All language subtitles for 02-13-Stumpys-Environmental Shot- Full Edit.mp4

As you can see

we have a new image and a new
composition,

but we're still working on the same
bottle.

When I look at this,

it looks like a completely different
bottle.

To me,

thinking back to

my previous session,

I almost feel like I was working on a
square bottle.

And now I have this very round,

just organic, lovely curved shape,
several of those shapes actually.

Yet we're still working on the same
bottle,

just

a different composition,

different camera angle,

very different lighting.

Retouching is going to be mostly the
same.

We have a lot less work to do on this
one.

I think it's going to go fairly
quickly.

I can see some color work that needs to
be done.

There's a little bit of

compositing

we'll need to do.

But if you have a look at these notes,

they're not very extensive,

they're not

requiring any heavy handed lifting.

It's just mostly for light shape,

a little bit of color.

And so let's take a quick look at these
notes, see what we're up against,

get a plan,

get through our processing and get
these into Photoshop to do a little bit

of compositing and retouching.

So for this first one, we want to take
a look at what Rob has given us for

our primary base image.

This is going to be our control image
that we'll be compositing into.

So this one will be number 511 for the
overall bottle bottle image, including

liquid color in bottle, main label and
cocktails.

If we're going to capture, we can see
that

this is our primary exposure.

When I look at this,

it's looking a little bit dark to me.

But after talking with Rob, he really
wants a dark, moody

kind of end of the evening

sort of aesthetic.

And I think he's captured that really
well.

I can see a few things that I'd like to
do to really enhance this image and to

bring it to life.

Going through the rest of the notes,

we have a note for number 510.

And he says that this image can be used
to bring some blacks and darks into the

bottle, below the label,

bottle base and into the rear cocktail

glass base.

What that means

is

he likes this little section of light

down in the corner of the bottle,

and

he also likes what's happening back in
this rear cocktail glass.

I see little issue with some highlights
back here.

I know that using frequency separation
and my beloved mixer brush, I'm going

to be able to take care of this

in just a few seconds.

Won't be an issue.

If we compare

the bottom of the glass right here,

you can see that there is kind of a
highlight refraction that's coming through

from probably this light over here, or
it could be from the sidelight.

It's just bouncing around, creating a
little bit of a visual distraction.

And we have an exposure

that Rob would like to use to minimize
those distractions

for number 521.

Looks like he opened up the exposure,
or the lighting just a little bit,

and he's saying that he would like this
to

give light direction coming from behind
the bottle, on the surface of the bottle.

And the way that I translate that is

on the left side of the bottle.

Some light got moved, shifted around,

power got increased.

Not sure what.

But if we compare that to

the main exposure, you can see that a
little bit of light pokes in, just

giving some shape to the bottle

and

adding a little bit of dynamic

motion

to the scene.

And I can definitely see what he's
going for here.

I'm not sure how I'm going to use it,

seeing a few minor issues with some
reflections that came about with the

introduction of that light, but we're
going to go ahead and process that and

composite it in and see what it's
giving us.

So let's get started on this processing.

I think it's going to go

pretty fast.

I don't think I'm going to be doing
anything too special.

I do see a note about having an eleven
by fourteen crop.

I haven't decided yet if I'm going to
crop in camera raw, or seize me and

capture one,

or if I'm going to crop in Photoshop.

I'm thinking I might leave it uncropped
and can capture one,

and just do a non committal crop and
Photoshop, where I leave the edges

of the image outside the canvas, but I
don't actually destroy

what's there by cropping it out.

This will give me some flexibility to
shift the image around,

in case the client needs a little bit
more room for some typography in the corner,

or whatever their plan is for these
images.

So for processing,

if you'll remember from yesterday, I
have

all of my tabs set up just the way I
want them

for my workflow.

I like to see all my sharpening, my
noise reduction,

all of these tools in the same window.

I'm going to go ahead and open this one
up a little bit.

I'm going to be working on my primary

exposure.

This is the one that's going to guide
all of the rest of the processing.

I think I could probably bring it up
about half a stop.

I'm going to go ahead and pop the
shadows open a little bit, pull down

the highlights in the corner.

I don't think it's going to really have
much

much of an effect.

I think it might even

hurt the tone a tiny bit,

actually, it's not too bad.

I like bringing that in.

I don't think it's going to have too
much of an effect on the label.

Just a tiny bit.

I could come in with a local brush and
open this up,

but I now have enough to really work it
in Photoshop.

So I'm just going to leave it that way.

For now.

I'm going to check my sharpening.

Pull it down to 0.2.

I have a really good reason for doing
this, and I'd love to show you some time.

But for now, just know that 0.2

is the threshold you really want to be
at if you're going to be applying

sharpening and capture one.

Check my image, make sure nothing
weird's going on.

This is our focal point,

or a focal plane.

Sharpening looks great.

Right there.

I'm going to check my noise reduction
real fast.

Fifty is usually a safe number.

We're shooting at iso 100.

I probably don't need to worry about
too much noise being in the scene.

Let's just take a quick look at some of
these

more uniform Fields.

So we can actually see the noise.

If I take it down to zero.

That's the inherent noise from the
camera at ice 100, with a half stop

exposure opening up.

So let's just go ahead and take it down
a tiny bit.

I think that works.

Lottimes with my images.

I add a layer of grain up on top,
anyway.

So I like to start with a slightly
smoother image,

as long as no details are being
removed.

These aren't fabric photos, so I don't
have to worry about underlying textures

too much.

So I think a little bit of noise
reduction is going to help,

but not too much.

Going to take that.

Sharpening down.

Just to hair,

I know that one adie's usually a little
bit too strong.

Been playing with brightness a lot
lately.

I just like the look it gives,

and I'm feeling

as though I just kind of want to pop.

Opening the shadows a tiny bit more.

Overall exposure,

I think that's looking good.

Saturations looking fine.

These are going to be adobg.

So I want to keep some reds.

Like I said, these are my

sliders that I use.

I know that

everything I need to do, the image is
right here.

I don't need to pop over to any of
these other tabs to change my

sharpening or change

my three way color.

I usually don't use those in these
situations.

And as I said, I'm going to leave this
uncropped so I can do my cropping and Photoshop

let's.

Go ahead and select

our other two images.

I'm just going to do copy all pace down,

see, what's happening with these.

One thing I do as I'm working on these
is I

don't always just do a straight copy
paste.

I'm keeping in mind the intent

of the other exposures,

and I'm going to focus on those areas
to see if I've got the right settings

for the needs of these exposures.

For this one, it was already brighter
on the side.

And I'm going to want to blend it with

an exposure

that is darker.

So if I brightened

this exposure up, I think it's going to
read too bright overall.

So

I think I should take that back down to
zero

and it's going to blend a little bit
better with the scene once I get my

composite going.

The next exposure was for this corner

thing.

I'm just going to go back and forth
real quick.

You see, there's a little bit of
movement.

We'll fix that in Photoshop.

But the overall exposure for this area
should be fine.

When I talked to the Rob earlier,

he pointed out that these areas were
going a little bit green.

And I'm seeing a little bit of green
down here as well.

I could fix that

with

a move in the white balance,

which I hadn't loaded up yet.

So let's get that up on the top.

If I shift my tent

this way goes green, this way goes
magenta.

So I can shift this over to the reds a
tiny bit, add a little bit more yellow

so it doesn't go too pink.

And I think that'll get rid of my
greencast.

Yep,

I was just looking down in this corner
and a little bit on this fade.

All three of those are looking good.

I'm going to go ahead and select all.

Go to my process tab,

make sure I'm still going to

p, p, p, p, p, p, p, p, p, psd, eight
bit, check the directory we're going

out to.

This one's fine for now.

So now we're going to

get these things processed over into
bridge and then over into Photoshop.

I'm going to do a slut doll.

Go over, go over to my process tab,

check that I'm still on psdlb,

eight bit.

Check my output directory.

This one's fine for now.

And we're going to hit bandy and send
them over.

And here we are, got my files in bridge,

exactly the way that I process them,
exactly the way that I want them.

We're going to use our Photoshop tool

to load these into layers.

Once again,

give it just a second,

and we're

ready to start masking.

As you'll remember, my first step in

getting my rough composite

prepared is to align my images.

I'm going to go back to my notes.

Go ahead and copy these in.

Come back to Photoshop

loops

to a quick paste,

get the type size the way it needs to
be.

And now I've got a reference for

rob's notes.

These aren't too extensive.

I kind of already know what they are,

but it's always nice to have a
reference.

Just keep reminding yourself of the
work you need to be doing and what you

need to be focusing on.

511 will be my base image

I'm going to put that up on top.

We're going to go to difference

for our alignment.

Take the next layer down.

This number, 510 is for

bottom below the label, rear cocktail
glass.

So I'm going to line down here, because
that's the relevant area.

Sometimes when you have a camera shift,
it doesn't shift

in a uniform way.

So things, even though they're aligned

down here,

might be differently aligned

in the upper part of the image.

So look at your alignment.

That's closest to the area where you're
going to be using that composite.

Good.

Or next.

521

is for the left side of the bottle.

So I'm going to focus on that area.

You can just use my arrow keys

to tap it over.

That's looking good.

Go back to the top.

Go back to normal.

To a quick check,

make sure everything fits together.

I know that's going to be as close as I
can get it, because I was on difference,

and that shows me exactly what the
alignment is.

Even though there is still a little bit
of

movement,

that's

nothing we can really fix.

And it doesn't matter in this case,
because we're going to be doing a soft

blend of these 22

zones, two parts of the image.

All right.

Moving on

if you will remember,

I like to group things up

because I know

that's what I'm going to be using.

And I like having references for

the notes and the parts of the image.

And what they are.

This is our base image.

510

is going to be

the lower bottle.

Let's just go and put the bottle in
there.

I don't know why I keep calling it a
boodle,

but it's

definitely a bottle

521,

right, our left side.

And we're ready to do a real quick
rough composite.

This is just going to take two seconds.

Not really much we need to be doing
here.

I'm just going to come in,

hide my text.

It's just a distraction.

Going to

optional click

my mask tool.

It's going to give me an inverted layer.

This isn't visible anymore.

Going to come in with soft brush,

hundred percent flow.

I don't want to gradually bring this in.

And we are going to

have a quick look at what's going on
here.

When you see the region that I want to
be painting a lot of times I toggle my

mask on and off

just to

see what's underneath me and what I
need to be painting in,

in this case, we're aiming for the lower

corner of this bottle.

But there's also a highlight up here
that I don't think is desirable.

And this layer doesn't have that.

So I'm going to

see what happens when I bring it in,

just like that.

I'm not going to worry about this
corner of the label.

Looks like,

yeah, the exposure is exactly

the same on both.

Maybe a tiny little movement I can
compensate for.

It looks like it's a half pixel.

It's not going to make a difference.

And when I turn this layer on and off
now,

I don't see any

problems with that mask I just made,
even though I'm cutting outside the

area that I'm supposed to be
compositing.

If you look,

there's really no issue with that.

I just created a

really rough mask.

It was one brush stroke,

maybe two.

I went outside the lines

and it doesn't matter.

Because that's the beauty of
compositing, and working with a good

photographer is, when he changes the
light, it doesn't change the entire scene.

He can really focus

in on a specific area most of the time,

and give me what I need without
creating a lot of extra work for me.

So I'm happy with this little spot down
here.

Maybe I can see if there's

there might be a little cleanup we're
going to do here,

probably this little nub back here.

And it may be that I just didn't get it
in the mask.

No, I did.

All right.

Onto the next exposure, we have the
left side of the bottle,

and I'm still not sure how I'm going to
use this, but I'm going to go ahead and

paint it in,

just to see how it fits into the scene.

Just like that.

I know

this area is not going to be needed, or
maybe

it's kind of interesting, because

it

complements

this highlight that's happening in the
bottom of the bottle.

This area down here is already

a little bit distracting,

because you really want the viewer's

eye and focus to kind of come in.

I'm thinking,

I'm not sure if I want the eye to come
in from the upper right,

across the image, or if I want to start
in the lower left and bring it up.

I'm going to be doing a lot of that

observer movement with my color work.

So for this mask,

for now,

I think I'm going to leave this little

highlight where it is.

I'm just going to experiment real quick,

see if I prefer

the previous highlight.

Let's go ahead and move this one back
over to the left

maybe shave some of

side down a tiny bit.

You'll notice there's a

little bit of a dark gap

over here.

And what that is,

the

edge of the canvas.

When I had to reposition

this layer

to match all of the underlying layers,
because of

a little bit of camera movement, camera
movement that we had,

I can,

in the end, either crop it out.

I can paint it out using frequency
separation,

or I can also

just check to see

if it's possible to blend

those two exposures together

using a little bit of creative masking.

I'm not sure i'll be able to,

because the light is quite a bit
different.

But maybe there is

an opportunity

to keep the whole side of the frame,

just in case I don't have room

to crop left and right,

and a lot of

print campaigns.

You need to

have a bleed,

of course.

And

with an image this tight,

I don't want to be cropping out too much

on the sides, because I just feel like

this corner of the label is already so
close to the side of the image,

that cropping in

and then having a bleed is going to
really

just

create an uncomfortable tension in that
upper left corner.

So for now, I'm going to leave that
like this.

I think

it's still not quite the solution, but
at the same time, I'm not necessarily happy

with a lot of these reflections I'm
seeing here.

I can see that what rob's intent is

with having light come in.

Not sure about this highlight down
here.

So

I might actually just do this by hand,
clean up what's here, and paint my own

light in the corner using a curve and a
layer mask.

There's also the issue of

this highlight coming down the side of
the label.

I'm not sure it's desirable.

It creates

a pretty busy line.

And I sort of like the subtlety

of

this

strip of light coming down in front of
the bottle.

So without all in mind,

I'm just going to go ahead and leave
that layer off.

I know that I can reproduce that look
in five seconds using a curve.

I won't have to make a mask that

gets rid of this line,

that is going to have all sorts of edge
issues here

there's just going to be a lot of
trouble if I try to use that exposure.

So we're going to turn it off.

I'm going to

confirm that I like what's happening
here.

I do.

I think my basic exposure is fine.

I'm not worried about going

back into capture to do any additional

exposure adjustments.

One thing I do

occasionally do,

and I might be

interested in doing for this image, is

actually creating

one more exposure.

No, I think I'm going to be finding
Photoshop.

I was considering

opening this area up in capture, going
over here,

going to my base exposure,

creating a cloned variant,

coming into my

adjustment sliders,

and

giving this a little bit more contrast,

a little bit more exposure,

maybe pushing my saturation a tiny bit,

shifting over to the reds,

that sort of thing.

This is what I want

the glass.

This is what I want the glass to look
like in my final composite.

I want it to have a little bit of life,

a little bit of color,

a little bit of contrast.

There are so many things I can do in
capture.

I can still do all those things in
Photoshop.

But

I really like using capture as a tool
to do all these things

before I commit anything like that.

I can always just do a quick

curve check.

There we go.

And

brightening that up

a bit in Photoshop.

That is exactly what I wanted to do.

No need to pull another exposure in do
a mask before I get into my frequency separation.

And so let's

just, we'll keep that curve for now.

It's nothing special, but I know I'm
going to need a color correction group

with a curve.

That's going to be my

front glass.

Go and keep it there.

Turn that off.

Don't need it.

And

with that in mind,

I think I'm ready to do

a frequency separation.

I'm not going to be using this exposure.

And let me double check that I even
need a frequency separation on this one.

I think I do.

Even if I started

cloning and healing this area.

I know I regret it if I was just doing
it the old fashioned way.

So I'm going to go ahead and

get to my top layer.

Good at my actions.

Get to my first stage of frequency set.

Check my surface texture,

looking for

the

noise reduction.

And the shapes that I'm looking for,

these are really large forms, because
the

size of the texture,

instead of it being two pixels wide or
three pixels wide, is much larger.

Now, because we're zoomed in

four other types of surfaces.

This number, we might have to take it
up to ten or twelve.

But for this image, I'm not really
worried about this surface texture too

much all I'm really worried about are
the sides

and this liquid up here.

I'm not going to be doing much work

on the side of the label.

I think I'm going to be doing a little
bit of work on some of these speculs, a

little bit of work on this specular.

But overall

it's just mostly about the

whiskey inside the bottle,

kind of smoothing out a few of these
areas.

So we'll take a look at six.

I like it.

Going to punch it twice

and set up my second stage.

Separate that out.

You remember, I just kind of jump right
in

to my cleanup.

I don't need to see what the image
looks like again.

But if we want to verify, we'd just do
that to two of the layers

and turned on and off.

All is well.

So we're going to just start diving in

to the cleanup

for cleanup.

You'll remember,

on this high frequency layer, we're
just going to use the stamp tool.

Nothing fancy, nothing special.

I'm at 100 percent flow.

That's all I need for this.

It's just going to be a really quick

cleanup of

few of these little

imperfections

on the glass.

I want to be using

100 percent

hardness all my brush

if I were to go soft,

I'd get a lot of blurry edges.

Those would never be visible in this
cleanup.

But good practices,

always being aware of

what you're cleaning, what you're
cloning,

and the appropriate

hardness

and spacing of your brush for those
kind of areas.

I often just kind of check out what I'm
cleaning,

just to make sure it's not an essential
part

of the products.

And the light,

these little reflections, I'm sure

Rob wasn't interested in keeping

this piece up here, I know, is a
distraction.

And this is the side that I want to

smooth out a little bit, so I know these

colors aren't desirable.

The edge of the bottle is somewhere
over here,

knowing that this is a print.

This is all going to get cropped out,
because this is part of the bleed.

So I can safely

make the side of the bottle disappear,

because it's not in.

The scene,

it's pretty much blurred out.

You can't really tell where the bottle
ends and the table begins.

So no worries.

I can safely

get rid of all of these

things.

So we'll go ahead and just take those
out.

We're getting down to the lower section
of the glass.

There's

a line or two here,

but nothing

important.

So we will

go ahead and remove.

That's

gone.

Now we're getting into some

more complex areas.

Nothing down here, we need

that's gone.

Don't think I need any of these

blurred out specks

Those are gone.

Ok.

A few little pieces down here.

I don't really like

this one.

And I remember from my corner composite

that

this little piece needed to go.

Sometimes when I have this issue where
I need a blend of grain,

I do lower my

flow a little bit.

It's going to smear the pixels slightly,

but that's ok.

In this case, it's

not going to make much of a difference.

It's just going to give me a little bit
of transition

back up to 100.

We're going to check

what's happening there.

Don't want it,

don't need it

again.

Most of this grain structure you'll
never see.

So you don't need to worry too much
about maintaining

this little gap in the grain.

If I wanted to.

I could go straight over it, and you
would never see it.

Once these

separations are

blended back together again,

that little piece of light I like.

I'm going to just flip back to my
normal view,

see where else in the image there's any
major

pieces that need to go away.

This little thing here,

not really sure

that looks like a difficult remove.

I might just do that on

a retouch layer above.

I'm not going to get there just yet,
because

sometimes photographers really love the
sparkleys.

Others just see it as a distraction.

So I'm going to make a call in a few
minutes what I want to do with that.

Back to this,

I'm liking all these blurred out

sparkles in the ice.

Yeah,

we might push them down a little bit.

We'll see.

Ok,

I'm happy with my high frequency

And now we're going to be going over
those areas in the low frequency domain,

because we were just getting rid of the

surface noise

component of

these

distractions

in the composition.

Now we need to go down into the low and
kind of go over those same areas

with a lot of this stuff.

I could have gone,

and

maybe it's done it on the retouch
layer, because

they are rather simple.

They aren't in complex areas.

And

I think the healing brush rotor works.

But I really love just

always practicing my frequency
separation, playing with the tools.

I have a lot of times I innovate when
I'm on those layers,

and I just want to

see if I can come up with new ideas as.

I'm working.

We're not going to be doing that today.

We're just going to be doing clean up.

There's a little bit of an edge up here.

I think what I'm going to do with that's

actually part of the bottle, part of
the shot.

But

just depending on how this gets cropped
and where the bleeds are,

maybe we can just extend

this side so that they don't have an
edge that pops in anywhere.

I'm going to go over to my mixer brush

and get myself thirty flow will work
for this.

And I'm just going to lift these areas
straight up.

And now we have

a nice top edge, and we don't need to
worry

about

where that crop is

when I just blend these areas up

quickly.

And if you've done this a lot, you know
how painful something so easy like this

can be.

It's just

a lot of pain sometimes to

do what should be a very simple

blend

of color.

I'm going to

go to a

little bit of a lower flow.

I think ten might work,

although it might push this light too
far.

It's just a little bit of a tricky
area.

If I go like this, I'm going to be
disturbing the label.

So I've got to kind of work around it,
unless I feel like

creating

another layer in my low frequency stack.

But I don't feel like doing that right
now.

There are a couple ways to approach this

if I wanted to.

And I might do this.

I can just take this whole section,

can hit command j.

I can float it up,

put it in this stack,

go back to my mixer,

and

I could ignore the issues that I was
having down here.

Because I really want this line

and all of the stuff that was in there
to get smoothed out, because this is

really the lightest part of the scene.

So your eye's going to go right up here.

We're going to pop this label open in a
few minutes,

so that it gets a little bit

higher, a little bit higher in the
visual hierarchy

right now.

It's not quite there with that done.

I can actually just put a mask on it,
get her a normal brush.

Hundred percent

what I do is I just paint out the edge
so I can see what I'm working with,

and then

try to match my feather up to this
feather.

And then I can maybe go to a lower flow,

make sure I'm doing that.

And I'm just going to

blend

that mask into the edge of the label

like that.

Maybe there's a little bit of a dark
shadow,

and I can get rid of it.

So wool.

These areas are always tricky.

But remember that you're zoomed in, or
I'm zoomed in,

a few hundred percent.

So this is greatly exaggerated from how
it is in reality at prince size.

We're going to leave that for now,
because I think when I turn on my high

frequency, a lot of that's going to go
away.

A little bit of edgework.

I need to

high frequency

magic.

There it is.

Ok.

Check it out

that.

With our old tool set,

even though that's such a simple area,
it would be such a pain in the ass like

trying to heal this up.

Such a nightmare, and with a
separation, it's just so easy.

A little bit of clean up, a minute to
do here in a few minutes.

No big deal.

Seeing a little bit of

high frequency stuff up here.

There might be some low frequency in
it.

These are things that I can just go up
on my retouch layer,

curning below seven percent.

I don't feel like going on two
different layers for something so simple.

So we'll just do that.

Get rid of these little dust bunnies.

All good

there's a dimple over here that we can

kind of lighten.

Oops.

I thought this was some sort of
register mark.

And you can see, when I'm using healing
brush, it produces artifacts

that I don't want.

If I lower my diffusion, I think I can
get a better match.

Nope.

C, that'll work.

Maybe you heard of that one?

No, it's fine.

Might be part of a graphic.

It seems

like a

pattern.

Not sure.

Let's get back to this.

Think those are, oh, knope.

All right.

Really get back to our separation.

Back to blending

back to the mixer brush.

Going to work on this edge a little bit.

Where do you come from?

Sh 3010,

make sure I'm at the right settings.

And we are going to

get rid of these shapes.

Sometimes.

If it's helpful,

because the solarization does crazy
things.

It's not necessarily bad, not
necessarily good.

It does allow you to really visualize

what's happening

on

your low frequency domain, and it's
scary,

and it causes you to really overclean.

So instead of that kind of adjustment,

I'm just going to add

a little bit of brightness

so

I just can get a better visual of
what's happening in this corner.

Doesn't really matter, because it's
going to print super dark.

And

I know from experience that

this color,

in its

natural state, which is going to be
that,

is not going to print a deep dark red,

because that color doesn't print, it's
going to turn to a different shade and

a different value, and probably wind up
looking pretty desaturated.

And that's ok, because

it's not

a really important part of the image.

just something that holds the shape

of the bottle.

And if Rob wanted that to actually have
color in shape, it would have been

really bright

lit completely differently.

So I know that it's not intentional,

or that it's not unintentional,

that the color is the way that it is,

ok?

Let's come down here and don't forget

and don't forget.

You don't have to stick with a mixer
brush.

We can use a heel tool for some of this
stuff if we want,

but the mixer is

such a joy to use,

and

I just

always find an excuse

to use it.

All right.

Smoothing this down just a little bit,
maybe,

straightening that out hair,

because I'm going to be lightning it a
tiny bit.

I'm not trying to make this area
perfect.

I'm just trying to get rid of clumps

and distractions.

When I turn my curve off

it's a lot darker.

I might paint a little bit of color
down in this corner, looks like it was

trying to get colored,

but it didn't quite make it all right.

Onto some other sections.

Going to pop this curve back on

so I can see what I'm doing.

We've got quite a bit of

an edge here.

I'm not sure

what I'm going to do.

I think what I'm going to wind up doing
is just kind of brightening this really dark

side of the bottle to give it some
separation from the glass behind.

Or I could even leave it

where it is and lighten the glass
behind it to pull that separation,

because right now

these two

parts of the scene are blending
together and they aren't

wanting to blend together.

So

moving on back, moving back to
cleaning.

Let's get our high frequency back on.

Take a look at what's happening down
here.

I'm thinking these little triangles

need to go away.

I feel like

they're

kind of dominating the scene

in some strange way.

They just don't have the same shape as
everything else.

And I know I wanted to work on this
highlight a little bit too.

So using mixer brush,

there's really no high frequency up
here.

Because it's a really bright highlight.

I'm just going to paint out

these highlights,

tone them down a little bit,

maybe

a darker shape into the corner,

make this lower

dark patch kind of go.

Continue going up the side

of the bottom of the glass.

You know, really just taking the
viewer's eye

away from this corner,

because it's not

important.

So

you can see, there's a little bit of
paleness to this area.

Something to switch to a normal brush,

loaded with some color

maybe around that area,

switch to super low flow.

And

I'm actually just going to paint

a different shade of color right into
this area.

Undo, ready

it's ok.

Maybe,

like, I wanted to do, just add a little
bit more shape over here,

like that.

I don't know if I want to add some
speckleys in there, but I'm thinking

that looks pretty good, just like it is

before and after,

it's a little bit flat.

If I wanted to do something fancy,

I could just come in with a

cloned tool, excuse me, a healing tool,

and I can borrow

one of these shapes over there,

just so it's not so flat and slightly
artificial, looking a little bit more continuous.

And we're going to come down to

these guys

mixture would be a little challenging

in this area, are a little bit
challenged.

I'm going to do a quick check

of my healing brush.

And with a healing brush, if you're
using a soft edge, and you have a low diffusion,

it's going to be trouble.

You get a lot of

strange outlines of transparency.

Adobe is aware of it.

One of these days are going to fix it.

So, but if we cranker our diffusion up

and all the way to seven,

we don't get

those same issues.

So usually my healing is at seven,
unless I have a heart edge and I kind

of want to do a clone rather than a
heel, but still have it blend back in

to the areas that I'm cloning or
healing.

All right.

I just wanted to take that down a tiny
bit.

Maybe this

piece, too

tricky.

One.

Go to my mixture brush,

see if I can just kind of gently

push that to the background.

That's what I'm

wanting it to do.

I don't want to take it away entirely,
because then this just becomes a flat blob.

And

if

Rob liked that area for some reason and
I just made it go away, it's a little

bit jarring

and unexpected.

So I leave a little bit of shape there,

so that I'm not completely transforming

something that may

serve a purpose in the image.

This highlight back here,

I'm going to leave it where it is for
now, because I'm going to be

brightening up this scene

a little bit,

and it may not be quite as

distracting as it is now.

Moving down to

this highlight,

I have a feeling that

since we're going to eleven by fourteen

in the end,

I'm going to be cropping somewhere.

And

because the label is so high up in the
frame,

it's going to be the bottom that gets
cropped off.

So we're not going to worry about that
highlight right now.

We're only going to focus on the part
of the image that is

more than likely going to stand frame.

And speaking of the crop,

I'd like to go ahead and make the crop,

but as I mentioned,

we're going to leave the image intact.

And the way that we're going to do that
is in the options of your crop tool,

you've got delete cropped pixels
content on where it doesn't apply to this,

but the cropped pixels does.

And what that means is, when we make
our crop, it's going to actually trim

the image and work destructively

and get rid of that bottom edge.

And we don't want that.

We want to maintain it, because we want
to be able to shift the crop within the canvas.

And this will allow our image to stay.

And when I do this, it's going to take
a couple seconds

because of a number of layers.

I have a smart object,

and I have filters applied to that
smart object.

But that went really quickly,

and

this machine is a little bit better
than the one I have at home.

All right.

So doing that,

you can see that

my base layer is still intact.

I still have freedom to

move

my crop around if needed.

And

I wasn't correct about the bottom, but
I can pretty much guarantee you that

they're not going to do something like
this,

going to be cropped from the bottom.

All right.

So with that in mind, this is our

composition,

and this is what I'm going to work from
when I do my color.

I'm happy with a cleanup.

Going to work on this highlight in a
little while.

We're going to do some shaping on the
side here,

make the scene overall just a little
bit brighter,

and should only take a few minutes.

We don't need too many masks.

Moving on to color correction.

I'm thinking I'd like to keep this one
to a minimum.

I don't want to

create a bunch of masks for everything.

This image is really well lit.

Thinking, I'm going to do a lot of
selective

curving,

loose masks,

kind of dark room style,

not changing the shape or the hierarchy
too much

through intensive masking.

We're just going to

get down and dirty

and try to work intuitively.

First thing I'm going to do is I made a
curve for the front glass.

It's already ready to go.

I'm going to

keep that curve,

create a quick inverted mask,

going to low for flow brush.

Ten percent, i'll do paint in that
area, see how it responds

looks

with the rest of the scene.

All that painting just gave me 100
percent.

Still a tiny bit dark.

What I'd like to do is create

a master curve on top,

because

I'm going to be

still opening this image a little bit
more

than what I did in capture.

And that was my intention.

I don't push things to their maximum
limit.

And capture.

I always give myself room to move,

because I really like to craft the
image after I see the whole thing as

one piece.

And

I kind of like the overall light that
I'm seeing right?

Here

and so now I can

judge this curve based on

that little bit of pop that I did,
because I wasn't sure if I needed to

open this up

a tiny bit more.

And I think I do.

But what I'm needing is to change this
up just a tiny bit,

do that sort of thing.

It's probably getting a

touch too saturated.

I'm just going to go

to the old hue set,

take it down just a little bit.

I'm going to switch it to color,

because

if I don't, it's going to affect the
luminosity

of

that area too much.

Let's do that

for this backglass.

When I was chatting with Rob earlier, we

felt like we had a little bit too much
green

and here.

So for that, I think I'm just going to
use a curve.

I often don't know exactly what I want,
and I've just got to try a couple things.

And

for this, we'll see what happens if I
just pull a little bit of that green out.

I'm going to exaggerate it for now.

Low flow,

and we are going to reveal

our green pull,

before and after.

Yep that'll work.

Fix this area down here.

I'm not going to spend too much time
with it's

important, but

it's not something

that you really want to waste your time
on.

I can give it a name, just so I know.

I call this

back green.

I'm the only one that needs to know
what that means.

I know what it means.

we'll leave it as that.

For the label.

I like the mood of it.

I like the light.

I'm not sure

if this is getting too dark here.

I'm just going to do a quick

dB layer, like I showed you yesterday.

I just have a script that I run

that just makes a soft, light blank
layer called dB,

saves me a few clicks.

It's going to sample this color.

I want to lighten

anything above

fifty lightners, based on the amount of
brightness that has.

So a value of somewhere in there.

Isn't going to brighten it too much as
I get to 100 percent

of that color.

So

we'll just kind of gently brush that in,

see what happens.

You can see that I'm not really

concerned about keeping an edge.

I like using a dark room style,

where, when you had tools

that were very

general and not targeted and specific
and perfectly masked,

created really compelling images.

And so I kind of like using that idea
and technique a little bit.

And so that's what I'm doing right
there.

I'm also in, so introducing a little
bit of warmth with my color, because these

areas were a little bit cooled off.

That's maybe a little bit too green.

So I'm going to shift the hue of it
towards the reds a little.

And

we're going to

go over that area again, but using a
slightly lower flow this time.

I'm just going to dodge

that out

and see what happens.

Cool.

I like it.

Maybe still a tiny bit too saturated.

So I'm going to do something weird and
just quick command you

and pull some saturation out of my dB
layer, because there's nothing else on

it yet.

So that's safe.

I might have had a little bit of red
standing down there.

No, it was already there.

We're going to leave that.

One of the quick things we're going to
do,

because I'm feeling really good about
this, is we want to

put a little bit of shape back here,
because Rob took an exposure just for

that area.

So I know that he wants a little bit of
light coming in.

I remember it was kind of a yellow,

beige color,

similar to the label.

So we'll sample the label

and just do a quick test.

Actually.

I know that's not going to work, because

it's on soft light.

Soft light, doesn't bring up shadows
very well, even though it brought up this.

This color would be

a little bit weird

with a dB.

Although maybe let's just try

a big dB and see what happens.

never mind, let's go for that.

We're going to go low flow again,

and

we're going to just

shape

a little bit of the side,

just like that.

You can see it's bleeding over on top
of the label.

I don't know if it matters.

I don't know if anyone would ever
notice.

It

creates a type of realism for me,
because if you did have light coming

from that corner, it actually would
bleed out onto all the edges.

It would create illumination.

It would bounce off surfaces in the
scene.

It would cast light.

You've got ambient inclusion stuff
going on.

So I'm probably going to keep that.

If I wanted to back off a little bit of
that front wrap to the label, because

it's a little bit of a yellow stain.

I could just go to my eraser tool, yes,
the eraser,

and low flow

my, on the right circuit,

go to my airbrush, 2

or three, maybe,

and just

touch that away.

Just like that.

Got my wrap,

got my light.

DB.

I'm going to do one quick pass on this.

This is kind of a weird move.

One percent flow.

I'm going to use a

slightly warmed

white,

pure white.

And

I'd like to see

just

a touch

of

value shift here and there.

In retouching.

A lot of times we just put a dB up on
top,

just to kind of play with some, the
image role quick.

And what you do with that is

black and white,

low flow.

And you can kind of intuitively just
play around with

the visual hierarchy a tiny bit.

So if I wanted to make this corner a
little bit darker,

I can come in with a black brush,

see what happens, see if I like it.

Maybe I actually want a tiny bit of
light back there.

I don't.

Maybe just a tiny bit of openness there.

No, not necessarily.

I think this is a little bit too dark.

So I'm going to open that up.

I think this is just a tiny bit too
bright.

I'm ok.

With these highlights down here,

darken that

open.

That's

exactly where I want it.

One last little step I want to do,
which I should have done on the

previous image,

but I forgot,

is, I'm going to add

a grain layer.

This just creates a nice, little
uniform surface.

It's not necessary.

This image is pretty

good.

But I'd like to

get you in the habit

of adding this.

It helps to blend some retouching moves
that might be in your image.

And the way that I do it

doesn't necessarily have to go here,
but this is how I do it.

Outside of all of my work,

I run what's called a raw grain layer.

It's pretty fancy.

It's kind of a new technique.

I have some other tricks

with this technique, but for now we're
just going to show you how it works.

If I open up my action,

super simple, make layer,

call it grain.

Set it soft light, fill it with

gray, convert it to a smart object.

And then we're going to run camera on
it.

And camera is going to apply only noise
to that layer.

I find that camera grain is around

fifteen,

I think, is the size

in camera.

I'll do a quick manual version of this.

Create knee layer, call it grain.

Set it to overlay,

fill it with neutral click.

Ok.

Nothing in your image should change,
because it's fifty gray, set to overlay.

One thing I want to do before we do
that is to save this out.

Because I was just flying through this
image

and hadn't been doing any saves,

and I'm running a camera filter.

So who knows what's going to happen.

This is stumpies

environmental,

and we know it's going to be version
one.

I lost my psd

going through dumpies environmental
saved.

All right.

We're back to our grain layer.

Overlay,

fifty percent

filter

camera.

Wait for that to load up.

Come over to our effects tab.

Come over to grain.

I exaggerate it to begin with, because
I can apply opacity

to the layer.

But if I want more, this prevents me

from having to go back into the camera.

Like I said.

Fifteen percent size usually matches

a camera grain

or a camera noise roughness.

I like to leave it at fifty.

The lower you go, the more uniform it
becomes.

And it's just not as pretty

well, click, ok.

And that's it.

I did forget one step, so I'm going to
undo that.

I like to make this a smart object.

I get so used to my actions it's hard
to remember all the steps you take.

Go back into camera.

I'm just going to reply the same filter
that I had had before.

It didn't do it.

That's ok.

Click, ok.

It's going to run.

And it's super heavy.

And that's because I applied

a pretty large amount.

So I'm just going to go to my passity,

dial it in, -119900473085739164

it's getting a little bit chunky,

so we'll dial it back down to 30.

And that's camera augurine.

If I needed to reed it, I just double
click on my camera, all setting, and

I'm back in

my

grain window.

I dislike this better than the usual
filter noise

makes me feel fancy.

There's some other things I can do in
there that are really cool,

but for not where it's going to do
grain,

and that is our stumpies

creative