All language subtitles for 05-25-The Tentacle-Processing & Alignment.mp4

Our next image is

a really beautiful challenge.

There's a lot going on, a lot of
possibilities, a lot of potentials,

a lot of really fun things that we're
going to try.

And I'm really looking for to playing
with all of these

very organic,

nebulous,

cloudy

shapes from the ink, interacting with
the water.

And

I'm really looking forward to creating
a lot of just sort of random accidents

that happen

when you have a set of images like this.

I think there's going to be a few
challenges along the way, and I'm

excited to

figure them out, see if I come up with
some new little tricks and techniques

and really create a compelling
composition that rob's going to love,

and I'm going to love and imagine.

As you're working through this, you are
going to also be creating some really

cool stuff.

Hopefully some of the tricks I'm going
to show you will allow you to

really just have a lot of freedom when
it comes to

composing all of these elements and
creating something that you are going

to really like.

And

like I said, these are just a ton of
fun to play with.

I've done it before, and I always enjoy
it.

So let's dive in

we're going to go through the notes,

check out what Rob has

photographed

and what his ideas are,

what we're going to be able to
accomplish, what we're going to need to

work around, how we're going to do it.

Should be cool.

Let's just

start up at the top.

Rob's concept is we're going to be
shooting black on black on black,

are aiming for a black on black
monochromatic, but still having light

shape.

And contrast

his ideas having these black plumes of
ink coming down beside the bottle

and creating.

I imagine, all just sorts of
interesting forms

and shapes and just abstracts.

I don't know what to call those, but
we're going to find out

some conversations about talking.

Let's not worry about that right now.

We're just going to go through the
Numbers.

391

is our clean background image.

I believe that was all the way at the
bottom.

This is just kind of to get an idea of
the overall background exposure,

which you'll see in just a few minutes.

I'm going to go a slightly different
direction.

I'm happy that he shot this plate
forming, just to give me an idea of how

dark he wanted.

The background behind the plumes

we're going to see what we can do that.

We've got to note about some proper
exposure for

bottle

glass of wine against the background.

Not sure what that means, but

that's ok.

interpret this exposure the way I want
it anyway.

I think he's primarily just talking
about the exposure for this upper

section of the glass.

Number 211,

reference image for proper exposure.

Excuse me for the neck of the liquid of
the bottle, to give it highlight.

Not sure that was what's intended for
that image.

I'm going to keep it.

I might use it for something else.

I like a lot of the highlights that are
there.

Next one down is 217.

Wine color in both the bottle and the
glass.

I understand that one.

We want to use the neck and cap from
211, which is

this guy up here.

And I see a nice

little highlight down the middle.

Nice highlight on the side.

Good silhouette.

I can cut out of that.

And

going back up to 217,

this is for the color of the wine in
the glass,

also the color of the wine in the
bottle.

219,

red highlights.

Actually, when I tole back and forth
between those two,

I'm noticing that

there is

some type that's on the back of the
bottle.

That's

coming through because there was more
light on the background

and shining through the bottle

and illuminating this text.

I'm not going to want that.

So

I'm probably going to use the frame
before, are, the frame after that has less.

And i'll probably just brighten up the
exposure

of the wine a little bit to bring some
color into the bottle.

So, red highlights on the top

of the bottle shoulder.

He likes this crescent shape right up
there.

The other one's just more of a

little

sphere and ellipse.

And he really prefers this one.

And I can definitely understand why I
might actually combine those two.

I kind of like

this really soft

form coming down right there.

All either combine the two, or i'll
just hand paint a little bit of shape

up there.

And also for the highlight on the
surface of the wine, in the wine glass.

And I think he's talking about this
right here.

And it's for that one.

This one's a little bit busy.

That one's good.

You can see you've got a lot of stuff
up here on the glass, that's just the

way the light was hitting it.

But I'm going to be using that one for
the wine glass.

233

surface of the water on the left of the
bottle that's down here a little bit

underexposed.

I can just pop it open, like that.

Left sides here.

Next one down is probably going to be
the right side.

It is

just to show you what it looks like.

Those are my t sides.

Going to be compositing those two
together.

That will go really fast.

No problem at all.

And so it looks like the next couple of
images are

going to be for

when we start getting into the tank and
the ink, and all the fun stuff

that's in this.

So

water surface.

We may or may not be using this
surface, could be getting a little bit

too busy,

but we've got these to play with.

This is my favorite of the set.

I think there's just a nice tension

up on the water.

Not quite sure how I'm going to use
that yet, but we're going to throw it

into the mix and see what we can come
up with.

All right, we're getting down into the
ink now.

356,

no notes,

so probably not

a keeper.

And

yeah, it's really not doing anything
yet.

So

in the notes I've got 357 and 358

are for purplumes of ink coming down
into the water.

So these are the two options that we're
going to be working with,

just in terms of if we want to have
stuff up on top, raining down,

that's what i'll be pulling from.

And

one more note of 374,

which is

selection for the storm and the water.

So

let me just pop open the exposure a
little bit, so you can see what's happening.

What I'm imagining

he's referring to is this lower body of
ink,

all of these really soft

subtle,

just gentle and beautiful forms

he wants to have down at the base of
the water, where we're going to be

compositing the ripples.

And I really love

all those shapes down there.

This thing is just

doing it for me.

Especially this guy it's like vortexes
within vortexes,

and

it's gorgeous.

So

let's open up this one too.

This is another one that I really like.

Something really interesting's
happening down in this area.

This little lonely guy that's brighter
than everyone else around them.

So

one thing I want to mention

that's going to be a challenge, and
we're going to need to figure out a

solution for this is that,

as

pro as I may be with Photoshop,

I'm not so pro that I can remove this
background from behind the smoke.

Not yet.

If I was a robot, maybe but I'm not a
robot, so

that's going to be a challenge down the
line.

Just wanted to kind of point it out,
because

it's going to be an interesting

device to learn from.

So for now, let's dive into the capture
session.

We're going to just kind of align our
adjustments based on the notes.

We're going to start up at the top

and go through my normal settings, which

just bringing my sharpening down a
little bit.

Going to zoom in and see what's
happening on the surface here.

Nothing I need to worry about with
sharpening.

I am going to be applying a bit of
noise reduction to a lot of these,

just because we are shooting at a
higher iso on

the ink,

which will introduce a little bit of
noise.

Terms of

overall color.

Just going to use exposure

and

my brightness.

Shadows are going to come up to you.

But by doing so, I will be introducing
a bit of noise to everything

that's ok.

Even though we're aiming for black on
black on black,

I do want some gray to start out with.

So I'm not trying to open up pixels
that don't exist, because that

really destroys your image quickly.

Some people think that you're supposed
to shoot to the left of his gram.

I always insist and advise that you
shoot to the right, because the dynamic

range in your shadows is much less than
the upper

quarter of

the highlights.

You can pull down, so, much easier than
pushing up.

All right.

So for this one here let's go ahead.

And

rather than

having to move these sliders around for
every single one of these,

I'm just going to go ahead and

apply what I know is going to be
consistent throughout these images,

which is

a big bump in the shadow.

That's sharpening that noise reduction.

For now.

We might have some more

down in the plumes.

So I

just go to do a select all copy paste.

I actually might

I've got two different crops i'll be
working with here.

There was a little bit of camera move
from tank to bottle.

So I'm just going to go ahead and

crop this guy here.

I don't need anything.

That's happening down on the bottom.

So we're going to just

chop the image

there.

And

depending on my workflow,

I might not need all of this canvas
right now.

I'll think about that.

Come back to it in a few minutes.

We're just going to start working,
because I actually need to adjust all

of these images.

All right, two or seven.

This is reference for proper exposure
of bottle and glass of wine against the background.

Not sure what's happening, but I am
going to keep

that exposure

for the glass.

Maybe this other one

to, not sure, but we'll get it
processed anyway.

that's

looking about how I want it.

For the glass,

the glass will eventually look like
that.

With just my highlights that i'll use
to create a shape on the front of the glass.

Come back down to the next one.

is going to be number

2171.

Color, bottle and glass

neck cap from 211.

So I can bounce back up to eleven.

Check out the exposure on the wine cap.

That'll work.

One quick thing I'm seeing

that i'll want to fix before I get too
far into these,

check my vertical.

You can see that it's tilting to the
right a little bit.

Look at this other side.

I'm not sure this one's actually going
to be a rotation.

We might need to

do a little keystone action.

I'll give it a rotation first, and see
what happens.

Think I'm going negative.

Cool.

I can see that

this

upper highlights getting distorted
because of the glass.

I'm not sure

how that's actually behaving in reality.

Let's get this thing over a little bit.

Kind of need to zoom

left side straight,

right side,

almost straight.

Don't be afraid to change your settings

to make things visible.

I do this in Photoshop as well as
capture.

If

you've got a dark edge and you can't
see it, don't

beat your head against the wall trying
to see what's going on.

Just crank open the exposure, put a
curve on top,

give yourself some visibility,

then make the correction.

It's a lot easier that way.

All right.

So

still looking a little weird.

Now, it looks like my

guides are rotating, but it's just the
weird way that capture works.

I think that's where I'm going to want
it.

So it looks like rotation is going to
work out.

Ok?

I don't need to keystone

and introduce all those distortions.

Cool,

right?

Hide my guides.

That

looks better

don't pay attention to that horizon
back there, because

it's probably

just not sitting on a level surface, or
there's

weight balanced weirdly.

Who knows

going to go back to?

This thing was at 0.94,

if I remember?

Doesn't really matter, as long as it's
close enough.

Ok?

So with that I can then

go ahead and

sink that rotation,

which I'm just going to use that,
instead of a copy all and paste all

that way, I don't lose any settings.

Ok?

Now, we're straight.

This is our label.

Exposure

moving down.

We're on 217.

This was wine, color, bottle and glass.

And I feel like my exposure is probably

it's not open.

That is just what it is.

I was so used to looking at the dark
one.

I do have this shadow pull.

That's why.

So we're going to open that up a little
bit.

It's just for these colors here.

See, don't know if I want to do this
here?

No, I don't.

I'm going to just give myself a little
bit of latitude

to sculpt.

That's what that's done.

I'm going to push that back down.

This is for the top

of the wine, also for this

refraction of light at the top.

That just needs to be the same as this.

I believe,

in

26 to forty.

I'm going to take that down to 35.

I'm going to bring this one up to 35.

Cool.

You

can see the light in the background has
changed a little bit,

all right,

down to the

ripples.

See, it looks like our white balance is
the same, but he just threw a warmer

light on the background, it doesn't
matter.

So we're probably going to be
desaturating a lot of this.

One thing I can't figure out here is

what exposure I need to have on the
water,

because I haven't composited this yet.

I know it's going to be dark, but I
don't know how dark or how light it

needs to be.

Someone who's going to give myself some
range to work with.

And then I'm going to

get those two to line up pretty close.

Visually, there was a slight exposure
difference

on those two, so they don't have the
same settings.

That feels, right?

It's really hard to judge because

there's so much going out, so much else
going on there's

going to move into water and plumes.

The first thing I'd like to do is,

I want

to

get a crop and a rotation on this thing,

so that I'm not distracted

by

all this other stuff.

I think all the crops are going to be
about the same,

rotation is going to be

the same.

So I'm going to use this

straight edge line tool and try to
figure out

where

a straight line is.

Think, right there.

I can see there's a little bit of a
rotation,

just like that.

Cool.

And

apply that to these,

then

come on,

apply that to the rest of the set.

And that just gets me started.

Makes it a lot easier to look at the
composition

or the frame.

So three, o, nine through 339, we're
purely for water surface.

I'm just going to go out on the limb
and say, this is the one that I want to

work with.

Oh, no, that one's kind of cool too.

We'll process those both.

Not sure how I'm going to use them, but

I will

make something out of them real quick.

We're going to do a little bit of that.

You can see that there's a whole lot of
stuff happening here.

A lot of

bubbles.

Just

that's the process of working with
tanks.

Always happens.

It's always fun to clean up every
single one of these by hand.

If you're a masochist like myself,

I don't claim this by hand.

I'm not that crazy,

all right?

So

I think we're ok for color and tone.

Once I start putting these things
together, i'll probably come back to

capture, maybe reprocess a little bit.

Moving onto our plumes.

We've got a couple for the top down, and

those are going to be here.

358,

that's this one.

And

this one.

I can see what it is after,

what I'm going to do is just give
myself a little bit of light to work

with.

I'm going to overlight these first

so I can get some good separation

off the background.

One thing I'm probably going to have to
do

add a little bit more noise reduction
to these.

My iso jumped from 400 for the bottle
up to see me, jumped from 100 on the

bottle up to 400

for the ink plumes.

And

so

knowing that I'm going to need to scale
these things around a little bit, I'm

going to go ahead and increase my noise
reduction.

You'll see why.

So 3738

those need to be synced.

I'll do it like that.

I'm going to go ahead and

give some ratings to these as well so I
can sort them differently and make an

easier time

selecting my files

when I'm ready to process.

Although at the same time, I'm probably
just going to

go ahead and process all of these.

So ignore what I just said about
ratings,

cool,

yep.

So the exposure didn't change

on any of these.

So I'm just going to use the same
settings to apply to all of this.

And

I'm going to actually process all those
out.

So I have plenty to play with.

And

yeah, maybe we will rate them, because
there's some blank tanks here that I

don't really need.

These are both fives,

and all of these were also fives

that didn't come up here.

Start by rating,

wait a second, because it always takes
capture, capture, just

a second, to resort.

And did it sort properly?

It

did.

Ok.

I'm going to select those.

with

my

confidence in having done that right,
at least for the first stage, I'm going

to go ahead and process these out.

Same story, as always psdobrgb,

eight bit.

And we're going to go over to our
tinical wine creative

set as my output folder.

Hundred.

Moving on to bridge.

You can see we have our processed files
that we were just working on.

I've got some plumes, I've got some
bottles.

I've got some ripples, all that kind of
good stuff.

And what I'd like to do now is

get started on building

two different psds.

I don't want to do this all in one psd,
for the time being,

simply because I got a lot of layers, a
lot of kind of different ideas I want

to work on.

And if I put it all on one psd, it's
just going to turn into a big mess.

I'm actually going to make three psds.

I'm going to make one for the plumes,

one for the glass and bottle,

and then my third psd is going to be
the combination of the two.

And this is

just going to give me a little bit of
flexibility,

a little bit less overhead to work on
and from and save and all that kind of

good stuff.

And it's also just going to teach you
kind of an interesting workflow, a

different way to think about composites

and how you push all your elements
together.

Something I've been playing with for
about the last year and a half, and

it works really well.

And you're going to watch it in action.

So with mind, I'm going to go ahead and
take my plumes,

my ink,

do the same old thing,

load it,

deal with that error.

You just click, ok,

all this to stack up.

And I'm going to go ahead and save this

guy

down.

And we're going to call this

ink tank for now.

Psd,

I'm going to go and put a underscore,

just so it's always up at the top.

And we're going to keep that open.

And I'd like to

come over here,

do the same

bump into that air again.

And we're going to

save this one out

as

bottle glass

don't really need to.

But

there it is.

And

our

final composite canvas size is going to
be in

22 by fourteen inch canvas.

I'm going to go and bump this res down
just a little bit, because

it's a

pretty large canvas, and I need some
flexibility on how I'm going to be

scaling things.

This will just open things up.

It's high enough to be print printed.

And I'm going to be working with smart
objects.

So if I need to push the more
resolution into it, I can

just take half a second to do it.

But for now I just want things to fit
together better.

So that's how I do this.

Let's just get that saved as well.

And we'll call this

main comput.

So this will be the canvas that I dump
everything into.

You'll see that in action here in just
a second.

So I think, to start, I'm going to just
go ahead and

close out the tank.

There's no alignments on this one,
because there's nothing we need to

align to.

These are just going to be forms that
we're going to play with, and,

I don't know, just

do some fun stuff

with.

So for now, let's go ahead and close
that out.

I just go to save it with a little
preview,

and let's start working on getting

these

elements of the hero product

put together

and figure out how we're going to deal
with some transparency issues,

and how our masks are going to be and
look, and what we need to do to

integrate this into all of those ink

plates that we have.

All right.

So,

easy stuff first.

I know that I have

some ripples to work with, and

I know that those are going to go real
quick and easy.

So we'll call this

ripples.

And I'm just going to put those on top.

I'm going to find my main exposure

before I do that.

Guess what we've got to do.

We have to find our main exposure and
view some aligning.

This is going to be my main.

And the reason for that is,

if you Recall,

we've got some text poking through here,

and

it feels like those two exposures are
pretty darn close in terms of the

overall shape of the light.

So I don't see any harm in using

this slightly darker one

for our primary.

It has a lot less cleanup issues.

You can even see

the tentacles on the side of the glass,
back of the glass.

So what just happened?

I did a movement.

There we go.

Yeah.

So a lot less issues to deal with by
using this as our primary exposure.

So we're going to

put that up on difference,

find

some alignments that we need.

I think we'll just align to

our logo.

Looks, like

the bottle may have rotated a tiny bit.

That probably happened when they
uncorked it.

No big deal,

except it really slips at the bottom.

Let me see what that one's for

that, when it's two to seven.

So that's primarily going to be forgive.

I'm

thinking

the wine glass, but I'm not really sure
they both have a lot of specular

reflections on them.

So for now, we'll pretend it's the wine
glass.

So we're going to align to the hero
image,

and the wine glass.

Don't need to worry about the label on
this one.

If this is used for the top of the wine
glass, that's what we'll align to on

the base image.

Same thing goes for

this other one,

that is a wine glass.

Potential

might not be for the stem, but we'll
throw that down.

Ok?

217

is

a secondary

primary.

I think 217 have that.

No, I don't know what we'll use this for

it's there,

but we'll go ahead and line it anyway.

Looks like it already is

double check.

Yeah, it's aligned.

So

do you

just run through this row fast,

looking at that bottom got kicked out a
little tiny bit, but that was because

that got removed.

So not surprising.

This one here is going to be probably

for the top of the top of the bottle,

and I think

the glass.

And what I'm going to do

for that is I'm just going to go ahead
and

duplicate that, because

I'm going to be using both.

So now I've got my glass, I've got my
top.

This is just a

thing.

We'll put that down there.

This is our primary,

main, primary base, whatever you want
to call it.

And

this one

for nothing,

so we'll put that there.

So we've got our main exposure

and its own group now,

and we have these ripples.

So just really quickly, I want to throw
this together.

It just kind of gets it out of the way
and makes it feel like we're making progress.

To do that.

Very simple.

It's going to invert a mouse on that
one.

And

I think that's the direction I want to
go.

And we'll paint this one in.

Using this part of the image, I could
do some cropping

and trim off all this extra image that
I don't need

a lot of times going to do that.

I just make a selection float.

It rename it

and then use that.

And in this case, I might as well do it

just to show you that process

you can start getting any of these big,
chunky files.

It sometimes helps to limit your file
size.

And so why I do that?

Just make a selection.

Hit command j,

copy the followname, just so I can keep
track of it.

Do that.

Delete the other one.

Going to do the same thing.

On the other side,

make a selection,

float, it

rename it,

and we'll just put this mouse on it.

So the ways to do that that's just the
way I do it.

It's easy.

Ok, with that.

Can go ahead.

And even though I don't necessarily
need to trim

this off here,

we're going to go ahead and do it.

Anyway.

That's gone.

And

looks like my flow is off.

But

got most of this here,

not black.

I recool.

Halfway, there

we have.

our ripples

as

they were intended.

You can see that before and after.

So my plan

that I'm thinking, is going to help me
out with

how all my masks are going to work, and
how

composing all these different exposures
is going to work.

And a lot of the cleaning that I need
to do is that I'm just going to go

ahead and

isolate the glass

isolate the bottle,

pull it out of the liquid so that I can
start figuring out a way to marry a lot

of these elements together.

And that involves

some pathing,

a little bit of the bezier pintool.

So

let's crack into that

before I do.

So I'm going to

get this top on there.

I have an exposure

for

top of the bottle,

so I'm going to see if I can seat that
on there with minimal effort.

And it looks

like it's going to happen.

So let's check that out.

It's not straight.

What can we do about that?

I think what I'm going to do is

a really,

really fancy trick

that not many people know about.

And that is,

instead of worrying about what it was,

I'm just going to make it what it is,

and that's a straight line.

going to move my guide up

like that,

start clicking there, and I'm just
going to go

straight across.

No reshaping, no cloning, no nothing.

I'm just cutting my mask

to cut up into the form

and straighten that line up.

I do this all the time with all sorts
of stuff.

And I've seen retouchers

like trying to take out silhouetted
wrinkles by liquifying the wrinkle back

into the apparel.

Instead of justice.

Cutting it off

it's ridiculous.

But

best way to do it, the quickest way to
do it is just to make the shape what

you want it to be,

like that.

And

now I've got a straight line, instead
of an angled line, for this top,

and looks like this.

One's nice and straight to all of some
cleanup to do there later.

All right, with that done,

I want to go ahead and

pull

this glass

out of the water onto its own layer,

so that I just have a little bit more
control over it,

and

I can work on it independently

of

everything else.

And to do that,

enjoy the next five minutes of me
making a path.

Just want to make sure, too, that I'm
using the right view of it.

So this is for our main

body and liquid.

So

before I go too deep,

let's go ahead and call this glass.

That's what it's going to be.

And I'm going to deep the group

and call this glass,

and we'll call this bottle.

Oh

don't really know.

What's happening down here.

I know the way glasses normally work is
they've got

a little bit of an edge that comes down

like that,

and a little bit of one of those.

And that should give me the line that I
want.

It looks like I'm going to want to

go that way.

Pooh,

not sure how I'm going to handle

all of this stuff down here yet.

Probably I know that I've got these
ripples.

Let's, see, what's happening.

Where's my masks,

not over there.

So it looks like I am

cutting all the way through

and including these distortions in my
mask.

So let's see what happens

when

I take that mask a little bit further
up,

see if I can get rid of some of the
stuff that's in here.

Nope,

nothing interesting.

So

we're just going to pull that down and
maybe even

get rid of

a lot of

these little squigglies that were
happened up there.

It's also a much darker exposure for
the glass.

So

I like what I did there.

And I'm just going to continue

cutting this one out.

This area doesn't need to be perfect,
because it's going to be replaced.

Yep,

I might not even need any of this lower
half

of the reflection.

But let us do a quick pass on it.

Anyway.

Because it want to bring anything back.

So hard to see this edge.

Not so perfect.

Path positioning right there.

I knew that was going to happen.

Ok,

oh, no.

Look at that.

The old bug.

Gotta go to a.

Got to go to constrain.

Back to pen.

we go.

If you're curious.

If you're curious, that's a bug that
any time you go into your preferences,

it doesn't matter what you do.

If you have constrained path dragging,

not active,

active,

then

going into preferences will reset that
checkbox.

A little annoying took forever to
figure out what was causing it.

But that's what it is.

All right,

almost done with the sky

Someone doesn't have much of a lip,

I might exaggerate it later, just to
give it a cool shape.

We go, big jump.

I usually come back

to those areas.

I just like to put my point down so I
can

kind of continue the same process

as I'm asking, instead of jumping to

different types of

finger movements.

Just like I'm not worrying about this
stuff up here right now.

Just worried about that.

All right.

Now I can get into

different

keyboard combos

going to go like

this,

almost

one's a little bit too steep.

Coo

swings to come up

if you don't know how to control your
paths using

the intermediate

bezier

practice, because there's some

very helpful techniques

for constrained path dragging,

as they call it.

Cool.

Probably need to cut into this quite
awaze.

There's a little bit of

edge aliasing happening from

the

severity of the light.

cuttin in,

little bit of

an imperfect glass.

Right?

got to be ok?

It's ok.

If we cut in, we just don't want any
gaps on the outside.

Cool.

So there is our glass.

I'm going to go ahead, and

oh that's, the top of the glass

might also be the bottom of the glass.

We'll see.

Not sure.

There's a lot of unknowns with this one.

Turn that off,

come up here.

Oh, wow.

Would you look at that?

Hopefully

the glass didn't move and it didn't.

So I'm going to go ahead and take my
previous glass

and move it into my new glass,

because they're both going to be the
same.

I might do a little bit of compositing
on the stem, because I kind of like

this darker one.

And when we put a much darker
background behind this,

that stem will just shine in a way that
we don't want to.

And also

who's going to want to clean that.

Not me.

No way.

Holy crap.

That's kind of cool.

Little sunset action.

Sunrise,

cold.

It's like the line of termination

when the sun is going around the
planet, and here in outer space,

watching the sunset

anyway.

So this was for the top.

This is for the top of the glass.

That's kind of cool.

So I think what rob's intention was
here is to put this one on top

inverter mask.

He liked this little piece here, but I
think he also likes what's down here.

Holy crap.

We've got lots of stuff happening.

Let's just take a quick peek at

what we've got.

Cool.

Ok.

So that's with one exposure for the
liquid,

another exposure for the stem,

and then the same exposure

of the stem is on the top of the glass.

It looks weird now, but I'm going to
get rid of this

soft box, clean these guys up,

probably keep some of these highlights,

and then use

the darkness

as transparency in the mask

on that glass,

so that I can get the background to
poke up through it.

Which is what's going to need to happen
to make this work.

I think I'm happy with everything I'm
seeing on that mask.

It's really just a quick temporary.

We'll refine it if we need to.

Next step, going to be the bottle,

and let's just

whip through this one

as much as we can.

Cause it's a path, and it takes forever.

Don't be afraid to make corners is
totally fine.

I'm going to do a big old arc there.

I think

for some reason, these kind of curves
always get me.

I always try to do it.

And fewer points that I should.

And every single time

I fail,

my buddy Seth as

a 2 point approach to this,

a two pass approach, as he calls it,

where he lays down

a whole bunch of

points

where he knows he's going to want them,

and he'll do one passer on the bottle,
and then the other past.

I think I talked about this yesterday.

A couple of tutorials go,

and

once he's done with the first pass,
where they should all approximately go,

then he goes back in again

and

refines

that placement.

So if you get a chance, you might want
to check it out.

It's a cool technique

for when you're learning paths.

I don't need to use it very often,
because

I'm just that good.

No, I'm not a suck.

A heap has,

oh, yeah,

but I've done them so much that

I appear to know what I'm doing.

This guy is going

off on his own

down.

There's always a little edge to the
label.

I might just cut in, a pixel

cut out.

I don't think this would ever be
noticeable, but sometimes it's nice to have

just a little bit of a bump on the side

like that.

come on.

There you go.

Almost done with this one.

A beautiful path.

So now we're going to add that to our
bottle.

I go and save

turning these guys off.

And

this is our top.

Our top can go inside our bottle

because it's all one piece.

So I like to put folders and folders

just organize, and to

have

one mask that works for many things.

It's good practice to get into.

A lot of people, just throw layers
everywhere and try to do clipping paths and

clipping layers and all that kind of
fun stuff.

It's weird.

This way, it just works very simply.

Since our background's going to be dark,

I'm just going to toss

dark color in the background,

some kind of gray,

just to get a feel for what's happening.

So that was my task

for this phase of the composite.

Is, I just kind of wanted to assemble
the pieces of the bottle together

to separate

the glass from the bottle.

So I have some independent controls,
because I might have quite a few layers

and some weird masks on that glass.

To get the transparency to work.

I wanted to integrate the ripples, get
those started,

and

just have something that was ready for

the next phase of all of this,

which is going to be

getting some smoke back.

use me some ink.

And

to

put these into my composite

canvas

that I had built just a minute ago.

So

let us

next.

I'm just going to throw this into the
composite canvas, just to see

so you can see what I'm thinking about.

The way that works is

very similar to how I've shown you
before.

But before do that, I need to see
what's happening here.

I've got a little bit of weird stuff
going on,

see if we can figure out where it's
coming from.

Not there, not there.

There we go.

It's just because I isolated

a few things,

and I need to

bring them back together.

And so we're going to

do a little bit of that.

And

I need to think about what's happening
with this reflection here, see

what my options are.

I think that's ok.

Think a little bit less of these
highlights will be better.

So

I am going to

paint over them, I believe, like that.

See if I know what I'm doing.

It's a little bit cleaner,

that looks weird.

But I can turn my glass back on.

Can turn my bottle back on.

I can see

all reflection here that I'm going to
need to play with later.

But for the most part,

the intersection

of the

ripple, exposure for the bottom of the
bottle, works with the

bottom of the bottle

in the normal

exposure, just like that.

Which is great, because then I don't
have to do any additional masking down there.

So with that done,

I'm ready to throw this thing,

I think,

over into

my composite window,

just to have it there, so it's ready
for the next step.

I'm going to do that.

All this checks out.

Not too concerned about this, because

it's going to get a little smoky back
here later.

So we're going to go and save this.

Going to bring this canvas up.

This is my 22 by 11,

and I'm going to take

the spot on glass,

throw it over.

It's coming in small.

I'm not sure why.

22 by fourteen, at 200.

This one is

seventeen by 9300.

I don't think, oh, I know, it's up.

This is a little bit of a weird thing,
but you have to align your dpi if you

want things to come in at the same size.

So

can I get rid of that one?

Kind of get rid of that one.

And there we go.

So,

because my ripples kind of fall off on
the edge,

woo,

nope I cannot do that.

So I need to be mindful of

this intersection up here.

So my image is going to be

based on

this

vertical tension

and height of the bottle.

I could make it smaller if I wanted to,

but I think, given the width of our
canvas,

we're really going to want this to be
as large in the scene as we possibly can.

I can maybe just scale this up a tiny
bit,

if I want.

No biggie.

And

now that we have

this simple little move that

I just wanted to do for myself,

just to get things going,

to show you kind of how this composite
canvas is going to work,

maybe

get your juices flowing.

We're going to go ahead and dive in to
playing with some of these ink forms, which

it's going to be a lot of fun.

Plenty to play with.

Lots of little tricks and techniques
I'm hoping to use.

And not really sure

where we're going, but

it's going to be fun.

So let's

go ahead and

dive into

that.