All language subtitles for 41-PostProcessingTheaterHeroShotInPhotoshop.mp4

There are a couple quick

tricks and considerations that you can
do to fake haze.

So there are certain things

that are almost impossible to fake.

And it's not going to be

the same,

but it'll be kind of close.

And

one of those things you can do is use a
black promist, which will help.

There's also the,

to a degree

there is the dhaze,

which says this,

but it also goes the other direction.

And so it kind of helps lower the
contrast

for the most part, that's what the haze
machine does.

But

what I like about it is that it's
helping lights appear.

And so in this particular image, I want
the lights to appear like spotlights,

but they don't really appear as much as
I'd like them to.

So

you can sort of create it

in the same way that I'm about to
accentuate it.

Now, the other thing about this shot is
I've got a giant c stand

in the frame.

And I'm going to show you

how to amp up

the lights in this image as well as

get rid of this c stand when you don't
have a plate that goes over top.

What happened?

So this is

stitched already.

I figured you didn't need to see me
stitch a panorama together again,

but it's been stitched same method as
the other one.

But I wanted to show you what happens
when the plate doesn't really work as

well.

And the reason why this one didn't work
as well is, even though I had the left

hands out of the plate,

that light is flaring at camera and
drastically change the brightness of

the side on the left side of the frame.

And when I put in the plate, but didn't
have that,

it had a tough time matching it.

And so it actually made a lot more
sense just to come in

and do a quick fill over top of it.

Ok?

And so I'm going to close this down, so
my computer doesn't die,

and I'm going to fill this in.

And

the way I would generally approach
something like this

is to use something called a content
aware film.

And this happens on the background
layer.

You could duplicate this if you want,
but

I don't want any of the stuff.

Anyway, so I'm going to basically come
over here,

and I'm going to outline

this.

I get it relatively close.

Ok,

make sense.

I hit shift, delete.

That brings up my Phil dialogue.

You can also go to edit

and fill,

and I make sure that my contents here

has content aware selected.

This also works when the panorama is
missing information.

It can also help fill stuff in.

It's not always a one stop shop.

And what you're about to see is not
going to work 100 percent.

But I figure even if it gets you, like,
sixty of the way there,

that's all right.

So I hit content aware, I hit, ok,

ok.

There we go.

All right.

So,

again,

not amazing,

but,

like, it's a good start.

I'm sixty.

Sometimes it does a really great job
right out of the gate.

Sometimes it's really good.

This is an.

So what I'm going to do here is, I've
got to fix this area here,

this a little bit.

I've got to fix this whole thing.

I'm going to do this with cloned stamp.

Make it really easy.

Again.

You can also do this with

the healing tool.

I'm sorry, with the frequency
separation.

I'm just going to

do something like that a little bit.

Kind of

come in here,

ish.

It's not amazing.

And I could definitely spend a whole
lot more time

doing this, but

what's lower, the opacity, maybe kind
of paint over.

That sounds good.

Looks, good.

Let's come over here.

Same thing.

You can also, occasionally,

you can run the content aware Phil

on multiple things.

So that can sometimes help you out a
little bit.

I'm doing kind of not a great job.

So forgive me a little bit here.

Let's follow that edge a little bit.

I mean, in truth, like,

it's a little bit tricky to do this
kind of a thing with just the clone

stamp.

What i'll regularly do

is

come in and

beef it up with adjustment layers.

So that it's a little bit more

correct.

So you can kind of see how this right
here is really dark

compared to the flared area, right?

So what I come in here and I do is I
create a curve adjustment layer,

and I clip it

so it's only affecting the layer that
is underneath of it.

Command, option g

or option click between the layers.

Or you can right click

and you can go to

a creek clipping mask, or release
clipping mass.

You can kind of see it creates this
little arrow that goes down to it, and

it basically says,

I'm only affecting the layer underneath.

I remember the day I discovered
clipping masks.

It changed my life.

And so I basically have this, I'm going
to overly brighten it,

and then I'm going to invert the mask

and only paint

where I want the effect to go.

I'll just do that at a lower opacity,

kind of come in like that.

Then you can even do it up here, where
I kind of had it before.

Ok?

So, think of it kind of like dodging
and burning.

And so that kind of allows you to

work through that stuff.

So there's my full cleanup, before and
after.

I'd also want to come through and get
rid of this, where the spotlight missed.

So, again, with the content to wear
Phil,

you make the selection, you come
around, shift elite, hit enter.

You actually get into this really quick
key stroke of going, shift a lead

enter, shiftedly enter.

And I just walk around the image and
fill it in.

And that does that, and hides it pretty
well.

Ok?

So,

I mean,

I understand that this is not the most
amazing clone stamp job in the world.

I apologize

something like that may be.

Ok,

let's brighten it up a little bit.

That's probably a little bit better.