All language subtitles for 02-09-Stumpys-Layer Setup.mp4

This is going to be stumpies on black.

I had six images that I processed.

Those are all here.

You'll notice that I'm using bridge,

and

I

would strongly suggest, if you don't
use bridge,

use it.

And here we get.

These are my processed files.

I'm going to go up to this tools menu,

going to go to Photoshop, and a little
command here called load files and

Photoshop layers.

Click on that.

Wait a couple seconds,

Photoshop will open up.

Layers will start turning on and off.

And just like that, we've saved
ourselves ten or fifteen minutes of

work that we didn't need to do.

Let's get the background to disappear

fewer distractions.

Fq,

I'm going to check my notes

quickly to

figure out which my base image is,

because I need to align

all of the exposures.

And in a perfect world,

I wouldn't need to do any aligning,
because

cameras wouldn't move, products
wouldn't move,

and everything would just be locked
down to the atom.

But

that doesn't work in this reality.

And

things get nudged, things get bumped.

And we need to make sure that we're
perfectly aligned.

Because when we do our final composite,

any misalignments are going to be
obvious, and we'll have to go back and

shift things around anyway.

So we might as well do it in the
beginning,

so that as we start moving through
these layers and rough composites and

final composites, things are just
locked into place.

And the way that I do that,

as I said, is I'm going to go over to
my notes,

I'm going to confirm that three o eight
is my base image.

Everything else is just,

you know,

reflections and liquid exposures, that
sort of thing.

But three oce, three o eight is my
base, and it's going to be the majority

of the image.

And so I'm going to use that to align
everything too.

It doesn't really matter that it's the
base image, but

just for consistency and just four ease
of thought,

so you don't have to think about it.

I'll just use that as my alignment.

But all that's really important is that
everything aligns to itself,

layer by layer by layer, all the same.

So I'm going to take my top layer, set
it to a difference.

Nothing's going to happen because
nothing's on underneath it.

But as soon as I activate one of the
other layers underneath,

suddenly colors change.

And so as you can see,

I've got some major colorships.

And it's just showing me the difference
between my top layers and any

underlying layers.

This image,

I think

I'm going to align to the label.

This gives me a lot of contrast, kind
of shows me what's going on.

Just going to use the move tool.

And

you'll notice that as I shift things
further away from alignment, I get more

of a difference.

And as we get closer to alignment,
things

just

start turning black, or in this case,
gray, because my underlying layer is

quite different than my base layer.

This looks like it probably had an
exposure for the label.

Looking at this, I think it looks
pretty good.

Maybe nudge it over that way.

But you can see that this side

stripe doesn't really ever align.

And I'm just going to stay kind of
focused on the center.

I think that all looks good.

Go to the next layer

difference.

That looks good.

Next layer,

that one looks good.

And the next.

Ok, great.

This one

didn't need much alignment.

There wasn't too much camera movement
or product movement, which is fantastic.

There will be less

clean up work later on, because things
will just kind of lock into place.

And what we're going to do now is just
get our top layer back to normal.

Do a quick check.

Oh, I think I forgot to do one
different slayer,

and that was our brighter exposure,
which is going to be for the image, neck

and whoa.

As you can see, this one's pretty far
off.

No problem.

We'll just nudge our underlying layer

in the place,

right about there.

Set us back to normal.

I'm going to turn all my layers back
on, because I'm just going to do a quick

Sandy check to make sure I wasn't
seeing things as they aren't.

And as I click through these layers,

nothing should shift underneath

too severely.

There might be a little pixel movement
here or there, but for the most part,

these are all

going to line up.

Yep

definitely does.

And so I'm going to

create a folder structure that reflects
the notes that I've been given, so that

I'm able to quickly

flip through my folders,

flip through my layers, know what they
all do, and

i'll just be a happy person.

Let's do some folders.

I'm just going to do them very quickly.

And one part of this process that I
left out that

makes things a little bit easier

and stops a lot of this back.

And forth sort of thing is, I'm going
to take rob's notes,

I'm going to copy them from

my text document

and just do a quick

paste

and Photoshop.

Give myself a contrast in color,

get them squared away.

This is just going to let me look back
and forth, instead of within my

Photoshop document, instead of looking
back and forth

within notes.

right there.

Quick and easy.

All right, three or eight is going to
be our base image.

I'm just going to title that exactly
what it is.

Base.

Get my notes out of there.

Base.

We're going to put base on base.

312

that I cannot see

is

for the bottle liquid.

Interior of the bottle

looks.

Like it's probably for the neck.

I don't think it's for this interior
down here.

I just go to group that up and

call it

neck liquid.

These names don't have to be anything
specific, whatever makes sense to you.

I just like to kind of line him up with
the notes.

I'm going to turn that off so I have a
little bit better visibility.

315,

right side of, right side of bottle
base, below the label.

And what Rob is referring to is

this

highlight here, but also this entire
section.

Because in my discussions with Rob,

he wanted to see

a composite that didn't have all this
glow down at the bottom of the bottle.

He felt it was too distracting, I agree.

And so we're going to use

a couple of exposures to paint in a
lower section of bottle.

So this is going to be

bottom right.

And the next 1316,

left, side, below label.

So same thing, just lower

left.

I think, eventually i'll probably group
these two together.

So they'll be in their own container,
so I can just toggle the entire bottom

at the same time.

For now, I'm just going to leave him
there,

but we'll see what happens later on.

That was 316317,

is for the neck label.

And cap

all of this up here,

plus the cork top,

the very top of the neck label, as it
is around the cap is getting a bit hot.

He wants to tone down

this section up here.

And as I zoom in, I notice we've got

some stripes

in the label

that,

from my experience,

aren't really there.

This is actually a more pattern

caused by

to get technical

rosettes in the printing label.

Just a byproduct of four color printing.

It's been offset.

If it was done in a fancy way, would
have been a single color.

Maybe it is a single color and there's
just some

gaps and half tones,

but idea of a more pattern that will
definitely print

and cause all sorts of issues.

And as a,

you know, as an experience retoucher,
professional retoucher, I would never

leave that

intact,

because if anyone else saw that, it is
just sloppy.

More than likely nobody else would ever
notice it.

But given the tools that we have these
days, that's a five minute fix.

Actually, less than that, it's about a
22nd fix.

So I'm going to fix that in a few
minutes.

But for now, let's just

put that in the group.

I'm going to call it top.

And I've got one exposure that

hasn't been marked.

Could this be an extra?

We'll take a quick look at.

It's

actually a pretty nice exposure.

It kind of reminds me.

Oh no.

Sorry.

Had it turned off,

it kind of looks like, lower left,

lower right.

For now, we're just going to put it
down here, out of the way.

We don't need to see it.

Maybe robilson is another note.

See what that was all about?

I can ask him.

And so now we've got our folder
structure set up, nice and clean.

It

seems like more of a hassle right now,
but as we work through this file,

you'll see why I've done it.

I've done things this way,

and we're ready to start doing a rough
composite.

I'm just going to make broad strokes of
all the elements,

see how they fit together, and

keep moving forward after that.

And the way that I do that is I take

my

folders and files that I've just

put together.

I know that this is,

this folder, for instance, is for the
top.

If I toggle this on and off,

you can see that it's definitely for
the top.

And I'm going to check my alignment
really quickly, because I was aligning

to this label.

But the top is for the top, so the
alignment should be on top.

Go back to difference,

and I noticed there was a little bit of
a

bubble

in the pixels.

So we're going to just nudge this into
place till it looks better.

I think that's just where it needs to
be.

Toggle on and off, yes, but then the
bottle's moving, but the label's not

that's ok.

Because I'm more concerned about the
label and the cork.

For this exposure.

I'm going to

optional, click my mask

button, invert the mask, go to a brush.

Doesn't really matter.

Softness on this so much pasidine flows
at 100.

I'm going to paint with white

to reveal

the

part of the image that this exposure is
intended for.

I'm being very loose, very rough.

Like I said, it doesn't matter.

I'm just trying to paint a picture in
my mind of what Rob is intending this

to look like

I can turn this on and off rel fast,

kind of like what's going on on the
left side, the right side.

Isn't necessarily what I want with this
exposure.

So I might

use the base exposure below as my top,
instead of this

piece here that is on this top,

our top layer.

So I can just do a quick reveal

to see what that's like.

Either way works.

I think it's just going to come down a
personal preference.

This one's got a little glare in the
corner.

Maybe not as good.

So let's just leave the mask at that
for now.

So there's my top piece.

Now, I've got a bottom left

layer that I want to composite in.

This is going to be for this area down
in the bottom left.

Same process, invert a mask,

quickly, paint in.

See what's happening.

I'm not really concerned about details,
this sort of thing.

I'm going to come back in later

with a much more refined and detailed
mask to blend these two exposures together.

Now I've got a bottom, right.

Same process in worth mask

paint in.

I'm not going to worry about this area
down here yet.

Fortunately, it looks like these
exposures are blending together

very nicely, so we're not going to have
to do a lot of work at the bottom,

which is fantastic.

And now we've got a rough of the bottom.

Next folder is neck liquid.

This one, I can tell is going to be
tricky in the end, because the

background exposure has changed so much

for now let's just composite

in the net.

Liquid,

inverted mask

paint in

that area.

Think about the future, and all the
pain and suffering we're going to have

trying to get this to match up

and

clean up the mask a little bit.

I always

kind of get confused going back and
forth to black and white, which is my

foreground background excy.

But it doesn't really matter, because
it's always just a click away.

There's a quick rough composite

of the neck,

and there we go.

That's our rough composite.

Three minutes,

quick masking,

broad strokes,

and we have the image as

it was intended by the photographer

this gives us

an easy visualization

of our final product, even though we're
going to be doing a lot of clean up and

a lot of refinement and a lot of color.

And we can take a quick look at the
original base image

and the image with

the other exposures for the neck and
the label

and our base

option.

Click your eyeball,

and that just gives us a quick before
and after.

And I think we're ready to start working