All language subtitles for 16 Studio Gels.mp4

So we've done a few different light
setups in the studio, but now I want to

get into color.

In my hands are two rolls of gels.

We have color temperature blue and
color temper orange.

So as you can see, this is thin
plastic, it's colored plastic, that we

will attach to our light

via gaffers tape, and it will change
the color completely.

So these types of gels, this is a ctb,
and this is a cto.

And it's correction gels, meaning that
I can take a tongston light and make it

balance to daylight.

With ctb.

And with cto, I can take an LED and
change it to tongston.

Just in case you're not familiar with
these terms.

Ctb is color temperature blue, and cto
means color temperature orange.

So as you know, a strobe would be
considered a white light therefore to

match the color of a light.

Bulb that's warm.

In let's, say, a hotel room, we would
place a cto over the strobe to match

the color of the light bulb.

Vice versa, we would take ctb and put
it over that light bulb to match the

color of a white strobe.

We're not going to be using these
today, because we want an extreme color

shift.

We want extreme colors that

really create this spacy atmosphere.

So this is what we're going to use
instead.

These are party gels.

They're deeper shades of blue and
orange.

They're not correction.

They'll significantly change the
temperature of our light.

So you're probably familiar with these
in shows, concerts, dj sets and theater,

because it creates a mood.

It creates a significant shift in color.

And that's what we want to do today.

Now that you know how we're going to be
changing the color of all of these

lights, let's bring in max.

I'm going to talk a little bit about
our concept and our fashion.

Max is wearing an oversized custom
sweater that gunner design himself he's

also wearing these awesome paratus
sunglasses.

So we're going to create a really
fashion for, really editorial,

futuristic vibe around this outfit.

But as you can see behind me, we've
just placed these black v flats because

I don't have any more black paper.

So we've just taken the black v flats,
we laid them against the wall, and

that's going to provide a really dark
and moody background.

Now I'm going to place max right in the
center of the studio, where we can

frame them up with this background.

And I'm going to bring in some lights
for today.

We're going to work a little bit
backwards to build this light setup.

I have an avenger c stand, that's
attached to a pro photo d one, and then

that's modified by this big 65 inch pro
photo umbrella.

And then attach to the head is our blue
gel.

The blue gel is simply gaff taped to
the front side of his head.

So what I'm going to do is take this
light, I'm going to boom it out

completely overhead, and it's going to
act as a large blue fill.

So as you've learned in previous
lessons, I really like a nice,

cinematic style of lighting.

And cinematic lighting always comes
from directly overhead.

Fortunately, this light is soft enough
to where it won't create those harsh

shadows underneath the eyes.

The important thing here is that we
don't want this light directly over

max's head.

We went it forward.

So this light is actually hitting the
ground in front of max.

The light is simply being feathered,
and the spill is hitting Mac.

So it's a very soft light, it's not
directional whatsoever.

So I turn on the flash.

It happens to be set to ten full power.

Let's just see what this looks like.

We obviously have a very blue image
here, although it's correctly exposed.

This is not what I'm looking for.

And you have to remember that fill
light is subtle.

So we've got to bring the power of this
light down to balance all the other

lights we're about ready to bring in.

So I'm going to take it down two stops
and take another shot.

Now we have a nice

subtle fill.

That's completely blue, but that's what
we want.

Now we're going to bring in our kick
light,

but we're going to modify it with this
guy it's a 25

inch beauty dish from pro photo.

We've set a gel right in the center of
this beauty dish.

It allows us to gel the entire modifier
without using a lot of material.

If we were to put this beauty dish
directly on the head of the light,

there would be light everywhere.

So in order to maintain that light and
maintain the spill we need this.

This is a grid.

And you can see, as I shift it from
left to right, my face completely disappears.

And the purpose of a grid

is to focus light in a single direction.

So I'm going to pop the grid in here,

and then we're going to pop it on the
light

and see what it looks like.

And the reason why I'm using a beauty
dish as a modifier is that I want it

softer than a bare bulb flash, but I
want it harder than what let's, say,

this umbrella provides.

And by adding the grid, I'm able to
direct that light into a single point

on max's face.

I'd love to show you the direction of
this light and how to really hone this

light set up in.

But I can't turn on my modern lights
because the gels will actually melt.

So instead, I'm just going to take some
test shots and basically build this

light setup based on those.

We're going to place this light very
similar to what we did in the last lesson.

We want that highlight just to be
skimming across its cheek,

about right there's where we're going
to want it.

ok,

I'm not sure if this light is in
exactly the right spot, but we're going

to take a shot and see.

So this is pretty close,

but I want this kicker to be less on
its hair and more on its cheek.

So I'm going to shift this light a
little bit to the side

now let's see what that looks like.

I really love the direction of this
shot.

Now, I think it's cool.

It's viby, it's really moody.

I love how the orange is really playing
off that blue, but it's a little dark

for me.

So what we need to do is bring in a key
light and really light up his face.

Now,

so what I brought in is a palsy buff
alien b.

B 800 it's going to act as our key
light, it's going to light up max's face.

And so we need to get this pretty close.

While we have blue on our overhead fill
and orange on our kick light.

I'm going to keep this

not gelled, just standard white flash.

So I'm already at the lowest power
here, but we're going to take a shot

and just see what it looks like.

There are two major problems with this
image right now.

One it's overexposed, and we're already
at the lowest power setting on the

strobe.

And then two, light is sort of going
everywhere, it's really lighting up his

body, and the shadows are really strong
on his face.

One solution to solving our problems
with this image is a ten degree grid.

It's a lot tighter, it's a much smaller
focus of light compared to the grid

behind me.

And so this is going to highlight just
max's face

and eliminate any sort of spill on his
body, his hair, or anywhere else.

And one thing to remember is that the
smaller degree grid that you do use,

the more power it's going to eat up.

So when I put this on, the light it's
going to significantly reduce the

strength of the light.

So now that this grid is in place,
we're going to take a shot and see if

that solver issue.

As you can see, our problems have now
been solved.

Fortunately, this light is pretty much
exactly where I want it.

There's a really nice color play from
blue to white and orange, and it's

falling on max's face in a very natural
manner.

So I think we have the light locked in.

There's a nice color play.

But now it's time to pose max and get a
few images.

So in a lot of close shots like this, I
usually like to have the model turn or

really get some more interesting
posing.

But I think with this wardrobe and the
way max looks with these awesome

sunglasses and its hair, I think

just straight on is where we need to be.

All right, chin up a little bit.

So I think that we have this pose
locked in it's static.

It's really looking sort of moody and
futuristic.

And as you can see, this light in the
back is in the shot, it's adding flair

to the shot.

But a little tip to really bring out
that light is to actually spray hair

spray, or add fog, or something of that
nature, to really bring out those

highlights and bring out the flare.

Right?

Hunters start spring.

All right.

So the reason why this isn't quite
there yet it's because it looks like

it's just been sprayed.

So we need to spray this above the
light and let it fall down naturally.

All right.

Hunter, let's see what this looks like.

So I think this is looking pretty cool.

It's adding a lot of atmosphere to the
background, but I think we're going to

try fog instead of hair.

Spray.

So what I have here is a really cheap
fog machine off Amazon.

And I'm not really sure what this is
going to look like, but we're going to

give it a try.

All right.

Hunter,

there we go,

right there.

So what hunter is doing now is he's
taking this fog and he's wafting into

the air.

So it's a lot more

subtle it's not nearly as cloudy.

Perfect

that's more like it.

So I think we've got the shot.

But we're going to have a little fun
here.

When it is, blow this fog everywhere in
front of the model, behind the model,

and just see what it looks like.

Awesome.

Whoa max.

Flip your hair.

All right,

shining down a little bit.

Look towards me.

So we had some fun.

Fog is everywhere

I think we're going to pick our
favorite and headed to post processing.

I have the shot of maximum, the studio,
back from clay.

That took a lot of photos that day,
some with smoke, some without smoke.

Before the final image, we decided to
use ones that didn't have any smoke.

I have the image open in Photoshop, so
i'll run you through what I've already

done so far.

This is the raw we started.

It was really blue.

The white balance was a bit off, so I
easily corrected that and captured one.

Brought it back to a regular color
balance.

I did some healing to make the beauty
dish look more round.

I took the lines out of the background,
cleaned up his shirt a bit, and I just

cleaned up a few hairs and blemishes on
his face.

So that's that layer.

And then I did some really light dodge
and burn on his face.

The lesson for this image is going to
be really quick and simple, but

hopefully you find it useful and you
can apply it in your own work.

The mood for this image is supposed to
be dramatic, mysterious and futuristic.

But I think his eyes are showing a bit
too much through the sunglasses.

So what we're going to do is, we're
going to darken them down so you can't

see them as much.

I'm going to start by making a new
layer by hitting command shift, end on

the keyboard.

We're going to call this sunglasses.

I'm going to hit g on my keyboard to
bring up my gradient tool.

If it's not showing up, just click and
hold on it and choose gradient tool.

We want the linear gradient.

And I actually want to use

my foreground color to transparent
gradient,

but my foreground color isn't one that
I want to be using.

So what I'm going to do is, I'm going
to click on it,

and I think if we went a bit warmer, to
match

the beauty dish up here,

kind of an orange tone.

And we'll darken it down

to right about,

say, there

well, hit, ok.

We'll zoom in onto.

The sunglasses

are going to click and shift and drag
down.

And what holding shift does is it makes
the line draw perfectly straight.

This we'll drag to a boat there.

The placement of the gradient isn't
where I want it.

So I'm going to undo it,

and we'll re try.

We'll click right about here

and drag down.

Try that.

We could go a little bit further down.

So I undo that.

Click right here.

Drag.

I think that's good.

So now what I need to do is make a
layer mask

by heading the button down at the
bottom right,

invert that mask.

We're going to zoom in,

use our brush tool.

Make our brush quite a bit smaller to
fit inside of the sunglass frame.

Now we need to check our settings.

I want to be using

about fifty hardness,

and we'll increase the flow

to about fifty as well.

And now we just need to start painting
with white

over

the lenses

to show the effect of the gradient.

Just keep painting that in.

Try to keep inside the frames as much
as possible.

We've got one done.

Maybe there's a little bit more around
the edge here.

Just take care of that really quick.

Now i'll go to the other side,

just keep painting inside the frames.

The reason why we use gradient

is because if you actually look at
sunglasses,

the lenses inside are typically
gradiated from the top to the bottom.

So we wanted to match that as best as
possible.

So that's a pretty good mask.

We'll zoom out

and that's looking pretty good.

But we're not done yet.

We're going to right click on our
sunglasses layer,

convert it to a smart object.

And now I think that the lenses aren't
quite matching the surrounding area

because of the lack of noise in them
compared to the rest of the image.

So we're going to go to filter

noise, add noise.

We're going to adjust this so that
there's a very small amount of noise

added to them.

Let's go with,

start really low, a whole shift on my
keyboard, and use the up and down arrows

to change the amount.

Bump it up to a boat.

0.6

is looking pretty good.

Well, hit.

Ok.

Now you notice that below our
sunglasses layer,

it shows that we added noise.

We can actually turn that on and off

to see what we did.

And if we want to, we can double click
on that.

And at any time we can change the value
of noise that we added.

So it's a completely nondestructive
workflow.

We'll hit ok.

Now I also think that we kind of made
the gradient a bit too dark

to pull the opacity back

to about 7075

ish,

and i'll see what we've done.

Zoom out,

check it out here as well.

That's looking really well.

We could still see his eyes a little
bit, but not too much.

It's looking really dramatic, really
mysterious.

And I think that's looking really good.

This was just a quick simple tip, but I
hope that it helps.

I use it all the time.

This image is ready to send to clay.

So let's save it out,

and he can do his color grade.

Now we have this awesome shot of max.

We're going to get into the color
grading portion now that Jordan has

finished his retouch in his color
correction.

First, I'm going to stamp all these
layers down into one layer.

I'm going to create our base layer.

I'm going to convert this to a smart
object

so that it can work on camera, raw as a
smart filter.

We're going to open up camera,

and I'm only going to change our
clarity to twenty.

Now that I have clarity set and when,
hit ok.

And move on.

To the next step, which is vibrance.

I'm going to select a vibrance
adjustment layer,

and I'm going to desaturate the image
just a little bit.

We don't want to desaturate this image
a lot because we want to play with all

these awesome colors.

So I desaturate the image by ten.

Next, we're going to select a curves
adjustment layer

and work on the contrast.

So we're going to select the red
channel.

And we're going to select a point right
in the center of this line and drag

these reds out

pretty significantly.

Once the reds are out,

we're going to select the green
channel, and we're going to create a

subtle s curve,

just like we've done in all of our
images.

Once we've created that s curve, we're
going to move onto the blue channel.

We're going to select a point on this
line down here in the shadows.

We're going to push it up,

and then we're going to select another
point in this line, up here near the highlights.

Overall.

We're going to make this image very
purple, very cool,

right about there.

Awesome.

We've got our contrast in place.

Now we're going to move on to the color
balance,

and we're going to work on the midtones.

Now that we have our color balance
adjustment layer,

we're going to work on these sliders
here.

We want to really push this blue.

Then to bring out this warm tone,

we're going to add a ton of magenta
into this shot.

And finally we're going to go to the
Sion in red,

push even more red back in.

We've got a nice mix of purple, warm
magenta

and blue going on here.

Now that I've got my color color
contrast and have desaturated the image

a bit, we're going to begin our
sharpening process.

These two lablayaries, when it group
them together, rename this to sharpening.

Change the blending mode to overlay.

Change the first layer in the group to
vivid light,

but invert that layer.

Go to filter blur.

Surface blur.

Is it a little too sharp?

So i'll back down the sharpening by
fifty percent.

Now that I have my sharpening applied,
I'm going to stamp these layers back down

and begin the final touches.

And that begins with noise.

Someone who would have filter noise,
add noise.

I'm going to keep this

at two percent.

Make sure it's set to gauzian and
monochromatic

hit.

Ok.

Then I'm going to apply it.

Final layer of camera raw.

When it converted to a smart object,

gallop to filter.

Camera, all filter.

And this is where we're going to make
our final color adjustments.

I'm going to play first with our
temperature slider

and our tent.

Now I'm down to shadows, and playing
these shadows on how dark I really want

these blacks.

I think we can just leave this flat as
is.

I think it's a great shot

and hit.

Ok.

I think we've got a really cool shot
here.

All the color really works well with
each other.

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