Product Photography that Sells: Product Shots for the Web | Marshall Rimmer | Skillshare

Product Photography that Sells: Product Shots for the Web

Marshall Rimmer, Filmmaker

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19 Lessons (36m)
    • 1. Why I'm Teaching This Class

      0:42
    • 2. Social Media Overview

      0:30
    • 3. Web Marketplace Overview

      0:25
    • 4. Class Project Overview

      0:12
    • 5. Social Media: Location

      2:29
    • 6. Web Marketplace: Studio

      4:00
    • 7. Project - STEP 1

      0:52
    • 8. Web Marketplace: DoF

      7:33
    • 9. Project - STEP 2

      0:31
    • 10. Social Media: Apps

      4:43
    • 11. Social Media: Lighting

      5:22
    • 12. Web Marketplace: Lighting

      6:32
    • 13. Project - STEP 3

      0:18
    • 14. Project - STEP 4

      1:02
    • 15. Parting Words

      0:38
    • 16. BONUS LESSONS: Color Grading Preview

      0:33
    • 17. BONUS LESSONS: Color Correction Prep

      8:07
    • 18. BONUS LESSONS: Color Correction Workshop

      9:43
    • 19. BONUS LESSON: Color Grading LUT Workflow

      21:02

About This Class

For anyone wanting to learn how to take beautiful, eye-catching product shots.

Practically speaking, we'll cover location shooting, studio setup, standard apps, basic framing, color relations, natural lighting, and subtle brand integration.

If you're interested in my color grading LUT pack, use the code "ClassDiscount" to receive 60% off all downloads.

Transcripts

1. Why I'm Teaching This Class: Hello and welcome to this class. And thanks for checking out my Siris on product shots. So this syriza's comprised two classes. The 1st 1 is about traditional video commercials. Things like that, and the 2nd 1 is more for Web based mediums, things like Instagram and online marketplaces. That's kind of the Siri's overview who remind My name is Marshall Rimmer. I'm a commercial on branded content director. I work with clients such as Nestle, Adidas, AKI View Purina and a handful of others. What I do for a living is really not that difficult. So what I'm trying to do today is impart that knowledge to you guys lets you know that it's really not that difficult to take amazing product shots. So with that being said, let's jump to the next video, where I'll tell you what this class is all about. 2. Social Media Overview: So this class is about product shots for social media, specifically Instagram s. We'll talk about everything from shooting on location and what factors you have to take into consideration. When doing that, we're gonna talk about what APS to download. To give you the best looking image possible. We'll talk about general framing and aesthetics and color relations and things like that. We're also gonna talk about lighting how to use natural light to your advantage. And then finally, we're gonna talk about subtlety, the art of subtlety, to make a product shot, not look like a product shot, but still be a product shot s. So with that being said, let's jump right to it. 3. Web Marketplace Overview: So this class is about product shots for an online marketplace, something on the Web that really sells your product. So we gonna cover everything from shooting in a studio and what we do if we don't want to shoot in a studio, we're gonna talk about proper lighting and how to make your product really pop out. We're gonna talk about depth of field and how to get a really beautiful looking image. And finally, we're gonna talk about proper framing proper production designer, just kind of the general aesthetic of the frame. So with that being said, let's jump to it. 4. Class Project Overview: Okay, So the project for this class appreciate for its product shot Something kind of tight, Something kind of pretty. Um, something very beautiful. Eso That's what we'll be doing in this class. Let's get to next video and we'll see how to do it. 5. Social Media: Location: Okay, so we're gonna start off talking about the location of this image that you're going to post to social media, right? The one thing about product shots with social media is that we love social media because it's it's representative of us as a person, right? And when you see things on social media that are selling things right down your throat saying, you know by this whatever that turns us off and we're not really interested. So with product shots with social media, unlike traditional video on commercials and things like that, instead of having an image that is just of the product, social media branding is really more about an experience. It's really more about an emotion or a feeling or some kind of association that the brand has not necessarily about the logo and the product. So, for instance, you know a good um, you know, a good example of of this would be, you know, someone is at Coachella listening to this, you know, up and coming in the artist and they're drinking their cool red bull that, you know, they just happen to be holding this Red Bull as the bands in the background or whatever. So a lot of things that we see and you may not know is that know this. But if you find someone on social Media who has a lot of followers, if they have, if they have products in their in any kind of their pictures or video or anything, you know, just kind of small, you know, happened, happened to be drinking Coca Cola. Ah, lot of those air actually sponsored. So when I talk about product shots for social media, I'm really talking about this subtle, almost subconscious integration of the product in everyday life that says something about the products kind of emotional sensibility. So all that being said Thelancet cation of this image that we're taking, I should say something about the brand and should really promote the brand's core. So because of that, we're not shooting in a studio. You know, we're not shooting on a very pristine kind of You know what you typically think of as like a product shot. This is Mawr on the go, having fun, enjoying life, just happen to be drinking whatever just happen to be eating whatever just happened to be wearing whatever shoes on and things like that s so when it comes to location, it is all about aligning the location with the brand. 6. Web Marketplace: Studio: So when we're taking photos of our products and we're posting it on to some kind of online marketplace we're really trying to do, is is we're trying to have the background, just be completely white and it all be about the product, right? So because of this, we're not shooting on location, we're not doing anything fancy or sexy. We're just trying to make it be all about the product so people can see exactly what it looks like on be able to kind of judge if they want to buy it or not from that. So, um, we're definitely doing a studio approach to this product, and I want to say, Studio, I don't necessarily mean going out and renting a studio, but just kind of a very controlled environment with, you know, proper lies proper backdrop in things like that. So it's starting off as far as our studio options go. One is we could rent a studio. Studios typically cost about $100 an hour that have either kind of a green screen or some kind of white space. Typically with lights and things like that. The price could be a lot more than that If you have a buddy, maybe they're less than that. But running's to you is an option. It's not necessarily the best option because chances are you don't know where Studio to rent issue. No, you're gonna have to do some extensive research. So that being said, the 2nd 1 that I like a lot is just having a backdrop. So having some kind of seamless white paper behind the product, maybe even rolls down and let it sit on there So it's completely white. Um, that is an option as well. Now I would always recommend doing it on a white backdrop, but I have seen some cases where people use a black backdrop or even a color back drop. Be very careful when picking a color back drop, because a lot of thought needs to go into color relations on and, you know, having even having some kind of counsel from a friend who is a graphic designer, knowing you know what shade of blue is best with this shade of red. You know things like that, because if you just kind of pick a color haphazardly, it's really not going to turn out that great. Uh, and As I said, You know, since we're doing this on and on online marketplace, we just want this to kind of be invisible. We just kind of want them to see exactly what the product is. So I really do recommend that white backdrop. So there's studio, there's the backdrop. And then there's the thing in photography that is created for this that I would definitely recommend if you could get your hands on it. It's called a tent or a square. Um, and what it is is essentially, it's some kind of box that has very, very, very soft white, um, material that it's made of that when you shine lights through it, the light just kind of completely diffuses all over the place. So if you are shooting on a backdrop, you know, you definitely need to make sure that your lights air soft enough so there's no harsh shadows, right? We don't want to see any shadows. We just want to see, you know, we want the product very nice, very clean, and just for allow us to get a good idea of what it is. So having putting it inside this tent, um, it completely diffuses all the shadows. It allows us to snap some pictures that are just really clean, and it's really easy to because you just set it up. You put the product inside, shine the lights in and that's about it. So it's very simple shooting against a backdrop. You definitely know need to know how to work the lights, so there's no shadows. Shooting in the studio is kind of a headache and probably expensive. So this one has, you know, it is the least bad of all these options. Is that little 10th? So with that being said, we will need to be running lights with this since it is, you know, some kind of studio shoot. Um, I'll get to that a little bit later, but just know that that is part of the process, and that is something that you will we need to learn a little bit about. So if we are shooting in a backdrop for a studio, we definitely need to learn a lot more about lighting. If we have that little tent set up, then we just blast it and we're good Teoh. So that's pretty much it. As faras location goes, just keep in mind. We're trying to have a very nice picture, very clean, no shadows very bright and just allow people to see what the product is. 7. Project - STEP 1: Okay, So the first step for our project is securing a location. So, like I said in the last video, think of either if you want to do it on a studio or on a location basis, right? So go ahead, secure the location. If you are doing it on location, go ahead and get in touch with the people you need to get in touch with to reserve that location for a specific time. Specific date. If you do in a studio, go ahead and pick the color. Pick the color of the backdrop if you're going to go the backdrop route. If not, call up the studio with space. But the first step in a project is securing that location. Eso get out there and do that, probably for maybe, you know, a week to two weeks out. We will need to possibly rent equipment and things like that. So we want to make sure that all the schedules the line so don't go out and win something for tomorrow, maybe a few days out so that all these things can line up 8. Web Marketplace: DoF: So let's talk. Depth of field depth of field is a term that is constantly thrown around photography. It's one of the very first thing that people typically learn with photography, but it's something that you keep with you throughout your entire photography career. It's not like a beginning thing that you check off and then you move on. It's something that, you know, when I approached shoots, I'm constantly thinking about depth of field on how to make an image look as beautiful as possible. So the story always tell is, uh, you know my mom, who knows nothing about photography When she tells me that she wants me to take a picture of whatever she always says, You know, I want those what those images where you know, the things in focus and then everything behind its, you know, out of focus or whatever. Those are always really good, Um, and that is like exactly what we're always going for. All the time is especially especially in product product photography. You know, we want the one thing and focus, and we want everything else out of focus. So that's what depth of field is. That's what it refers to is the depth of the field of focus. Maybe is where it comes from. Um, so there are four things that you can adjust. Teoh, change your depth of field now a purist, a photography purist, am theorist and a professor and a professor would probably tell you that there's only three . But someone who is out in the field doing it all the time will tell you that there's four because one of them works, practically, but not theoretically, however, that works. But you don't really need to know that. Just know that there is kind of a debate on if they're actually three or four. But I'm just gonna tell you all four. So the very 1st 1 and the thing and this is the one that you are really You know, out of these four, you're thinking about this 98% of the time, and that is your aperture. That is the hole that the light goes through in your lens before hitcher sensor, right, so you can open the hole up and get more light in. You can close it down to get less light in, but the side effect of opening and closing it is changing your depth of field. So the wider the lenses, the more light that you're letting through the shallower. That depth of field is right thesis smaller year hole is, the more you close it down, the less light comes in and the Mawr focus you have now. Um, there's always this conversation about having something look cinematic, and this is really what people are talking about when they refer to something wanting it to be cinematic. They're mostly talking about it having shallow depth of field. When digital cameras first came out, everything was in focus, and that was the main complaint. Everything look digital and not cinematic. You know, times have changed a little bit. Cameras have gotten a little bit better, but it's kind of still is still kind of is bad taste in our mouths as Faras, wanting very shallow focus instead of, you know, very deep focus. So the aperture is one of the main things that that does that. Ah, and like I may have said earlier, having an indie filter is really, really nice, especially when shooting outdoors. An indie filter blocks a lot of that light coming in on allows you to open up the aperture , even Mawr, to get that shallow depth of field. If I don't have an indie filter and I'm shooting outside, if I open up too much, my whole image is completely washed out white. I can't make out in details, and it's not very attractive. So putting on that indie filter allows me to open up mawr and still have everything proper exposure. So in Indy filters, great. So the first thing is aperture. The second thing is the medium that the cameras actually shooting on. So some film cameras shoot on 35 millimeter, which is the size of the frame. Some shoot on 16. Some shoot on eight 35 naturally, has a showered up the field than a 16. And then even more than eight, um, with digital photography, people talk about full frame sensors. Those are, uh, kind of larger sensors that have showered up the field. The smaller the sensor, the larger the depth of field. That's why a lot of phones a lot off point shoot cameras. You know, the GoPro, Anything that's super tiny is nine times out of 10 gonna have built in are really deep that the field. So the tinier a camera is typically this is not always true. Um, especially at the consumer level level. The tinier camera is, um the more depth of field, the more digital it looks. Typically, that's not always true. So when you're selecting the camera, if you happen to be renting for this, you wanna ask the guy at the camera store. If he knows what the sensor sizes on the camera, the bigger the sensor size, the shallower depth of field you can achieve. So the 1st 1 rapture the second it's sensor size or film size. Or, you know, whatever the medium you're shooting, too. The 3rd 1 is distance to the camera itself. The closer I am to the camera, naturally, the shallower depth of field I can get if I'm standing 50 feet away and you try to focus on me even with the same aperture, the same camera, same everything, maybe everything 40 feet to 80 feet gonna be in focus. That's like 40 feet of focus. If I'm way back there, right? But right now I'm only standing 2 to 3 feet away from the camera, Um, and right now I'm in focus, and the background is not so. I could walk up really close to the camera, and I'd be in focus in the background would be even more out of focus. Eso knowing that relationship The closer to the camera, the subject is the shallow depth of field you can achieve. So let's see, we've talked about aperture. We've talked about sensor size. We've talked about distance to camera the 4th 1 and this is the one that there's a little bit of controversy over is the focal length of the lens. So, um, in practice, the longer the lens essentially, the more zoomed in you are the shallower depth of field you'll achieve, the wider the lens. This is a wide lens theme or depth of field. That's kind of built in with that. And this is a point of contention where you know, people like on paper, this doesn't make sense. For whatever reason, if you do the science in the math behind all the optics of it, it doesn't make sense. But just know that practically when you're on the field when you're actually shooting, this is something to think about. Um, that being said, there's kind of ah, weird relationship between that one and in the distance the camera. Because with longer lens, you can't get as close to the camera or else you'll be really, you know, chopped off for obscured or whatever. And then conversely, you know, with wider the lens, the closer you can get. So there's kind of Ah dance there, the kind of a relationship there. So just know those four things are factors in creating the best up the field possible. So since we're always trying to get shallow depth of field, those four things we want a wide aperture, right? We want to be able to open up the lens really wide to get as much light in there as possible. So we want a wide aperture who with largest sensor size possible, um, we want to get close to the subject, but not so close that it becomes becomes warped or or bizarre or cut off. Um, you know, we don't want to think about that as much necessarily. We want to get our framing how we think it should look first. And if we don't happen to have the depth of field we want, maybe as a last resort. We moved the camera in, but just know that that is a relationship. And then fourth shooting with a longer lens or zoomed in a little bit more, we can achieve a little bit better depth of field. 9. Project - STEP 2: Okay, so the next step in a project is securing a camera. So we need to either rent this, borrow this from a friend or maybe even used when we have laying around. And when we do this, let's keep that depth of field in mind, right? So let's try to get a camera with a large sensor if we could. And if we need to rent a lens as well, let's try to get a lens that can open up really wide, have a great aperture, so I get that depth of field. So next step in the project. Go out, rent some equipment, make sure that it's available the same day that the locations available so all the stars start to align. 10. Social Media: Apps: so I'm gonna give you guys a few tips on what APS to get for your smartphone. OK, so this was pro camera eight. It's kind of the best of both worlds. It allows you high control over still photos, um, and then allows you know, all the manual video settings for video as well. Um, so it also one thing that also does is it Is it slightly grade your footage? Um, in a way that makes it a little bit more pleasing. Naturally, it doesn't do anything super extreme, but it just it just, you know it. Just boost the contrast a little bit, makes the colors pop. Just just just a hair. It definitely looks nicer than the gesture. Normal iPhone recording. That's another thing about it that I really like. So one of its pretty popular out there is called Movie Pro. Um, it's one. It's important to note that with any of these APS that you know, they're all pretty important to get. But at same time they're all pretty similar. It's just kind of ah, matter of preference. Ah, movie pro. Um, one thing that I don't really care too much for it is It's pretty busy. As you can see on the screen. You have your why balance. You know, your focus, your exposure. You have audio meters. You know, it's nice that you have all these controls, but, you know, real time Zoom. I wouldn't touch those. It's nice that you have all these controls, but at same time, like your screen is pretty cluttered. So it might be difficult. You know, if you have things in the bottom of the frame or, you know, appear might be difficult, actually. See exactly what you're trying to shoot. Okay, so this is filmic pro. This one is very good. It's very in depth. Very similar to the other ones, of course. I mean, obviously you can see you have white balance controls. You have focused controlled aperture controls on this one. You can get in there and change the I s so as well, which is really nice. Um, see, one thing that's cool about it that I really like is you can actually change. Ah, the saturation and the color and the contrast. You can kind of add filters. One really nice thing about filmic pro as well is you can actually change the dimensions that you're shooting eso if you're shooting, If you're trying to emulate some kind of old school 70 millimeter really, really wide screen 2.35 aspect ratio. You could do that on film Akpro. Um, it also does, you know, squares. So it's very easy to switch over toe social media Posting s. Oh, that's a nice thing about it. Also, one thing you can actually change the bit rate of of the image, which essentially means you can change the quality, Um, straight from the app and by quality. I'm not talking about resolution. I'm not saying that, you know, make the image bigger, smaller, but the actual the bit rate, the higher the bit rate, the better quality image you're going to get. Um, and you can actually go in there and change the bit rate in this, which is very nice. I really like that aspect of this ab. So there are dozens of those types of maps out there. These air, the three that I really thought were the best. Really? When you're looking at these, you're looking you're trying to get manual exposure, manual focus as many manual controls. You can possibly get because you don't want anything left up the chance. You don't want the phone to be the one making the decisions and not you and then on top of the apse. One thing that's important to note. You know, if this is social media, if we are posting Instagram when it comes to filters, since we're trying to make this, you know, subtle kind of brand endorsement and not a, you know, nice, like sponsored by Coca Cola kind of thing filters air. Great. Um, if we if we don't add filters and the images to clean and to cool and you know, whatever, it doesn't feel genuine. It doesn't feel like what people actually post the social media. So go through all the filters. I mean, you know, may take a little bit of time, but go through every single filter and find out which one you know, makes your image the most pleasing. I recommend learning a little bit about color relations. So you know, if you have a lot of yellow in your image knowing that putting on some kind of blue filter will do something interesting because those two colors are opposites, things like that, you know, being able to add contrast, take away contrast. But really, those those color relations and knowing how, um really how adjusting an image will kind of make it turn out So you can kind of get to a point where you know exactly what filters you want to put on your pictures. You know, before you actually trial and error through all of them. Also teach a class and smartphone photography was a little bit more in depth in some of these APS and kind of covers, you know, smartphone photography as a whole versus just these product shots on it might give you, ah, little bit more in depth. Look at some of things we've talked about today, so definitely check that out if you have interest. 11. Social Media: Lighting: so we're shooting on location, but this part of the classes about lighting. So I'm obviously not talking about, you know, using professional lights, any kind of studio lights or anything like that. But lighting is very important in any kind of photography a camera is always trying to get . They're always trying to get as much light in it as it as it can. If you think about, you know, being in a party and using your phone and trying to take a picture. And it's, you know, late at night at a bar somewhere. Pictures really kind of blurred and smeared and kind of nasty and grainy. And it's not that good. It's because there's not enough light. So even when we're not using lights, we need to be conscious conscience, conscience, conscious of where the light is, right? So if we're shooting on location and especially going back to the whole subtlety of social media, going back to the whole trying to have some kind of, you know, products shot, that doesn't feel like a product shot, you know, we obviously don't want it to be lit like a nice you know, studio thing. But we still wanted to be, you know, great. So well, that comes down to is knowing where the sun is. Um, knowing that at certain times of day, certain light is better than others. So in the morning, the 1st 2 hours of morning and the 1st 2 hours at in the last two hours before night are really our best times toe light. The light is coming from the side and what that allows us to do, um is that you know it during noon, like noon one oclock the lightest directly overhead, any kind of people. We have a really bad shadows in our eye and under our nose. So we have these shadows coming down. Whereas if the lights coming from the side, we can embrace it a little bit more. We can have the light hit the face directly. And there's not gonna be, uh there's not gonna be shadows around the eyes Or we could have the light come in and hit the back and have a nice you know, kind of Silla waited, silhouetted outline. So knowing what time of day to shoot is very, very important. I always try to shoot any kind of outdoor stuff in the morning or at night are sorry, not at night in the evening. Now you need to be careful because you still want a lot of light. So, you know, as soon as the sun peeks over the horizon, probably not the best time in the morning saying with at night, you know, you don't want to wait til the sun is right at the horizon. So we want the amount of light to be great. But we still want the sun to be coming in from the side, which allows, Like I said, those shadows, um, allows us to control the shadows a little bit more So having the nasty ones from up top. That being said, it's always great to shoot overcast. So if if you decided for your product shot, you're shooting, you know, you drinking a beer at some rock concert, whatever. And it's during the day and you know, you you know, whatever band you're trying to get goes on at two in the afternoon and you know the lights gonna be directly overhead. It's not gonna be that great, but you look up, you see that it's partly cloudy, so if that's the case. Wait until a cloud comes over the sky, right? And when that happens, the sun hits the cloud and clouds workers. These like beautiful diffusers where everything's in shade. All the light is perfect. Everything still bright causes daytime, but the light is very even and defused. So if you do see that it's partly cloudy. If you can try toe, wait for a cloud. Definitely do that because I always love shooting days, where is overcast or if it's cloudy because you get much less harsh. Light that way on, the images always turn out a lot better. Another thing to take note of his ambient bounce on. What I mean by that is, if the sun is coming in from the side, which I had talked about, you know later in the day is better. The sun's coming in from the side. If you see you know, a big house are something that's white, some kind of big business. Ah, or some kind of big building that has a bunch of, you know, windows or mirrors. Use that to your advantage. So if the closer that you can get to that white wall, you're gonna have that sunlight hit the wall and bounce and hit your face, right, So you're gonna be It's gonna brighten that up. So always kind of look at you know what you can use as a natural bounce board? Be very careful, though, because if that building is off white, if that building happens to be a little yellow or little green or you know slightly, you know, one color the bounce is gonna come off that color as well. So when you're looking for an Ambien bounce, you're basically looking for white. You're looking for mirrors. You looking for gray? You're looking for very neutral colors that allows, you know, everything to kind of, um, you know, appear the same in the image. And it's not gonna cast that green on your face. That being said, you know, one thing that is really tough to avoid it. If you're shooting outside, sometimes the grass has that same bounce. So, um, you know, you should definitely be looking for places that the light is bouncing, but at the same time, you need to be aware that that could be, you know, to your detriment. So instead of just saying, okay, that that feels like something I don't need to worry about. Maybe I'm not there yet. As a photographer, it's also something that will figure if you're not aware of it, it could end up ruining your shot. So be careful of those big patches of grass in front of you because that might be, you know, having the green bounce up. So definitely keep in mind what the light is doing, what it could be bouncing off of and how that could help or hurt your image. 12. Web Marketplace: Lighting: So let's talk about lighting. Lighting is something that, since we're shooting in a studio, is very, very important. Lighting really makes or breaks thes product shots, especially since where you know it's on a white background. We don't want it toe. We want any kind of distractions. It's all in the lighting. So first off, I would definitely recommend those those tents, those little boxes that I was talking about. Um, if you get one of those the lighting classes 10 seconds long and it's a point of light at that, and then you're good to go if you don't get one of those. If you do it in a studio or have backdrop, it's a little bit more complicated. I do teach a class on studio lighting, so if you want to get really in depth on Gombe or than just what we cover today, I definitely recommend you checking that out. So first off, like I said, definitely. You know, if you are shooting one of those little tense or boxes, um, you know the light can be harsh because those things will filter and a fuse all that light inside. But one thing with those is just make sure they have really bright lights. The more light you could put into an image, the better. So if you don't have one of those, if you're shooting in a studio or if you're shooting, um, you know, on a backdrop on a psych, we need to learn a little bit about just kind of basic three point lighting. Set up Rule one of product photography, lighting and really this, you know, covers carries over to a lot of other types of lighting as well. If we weren't really soft, bright lights. So the softer the light, the you know, the happier, the nicer, the better the images. We don't want to harsh direct shadows or anything like that that looks bad and unprofessional. Eso We won't really soft lighting. We wanted to be really bright as well. We mostly wanted to be bright because the brighter, the more light we can have on a subject the nicer and image it will achieve in the cameras themselves. Cameras are always trying to fight the the light that not fight the light, but they're always trying toe extrapolated information from the light, essentially so they're always wanting mawr light That's why when you have your iPhone and you're at a party at night and you try to take a picture, it's really, you know, blurred and smeary and kind of, you know, noisy and nasty. That's because there's not enough light. So the more light you can put on your subject, the better. It'll create a cleaner image. So product photography is all about very soft lighting. You know, we're not going for any kind of stylized look most of the time, you know, we're not trying to light from the side to make shadows and make it mysterious like we could in some kind of dramatic film. Really, We're putting the white right in front of subject. We're making sure the background is lit well ist Well, let's well as well. Um, and we're just trying to make everything look kind of nice and even so soft light in front , but also with product photography. It's really important. Have a backlight eso what a backlight does, and I don't have one right now. But what a backlight does, is it? It helps outline your subject. So if I had a backlight on me right now, my shoulders would be a lot brighter, and just to just enough for you to kind of see an outline of my shoulder in front of the background. And what that does is it helps helps the subject pop a little bit more eso it grabs your eye a little bit more and again with all this video production. What we're trying to do is we're trying to be invisible behind the curtains, right? We don't want anyone to see what's happening. And if we don't have a back light, the subject might get lost in the background a little bit, a little bit. And we might be focused on places in the image that we shouldn't be focused on. So a backlight is very important. And typically, you know, if you can get a backlight kind of up high and directly behind something, that's great, because it kind of outlines the whole subject. But if not, you know, if you have it kind of high and off to one side as well, that's great, too. So, back lights and front lights, really you both want kind of up high above the camera, Um, but make sure that it's not at such an angle where you cause any kind of shadows, anything like that. So we have soft lights. We have back lights. It's also very important. Talk about color of lights. So one important thing to note and a lot of people don't think about this. Don't know. This is that Light has different colors. Lights that we use indoors in lamps and fans and things like that. Those air, a very yellow light sunlight is actually a little bit bluer. Strangely enough, some lights a little bit more blue than those lights that we use inside. Ah, and so when we're when we're filming something when we're using our cameras or cameras do not really adjust these colors as well as our eyes do. So if we are lit with, you know, half indoors. But then we have a window, the window is gonna register is blue and Thean Door's gonna register is yellow. So it's very important that when when we are selecting lights, selecting a location, really, you know, during the whole production, we need to think about the color temperature of these lights, and we need to make sure that we don't mix color temperature, mixing color temperature is a thing that it's popular in movies, at least modern day movies. Back in the day, you could never mix color temperature. That was a huge no no. But nowadays people are fine with it. But with product shots, Um, it's really all about the product. And so what we're trying to do, and we're just trying to make the product looked as great as possible. If we do have any kind of mixed colors, it's gonna throw us off. So with product photography, we don't like to mix colors. I guess what I forgot to say is, when you when you buy lights, Um, you know Home Depot, anything like that, just basic lights, not studio lights, even though studio lights do this as well. But if you're buying just basic lights, you know they have different options at the store. They have, like soft white, bright white and daylight. I think I always try to get daylight bulbs for everything just because if there happens to be a window, it's gonna be matched with daylight. So using daylight bulbs is a really good practice. If everything is very, you know, if you're shooting in a studio or um, everything is is, You know, there aren't as many variables. There's no spillage from any kind of windows or anything like that. You know, shooting with basic indoor lights. That's that's great, too. But I always try to shoot what they like. Make sure they're soft, make sure they're bright. Um, and then if you're shooting outside, definitely know where the sun is gonna be at what time of day. 13. Project - STEP 3: Okay, So now the next step in the project is securing lights. We've secured the location. We've got the camera. Now we just need to go out there and get the lights. So we need to either go out and rent thes from the equipment rental place, or we need to pick some up from Home Depot. I keep things like that. Bright lights, soft lights. 14. Project - STEP 4: Okay, so when it comes to a project, we've secured the location. We've got the camera. We got the lights. We now know how to properly frame. We know how everything comes together. So we just need to go out there and do it s o. That's this step of the project. Just go out there, take your product shot, remember, 45 seconds, something that would be a the end of a commercial or some kind of, you know, product display kind of thing and a couple things to remember possibly throwing some kind of ancillary object. Remember, we talked about the popcorn with a coke, you know, try to possibly find something that we can put in the frame out of focus. That really kind of helps the thing come along. And on top of that one last thing that I didn't say is be careful of Blair, right? If we're if we have some kind of can some kind of glass, something like that, we need to be very careful off the glare. Win lighting our product shop s Oh, that's the last last bit of last tip there. Um, I think we have everything else we need, so let's just go out there, take those product shots and make sure to upload them and share 15. Parting Words: So if you guys are feeling more confident about product shots and realizing that it's not quite as intimidating as baby we thought it was, I don't We talked about a lot of little things in this class, little lighting and locations and things like that. I do teach other classes ago, really in depth in these topics. So you're feeling, if you still have some questions about those, feel free to check those out on. Also, regardless of which video that you've watched in this Siri's, whether it be the commercial one, the Social Media one or the online storefront one, I'm sure that there's something to learn in each of these that maybe you haven't thought of . So if you have some spare time, go ahead and check those out as well on. Besides that, go out there, takes in product shots and have fun with it. 16. BONUS LESSONS: Color Grading Preview: 17. BONUS LESSONS: Color Correction Prep: okay, today we're learning about color correction and it's important to note that color correction happens at the end of your process. So you've gone out. You film your footage, you've edited everything. And now at the end, you're doing color correction. We do this at the end because if you were to do color correction before you start editing, you would have to color correct every clip that you bring in every part of every clip. And when it comes editing, you really only using 10 to 15% of your footage, right? So because of that, you only do it at the end. So you're Onley color, correcting the part that you need to. So you're saving yourself a lot of time and possibly a lot of money. So today we're gonna be using a adobe premiere and the concept that we're learning today our basic universal concepts. So even if you're on final cut pro or DaVinci resolve or anything like that, we're only learning about color correction theory today. So the tools that we're using are very basic and universal, and you should be able to use any software while you're doing this eso today we're going to take footage that looks like this, and we're going to turn it into something that looks a little bit more like this. So again, we're just doing color correction. We're not doing any fancy color grades or styles or filters or anything like that. That's for a later lesson. But today we're just going from kind of a bland, boring, de saturated image to something that looks nice here. So one thing that I like to do before I start also is I like to set my background of my desktop to this neutral gray. You can just search on Google neutral gray color correction card or something like that, and you'll be able to find something like this comes up now. What I like about this is you actually see what's true white. What's true black so you can get your colors adjusted accordingly. And you know professional colors actually have their entire color. Corrections studios painted this neutral gray so that they can see if if if colors have deviated from where they're supposed to be, So with color correction, you do use some some scopes and charts and things like that, but you're also using your eye. It's kind of a balance between the two. So I have my footage. I've set this as my background on and I'm about ready to get started. So what? Adobe premiere. Quick Little thing about the software. And then we're gonna dump, jump into concepts. Um, if you click on this color tab up top, Ah, you are able to easily have everything right in front of you and also on the left. I like to look at the scopes as well as my image, so I can kind of come at it from from all sides there. So I'm going to erase what I have done already, and we will get started with something new. So, uh, before I start color correcting, I like to think of factors that may have, um ah, adjusted things in my image. So when I went out and film this, it was overcast. And so that means with overcast days, your image is gonna be a little less saturated, and it's gonna have a little less contrast. So I know that those things might have been adjusted. And I also know that I filmed this using an indie filter. An indie filter allows you to set your camera to settings that you get this really nice, blurred background. However, sometimes it adds a little bit of green tent to the image. So I'm going to assume that we're gonna have toe at a little bit magenta to compensate for that on then. Finally, the lens that I used sometimes films a little cooler than other lenses. So we might have to warm it up a little bit. Um, and then another thing. With overcast days, it is typically difficult to get the color correction correct on overcast days so I could see my, um, color correction here between daylight are blue and orange. Basically, I could see that having to be adjusted. But when I look at the image, it doesn't look terribly off. One thing that was nice. I own one of these cards here that about on Amazon for maybe 10 bucks. Don't feel the need to splurge on the $100.150 dollar versions of these. This card is is really just a good It's just printed on cheap card stock, but has all the proper colors. So, like using that a lot. Ah, and so I Typically, when I get to set, I will do something like this. I'll take a quick video of this so I'm able to get proper colors. And because of that, Adobe has this nice little eyedropper. So you can actually click on the proper white, and it will adjust accordingly. Ah, but before we jump right into that, I want to talk about thes the vector scope here in the history ram here, Um, just let you know what both of these charts me because they're both really important. So this one here is about the chroma and the saturation. And so you see red, magenta blue, so angry and yellow. So it's it's kind of a wheel here of the color and then the further out the the white pieces go, the higher the saturation ad saturation spreads out. When I decrease saturation to black and white, there's nothing there. So, um, one thing to know also, this little circle in the middle is typically seen as like maximum saturation. You don't want anything to get outside of this circle. That's not to say that the pieces need to touch the circle. They just shouldn't go above the circle there Also, one thing that's very important is this line right here. This is this skin tone line, So typically you want your skin tone tow line up against here. And the really interesting thing is, is no matter the ethnicity of the subject. Caucasian, African American, Latino agent, anything like that. It's really supposed to be mostly on the same skin tone line. The saturation and brightness are different, but the actual Hugh itself is very a similar, regardless of the ethnicity of the person, which is really interesting. Now this line here is opposite skin tone, and so what? That's just basically helping you to do. You know, when you think of Hollywood movies, a lot of the the the color palettes air like this orange and teal right And and that's because these are, um, these colors are opposite on the color wheel, their complementary. And so because of that, it's It's really easy to grade an image that has a lot of cool colors as clothes and furniture pieces and things like that. So if you can't help but it's actually really nice to have cool parts of your image leaves , you know, whatever cool partner image Reverse from the skin tone. Even if it's you know, a green or a blue doesn't have to be directly along this line. It's still gonna be a lot easier to color, great and make interesting later on. Once you start adding or in warm colors such as yellow, red or magenta, it's actually pretty difficult to make an image look really interesting. And this actually takes kind of amore expert, uh, color grader to make something interesting there. So a quick and easy cheap fixes at a lot of cool things to your image opposite the skin tone. It's always gonna look pretty nice. And this history and right here is basically a chart of the brightness of the image. So and it's from left to right. So left to right is the same as left of my image to right of my image here, Um, so you can see this right here. Is this wall right here kind of medium exposed? So what this does is you want your brightest parts, your image to be up here if you're seeing sky especially, and you what? Your darkest parts, your image to be down here. So you're saying this only goes up to about 95. This only goes about 2 10 So that is in step with with with with what I was saying about the contrast of the image, Um, not being super high because of the overcast day here. So that's brief overview of these scopes. Now we will be using our eye and looking at the's just depending on what we're adjusting. So with all that being said, we're now ready to jump into color correction, so 18. BONUS LESSONS: Color Correction Workshop: we're gonna start off by the eyedropper for the white balance. And what we will do here is we will click on the white on this card right here. And actually, I'm gonna reset to make sure everything is good. And we're going to do the eyedropper. We're going to do the eyedropper here, and you see it is 0.8 and 3.6. Now, this looks very good. Any time these numbers are less than five or less than the absolute value. Five, they could be negative as well, but less than five. Um, that means you are very close. And that's typically what you want to see. Sometimes they'll be less than 10 and that's okay. But typically these air large numbers. You've either messed something up or it was shot under strange conditions. Like if you'll see if I use the white balance. If I try to tell Adobe that that this this is white, I click on it and now suddenly have added 112 and 30. And so it's all over the place. Right? Um so I just want use eyedropper on the white part right here. Now, like I said, this this sometimes does get it wrong, so you might have to adjust things after use the eyedropper. Um, but worked for me on this one s. Oh, that's great. So now I know it's 00.8 towards orange and 3.6 towards Magenta. And this lines up with what I was saying about the indie filter and the lens sometimes being cool. So now I'm going to go to my actual clip and just real quick start off. This was 0.8, and this was 3.6. So now, in theory, this color is looking really good. And so I like to go just kind of down the line and see what I can do. The exposure right now, Um, there's not anything grossly overexposed or under exposed in the skin tones. I'm gonna leave that be, um, one thing that is important note is I put so much focus on the skin tone. That's really where people should be looking on. 95% of any kind of footage that you take that does have does have people in it. So that being said, if certain things were overexposed or technically improper, as long as these skin tone looks good. That's really what you want to be doing. So not gonna just the exposure. For now, I'm gonna add the contrast and you'll see that thes lines will go up. These lines will go down. And when you add contrast actually ad saturation. So this will spread out a little bit. Um, one thing to know that the conditions that this was shot and because it was overcast, um, I can probably at a lot of contrast without having to add saturation. So that's maximum right there. This is minimum. You don't want that. You typically want to be adding contrast. What I'm looking for right now is I'm looking to make sure that I still have detail in the skin tone because sometimes in the bright areas of the skin, you will lose detail special on sunny days, and I'm making sure that the dark parts of the hair still have some texture in there as well. So it looks like on this image, I'm up to about 50 something. So this looks this looks good. For now, color correction is a little bit of a dance. Sometimes I will have to affect one thing, and then go back or or affect something else. So but for now, this contrast looks good. This went up a little bit. This went down just a little bit. So highlights you typically bring down on an image. And what you're really looking for in highlights most of the time is the brightest part of the face is sometimes over exposed. Now, this was nice and overcast, so I'm still getting a lot of detail here, which is great, but I'm going to drop down the highlights just to about there. So this is really settle. Um, but you can see this looks gross. This now it does look like we may want to bring everything up, but for now, we're not quite there yet, so Yeah, something like there for the highlights is good. Now, with shadows with still photos, actually usually add value to the shadows. But with video, it looks a little better to lower now. So there's all the way we lost a lot of detail here is bringing it up. Looks kind of washed out in milky. So what I'm looking for here is the detail in the beard especially, and some of the hair. So somewhere around here, I'm still getting adding to the contrast, but I'm still being able to see all the dark spots. And again, I'm really just focusing on the subject. I need to be aware of other things in the frame that they don't look awful. Um, but I'm really just look at the subject for all this. Now that I brought this shadows down, I think I can actually brighten things up a little bit. So here's all the way. That's two months, years down. Whatever, Um, I think I can, actually, you know, with this overcast day, it's really nice. I can actually add a lot of exposure overall and still have detail in all the skin tone, which is really nice. That's it doesn't typically happen with with everything that you're doing. So that's nice. Just little point for boost because that I was going to raise the whites up a little bit. Um, but because I've done the exposure probably won't go too high. I really want thes these white points just Onley kiss the 100. If if that so this will be very subtle. I mean something just like three or four. And I look at the image. I'm still getting detail. It's fine. So image still looks good, but for the whites and blacks, I look a lot of thes these graphs here. So the blacks I want to go all the way down and just kiss that bottom there. Something like that looks fine. I look at my image. Have I lost anything in the beard? Maybe a little bit. So I'm gonna play with these shadows again. Yeah, I think I'm gonna bring them shows just a little bit. So something like that looks great. So we still have detail in the dark parts we still detail in the bright parts. That's great. Now let's look at the saturation. I'm gonna lower this down so I can kind of see the spread here of of my image. And, um, I go all the way saturated. That looks bad on here's black and white. Um, so when I go till I think it might be in a good place, there's a nice rule of a lot of creative design. Things just called the rule of haves. So when I add something that starts to look okay, I just want to cut it in half, and that's the better, more subtle version. So this was at 100 and I put it 100 40. That that right now, my I thinks maybe it's OK seeing this. This grayscale is really nice, because this this realizes how, you know, maybe overexposed part of this are over saturated part. This is I'm just gonna put it almost in half. Not quite half, but maybe here when 27 or so. That's actually looking pretty nice. Um, we have detail in all parts of the face. This part is a little over exposed. But you know what? It doesn't matter cause it's not the main part of the subjects is not distracting. Um, and so that's looking pretty good. Um, this was just color correction. This wasn't any sort of creative, um, filter, anything like that. But if I want to see what we've actually done, you know, it may not look like we've done a ton because we did it step by step. But if we toggle on the effect, here's the effect on. And this is what we started with. That's a whole lot of difference. Yeah, that's day and night. That's really nice. So we've just kind of corrected the image into something that's that's nice and standard, and we haven't really added any kind of color style or anything like that to our image. So that's for a later, um, later tutorial, but that's that's color correction. In a nutshell. Um, Premier has this this creative tab also where you can add some nice lutz. It has you can add vignette and what's nice about Premier? It actually has a A. When you go up, it brightens Devyn yet, So if you have a lens that has a built in bad vignette, you can you can actually counteracted here, which is really nice. Ah, this secondary. You can isolate certain colors color wheel. You can start playing with color relations and things like that. So there's a whole whole deep world here, man. I love the Cursed have is really nice. You can you can. All this is kind of in in depth stuff, but you can play with specific color saturation. You can change specific colors to look different and brighten him up in dark in, um, so this tab, I like a whole lot, but there's a ton here. It's definitely worth looking into. One thing that's fun about, um any any color correction is you can add Lutz, which are look up tables is the term, But really just think of them as instagram filters and things like that. So you could do some subtle ones. Um, let's see what I have pulled up right here. Uh, vintage urban fashion. So that will give it a nice Okay, Now, suddenly were We've given it a very distinct look, and you can actually add the intensity so I could do something like that. That actually looks pretty nice. That with some of the saturation, maybe. Um, so now I've given it kind of a look and style feels a little bit more vintage e Ah. And so you could do a whole lot with this creative tab and adding those lutz, which is great. Ah, but that is co creation in a nutshell. Hope you guys enjoyed it. Stay tuned for the next lesson and talk to you, then 19. BONUS LESSON: Color Grading LUT Workflow: - All right, So this is a lesson on let's and how to use lots in Adobe Premiere. Ah, Lut L u t stands for look up table, which doesn't really mean a whole lot this day and age, but basically think of it as, like an instagram filter or a way to achieve a Hollywood movie. Look, eso, um, when we watch movies, it's interesting to see that's even though we think the image looks fairly natural if we are to take a screenshot taken. A few screenshots of this is of skyfall. We look at screen shots and we can actually tell while this image there's a whole lot of blue until it's really cold. Um, and we look at scenes like maybe, ah, see this scene right here. While this is like an intimate dinner scene, uh, clandestine meeting kind of thing because you can see the whole images really orange really yellow, really read really warm, whereas these other scenes seem natural. But ah, as you can see, we're only really seeing, uh, some some tans, some science here. So everything that is done in movies you can see we don't see any red, any purple, anything like that. A lot of it is in production design, Yes, but after the fact, actually go in and change the color as well. So this image, we might think, is natural when we're watching the movie in the theater. But as you can see, we see skin tone and pretty much everything else is green, even when this car's probably black in real life. So as you can see, um, color grading does a whole lot for your story, and different genres will have different types of color that go along with them. This is images from assassination of Jesse James. You can see everything is kind of we're seeing a lot of Tan's. Even this. We're really only seeing a monochromatic image here. So different movies have different looks and styles, and so that being said, I'm going to go over some Let's that I've been working on in the past few weeks that I think turned out pretty well, So I divided them up into basically into different locations indoors and outdoors, city nature, but also different styles as well. So that's kind of how how I did a lot of people approach there. Let's just from a trying to make a cool image. But I wanted to approach it from a very practical standpoint. Basically saying, OK, I know this was shot in the desert. This will look cool. I know this was Shot and snow. I know this was shot in an urban city environment indoors, etcetera. So I approached it from a very practical standpoint, which allows you to get kind of the most out of it. So I divided up here on my premier timeline Hollywood moods, but also outdoors indoors. So just kind of want to go through these and show you guys how to, um, put Lutz on an image. Now, one thing that's important to note is that all of these clips are from stock photos or stock video sites. And so because of that, they've already done the basic correction. And I try to find clips that were basically on. Lee used basic correction and didn't add any additional style or look or anything like this . So most of these air pretty true to the colors that were on set. So that being said, let's jump in. So I selected these. I think these would be good style a Hollywood style. The Hollywood is heavily saturated. You see a lot of skin tones, and then everything else is a very cool color. One thing to note when when you're doing your lutz, any image that has the least amount of colors is going to give you. Ah typically give you the best results for using Lutz. So as you can see in this image, we're seeing blue. We're seeing skin tone. I guess there's a little bit of pink in this shirt, but it's heavily saturated, So really, we're not seeing a ton of colors. Same with this image. We're seeing black and white skin tone. Um, here we're seeing blue and skin tone. That's pretty much it. So anything that has, the less colors, the better. For Lutz, anything that has is vibrant like this. I typically like to dio with some of my fashion Lunts, which looked really good with a lot of different colors going on. But any kind of Hollywood stuff, you want to try to keep it, and this is important for you to note while you're on set, try to keep it the the least amount of colors as you possibly can while filming. All that being said, Let's jump into the lutz. So if this were a clip that we had filmed ourself, we would use the basic correction to make the image correct. And then the creative tab here on Premier is where we style eyes it. So I go to look, um, have a bunch of let's preloaded, but the ones that I created that I really like, I'm going to find here and lots. And so this is a Hollywood style, so we can either go with style were also outdoors. I believe City has some interesting stuff as well, but let's start with, um, this style in the Hollywood orange teal and I like. I used the look that dot look in Premier certain software. She'll use the DOT Cube Premier works best with the dot look. So when I open it up, we see that this is a pretty heavily added image, which again, if we're watching this in a movie theater, we're not thinking twice about how realistic this is. However, if we want, we can adjust the intensity here and with with let's I typically balance the intensity, and the saturation is typically what I'm doing, so maybe you want to go a little less. Let's see. This is nothing. This is twice which is too much. Let's say I want to go a little lasts maybe around 86 or so. And what if I boost the saturation just well, that image If I'm watching that, I'm really not thinking that this is a heavily graded style, even though it definitely is. Um, so some of these looks for more subtle than others. This looks really nice to me. We can toggle this. This is on and this is off. This is on. That's really nice. I'll see what else we got. Um, Cinematic subtle won't see if that does anything for us, it's a very different look. I would even say this is a little bit more of a fashion. Look, with this, I think braiding bringing the fated film bottom might be kind of nice. So this is a nice look as well. And as you can see, these luds minutes really just kind of drag and drop. Let's try some of those outdoor urban. Let's see, urban grand. You should. We'll see if that does anything interesting. Okay, so now we're getting into a different style of movie, right? This, um, maybe a little bit. Maybe there's some kind of horror element. Maybe there's some kind of suspense thriller, that kind of thing. Let's see if we add the intensity it's take away. That's faded. Film. Look, get some saturation. Now that's pretty cool. That's definitely a nice, you know, scary movie. Dramatic kind of thing again. All these air Real Dragon dropped really nice. And like I said, the less amount of colors you have in an image, the more versatile that image is probably gonna be. So let's just go to something else again. This has very few colors, so I'm going to assume that let's see, Hollywood action hero. Does that do anything for us? So here his skin tone is not super Ah, saturated. So this doesn't do as much as I would like. It still does. Still does center it, though, but I do think this might might be a little bit better on that, um, Hollywood orange teal cinematic subtle, Probably Also, yes, this that's a little extreme. Let's see if I bring it down, something like that might look nice. So again, this may seem extreme just by itself, because we know what it was. But if we were in a theater watching this, we wouldn't think twice about it. You know, we can look at some comparison. So correo man, he's a really nice images. Um, I'll see if I get one, try to find one that's very saturated. Something like this. Pretty saturated orange. You know, we're seeing a lot of warm towns here. Um, again, this one because there's not as many colors. This is gonna look nice for sure. Hollywood tea oranges might be boom, and that's a right Hollywood epic Transformers. And again, you know, we can obviously play with the intensity. So that's kind of how the Hollywood ones look heavy contrast. Oh, this might actually be nice. A lot of gray green. I think I'm gonna try that grunge on this one. Let's city urban grunge. Yeah, that looks great. That looks great. So So here's one that is in the Hollywood. Um, but ah, when I did this one earlier, I found a really moody, dramatic one. So, uh, let's see what urban crunch does. Yeah, that's that's not gonna work for us, probably because the prevalence of the greens. But if we release the saturation of the greens, the one that I liked here outdoors nature there was a moody forest one, She's in the forest. Let's do dot Look, she's in the forests were doing moody Forest and Boom. There's something pretty scary and off putting about this. We d saturated, darkened all the leaves, and that looks really creepy and nice. So this would be a great Hollywood horror movie now, Like I said, um, with the fashion one's anyone's that have a lot of colors. I typically like to do these fashion filters. Um, so let's throw on one and see what we get, Um, and the fashion one's air. But the style is mostly Hollywood, so the fashion ones are actually gonna be outdoor city Hollywood action hero. Warm fashion memories, Vintage urban, frustrated vintage urban fashion. See, we get as an interesting look. Yeah, that's really nice. So again, lots of colors in the city. Finnish, German. That looks really nice. Let's try with this warm fashion memories, and this is definitely a heavy filter, something, you know, some kind of instagram something. This is definitely stylized, but this looks really nice as well. So again, very colorful lot going on. Let's try one of these. I was trying vintage urban. See how that goes And that is not going to do it for us. Yeah, that blue really does not work for us. And warm fashion memories. Oh, see, now, that's interesting. Nice, warm. And again, this one, you're definitely going for a look. If you want to make it real subtle, you probably could. But I think this one actually benefits from being pretty extreme and leaning into it that way and see warm fashion memories. Yeah, that's nice. So these air really again, These lets air just drag and drop. Really cool. Um, like this one a lot with the warm fashion memories. Yeah, it's really nice. So it brings up the blacks. Let's see, we'll put on the scopes. We're way up here, but it's really nice. Stylized in the urban fashion. Really like that. So that's the fashion ones and this mood intimate. So this is we go back to any kind of cops here. Um, let's see. We have a Blade Runner. Blade Runner is gonna be crazy of it. So this seems pretty normal again. This is green and skin tone. The least amount of colors the better. But look at these. Look, I warm. These colors are I mean, this is a dystopian thing, but if we were to g o back Teoh any kind of intimate dinner scene and pretty much any movie we're getting this right. It's variations of skin tone. We saw that in the sky. Fall is well, I believe Yeah. So this so I mean, this is really heavy. Just one color, right? So if we're trying to imitate anything like that, um, we have a really nice one on indoors. Moody Room is Yeah. So something like that immediately feels a little bit more like that movie. There was another I did a candle lit one at works on some doesn't work on others here, Um, the colors not quite. Or the brightness is not quite right for it. So, um, anything like this intimate. I mean, these air out of the camera. But if we go to that moody room boom, we're looking at just yellow. That's kind of nice. Now, this will be nice, and it'll warm up the street lights here, in which will be really good. Many Ram, though. Yeah, so that again, we think this is totally natural, but it's very yellow. All the moody filters work best when you have a subject in a very dark background. So what I noticed in this clip is the background is not dark enough. If we were to put that moody room or the candle it, Ah, one on it, I believe everything is gonna be yellow in a kind of bizarre way too romantic candle dinner . This actually this is passable. This is not I don't love it because of how bright the background is. Um, there was one that's really good for intimate stuff with a brighter background. And that's just settle skin push. This is again, it's called. It's called subtle, but you are just trying to make the skin tones pop here is with it on. Here's with it off. As you can tell, the use of it definitely makes you focus on the skin a little bit more. That one's very subtle. Um, what? This should go with something big, and so those are the intimate ones. And then with outdoors outdoors, cool. I'm basically talking about anything with blues or greens in the images. And so something like this. Let's say we wanted to make this match that horror movie that we had talked about earlier. So this is the outdoors nature, and we're gonna go the forced the moody Forest. And while look at that, that's cool. So this is definitely a spooky, scary thing. And what's nice about these lessons, just how easily they are to drag and drop? We're really not having to mess of the intensity or saturation of most of them. One thing that's really nice about, uh, these is some of the travel ones are actually really good. Um, so I like this when you see aerial view of the ocean of the beach here and if we go to this is outdoors nature, we're going to go to Ocean Beach travel and suddenly boom, that that ocean pops a lot more, looks a lot better. We can actually even improve. The intensity of it may be of the saturation, and suddenly this water looks so nice. So this is really good for some travel stuff. We could do the same here with this family. Ocean Beach travel boom seems a lot more tropical doesn't, doesn't it? That's great. So 11 of these filters that I really like is this autumn Push some of these green. Some of these leaves are yellow, but a lot is green If we go to this autumn Autumn boost. Sorry. Autumn boost, filter, Boom. Now everything. Now this is the middle of autumn. All these leaves, even though it's snowing, it looks like all these leaves are now or engine yellow, which is really cool. Yeah. So I bet we could do that with this clip. It might be hard, but we'll see what autumn boost does with this one. So this one Interesting. Yeah. It kills the grass, makes all the leaves. Wow, this is really nice. So this puts anything in the season of autumn. Wow, that's incredible. The difference there. So this is I mean, this is night and day that autumn one is really cool. Um, this is another beach. One outdoors. Yellow. Now look at this one right here. There's actually not a ton of Is there some blue? But it's fairly monochromatic. I think this one would actually do well with one of those fashion filters that we saw. Um, so that was outdoor city Vintage urban fashion. Uh, not that one. Let's see her brand warm fashion memories. That's kind of cool. Yeah, that's a heavy color caste, but it looks really nice. Yeah, that's really cool. Um, again, when there's less colors on the frame ah, you can typically get away with with, um, putting basically any kind of filter on it. Let's weaken tried desert Dusty. Does that do anything for us all puts it together into some nice, more kind of khaki feel, so that's really nice and outdoors. Yellow. We could do a lot here. Um, there's some good like desert ones. Outdoor snow. There's a lot of really good snow. One. Um, I did three different snow. I think snow landscape was the best one there, and suddenly it feels a lot colder there, doesn't it? So we preserve the pops of yellow and red, which is nice. Ah, but but it really cools everything off. Makes you really embrace that snow a little bit more, which is really nice. As you can see, there are a ton of different options, a lot of good work ones as well. But there's a ton of good options here. And these lets Air really designed, so you can kind of really drag and drop almost any of them into an image. So that is, is how you do lots. It's really easy. You definitely want to keep it in the creative tab. Ah, it's real Dragon drop and adjust the intensity and saturation, but that's pretty much it. So for you guys, these let's are on sale. So if you wanna give him a download, feel free to do that. Ah, having broken down into different packages or if you want to get a discount, you can get him all at once. Um, so that's lots in a nutshell.