How To Create A Scary Composite with Adobe Photoshop

1. Introduction: Right now it is spooky season. That means a lot of Pauline artwork being used in commercials and a lot of Halloween Polish popping up online. I don't want to miss out on the action and I don't want you to miss out either. I want to welcome you to Adobe Photoshop, how to create a scary composite. My name is Tom Chi and I've been a photographer and graphic designer for almost 12 years now and probably the United States. And I traveled around shooting photos and designing for various clients and companies specializing in fashion, lifestyle and commercial photography. To seeing my work head over to my website at www dot dot real-time chi.com for look me up on Instagram ads. The real Tom Chi. Being able to cash in on trends is a vital as an artist no matter what level you're at, whether you're starting out or well-established. We all look to get in on trends before they happen. And one trend that is always around us, Halloween spooky season, where for a whole month, creators and companies cash in on people's fascination with this time of the year. I've seen many creators really grow during this time, just through their Halloween inspired post-doc can go viral. Today, we're going to have so much fun. We'll be combining eight images to create a spooky and out of this world composite that were really catch people died. We'll be creating this together today. I will be walking you through the whole process, from where to source or images to compositing techniques for special effects and final color grading. I will show it all to you. This course is for anyone who wants to learn how to make composites and phototropic and especially in this course. And we'll focus in on a specific genre that being scary composites for the Halloween season. Whether you want to do this professionally to make money or just as a hobby to express your creativity. And this course is for you, and I'm super excited to share with you all that I know. I hope that you decide to enroll in this course. And if you do, I'll be seeing you in the very next video. 2. Best Places For Free Photos: Before we get started, we need some photos torque with now as always, it is the best to have your own photos day shooting yourself. But what if you're not able to get out and shoot photos? What if you don't have access to the resources that you need to get a specific type of photo will, that is where some free stock images come into play. And I'm gonna show you three places that I have gotten my images from that I think you'll find to be a really great resource. So lets hop over to my web browser and let's take a look at that. So the first website that I use a lot is pixabay.com. And this looks like gives you access to a lot of really fantastic high-quality images that you can use for your composites, not just for Halloween's type of composite. And the great thing about pixabay is that you can get some really unique photos you might not find elsewhere. So for example, let's say you want a UFO is typing UFO and they have illustrations, 3D renderings of different spaceships or different types of assets that you may not find on some other stock image websites. So lets hop over to our second website here. And that is pixels. Pixels is a really high-quality, free stock image website and gets you very high-end fashion type of looks to your images. And they also offer videos as you see if you want to use them for video projects. But there's some really good and high-quality images that I use a lot in some of my work that I used for some very high paying clients. And lastly, we have on splash, which is my personal favorite web site. And the site that I've gotten most of my images that I've ever used in any composite. And again, on splashes, really great. It gives you really high quality images and a lot of variety. It gives you a lot of images that are really workable when it comes to composites. So let me show you the images that we'll be using today. And I got all these images from unspliced, will make sure that you download those. I provided them in the Donald's for this course. So let's take a look at the images that we will be using today. We have this image of a human hand, and we'll have this image of a human hand. And this one more image of human hands. And then we have this image of a ghostly person on just a person with a sheet over their head will be using that in our, in our composite. Then we have this image of the moon. We have this image of the nighttime sky, which I really liked. I really like the gradient in this. Now we have this very nice landscape of a light house, but we will be getting rid of that lighthouse Actually, I just want this landscape here. And then we have this image of some birds flying through the air. So those are the images that we'll be using in this composite today. In the next video, I'm gonna go over how to import these into Photoshop and how to set up the whole interface and file for what we'll be working with in Photoshop. So let's keep going and let's head over into Photoshop. 3. Interface Setup + Import: All right, and we're in Photoshop now when you first load it up, you might see a screen and very similar to this. So let's go ahead and create a new documents. Let's click Create New. And this dialogue box is going to come up. And for this particular edit, we're going to go with a nine by 16 ratio. But we're gonna make this be landscape. So the height is going to be nine inches and the width is going to be 16. So this is going to be a fairly large document. And we're going to keep the resolution at 300 pixels per inch. You're not going to change anything else. Yes, let's click Create. It's gonna take a second to create your document and there you have it. Now on your screen here might look a little bit different from mine. So let's go ahead and let's get your setup to look the way minus gonna look because it's going to make the whole process easier for you. So let me go ahead and then let me reset my workspace. So if you're loading it up for the first time, it might look like this. If it isn't, you can reset your essentials. I usually essentials workspace. So feel free to do the same thing that I'm doing. Now. I usually go ahead and get rid of this learning tab. So I'll just close that. I get rid of the libraries because I really don't need that, not for this, at least. Let's click close on that. And now we're almost done here. I want to drag this properties to be over here on the left. Now let's drag this section up so we see more of our layers. That's going to be a lot more important. And if you don't have this colour wheel here with the triangle, make sure you do have that. You might be on swatches or gradients or patterns. Make sure you're on this color and you can switch this out to be different types of different types of color finders. Here you have RGB, slider, brightness, Cuba, et cetera. Make sure you're on the color wheel. That's going to be really important because here you can adjust the hue, saturation and brightness so the amount of white or black in your image, you see it's going towards the black. So you can really fine tune your colors over here. Now if you remember, I did have some paintbrushes over here on the left. So how do we do that? It's very simply gonna go up here to window. And in the drop-down here you're going to just click brushes. And it's going to pop up here on the right. But what we want to do is we're going to click and drag that over to the left. This is gonna make editing very easy because you can just paint something, click over here and get another brushing. Keep working. You don't have to use any kind of dropdown here, like up here, you can just keep working here. So essentially that is what my workspace is looking like. So let's start importing our images. So when it comes to importing your images, the way I like to do it as I go to File, Place Embedded, and then you go find your images. So here's all the images. Make sure you've downloaded them in the download section. And I'm just gonna go and one by one and the sum of the birds, and let's do place. It's going to place it just hit enter. Now the reason that we place an image as embedded is because it makes it be a smart object. And this is going to allow us to use smart filters, which is going to be super handy. And it's going to help us to do nondestructive editing. So for example, let me show you a really quick example here. So let's look at these birds flying through the sky. Very nice. But on this layer, let's say we want to put a filter. Let's say we want to put a Gaussian Blur and we just wanna really blur that layer. We really want to blur the birds. Really, very nice because this is a smart object. We now have a smart filter, which means this filter can be toggled on and off very easily and you can come in and adjust that afterwards. It's not a permanent change to that layer, which is fantastic reason to use Smart Objects, which is why we Places embedded. So let me just Control Command Z to undo all the smart layers that we did. And that's zoom back out. And I'm gonna go ahead and place the rest of our images. I encourage you to do the same thing. And I'll be right back after I've placed all of them in here. Alright, we have one more imaged place here. Let's go ahead and do our last image. Hopefully you've placed all of yours as well. Fantastic. And we have all eight of our images in here. As you see, they're labeled the filename that they have. So it's going to be really great for organization later on. But for now this is a, we've imported our images in the next video, we're gonna start compositing our images. We're going to start laying everything out, changing the layers around, and getting our composite actually together. Let's keep going. The fun is just about to begin. So let's get to it. 4. Let's Composite: And we're finally ready to start compositing our image. So the very first thing that I like to get started with is organizing our layers. So you see they're all labeled and we'll be changing the labels as we go forward. Well, let's start with the very background here. So I'm going to turn off the birds and goes to the hand and turn all of that off. So let's get our lighthouse at the very bottom. We want to get the moon on top of that. And let's put the sky in-between those two layers. So let's tackle everything except the lighthouse off for now. And on the last layer. And we want to click Control or Command T to resize our image. And I just want to drag that to be the full width of this. We go on, I want this horizon line to be about at 1 third. It's gonna be a lot more pleasing to the eye. So I would definitely recommend that you shy away from having this be centered like so. We want this to be in the bottom third for this horizon line. Very nice. Sold. The very next thing that we want to do is we want to replace this whole sky here. I don't like it. I want to have a nighttime sky. So what are we going to do? It's going to be very simple. Still on the lighthouse layer, we're going to hit W on our keyboard to get our quick selection tool. And you can make that little bigger if you would like. And all you're going to do is you're going to start clicking and dragging. And you see it's going to start to select everything here. Now I also want to get rid of this, a lighthouse. So go ahead. I'm gonna keep painting over the lighthouse. And I might zoom in a little bit to get a little finer detail. Again, hit W to get your quick Selection Tool. And I'm just gonna go ever-so-slightly till I get a nice edge here. Now, if I want to paint and back some area where you're going to do is press alter option on your keyboard and you see that plus turns into a minus. It's going to start taking away from that selection. So I want to definitely paint back a little bit here. Very nice. And for now, I'm just going to have this be the selection. And I'm going to refine us again a little bit more in just a moment. And now what we're gonna do, we're gonna hit Control or Command Shift I. And that's going to invert our selection. It doesn't different button. Now as you see at selecting the bottom half of this image, that's what we receive, the marching ants. And all you're gonna do is hit this button down here, the square, white square root with a flat circle in it. And that's going to create a mask with the selection that we have. So click that and look, the sky is gone and you see we now have a mask here. Now what we're going to do is we're going to turn on our sky layer. Very nice. And we're going to drag that beneath the lighthouse layer. And now we're simply going to hit controller command T. And we're gonna resize that to fit the width of this image. And you can drag that up to fueled like I might do that a little bit. I like it a little bit of the McCloud's and smoke that is in that. And again, if you're not happy, you can zoom out. You can change the rotation of this so that you have light coming from a certain sign. But I'm actually going to keep it in the way it is. Very nice. And now if we look at this, this edge is on very nice as it. So let's go over to our mask layer. And if you hit B on your keyboard, you're going to select the brush tool. And I want us to be a fairly hard brush. Don't want it to be too soft. And I wanted to be a smaller brush. And now what we're going to do, we're going to paint in white. So again, make sure you hit the key on your keyboard. And it's gonna default to have white on top, black on bottom if it isn't. Let's say you have another color selected. And so we have this color over here. And again, because you're on Mus musculus or it's not going to have a color. But what you're gonna do is you're just going to hit D and you now have white as your foreground color. And with that, you can simply paint in what you need. Very nice. So I'm just going to paint in where this mountain hilly area is supposed to go. And I'm going to get rid of this lighthouse here in just a second. And now if we hit exon, your keyboard is gonna change black to be the foreground color and then you can paint away on your mask. So there we go. We now have a nice hill shape there. And we'll get rid of this little stump of the lighthouse in just a second. Next we have our moon and we're just going to resize that. So make sure you're on the moon layer and let's do controller command t.test. And let's make that smaller. I do want this to be fairly centralized and our image very nice. I might even resize that later on, but for now I'm gonna go with that size. And now let's pull down our Goethe layer to be on top of this. Very nice. Let's zoom in here. And what we want to do is we want to get the selection of our ghost here. So again, there are many different ways you can do this. I'm going to use w, r Quick Selection Tool. And I'm just going to start painting over this, this person here. And again, use alter option to take away from your selection until we have a very nice selection done. This is one way you can do it, but you might find that it's not a very good selection that's having trouble finding these lines. So how do you get a nicer selection? Let me do control of Mandy to de-select that. And another way you can get a really close selection on your image is with the pen tool. So just hit P on your keyboard and you're going to create a path and going around that part of your image. This is going to be a less pixelated selection of your image and it's going to end up looking a little bit better. In my opinion. I end up using the pen tool can make most of my selections and about 90% of all of my composites. So any composite that you've seen on my website or my Instagram or even in previous courses. A lot of the time, I will end up using the pencil to make the selection. And the really good thing about the pencil is if I make a mistake, I can hold down control and drag that node to where I want it to be, like so. And if you hold down Alter option, you can click on one of these handles and just drag that one handle around to get the exact curve that you need. And then you keep on going around with your selection, which is very nice. So again, I want to mask out just the ghost part of this. And I'm going to leave out these little straggling bits, cloth on my end up painting those back later on. And again, don't be afraid to do Control or Command Z to undo a few of the, the points are nodes that you do know Shaman, that there's a lot of give-and-take here going back and forth. And I will definitely go back and refine the selection after I've made it. Just like with the lighthouse layer, you can go back and adjust the mass. You can paint on it as much as you would like. Paint back with black or white to add or remove from the selection. And that is how I personally end up refining a lot of my selections. And we're almost done with this one, which is very nice. I have to get back to the top here. And it definitely pays off to take your time with this. It gives a much nicer selection. And there we go. We have a path all the way around our image. So what do we do not control or Command Enter. And that's going to turn that path into a selection. And then very simply you just gonna hit this mosque tool. No need to invert this time. And we now have a floating goals. How scary, very nice. So now what we want to do is make sure you click back onto the actual thumbnail of the image. That's the controller command t. So we can move this around and change the size. So let's make this a little bit larger. Something like this would be nice. And then hit Enter. And as you see, this is a lot nicer of a selection, very little pixelation, and I really like it. Very nice. So now let's go ahead and let's move on to the hands, my own to make sure you're on the hand layer, we're going to use w, the Quick Selection Tool. And we're gonna go and select our hand. And because it's such a contrast between the colors here, it's gonna do a fairly decent selection. There we go. And then you just hit the mouse button, and there we go. Hand is masked out. Very nice. Now hit controller command T. And we're going to rotate this to be like so. And we're going to make the hand a lot smaller. We're going to have hands coming out from the ground. There's one. Now let's get the other hands showing. We have this hand here. Make sure on that layer had w Again for the Quick Selection Tool. And again, I made sure to find images with good contrast or that the selection works very easily for you. And let me zoom in. I want to get all of the snail and very nice. And again, the slow action doesn't have to be perfect as a hands on selves are going to be a small part of the image. But you know, if you want to make sure you do your due diligence to get a good enough selection. Again, let's hit this mosque tool. And then we have another hand. Now for this one I'm going to go to edit, transform and flip horizontal. And that just flips it horizontally. I want to have some more variety in this image. And we do Control Command T And we're going to shrink this down to be like so. And have this a little bit closer to the viewer. Very nice. And now we have our final, hence, we're gonna make two images out of this. So what we're gonna do is again, make sure we're on the right layer. Hit W. And we're going to make a selection of our first-hand. Now let's zoom in to refine this a little bit. Make sure you hit alter option to get the subtract here. And we're just going to subtract a little bit from this selection. So we don't want any of that pesky background and here we can refine it later, but again, getting it done and the first time is the best thing to do. I'm going to refine some of that later on. So this time instead of masking it out, what we're going to do is then hit controller command C and then Control Command V to copy and paste. And now if we hide this layer here, we see that hand is on its own layer, new layer now. But before we do anything with this, you want to right-click and you're going to want to convert to a smart objects. Very nice. Now let's just hide that and let's get back to this two-handed layer. Again, we're gonna hit of W And now we want to get this other hand. Let's make sure we get this other hand selected. This one is a little bit easier to select them the firsthand. And again, you're gonna do Control Command C and then Control Command V. And now we have that hand on its own layer as well. The selection isn't too nice, but we will refine that later on. Again, right-click. And let's do Convert to Smart Object. Very nice. And now let's resize this. We're going to want to have this coming down like so. Let's turn on this layer. Lets you control command t. Let's move that around, resize that. Scott that here. And again, you can move around these images a lot finer. If you use the arrow keys on your keyboard, you can move them pixel by pixel. So we move that to be around there. So if we zoom out, This is our composite so far it's looking fairly decent. And now we can get rid of this image of a hand so we can just hit Delete on that, we don't need that. And then lastly, we have this layer of birds. This is gonna go on top. And we're going to have this go across the moon. Let's just resize that for now. I'm going to be somewhere around there. Well, let's hide that for now. So now we have the general layout done, but we want to actually do the full composite. So I'm going to hide everything except for what is in the background. And that's gonna be the landscape here, the sky and the moon. So for now let's hide the ghost and the hands. Very nice. And let's start with just the sky and our landscape. I'm even going to hide the moon from this. Okay? So what we're going to want to do is first we want to mask out and get rid of this lighthouse here. So how are we going to do that? Let's zoom in here. And we're essentially just going to use the clone tool. It's going to be very simple. So are going to want to do, Let's make a layer above this. And we're going to clip it down below. What this is going to do is anything on this layer is only going to show up on the layer beneath it. So it's not going to show up on the sky and that's what we want. So let's hit us on our keyboard to get our clone stamp tool. Very nice. And I like to use a software round brush. It's going to be very nice. And now you're going to hold down Alt to select a part of your image. Now again, you want to make sure you have sampling all the layers. Because if you have the current layer, it's not going to have anything to sample from. So let's do all layers for this particular situation. And you see it's pulling from this sample here. And you can start to paint away, make sure you have your capacity up at around a 100. And again, you can pull from both sides, which is what I'm going to do. So it doesn't look too repetitive. And again, even some of the hill up here might change, which is completely fine. Very nice. Let's pull in a little bit from this area. Rennes end. Just like that. Our lighthouse is gone. And you can't even really tell honestly. And those are really fantastic job. So what I'm going to want to do is select this layer that I just didn't with the lighthouse. And I'm gonna hit Control or Command G to group them together. And I'm going to rename this landscape. Very nice. And now I want to match this to the sky. But before I do that, I want to make sure the skies looking how I want it to look. So let's go to the sky layer. We're going to add a hue saturation layer to that. And we're going to clip it down. Now what you want to do is pull the saturation down ever so slightly. And for the lightness. And we can pull the lightness up a little bit. Just five plus five saturation down by minus 20. And we're going to close that. So now we're going to want to match the landscape to this lighting and color. And that's going to be very, very simple. So on the landscape layer, first things first we're gonna eddy brightness contrast adjustment layer. We're going to click that down and I'm going to pose a brightness all the way down, pretty much all the way down to 150. And so the contrast, I'm gonna get rid of a little bit of the contrast is minus 13. Now we're gonna do a hue saturation layer on that. And we're going to really be saturate that layer you see to ready starting to match the lighting of the background of the sky. And for the lightness, I'll bump that up a little bit. Maybe just plus two. We don't want too much on that. And now one of the tricks I use in a lot of my courses and a lot of my editing is I sample a color from the background. So first of all, let's make a new layer. You're gonna hit G on your keyboard. You're gonna get paint bucket tool. And if you'll don't alter option, you can sample a color. You second sample any color in the image. I'm going to sample a mid tone color, my sky from not one of the highlights, not one of the shadows. And we'll go frame midtone. And with a bucket tool, I'm going to fill in this entire layer, but not only that equipment down. So now you see that's only being applied to the landscape layer. And now I'm simply going to just change the Blending Mode on this layer. So I tend to go between Overland soft light. Those are the two that end up working the best. And for this particular situation, I'm going to end up going which soft light. And you can change the opacity of this. But now you see we've matched the color and tone of this to the Skype almost accurately. We're going to still do a few tweaks to this, but for now this is going to look at very nice. And again, toggle that off. We went from this to this. That's, that's quite a drastic change. But now one more thing I want to do to the landscape is I want to add a little bit of an edge light to the landscape. So again, let's make another layer on top of that. But before I do anything, I'm going to go to the very top layer, MAC layer on top. And with my brush, I'm gonna paint the sample layer with a large brush here. Make sure you have be selected for brush. And I'm just going to make a large sample. So if we hide everything, we see we have this color sample on the top layer. So if I ever want that specific color again, I can go back to that color sample. So let's send everything back on and I'm gonna rename that layer sample. It's gonna be really handy in case I lose that color. So I'll be using this exact color later on. Let's hide that layer. Let's go back down to this new layer that I made. And with our brush selected, I'm going to select a light gray color. And with a soft brush, you're gonna make the brush a little bit larger. And we're going to bring the opacity down to about 25%. And we're going to start to paint a little bit of an edge like along the ridge here. Don't go too crazy with this a little bit goes a long way. And this is essentially going to be a little bit of that moon glow. Very nice. And not only that, we want to add a little bit of glow from the sky as well because atmosphere creates a lighter edge in the horizon then at the top of your image. So let's go down to our sky image and make it a layer above that. Clip it down and we're gonna do the same thing, same brush. I'm gonna make him figure and bring it across the whole background like so. And I know you're saying that's pretty intense. That's quite a lot there. Believe me, I know what we're going to do is we're going to turn opacity over this way down, way, way down, just about 23%, maybe even less. And I think that's a nice little bit of a gradient in the distance, which is exactly what we want. Now let's deal with our moon, shall we? So let's go to our moon layer. Let's turn that on. And this is going to be very simple. I tend to use the screen blending layer, but you can use sometimes get away using Latin for this particular one, I'm going to use screen, and that is already perfectly blended into our image. A 100% perfect, I absolutely love it. You can still do a few changes, change the opacity of this, which I might do ever so slightly. Staunton mountain 90%, 89 percent and will do. And if we hit Z to zoom in on our keyboard or you can just click it here. We see it's done a really nice job. Very nice. I'm happy with that. So now let's start getting our actual assets into this image showing. So first let's start with our ghosts are friendly ghost here, very nice. Now might move it around a little bit. I want it to be fairly centered. And let's zoom in so we see a little more detail. Very nice. Soil we want to do is essentially all the same things we did on our landscape. We really want to darken this down. So first things first, we're gonna do a brightness contrast layer on this. And we're going to bring the brightness all the way down to minus 150. And we're going to bring the contrasts down by 13 is well, next we're gonna do a hue saturation because we wanted to saturate it. We don't want any of the warm tones on this. This is a spooky. So I wanted it to be very cool and very color wise cool and very scary. So we're going to click this hue saturation down and we're gonna D saturate that almost entirely. And we're going to add a little bit of lightness into it. Very nice. And now we're gonna do another color layer to hit g. But now we don't have that color we had before. This is where that sample comes in. You can turn on that sample, take the exact same color and apply it to this layer. Now let's see what's going to ultimately, or a stoplight. I do like how overlays looking. Let's go overlay and we're gonna bring opacity of that down to about 37% or 40. So we see we've added a little bit of that blue to our image. Very nice. But not only that, with our brush on another layer, make sure we clip it down. We're gonna add a little bit of this edge light as well. So let's make our brush smaller. And there we go. And I'm going to actually sample the highlight of our mu because that's the color that I want on our person here. Now again, opacity is still low. We have a soft brush. I'm gonna start to paint a little bit of an edge light from the Moon going onto the back of our ghost here. Giving him a very nice below a ghost legal. And we go, let's zoom out a little bit. That's looking very nice, perfect. So again, I want to actually group all of this together to lay a controller command G with all those layers selected. And we can rename that to ghost. Now if we toggle on and off. And that's our goal, perfect. And offer at it. Let's group everything else together. So everything in our landscape layer, you can hold down shift to select multiple layers and then control command G, group that together we have landscape. It's really important to stay organized when you're editing stuff like this. That's like everything that's in our sky. I'm going to call that Skype. So now we have the sky separate, we have the landscape separate, and we have the moon on its own layer. That's just one layer for now. Don't need to do anything else from that. Sir, composite is coming along fairly nicely. I'm liking it. Now, let's go and work on our hence showing. So let's turn on all of the hand layers. Start with the very first one, shall we? So we're going to isolate this virtual. And here I'm going to start with essentially the same process. I want to darken the image, bringing the brightness all the way down. You get a lot more detailed back in the highlights that we add from the Moon. We wanted D saturate this because there's a lot of warm browns and reds in this image. And I do not want that. So let's put the saturation done almost two all the way to let women go minus 66 on that. And let's bring the lightness up just a little bit. But now if we look at it, it's not blending into the ground very well, is it? So let's hit B on our keyboard for a brush. Let's go for a harder brush and we're going to bring the size down. And now what we're going to want to do is with the black, we're gonna paint in a fairly convincing line. Make sure you're passing these out. 100 fairly convincing line on where this would be coming out of the ground. Hard edges will not look good in this, so I'll make sure you have a few make-believe rocks. There we go. Very nice. And now we want to add our color layer to this. Let's not forget about that. Clip it down, hit G, And again, it hasn't remembered that layer. So I just going to zoom out. Turn on your sample layer with G selected. You can sample that and painted in. Very nice. And then let's see what's going to look best on this overlay. Soft light is going to look better for this particular one. But I will take that down to about 41%. And we're going to go back to our trusty highlight here. Time to sample the highlight of the moon. There we go and zoom in and we'll be on our keyboard. I actually got rid of assembled color because I pressed a D by accident. So let's go ahead and sample our color. Let's zoom in here. Now with our brush and we're gonna go for a soft brush opacity down to about 2526%. You're going to add a bit of a highlight to our image. And again, take your time of this a little bit, goes a long way. So start with the lowest capacity and build it up. And this is the part where you really have to think about how light interacts with your subject. You want it to look as realistic as possible, because sunlight might come onto the top of the finger there. But it might also go like some very nice. And again, we can do Control Command Z to undo anything that you feel like you need to undo. We zoom out. We see we have a little bit of an edge light on that. Fairness. And I'm, I want to go a little bit more intense for that. Make it a little bit bigger. So we can always turn opacity down on this. Kind of happy with that, and very nice. And I'm going to add the shuttles in in just a moment. So that is looking fairly decent for now. So I'm going to group that altogether. And I'm going to call that hand one. Hand one is on the left. So we're gonna go ahead and do the same thing to every single hand here. And I'm gonna go through this a little bit quicker because the process is going to be the same for all of these. Again, for this hand, brightness contrast pulled the brightness all the way down. And it does help to be zoomed out enough to see the other hand, so you can use that as the reference. Okay? So I'm gonna do that here. And the hue saturation really D saturate that. And on this one I'm gonna bring the lightness and down ever so slightly and the saturate that little more. Very nice. I'm going to add in our color layer using our sample. Very nice weakens him in again. Lets the overlay or satellite undergoes supply again for this one. There we go. Now let me add our highlights with beyond our keyboard selected. Let's get a highlight color from the moon here. Lovely. And we're just going to again painting. This time the light is coming from the left up and left if we look at this, so it can be a little different to the one that we have here. And I might actually want to go back, add a little highlight over there. So I'm gonna do that in just a second. So let's go add a little bit of a highlight edge light here. Take your time of this. This is one of the parts that I spend the most time on when it comes to compositing is getting the highlights and everything looking as accurate as possible. Because in my opinion, that really adds a lot your image and it can make or break it. Because I've seen a lot of composites where they don't really care about the direction of lighting or the intensity of lighting and ends up looking not as good. So let me hop back to this one over here. Let's go to our hand one. Let's open that. And on the highlight layer here, we're gonna go in and we're just going to paint a little bit. This part of our hand, the forearm part of it. Yeah, that looks a lot better. Very nice. So we have two hands down, but we're not done with this one up here. Yeah, we want to fix the edge here. So let's go on to the mask. Remain Hep-B on our keyboard, capacity is 100 and got a hard brush. And again, we're going to make sure this looks like it's inside the rocky ground here. No straight edges, especially not on the bottom here. Perfect. Very nice. Secondhand down. Let's group all of that together. Control command G. We're going to call that hand to lovely. Onto our third hand. As you see, this is quite an easy process and we see this hand then get the best selection to humbling to deal with this edge here is I'm just gonna create a mask on that. And I'm simply going to paint in black on that edge. Ultimately, it's not going to matter too much what this edge u looks like. But especially for some parts of a, you wanted to look a little bit more decent. There we go. Let's fix that up. So it sounds like these do take up a little more time, but you have to do this to make sure they are. Image. Looks nice. Alright, let's go ahead and start doing our brightness and contrast and everything that we've been doing up until now. Let's zoom out a little bit. So let's do brightness contrast. We're gonna pull that all the way down. Lovely hue saturation. There's quite a lot of red and magenta and this, I really want to saturate that almost entirely. Lovely. Now we're going to want to add our color layer. Let's click that down. Let's zoom out. And with our paint bucket tool, let's get our sample color. Lovely. And we're going to make them be. Let's go soft light again, that seems to be working very well on our hands. Nice. And now we have our highlight layer. We have that down. Brush, soft brush with opacity around 25. And then let's go ahead and sample our Moon. Let's go back down here. And now we can zoom in. This is going to be more vertical at this angle. We're gonna make sure we get as much of that highlight detail as possible. And again, a little bit of the forearm here is going to have that. Very nice. And a little bit of a, it's gonna go a little bit into the hand here. Very nice. We'll zoom out as looking good. We're going to add shadows into all of this in just a moment. Alright, so don't worry about the shadows just now. Subgroup all these together. Control command G. I'm gonna call this hand three. And now let's do our last hand. Shower and zoom in here. I'm going to leave the selection on this one. It did a fairly decent job plugin to be too noticeable. So again, the same process as before, brightness all the way down. Hue saturation. We're gonna go down to about minus 73 on this. We're going to add in our color layer with our paint bucket tool. It's going to make sure that we sampled the correct color. Let's make the blending mode b soft light of the past, setting down to about 40% to match everything else. Lovely. And now we have our highlight layer. Make sure we have our brush selected. We're going to sample the highlight of the moon because I like that color a lot. And let's do min. Let's start painting that in. Again, this is coming from a more vertical angle. And let's see what part of the forearm will it capture? Might actually get a little bit of both sides. That's at an angle at which it might wrap around both sides of the arm or at least the top portion of the left side. And if you are having trouble with lighting 9r images, I highly recommend you look at some lighting studies over on YouTube. There are tons of great resources out there. Now I did forget to mask out the bottom part of head number three. So let's go ahead and do this for hand number 4 first. Let's create a mask here. Let's go before brush, hard brush at a 100% opacity. And I'd just be as erupt and misuse was that as we would like to be. No harm in that lovely that's group that together. All of those layers control command G0 and call that hand for. And now let's go over to this hand here. That's hand number three. And unmask glare. And just use that same brush. And just paint away as rough and unnatural on national natural edge as possible. Very nice. So if we zoom out that's looking a lot more natural, they're perfect and very nice. So now let's go ahead and add these birds. And remember, I mentioned this earlier. Let's turn off our sample layer. Now want this bird layer to be between the ghost and the moon. Thought we're just going to simply drag that down. Makes you don't drag it onto the layer like I just did. We can undo that was control commands. We don't make sure this blue line is between the layers. And all I'm going to do is let me zoom in first. And I'm gonna find a blending mode that does this very nicely. As you see dark and does a great job. Multiply, it does a fairly decent job. Let's see if there's anything else. Darker color doesn't. Alright. Jom overlay could work. Yeah, I think I'm going to go let me go with multiply. But what I'm going to do is on this layer, I'm going to create a Curves Adjustment Layer to that. So this you, The more than you bring this mid up, the more it's going to match the background. I knew then as you see, it's almost disappeared. But now that I'm looking at this, I'm really not liking it too much, so I'm going to undo that. I'm gonna get rid of the curves layer entirely. Just control command Z until you're out of that. And I'm just going to use darken blending mode. That's going to be a lot simpler for this. Lets me controller command. And let's try and adjust this to go more over the moon where I would like it. That looks really nice there. And again, you can still change the brightness of that layers. Let's do brightness contrast. So if we increase the contrast, you see some of these birds are showing up. And if we make the brightness a lot darker, this by minus 44, we got a lot of them back into our, into our image. So again, that's a control command t. So make sure we do it on the correct layer and the birds layer. And you always know if you do something wrong cuz you'll have an error message come up. So now if we zoom out, we have a few birds there. Now that might be a little bit too small for my liking. Might actually want them to be the size. Let me play around with this just a little bit. Perfect. And another thing you can do, the kitten mask on this layer. And once the brush tool, make sure you wanted black selected larger brush, a 100%, you can just paint out every single bird that you do not want in your image. So let me go ahead and refine a little bit of this. Very nice. And again, you can move all of the silver with the arrow keys. Somebody want to have that little bit over like so. And I'm going to end up putting opacity down to spite 10%. I found that putting opacity down just a little bit can help to blend images together. Let's put it down to about 80%. That is looking a lot better. Very nice. So that is going to be essentially our composite non next video. I'm gonna go over adding some shadows to this image, as well as some color grading and special effects that you can add to this image. So let's keep going and let's do some very fun final touches to this image. 5. Special FX + Color Grading: Now we're ready to add some special effects, some final tweaks and edits to this image to really bring it all together and finish up our edit. So first thing that I want to do is I want to add shadows to everything. I want to add a cast shadow off our ghost off our hands. I want to add shadows to our hands. So let's get started with that. Shall we? First things first, I want to start with our hands. So let's zoom in a little bit. And what I'm going to do is I'm going to group all of these hands together. I'm going to hit Control or Command GI, group those together. I'm just going to rename this, hence, very simple. And I'm gonna make a layer above that and clip it down holding alter option, you can just click that. And then I'm going to do is I'm gonna select the darkest part of my image, which happens to be down here actually, which is nearly a complete black. We just have a 3% often the black which is completely fine. And I'm going to start painting in some shadows onto our arms here. Because you see if we paint for painting shadow says Go for a soft brush. Opacity around, let's go 13%. And we're going to make the size of our brush smaller. So let's go ahead and just layer the SF. We're going to add the shadows in here. Very nice. Now the hands which need the most work will be these two here, because I didn't have any shadows really. They were very flat images. So let's go ahead and add some shadows to that. And again, just layer the sub. Do not be afraid. You can always undo, erase. And for all of this painting stuff that I do highly recommend that you do get a drawing tablet or if you don't have one, Let us completely fine. You can do all of this without that. So as you see, that's our shadows that we've made before and after. Very nice. Now my capacity of that down just a little bit. And now I want to add a cast shadow coming from the Moon. So that's going to be different for each one of these hens. So first of all, let's go ahead and open up our hands layers. And let's start with hand number one. So what we're going to do is we're gonna go on a layer above landscape, making new layer there. And with hand one folder open, you're going to control click on the layer with the handle and that's going to create a selection. And remember we're still on this layer. We're not on the hand layer. Now with G, Don't make sure you have black. So if you don't have full black, just hidden D on your keyboard. And we're going to fill that in. He can't see anything. Can you such a Control Command D to de-select that. And let's zoom in a little bit. So let's a controller command t to select that and transform it. And if we click and hold control or command, we can click on one of these nodes and drag it around and look, we have a shadow. Now, how cool is that? And we can track that to match where the hand is. And it's helpful to have the moon in shock sitting at the angle as accurate as possible. So I want to have it be cast away a little bit like so. So that's looking better already, but we want to blur that a little bit on that layer. Let's be Filter Blur, Bosnian blur. That's my favorite type of learner use. And let's just do. Not too much. Maybe 2.5 pixel blur will be good enough. I said, okay, and I see that's a little bit learns not as sharp anymore, but we also don't want us to be fully black. So let's go ahead and change the opacity of that down to about 70% is going to look fairly good on this image. Now we're gonna do that exact same thing for all of these hands. So we're going to close up hand one. We're gonna open up hand too. And it's going to be the same process. We're going to make another layer. Select the mask of hand T2, that's this one over here. Gonna go, gee, far PMBOK tool, fill that in, de-select it, transform. And then we're going to drag that node coming down here. I'll have this fungal off the screen just a little bit because it's gonna make it a little bit more fun. Lovely. I like how that's looking. Actually very nice. Let's hit Enter on that. And if you go filter, it's going to keep the previous blur or previous filter that you've done. And I want the exact same blur for all of these shadow. So you can just click the previously done blur and that's applied. A 2.5. pixel blurred to that. And we're gonna put opacity of that down as well to around 70 when all of this to be same. Very nice. So now we go on to hand number three. So I go hand three. This one is going to be a little bit different and make a new layer. Very nice. Amazon to select the hand itself here this time. And we're going to hit G on our keyboard, fill that in with black. As you see, this process can be very repetitive, but that's the process. It's a very simple one if you think about it, let's transform that. We're going to bring that off the screen. Again, keep in mind that the angle that you're doing, let's say enter, we're going to apply the same Gaussian blur filter to that. And again, opacity down to about 70 so that it's all the same. And we have one more hand here. So let's close up hen three. That's opened up hand for and make a new layer for this shadow. And we're going to select the hand itself again for this one. Let's hit G24 bucket to fill that in with black, de-select transform. Bring that coming off here, make sure the bottom part lines up as best as possible. Enter might actually change the angle of that little bit. Like some filter Gaussian blur that we've been using. An opacity down to about 70%. Look that just adding those shadows has really added a lot to this image. And let's add some shadows to r goes down. But before we do that, let's group all of this together. All the shadows we have. And I'm gonna rename that to hand shadows. So now if we hide back, we see that is a shadow of the hands. Lovely, I really like that. Now we want to have a shadow for our ghost here. So let's go ahead and hide everything to do with the hands. Just want to close up those layers. Very nice. So let's go on to our ghost layer, which is over here. And we're going to do very similar thing. I want to add a little bit of shadow to it. So let's make a layer above that met clips down to it. I said beyond our keyboard for brush around a soft brush with a low capacity, with lack. And all we're gonna do, just paint a little bit onto the front and bottom of our goals. Very nice. And I won't put the opacity of that down a little bit. Let's look at the before and after of that. Just a little bit of a shadow, not too much, but now we want to have a cast shadow don't make. So let's open up the ghost flair. Let's Control or Command click on the mask. And again, we want to go down above the landscape. I'm gonna go above the hand shadows as well. And again, PMBOK bucket tool, we fill that in the select and controller command t. And if we move that around, we have a shadow now. So let's go ahead and bring that down. I want it to be a little bit cast out, but this is going to be on the floor. So this is going to be all the way down here, something like that. To enter on that. And I'm gonna give it the same type of Gaussian Blur. And might even do two rounds of Gaussian blur, which is going to apply to sets of 2.5. pixel blur to that. And let's change the opacity of that now to 70% furnace. And I might even do so much as drag bat off the screen. I think that looks a little bit better. Now another we can do a shadow for the ghost is let me just hide Blab. I'll make a layer above that. And with a brush, I'm gonna put opacity all the way up. You want to have it be a soft brush. And all you do is you just paint a nice circle like so. You hit controller Clemente. And then if you hold shift, you can really squish that down. And then you can really change the size of that. So we can also have this type of a shadow for a ghost. And you can play around, see what looks good, see what looks better. Because a lot of creative freedom in this. And i might actually go some type of a shadow like this. Might have just be a little bit forward. Cuz it's gonna cast a shadow, but it's going to go forward. Actually liked that better. So I'm gonna go with that for the shadow. Very nice. So I'm gonna delete the other one that I made. But those are two different types of shadows you can do very simply, very easily, very quickly. And that I tend to use quite a bit. So that is looking fairly nice. So now what I'm going to do is I wanna add a little bit of smokiness to this image. Let's close up our goals layer. And on the very top now, make a new layer. And I'm going to include all the brushes that I used for this. Let's go to the R inspired clouds and let's get some clouds going showering. Let's make sure White is the top color. And if you paint with this, it's going to add a cloud. So I'm just going to add a few clouds here and they're very nice. You don't go too crazy with clouds. But I do want to add a few clouds. It's going to add some interest to our image. And again, you can put the opacity of this down. In fact, I suggest that you do. It's going to look a lot better, trust me. But I also want to add a little bit of atmospheric smoke to this. So under the fire brushes, you'll have all of this. We have some smoke pressures, which are really, really cool to use and I absolutely love using them. Let's make another new layer. Let's go ahead and let's use, let's play around with a few of these smoke brushes showering. You might find some of these other ones work better for you. Want to go to about maybe like about 2 thousand pixel size. I'm going to work nicely. And as you seen, that adds smoke to our image. So we didn't wanna do that. Not a little bit of smoke donor on the front. And we're really going to turn down the opacity on this, so don't worry about it being too harsh right now. So I'm gonna put opacity all the way down to about 17%, make another layer, we're gonna use a different smoke this time. I want to find one that's a little more flowing. I'll smoke final three. So let's go ahead and make that a fairly large one. And these are dynamic pressures, so they change each time that you use them. So you might find it might not work on one stroke. So feel free to undo that and redo it afterwards. There we go. We're layering up the smoke as you think. But now I also want to add some smoke behind everything. So on top of the landscape layer, ok, I'm gonna go even above the shadows, some of both shadows here. So now if we paint that's covering everything in the back as you can see. And we're going to paint a little bit in the back here. Let's try smoke final four. Let's just smoke Final Four showering. And I had a few little wisps here and there. And I'm gonna put opacity of this very much down. It's going to be very subtle, maybe just like a twelv percent, I might even go down to 88%. Just a little bit more of as an atmospheric smoke. They're very nice. And then I'm gonna add one that's again on top of everything. And for this one, let's use smoke final. Let's see what's going to look at here. Let's go smoke final five. I just want to have a little bit go in front of everything, including our ghost here. So that's going to be very centered there. But we're gonna put the opacity down to about 8%. Very nice. So now we have a bunch of smoke and clouds added here. We can toggle off the ON and OFF bonds a little bit to our image. Very nice. Now wanted to add a little bit of a gradient to this. Let's go make a new layer. And this, and let's go to our Gradient tool. And I want to select this one here. The second one, what that does is it uses a foreground layer. And it goes to transparent. So if I change this to be red, it's going to be read to transparent. If I have it be green, it's going to go green to transparent mumbo. But what I want for this, I want it to be the darkest blue I can find. And I'm gonna go from the bottom hole. If you hold down Shift, you'll get a straight line going in eight different angles here. And let's go up. And you want to make sure it gets to that type of a radial typo gradient here. Just undo that and make sure that you have this first one selected. It's going to be a straight gradient. That's going to look like silk. So now I'm going to put opacity of that down to about, down to about 15, 12%. And it can do Control Command T and bring that down. And I'm actually gonna do another layer where it's going to be completely black. And that's going to be a lot smaller of a gradient is put TO pass any of that down, a little bit down to 53%. And I'm also going to add another gradient. Again for the dark blue will go a little bit darker than that, coming down from the sky. One at a little bit of gradient up there as well. So if we toggle that off, all three gradients on an off, switch this off. And on a sample of all the gradients off, all the gradients on there go. That's looking a lot nicer. So now what we want to do is we want to do a final bit of color grading. So let's do that right now. Doing the final color grading is actually one of my favorite parts because that's when the image actually starts to look fantastic. And I'm really excited to show it to you because this is a little bit too dark. It's not looking exactly like I wanted to look. So let's do a few more little things. Firstly, I'm just gonna lower the opacity on the goes from 100, just about 90%. That has a little bit of a see-through newness to our torus ghost here, because girls are kinda see-through. So I'm gonna put that down to maybe like 87%. Very nice. And now what I'm going to do, every layer, everything that I've done. And I'm gonna control the command G. Group that altogether. And I'm going to name that final piece in capital letters because I'm excited about it. So now first thing that we want to do is I want to do and brightness contrast layer on top of this. All I want to do is bring them brightness up by about. Let's go, let's go 63 for that. And the next thing that I'm going to do is I'm going to do a color lookup adjustment layer. This is one that I don't see a lot of people use, but it is so handy you can essentially add presets are different stylized look to your image. So let's go ahead and click that down to everything that we have below. And we're going to load one of the 3D Lux up. What we're going to do, we're going to load up the one that's called foggy night. Now there are different ones here. You can play around with different Luxe. You might find your particular style is more drop moves or amber. And you can play around with this. But I'm going to use foggy nights. But not only that, I'm going to have this be at only 35% because you see that's a little bit too much. But let's go down to about 35%. Lovely. I like that a lot. And now we're going to do a hue saturation layer on top of this. And what I want to do is bring the saturation down ever so slightly. And I'll bring the lightness up just a little bit. Maybe plus three is going to do there. And before I call it there, I wanted a little more blurred to everything. So that's going to be very simple actually. So what I'm going to do is select everything. You control command G. And I'm going to hit Control Command J to duplicate that, and then Control Command E to flatten them. So now we have one image. This is just one JPEG image, just one layer. Everything is on one layer now. And what we're going to do is we're going to add a filter and at a Blur, Gaussian Blur. So I want to blur everything except for the middle area. Let's go to about 4.2 pixels. And we're going to add a Layer Mask, and we're going to fill in that whole layer with black. We've gotten rid of everything. But now we're gonna go back with a brush. But to make sure we have a soft brush at a fairly low pass, say let's go to about 40%. And if we paint in white, were gonna be painting in some blur to our image. So if we look in here, toggle on and off, does blur in here now. So what I want to do is add a little blur to the places around the center of the image and especially the horizon line here. And as well maybe a little bit in the stars here. Because having everything be in focus, actually distract from your whole image. So there we go, and that is our final edit. And look, it's looking pretty spooky. I like it a lot. Some nice scary composite that we've made together. Now you can do the exact same thing, use different edits, use different colors, different images, that's entirely up to you. There's so much creative freedom in this. And I really want you to explore your creativity in this. In the next video, I'm gonna go over how to export your image a few different ways that you can and you should export it to make sure that it looks as good as possible for different places. So let's keep going and let's wrap things up. 6. Exporting Your Image: Now that you're done with your composite, you probably want to save, you want to export it, you want to post it online somewhere to show it off to some people, maybe to your Instagram, maybe to your website, or maybe you did this work for a client. Maybe they had some, some kind of a Halloween special that they wanted you to create some content for. And you need to find a way to save it as a going to be printed as they're going to be just digital. Let me show you what you need to do. So first of all, if you haven't already along this whole process, you want to make sure that you've been saving your work file as a Photoshop files, they can always come back and edit this one if you haven't, it's very simple. You just do File Save As find a place to save it. I have my saved him just here for this, and I've just saved as a work file, PSD Photoshop file. You just click save and I'll replace it. It's the exact same file, ie news hit OK. And that is perfect. You have saved your Photoshop file by it's not exactly post this online, can you? Now what many people are going to do is I going to do this secondary, do File Save As, and they're going to save it as a jpeg. That's the most common format you see online, and one that you'll probably end up using on your website or onto Instagram. So they'll go save as a JPEG and they weren't the large file size. I want it to be maximum quality. But look at this. This is 3.6 megabytes. That's actually a really large file size. If you want this to be on your website, it's going to make your website take forever to load. Especially if you have, let's say a 100 images on your website trying to load in, that's over 300 megabytes of data that needs to low, that's gonna take forever. But let's hit ok. If you wanted to say this is a JPEG, but what do you do if you wanted to be a smaller file size for web without losing quality, that's very simply gonna do File Export, safer Web legacy. This is what I use quite a lot actually. So let's zoom out. So this is a JPEG that it's saving it as you have different formats here. And the preset is JPEG, high quality is 60. It's gonna really keep the quality if you zoom in. It's a very high-quality, its exact quality that we've been working with. And on the web, it's going to end up being very small size-wise anyway, most monitors ranged between, I don't know, 15 inch monitor up to maybe 24, maybe 32 inch monitors that people are using for their desktops. It's never going to be any bigger than that. So you don't need to have your image be too large. So as we see, this is already 751 kilobytes. That's what this means down here in the bottom-left. Well, let's change the image size from a 100%. Let's try 60% on that. And we're already done to 345 kilobytes. And if we zoom in, quality is still nice and high, it's gonna look fantastic on the web. So we went from 3.4 megabytes, we change them down to be 1 tenth of the size, 345 kilobytes. So let's go ahead and hit Save. And this dialogue box is gonna come up. So I'm going to name this. Let's just name this Halloween composite for web. And it's good to name your files so you know where they're all going. She was a Halloween composite for web. You hit Save. Photoshopped does its thing and it saved. Now what if you want to print this image? Now most current shops, whether it's going to be for a poster or magazine, they're going to ask for tif files. And why is that? Tif files are massive. They're gonna keep all the data, all the layers. If they need to do any tweaks, any changes, they can go ahead and do that within reason, of course. And they can change the color profile of your image to match printing because printing is going to be in CMYK, not RGB. And those are two different color spectrums that are used both digitally and print that different. So that's also something you want to be mindful of. But how do we save a TIF file? It's incredibly simple. Again, File Save As we're going to go down to TIF, it's all the way at the bottom. And I'm just gonna keep this name to work file. Let's hit save. And I do, I don't do any compression, nothing, I just hit OK. And it's going to include layers, which is totally fine. And as you see, I saved that and I'm gonna tell you how big this tiff file size is. Son, this tiff file is 277 megabytes. That isn't the message. You're not going to want to pose this to Instagram or to your website. It's going to be incredibly, incredibly intensive for the loading of it. So this is something that you would want to send to a print house, a print shop to get your image printed. But now in the last one that I saved my images is the way I usually do it for my Instagram. And that is as a PNG file. Personally, I found that PNG really retains most of the quality that I wanted to. So let's go to File Save As. Down here, I'm going to find P and G. And I'm just going to save that as Halloween composite PNG. And there we go, hit save on that. Let's hit OK. And that's going to save that. It's gonna take a second for the PNG, fix a little bit longer to save that one. Let me tell you how big this file sizes. So this PNG is about ten megabytes as 9.45 ish. So again, that's a little bit larger if you want to have that beyond your website. But why found that for Instagram, that really retains more of the quality when you upload it. And again, you can also sharpen and adjust when you're uploading to Instagram and these other social media websites. Again, I would recommend you go ahead and sharpen before. You can simply go in here to filter to a sharpened, Make sure it's looking exactly how you want it to look. And then you are ready to post this everywhere online. And that is how you export your image. In the next video, we're gonna go over some final thoughts and finish up this course. 7. Final Thoughts: And there you have it. You made it through my course and we photo from how to create a scary composite opening, learned a lot today, tips and tricks that you can apply to create your own spooky, scary creations. I highly encourage you to create your own composite using what I taught and drop it down to the students submitted projects section. I'd love to see what you've created. I would like to mention that I am selling Lightroom presets right now for a special introductory price also on my website. So head over to www dot the real-time kind.com forward slash presets. To get your presets. Today, it costs less than a cup of coffee. These are perfect to use in Lightroom to play cool styles to your photography or your edits that you do. And in fact, these are perfect for the final color grading part of compositing. You can destroy your composite into Lightroom and to play one of my many presets to give it that final high-quality color graded look. If you've enjoyed this course, I encourage you to leave a review and rating as that helps me out and feel free to check out my teacher page, to check out other Lightroom and Photoshop courses that I've made, ranging from beginner courses all the way to mastery level courses. And it's been a pleasure teaching you today and I hope to see you again in a future course. Take it easy.