All language subtitles for 44-PostProcessingTheHaircut.mp4

So let's take a look at

the first shot.

We did the airfield to begin with.

And so if you remember, this was one of
the images,

basically

that I end up liking.

The reason I went with this one in
particular was I happened to like

the hair movement a bit.

I thought it was really interesting in
this particular frame.

And so this is the one that I ended up
going with.

Now, this particular space didn't
require a whole lot of

other plates

to be made.

And so what I've got in conjunction
with this frame

is the left side.

This is the middle,

and this is the right side.

And

when these combined together,

this is cooking show style.

It looks like this.

Ok?

Now, the only difference from what you
were seeing in the other images, and

this one, is I added a little bit of
blue to the sky.

But I'm going to show you how I did that

in

this one.

Because, as you remember, we had to
make the plate of everything.

We locked focus.

We took several of these images
together,

and that's this, right here,

it's this whole frame, here to here.

Ok?

These are combined,

and they end up looking like

this.

So this

and this.

And all I did was I took the process
from one to the other.

And, you know, I left it pretty
natural.

I didn't do much to the color or the
tone in this.

I mean, as you can see, this is zeroed
out like it just it didn't get much to it.

That's it with out the perspective
correct?

And here it is

with the perspective.

Correctness happens when that panorama
is merged together.

Now, what I wanted to show you with
this is how to add some blue to the

sky.

And the reason why I'm adding it in,
because in the hand colorized images,

they usually look a little bit
unrealistically blue.

And I kind of wanted to

do that with these images.

I wonder that's what I want to make it
feel like.

So what I'm going to do is grab my
linear gradient tool.

I'm going to go ahead and double click
on effect to reset it.

And I'm going to add a bit of blue.

I'm going to figure out what this
number is in a second,

but I'm just going to drag it,

drag it down,

something that kind of looks like

this,

and

that's a little bit lighter.

So maybe we'll kind of go to something
that looks a little bit like this, maybe,

and that's relatively close.

Now, unfortunately,

it's on the whole thing.

So what do you do?

We come down here

to

range mask.

And you could do it either by color or
luminance.

I'm just going to go ahead and grab
luminance.

And because this is all in the really
bright section, and this is not,

I get to remove it

from the dark section.

Just by grabbing the bottom end of that
slider.

To make this even easier, to see, if
you hold down the altar option key, you

can kind of see where it is black.

It is not getting the effect.

Smoothness is like the feather.

And so if you look at this now,

it adds a little bit of blue to kind of
the reflections, but for the most part,

it does a pretty good job of layering
that color on top.

And so if I want to really increase the
color, I actually think it does a

really nice job

of cutting that out

pretty easily.

All right.

Now,

this gives me my basic process

for both of these two plates.

So I've got this one,

and I've got this one,

but you can also probably see that
they're not exactly

lined up.

And that kind of may present a little
bit of a problem.

So here's what I'm going to do.

I'm going to select both of them,

and I'm going to right click,

and I'm going to go to edit in, and I'm
going to have them open as layers in Photoshop.

And what this is going to do

is it's going to basically just bring
them both into the same file and put

them on top of each other.

All this does is save me one step of
opening them both separately, and copy

and pasting one into the other.

It's a little bit faster, and it's
really nice.

So we're going to give this, like
fifteen to twenty minutes to open up.

I mean, you'll have to forgive the fact
that I think these are something like

18000 on the long side, and something
crazy.

I've never used the psb document
format, and I usually like to open it

up in Photoshop, and then I go back to
lightroom to maybe tweak it a little

bit more.

And I notice you didn't get that option
when you closed and saved.

As you know, where I'm going with the
question

that is, the big negative to psbs

is light room doesn't read them.

And so

if I happen to need to access it, and I
still want to use light room as a library

one, if I'm using it as a way to open
up the file, which you do is you right

click on the nearby file, and you'll
say, open and finder, or you open any

of them in finder, and it pops up the
window.

And then you can sort the folder by
size.

And it's

always the biggest one it's just, yeah,
that's the one downside.

I wish lightroom could read psbs.

It just can't.

So, yeah, that's a totally valid
observation.

If you are not using as many layers,

you can still get away with the tip for
the psd.

But it does not take long

to hit huge.

I mean, this file right now is 13

gigs, and all it has in it is two
layers.

So,

ok.

So as you can see right,

slightly different.

That's not great.

So here's what you do.

Select both the layers,

shift, click,

select them both,

and then we go to

edit,

auto, align layers.

And I usually

just hit auto and I hit, ok.

Sometimes you're wanna make changes to
this,

changing the way in which it merges it
together.

And it's not always exactly

exactly right.

But it'll do a surprisingly good job
when you are close,

and i'll take a question while this

does the job.

When you stitched

the

first one together,

it's the person, the barber and the
pilot in there, versus the one with

just the plane.

Is it possible that that plane is
actually a different size in each one

of those pictures?

After they stitch,

it's possible.

You regularly will encounter small
issues with the stitching.

And it's not necessarily lining up 100
percent.

This one probably will have that

let's say,

yeah, see to the middle.

Is that what you're talking about?

Yes, it's a little bit different,

but it's close enough.

Yeah.

I also happen to have forgotten a
little bit of the blue officer's face.

So forgive me a little bit there,

but you can see that it did a pretty
good job

of lining stuff up,

right,

at least good enough

that I can now

add a mask.

Zoom in,

let's, put my opacity up a little bit.

I'm going to come over here and get
myself a little bit of a harder edge so

that I can

clean this out.

I also have a little bit of an issue
with the skycoller not quite being the

same, which is something that I want to
fix a little bit later,

because I didn't copy and paste it.

I was just showing you how to make it.

When you copy and paste, it's a little
bit a little bit better,

obviously, because it's going to be the
same color.

Let me go back to my brush,

zoom back in here,

and if you kind of press, press down,
and you shift, click,

and i'll draw in a straight line, like
that.

So, like, I'm going to come across this,

come through here.

I'm just, I'm doing a pretty fast and
loose version of this,

something like that.

Here's the before after.

Now, the other cool thing about this,
oops.

Now, the cool thing about this

is you can take, for example, like, if
I actually think it's pretty ok here,

but if you want to take a real soft
brush,

remember that whole thing about
blending the

shadow away?

Maybe we'll temper that back just a
little bit with a lower opacity.

Hoops,

not what I wanted to do

that blends that really beautifully.

Right?

Then I'm going to command click.

Well, I can do that, or I can mask it
based on whatever I want.

Let's see.

I'm going to go to, let's, go to a 169

reframe this.

I'm going to probably get rid of that
thing in the foreground.

Maybe something that looks like that.

It looks pretty good.

All right.

So

obviously I have a few small gaps,

think, in particular.

So I've got some stuff along the bottom.

You can obviously come through.

You can stretch this.

You can fill stuff in, you can crop it
out.

I'm not going to spend a whole lot of
time

showing you how to

rebuild the edges of a background, but
I think we can all

figure out what that looks like