Step 1. Selecting a background
For this tutorial we are using image number CT (CT0040-0015) from our Background Library. Outside of this tutorial when you are making your own composites, you can either select and purchase a background from our on-line library to use for your background or when you purchase a V3 Software package you can use the included MatchLight targets to shoot your own backgrounds (See Tutorial Section 3 to learn more about this). Note that almost all of our online backgrounds have LightMaps associated with them, (see Section 1 tutorial to learn more about LightMaps).
When you locate your desired background on the website, in this case it is our sample background image, you will be able to view and print the LightMap to use as a lighting "blueprint" for your in studio set-up.
Use the LightMap as a blueprint for your in studio set up.
For this tutorial we are using Image number CT (CT0040-0015) from our background library.
Step 2. Background FPO
Next you would save the preview version of the desired background image to your hard drive (Mac: Ctrl + Click; Windows: Right Click). Note: The preview image is a low resolution file and, while not good enough for final print, should provide sufficient resolution "For Position Only" comps and client presentations.
You have saved the image to your computer. Now open it in Photoshop
Step 3. Taking your Studio Foreground Shot
Notice the placement of the target in the frame. We tried to place the target in relatively the same position as it was in the background. Doing this helped obtain the correct scale of our subject in relation to the target placement of the background image.
Now open your foreground shot in Photoshop.
You can see by the illustration above that even though the model is slightly behind the target, the two targets are in about the same position in the frame in each shot, (we've highlighted them with red rings for you).
STEP 4. "Eyeballing it!"
Using the "move" tool in Photoshop, drag the foreground image onto the background image. This automatically causes Photoshop to place the new image on a separate layer.
STEP 5. Adjusting the Layer Transparency
Use the "Layer Transparency" slider, (we've highlighted it in red for you), to make the foreground image see-through. Now use the "Move" tool again to place the targets over one another.
See how in this example the two targets look almost identical? If your camera height or angle was incorrect, the two targets and the reflections on the targets would not look identical.
When creating your own subject images, adjust your camera height and/or lighting as needed and take another shot. Repeat Steps 1-5 as needed.
When you get to the point that you feel you have achieved optimal lighting and perspective in your foreground shot, launch MatchLight Software and tag your foreground image, (see Section 1 Tutorial for more information about this process), and generate a LightMap.
STEP 6. Making a composite FPO.
One of the biggest challenges in a pure digital photographic workflow is still being able to convey your vision to the person in the next stage of the production process. Use the images that you (now) already have in Photoshop to give your digital artist (or yourself) a quick reference shot so that they can understand exactly how you envisioned the final composite to look like.
To make a ROUGH composite FPO image, simply use the "Magic Wand" tool (we've highlighted it in green for you above) and click in the middle of the pixels you wish to remove (in this case the large area of orange pixels that make up most of the background). Tip: We like to use the "Cut" menu (command + x) to remove the unwanted pixels and then use the "Undo" (command + z) if the selection wasn't right.
TIP: When you are selecting pixels with the Magic Wand, hold the "Shift" key down and select more pixels each time you click with the wand. Then Delete or Cut them out in one big selection.
Varying the number of pixels you grab: Notice in the illustration above that we've highlighted in green, (top of the screen), the area of the Magic Wand options that allow you to select the amount of "like" pixels you can grab with any one selection. The higher the number the larger the range of colors you will grab. In this case the higher the number the more shades of orange we got.
Shadow areas: Notice that because this image is meant to be simply a reference and not a final composite, we have done a very rough job of selecting the pixels around the shadow areas.
While Photoshop can do a good job of picking out the pixel detail, we actually prefer to use some of the specific-purpose software to do this. Products such as: Knockout by Corel, and Mask Pro by Extensis are two good products that are made to do just this sort of fine detail work.
STEP 7. Save your Rough Comp.
When you have removed the majority of the pixels from your foreground image, and feel that it gives a quick, but accurate look and feel for the final composite - save the image. We recommend that you save it as a 72 dpi .JPG with a medium compression. This will allow the image to have enough detail to get the concept across, but not so large a file that it can't be emailed.
That completes the Section 2 Tutorial. Over the next 14 days continue to use the software, at no obligation, in your creative workflow to fully understand how this essential tool will improve your ability to produce high quality image composites.
If you have any questions about the tutorial, the software, the targets or are ready to purchase, please feel free to email us at sales@matchlightinc.com
You can also get more information on the MatchLight system from our web site at www.goMatchLight.com.
