All language subtitles for 05-26-The Tentacle-Layer Setup.mp4

Ok popping over to bridge, we are going
to crack open our ink tank file

and

start playing.

We've got a lot to do here, a lot of
things to figure out.

A lot of good times, just playing with
some blending modes and some masks, and

who knows what else.

But I've been looking forward to it.

I think it's going to be a lot of fun.

And

to start with, I think what I would
like to do is have a reference

of

my bottle and glass.

So I'm going to go ahead and bring
those over, even though the crop isn't

what it's supposed to be.

And I know I'm working in kind of a
weird way right now, but

I'm just bringing this over as
reference to

check out

how those things look together.

What scale I'm working out

it's just, like I said, just kind of a
visual reference for

my own

needs.

And what I can do is, I can even just

push the opacity down for now.

I don't need it.

I'm just going to turn it off and start
thinking about what I'm supposed to be

doing with all these things.

This was the

background plate, which Rob really
liked for the

kind of the main body of this smoke.

I always call it smoke it's ink,

but it looks

very much like smoke.

And

I like what we have there.

I'm going to

go ahead put it on top.

There's no reason to worry about any
sort of alignments with these things.

But I also really liked this one here.

So we're just going to call that

main to,

and I'm going to have a look at some of
this other stuff.

Yeah,

this one's really nice.

That one's really nice too.

Like I said, there's a lot of cool
stuff happening.

One thing I think I want to do

with these is

go ahead and convert them

to

smart objects,

so I can

scale them around without them getting
all distorted and ruined

and all that sort of stuff.

So I'm going to backtrack just a little
bit,

delete everything I've done

and got, going to go over the bridge,

and I'm just going to

shift select this whole group,

and we're just going to

option drag all those in.

Now, I've got

a series of smart objects.

And not only are these smart objects,
they're linked smart objects,

so they're a little bit more flexible
in my workflow.

Ok, just going to duplicate what I did.

And they call this Maine,

me on

Maine,

and

this will be our main two.

And just

for fun,

I think, what I'd like to do is

save this.

This is going to go back on top.

What's going to save.

We're going to save again.

I'm going to go back to bridge,

back to my main competing.

A little excited, a little anxious.

So I'm just going to put those two
together, just because they're there,

and

start moving some stuff around.

Before I do that.

Harmonize my image size,

push that back.

In didn't really matter.

I just do that because

I'm special.

Put this down.

Ok.

So here's that this is just kind of for
me to throw around.

I want to get an idea of

my

relationship,

because the way that I see these things,

I don't think

having

the entire tank

included in the composition is going to
be very successful,

because there's just a lot of blank
areas.

And as I may

have mentioned before,

one of the big challenges for

this image

is that

the intention was to pull

the background out from behind the smoke

and put another background

in its place.

I'm not that good.

I don't know anyone that is that good.

And as you can see,

and try to imagine creating a mask for
this,

and it's just not possible.

It's even more

and

find

detailed than hare would be

it's just a super doosy.

So we're going to try to come up with
another solution.

Talk to Rob a little bit about it
already, and he understands.

So

we're just going to play around and

see if we can work around it,

maybe make use of it, somehow use it to
our advantage.

So, knowing that

this is how it's working all together,
which I suppose I could have done in

the other comp, but I just wanted to
get this one started.

We're going to pop back over to the
sink tank.

I have this.

I could not do that.

And what we are going to do

is

start playing with some blending modes.

I think that's the first step I'd like
to take.

This is

conducive to that kind of

process.

You know, as we're working through
this, I'm figuring a lot of it out as I

go along.

So you'll have to forgive me if

I'm kind of moving things around and
doing it differently than I imagined I

was going to be doing.

Because, like I said, this is kind of a
challenging image.

It's beautiful,

it's wonderful.

It's just

got a few parts about it that I'm
unsure of.

It's a fun process to observe

and learn from.

I get to see a little bit

about how my mind works in this kind of
situation.

And so I think what I'd like to do at
this point is we're going to turn that off,

keep that on top.

I'm going to go ahead and

bounce

all of these guys

into here,

just like that,

group them up,

when we call it the bg,

move it down

and keep this layer going.

And the reason I'm doing that is because

I kind of want to see all my updates
happening here.

And there might be some

interesting layer stacks that I do.

So

without a mind,

we're going to

push through our veins, which are these.

And I'm going to

start playing with some scale

let's.

Go ahead and

kick the background out.

Just put some gray back here, so we're
not blinded by that white,

and start playing

cool.

First thing I'd like to do is

just see what some various blending
options are going to give me.

Probably going to be doing a lot of
rotation, a lot of flipping,

a lot of scaling.

That's why I'm working with smart
objects.

Because

I can scale

up and down,

click on, ok,

down and up.

And

I don't lose any image quality from that

back and forth.

Which, if you weren't working with a
smart object,

that image would have just been
destroyed.

So

that's why I'm doing.

It,

just gives me a little bit of
flexibility

and maintains integrity.

Ok?

So

that's looking really interesting to me.

I kind of like that scale relationship.

When I go with

more of these just sort of wispy forms,
I've got a lot of background issues to

deal with.

And

so yeah, these wispy forms are going to
be a little bit more difficult to

manage.

But I am going to play with them a
regardless.

But I definitely think

having a larger

scale

is.

But I do think a larger scale is
interesting,

a little bit less busy.

Maybe not what was intended, but if we
start getting too crazy with the

background, then

we might be detracting

from

the foreground.

So

I'm just going to start playing.

I mean, you're going to use the layer
on itself.

Sometimes

we're just going to cycle through some
blending modes.

I know darkin is going to do some cool
stuff.

I know multiply is going to do some ok
things.

I can do some tests where

let's get rid of some of this.

We don't need to see it right now,

where

I put a curve on top of multiply

pull out some detail, just to see
what's happening.

Because multiplies will always make
things darker,

kind of cool.

Still a little bit too busy.

Not really

what

I imagine rob's going for.

I'm just going to hit shift plus,

and we're just going to see what
happens.

Darker.

Color,

me,

let's see, we don't need this.

Is going to be lightn

screen.

Color, dodge.

Something going on in there?

Ah, not really though.

It's more of a ghost on top.

I think this is just catching my eye.

Over on the left.

Yeah.

Nothin there.

Linear dodge,

lighter color.

Overlay always does cool things,
because fifty per cent gets blocked out,

or fifty per cent gray, I should say.

So it'll really blend all of these
colors and shapes together really nicely.

I'm just going to see what else is
available in this image.

Could do some weird, doubly things.

One technique you can use that always

makes people happy

is to

do a horizontal flip.

And then

you can start getting into this sort of
thing

where you've got mirrors, and they
create all sorts of

cool little shapes and patterns.

And

for some reason, everything turns into
a bat.

I don't know why, but if you look right
there.

In the middle, we've got fangs and eyes
and ears and wings.

It's always bats and demons.

I don't know why, but that's what
mirror images do.

Maybe there's angels in there too.

I'm not really sure, but it always
looks like a bat to me.

We're going to flip it back
horizontals.

We're not looking at that anymore.

In fact, I'm just going to turn that
layer off and delete it.

It was just a duplicate.

I would like to use a different layer
for that, because I'm tired looking at

bats there,

making me feel funny.

We're going to go back to overlay,
where we were, because I thought some

cool things are happening.

There's

going to give myself a little bit of
light to work with, so I can see what's happening

cool

and gets out of the way.

I think we're going to need to do some
scaling with this one.

Ok?

As you can see, when I put two images
together, it gets really chaotic.

Probably way too chaotic for what the
intention is with all this stuff.

So if I set this back to normal,

we'll just see what the layers that
we're working with.

So when that's on top, and by itself,

I kind of like it

but as soon as I

blend,

it just gets super busy,

and it doesn't really have that soft
organic form

that we're

wanting to see.

Let's turn the software quick.

So even going through more blending
modes, as cool as all this stuff is, and

as interesting as it looks,

I doubt that's the intention.

you've got all these layers and files,
and you can have fun with us for hours.

It's not often you get these kind of
images to work with, because it's a

pretty big process to actually
photograph them.

Whoa, and so,

yeah, you don't always get your hands
on these kinds of things.

So

we're going to go back to our normal
blend mode, because I wasn't really

digging what was happening with

any of those blend modes.

And we're instead going to work with

singular forms.

And masks,

that's my plan.

Let's see.

What's happened.

And I think that's just the edge of the
plexi.

One thing I did want to just kind of
glance at Rio quick

is what would happen if

I set this

to

multiply, it's going to turn black,
because I'm on black.

I don't know, as I was working through
this image, I just had kind of a

strange idea to

convert

the

color of the ink to more of a wine
color.

I don't know, it's just

something I feel like it's just too
contrast to you right now, and it's not

really complementing

the bottle very much.

And I'm not really sure what it's
supposed to mean.

But I was thinking about how to make it
look as though it's kind of,

you know, when,

like ink and water, where you've got
heavier liquids

inside of other ones, and you get all
sorts of forms, almost like pouring wine

into some other red color of liquid
that allowed you to see the wine dispersing

through the liquids.

So

as I was working on that

and thinking about blending modes,

one of my favorite blending modes for
color retouching these days is, multiply

for when I do color swaps on a pair.

It's kind of a weird little thing that
I do that you wouldn't think to do, but

it actually works most of the time.

So

I was just kind of thinking something
like that for some really weird reason.

I wanted to test it out rofast.

That's kind of cool,

might have some potential

going to,

I think, leave it as an option for now,

because I

almost like what I'm seeing

might need

just a different way of applying the
color.

But

for right now,

I'm going to flip this back to here

and see if there are

some pleasing

compositions that I can come up with.

Smoke and masks,

ink and masks.

First thing, we're going to

try and knock out.

Because this was the one that Rob liked
the most.

It's a little problematic for me,
because there's this big black piece

down here.

I can try to knock that out and bring
in some other

layer through that.

I do feel like I need to enlarge this
quite awaze,

to

get

some of the busyness of this

layer down.

But before I do that, we're going to do
a quick experiment.

I'm going to take

another layer

first, push this down to the bottom.

And what I'd like to do

is

take this one,

which

Rob was diggin,

we'll move it down a little,

maybe get rid of some of that

black shape in the bottom,

and

will increase the size just a little
bit compensate.

And

we are going to

see what else we have to work with here,

because he was interested in these
plumes coming down.

So maybe,

and just maybe,

I can

use one of them

to fill up that space in the corner

although, as I mentioned,

masks are kind of an issue with these,

because

this one would meet too bad, because
it's a heart edge.

But anything with soft shapes in it is
going to be

a real zinger.

Let's just see

what happens if I do something like
that.

Inverts,

not really dealing it.

For me,

can see, it's not really that
interesting.

We can try all sorts of other,

you know,

rotations have it coming in from the
side.

hang on.

I don't know if that's too spooky

or not.

That one's kind of fisty.

See,

thumbs and knuckles.

And I know that sounds weird when I say
it, that it looks kind of fisty.

But

I've worked with a bunch of art
directors,

and that's their language,

they'll see something like that and go,
it looks kind of fisty.

So

when you think like them, and you see
something that looks kind of fisty,

then you're probably right.

But for now,

I think that's actually kind of cool.

I didn't really have an option like
that before,

and

I don't know something about that.

So I'm going to keep that in place for
now.

And

I'm going to

see if there's some others that are
similar

that maybe aren't.

So fisty.

This one here on the side,

it's kind of cool.

You know,

we would be in

cloning hell over there.

But let's give it a quick shot.

I'm going to go that way and that way,

and

maybe that way.

I don't like the direction of the
light's coming from.

This one.

I'd love to use.

It's kind of getting flat on the
bottom, though.

Maybe I could create a different shape
instead.

So,

non,

it's not going to work.

This was the one I was thinking of, but

it's not quite

doing it for me either.

Yeah, it's just a little bit too

defined.

I think,

you know, I kind of wish that

we were

photographing at a different scale.

Twear, it's like,

you had these huge forms.

Instead of shooting at 85 mill or
whatever, you're shooting at 200 mill,

and could just like,

zero in on these crazy, crazy, cool
shapes that are happening here.

Ok, that one's not working.

I don't think this one's really going
to work

for anything,

unless I

said it to

screen

and then

curve it out

so that most of it is black.

Nope,

definitely not.

Like I said, lots of experimentation,
lots of playing around.

But I think for now, I'm going to

stick with this.

Believe it or not, I'd like to try the
option of this other one

that I really liked.

This one was cool.

I kinda like

this guy.

Maybe it's a little bit of both.

Let's, see what happens if we

just really

do some gentle masking,

go to a bit of a low flow.

And

I just want to

gradually bring in the shape below,

see if it's possible to blend those
together very well.

But I think it is.

Let's turn this back on so I can have
it there, because I really like it.

I'm kind of preferring

these shapes over these.

And then

I've got a little bit more action down
below here

that I'd like

to

know.

I don't even think I need the one down
below at this point.

Think just that one is where I'm diggin.

So let me just pop this one up on top
rofast,

and see if

there is something

possibly

usable

and

there,

not really.

One quick thing I thought about

is

putting

this boy on the side.

But I think I'm going to run some
masking issues,

kind of turn that off,

come in with my brush,

and we are going to see

if I can do

a little bit of blending here.

It's kind of dark on the side.

No,

pull him over, like, that something's
happening.

Some things happen.

All right.

So what I'm trying to do is get rid of
a lot of these smaller scale forms.

I think they're just too busy.

The background shows through him a lot

when they're smaller like that.

That means

there's going to be the background
seamless

showing through.

And if I can get rid of all the
background seamless,

then I can get rid of just those flat
areas of color that have a lot of grain

and rippling on them,

and not the good kind of ripples.

So looking at this now,

I'm seeing a little bit of transparency
that I want to try to take out,

because I'm really starting to feel
something is working here,

which makes me really happy.

Because

I was starting to get a little concerned

didn't have a solution.

But I knew that

if I could just start playing with it
and

have a conversation with myself as I
was doing it,

I might be able to come up with
something cool.

And it's starting to look that way.

So I'm just going to

quickly go through.

We're not going to pay attention to all
these specks right now.

Those will come out later.

And

we'll do those with

e old frequency separation

ok,

that's kind of cool.

Maybe ooh,

may have notice.

And as I mentioned before,

I'd like to do it's called creative
masking.

That's what I'm doing here.

I am blending shapes together

without a clear definition

of what I'm after,

and I'm making something

blend together

that wasn't really even intended to
blend together.

But with a little bit of

creativity in my masking,

and just flipping back and forth
between foreground background,

which are black and white,

I can

kind of just create these really
natural looking shapes

and

kind of

hide the seams of my masks

together,

essentially.

So

I can check myself by

just turning on and off my layer,

seeing where

some odd bits are.

Like this thing here,

doesn't need to be there.

Kind of liking

this thing a little bit.

That's pretty cool.

Yeah,

you know, maybe it needed to be that
darker bit.

Maybe it needs to be there?

Not really sure,

but

I'm happy with it for now.

It's a little bit

on the massive side.

The scale is really wild next to the

glass itself.

What I want to try real fast

is,

well, you'll see.

Let's get rid of this for sure, even
though it's

only behind the bottle, might not
always be behind the bottle

because of what I'm going to do next.

Ok,

let's

push this down.

And I'm just using low flow brush, just
gradually

moving this mask around.

Great.

Double checking my work.

Not sure.

Yeah, there's nothing over there.

Splend these two little bits together.

That's all right,

not perfect.

where would perfect ever live in this
composition?

Because it's

so organic

and there's

nothing right or wrong about it?

So with that done,

I'm kind of diggin

what's going on here.

Don't know if it's wrong, what robs it
intended, but

I think he'll really like

what he sees

with this.

And it's a little bit of a tricky
situation, simply because I would like

to do a lot of cleaning on this thing,

but to clean it, I need to do a pre
flatten and

a frequency sap

and a bit of work.

So maybe i'll just take out the big
chunks,

and

then we'll

start working from there.

Let's definitely look at

the red option as well.

Let's see.

So all of these are currently in my

main

composite window, main compu.

And I still have this

big boy open.

So what I'd like to do is chop all that
out.

And again, I'm just kind of

thinking out loud here, because unlike
a lot of these other

images that we've done.

This one's got a lot of unknowns,

and so I really need to talk through it

to understand what it is I'm doing and
what it is I want to do.

The first thing I wanted to do with
this is I am in my main comp,

so this is definitely

final art

here.

It's not like working in one of my
other composite

images.

So what I was thinking was, I wanted to
do a quick

copy merged,

and I wanted to flip this thing
horizontally,

to check out what it would be like

with these larger forms behind

our products.

Because

over on that side,

maybe it's a little bit heavy, little
crazy.

This is kind of interesting.

But thinking ahead,

I think I'm going to want to kind of
bring

a lot of these wisps

in front of the bottle, almost create
some kind of ghostly forms that are

starting to wrap in front, to give a
sense of depth

and not just have

this

stuff in the background.

So I'd like my background to interact
with my foreground a little bit.

We're going to be working on

this

intersection right here,

which is still an unknown for me.

I do have an idea, but

I haven't actually tried it out yet.

So

as a way to

check really real, fast

what's happening with

an idea I have

is I'm going to put that up on top,

set it screen.

And the reason why I'm doing this is
because I don't want to think I've got

a plan and then get too far down the
line

and tried out, and it doesn't work.

And the idea that I had for the image
is not successful.

So large times,

I just do quick visualizations

to see what's happening and to see if I
have some options.

And you'll notice,

what I just did was something kind of
cool.

It just popped in my head on the fly.

And what I've done is I've taken this
background flat that I created from

the background composition that I had
just made,

copymerged, put that up there, just so
I had a single piece to work with, and

not all these layers.

And then I created a duplicate of it,

right?

And I set that duplicate

above our wine glass and bottle,

and I turned it to screen.

And what that does is it makes

all of the blacks disappear,

and then values above black will

essentially become transparent.

And by doing that,

I've created atmosphere on top of the
bottle.

And

the reason why I did the same layer
down below, up above, is because it

gives me continuity of form.

That's a fancy way of saying that.

And what I mean by that is

that things that are happening in the
background

are going to come up onto the
foreground.

It's not just some random image that I
put on front and set the screen, it's

actually this little piece of ink

coming up onto the front, right?

So it's giving it a little bit of
dimension and rap.

And what i'll be able to do,

because clients don't want anything in
front of the product, is

i'll just be able to kind of gradually
push that back

off of

anything that looks too distracting.

You know, who cares if it's in front of
there?

I think it's really nice down here.

But maybe

this glass is going to have
transparency on it.

Maybe it just won't be as prominent.

Could be something like that.

Just an idea, not really sure what's
going to happen with it.

But I'm trying to think ahead,

and

so far that's

really doing it for me.

So

without out of the way,

I'm going to go ahead and remove that,

and I'm going to set myself up with

something that's going to allow for a
little bit of flexibility,

because I'm not sure

that this is exactly

what

everyone's going to want.

And so

what I've done,

or what I'm going to do,

is

duplicate this group

back into my ink tank,

which is kind of like a precomposite.

Now I've got all my layers over,

going to go ahead and

crank this canvas out.

So we're working with a square,

don't care?

Yep,

pull this in.

Maybe let's go a little bit wider,

not so square,

and we'll just

get rid of anything that we're not
going to need,

because let's find up there.

So in our other canvas, we're working
just in this area.

And but what I've done is given myself
a little bit of wiggle room.

So when I put this linked, smart object
back at my other canvas,

things can move around.

It's a good chance I'm actually going to

crop a little bit of that down, because

I'm about to generate some biggle files,

and Photoshop is going to

grief me a tiny bit.

So

we'll just

pull this down a little bit,

like that.

Should go pretty fast, because these
are all smart objects.

So yeah, crop down a little bit.

I think I'm going to do maybe some
frequency separation here, and not

really quite sure yet,

but I want to get these all into

this precomp that I have,

and then

we can

put this back up here.

It's our ink tank.

That's the one I want.

The crop's going to change

severely,

but that's all right.

I want to,

I think, just match it to what I have.

So what this file is right here is

this

cropped composite I just made.

That's just my ink tank stack.

And like I said, I'm trying to work a
little bit efficiently and leanly here,

because this file could start getting
pretty big.

And so

set this to difference.

I'm going to move this over here

here's another trick with difference.

When you have to scale and match,
difference

is you line up 1 point,

hold down your option alt.

First.

I have to be in command t mode

with command t mode down.

See how I'm kind of lining up.

This corner

right here.

It's not really the greatest
intersection to line up, because it's

hard to see it, but I can see it

when you hold down option alts.

And I'm just going to click, and that's
going to

set my point of origin to that
intersection.

And option all it's a great way to do
it.

Instead of going to the middle and then
trying to get that thing up there.

And with that,

I'm going to option all shift from a
corner

and scale to that point of origin.

And what that does is it brings
everything into that 0

and aligns it pretty quick and easy.

I'm not worried about a perfect match,

going to go ahead and

delete all of that crazy.

I know,

put this back on

looks like I've got a little bit of
edge.

That doesn't matter.

I wasn't doing fine tuned work there.

And

we're in good shape for all this next
stuff.

Another thing I did want to try while
I'm here, before I start cleaning,

because I've got a lot of cleaning to
do,

is I was curious about an experiment

with

kind of getting some action

down

on the surface here.

And to do that, I think I'm going to
need to

pop this guy up.

Woo, what happened there?

Fancy,

pop the sky up.

Get this one back to normal,

because it needs to be.

And

what I'm thinking is

doing one of those inverted masks,

and

taking this bottom edge

and kind of just bringing

the ink down onto the surface of the
water

to give it a little bit of dimension,

because it definitely needs that.

I'm going to command

control,

click

this to set up a mask.

So I just don't go in front right now,

and I don't think, oh, yeah, that's not
going to work.

Undo it,

are deselect.

So not sure if this is the right way to
go about this.

Got some other ideas in mind.

But for now, I just want to try it real
fast.

Because,

like I said,

I just want to know if I'm going to be
successful

further down the line.

I'm going to do another quick test.

And

yeah, that's not going to work that way.

And just see what happens when I kind
of pop the highlights up through the

surface.

So it doesn't look like it's just
transparency.

You know, the way the light works is
that those highlights will be popping through

these forms more clearly than the
shadows would.

So

I just wanted to throw that down,

just

because I knew I'd eventually have to
get there.

So let's do the same on the other side.

Because this transition is always going
to have been a tricky one, and this

looks like I don't really have much to
work with.

And so what i'll probably need to do is

maybe get some shapes down in here,

just so it doesn't look like a

black nothingness

in this area.

So we're not going to pay attention to
that right now.

I can turn this on and look at that
lines right up,

because I'm just duplicating layers.

And if I want, you know, I can, I can
reduplicate that

layer mask,

set it soft light.

Well, no, we're going to set the screen,

and I'm back in this land again.

But that's not where we're going just
yet.

So

next

step,

I think this is where it's going to
start getting a little tricky.

But it's unknown, rather than an
unknown,

is

we need to do some cleaning.

And we've got a lot of cleaning to do.

We've got

all the stuff here that needs to be
cleaned up.

All the stuff down here.

Not too much on the stem, not too much
down here.

I would like to get this

backside text out of here.

Some of these vertical

silver pieces,

I say they're silver because I think
the reflections of light stands could

be wrong.

Not sure what I want to do with this

vertical red line.

There's a bar code.

Down here

there's all these highlights,

all these highlights.

Maybe this one.

I'm kind of liking

this red see through stuff.

I might amplify it.

I might exaggerate it.

I might create my own version of it,

because I'm really

I'm really thinking that

I want a different colored background.

I know it's probably different than
rob's intent

and his original plan,

but

I was really digging what that looked
like.

And to remind ourselves,

let's put a solid color down,

let's

get it a little bit more towards

the magenta side of red.

Hit that.

And

I'm going to go super simple.

I'm going to just set it to multiply.

I know it's cheating, because

I should be doing something a little
bit more fancy.

But

what I like about this technique

I can put a curve underneath.

I can just

open up that curve,

and it's

just transforming that background

with a multiply color.

What's happening is,

as you get from white to black, it
lightens or darkens.

Here's my saturation.

And so what I'm telling it is,

I don't want you to darken the
underlying image.

I just want you to multiply.

The color.

It's kind of cool.

It's just a simple, quick and easy way
of cycling through

lots of different hues really quickly.

I just go in with my shift key

and just kind of cruise down through
the hues.

There's really not any other ways to do
that in Photoshop.

I guess I could put a hue sat layer
down, do a color rise.

But I really

like working with this palette.

It's

a lot more user friendly.

So I think that's a little bit too
purple.

And

I kind of want it almost to be the same
color.

Maybe we're going for this almost
monochromatic

red

appearance,

kind of

subtle velvety sort of thing.

We'll try a little bit more saturation.

We have to remember that

print colors

are a little bit constricted

and limited by the printers

gamut.

So

that's cool.

Gives me something to kind of play
with, think about.

I think I'm just going to leave it on
for now.

I want to get used to it and make sure
that it's kind of

the direction I want to go.

You can see what happens when I put it
on top,

and we get it coming down into the
water.

It's pretty sweet.

We go even up one higher,

just push that.

And I have some issues back there.

That's looking kind of cool,

but

that's not what we want right now.

So

we'll put that back up there.

And I think

my next step, I just want to do some
quick cleaning,

get a lot of these specks

to disappear, because they're bugging
me.

And then we're going to get started on
the glass

and the bottle, and a lot of the
transitions into the water,

and

start playing with smoke on top and
masks and all that kind of good stuff.

So let's dive into background cleaning,