This article is nice, but it's missing discussion of a key component which is painfully obvious in the composited image: you have to match the lighting on your

This article is nice, but it's missing discussion of a key component which is painfully obvious in the composited image: you have to match the lighting on your subject with how it would look in the actual scene. You can do this digitally (as part of color grading), but the ideal solution is to do it IRL with light color. Especially if you're shooting with a consumer grade camera and have to live with the severely limited colorspace headroom.