitting this disk,

and the disk is now basically becoming
our light source.

So now that the sun is diffused using
this disk,

the closer we get it to the subject,

the softer and the brighter the light
will get on kurt's face.

So I'm going to take a quick shot and
i'll show you exactly what I mean by that.

Put your hands down like that.

Yeah.

So the light here is still directional.

The sun is still pointed at our
subject's face at 45 degrees,

and that Rembrandt style of lighting.

But now we've brought in this white
diffusion disc

to reduce those hard, harsh shadows

on the face that are created by the sun.

So I think we're getting there.

But we need to work on our composition.

I need to get a little backed out, a
little wider on this frame.

I'm really liking this composition, but
I see a major error here.

The hard sunlight is sort of sneaking
into our frame and creating this hard

shadow line on its pants.

So initially you might think that, oh,
we'll just pull this

white diffusion disc back

and try to cover that area as well.

The problem with that is that that
light source, that soft, really nice

light on its face, will completely
disappear.

So remember that our diffusion has now
become our source of light, our key

light, if you will.

And the further we move it away,

the less drama and the less light we're
going to get on the face.

If you're to compare the two shots.

When the disk is pulled away, you'll
notice on the face the light is more

flat it's also significantly darker.

So we know that we like this diffusion
close to his face,

but unfortunately, the size is just not
going to work if we like that pulled

out shot.

So now we're going to have to introduce
a larger source of diffusion.

So now we've brought in this three by
six diffusion frame from lasso light.

It's the exact same thing as a
diffusion disk,

except it's just larger.

This silk is held together by this
frame that basically snaps into place.

Obviously, our small diffusion disk is
ideal for traveling and transport.

But sometimes you need these larger
sources of diffusion

to control the sun in a larger area.

Bring it closer.

Ok,

lean in, curt

lean in a little bit.

There you go.

Beautiful.

By introducing this larger source of
diffusion, we're able to cover more of

his body and get the composition that
we really want.

We're still able to get that nice soft
light on its face because it is so close.

So let's take this shot into post
processing and

see what we do with it.

We've got this image from clay, and
I've brought it into Photoshop, and

I've already done some work.

I'll take you through some of the
layers.

We've got the raw,

the capture one process,

the healing, where we just took out
some stuff on the beach,

the dodge and burn

on our global dodge and burn.

One thing I want to change with this
global dodging burn layer is I want to

bring the opacity down.

So we're going to click

on the drop down for the opacity
slider.

We're going to bring it down to about

38.

The next thing we need to take care of
is this diffusion panel to the left

side of the image.

So we're going to hit command option,
shift e.

And that makes a stamp visible layer.

I'm going to hit m on the keyboard to
use our market tool.

I'm going to select a bunch of the sky
from the right side of the image,

and I'm going to hit command j to
duplicate that.

I'm going to make sure that that new
duplicate is selected.

Hit v on the keyboard for the move
tool.

I'm just going to drag that over to the
other side.

From here, we need to add a layer mask
to it.

So we're going to hit the layer ass
button down at the bottom right of the screen.

Hit be on our keyboard to bring up our
brush tool.

And we're going to want to paint on
that layer mask with black.

So I'm going to have to hit x to switch
to black.

I'm going to use a square bracket to
bring our brush size up

and start painting away where the sky
was covering his face.

We're going to paint a bit away from
the trees,

and I think I went a little bit too far
with that.

So we're going to switch back to white
by hitting x on the keyboard, shrinking

down the brush eyes with the square
brackets,

and painting that back in a bit.

Now we just need to take care of the
diffusion panel in front of the trees.

So we're going to make another stamp
visible layer.

We're going to use our mark key again
by hitting m on the keyboard.

We're going to select this section of
trees.

We're going to command j on the
keyboard again, and then make the duplicate.

Now we're going to stretch it a bit so
that the diffusion panel is not in the

image anymore.

So we're going to hit command t.

Or we're just going to stretch this

a bit to the left.

Keep in mind that this is just a very
quick fix.

And if there is anything else in that
background, like a person, this

wouldn't work.

But since it's a tree, and no one
really knows how thick that tree is, no

one's ever going to notice.

Just to clean up our layers panel a
little bit, we're going to select

and delete

those two stamp visibles, because we
don't need those.

And now on top, we're going to make a
new stamp visible layer.

Because we're going to go over liquify.

Now that we have this stamp visible
layer, we can go up to the filter tab

and down to liquify,

or you can hit command shift, x'll

bring up your liquify panel.

You don't want to go too far with
leaquifi.

We're just going to be smoothing out a
few bumps

around his shoulders and his back.

So we're going to use a large brush
with a very low pressure.

So going to set the pressure around six.

And we could change the brush size in
leaquifi, just like any other brushing

Photoshop, by hitting the square keys.

We're going to make sure that we're
using the forward work tool,

and we're just going to slowly push in
these bumps.

I think that looks great.

Let's hit.

Ok.

To save that out,

we'll name it liquify.

So we have this image looking great.

We're going to send it over to clay and
he's going to do is color grade and sharpening.

Jordan did some great work with this
shot.

That's nicely lit, nicely diffused,

looks, great, good color, good retouch.

So let's see what we can do with this.

So the first thing, as always, we need
to analyze where we're going to go.

I think we're going to keep this
simple, because it is already a great

shot.

It's something that already looks
pretty good.

It's got nice color, warm tones to
really beach feeling.

We're going to keep it pretty balanced,
but we just need to make some minor

adjustments here.

And of course, as always, if we're
going to start with command option,

shift e to stamp our layer down

to create

a new working layer, or a base layer.

Now, just like in the last shot, I'm
feeling some distortion here.

So we need to correct.

This lens disortion.

And we're going to do that by going to
filter,

and then lens correction, and then back
over to custom here.

And we're going to remove this
distortion.

We're going to drag this down to about
negative four.

Perfect.

Removing this distortion just makes him
look more normal,

hit, ok?

And again, you need to be cautious of
when you use lens correction, because

some bends in the horizon line might
appear, or some of that structure might change.

So once we have our base layer, here
let's move into the vibrance adjustment

layer.

We're going to dissaturate this image a
little bit.

And again, instead of using camera raw,
we're just going to use this vibrance

adjustment layer.

And the point of this demonstration is
that there's many ways to do one thing.

You can do this in camera, and you can
do this with an adjustment layer.

But in this case, we're going to stick
to an adjustment layer.

So we're going to drag this vibrance
down

by about negative ten.

Next up, we're going to work on this
contrast.

So we hit a curves adjustment layer.

We're going to red,

and we're going to keep this simple.

We're just going to pull a slight bit
of those reds out.

Nothing substantial,

it looks good.

Then we're going to go up to the green
channel,

just to add some interests to those
highlights.

We're going to select the top right
corner of this line, and we're going to

pull it up to the

top left corner,

just like that.

Very subtle.

Next we're going to go to the blue
channel.

We're going to pull out some of these
blues.

So now we've added some nice color
contrast to this image.

We're going to rename this to color
contrast.

And you see the difference between
before

and after

we add color contrast.

We're going to go into the midtones,
and where we create a color balance

adjustment.

Layer

color grading is very subjective.

And remember, you can go numerous
different ways with color.

This is just a direction that I chose
for this image.

We're going to keep it simple, but we
still kind of keep it warm.

We're going to move that Sion and red
slider up a bit,

bump up some reds.

We're going to do the same thing with
greens,

and let's see what this looks like with
some blues

in these mid tones.

So we've bumped some reds into the
midtones, we've added some greens, and

we've added some blues to balance this
image out.

Once we've desaturated the image, we've
added some color contrast and changed

the midtones.

Now it's time to get into our
sharpening.

So we're going to stamp all these
layers back down and repeat the process.

Now that our sharpening technique has
been applied.

We're going to stamp all these layers
back down,

and we're going to create our noise
layer

filter,

noise

ad noise.

And just like the last image, we're
going to finish this off with some

clarity.

So we go up the filter, camera, raw
filter,

and just add a little bit of punch to
this with clarity.

You can also take this opportunity to
make any final touches to your white balance

using the temperature or tint slider in
camera raw.

So I really love the way this shot
looks.

So now we're going to move on to the
next shot.