All language subtitles for 3_Lyrics shoot - Retouching

All right?

We are now going to do a retouch of
lyric that we did in the studio.

The 50s throw back sort of tribute to
Irving pen.

And this is very simple.

I think the most important thing I want
to show you here is

I've applied a texture to the
background.

And it's a very,

what you can see it's a white wall.

So it's a very light texture.

I don't want to overdo the texture in
the background on this shot.

Sometimes when I use a gray background,
fix gray, I really connect a lot of

texture to the background.

And it's kind of fun to do that.

This is very subtle.

So I want to show you how we do that.

I used a piece of foam core.

It's a little wobbled.

I'll fix that.

And I think there was a pillar or
something.

I just used the wall of the studio.

I didn't really have a suite that came
down, a white sweep.

I was running out at a little bit of
room.

But we're going to fix all that.

So let me show you here's the original

of lyric here.

And I say original, the final retouch
that I did, and it's been about,

it's been about a month, so, you know,

I don't know exactly how I did this,
but we're going to figure that out.

So let's hit

and show you the layers.

Not a lot of layers here.

I have a levels.

And then there's my texture.

And so I guess that background turned
into kind of a light gray,

so not even close to fifty gray.

So we are going to use, well, we used
overlay as my blending mode.

Often what i'll use is

multiply.

But anyway, that's the thing about
textures, I don't know, depending on

how much I want to attach the
background, i'll try and work different

modes, our blending modes.

And the good news is I can scroll along
here in real time.

You can see the blending modes work
where before you had to actually

let go and then apply it, and then it
took forever.

So with that, let's go over to

my bridge.

And here is the original

out of the camera.

So you can see the brick wall over
here.

I got another part of the wall there,
but she was within that.

So let's take and go.

Command r.

Click on here,

come on

the command r.

That should bring it up.

We are now

in the raw converter.

And let's take and apply a few little,

few little

applications of adjustments here.

So let's see shadow detail.

I don't want too much shadow tone.

I look how much I've got.

I can really go in there.

But I'm going to pull a little bit

on terms of highlights coming down.

I don't think I really want to do that.

I actually might build a little
contrast here,

and we can.

At this point, since I want this to be
black and white, let's just go over and

click black and white,

because I'm not going to go to color.

Now, sometimes what i'll do is i'll
start in color, and then i'll go to

black and white later.

I've done a lot of testing,

especially in the landscapes, getting
the anzulatoms, the black sky, and

really getting the tones and my
landscapes the best way.

Generally, if I'm going to shoot a
landscape, I want to do it, the final's

going to be black and white.

I will apply

the black and white here and raw.

And I've done tests.

I don't know 100 percent if I'm
accurate in saying that it would make

sense that you would apply the

any conversion

in the raw settings before you go over
to Photoshop.

You could do some testing on that.

The verdict, I might still be out.

I go and look at other photographers'
tutorials.

And I don't think anyone's ever, at
least I've seen that says, this way's

better than make it black and white now
versus

in Photoshop later.

But at this point, I'm going to go with
this.

I'm going to go with my gut, gut
feeling here.

And so let's take a look over at our
tones.

let's go to the orange.

You can see that changes her skin tone
a little bit.

So if anything,

I don't want to blow it out, but I
probably want to go a little bit on the

lighter side.

Let's see what the red does.

That changes the lips a little bit.

Ok?

See what yellow does?

Nothin on the yellow, blue,

nothin on the blue.

So

not a whole lot of adjustments there.

If we go to texture, that's going to
give me a little snap.

Don't want too much there.

So I think that's about it.

We say open, it's going to bring it
over to Photoshop.

Hit my fkey,

which gives me a full screen view of
this.

let's sort of figure out.

Number one.

I can see my phone core has got some
issues.

Let's fix this over here.

So I'm going to go over here to

my

stamp.

Let's get

a really big stamp.

At 100 percent.

We've got to go and hold the option
down.

And then we're just going to work this
over here.

We're going to have a texture, so it's
not as critical to get it perfect.

But I think

we'll just come along here.

And then what I do a lot of times is
i'll smooth it out.

In fact,

probably not on 100 percent.

But let's just go down here.

Let's go grab this, and we're going to
get as close as I can here.

And then I go to my

hardest of the brush.

Shall I hold the option down?

And I'm going to go pretty harsh,
pretty hard brush.

Because I want to

go in here and run it right along the
edge here.

So let's make it smaller.

We do.

We're going to fix this later, folk, so
don't get too excited

how bad it looks here.

Just when I want to make sure I run it,

let's go up to the top here.

So I go,

let's try this click.

I'm going to hold it down.

I noticed that my welcome tablet, once
again,

is not 100 percent.

My pressure's not quite right.

So I've got to fix that.

And that's one of those things that

this is not my traveling

tablet.

I just pulled it off my large computer
over there.

I have a traveling tablet who knows if
something

in that

is making it,

because I usually

it's a little easier to get that to go
full.

Let's try one more run across here.

Ready?

Hold down the shift.

That's pretty close.

Ok.

So now

we got that.

Looks pretty bad.

I'm going to pull back the opacity, and
then we're going to feather this in, so

you can't tell

that.

I did some retouching here.

Spew that out a little bit.

And then I got to go back to my soft
brush.

Did not do that.

I wish it was a shortcut for that.

And just as I say that, someone's going
to email me and say, oh, here's your shortcut.

All right.

Now, if I messed that up, I can take
the white.

And I'm, we're going to show you how to
do that in a minute.

that's the first line there.

I got some issues up here.

Oo, there's some gubers on the wall.

Let's go back to hundred percent,

because it was just a dry wall.

So let's just do that.

And that's not doing 100 percent
perfect there.

Just takes a little bit.

Often.

I fix a lot.

There's a lot I had to fix now.

what's really funny.

Is when I talk to photographers,

we talk about the compositine,

and they're like, purist.

And they would say, oh, if you didn't
do this in camera,

then you're not a real photographer.

Like, take app, take out all this in
camera,

which

I think is pretty silly.

Ok.

So now I've got to go to hard brush
again.

I think Photoshop is a lot of fun.

So we're going to grab there, hold on
the shift, and it should give me

a pretty

clean.

And so

that takes me to the next thing, which
is, I've got to get this level.

So we're going to go up here, to

window.

We're going to go to

up view, sorry, view rulers.

We're going to pull down our line,

and we're going to get that to go

straight, ok?

We're going to at least get as straight
as we can, and we're not to fix it.

So now I go command a

command t, which is select all, because
I'm on the background layer,

commandes free transform.

And I'm going to go down here, and I'm
going to grab a control, right click,

and we're going to say, warp.

And so now it's going to loose them
down the bottom here, which is fine.

And I pull that up.

Let's just

make it a little bit bigger,

pull this down.

And that line looks pretty darn good,
right along

there.

So we say, ok,

now deselect

and command

colon whatever gets rid of my line.

So I had to pull it up from the bottom.

So we go back to the stamp tool,

and I don't know what we're on here.

Let's go to soft again, just because.

And I'm just going to

fix.

And also, I think we'll try this up
here, this

spot.

Healing brush sometimes will just,

we'll fix it.

We just do one line along here,

see what that does.

Now, get, try.

Folks, let's try one more time here.

It isn't like it.

So let's go back to stamp.

I do that a lot on extending things, so
it works

part of the time.

Ok.

So this looks pretty bad.

I got, actually, got a little foggy.

And over there, that didn't look very
good.

So what I'm going to do

is,

I think when I create my own line

and I'm going to go, I got my brush
here.

Hundred percent we're going to go to a
fairly harsh brush, not too harsh.

I wanted to look real.

And then we're going to, we have a
white.

But I'm actually going to go and I'm
going to pick up the white of the

phone.

Course, I'm going to do an option,
which is my

little

eye dropper and click.

And that might be just a little off
white.

So let's get in here,

and I'm going in.

Now, I remember doing this before, so I
had a little bit of an issue here.

So we're going to click right here,

and I'm going to hold the shift down

and bam.

There we go.

So we're going to go and continue.

It's

a little bit of a challenge there.

Please go back to there.

We're going to go right

there.

So it's not 100 percent perfect.

Now you can see, even though I did a
right click,

there's a little bit darker over here,
on just the way, the foam core didn't

get as much light.

So we're going to have to fix that.

So

probably what i'll do is

we're going to pick it all one color
here.

Well, you know what that's interesting,
that's

the same color.

It looks different

looks, a little darker.

It's not pure white.

We're going to fix that.

So this is going to be clean.

I think.

Why.

I still got to go back to my walk up.

This is part of the problem of

jumping from computer to computer.

Sometimes

some settings aren't matching my
settings over here, at the

desktop, which is what I normally do.

And this is what I did this one on.

So let's go back over here.

We've got to finish this off.

So we're going to start outside here.

Just a little bit.

Hold this shift key down,

and that,

I think it's going to be about right

now.

I want to probably have a little bit of

a little shadow.

Not much.

So let's take this down in opacity,

and we're going to soften it up again,

so I can just

smooth this around a little bit.

Oh, it went too far.

This is a zoom in.

I just want to save if there's any

shadowing there.

Oh, I still need it.

Went too fast.

Now we have a little bit of an issue
here, so we're going to fix it.

So

this is where

I believe

I had to really get creative.

Let's go in here and fix this.

Go back to hundred percent.

I'll be here all day.

I'm going to have to go back to my
white brush with a hard

to do this.

And one of the good things about

working in Photoshop, where you can go
and blow things up,

is you can go in and the pixel starts
getting pixelated, but you can actually

go on here

and fix things.

So

I think I screwed up this a little bit
here.

Let's go back to soft.

And since this is a

total, you all,

I can't spend too much time on this.

I think you're going to be good with
that.

Just take a look here.

I've still got to go back to my white

brush and just take a look at my

hardness

and finish yourself one more time here.

But I think you can see how I do this.

I'm not on 100 percent.

Should have gone to the very edge where
we go.

All right.

That's looking pretty clean.

I didn't fix this.

So let's fix this.

I thought this is going to be so quick
and easy for you guys, but let's

because it's been so long.

Let's fix this little

hair here.

And I don't know what that was, but
we'll fix that a little bit here.

And then I then have to go in here to
my brush, my eye dropper.

And I think we're on a sharp yup, ok?

We're going to run this

across here, like this.

And this is where it gets really tricky.

So we're going to run it past,

and then we're going to come in with a
soft brush.

We're going to fix that.

Let's go.

So now

let's go soft.

And we're going to go to my white brush
here.

And I'm going to feather this in here

a little bit.

I had way too much.

I should have gone down on my opacity.

Not the best, because we're blown up
really big here.

So

I'm sorry.

I could probably do this a little bit
better.

When you're rushed manned, is it

seem

more difficult than it should be?

All right to do it.

I want to show you then a little trick.

We're going to grab

we're on that layer.

We're going to grab this little section
right here.

Come and see command v comment.

We're going to pull it over here.

We're going to use it as my line,

like that,

we'll make it lighter.

And then we're going to make a black
mass.

So they hold the option key down, hit
the mask.

And then I get my lit little brush here
with a white.

And let's just, see, if I can just

see, we got black brush.

Let's go 100 percent.

There it goes.

So I've brought in.

I went too far there, but I brought in
that shadow a little bit.

Now, look at the x

and feather that in.

Ok,

not 100 percent perfect.

But when you

get it back down in normal, I miss that
one section here.

So we're going to go, my brush on a
percent.

We're going to go to my

eye dropper, and we'll just finish this
offen

brush up right here.

Ok, man, that was a lot of work.

Let's go up here and go about fifty
percent, and I'm going to hit

my eye dropper.

I'll just fix this wobble.

Here's

a little too much bubble for me, but
we're going to put the texture.

So I don't think is going to be a big
deal.

Ok,

what else do I got to fix?

Let's take a look at the hat.

I'm going to merge this down.

I don't need anymore.

What would I do to the hat?

Let's go back to.

What did I do?

The hat on the original?

Not a whole lot.

Ok.

So,

lips

back to footage up.

I lost money.

But I must show you what I can do.

So we go to look afy,

and I'm going to come up here, and I'm
going to fix this little area right

here.

So that hat looks a little bit rounder.

There's

a little bit

right there.

That could be fixed.

Let's just

bring this one up.

There we go,

and we're going to push this in just a
little bit,

so that's a little bit more smooth.

And

we're going to go and shorten the hat.

Just a little bit let's do that.

I like that.

I like that.

Let's shorten this.

Bring this arm in just a little bit
here.

Yes, we're going to take

the sweep here.

And what I did was, I took the mask,

the freezy mass tool,

because I don't want to mess up here.

Then I go back to my push tool, and I'm
going to fix that little teeny part

right there.

Ok, that looks pretty good.

Ooh, I don't like this.

this glove doesn't look good.

So I'm going to

give it a little bit more shape there.

And that finger looks a little funky
there.

We're going to bring that down, thin
out that fander finger just a little bit.

That looks pretty good.

So we say, ok,

wow.

So here's,

well, I don't know if I can do back and
forth.

I have to go to history,

because Photoshop changed that on me.

So we go.

That's before.

Look how much cleaner that looks.

So what is the goal here?

Is to have this beautiful shape,

this form of this model, lyric.

And I think I'm going to fix one more
thing.

We're going to push in just this little
part right here.

It's pretty good.

This is the beauty of having

been an artist with a set of tools.

So I am not a photographer.

I'm an artist with a set of tools.

And the reason why I say that is
because if I say I'm a photographer,

then people want to define what that is
and put me in a box.

If I'm an artist with a set of tools, I
get to do whatever I want.

All right.

So let's get the texture.

And since I tried to find this texture,

I try to find this texture in my little
texture.

I have a bunch of textures.

I think I pulled this off of a wall
somewhere

and

couldn't find it,

and it's in one of my files over there.

So

to

do this,

I'm going to

grab it.

We're going to grab it,

and I'm going to pull it and drop it in
here.

The mask doesn't match.

So I'm just going to get rid of the
mask.

Here we go.

Delete the mask.

So here's my,

here is my

texture.

So we're going to go

command t,

and we're going to make sure it gets up

within my range there.

And

it defaulted to the blenny mode that I
had before.

So I'm going to go back to

what it would be like if I brought a
texture in.

So there's my texture.

Not

the most appealing texture in the world,

but

we're barely, going to use it.

So let's go to multiply.

So multiply, works pretty good.

And I can pull back the opacity,

but it's a little muddy.

So I think what I did was I went down
here to overlay and overlay, looked a

little bit crispier, a little more
contrast.

I went to about 75 texture.

So let's go on off.

And then I created a mask.

So let me show you how he did that.

So I'm back on the layer.

I go over here, to,

I go over here to my cookmas.

Select tool.

I say, don't get it.

Select subject.

So I'm going to go out there and it's
doing magic.

So that it'll be perfect, but

that's ok.

often

I actually like the texture to come in
onto

this,

onto the

subject a little bit, to give a little
bit of grunge.

So let's see, that's not bad there.

Let's just bring it

in here to fix that.

And then I went too far.

So we'll just come back on it.

That looks pretty good.

I'm going to have to hold the option
down, to bring that, their option down,

to bring it in there.

Need it just a little bit tighter here.

Now, this picture's so light,

this is probably overkill.

But I'm showing you how I do it.

So that comes to there.

That looks pretty good.

We'll just take it out this section
right here.

Ok.

So now I say, select my mask

and

all the parameters that I'm going to
leave as they are.

But I'm going to come down here and say

a new mask,

and then I want to pull it right up to
here,

and then we're going to invert it.

And there's my texture on the
background.

So let's just

we're going to bring it up a bit more
so you can see it.

Let's go over here to normal.

There it is.

And

it's all its glory.

So what's really interesting is I've
got it coming down here.

So

let's

go back to overlay, because I'm using
overlays barely shown up on the white.

So what I can do is get a black mask,

a brush,

there's my brush, hundred percent.

And I can just do this,

clean that little section upright there,

just so it doesn't show up,

all right.

And then I added a level, we're almost
done here, levels,

to give it just a little bit of snap.

So you can see

over my histogram here,

this spike right here, is the white
here.

So we don't care about that,

because that's white, and it's going to
be whiter as I go.

But

then I come up over to

my clip.

Right there is probably the background,

which includes a little bit of her face.

And then there's my blacks.

So I get a really crispy

overall

contrast image.

Then I go back here and feather this.

So let's bring it down

just a little bit.

I want just a tad texture there.

Hit the tab key

twice,

and there you have

lyric.

I hope you learned something on this.

It's fun to do the sort of say, how did
you retouch that?

Not, then do any skinny touching on
here, things like that.

There's a little bit of dust spots on

her black dress that I have to go in
there and

zoom in and clean it all up.

But you guys, I'm sure, understand
that.

But I hope what you saw is molding the
hand a little bit, the hat with liquify,

adding a texture on the background,

and clean up that little horizon

on that phone core.

Now, if I was to do that again, I'd
probably take,

I'd get a brand new piece of phone core,

which was not that expensive,

and then I wouldn't have to work if
that was an old piece.

That's been in my garage in studios.

For a long time.

And so it kind of looked a little
wobbly.

But I don't think if you were to get a
nice, clean piece phone core, that

wouldn't you spend too much time on
that.

So there you have a lyric, the retouch.

we're going to do some more retouching
with

faith coming up down the road.

So you'll see me do that too

much.