The company asked me to interview the post-production candidates, but how to inspect the post-production staff in the studio? what are you reading? What questions do you ask?

Nowadays, cameras have become popular, but photo studios are also prosperous. This is due to the photography technology of the studio and their post-production effect is very good. They can take beautiful photos, and of course they have business. So how do they take photos? Let's interview senior photographers on post-processing issues.

( 1)

Q: Many photo studios attach great importance to matting. No matter what kind of movie, the characters must be picked out first. Do you think this is correct?

A: I thought this question was quite funny at that time, because the photo itself contained the background (except for local close-ups). If you want to cut the bottom after the photo is taken, then the photographer can only take a monochrome background when shooting. However, it took me about a month to study in the north recently. It is of practical significance to find this problem, because guests in many places just ask that all photos should be bottomed out.

Generally speaking, the purpose of digging the bottom is to change the bottom. However, even if the bottom is changed seamlessly, the background is still fake, which at least photographers and guests know. So I think whether to dig the bottom or change the background depends on whether it helps to improve the visual effect of the photo and the atmosphere of the whole photo. If this effect can be achieved, then any technology can be used. The so-called mastery is not how to dig the bottom exactly, but how to apply the technology reasonably, that is to say, to distinguish when to dig the bottom and when not to dig the bottom, which is the first key problem.

However, if the guest asks to change the bottom in advance, it is suggested that the photographer use a white background when shooting, and the background should be illuminated by lights (the brighter the better), and the light distribution should be uniform. This can bring convenience to the later stage.

(2)

Q: Do photographers and makeup artists need to cooperate with the later design?

A: This time, a teacher happened to tell me about this problem in the north. She said that photographers in her shop often cut the composition into three sides (sometimes even four sides) when taking pictures. Then the designers in the store complained. However, this is just a common problem of poor communication, and it should still be easy to solve. But two characters in a studio are usually not the same person, so communication and cooperation between them is extremely important. For example, the last question said that it is best to use a white background as the base of photos, which is also an example that requires photographers to cooperate in the later period. Otherwise, the work efficiency will be greatly reduced.

As for how dry makeup artists can adapt to the characteristics of digital cameras and change some makeup habits, I think many articles in Portrait Photography have talked about related issues, so I won't pick up people's wisdom here. However, the use of digital cameras has caused a big misunderstanding, that is, everything from shops to makeup artists and photographers can be repaired later. This concept is extremely harmful to the whole operation process of the studio, because some things can't be repaired or are difficult to be repaired (for example, in the area near people's eyes), even if some problems are easy to correct, at least it will take up the working time of the later staff.

In the long run, some makeup artists and photographers will develop bad habits, and their work is not meticulous and exquisite, which will lead to poor flow and low efficiency of the whole company, which will easily lead to customer complaints and affect the company's reputation. For makeup artists and photographers themselves, after long-term development of this habit of relying on the later period, their skills will regress.

Therefore, it is very necessary for makeup artists and photographers to cooperate later, whether it is public or private. It is well known that only by maintaining the cooperation of the whole team can we make good products.

(3)

Q: It's very common for the studio to reduce its quota later. How do you think we should understand and use it?

A: There are many tutorials about skin online. This technology may satisfy the psychology of some guests, but for most traditional photographers and guests, peeling is a double-edged sword. For some photos that are freehand and soft when shooting, skin changing is a complementary technology. But most of the photos are realistic. Therefore, repairing a character's skin is as oppressive as egg skin. Moreover, many late-stage workers may have poor sketching skills, ignoring the structure of the human body and the direction of the light source. Either they make the photo look like a piece of paper, or it looks like a glass ball without ups and downs, giving people an illusion as a whole. Therefore, regarding this issue, please refer to the principle of film modification in the relevant text written by the author in Portrait Photography (No.1 2005) and distinguish it.

(4)

Q: Under the premise of commercialization, how to improve the speed and design level?

Answer: to improve the speed, we must first avoid unnecessary losses. For example, the first question is about digging hard. Then there is the cooperation between photographers and makeup artists, including stores and post-personnel. As for how to improve the design level.

The author has always believed that it needs long-term accumulation. The so-called "accumulation of wealth and thin hair" requires reading more relevant magazines, web pages, and related aesthetics, literature and history, and entertainment knowledge. The most important thing is to understand the customer's consumption psychology and so on.

(5)

Q: What theme should be expressed in the post-design of the studio? What is the main theme?

Answer: The studio takes portraits. Of course, the subject of the first performance must be portraits. In other words, the main body of the layout is portrait photos. All other elements serve this subject. So when designing, if the portrait shows enough, then your design is finished. Don't add unnecessary things. But now, in order to show their technical content, on the other hand, to express their unique aesthetics, many post-production personnel use a lot of materials and change the background of my original photos, thus destroying the environment and place described in the photos themselves, so there is no difference between shooting in Zhangjiakou and Hangzhou. Ha ha. Therefore, this design can not reflect the characteristics of the studio, and it is also a kind of destruction to photography.

Q: Does the excessive pursuit of technology have an impact on later development?

A: excessive pursuit of technology, I think in the studio will affect the expression of the above questions. Because many late-stage personnel will ignore the theme they want to express if they are too entangled in technology. Take digging the bottom, for example. Basically, people are integrated with the background. Just pay attention to the unity and difference between light and color difference. If you have to pay attention to pulling a hair from a character, it is actually unnecessary, because guests will not count whether their hair is missing a few hairs. He looked at his whole picture. In layman's terms, it is to see if his photos look good. Therefore, if the later stage personnel pay too much attention to the plucking technique, they will inevitably ignore the overall performance, because the design time given by the studio to the later stage personnel is limited, and if the time cannot be allocated reasonably in the unit time, it will inevitably affect the overall situation, so that the primary and secondary will not be given up. My point is that all technologies are for portraits. In the later design, on the premise of ensuring that the portrait is the main body, it is enough to reasonably and appropriately use technology to express the digital characteristics of the current studio, instead of using eight filters or adding a pile of materials to each photo, or changing the color upside down (because I recently saw some later works on the Internet, especially outdoor photos, they will first change the color of the sky to dark green or purple, and then change the leaves to blue or purple, and so on). Who knows that some photos express a specific environment and atmosphere, such as dusk or snowy days? Has anyone seen snow in the blue-green or purple sky? Of course, sometimes from the perspective of commercial operation, it is understandable to use some technologies to show great differences from traditional studio products in order to quickly form the characteristics of the studio. A typical example is a famous studio in Chengdu. But please don't forget that the most basic feature of photography is to record images. Therefore, it is necessary to use some skills to some extent. You can't change a photo beyond recognition just by showing your skills. In that case, I think it is a departure from the original intention of photography.

I read martial arts novels when I was a child. I especially remember Jin Yong.

As Mr. Wang said, most people who study martial arts will pay more attention to fancy martial arts moves at first, and then they will pay attention to efficiency and pursue a sword to seal their throats. The final state is "nothing but tricks". Every grass and tree can be a sword at your fingertips ... in fact, so is the post-design of our studio. Because this part is still in its infancy, many friends will like to pay attention to the embodiment of some "moves" in the design. Because it means you are skilled. Hehe, I have experienced this stage myself. But now I think technology is just a sword, whether it's heavenly sword or dark iron epee, as long as it can kill you with one blow. You don't need to pay attention to the moves of Wu Tang Sect or Shaolin Sect. Of course, murderous look permeates the invisible. I haven't reached this level yet, but this is what I have been trying to do.