All language subtitles for 06-35-Glenlivet-Processing & Masking.mp4

Our next image is a bit of a doosey.

We've got

quite a few exposures, a little bit of
compositing to do

a big change, which is going to be a
backplate

swap.

We've got a couple of notes in here
referencing,

not liking some stripes

or the color of the denim.

And there's also some exposure issues.

So I've been given a plate,

which is essentially

just a clean version of the background.

And I think you know how this was shot.

You watch strab do it.

It's kind of a cool trick,

really like the technique.

And

what it means, for me is a little bit
of extra work, lot of extra masking,

some fancy frequency separation,
background blends.

Oh, some focus issues in terms of
compositing,

blurred masks,

lots and lots of fun tricks.

Things you're really going to enjoy

if you're complete dark, like I am, and
you really get off on,

I don't know, fancy techniques

and tricks,

magic,

Photoshop, fun.

So let's go through these notes.

Take a quick look at what Rob is
thinking and what he would like to have

me do with

all of these exposures.

First thing he says is that

we're going to need to make changes to
the backplate.

He doesn't like the stripes

in this area back here.

He wants to be changing it to a
reference shot, which I have,

which I may or may not show you.

We'll see

when it comes to the backplate.

He's included two files.

Yatiata

mixed

the two, but I found that I didn't need
to do that

in our conversation.

So looking at our Numbers,

we've got

our base exposure,

which is number 111.

Looking at it,

I have a bit of a wall over here,
something over here.

I'm going to crop this out.

But overall,

a really just beautiful exposure.

Great light,

amazing colors.

I love all the contrasts

and the complementary colors.

And

I'm going to have a lot of fun with
this.

Next 1113.

We've got a gold signature in a lower
label, which means

all of this stuff right here.

And as

far as I can tell, that's only
referencing the gold and not the entire label.

Although when I look

between those two,

I kind of like the light hit overall on
the label.

So i'll probably look at

swapping out this entire label, and not
just the gold leaf.

I do have tricks for putting the gold
leaf on

and combining it and compositing it
with the other label on the main exposure,

really similar to the last image

when I was doing the gunpowder.

And the script on the side of the label,

next, 116

gold's near the top of the main label.

What that is?

Oh, yes, not up here.

Top of the main label means

this spot right here.

And Rob wants to

bring out the shine

on these

gold bars that we have

up at the top of the label here.

No problem.

I'll just be painting those in

with a normal round brush.

Believe it or not,

I could use a pen to a little.

But

you know how I feel about pintoolks.

For all the gold in the net cap label.

We're going to move up.

He's talking about this stuff

in the blue.

And we've got an exposure going from
here

to here,

just for the golds.

I can see an issue already that I'm not
going to like, which is that

the blues are really dark up there,

and

the golds are really bright.

And I don't think combining those two
is going to look good.

So I think what I'm going to do is
probably wind up borrowing the entire upper

cap

label,

I'm not sure what the proper name for
that is,

and

keep the golds.

Maybe darkened down the blues because
glen, livit is not that color.

It's not a bright royal blue, it's more
of a dark navy.

I know this because I've

got a bottle of that

really close by right now

that I haven't been drinking.

I promise

133

exposure of the background inside the
bottle.

And I believe what he's referring to

in this one

is

a background of the bottle.

So probably just this little piece
right here.

I'm not sure why I have an exposure for
that,

I'm not.

Oh, because that's why check it out.

There was a big soft box right there.

So he has

considerately given me an exposure
without that.

Unfortunately, there's still this white
line being refracted through the glass

that i'll have to get rid of.

Nowhere's this little spot here will
take out

138

for the open version of the bottle,

saying he actually likes this more,

and to not worry about having a closed
version of the bottle.

So we're going with an open version.

And that makes sense, because

some of the single malt

has been poured out.

And why would you have

a closed bottle

with

pores in the glasses?

You'd want that open.

So we're going to be using that cap
probably bring this exposure down a

little bit, just kind of paint

from here up onto our other image.

Going to the next one, looks like focus
has changed.

We're on number 142, entire front
glass, bringing it into focus.

So what we're going to do is we're
going to composite this image

with

our base image,

having a glass

in front, in focus.

It could be tricky, but I'm thinking

that I have a

really simple solution

for that issue,

that

if you've done this for a while, you'll
understand already what I'm thinking about.

Onto the next,

we are going to 149.

And this looks like a secondary
exposure for this exposure.

149 says, front glass.

Huge highlight.

Left side,

as you can see, there's a huge
highlight on the left side that Rob saw

and kindly gave me

a different exposure for that.

I'm not sure why.

I have some washers.

Oh, I know.

I have these washers.

The glass must have been rocking

on

the coaster.

And so they threw some washers down

to fix that for me.

And I'm going to wind up cropping that
out

so I don't have to worry about it.

I might even have no, they're always
there.

No big deal.

So there's a highlight there's our lack
of highlight.

We're going to blend those to get
together, or you might even just take

the whole glass from that exposure,
composite it in.

I'm not really sure that's why I like
doing my workflow the way I do,

so I can play around with these options
and see it works best.

159

for the entire rear glass.

So

focus went back to the bottle,

and we have a slightly different
exposure,

I believe,

oh

no.

We've got a fluid change,

some things going on.

I don't know.

He wants that one to be the back
exposure,

or the backglass composite.

So that's what we're going to use.

The one issue I'm seeing with that,
which

you won't understand just yet,

but I've kind of mapped this one out,
and I know it's going to happen.

And that is,

I've got

a really bright highlight

coming from the backdoor, trans the
back plate

into the glass,

and that's going to produce some issues
when I composite

the

other background

into this

composition.

With all that in mind,

I'm going to run very quickly through

my normal workflow

for capture one.

The first thing I want to do with this,

just

to get it out of the way,

is get rid of this stuff on the sides.

I know I'm never going to want it.

I'm not going to be cleaning it.

It might not even matter, because I'm
actually getting rid of this entire

background.

So I don't need to crop.

We're going to get out of that.

Go back to my crop reset.

I'm going to switching out this whole
black plate.

So it does matter.

Although I am going to be cropping to
eleven by fourteen as well.

But I'm just going to go ahead and leave

this

as is.

I think,

nope.

I'm going to change it.

I don't care.

I don't want to look at it, even though
it's going away.

Real scene.

There we go.

Now it's gone,

and

next

normal steps,

going to come in.

I think my exposure is looking really
good.

As I run through my exposure.

I'm only looking at the foreground
right now.

I don't care what the background's
doing, because it's going away.

So as I adjust my exposure, all this is
going to blow out.

I don't care.

So here's my primary exposure.

This is probably going to be for the
desk

or the table.

Seize me.

I'm sitting at a desk,

and

the main part of the bottle, I don't
think I've got a liquid only exposure.

I think that might have been for a
different image.

Getting things confused.

Background side, a bottle open version
of the bottle.

Base image of the file in composition.

No liquid on this one.

What I can do is,

potentially, I think,

brighten it up a tiny bit,

maybe boost it with brightness as well.

Because I just like how that

opens things up.

Not a lot of shadows here to worry
about.

And highlights,

aren't a lot of foreground highlights
on the bottle, so I don't feel like I

need to push that range

into place.

So we'll leave it as is.

I love curves, but I don't need them
here.

We're going to

pull our threshold down, as always,

check out my grain,

see if there's anything I need to worry
about, where at 100 eye, so,

and therefore, there won't be any green
issues.

So I'm just going to leave it

at fifty, because

zero is going to give me a little bit
too much on the surface.

It's not having any issues down here.

I can see some clean up fun

we'll be having

in just a few minutes.

Other not,

I think it's looking real good.

So I'm just going to go ahead and

sink these files.

Wait for capture to apply my settings.

One thing I didn't look at,

which, you know, we always should,

is rotation.

I don't have a whole lot to align to
here.

I kind of feel like the image is
leaning to the right,

but at the same time,

my glass on the left is perpendicular.

So

if I rotate, then it's going to start
leaning to the left,

which I don't want.

But I do want to just do a quick test
and see

if

I can kind of cheat it

between the two and not be in trouble.

It was just a nudge,

really,

I'm probably the only one that would
ever see that.

But

I see it, and I wouldn't be able to
live with myself if I didn't fix it.

Top of this glass

that one's kind of tilted down to

my rotation, just tilted this angle.

And I don't want to keystone this,
because it's just going to make

everything distorted.

So I'm going to take this back to zero,

because

this bottle feels straight.

There's just a lot of wonky

verticals and horizontals happening
that are throwing my eye off all over

the place.

And I may have to fix a few of these
things in post.

This glass, as you can see,

whoa

command.

G, not command r for rulers.

This

top of this glass has some issues.

This bottom corner is tilting down a
little way.

We'll see what happens.

Ok,

anyway,

my rotation's back to zero.

I'm fine with the rotation

of the composition.

I had already synced my files.

I'm going to go ahead and

make one quick check of a few things.

We've got.

Bottom label.

Top stripes,

gold.

I'm not sure what that is,

113 that must be for this up here

that's lookin super bright.

So

while I'm

in capture, I'm just going to go ahead
and bring that down

where I felt the other ones were.

Which is there?

Ok?

This one's just for the cap.

And I remember that that has a little
bit too much exposure on it already.

So I'm going to pop open the shadows,

which are going to give me a little bit
more tone.

In this label.

I'm going to pull my highlights down,
because I got kind of a blown section

on top.

There,

doesn't really do anything.

And you probably noticed the bottle
moved after they opened it.

No big deal.

We're going to align.

Same stories, always.

Front glass, reflections.

Back glass.

Great.

Sluck doll,

go to my exports.

Psda.

Rgb, three in a dpi.

We're going to be going to

number seven.

Glynn Levitt said his output.

Mandy,

we're exporting,

going over to bridge,

and we're ready to set up our layers.

Same story as always.

Select all tools, Photoshop,

load into layers.

You can see we've got a few more to
work with this time.

This file's going to get a little
chunky, but

we got a few gigs around.

I think we'll be all right.

First thing I'm going to do, since I
have neglected to do this for multiple

images, is I am going to actually save
it.

And the reason I'm doing it

is because that's sort of shiven doing
the whole time.

But I'm so excited to be doing this
that I keep forgetting.

And

there we go.

Now, I'm going to hit commandes all the
time, because that's my normal habit.

Okay?

This one's going to require notes being
copied in.

I think I can remember them, but
there's quite a few.

Put those in

good white.

Come on,

cool.

That is totally readable.

That's fine.

You'll suffer.

I won't

here.

I'll help it all be up.

walla,

I would make an art director very happy.

Ok,

111 is our base.

Send it to the back.

113

though.

What are we forgetting to do, we are
for getting to a line.

I just like doing this in the first

step.

It just

saves grief later on.

As you can see, I have all my layers
on.

I have a top layer set to difference.

It's just going to make all of this go
really quickly.

I don't have to keep clicking
difference and normal

and all that.

I just

skipped down through my layer set

and nudge things around.

Ok, this one gets off.

That's good.

That's good.

All right.

This was our cap exposure.

This was after they poured.

Some of

can live it out.

And

we'll be using this for only the top
part of the bottle.

So I'm not going to worry about the
alignment that's happening down below,

because

this is all about

only this area,

and in fact, it's going to be from

the bottom of this label up.

So I'm not even going to worry about if
the top is slightly misligned,

which it is, because perspective has
changed on the bottle, which means the

shape is slightly different.

There's so many things that happen when
there's movement on a lens or a bottle,

it's just wild.

All right.

So my focus is changed.

That means this one's going to be for
my glass alignment.

And if I remember correctly, the one
below

is the same.

So just to highlight difference.

So I'm going to scoot this into place,

and I'm going to align it, not based on
anything in the scene, because the

focus is changed, which means all this
shapes by the focal plane have changed.

I'm going to align this based on where
I know I want to put it, which is going

to be

in front of all the blurred edges from
the previous exposure.

That'll make sense when I get to it in
this process.

Next one's for the back glass.

See, I did remember this without all
the notes.

My brain is still working.

Ok?

That one is for the back.

back glass.

I think that's going to be fine where
it is.

going to have a bunch of issues when I
get into positing that.

But for now,

we're going to leave it there.

Running through those are quick.

Good.

I'm just looking for things that jump
out.

But I know that I nailed this

that's fine.

And these are all going to be just fine.

Cool.

Ok.

Now we'll organize

this one's going back down into base.

Here's where I need my notes.

Gold, signature, lower label.

What I like to do, as I'm doing this
real quick, is I can go ahead and put a

mask on it.

I can go ahead and

get my brush set, upright?

Oh, man.

There's something

in front of the label there.

We're going to do that.

We're going to invert it, or we're
going to group it.

We're going to call it

sig label.

It's going to be going on top of our
base.

116.

I believe that was for this section up
here.

I'm not going to make a good mask for
it yet.

I'm just going to isolate it, group it,

mask it

and call it

a label.

Stripe

it's going to go on top.

Next 1126.

All the gold

near the top of the main

label

neck cap label sees me.

So the intention is for this gold to be
swapped out with this exposure,

but I am planning on using

this one

simply because

that's what I want to do.

We'll see how it works.

There's also a little bit of a twist,

and I like that.

The

uncapped

top

has the clean, lived, slightly more
rotated towards camera.

You can see there's a little bit of

issue here.

We're not going to worry about that
today.

That would require

some artwork to be delivered from

the producers, and we don't have that.

So I'm just going to tone it down.

I'm not going to worry too much about
perfecting that type,

not today.

Ok?

So this is for the

cap gold.

Put that back down.

Make my mask.

This right here, of course, is for the

tippetop.

But let's just go ahead and

see what we can do with the entire

section.

Asked.

H'ee,

can I think about that?

Next, we're going to move on to the
glass,

and,

oh my bad.

We're going to move on to this little
section here

just do it.

Quick

mask for that.

I don't know what that thing is, but
we'll get there.

This is like liquid gap.

I'm not sure.

Just put it somewhere else.

For now, I want to look at it.

Ok.

Now, we're onto the front glass.

For this one.

I'm going to

probably need

everything

down here

to be part of the composite, just
because of where the

focal plane is.

And I've got two exposures for that.

I have a highlight exposure, and in
glass exposure,

we're going to group those,

call it front glass.

Ok.

At our mask,

push it down.

Next one is for the back glass.

And we're just going to take a little
extra, just in case we need it.

Who knows

group it.

I think I might have forgotten to lower
my exposure on that image.

I think that's what I wanted to do

to deal with this intersection.

But

we'll

fix that when we get to it.

There we go.

All right, we've got our composite
layers set up.

We've got our folders labeled,

and I think we're ready to start
working on a bunch of masks.

I need to do a

primary product cut out so that I can.

And what that means is

the table,

the glasses,

the bottle,

and

where the cap is going to be.

And that'll allow me to drop the
backplate in.

And

speaking of the backplate,

not quite ready

to get there yet.

I think once I cut my masks,

then i'll show you what the backplate
is and how we're going to use it.

And so for now,

I think for now we should just get
started on making a few masks.

Nothing too major.

I'm just going to cut a silhouette of
all of this,

going to go up around here, down around
this.

Mask.

It's a little bit tricky, because we've
got some blur dodges we're going to

need to deal with.

And that's always a real treat

to have to mask

looks like I forgot

my layer group name

ideally.

I would love to have seen

the backglass removed for the other
exposures and then put back in for this one.

But it's totally fine that it hasn't
been.

But I think I'm going to have to do a
little bit of adjustment

on position

for that

before I cut my mask out.

Cool.

I think that's all I needed.

Just a slight tap.

And

ok, I'm going to go ahead and

turn off this stuff.

Maybe, maybe not.

No, I'm going to leave it.

I'm going to start with something
simple.

We're just going to do these front
glasses.

My

mass is going to be locked onto those
layers.

I'd have to worry about repositioning

anything else.

I'm just going to make

a really solid

and

perfect mask

for this glass.

Once again, I'm using as few points as
possible.

I'm

idealizing

the shape of the glass

so that

if there are any

odd

construction issues, I'm just going to
cut em off

with

my path.

Down on the bottom.

It's going to get a little

interesting

looks, like, I need to check something
here.

I couldn't imagine

this is going to be the way that it is.

So I want to make sure

I didn't do something when I cropped.

Why I'm going to check that?

So I'm going to go over and capture,

going to go to

that exposure,

which is

one of these two.

And it looks like it's just resting on
the edge,

and I don't have a crop.

And when I go over here, I'm missing
part of the image.

Does that mean?

What does that mean?

It doesn't mean anything right now.

Because, as I mentioned before,

I believe I'm going to need to

crop

this bottom section anyway

like that.

The front edge of the glass is going to

be

going off the edge of our canvas.

I'm imagining that's what was intended
since this washer was left.

And all of

the exposures

could be wrong about that, I'm not
really sure.

But for now, we're just going to work
around it.

We'll fix that later, if we need to.

I'm going to keep on masking

words, going to go right around that.

And I'm noticing as I mask.

That

there's a pretty bright highlight right
here

that I didn't catch

when I was processing.

And so,

oh,

I need to go back into capture

to remedy that,

because I don't think it's going to be
desirable.

Maybe maybe not

get over there.

I use my arrow keys a lot when I'm
masking with Paz

it's just a way of

scooting

your bezier

anchor

over a pixel,

maybe even half a pixel,

without having to

go down and click it with your mouse or
your walk com.

Find it's

much faster to do it that way.

And I'm going to get a little bit
better of a corner on this thing.

I'm going to use that trick to do it,

which is a non constrained

path handle dragging, I think is what's
called,

all right, that's all looking really
good.

And go ahead and get rid of my
temporary.

get rid of my temporary.

Then we are going to turn this into a
vector

just like that.

Now we have

these two elements in our scene.

This glass is

covering up the entirety

of the one behind it.

That was my intention.

I knew that since he changed focus to
the front,

the

glass itself would get larger.

That's just how optics work.

And I was

assuming that I'd be able to cover up
the entire glass behind

with this new glass,

without having to do

a bunch of cleaning around these edges.

I know I can do that quick with
frequency separation,

but it's nice

to save a few mouse clicks here.

And there,

one thing I want to do is give this
slightly more believable

edge.

And I can do that

by

just softening the feather

there

gives it more realistic appearance.

Ok?

With that cutouts,

the next cutout I'm going to make

is going to be,

before I do that,

I'm going to do one quick

thing up on top.

that is going to be,

give myself

the top of the bottle, because that's
how it's going to finally be.

And I just want to make sure that it's
in place so that when I make a mask on

the bottle, that I'm cutting

to the top of the peeled label.

And to do that, I'm just going to do
something real quick, just to get my bearings,

get rid of this,

pull this down,

go into my stamp.

And I'm just going to quickly

make this disappear.

Without worrying about all this

stuff.

Doesn't really matter.

All right.

Now, I've got my top,

as I mentioned, I don't

think I'm going to use what he intended,

although I really do like this shine
that's happening right here.

Such a tough call,

you know, this tea, getting cut off

it's not ideal, but we do have it.

A lot of other issues.

I think.

In reality,

I'm really going to have to rebuild all
of that text,

probably reconstruct this entire upper
section.

It's a lot of work for just a small
detail, but brands

are really hung up on that sort of
thing, as they should be.

For now, I am going to simply

fix this

by

filling my mask,

maybe inverting it,

going to my brush tool.

And we are going to

paint this little piece in

easy

looks.

Like, I need to come over a couple
pixels.

What?

Oh, my bad, let's invert that first.

Ok, just like that, we've got

our

uncapped

bottletop

so that I can

get my bearings for

where I want my bottle path to be.

Didn't necessarily need to do that
right now, but

sometimes they just like to break up my
workflow

and

do things that have my attention in
that moment.

All right,

let's have a quick look at where this
is coming from.

Cap gold,

I think I'm going to leave

glen live it twisted to the side.

Because as much as I dislike the TV and
cut off, I do like that hit of gold,

which is

right on the lli

tough call.

If they want it different, i'll make it
different.

I've got my layers set up.

It'll be an easy change.

So back to our work.

Let

us

get back to masking.

What we're going to need to do

is

there are so many unanswered questions
here.

And it's really hard to see these
things until we get

a lot more work done.

But for now, I'm going

to paint out

this area

to see what's underneath.

I've got a backglass exposure.

I'm not exactly sure why I have it.

I think it's for the liquid.

I don't know if it's for the coaster.

I've got kind of a darker coaster here,
but then

I have a lighter coaster underneath.

So it's

my

responsibility, I think, to make that
decision.

And

I'm liking

most of the dark coaster.

But I think I want a combination of the
two

because

neither one has exactly what I'm
looking for.

This one's too dark.

I'm not

digging it.

It only fits into the scene if there
are lights turned off.

But the one underneath is too bright.

And because of that, I'm just going to
do a blend of the two.

I could also toggle through all of my
other layers to see if they offer anything

that I'm missing.

But I'm happy with what I'm seeing right

there.

I'm not going to worry

about this mask necessarily

let's.

See, what's happening.

Remember,

everything behind this edge is going to
get cut off, because we're going to be

swapping out the backgrounds.

So with that in mind,

looks, like we have a light hit on this
back corner.

I'm going to leave that as an option

for now.

I kind of like it.

And if I remember correctly,

my backplate,

where this curtain drops down is

really dark.

And so having a little bit of an edge
back here

is probably going to help us.

All right.

Move it on.

Let's bring

this edge of the table down tiny bit.

I'm seeing a bit of blue back there
that I like,

and

that's looking real good for the glass

in the back.

Just check out, what's happening here.

Don't quite like that.

Bring a little bit more light into it.

Cool.

Take it down just a tiny bit.

All right.

So that's, where

that's where that glass is going to
live.

I hope

I hope I don't get a lot of edge
weirdness when I mask this thing in

which I won't.

Oh, man, I'm sorry.

I'm seeing so many different things
happen when I toggle through these.

For instance,

I want to bring the glass below

up into the foreground.

Why

this is too busy.

I know that

my plate that I'm going to be popping
into the background is not going to

have this white area,

it's going to have much more tone in it.

This isn't going to make any sense.

And

having these super bright highlights
down there

really isn't going to make any sense.

So I'm going to get fancy.

I'm just going to blend those two
exposures together,

they're lined up right on top of each
other, and I know I'm going to be able

to get away with it,

see if there's anything weird going on.

Doesn't look like.

It's

bring it down just a little bit further.

Like that.

Looks great.

I think it's time.

I feel like I've got

all these exposures

dialed in.

Don't need to worry about this mask
right now,

because I really want to just cut out

all of the foreground so I can

make a quick move and

get my background in there so I can
start feeling

what the overall tone of the image is
going to be.

Just to make sure I'm making all the
right decisions based on the final composition.

So

for that,

what I need to do is path

all this foreground out.

I don't think I'm going to

probably silly.

I don't think I'm going to

mask these glasses.

I have the foreground mask, our
foreground glass already masked out,

but I don't have this background glass
masked out.

And I'm not sure I'm going to do that
for this composition.

I may need to you later, though, for a
little bit of isolation.

This edge here is where I'm going to be
getting into a lot of trouble later on.

I know already I've

been

to this rodeo

it's just a blurt edge that needs to be

composited with a completely different
background.

Well, mostly completely different, but

it's different enough that it's going
to be trouble.

And we're going down to the edge of the
table,

which

also has a ton of blur on it, which is
also going to be a big pain in the butt.

You'll see,

all right.

Time for the bottle.

You know, I really should

do.

You, cut out of the bottle and do the
desk separately.

So what I'm going to do

is that, and I'm just going to bring
this line straight over.

We're going to wrap this mask up,

do that.

I'm going to leave this as is for now.

I'm going to call this,

I don't know why.

I think it's a desk, it's a table.

Call it.

Table

is front glass, which I already have.

I can die.

Ditch this one.

Photoshop likes to duplicate paths.

All right.

Next, we're going to work on the bottle.

I decided halfway through that

I'm going to want some

individual

masks for all the components in this
composite,

because they all need quite a bit of
work done on them.

So we're going to do a little bit of
deconstruction

at some 0.

And with that in mind, I'd like to

go ahead and

make

this mask.

And even though you know how to make
paths,

there's kind of

a logic that

I want to share with you on this one.

Because

there's going to be so much
deconstruction

in this image, with

that background getting inserted,

that

I kind of need to

talk through all of this to figure it
out.

All right.

So I've got something here.

This is the backglass

there.

It is

going to be a little side edge.

You know, the real tragedy with

doing background composites

is that you can't

maintain a perfect edge.

So

in a lot of situations,

the

really

subtle

and

really refined highlights, like this
little piece right here,

might have to go go away.

We're almost there.

Let me get rid of this

cap

because I'm just going to conform it to
what was there.

Record.

This is what I do, I think we'll see.

And I can also

rough this path in, just slightly,

because

I'm going to clean it up later,

once I get the background in there,

all that kind of fun stuff.

So,

going to speed this up,

not get so crazy.

I just want to drop the background in,

get you guys thinking about

where we're headed,

and get myself thinking about it too.

As I'm going along,

you can see that

I'm doing a one past path.

I'm not quite the master at paths as

Mr.

Seth.

Mccullo who's also done

a series of videos for rgg

that are

mind blowingly good

goes into a lot of stuff that I'm not
doing right now.

But there's a few things that he does
touch on that are very similar to what

I've done.

A completely different set of images.

It's all about apparel

and some shoe product, way, more
organic forms,

really complicated retouches.

And

he just

is a master

at

all of these tasks.

And

really

a pleasure to watch and to listen to.

And I definitely suggest

watching his tutorials if you do a lot
of apparel retouching

and working with models,

because there are just a

ton of tricks that he teaches you.

All right?

With my bottle

that's only just a work path

right now.

It'll turn into the masterpath, or the
master mask here, in just a little while.

In fact,

I think I'm ready to make that whole

foreground separation from the
background.

Doesn't look like I've done it, but I
actually have,

believe it or not,

I believe, yes, I believe I have.

Ok, why I'm going to do it?

I'm going to check my feather selection
real quick.

Tip.

0.2.

There is my 0.2

table back glass mask.

Eventually, I'm just going to cut
straight through here,

make glass,

make a path out of the glass.

But

I was going in a different direction.

I changed my mind.

I'm going to add to that the front
glass, and then I'm going to add to that

the bottle.

And then I'm going to take

all these layers, all these groups,

group them up,

call this thing

foreground.

I like fgbg

it's just something.

I always know what it means.

And I'm just going to add

a mask.

There you go.

Foregrounds massed.

I just go to put a solid color down
there, for right now.

Don't need to.

But there it is.

On black.

I'm done

all right?

We're ready to drop in this background
plate.

So let's go over the bridge,

go over to my glen, lit of it, create a
folder, got my background,

load it up,

and

I believe I've spelled clin libbet,
wrong on everything.

Not going to worry about that right now.

Doesn't matter.

Same process as always, I am going to
hold down my option key,

drag into my composite,

got a linked psd

inside here, and

I'm just going to go and scale it up,
because I know that's where it's headed.

I'm going to pull some things around,

get some alignments going,

make a

preliminary

scaling decision.

I'm not committing to anything right
now.

None of this really matters.

Click.

Ok?

You'll notice I scaled it up quite a
ways.

The resolution of this background image
is quite a bit higher

then

this composition.

So I know I have flexibility to scale.

In fact, I'm at 89 percent.

Even though I scaled up,

it's just because of a preference in
Photoshop, and I haven't bothered

changing.

Don't worry about it.

All right?

So

this is an approximation

of our final composition.

We have

some of our foreground elements turned
on.

Some of them aren't turned on.

Let's just take a quick look at what
those look like, turned on

gap liquid.

I don't want to look at right now.

Capital, they do want to look at

backglass.

Yeah, that's all of it.

So

we've got

foreground plate

roughly masked out,

obviously, some

undesirable edges over here

we have our background inserted.

My

task on the background is going to be
to get rid of these stripes

to

change the tonal

values.

Excuse me to change the hue

of this blue area,

maybe to make it something a little bit
more complimentary to this blue up here.

Because right now it's a little bit of
a clash.

So I think we're going to be pushing it
more towards the yellow.

And

what I'd like to look at real quick is

what the previous background

looked like.

As you can see,

there was a really good reason why Rob
wanted to take another photo.

Well, not even taking another photo,
but to send me along a tiff.

That was

the original

image that the background plate was
created from.

Really hard to light through a dirtrand

and not have a whole bunch of issues.

So one of rob's techniques is to
photograph

through dirtrands, or shine light
through dirtrands,

put it behind the set, so that you get
all the proper

reflections and refractions and
transparency.

That would just be

a nightmare to try to do by hand.

I've done it before.

It's really challenging, it's really
tricky.

It never looks quite right.

So

what we do is a background swap, just
like this.

My alignments are close enough.

They're not going to be exact.

There's some perspective

differences.

I know it doesn't care if it's in the
same spot,

but if we really had to, we could.

But I think there's some things I like
about a slightly different position

with this background.

So I think next, I'm going to

go ahead and take out these stripes in
the background.

They're a little bit distracting, and I
know that's what

the final composition is going to need.

So we might as well just go ahead and
do it.

So I'm going to take a few minutes,

not much effort.

And the way that we're going to do that
is just to open up the linked smart object

that we just placed.

All right.

Now we've got our background plate.

Our task is going to be

to remove these lines.

I'm also seeing a little bit of

color dimness.

I doubt these books should be that dark
of a gray.

My white values right now, or in the
160 range, which is periody dim.

So we'll add a little bit of life into
this as well.

For now.

I am

not going to worry about

frequency separation.

I don't think it's necessary here.

I'm just going to use

the old

heel tool,

healing brush,

and we are going to

have some fun.

Bam gone.

No need to

do the work

on

two different layers.

So the trick with

the healing brush

to try to get

a similar

color and shape

as your source

is to your destination.

And,

oh man,

that always happens.

It's ok.

My diffusion was set differently,

but it was doing what I wanted to do.

I noticed it because of this line right
here.

All right.

Keep in

things moving.

Cool.

I like that.

This thing doesn't matter,

because it looks like everything else
around it.

I think I just created it though.

It doesn't matter.

just take that out.

I'm just going to go and get rid of
that one up there too.

All right.

This one's a little bit more
challenging.

I'm going to start here

and

ignore

this lower section for now.

See, I'm keeping

my verticals pretty much aligned.

This is going, is going to give me the
line down the blue side, those white shapes

going to keep it really consistent.

And I don't have to worry too much
about crazy things happening

to get rid of this.

Here's a little trick.

Watch this.

I am gone.

Don't have to worry about all those
mere things happening

next.

I want to get working on this one.

I know it doesn't look like I'm being
intentional when I put my

source and

whatever that thing is.

I know it doesn't look intentional when
I'm putting my source and my

destination down.

But I always am.

There's always things that I'm looking
at inside my

healing preview that I'm using to

make sure that I create the right
shapes down here that I want.

It's a little bit of an art form

comes from

years and years of manual cloning

before we had a healing tool.

And when you did

healing, or when you did cloning,

and that was all you had,

it was such a precision job.

It was crazy.

So I got really good at

aligning sources and destinations

almost intuitively.

I know I'm bragging,

but, you know,

I'm the shit when it comes to cloning.

All right, moving along.

I'm not going to worry about this
little thing over here.

I think it's gone

anyway.

Get rid of that.

I had a little leftover here.

I noticed

a strange mistake in the background
plate that I was given.

See this little line right there?

Someone darkened

the

denim color back here and forgot to
feather their mask.

So I caught it.

I'm going to fix it.

Check this out.

I'm drawing

a marqui.

And I hid it the first time, or maybe I
didn't.

I was off by a pixel.

All right.

So, got a selection.

And I am going to

take a curve

on that selection.

And it's a shadow pull,

just like that.

See, if I come down a little bit more.

There's still some stuff in there.

I'm going to drop

this open a tiny bit.

I'm going to heal those spots away.

And

the line is almost gone.

9080.

There it is.

Ok?

Now, the mistake's gone.

There's going to be a little bit of
cloning after you.

To clean that up.

Our healing.

Excuse me.

And

no Photoshop.

That is not the way you're supposed to
work.

Ok?

So,

just like that,

get rid of that corner.

No one would ever really see it, but I
do.

And it bugs me

a little bit

more.

There it is.

Cool.

Ok.

That's looking good.

I'm not going to worry about this right
now.

One last stripe to do.

And

then we can get back to our main
composition.

For this one it's a little bit tricky
place.

It's kind of a brighter area, as
opposed to a darker area.

This piece next to it

isn't very awesome.

So

I'm going to go

and give it a shot from right here.

I'm just

way off the mark.

Okay?

And as always, I didn't pick up my walk
home, because

I'm just

a mouse head

like that.

Cool.

Looks like I still had a leftover.

Diagonal

that's.

Ok,

a little bit of a line there.

Am?

I think we're done.

A few little distractions.

I'd like to

heel out, or quick.

And

because this is a

link smart object,

as you know, when I

save enclose,

my main composition

is going to

update automatically.

One quick thing I'd like to do,

not sure that's really going to work
the way I want it to.

I'm going to do something that you're
not supposed to,

which is

just,

you slide the entire thing,

because it causes a bunch of usually
unwanted color shifts.

But for now,

we're just going to see what happens

going to invert that.

Come in with a brush,

and just

kind of

see what it looks like, because, from
what I understand,

that's what robs after.

I have a whole bunch of other ways I
can color that,

but I just want to get it in there

to see

what's what

and how it works.

And the rest of the scene

going to save.

It's

going to close.

there it is.

Everything updated.

Undo redo.

You can see why those lines were
distraction.

You can see that I've got a little bit
better contrast happening here.

The top of the bottle is not
disappearing anymore.

Obviously, that's not a very nice color.

I can see potential, though.

So I think I'm going to stick with it
for now.

Maybe we'll touch it, play with it here
in just a little while,

but it's in a good place.

I'm going to go ahead and save,

just in case I

happen to lose any work.

I don't let photosop autosave

because it just

makes your machine really sluggish.

And

I'm, old school command s

we're good friends.

All right.

And next we're going to be

getting to work on cleaning and dealing
with a lot of the edges that were

created by the mask and overall color,
all those other good things are going

to come.

We definitely have some masking to do
in here.

And let's dive right in

and get going