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Jim Divitale shows how to make a clipping path using Photoshop.
Tags:How to Make an Automatic Clipping Path,automatic clipping path,jim divitale,photoshop clipping path,software cinema
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When we’re working with electronics, we have a rule. If the cord shows, hide it, if it lights up, hide it. So let’s do this sort of this beauty shop for piece electronics but we’re going to do the burn in and we’re going to create these couple different shots. We’re going to strip together in Photoshop to get the very best possible results on the product.
As part of every commercial studio, you’re going to have to do electronic shots for all types of companies. Things that have to have a burn in but were have dialogs, so we have a rule, if the cord shows, hide it, if it lights up, light it.
So today we’re going to do sort of a simulated beauty shot for like say a piece of stereo equipment we’re this wouldn’t be like a catalog shot. We’re trying to do something that it would be the intro page to a catalog on web or even this could be in report shot for a corporate headquarters, like it’s more but I called a beauty shop.
We’re going to use extreme select the focus to do this and we are going to use one light. Make a very, very simple. I’ve got one stroke head coming through a medium size box. Got a very, very polished sort of hand done, metal background that have been scrape in with the polisher that give this kind of texture pattern and we’re looking directly into the corner of the unit and I’ve got the lens. We can see on the screen as I move the lens, we can change the plain.
We’re do a very, very selective focus so I’m sending this at a 2.8 and I’m forcing the plain of a lenses instead of following what it to cover to make in more in focus. I’m doing the exact opposite. I’m pulling it away from so that we only want to get just a very small area of the front corner shot.
Now, the light it’s going to look good in the background. Would look good on one exposure but it’s also slurring back up until the stereo system. So we don’t have to worry about that because we’re going to shoot a separate photograph for the background, the stereo and also the digital reader because in order that to get to show up we need to do a several second burn in the dark and we’re going to drop the three together. One, two, three, it just a minute in Photoshop and we’re pretty next done.
We’re going to start by taking a meter reading. Since I don’t have the stroke power going through, I just going to use the mulling light as pretty much tungsten light. So we’re going to come here right toward in front of the camera. I’m facing the dome towards the lens and at the 15 of a second or so; I’m getting 2.8 of 15th to the second, 30 of the second. If I’m going to darken this a little bit too about a 15 to the second and that’s exactly the exposure we’re looking for.
So I going to take one photograph and we’re going to bracket this a little bit because I want to look up them all in the bridge or in camera wall to the side which on what I want. So I’m going to put the great cord in there. I know the part that’s going to be sharp is close to the front so I’m interested in that part.
We’ll shoot one shot here and we’ll just shoot the first one at, we’ll try a 30 to a second at 2.8 and we’re looking on the screen. As the image comes in, I can tell right of the back that that’s a pretty good general exposure and that will help my color balance exactly right. So we’ll start about there and we’re just bracketing a few shots around here. We’ll see how that looks and the nice thing is I’m looking across of the screen. I can see everything I need from here, my exposure, my ISO. What the camera set at, what the white balance is set at. I can see the image big and I’m not even light up against it. I can do it right from the camera right here. Let’s go ahead and make it a little brighter so I’m going to go to a 25th for the second. I’m going to go ahead and go a 15th to the second and I’ll do one 10th of the second. And those are coming in so I’ve got a complete bracket of that.
Now I’m going to take the black cloth. This is going to black the reflection of this background. We’re going to take that off to set, thank you. And I’m just going to put a black cloth across the set without moving the camera and without of course moving the set. And everything is lock down so good; it’s pretty hard to bump this. So, with that in place I’m now going to shoot another set of exposures looking at the screen as a twin comes in.
This one’s going to look much better on the unit itself. It’s going to be a lot darker. Just about as dark because I don’t wanted to get, I don’t know, what about trying a little brighter. I was going to try a sixth of the second. We’re staying at the exact same F-stop at all times, so we’re never going to change our depth to fill or a focus.
Looking at what I see at the screen, it looks very nice. I’m going to go just a little bit more and that’s looking very good. So I’m going to do one more just a little bit brighter and this because of black cloth has change the exposure a lot. I nearly over exposing it so I’m constantly giving it more and more like but the depth to fill is exactly the same.
And we have one more exposure we need to do in the peach black. We’re going to turn off all the lights, not move anything and I’m going to take my exposure. Leave the F-stop the same and I’m going to move my exposure to about ten seconds. What about four or five, we’re going to try five seconds or four seconds first. Just five seconds is to be a good start. So we’re going to go ahead and turn off all the lights so that nothing but the read out and still going to be soft and out of focus but we’re able to drop that easily into the shot as part of the creative look to it.
So let’s go ahead and turn off those, please. And that’s pretty dark right there so just let’s just go ahead. We’re good here. I’m going to go ahead and shoot the photograph and that’s looking very good. We’ll do it again; we’ll just change exposure up a little down a little bit from there, just bracket just a little bit. And that pretty much takes care of all the parts we need to shoot.