All language subtitles for 02-12-Stumpys-Color & Client Packaging.mp4

Now that we finished with our
retouching?

Well, the retouching is never quite
finished, but

where you've got it in a happy place

right now.

So we're going to take a look at the
color.

Which means

essentially, we're going to

take the masks that we've already
created

and use those to isolate parts of the
image,

to dial in the color, make it pop a
little bit more than it already is,

beautify it

balance

kind of the overall feel

and

the attention

that

various bright parts of the image are
distracting to your eye.

Such as, looking at this right now, I
think the

bottle is a little bit too hot.

I'd like to kind of tone that down and
pull the viewers' attention more

towards the label.

And the liquids inside.

I don't think that the cork on the top
are anything that important.

And so through color, I'm going to try
and shift the viewer's perspective

down to what I feel the client is going
to believe is more important.

And

to start with,

I think I'd like to pop the label a
little bit.

Seems like a good place to start.

Maybe an overall curve just to set the
tone and mood,

give me something to work from.

But let's just play around experiment a
little bit and see what we come up with.

So we've got our frequency information
here, which we no longer need.

We don't need that.

I'm going to pop this background layer
up,

just to organize things a little bit
better.

As I'm working, I like to clean up

my

layer.

Stacks,

rename things, if I was too lazy when I
was creating them,

and just

generally stay organized,

it's going to be a lot less work in the
end, if you do it as you go along,

that, I know, is all really clean.

What I like to do to get started with
this is

I create a new group.

I usually call it cc.

You can call it whatever you want.

This just means color correction

and

gives me a lot of similarity when I'm
moving through my files, know what my

folders are.

So I'd like to start with the mask that
I've already made, which is up here.

This was originally in isolation and
isolation layer for my frequency separation.

I created it using the quick select
tool, instead of the pintool, because

it took ten seconds, pintool would have
taken,

I don't know, 1520 minutes, and would
have taken off a couple years of my life.

So with that mask made, it's already on
a curve, curves, not doing anything.

I'm just going to move this down into
here

and

just

give it a little bit of a bump.

See what happens.

Looking at the image, I'm thinking,

it's looking a little dingy.

Doesn't have a lot of life.

Could use some pazaz.

And

I'm also going to put down my pen tool,
because pintool and curves

just do not mix very well together.

So a little bit of contrast, I think,
is going to liven things up a little.

Start pulling attention off that top

label down onto the primary label.

Already looking better.

I think it's maybe a little bit dark
overall.

So I will pull my shadows out,

that

look at

seeing how far I can take that front
label before I start losing detail.

I want to see it, my ranges,

and then work back from there.

Looks like I sell long ways to go.

If I undo this,

you see that my histogram is clipping at

the quarterline

right here.

And what that means is,

if this grid is divided into corner
quarters, you've got 255075

and 100.

So my mask is telling me that I don't
have any highlight's brighter than 25

percent.

If I were to move this that way,

then I would start clipping out the
brightest parts of my image,

or of this layer, which are going to be
all of these pixels right here.

What that means is, I have a whole

lot of room that I can move.

And the interesting thing is, it
doesn't really look like it's that dark.

And the reason for that is, this bottle
is sitting on a black background,

and

the black background is causing the
foreground

brightness values to appear

brighter than they actually are.

If I were to

hop back to my background layer and
make this white,

for instance,

suddenly you see how dark this bottle
actually is.

And

I don't know if it was intentionally
shot that way, and he wants things to

be that dark, or it's just because of
exactly what you've seen here, where

the relationship of the background
that's causing the foreground

to appear brighter than it actually is.

Either way, I'm completely happy with
what was photographed.

And it gives me lots of room to move,
which is what I like when things are

too bright.

They're a lot harder to

make darker without looking fake.

But something that's in the mid tone
range, like this, it's really easy to

open it up

and that's what I'm going to do,

go back to this curve.

I know that I've got plenty of room to
move.

I'm just going to pull my highlights
down

or up.

I don't really know what it is.

Open them up,

give it a little bit of contrast

and

Wal.

I think that looks nice.

I'm not sure about the darkness on the
side of the bottle.

I don't know if I want to open the
supper knot.

It is a little bit

strange,

dingy lookin.

I'm not really sure

what was intended here.

But I think for now, because that's
what the photograph looked like, we're

just going to kind of leave it at that.

I may come back in a minute and

select, kind of dodge that area out a
tiny bit.

But overall,

I like the shape and the values that
I'm seeing.

Sometimes what I like to do when I want
to back off a curve, but leave my

contrast as.

I just go to the move tool,

and I just cycle through some Numbers.

So there's eighty percent of my curve
there's fifty percent of my curve,

there's 100 percent of my curve.

And it just gives me the chance to

preview what varying levels of amounts
of that curve will look like,

will look like without actually
changing the shape of the curve.

Because I want to keep that shape right
now.

With that is our starting point.

Let's take a look at

the

liquid behind the label.

And to do that,

I am going to

make a selection

out of that

curve.

And I'm going to make another curve.

There's a couple of different ways you
can do this.

This is how I'm going to do it.

I'm going to invert it.

And I think what I'd like to do is

not have any of this

stuff above the liquid

be a part of this curve.

Going to do a curve preview, go to a
brush,

get my settings right.

And I will

just really quickly

doesn't have to be precise.

I just want to get a feel for what's
happening with liquid only.

I'm going to mask that area out,

turn my preview off.

And now I have a curve that allows me
to adjust only my liquids,

which is what I wanted.

One thing I am going to do

with

these color crushing

layers is I'm also going to group them,
just like I did below.

Reason for that being, I may want to
add additional controls

to the group for saturation

value.

Any of that kind of stuff.

We'll just call this

liquid such a weird word.

I don't feel like calling it whiskey
though.

Put a mask back on there.

Go to the group

label,

label

mask, just in case I need to

roll some of this off.

And when you go back to my

liquid

curve,

and I think

what I'm thinking

before I do this, I'd like to really
quickly, just

block it out from the bottom.

Because if I darken up the liquid with
contrast it's also going to darken this

up a whole lot.

And I feel like this is already dark
enough.

As I do, as I'm doing this, I see a
couple areas I'd still like to clean.

But for now we're doing color.

So we're going to stick with that.

All right.

Now, we've got a curve for this.

My initial instinct was to add a little
bit more contrast,

because if you remember, when I process
these files out, originally,

I

decreased my dynamic range.

I brought in the edges of the histogram

so that I didn't have a lot of black
pixels and I didn't have a lot of white pixels.

I had

a range of pixels that started at let's
say, 8590

black,

and went all the way up to 45 to forty
somewhere around there.

And the reason I did that was because I
wanted the flexibility that I'm about

to introduce

into the light

and color of this image.

Had I maxed out the histogram

and not given myself a little bit more
wiggle room on the ends,

I'd have a harder time creating
contrast.

If I tried to open up the shadows,

I'd be revealing a lot of noise.

And I don't want that camera controls.

And

what does it call?

The demosaic engines are better than
what lightroom has.

So without mind

bit depth, thank you.

With that in mind, I'm going to pop a
little contrast into this.

Not a whole lot,

just want to give it a bit of aglow,

kind of, drop it off at the bottoms
here.

If I bring out my tattool,

you can see that

this region down here is all the way at
the bottom of the curve.

It's not really important to get color
down there.

What's important, is this light hit up
here?

So my light hit up here, which is
seemingly bright, is actually way down

in the three quarter tones of my curve

that's right there.

So I'm actually darkening the liquid.

When I introduce this curve, the only
thing I'm brightening is

this value up here, which I think is
already bright enough.

So I'm going to modify this curve
slightly,

and I'm going to put an anchor way down
at the bottom, which is going to lock

all of these tones and allow me to open
up

this highlight

instead

of

the

highlight up here.

So with that kind of curve,

I'm then able to

really just kind of

massage

and gently

craft the contrast of the liquid

in the bottle.

I like doing things in a single curve
because it's fancy, and I feel like I'm

a pro.

So oftentimes I won't do luminosity
masking

don't get too heavily into

blocking out this curve in all parts of
the image.

You can really, if you've got good
control of curves, you can do a lot in

a single curve.

And I like to do that.

All right.

So again, I don't think this image
needed much.

Robbed it a really fantastic job with
the lighting.

It really, I think, represented what he
wanted in the base image.

And I didn't

feel like I was going to need to go in

and just curve the hell out of the
image.

I knew it was just going to be a couple
simple moves.

And that's what I've done here.

As I mentioned at the beginning, I
wanted to

control the light up on top.

And to do that, I'm going to add another

layer, group

let's call it top.

Doesn't need to be anything fancy.

I think I'm going to use

a curve for this.

We'll try it out.

I'm going to go ahead and push the
highlights down just a tiny bit.

I'm going to just do one of these drags,

kind of take a little bit of the
contrast out of there.

Might not need to do it on the quirk,

but I think on the label that needs it.

We had earlier today,

created a path

for the label.

So I'm just going to load that up

for the top,

like that,

and

just see what happens when I pull that
down a little bit.

I think that's a nice move for

the kind of glary quality that that
label had a little bit.

Artificial didn't feel like it fit into
the scene very well.

I'm not sure I want to do anything with
a cork uptop.

Maybe a tiny bit of saturation.

I do a lot of weird things with my masks

that maybe you wouldn't think of doing.

Maybe you'd think of like cutting a
whole new mask for just that quirk.

What I'm going to do instead

is

load that bask that I loaded the
selection from the mask that I just made.

I am going to

add a hue sad layer.

I'm going to invert that.

I am going to just really quickly

take selection tool,

cut it, invert it, fill it,

come in with a brush.

And maybe it actually would have been
quicker just to make any mask.

But

I like recycling.

So we'll do that.

Come out.

And this is going to be just a tiny
bump.

Nothing major.

I just feel like it's a little tiny bit
undersaturated.

And maybe it's not even

the left side

that needed it.

It might just be the right side.

So now I can group that.

I can put that up

there,

I can call it cork,

and I can put a mask back on that.

And then I can just brush this off.

And I'm doing that just in case I want
to add

any other adjustments to that quirk.

Now I've just got a group setup that
allows me just to drop another

adjustment in there

and

color it up as needed.

I am seeing a little bit of clean up
that I should have done on the side

here.

We can do that if we need to.

What else do we want to do to this image

I kind of like the base where it is,

but

seeing why I would need to add color to
it doesn't make any sense.

There was a note that Rob felt this was
getting a little glary uptop.

I kind of agree with it.

I'm going to do one thing that I put at
the top of almost all my images have an

action set up for it that you don't
need to.

Or it's going to create a new layer,
call it.

DB,

said it's overlay

and click.

Ok.

We're not going to fill it with color
neutral.

We don't need gray, we just need

a dB.

And so what we'll try.

I don't think it's going to be
successful.

I think I might have to do a weird
little mask up there.

But huh, I thought I said, it's
overlay.

Well, said, it's overlay

and we're going to paint with

normally.

DB, you do black and white.

I like to sample a color of the area
that I'm dodging and burning.

This gives me a little bit of a tone,
tiny bit of a huge, little bit of

saturation.

Usually it's over saturated, so I knock
that down a tiny bit.

I'm going to go

pretty low flow, two percent, and just
a quick hit

on the edge up here.

See what happens,

it's really hard to.

DB, onto white.

So I'm not sure that's going to be
successful.

But I think what he was seeing was just
that glare.

And you can see that I'm actually
screwing up and paying on the cork.

But it doesn't matter, because I have
this mask, load it, invert it, and then

I just invert it,

and I can delete from the cork.

I can also keep it in place

and just use it as a block, so that if I

went heavy,

it's not going to be hitting the cork
at all.

But I'm not a big fan of what's
happening up here.

But at the same time, I kind of like
the continuity

across the top top of the cork.

So I think I'm just going to

darken the surrounding areas

a tiny, tiny bit.

And I think that's kind of solving
maybe, that glare that he was seeing

where it just

it looks like it's been lit from
overhead,

rather than

it's illuminating itself.

So I kind of, yeah, just quick.

DB, hit.

That works for me.

I wanted to try also

to see what happens if I dodged out
this label a tiny bit, something to

load at my selection for that,

keep on my low flow,

I'm going to sample from that area.

And I'm just going to do a quick

hit on the side, because this was just
feeling a little bit dingy to me.

Something didn't feel right,

and a kind of like

just having a touch more light.

But I think that was too much.

So I'm going to

darken my dodge value.

And

because I can't go less than one
percent flow, I don't know why I can't,

but I can't.

And I don't like opacity.

So

just that really tiny bit of hit on the
side,

maybe get rid of this.

R, lighten up

this shadow right here.

Yep, just so it's not dragging your eye
down onto the side.

I think that cleans it up

about how I was

imagining it should be.

You can see there,

that it's just

helping

to

keep your eye from being distracted by
this corner.

And it's not artificial looking.

It doesn't look like the labels
floating on the bottle.

It's still integrated, it's still

marrying up with this shadow.

That's happening down here.

And

for any other color

right now, I'm really happy with where
this is at.

Now that we've done our color work,

we've done our cleanup,

we did a little bit of dodge and burn,
not too much.

Like I said, this image was in a really
good place.

I'm happy with everything I'm looking
at right now.

And I'd really like to

get this product on

the right sized background.

Because, as you remember, we cropped in
quite a way just to simplify our canvas

a little bit,

keep our file sized down.

But the final intention for this image
is going to be on an eleven by 14,

and rather than change my canvas,

mess up all my masks,

which is always what happens when you
change canvas size.

And it'll also

kind of play with the frequency
separations a little bit in ways that

you don't want it to.

So what I'm going to do now

is I'm going to transfer this image

to the end canvas, which will be, like
I said, 1114, without a background.

I know it's going to be going on black.

And I'm going to do it in kind of a
fancy way that allows me to

update the canvas

placed image as needed, with as little
effort as possible.

And without, like I said, changing

this composite and composition that I
just completed.

So let me show you how to get this

image onto our final canvas.

What I'm going to do is

make sure I'm all clean.

I'm going to keep some layers that I
don't necessarily need sna.

Big deal.

I am going to turn off my background,
because I don't want to worry about

there being any edges when I put this
thing on the eleven by fourteen canvas.

And I am going to check, just to make
sure, by some strange coincidence, that

my canvas wasn't cropped to eleven by
141116.

And that's fine.

It could be really tiny.

Doesn't matter,

I am seeing a bit of

this.

And that is because

I need to rearrange my layers slightly.

I'm going to get rid of my solarization
curve.

And this is all part of the process.

So,

you know, it's all about organization

and maintaining an integrity so that
you don't have little things like this

when you do ship it off to a client.

Because maybe they want your product on
transparency, so they can modify the

background just slightly.

So to get rid of this area up here,

I'm actually going to

group up my frequency separations,

going to call it fq, just like I had
before.

I'm now going to call this

bottle on black,

boodle

bottle.

Black

doesn't need to be, I like it to be now
I'm going to just toss my color

correction in there, and my top is
fixed.

What I'm going to do now is save
saving.

As a psd it's under four gigs.

It doesn't need the psb.

Wait for that to save.

Give it a second.

Now I'm going to create a new canvas.

Going to make it the right size, which
is 1114.

I think we'll keep it at three inner
dpi,

because it will be for prints.

Go to eight bit that's where I'm
working.

Make sure your color profile is aligned
with your document profile

for your new canvas, which is dob.

Rgb.

You're going to click, ok.

And we are going to

add another solid color layer.

Sometimes you can just fill the
background.

I like making solid color layers
because it's really easy to change.

And when other people pick up your
files, it's a good habit for them to

develop as well.

Next

is the fun party.

We are going to go over to bridge.

We are going to

go to our

working folder.

Stumpies on black.

I've got my original process psds

still here.

They're fine.

They're loose

I might clean them up later.

But for now, we're going to take our

working file, which is stumpy black.

Psd

something's not quite looking right
there it is.

Just want to make sure I've saved.

I have bridge, just hasn't updated yet.

There it goes.

And what we're going to do is just take

stumpy black,

and we're going to bring it into our
new canvas

as

a linked, smart object.

And we're doing that

so that

we update our file

with any changes that are going to be
coming.

We're going to have a working copy on
our canvas that will update automatically,

and we don't need to worry about saving
and exporting and blabulbla

change, a canvas with crop all, it sort
of junk.

The way to do this is there's two
different ways.

One way I like to do from bridge, hold
down the option key

and drag it onto your canvas.

Wait a second,

and it's going to

pop right down.

This preference hasn't been set up
right.

So it's actually coming in at

826

percent,

because there's a preference to change
so that

it Scales it to fit the canvas as you
bring it in.

I don't need that for right now.

I'll change the preference a little bit
later.

For now, we're going to scale this up
to 100 percent.

And

I think that's a little bit too big for
the canvas.

We don't need to max it out.

We want it to fit comfortably

within our

edges.

I'm going to click, ok for now, get to
full screen so I can see what's going on,

and

just nudge this into place.

I'm centered almost.

It's hard to tell if I'm centered or
not.

I would really need to drag some rulers
out

and center them up on the bottle.

So center, it will be 55.

Almost there.

All right.

So I'm centered on my vertical access.

Horizontal access, doesn't matter.

I find a lot of photographers like to
kind of sit the product a little bit lower

on the canvas, instead of dead center.

Dead center feels like it's high

and

that's it.

I think that's looking

really well balanced on eleven by
fourteen.

What I have now is a linked

smart object.

And what this means is, when I doublick
the smart objects,

it's going to open up

my previously working file,

and I can go in, edit it.

For instance,

save it,

go back up to my working canvas, and

this smart object is going to update
automatically with the changes that I

just made

to the original psd

undo radio.

And you can see

how it's changing automatically.

So go back to where I left it.

Come back here.

Turn my color layers back on.

Save again.

Go back to

my place, smart object, linked smart
object,

and get my changes updated once more.

And I mentioned that there were two
ways to get your linked, smart object

onto the canvas.

One instruction drag from bridge.

The other is in the file menu.

Go file

place, linked.

Find where your

psd is that you want to place.

Place it.

Same process that we just walked
through,

as I mentioned earlier today.

I really love using bridge.

It's just visual.

I don't have to Peck around through my
folders.

I can just see the file, drag and drop,
and it's done.

You can also do multiple drags.

We'll go into all things smart objects
workflow.

Later on,

i'll keep using it.

You'll keep seeing how it works, i'll
point out new little facts, tricks,

that sort of thing.

But for now let's just drop that down
onto a black.

We're going to save.

I'm just going to call it same as my
file name,

but I will call it eleven by fourteen,
just so I know what it is.

Save it to the same folder,

and now we're ready to make a tiff and
send off to Rob.

That's as simple as the same process.

You all always know

you can either flatten or save a copy.

I sometimes like this, just flatten

it's just peace of mine.

I don't know

less buttons to push when I'm in my
savaz dialogue.

I flattened

save.

As

we all have our own

file names and structure.

For flatten files, I never like to call
them the same thing as my working

files.

You could just get in a lot of trouble.

Even though it's a tiff and one's a
psd, it can just get kind of sketchy.

Also, when you're sending things off to
clients, lottimes you're doing version.

So in this case, I'm going to go ahead
and dov one.

If I feel like I'm going to have a lot
of versions of one, i'll do v one, a,

b, c.

But in this case, where it's going to
go Vi one,

I'm going to actually back out of my
beverage.

I'm going to create a new folder.

I'd like to have a two client folder,

just so I know where all of my flats,

r and I do dates, all sorts of fun
stuff that we don't need to do today.

Two client up at the top, put an
underscore.

I've got my stumpy black eleven by
fourteen.

V, one, tiff, adobrgb,

and we're going to save, going to
compress it a little bit.

There's tons of black space that
compresses nicely.

Click, ok.

Close that out.

Close that out.

I'm just going to go to bridge and
verify.

There's my two client folder there's my
version one

looks exactly the way that I knew it
would

and were ready to send it.

After all,