All language subtitles for 05-27-The Tentacle-Background & Masking.mp4

Diving into the background.

I think what I want to do

is get a quick feel

for where my boundaries are.

I know this is kind of an odd way of
working,

but

I've been doing it a lot lately.

And

I like to practice.

I know that sounds odd that I practice
when this is my job.

But

when I develop a new tool, set, money
process, a new way of doing things,

I just tend to do it, even if I don't
need to simply to see how it works,

when it works,

what its weaknesses are, what its
strengths are, all that kind of, get stuff.

So with this image,

I've got

a big bunch of layers that

I don't think I need to have

organized in any way, except

for just

pulling them away from all the other
layers.

And

keep that a little bit organized,

because those are all of the options
that I have.

And

I'm not going to use it any of them
right now, but I might want to use them

later.

So I'm going to keep them so you can
see how by having this

background plate

psd,

so maybe you can see

why I'm working the way that I am in
this case.

Because I want to keep all my layers
intact.

I want to have my options available.

I don't want to drag things back into
my canvas.

If I was working in my main composite
image, I would have

all of these link smart objects

in that image, and it would just be a
whole jumble of layers

I'd like to keep away from.

That's

why I'm working with

just this single piece right here that's

really elegant,

really efficient,

and with me, that's the name of the
game.

So

without in mind,

what I think I want to do here is, I
remember

that I didn't have much image down here
to work with to bring it on top of the water.

And I think I'm going to want that.

Not exactly

sure, but

I think it's worth exploring a real
quick to see

if I can bring something down

that will

allow me to

push

some of these ink forms into the water.

And to do that,

I'm going to just take a quick look at

what I have available in my current
layer, stacking

and there's nothing there.

I'm thinking this one can move down,

but at the same time,

I kind of like where the position of
everything is.

And if I move it down, it really
changes all of that.

And it's also pulling this whole area,
which is right here,

down even further onto the canvas.

And I'm not generally

thinking that's going to work

too.

Well,

one thing I'm wondering,

if I've got this big knuckle here, or
where is this shape?

That is a good question.

So let's save

an update and make sure something
hasn't changed.

I might just be imagining things, but

that doesn't seem like it's on the
other canvas.

Give that second

ham.

Must have missed something here.

Any of these on?

Nope we're going to go back to

our

whips.

Open crop, save.

This.

Must have been the last one

before we moved all our layers.

Ok, that's right there.

And

we need to go.

Let's try this one more time.

it's this section.

Right there.

I must have done something weird.

Ok,

that maintained.

Nothing changed.

Ok?

Got these

going to just call this version one, I
think,

because he knows I might need to make
some more versions.

Now I'm going to go and save that,

just so I have peace of mind.

Well, there's some cool stuff happening
on the left here.

Like what's going on over there.

So what I want to think about, roof
quick, is

pushing some forms down here.

Going to

take a quick look at

what's available

in my lower layer stack.

And it's like, I've got a blend mode.

Could be something in there,

definitely could be something in there.

The unfortunate part is it's

smacking into the bottom of the frame,

but I might be able to pull something
out of that

wonder if I cropped those.

No, I remember, yeah, there was nothing
usable down there,

kind of like in this one.

So

with that,

oh, it's so pretty.

That's so cool

with this.

Let's just

put this up on top,

go back down here.

I'm going to

put a little opacity on it.

Let's try screen.

I just want to be able to see what's
happening underneath.

I'm going to just push this up.

I think it's mostly

right there that I'm worried about.

this is more than likely going to be
just too extreme.

So that's ok.

my light is coming

a little bit from this direction, a
little bit from that direction.

I kind of wanted the light all over.

I didn't want a real directional light.

It was going to make it a lot harder to
composite these things

together.

I just wanted to give myself

a little bit of chaos,

because

I think that's what the background is
asking for.

Ok?

With that,

just going to

real gently

see if I can add

a few extra

little pieces

down into this section.

And that is kind of coming together.

There was really nothing that was right
there

that I cared too much about.

And

I've got a little whirlpool over here,

and it looks like it's not part of the
scene.

left side of the image, this big Bulge,
and then a gap, and then something there.

So that's right here.

And so the space I was trying to fill
in was this bit.

And I think I've been successful.

I'm just going to see how far it can
bring it down,

because it'll give me a little bit more
wiggle room to

kind of paint stuff into the water.

I

was using, low flow brush

and mouse,

ok,

so

that's going to go into my v one.

I'm going to go ahead and layer compet,
even though I don't need to,

because I make more

it's already set up.

That way, I can

take this comp into another comp, and
i'll go through my layer cops

to show variations.

And,

I mean,

so the next part of this,

that's a little bit more committing,

is I would like to do some cleanup.

And the only way I can do cleanup is on
a merged copy of this.

So the layer compi this made is
irrelevant that's, ok.

I'm practicing

one thing I want to try out on this

fun

little mess here is,

I'm going to do a copy merged.

I'm going to do a paste.

I don't really need to make this a
smart object,

but

I'm going to, anyway,

we're going to go filter,

noise,

dust and scratches.

I'm going for the hail matter here.

I don't think this is going to work.

I think it's going to wreck a lot of
the fine forms.

But

I just want to do a quick check and see
if I can wipe a lot of this stuff out.

See, it all goes away.

But what happens when you do that,

you know?

I mean, there's the magic.

I got rid of all my specks, but I also
got rid of a lot of the subtleties that

are in here.

So what I'm going to try to do

is up my threshold

to

skip overms

which don't have differences in
neighboring pixels.

That's my understanding of how this
works.

It's just a threshold.

It's basically saying

anything that doesn't have a difference

between 21 pixels of value.

Because I think this is 25655

you can just ignore.

And we're only looking for things that
have a Greater

contrasting value to remove.

And we're looking for other things that
are

at the most eight pixels wide.

So before and after

that,

looking pretty tight.

I can see a few little bits of
degradation

in some of the finer lines,

but for the most part,

I'm getting rid of all of the really
obvious specks.

And if you're curious, I'm hitting p

to preview.

And

this is amazing,

I'm

really happy about this.

I'm going to up the radius just to see
if some of these larger

chunks like this are going to go away,
and they're not.

So I'm going to take this back down to
eight.

You know, there's still a little bit of
cleanup work to do,

but way less than there was a couple
seconds ago.

anywhere that,

I'm seeing

maybe some strange gaps that are
happening

in the lighter forms.

I can just paint on

my smart filter mask,

but I think I made a pretty good
decision.

So like this, right here,

I can go to a brush,

I can go to

that layer mask, and I can then unpaint
that filter effect

on that smart object.

So any of these little delicate
structures that went away, I can fix

them real quickly.

I don't have to make another layer.

As you can see, there's still a lot of
stuff here to clean.

But

all I wanted real quickly

was

to

get rid of

the big bright specks

that were in my image.

And

I think I'm going to try to avoid

frequency separating.

This

it's just going to create a lot of
extra work

that isn't going to be necessary.

And so i'll just do a real fast comb

of

anything that's jumping out at me

with

that pass.

You know, some of these other things
I'm going to ignore for now.

I just want to get rid of some
scratches.

one thing I can do as well.

I made that smart object on

the layer, not only to be able to paint
on the mask,

but also

if I just wanted to maybe see if there
was a different threshold I could use

to

get some of these gray holes to

close up just a tiny bit.

And I'm pretty sure that when I do that,

I'm going to have a whole bunch of
other issues that pop up, like that

yep.

Ok?

Where I was at, was good.

We'll leave it there.

I'm not seeing

too many other

obvious forms that I need to remove

that will keep on sweeping real fast.

And just getting rid of these obvious
things.

And I just really want to make a quick

version so that I can look at this,

finally,

without all the specks,

because

I know it's

been driving units,

and it's definitely been driving me
nuts.

A little bit of something down here.

Don't think it's in the frame,

but it may wind up in frame some day.

Ok, that's

beautiful.

I'm going to go ahead and

save.

Go back to my other comp, see all those
specks.

How could that not drive you crazy?

Going to give it just a second.

I think that's a pretty big.

Save.

Our link, smart objects, going to
update.

Magic's going to happen,

and then we're going to get started on
this bottle.

Wow.

There it is.

like that

for after, before, after

that.

Could have been painful.

It's a lot of cloned work to do.

I probably would use a spot healing
brush, so I wouldn't have to think

about it.

Yeah, you can see, my stuff still shows
up.

But maybe we can put a green layer on
there and make it all go away.

We'll see.

I do.

You see a little bit of a line right
there?

And since I do see that right now,

I definitely want to show you this
trick.

And this is the beauty of smart objects.

It's a

great idea to start thinking this way,
because you can really save yourself a

whole lot of time

and pain.

And what I'm going to do is, I don't,
like, wait the way this is going.

And I know it's so insignificant,

but it just gave me an opportunity real
quick to show you something.

And that is, I'm going to paint this
over.

Now that little line's gone.

I know,

so

unnecessary.

But

what I'm going to do right now is, I'm
going to do same thing I did for select

all copy merged

and I turned my smart object back on.

I'm going to double click it,

and I'm going to paste my copy merged

into my smart object.

And there is

my new, updated version of this.

I don't need the old one anymore.

I'm going to delete it.

I'm going to close this smart object.

My other one's going to update.

It's going to rerun the dust and
scratch this filter.

It's going to re apply

all the extra cleanup I did.

And it's done.

I just updated this little,
insignificant piece because it was bug

and me.

So now when I say this and go back in,
that's going to go away.

So anyway, it's cool.

Little trick with smart object workflow.

I used to be scared of smart objects,
and then I finally just said

I am the boss,

and I'm going to make you work for me.

And now they do.

It's awesome.

I saved myself a ton of time, all the
time,

and

my life is better for it.

All right.

Next thing I want to do is

do a quick little test,

show you what

I went through, the effort of

adding some forms down here,

double check what's happening.

Maybe not

thought I had this.

Thought I did.

Oh, you know what it is?

It's down below.

We're going to put it on top.

Take a brush.

this is where

I wanted that stuff to come into the
water.

And now I have, it's

not looking the way it's supposed to
you right now.

That's, ok.

I know what it's going to be.

So

this is what I was after.

So now we've done that,

we've done a little cleaning pass

on the background.

I think that's looking kind of cool.

I'm going to put this back down below,
save it for later.

And what I'd like to do now is

get on

this glass square and bottle

and get this sparkling,

figure out a few other little issues
I'm seeing, and start putting this

thing together

so that we can get it wrapped up

for the bottle.

I've got my smart objects

linked smart object, bottle and glass,

going to turn off all those

checkers, because

they're painful to look at.

So I noticed I've got a little bit of a
masking.

Is she right here?

And

I'm going to fix that

right now

by pulling my path in

Kate.

I wish I could hide paths.

Another one up here.

Ok.

So we'll just keep workin, up the line
here.

Just got a

bit of a

tight area.

Somethin happened.

I don't quite understand.

Hm,

interesting.

I have

a disconnected path.

All right.

We're going to

whoa,

there we go.

I tuck that in,

get rid of my white line.

And I notice i'll be here.

Do you look at that?

It's connected.

Just can't tell, because these paths
are basically invisible.

Push that in.

Not sure what's happening over here.

Make this go away.

One thing you can do is, if you click
on your vector mask, go into properties,

you can drop your density down, and
that kind of shows you what's underneath.

I'm use it

pretty regularly

at the bottom of the sable does have a
slight curve

at the bottom.

So

I'm going to keep it,

pull that away.

Now, what we're going to do

is start cleaning

this bottle

as you can see, I have cut the glass
off of it.

And that's exactly what I want.

I just want to,

because I'm going to be adding a bunch
of weird masks

to the glass to create transparency.

I felt it was better to isolate it

and have it on its own, so I just don't
have all these masks bumping into themselves.

There might be quite a bit of

highlight things I need to do as well.

Not sure

that in mind.

I'm going to go ahead and

run a frequency set

on just the bottle,

going to turn all this stuff off.

Got a full frame.

I feel like my top

is in a good place.

That needs to be part of the frequency
set.

So,

going to

this little trick,

as you all know,

check my radius,

not worry about the glass.

Definitely worried about this right
here.

I think it's fine

around it again.

we ran our fq to put in the high pass,

high frequency on there.

This isn't really high pass

that's for something else.

And I'm ready to start cleaning.

And with that,

we're ready to start

digging in to this high frequency here.

Same story as always.

I'm just going to go up on the high

thing.

It's time

for a little walk, calm action,

and

same process.

As always,

this one does have a little bit of
extra cleaning

to do,

something I experimented

with

recently, and

I'm actually

not going to do that.

But you can even run dust and scratches

on these high frequency layers,

sometimes when you've got

a lot of damage to deal with, or a lot
of

hair and dust.

But

there is quite a bit of contrast in
this,

and

a frequency set will really

dig into

a lot of these delicate structures.

for now,

we're just going to do it the old
fashioned way

and clone out

all of this.

Not yet sure what I'm going to do with
these sides.

I'm a little concerned with

all this highlight bounce,

definitely going to get rid of the

barcode.

But

with these highlights,

I'm a little concerned.

I might as well try

to see what happens if

I just

take them out.

Tentacles will be

a challenge

to also take them out from, because

they're definitely a part of it.

I can see about rebuilding that.

Maybe I can just borrow a section, but
then it's got light on the side and

it's illuminated differently,

who knows?

I might come up with a quick and fancy
trick to make it happen

it's kind of my specialty

tricks

and fanciness.

So I'm just going to

run a quick test here,

just to see

what the side looks like without a
highlight,

because I can always kind of add my own
highlight.

I think it's going to wind up being
red, because my background's going to

be red.

Someone have little red rap

coming around the sides.

So, like, just test.

I've got a mask made, got an edge.

So I may as well

test it out.

And that's what I'm going to do.

Think, this time i'll use the right
brush.

Come down.

I'm going to give myself a tiny bit of
feather

first,

so I don't get distracted by a sharp
edge.

I know, silly.

Ok, I'm in my mixer, going to put up my
flow,

and we're just going to

paint an unnaturally

dark edge

down the side

of this bottle.

Cool,

since I got rid of the high frequency
up here.

And I go ahead and

wipe

this way as well, just to give myself a
little bit more of a view

of the entire side.

I don't know, I think that looks a
little cooler.

I'm pretty distracted by

this highlight

on the side.

It's just not very uniform.

It's really broken up

and I would rather try

and wipe what I have,

then rebuild it

as a single

piece.

If I try to clone in between, all those
lines,

be really pissed off.

But since I have frequency separation,

I get to live another day of happiness

and bliss,

because I have this really,

really amazing technique for cleaning
away edges like that.

All right, so I'm going to play around
a little bit more on my high.

This was just a test.

I wanted to see

I could get rid of that edge

and make it look pretty,

so that as I'm cleaning the high,

I can

go ahead and just

get rid of all that.

And

that

in just a little while,

I can clean up that edge.

And so

the removal

of the high frequency

is

important

and necessary.

All this little noise doesn't really
matter too much.

There will be a noise later, put on top
at the end.

But

I'm just going to keep it how it is,

moving around.

I do have a lot of highlights

that I don't want.

Not sure.

Oh, did I

that's?

Ok.

I had a layer on when I separated that
I didn't need on,

but it's not going to

hurt anything.

As I mentioned before,

you have to turn off masks

and only separate the layers that you
want,

because I use a copy merged way of
doing it,

and it'll copy the merged.

And if you don't want certain

parts of the scene in your frequency
set,

then

you've got to turn them off.

So

let me check out what's happening here.

Ok?

There are.

You

remove

all this stuff.

Like you said, this bottle needs a lot
of clean.

And

they were in a pretty

complex

set,

and

I think there were just

a lot of reflections that

couldn't be fixed.

So,

as everyone says,

we'll just

fix it in post.

And that's what I'm doing

there.

This is,

yeah,

see

this right here is the computer
display.

And this looks like probably an
umbrella,

maybe the back side of one,

not sure.

A little bit of set in there, that's,
ok,

that's what I'm here for.

So

there goes the umbrella,

and there goes light stands.

This thing up here is

a refraction of the glass through the
glass.

And I don't think we're going to want
it.

I can always add my own highlights
later on.

You know, you just

throw down some vectors and

put it on screen,

fill it with some white color and

grat it off.

And

you get a really nice highlight.

Keep cleaning.

Lots of specks still.

One thing I'm concerned about on the
side here

is

there's a red line.

And in my conversation with Rob, he
kind of liked it.

I can see it happening.

It is discontinuous.

It's a little bit broken up here.

And there

let's, see, if there's any

surface texture, to speak of

kind, and not really.

There's a little bit here, but I don't
think it's important.

So

I'm just going to keep on cleaning for
now.

And if I get rid of it, and I don't
want to get rid of it, I can always

bring it back.

So let me just take a quick look at
what's happening.

And

wouldn't he know it?

What I thought was an umbrella,

because

it's got

the shape of an umbrella on a light
stand or something,

actually, is

the photographer,

that is

Mr.

Rob,

in the reflection, looking at a
computer screen.

So it looks like we have an ear here

and a nose here, anatin here.

So some of the things you see when
you're retouching that you wish the

photographer had seen, but they don't
always see, because they're focused on

a whole lot of other stuff,

but he's there.

So we can either keep him in there,
maybe have an Easter egg,

so that when he sees this image,

he wonders, why the hell I didn't get
rid of whatever it is that's there.

And I can

bust on him hard

and let him know

that's his mug

on the wine bottle.

Big booboo.

So, all right, I'm going to keep
cleaning.

Um.

just have so much to do here

that

I don't know

when to stop.

So I'm skind take out the big forms,

because these are the ones I definitely
want to remove.

And

even though

it's frequency sap and it should go
fast,

it is, but it still takes

a bit of time.

Ah, for this one, I'm just going to
switch to

my unaligned version

and just do a bunch of downward strokes.

I've got a little bit of

non noise here.

Ok, you know it?

I haven't even looked at this thing

with any of this cleanup I've done,
except on that side edge.

I think it's just because I'm so
focused on getting this image done.

I'm not taking my time anymore.

Looking up here.

Quite a bit of

clean up

let's just

take a lot of this stuff out.

Well, fast.

I do have a few things on the label,

but I want to touch.

Those are gone,

not too concerned about the top, just
yet.

These are gone.

That's gone.

This is going away.

And I've got this really hard white
highlight on the side.

It's a tough call,

but

these interior ones,

right there,

they're going,

wow.

Rob

Kate

gave us a little bit extra to do.

It's all good.

Oh, right.

I'm going to take a quick look

at what I've done so far

in justice.

I wanted to

patch this side in real fast.

I think I can borrow from up there,

almost

borrow from there.

Still unaligned holy smokes.

All right.

Good.

Enough.

Almost.

With that,

I'm going to go ahead and

clip my high,

take a look at it in context

and with my layers turned on,

and just check out my handiwork.

So if I turn my top

high frequency layer on and off, you
can see that I got ridden

of a lot of the surface blemishes.

And,

you know, high frequency highlights,

just these little things that I know
aren't a part of the low frequency

domain, and they're going to need to be
cleaned.

So I've got ahead and done that.

And now I can watch magic happen.

Because I'm going to mix your brush

on the bottom

with my high frequencies turned on.

And

in the past, there's nothing I ever
could have done with any tool in my

toolkit that allowed me to just do
something like that,

to maintain

grain integrity

while

repainting

products.

It's

really remarkable.

And

I am honestly not joking.

Are exaggerating when I've said,

it makes me giddy.

Watching myself do this

it's just something I've dreamed of my
entire

retouching career, and

now I'm able to do it.

And it's even my own technique, which
is kind of cool.

So getting rid of

some of these

show through

letter forms from the back of the
bottle.

I'm wondering if I need to bring in a
mask to control myself around these edges.

What I think I want to do is

go up to a big flow, and I'm going to
see if I can just bring this line down,

kind of not, so I can go to a normal
brush.

Rob, SETI liked it,

and

I want to make him happy.

So let's

just

paint

this little line in.

There we go.

Done.

Bring it up here.

Titan that one up.

Ha, right.

Building the gaps.

He's got his line.

I'll think about bringing it from here
to here in just a little while.

But for now, I want to

my

edge painting

and just

get myself

a nice solid edge

so that I can

create my own rap,

because I'm going from

kind of an neutral colored background
to a red background.

And even if in the end

we decide to go with a non red
background,

I can easily change any highlights I
put on the bottle

by just changing whatever layer it is I
build to create those highlights.

It's going to be easy.

I always build

flexibility

into my work, because

clients change their mind all the time.

I wish I could share some stories right
now about clients

changing their mind.

It's really amazing.

What happens when you get into the
upper tiers of advertising.

I've seen people throw away

quite a few dollars.

this is looking good.

Not super concerned about

the

slight tentacle

forms

that are producing a

tiny bit of a lighter shade on the
front of the bottle,

because I've still got some color work
to do on it, and that may make it all

go away.

It's also

kind of a nonprinting color.

That type of subtlety

in dark reds

doesn't print

very well.

So

I know that when it does print,

more than likely you won't see anything.

Ok?

So

missed a little bit of high frequency
up here.

It's having a hard time telling what
was going on.

So let's go ahead.

And

I'm going to

push

this wine glass

behind itself

so that

when I bring the wine glass in,

there's nothing

for it

to

have the shoes with,

just gives me a clean underlying

layer.

a little bit tricky to explain.

But when

I bring the wine glass in, you'll
definitely understand

this little thing here.

We're just going to

pull this highlight down.

We're going to say goodbye to Rob here
in just a minute.

These highlights are kind of a tough
call.

Sometimes

they give the bottle shape,

but they're also a little bit of a
distraction,

you've got this tentacle logo,

and it almost becomes like part of the
logo.

So usually an art director will see
that and say,

take it off.

And that's what you've got to do.

So

we took it off.

It's gone.

What's left of Rob is now going away.

He's gone.

Say goodbye.

We're going to get rid of this other
big, giant highlight.

And

what I'm thinking for this one

is, I like

the surface glare,

but I don't

like this

secondary

darkness.

I think it was

something on the set.

It's like the corner of the room.

I believe.

So it's going to smooth out out a
little bit.

Go back into my mixer, kind of blend
this area

and a little bit.

I may add my own shaped highlight

to this in a

little while.

Whoops.

Not what I really wanted there.

I think I was too high in my flow.

But like I said, I think I'm going to
do my own work in this zone.

There we go.

Softened it up,

this whole line, right here.

A little bit tricky.

I kind of like the shape it gives

for now we're going to leave it.

And I'm going to

ditch the sky

and ditch the sky

maybe keep that one.

given a little bit of shape.

Keep this one for now.

Keep the side one for now, because it's
continuous from there.

Not sure what that is.

So

we'll get rid of it.

I'm still not too concerned, for some
reason, about

this bright highlight

on top of

the titinical arms.

Not sure why I'm not concerned with it.

Kind of it's a little bit silvery.

You don't really know what it is, so
it's not distracting me too much.

So I'm just going to quickly get rid of
the rest of the side of this glass.

As I said.

You'll see why

you're just going to trust me.

All right.

That

is

pretty much all I wanted to do.

Well,

I told you, it's so much fun.

We will just do one little quick clean
up up here.

This little line doesn't need to be
there.

I'm not going to worry about the gap on
my mask right now.

I do like that little highlight,

not that one.

And

let's just do a quick

smooth

right there.

Bring this up,

maybe, maybe not

fine.

We'll figure it out later.

All right.

So

that's our wine bottle.

Lots clean up.

Sorry, that took so long.

There was just a whole lot to do on
that.

Here's our before and after.

This one's going to be pretty
remarkable.

So, where it was,

where it is,

looking good.

Tiny bit of patchiness.

You know, we can play with this for a
real, long time.

But I want to keep moving

and

get us

into the wine glass.

Because there are definitely

a few challenges

which we're going to find there.

And

in just a second,

i'll have this one done.

I know

I can't help it.

Those were big ones.

Kate.

Hopefully you don't see something that
I don't.

Now we're done with a wine bottle.

I like it.

We'll do that

magic.

With that done.

I'm going to move on to the glass

a little bit trickier,

maybe more fun.

We're going to find out.

There it is.

And

let's get started