All language subtitles for 04-21-Gunpowder Gin-Drink Styling- Full Edit.mp4

Let's just take a quick look at the
notes,

see what Rob wants us to do, see what
these exposures are supposed to be for,

and then we'll dive into processing,

and all the other good stuff that comes
after.

So

557 is going to be our hero shot.

That's this exposure right here.

Looks really nice.

Might do some gradient local
corrections and capture, just to open

up a few things here and there.

I don't see a lot of issues that I'm
going to need to think about down the line.

559, we've got a hero label

exposure.

And what that means, this is our hero
label.

And Rob has inserted a card into the
scene

to try and

pop

sees me.

to try

and open up

the

shadows

on the right side of the label.

And as far as I can tell, that was
pretty successful.

I think he's done a nice job of opening
this up for me.

If I didn't have that, it would be a
little bit harder to

control

what's going on with this half of the
label.

551,

we've got

an exposure to

add a little bit of hopefully light and
glare

to the side

with these symbols

on it.

I imagine he felt like it just wasn't
receiving enough light

on the primary exposure.

So he

put a card in there to try to open it
up.

Unfortunately, there's not a lot I can
use in there.

That's going to be different than my
primary exposure.

So I'm going to do some fancy tricks

once I get these into Photoshop,

and probably use this exposure to
generate a layer mask.

And then I'm going to

paint in some grads on my own and just
make that.

What I know he intended it to be not a
big deal.

That's the beauty of having multiple
exposures

and to working from raw, because you
have a lot of flexibility, have a lot

of options,

and you can maintain image integrity by

using a rock converter to do all those

adjustments

ahead of your Photoshop works.

Get camera open

a little bit higher here.

I always call it cameras

capture.

One it's

all the same thing.

Looking at this image, I'm going to go
over to my developed tab.

First thing I want to do is brighten
the image up a little bit.

Looking at the histogram, you can see

that

all of our tones

are way down in the shadow region.

Looking at the image, you can see
there's just a lot of darkness here.

Let me take a quick look at these
notes.

Yep, we're going to eleven by fourteen.

Again,

I'm not going to crop

this.

One's going to have a little bit off
the top, maybe a little bit off the bottom,

but I want to

keep the entire canvas intact so I can
do my cropping in Photoshop,

like I said.

I want to

open this image up just a tiny bit.

Not sure if I want to use

exposure

or if I want to use brightness.

Exposure's going to blow out my
highlights here.

Definitely don't want that.

Brightness.

Is going to bring the mid tones and
shadows up a little bit better.

Before I do that.

I'm going to just use my hdr controls
instead,

give myself a little bit more range to
work with.

Compress that dynamic range

something's happening over here.

I'm not sure what that is.

Looks like a plant, oh, no.

It's the

other edge of this on the other side,

I think.

I'm not sure.

It doesn't really matter.

So with my shadows open and my
highlights closed down,

let's just get this out of the way
while thinking about it.

I'm going to push my brightness up just
to touch,

just to give myself a little bit more
range to work with.

I'm

just feeling like this image is a
little bit dark, overall,

and that's not a big deal.

I know his intention is to be dark,

but by starting a little bit lighter,

we'll have more flexibility,

more room to allow for gradations from
light to dark.

On this background.

We can just shape it better.

So, as you know, I like to have lots of
room

to play with.

All right,

that's looking about where I want it to
be.

Let's just go ahead and apply that to

our other images.

This is going to be my label.

Exposure.

I

think that looks about right.

One thing I would like to do

is just

make a quick comparison between these
two,

make sure that I haven't

brightened this label overall up too
much.

Shouldn't matter, because I can close
all that down in camera,

excuse me in Photoshop.

One thing I did notice right now,

and I'm not sure how to solve, or I'm
not sure what the solution is.

If you look at,

what, is this?

A jacolope?

It's a rabbit dear antelope kind of
thing, I'm not sure.

But of this animal has some really nice
highlights

on it

for

the right side of the label.

The main exposure does not have that.

And I don't have

any exposures in my set that are
illuminating

all of the

foiled

blue

with reflective properties.

To retouch this in by hand

would take a long time.

You can see, there's just lots of
subtle details.

There's no request to do that, so I'm
not going to worry about it for now.

We're going to process these two out
and see if there's a way that we could

combine them that looks good.

All right, spending a little bit of
time here.

All right, these look good to me.

I think I'm going to knock the
brightness of this one down just to

hair, so that the

two sides don't become too similar.

Use my brightness for that.

And

those are looking good.

All this checks out.

It could be a little bit yellow.

Let's see what happens real fast if I

go

a little bit more.

Maybe on the red side,

possibly the label is a little bit
green.

And I didn't get any great cards of
these images, so I kind of have to

trust my instincts

looking a little bit orange,

definitely on the red side.

But I think that's ok.

It feels better

and more balanced.

Overall.

I think before it was just a little bit
green.

Overall.

So I just warmed it a tiny bit with my
white balance

and it go and resink these images,

and I realized I just made the
brightness go there again.

I should have only resync.

My white balance that's ok.

A big deal.

Cool.

Next, we're going to go over to our
developed tab.

Once again,

recipe is intact.

No worries.

Going to process these out

into our gunpowder gin

and get started

on our Photoshop work.

After we go through bridge to get our
layers stacked,

that's, our output

files are on their way.

And let's go over the bridge

and get our stack running.

Ok,

files

load.

Bring this up.

one thing I didn't check.

I'm not sure if this is going to be
important,

because

it's just how the image is.

I don't think I need to go vertical on
my edges here,

the camera is pointed down

a smidge.

And if

I straighten up those edges, it's going
to change

the film plane so that I'm no longer
looking down.

It's going to look like a tilt shift
lens.

And I don't think that's what Rob
wants.

So we're going to leave these verticals
to be slightly tilted down.

I like the way that looks.

All right, let's do a quick alignment.

This is our

primary 557.

I'm going to verify that real fast yep.

557,

going to put that up on top.

Set.

It's too different.

Get my layers underneath lined up.

Easy.

This is number 559,

and it is hero label.

So I definitely want to

make sure that the label

is aligned, looks like it is.

Move over to 551,

check my notes.

Japanese symbols, which I'm going to be
redoing anyway, but I think

so we can just see

what Rob was able to do with that card.

We're going to get it in place.

That looks in place, to me, almost a
perfect alignment.

You go back up on our difference.

All right, let's make our

folder

groups.

is our main.

551.

I don't think we need notes for this.

I can go back and forth for just a
couple of these.

So I'm about to label them.

These are the symbols

for 551.

The southern one is

just for the label.

Did I get that right?

Hear?

A label?

Not a whole lot of Phil

might be easier just to do it by hand.

We'll see.

Or, you know, I could even use the
symbol file

for the fill.

I don't know.

I may have gotten those backwards at
some point

somewhere.

Not sure.

51, Japanese symbol.

559

here.

Label, yeah.

Weird.

The symbols actually have a lot more
light on them.

But rob's intent, I think, is to not
have that big of

brightness exposure on the right side
of the label.

We're going to play with it.

I'm probably going to generate a quick
mask of that whole label,

and so i'll be able to quickly tone it

and

adjust the balance

of the lights in the darks to be
whatever I want them to be.

Ok with all of that,

let us

start

with just our base image

and take a quick look at what we're
going to need to do with this.

not a lot of dust on the surfaces,

cup, a little hairs up on top.

The label, which is the hero of this
image, it seems like,

is

really,

really nice.

I don't see hardly any retouching I'm
going to need to do on this thing.

It's mostly just going to be masks

and

color.

A few little bits on this glass,

a few little bits down here,

and that's about it,

minor cleaning.

And mostly color.

I think this reflection is going to
need to come out,

not

aesthetically

pleasing.

Possibly this guy down here, too, I'm
not sure.

Well, it doesn't seem like we're going
to need to clean very much.

But as you know,

I enjoy my separations.

So I think I'm going to include those
with this stack.

And what we're going to do right now is
our rough masks,

just to check out

if these composites fit together the
way they were intended.

And just looking at these layers,

I'm turning my symbol layer on and off.

And

what I'm observing

is that

when the card was put into the scene

to illuminate

the lettering, what happened was it
illuminated

the surrounding

label,

causing it to be brighter, and causing

the color of those letterforms to

apparently

increase in brightness as well.

And here's the trick, they actually
didn't.

They are pretty much the same tone as
the one on the primary exposure.

And it's very easy to trick yourself
into believing that these are brighter

just because the surrounding areas are
brighter, but they're not doesn't

matter.

I'm just going to use it to create a
quick mask.

And then I'm going to add my own
adjustment layer to these forms to

brighten them up a little bit, to just
get them to pop.

Because when you go to your base layer,
they're just kind of hidden down here.

They're not really shining the way that
I think Rob wants them to be shining.

One rough mask I would like to try,
though,

is

I really want to see

what a much brighter

right side of the label looks like,

just for fun.

And also

this glowing tail.

So as you can see, a bunch of light
came in.

That doesn't need to be there.

It's just cleanness up a tiny bit, so
we can see what's going on.

All right.

It's not bad.

It's quite different than the original
exposure.

But at the same time, I was given a
label, exposure.

It just wasn't very bright.

It's

barely being kissed by this card.

So

now I get to

decide which I want to use.

I'm pretty sure I'm not going to use a
label.

I can just reproduce that by hand.

I might use this little section of it,
but then it looks strange.

Going from

bright and shining

to just dark and flat.

That's a tricky one.

So

what I would like to do for now,

I think I'm going to go for it.

I think I'm going to use the

symbol layer as my fill light on my
label.

And to do that, I'm just going to
tighten this mask up a little bit,

make sure nothing weird's going on.

Think you've got a little corner, as
you appear.

Ok,

that solved that.

Check out some of these other areas

actually.

You know, if I want to get

a nice clean mask for this,

I can

go to my quick mask tool,

quick select tool

and

grab this whole label real quick.

Since I've got that made, I'm going to
go ahead

and

make a color correction group, like
I've done once before,

put

a curve in it

that has my layer mask already made.

I know I'm going to need this later.

And there is that.

With that mask made, I can now

use it as a selection

to load.

Go down to this

blob that I just made for the right
side of the label.

Invert that selection, fill it with
black.

Must you going to keep it selected for
right now?

Because what I want to do

is make sure that

my edges are what they need to be.

See, this one's a little bit funky

up here.

It's apparently working though.

But I would like to

work on this edge a tiny bit.

Who

look at that.

I think

my accidental drawing of that mask
actually worked pretty well.

what I'm going to do,

one check.

You know, now that I've looked at this,

there's really no reason to

use half the label from one exposure,

half the label from the other exposure.

Instead, I'm just going to use the
entire label.

Our alignment looks really good.

The whole exposure across the face of
the label looks really good.

So we're just going to keep it intact.

That will

produce far fewer artifacts during this
transition.

And I think it's the right thing to do.

So,

with that in mind,

we're just going to take that selection
that's currently loaded,

fill the whole thing with white.

That's going to give me a mask

for the entire label.

It's all lined up with the one below.

So anywhere

the mask wasn't perfect,

the image below will pull through and
fill in any gaps.

But the mask looks pretty good to me.

I don't see any issues.

So we're just going to leave it like
that.

All right.

Last little thing I want to do before I
make my frequency separations get into

my color work,

is

to

adjust this guy over here.

This is going to be for

a little bit of fill

in these letterforms.

And for that, I am going to

use a channel,

something that gives me some contrast.

It looks like

the red channel is the way to go.

I'll go down to channels,

dupe the red,

invert, the red

level it out, so that it's black and
white.

Get as close as I can to

the finished mask that I want.

It's going to be somewhere in there.

Yep, not going to worry too much about
a lot of this noise.

Click, ok,

draw a lasso

around it.

I'm going to invert that,

fill it with black.

And now I've got my mask just like that.

Ok.

Now I can go to my rgb's

and get in my red copy.

I don't know why I'm doing this now.

And this is really color correction
more than a retouch,

as you'll see.

I think I just wanted to make it just
to verify that I'm going down the right path.

Go into my curves and just open that up
tiny bit

easy.

And the other thing I'd like to do with
it

is to

maybe push the saturation

small amount,

bring this back down.

It's starting to

be dissimilar

to

everything around it.

So I don't want to push it too hard,
because then it becomes unlike

the other typography

on the label.

Ok?

So I feel like

I'm doing the right thing.

I'm committed to

this label being

a replacement for the one before.

I'm kind of

a little bit torn on these blues.

There's a lot of things to think about.

I can check real quickly

what's happening here

by just brushing out the mask.

And I think I kind of like it.

It gives it a little bit of something.

You know, if it was just flat, dark
blue all the way across, I don't know,

just doesn't have that same sparkle,

just feels kind of

uninteresting.

So let's leave it.

Ok.

With that done, I am, ready too,

make quick frequency set

so that I can do my cleans.

Come over here.

All I'm worried about with this
cleaning layer

is going to be mostly this glass
surface up here,

a little bit on the label, but not
enough to really

spend much time

stressing out over.

These are big chunks.

And I don't want to take my radius up
that high.

Four's looking good.

Times two,

a little bit of that.

And we're ready to start cleaning.

With that.

I'm going to flip over to my stamp tool,

make sure all my settings are where I
want them to be,

pick up my pen

and just start going to town.

I don't remember seeing any of these

specks

as I was coming through this image,

so

I'm not going to worry too much about
him.

If I turn on my preview, yeah, they're
there all right?

So we'll spend a second or two

on these.

They're not

a huge deal,

but we definitely want

to present this image

as clean as we can get it

and the time that we've allowed
ourselves to

complete it.

And I'm sure you're recognizing

that the process is the same as before.

And as I've mentioned,

I've really been honing in this
technique

for a little while now,

and I find it works on everything,

and it works the same way.

And you don't have to think, you don't
have to experiment.

You just

get your layer stack built up and

start cleaning and cloning

and

doing the things you know are going to
need to be done to pretty much any image

you work on,

whether it's

or product

or skin

or interior architecture,

doesn't really matter.

It's all the same.

It's just a bunch of pixels

and a few colors here and there.

So yep,

all that.

Get rid of a bunch of white specks.

remember there were

a few hairs

up here.

And this image is really clean.

There's very little

clean up that we're going to need to do.

I just can't wait

to dive into the color,

because that's where all the magic's
going to happen.

This was that big white

chunk that I didn't like that I
mentioned earlier.

It's a reflection

of

looks, like a self box

with a diffusion diffusion on it.

So we are going to

get rid of that real fast.

And

I think we're going to do the same with
this guy right here.

He doesn't need to be there.

So high frequency first.

It doesn't really matter.

It just kind of makes more sense.

This

thing here,

going away.

Not sure what all these things are, but

I'd like to see

what it's like when they aren't

spend a couple seconds

getting rid of em.

All right, on to this big boy.

Looks like

this.

Right here is

probably probably

the light stand

yep.

So that needs to go too.

And I'm not using the technique that I
used on the last

image, or was it the one before, where
I'm painting in

gray, because there's quite a bit of
surface texture on this bottle.

And painting a flat gray

would just

lose all of

that texture.

And I don't want that to happen.

I'm ok with this little thing.

It's some glass

peace.

Not sure what it is

that definitely means to go.

This is probably going to have to go.

We have a scene

up on the top.

Quick fix

I'm not sure if there's any in the low
frequency, but we'll find out.

Ok, that's all gone

groupy.

There were a few specks down below.

I'm going to go unaligned

and just

forget about my source placement.

Cool,

if you down here

I'm hoping, one day there's going to be
an AI

that can

observe what I'm doing and then finish
it for me,

because that's where all of this is.

Headed

doesn't seem too much of a leap

to have something that learns

from your behavior.

Ok,

there's a high frequency.

I just want to wear quick, not get to

sucked into all of this stuff,

because

quite a bit of it is very micro

won't be printing.

Cool.

That's our high frequency.

Take a look at what we did.

Hot the hell.

I'll get

there's that.

Remember, we're only doing high
frequency.

We haven't yet fixed all these big

pieces here.

I just noticed that

this does not want to be there.

We'll just really quickly take it out.

Not sure what that is.

Might be a light stand.

Who knows

sets, or

really busy places?

Cool.

Um.

Let's check that out.

Now.

Beautiful,

got rid of all those.

Look, those hair is already gone

like magic.

This looks great.

Tiny little couple pieces there.

Let's just clean him up.

All good.

All good.

This thing down here

is going to go away.

The same with that one.

I was unaligned

go.

All right

again, cleaning, every time you zoom in
there's more.

And at some point you just got to pull
back and say, great.

It's good for now,

and it is,

except for this one.

All right, let's do some low

mixer brush healing stuff real quick,

so we can get to color.

I'm just going to go in with my healing
tool first,

because that's what I want for this
area.

That looks good.

This thing up here,

for that,

I am going to

do a little trick,

going to go to my normal brush,

low flow

paint that in.

I'm thinking I was going to combine
that with a mixture brush,

but

I might just

use this by itself.

I'm not sure

oftentimes that I do.

And I have a tricky area that is just
going to take

a little bit too much effort with the
mixer,

all

paint in the color that I want it to be
for first,

and then go over it with the mixer to
blend those colors together.

But with this one, I think just a
normal brush is going to do the trick.

Cool.

Yes, it did the trick.

This one is going to be

a mixer,

but I need to be on the right layer.

Kate

cup a little pieces on the high
frequency here.

That one.

And that's

still not quite happy with this

stamp tool.

Low flow.

We are just

going to

do this

just like that.

Great.

Ok, for the rest,

I did quite a bit of cleaning

on the highs, but a lot of that stuff,
I don't think is going to

need

a low frequency clean.

Because a lot of it was just specks of
dust.

You can see

just a little bit.

I keep doing that little bit stuff down
here.

Cool.

I don't know what that is.

It's kind of upsetting me though.

So we're just going to mix that off,

come in here,

a line to this hump,

and get rid of it.

And it's almost gone.

A little bit of a thing there.

Moa, it's all right.

All right.

Other things I want to fix,

we're going to see if

there's a quick way to do it,

and if it is

what we think we want.

I really want to

get rid of this guy appear real fast.

I'm just taking a color,

and I'm just going to paint

right over the top of it,

like that.

I think there's a little bit of high
frequency in there

there.

Is

let's get this guy over.

I have no idea how happy that makes me.

Used to be such a pain in the ass.

I had a line over here that I got out
in the highs.

There's nothing on the lows.

It's all good.

This is looking great.

I've got some reflections here, but
we're not going to touch those.

And I'm

really happy with the cleanup.

I'm just going to

pat myself on the back

and do before and after

so I can see the glory of my cleaning.

And

that is glorious.

It truly is

nice.

All right, without wrapped up,

I want to get onto the color.

I don't think there's a whole lot to do
with this.

One

little bit of shine and polish.

Maybe some

really quick

down in dirty masks.

I've got a label mask already made.

And

I think I'm going to be able to get
away with not

walking through and isolating

every single element in this scene,
because there's a bunch of them.

There's two glasses plus the stacked
ones in the back,

plus the bottle, plus the bronze, or
whatever.

There's our rims everywhere.

These parts of the tray,

the reflections, the mirrored surface.

If someone wanted to pay me a whole lot
of money to really

power through this and knock out every
single surface so I could individually

color them.

I'd be happy to do it, but for this,

I really love where it's at already.

And I don't have the time to

go through all of that,

and you definitely don't want to see me
do it.

One quick thing I'd like to do before I
get into color

is

color.

And

shape in an image is largely determined

by the crop.

So if you're looking at a lot of dead

black space on the top and the bottom,
like this image has,

you're going to color correct it
differently.

Then if it has this eleven by fourteen
crop on it,

because I'm going to be

trimming out a lot of the dark values

in the scene.

And this will

kind of force me to change

the internal values in the central
scene.

I know that's kind of weird to say, but
that's

just what tends to happen.

So with that,

I am going to try and use this crop
tool, but I can tell it's not giving me

that that's what I was looking for.

All right.

So, same thing as before,

we are not deleting our cropped pixels.

We're leaving them

intact, so we're able to move this crop
around,

because I'm noticing that this thing's
really tight.

I don't have a lot of breathing room up
here, and I'm not sure

what this bottom corner should be doing.

So for now, I'm going to

balance it more towards the top,

which means I'm going to come down here
a little bit further,

so that the top of the cork has a
little bit more breathing room.

That's looking just about where I want
it.

Click on.

Ok.

There we go.

So that's how I'm going to do my color.

I really want to see it with a crop so
that I know I am

putting the right color on this.

One thing I would like to do real fast

is just see what happens when I

chop the bottom,

because those upside down letterforms

might not be important.

It could be something more

like that in the crop,

which

I actually kind of like.

I can imagine typography in the upper
right hand corner.

Hard to say.

And my color work for this crop would
be different than my color work for the

other crop.

Oh man.

So let us

pretend

this is going to be our crop

for now.

And

if

we need to do something different, we
have all of our layer intact.

We can just shift things down.

Push the mask out, adjust our curves a
little bit here and there to make room

for the new crop.

And it'll be five minutes of work.

But for now, I'm going to make the call,

and we're just going to work within
this frame.

Yep.

So

got a color control group

called a correction group.

And I have

this

label, which I didn't move with the
rest of the group because I didn't have

a primary setup.

I know I have two mains,

but

I'm not sure this is the old pre
frequency separation.

Don't have quite all my file names,
folder names, worked out

yet.

I still get confused sometimes.

That's all right.

For now, we're going to call this Maine.

And

we are going to get this aligned.

Since I goofed

when I set

this to difference,

and just skewed it straight down,

because that's all I did with the other
one.

Get that locked into place.

Go back to difference

or go back to normal.

Make sure

these are locked in the place.

And it looks like,

yeah.

Because if I come up one

it's definitely going to shift.

So i'll go back down one.

And that is there.

Now I'm wondering if I kind of screwed
up when I ran my frequency separation.

Right now, because I didn't include
this label

like a dope.

So all of my cleaning

wasn't on here

that's, ok?

It's just a little bit of cleaning.

This is what happens when you're
working fast.

You don't pay with much attention.

So what I'm going to do real quick

is

just

fix a couple of little dots,

just to show you how

I can combine that issue

I just had

with very little stress.

This workflow has been pretty well
mapped out.

Aren't really a lot of surprises.

You can always

fix your mistakes

if you need to,

and it's not a big deal.

Ok?

There's our label.

Fortunately, there wasn't a lot of
cleanup.

I think if there had been a lot of
cleanup,

I would have picked up on it.

Hopefully some of you picked up on the
fact that I didn't have that thing in

my frequency seps,

because it took me a few minutes to
figure it out.

Oh, gay.

Now with that,

I can

go

turn that back on again,

get into

my

color.

See, I got so far ahead of myself
before that.

I just didn't get things moved around
like I should have.

Go that's in place.

Got a curve that I started going to go
ahead and group it,

call it label,

and I like the color on it right now.

I don't think it needs to move,

but we'll see what happens when I

dupe it, invert it

and call it Maine.

Put that up on the top.

I like my primary

corrections to be at the top of the
stack.

Otherwise,

things above influence them.

Whereas if it's on the top, it
influences everything underneath it.

All right.

For this curve, I'm thinking

I got a whole lot of shadow tones,

not a lot of highlights,

a few mids.

And what I would like to see is

a little bit more snap in the shadow,

areas

in these glasses.

Background I'm not really worried
about.

It's just going to kind of fall into
place.

So let's see what happens if we

put an anchor

way down in the shadows.

That's probably going to be this area
over here.

Close it's more like this area over
here,

which is fine.

And what I'm going to do is just lift
all of three quarter tones and highlights.

And I see that

this is my

old

lay your mask.

Nothing got grouped.

I needed to move everything at once,
and I didn't.

So it's going to pop down here quick.

This one's aligned.

That's going up to Maine.

It's getting inverted.

This one's going

up to label, staying just like it is.

Now, this one should be controlling
everything, but the label.

Cool.

Ok.

Back on track.

Here's that curve I just did,

that's starting to glow.

As you can see.

I'm seeing a couple little problem
spots.

No big deal.

I'm just going to unmask those.

I think I've got something happening
right

there.

And I'm going to fix that real fast.

Ideally, I would have done

this dodge on a different layer, but it
got put into the mask.

No, biggie

cope.

And I believe,

yeah, that's why I did, it's because
there was a card in the way.

So we're just going to kind of

touch that out, just to hair,

see, it's just a little shadow, kind of
fits in with all this other stuff.

That's happening aren't packed up to
color.

I like what I see.

I'm thinking,

you know, now that I brighten up, the
scene there's a lot of

or there's lack of light on the label.

It got darker because the scene got
brighter.

So I know that I'm going to need to

open that label up just a tiny bit too.

Make sure I call these the right name.

But before I do that, I want to control
a few things that I saw happening with

this curve.

Because I really like that curve, but I
don't like

a few of the elements that it's popping
open

a tiny bit too far.

So what I would like to do is take a
low flow brush,

and I want to

unapply that curve

to these areas of brightness that I
thought just got a little bit too bright.

This zest

lemon peel,

and here definitely had

a little bit of a jump that I don't
think is desirable.

So if you see that,

so there it is, without the mask.

There it is with, just kind of pushes
it to the background a little bit more.

The other one that I saw jump out was

this highlight.

And so I'm just going to pull it out of
the mask.

Quickly.

That's better.

Probably the sky down here

it's that same lemon pail

coming after me.

It's gone.

Let's get this one out of the way.

Maybe this down here too.

Just a little bit of hierarchy

that I want to make sure I maintain.

I might even burn all this stuff down
on the bottom.

I think this is getting out of control
up here too.

Maybe the sky

like that.

And then, as I mentioned, I'd like to
get the label open as well.

Just a hair, because I brighten the
rest of the scene.

So I think the label needs to get
opened up.

This is going to be pretty gentle

open

nothin major.

Just want to add a little bit of
contrast to it.

A little bit of snap.

Nice,

nice, nice, nice.

Ok.

What else?

One

other minor adjustment I would like to
try

there's a little bit of

green

in these glasses.

Take a quick look at

pushing some red.

And to them,

do we add blue?

Do we subtract blue?

Not sure.

Yeah, little bit.

Think the red might have been a mistake

stride.

Blue, only

too yellow.

Something about this whole scene just
feels a little bit yellow.

Blue to me.

Could have been a white balance, as she
are not sure

let's invert that.

Change my flow.

Wa can't even tell.

Did it actually work?

I did.

All right.

Not important enough.

I just something about it was a little
bit off to me.

One other quick move, and then we can
wrap this one up.

Is, I would like

two,

change

the brightness of my lower reflection.

And feeling this area down here is just
a little bit too bright, because all

the light is bouncing off the product
up here.

And so it's also going to be brighter
in the reflection

but it doesn't need to be so just real
quickly, we're going to

tone that area down,

tone this side down.

I'm not going to worry about the
structure of the.

Tray, doesn't really matter to me.

I don't need to be precise with that
mask.

This is really just pushing the
viewer's eye up to the center of the image,

where the client's going to want it to
be

cool.

And so before and after of that

looks like, oh, before I do that, let's
just go ahead and get this corner all

the way out of here.

And

just like that,

almost kind of like this little

piece right there.

Maybe this one,

maybe that one.

Ok,

let's zoom in, take a look at our
handiwork.

This is my whole color correction
folder.

This is why I like putting all the
color into one folder, so I can just

turn it on and off

and

take a look at what I've done.

Just that,

as you mentioned, I wanted this one to
be really simple.

I don't feel like this image needed a
whole lot of work.

We just needed to combine the elements
together, which Rob gave us.

And hopefully,

all of our efforts, we've produced

an image which is going to be very
compelling

and appealing to both Rob and whoever
else happens to view it,

not

seeing anything else.

I really want to do with this right now.

We're all cropped,

we're all colored.

We've got everything in place.

And so we're going to go ahead and once
again

save,

get this thing where it needs to be,

and we'll be ready to move on to the
next