Here's a Look at How Much Post-Processing Goes Into a L'Oréal Beauty Commercial. People can get really upset when you start using the P word. Magazine covers, professional portraits and even Instagram posts have been accused of using Photoshop. But nobody bats an eye when a beauty commercial comes on TV. Photos are manipulated, video, unless there’s CGI involved, is immune from such falsehoods right? Not really. As the time-lapse screen video above by Color Me Up! Senior colorist Andreas Brueckl shows, those commercials get quite a bit of help in the software department as well. The video condenses 30 minutes of Baselight color grading work done for a L’Oréal Garnier commercial down to just 3 minutes, and shows just how much work Brueckl does using some familiar looking tools.
And that’s not even the full story. To be honest, I don’t show too much of the beauty retouching and skin grading. From a photography perspective, it’s fascinating to see how this is both very different and very similar to what one might do to a still photograph. (via PopPhoto) How to Build a Realistic-Looking Beach Inside a Studio. Swedish director Roy Andersson has built some impressive sets for his films, and for his latest work A Pigeon Sat on a Branch Reflecting on Existence — which recently won top prize at the 2014 Venice Film Festival — he built a very realistic-looking beach right on a sound stage: And here's the trailer of the film with the beach shot at the end: The set is very impressive, and while they did bring in a lot of sand, the solid structures underneath help sell this effect and probably make the set easier to work on.
It may seem obvious when you see it, but the forced perspective, when done right, can convince you of just about anything. The buildings in the background are meticulously constructed and since the camera is at just the right angle (and does not move the entire shot), they feel like they are in the distance rather than being very small. The lighting is just right, though what also really helps this scene is the slight wind effect. Photoshop * Erstellen eines Kontaktabzugs (CS5) Erstellen von Kontaktabzügen mit Adobe Bridge Die Such- und Sortierungsfunktionen von Adobe Bridge vereinfachen das Erstellen von Kontaktabzügen.
In Bridge werden mithilfe des Adobe Output Module Kontaktabzüge im PDF-Format erstellt, die mit dem kostenlosen Adobe Reader beliebig überprüft, kommentiert und gedruckt werden können. Entsprechende Anleitungen und Links zu nützlichen Tutorials finden Sie in der Hilfe zu Adobe Bridge unter Erstellen eines PDF-Kontaktabzugs. Verwenden des älteren, optionalen Photoshop-Zusatzmoduls Da Adobe Bridge über aktualisierte Funktionen zum Erstellen von Kontaktabzügen verfügt, wird das Kontaktabzug-Zusatzmodul nicht mit Photoshop installiert. Laden Sie das Zusatzmodul für Windows oder Mac OS herunter und installieren Sie es.Ausführen von Photoshop im 32-Bit-Modus (nur 64-Bit-Version von Mac OS).Führen Sie einen der folgenden Schritte durch:(Photoshop) Wählen Sie „Datei“ > „Automatisieren“ > „Kontaktabzug II“.
7 Posing Techniques for Non-Models. Not everyone works with models. A lot of photographers have the job of shooting with everyday people and we need to make them look like models. So how do you do that when the subjects have no experience posing or controlling their face for the camera? Here are seven tips to make your portrait subjects feel like models. We don't generally think of hair as a part of the body we can control, but you really can! If you are shooting a subject with long hair, then bad hair is going to be the first thing anyone notices about your photo. There are no rules as to what looks "best" across the board. Let's assume you're doing a basic portrait session without makeup artists and hair stylists. Hair all behind the shoulders.Hair all in front of the shouldersHair all on one side.Hair all on the other side.Hair up. Hair on the shoulders (#1) should be avoided at all costs. Generally you want their part facing the camera so more of their face is included.
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