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Guys it's time to add the background.

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And then with the background you want to adjust the king and also add certain effects on the subject.

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So it blends with the background in something quite difficult here.

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If you take this image here you know this is a very beautiful image right.

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But it has been calibrated and there are certain plays and stories like this.

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And we wanted to blend the subject which has had blue and stories on this background.

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So how do we do that let's take the background and drop it under the video.

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Now the contrast is huge.

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The first thing you want to do is to make sure that you do collections on the mat itself.

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So now if your position over here is something like this you will notice that you have this mat that

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you need to correct it.

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If I zoom in now I can see more falls over here.

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Yup.

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OK.

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Now the real work will start.

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Cool.

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Let's go back to 100 percent and go to the effort and the first thing I want to do is reach back to

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intimidate the result when I already have half of the problem resolved.

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But I still have some kind of white around these.

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Maybe we can reduce the roll back a bit and we can also shrink it a bit.

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The math is just a bit of.

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It's working.

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Let's go see the green while the Green has appeared no problem will cool.

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OK guys.

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So actually I'm trying to correct it now.

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According to the background if I had a green background or some kind of background that would blend

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that I will not do these connections good.

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So I'm happy with that.

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But the guy is very much not in the seat.

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So we need to apply some color correction here.

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OK.

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How do you do that.

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The best way to start applying effects after the light is to play compose and take the light to the

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recomposition our right click and take click pause and select move all attributes into the new camp.

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We don't want to open the new camp and here you are.

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So now I have a pick up here and the eFax control is clean but most importantly I know that the key

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light will not affect other effects and artifacts will not affect the light in case I put them up or

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down.

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Could this play with the color correction.

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I will go to limited color.

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You already studied this.

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I hope so.

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You didn't skip the lecture or the section click and drop it on the subject itself.

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You could decide OK you can do basic color correction whatever you like.

45
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It is not working at all.

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I will undo or reset then what I would like to do is to go directly to creative and choose a nice look

47
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here.

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I would go down and I want to choose the black ones or the worry or the North Nouvelles and that would

49
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be very nice.

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Let's drop it.

51
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And again it has blended too much and on a lot let's reduce the intensity.

52
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That's one not too much or something like this looks cool fine and maybe you could fit the feel or sharpen

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it.

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In our case we do not.

55
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This is cool.

56
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But if I sharpen it even the guy will look better.

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Ok here you are.

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We are very much better.

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It's blending even more.

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Now this is done.

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But you know guys are so many options that you can play with the colors here to make the subject you

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know blend at 100 percent.

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Another effect you can add here is the green effect.

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I will try it here you want to add some greens.

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OK.

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On the video itself I think it is useful because it will blend more with the background.

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So the view mode is finally put.

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So I look at it OK.

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It's too much.

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We need to reduce the intensity of the graves write something like this OK this trial and error no.

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In fact I'm going to put 0.5.

72
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Just type it in.

73
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OK.

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That's better.

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So the green influence you need really to adjust this one.

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And let's reduce the size of the grains.

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Here you are.

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The green is very easy to use and just drop it and deciding on the intensity of the blades and the size

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itself.

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Good.

81
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So this guy looks good.

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Now let's add some shallow and that is very important.

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You know there are quite some shadow and this guy looks like he's coming out.

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I'll go search for shadows within the effects.

85
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That's the best.

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Acacia.

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You have the drop shadow on the radio.

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Hello.

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Well you can use either.

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I would take the drop shadow just to try and you know it sped up effect here.

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It's going to go very speedy and drop it on the skylight Let's go over here.

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But not another the shallow is like wow what is it.

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First of all let's reduce the opacity on that bite.

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And then we want to adjust the angle of Caylus HYGD the distance as much as possible.

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It's over here and we play more of the distance to come over here.

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Something like this.

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OK.

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And then we need really to soften it a lot.

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Putting the shadow not to make the guy look like he's standing behind the desk or something just to

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make sure that there is a certain light coming from the window and there is another shadow from here.

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That's one way to put the shadow using the eruption.

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If you don't want the rupture though very fine.

103
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I recommend also the radial Shadow.

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Shadow has something of a you know interesting is that you can play it with the light and you don't

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have to waste your time with the angle and so on less reduce the opacity.

106
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That's better.

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Let's make it very soft.

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As much as you want.

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OK.

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And then let's play with the projection distances.

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Bring it over here and then let's move now.

112
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The point where is it coming the lightless go up.

113
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Yep something like this will work.

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Well that is a bit more interesting but also you know this is a bit big.

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You could scale it the way to do that is just to duplicate the layer.

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This is what now you have two layers over here.

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And in the end the top player you will see here you are shoulder only.

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OK.

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So this one you don't want any shallow I will remove the shoulder from here and it in the top layer.

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You can decide OK I want to scale the shot and that is how the shallow is being scared can pull over

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here.

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So there is very many ways to add the shadow.

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The shadow will give a certain dimension to your Glendenning.

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And the way it's working with the background.

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Now guys this is what I did here just you know talking to you.

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It's up to you now to come back and say OK how do you make this one much better.

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And how do you blend it even more.

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It's very important that when you do the blending a bit artistic try to look at the background and so

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on.

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I have to admit this is a very difficult background.

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I don't like to show you something you know that's obvious.

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Thank you very much for listening.

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And we move on to the next lecture.