All language subtitles for 05-28-The Tentacle-Masking.mp4

Ok let's

dive right into the wine glass.

Little bit of work to do here, some
cleanin some reflections,

a little bit of soft box action.

Nothing too major.

One thing I do want to do.

And now that I'm looking at this,

and maybe you noticed

just now,

I feel

like

everything's inside of it.

And the top of the glass are tilted,

even though

the

stem

is straight.

So

I'm going to check myself, because

it's easy to

get a little turned around sometimes.

This is a bit tricky

of a distortion.

I think I know how I'm going to do it.

One problem I have is that,

you know, I need to distort

the

as well as the contents

within that path.

If I hit command t,

I've got this mass of canvas that I need

to

distort,

I can try and

do one of these moves.

LA, LA, LA, hey, maybe that'll work.

Let me try that real fast, just because
I saw something happening,

and it may save me.

The step that I'm about to do,

not quite

soops

a wrong button.

Let's undo that.

I think.

Instead, what I'm going to do

is

check

my

feather on here,

get it where I know I want it to be.

And let's just take a quick look at our
mask,

make sure everything's perfect for this
next step.

It's pretty darn close.

And I'm just going to

tap everything in on this side, just a
little bit.

Felt like there's just a tiny bit of
gray line

around that side,

besides, pretty close.

It's going to be

sitting on top of the bottle in a
minute.

There's a little bit of a dent in the
side of the glass here.

So let's

do that.

Once we get it separated, I can
actually fill it in.

So I'm not going to sweat it,

take a look at the bottom.

I know I can fill that in, too.

But I'm just going to

push this one in a tiny bit,

push that one in a little bit,

going to roll off

of those,

looking cool.

I'm going to have lots of things
wrapping around

so,

I think, and get away with little edge
down there.

Ok, with all that said,

I think what I'm going to want to do
here,

now that I've got a clean path,

got a tiny bit of feather on it, to
alias that edge,

is I am going to go ahead and

convert it to a smart object.

This one's going to be embedded.

That's fine.

There's not a lot going on with it.

I think that's the right move.

Not entirely certain about that

could be that I want to save it out
into its

own linked smart objects.

It's a tough call, because I'm going to
need to do some frequency separation on

this thing.

So I think instead, what I'm going to do

is undo that.

No, I'm going to redo that.

I'm just going to do a quick test.

Like I said,

a lot of these sayings they're just
kind of experimental,

so I don't even always know what I'm
doing.

And that didn't work as I was expecting
it to you.

Interesting,

not sure

why that was.

So

what we're going to do instead, I
think, is

convert

this to a smart object.

Look at that.

I don't know.

Sometimes you just have to check
Photoshop into doing what you want it

to do.

I had to do it right then.

If I didn't convert

this

group of layers, which

are

my two wine glass exposures, into a
smart object, it made me

change the canvas

are, to transform the canvas, and it
was just turning this into a paint and

the butt.

So

with that done,

I'm going to

think about

this issue that I'm seeing right now.

I've got a bit of a

process that I need to figure out.

Not quite sure what the solution is.

But right now

I'm going to go ahead and save.

I am going to

check

and

see, I'm on bottle glass

at this moment.

And I think what I want to do,

this is a little bit weird, but it's
the only way to accomplish what I'm

needing to do, which is to

transform

this glass

to not be so crooked.

And

that kind of does the trick, but it's a
little bit too extreme, and it's

happening because I'm transforming me a
whole canvas.

So what I'm going to try to do is
deeply duplicate that group

into a new psd.

I'm going to crop out

any unnecessary stuff, but it's not
actually being cropped,

it's just being trimmed.

Go ahead and do that.

I am going to now save

this

as

glass.

Only

just like that,

are you following me?

I'm going to turn this off,

throw it down here,

and I'm going to go back out to bridge.

Here's the file I just saved when an
option, drag it in.

It's going to come in as

linked smart object.

Once more.

I love my linked smart objects,

and I just line it up where it used to
be, even though it doesn't matter,

because it's going into a new position,

slightly inside of where it used to be

ok, going to

get it right where it was, just for the
hell of it.

Do that?

Get rid of this?

Ok?

We're back in action.

And I go back to my guides hit cante.

And now I have

all of that was just so I could have

my abounding box right there.

I know it seems like a lot of effort,

but

it really makes a difference.

And so now I'm going to distort

and get a much

better

movement

on the glass,

not have to deal with nearly as many
scaling issues.

And I'm just going to get my

horizontals lined up.

And I'm doing it in this way so I can
maintain

vertical on the stem,

because I don't want that to rotate,
then everything else would be off, even

though these horizontals are off,

even though the horizontals are on.

So

if you want to see what I did,

I went from

that to that.

Don't know if it's the exact right
move, but I needed to do it.

What you're seeing is

the glass was towards the edge of the
frame of the camera,

and because of the shape of the lens,

it's just creating a little bit of
distortion out on the edges.

And that's what was happening there.

So it's fine.

I can fix it.

Looking at

it in context.

You're going to put it up on this
bottle.

That's there.

Everything's

snapping into place.

You can see now

why I was underpainting

the glass on the bottle, because it's
not going to

fit exactly.

And I want to have a little bit of
freedom to move this back and forth if

I need to.

And I think that's doing the trick.

We'll put it there for now,

that's, ok.

This is something I'm going to get rid
of in a second.

All right.

Now, we're going to clean the glass.

And the way we're getting clean, the
loss is we're going to

open up the linked, smart object we
just made, and

we're going to

frequency

separate once again

this class.

And hopefully

it's going to do

exactly what I want it to do,

because I still don't know yet,

ok?

For you can see.

Fq, one, I know this one's going to be
for

maybe even 342,

maybe even just to get rid of a little
bit of green.

Three,

come here.

Three

or

four

has been the magic number

with

this imagery.

F, q, too,

got my high frequency.

I'm ready to just get into this.

There's what I'm cleaning,

is this highlight.

We don't want this highlight.

So I'm just going

to

activate everything

so I can see what I'm doing,

just

so you don't have to look at that gray
mess.

And we can just

do you some magic.

There's a lot of stuff on the side here.

Think most of that's in the low
frequency,

but I'm imagining there's a bit on the
high frequency to you.

No big deal thing.

I'll probably just be painting

fifty per cent gray

on that stuff.

Light.

Flare

don't know if there's much in here.

This one had a little bit.

Man, sometimes you just wish the
photographer was sitting right behind

you, because they could answer a whole
bunch of questions

like, I don't know

which of these highlights are desirable
and which aren't.

But I'm going to make the call

that one's good.

This one's gone.

Everyone's going to go away,

moving down and into

the winet.

Go over some of these larger ones,

you know,

this stuff down here.

not too sure

what I'm going to do.

I think it's going to be

a bit of

fake

news.

All right,

that's good enough.

Start.

Let's do some

low healing,

get rid of that.

You're out of that

here, to these guys.

See where all this stuff is.

There's quite a bit on top.

This is a little bit of a delicate line
here.

And no, some other stuff happens when I
go on top of the high frequencies.

But for now, that's pretty good.

Not sure.

I don't know why I'm saying, sure

it's sure,

but

I think

it's because I'm in the Midwest,

and they do things

kind of weird here.

All right, that's cool.

Get rid of these big boys.

You know.

We have to remember as well that

everything that I'm retouching right now

is

about to vanish,

because

this whole glass needs to go
transparent,

and that's going to be

a real tricky.

I have an idea of how I'm going to do
it,

but whenever you do it, it's always a
challenge,

because every glass is different,

every photo is different,

and

they always have their own challenges.

There's a general technique for it,

where you just use this as a mask.

But

it doesn't always work the same way for
every image.

It's frustrating.

But

we're going to have fun,

will make it happen

one way or another.

Round that guy off a little bit.

Like I said, this is all going
transparent really soon.

For this little piece,

I think I need to

sample that color and bring it across

that's that where I'm at.

Are you

woo?

Ten.

Undue,

feather,

cool.

It probably won't be necessary, but

we'll do it anyway.

good.

Good enough for now.

There's just all sorts of things going
on here.

But like I said, this is all going to
be transparent really soon.

So let's pay attention

to

the more critical areas,

like this

and these little guys.

And maybe some of these specks

on the high frequency.

I might need to do a retouch layer

on this one instead.

Kern and blow.

Do it this way,

because I'm using a four pixel radius
median.

Anything less than four pixels is going
to just have a few little issues in it.

So for small details like this,

i'll just go to my retouch layer
instead.

Ok,

lots of fun alignments to do.

Here.

Good.

And these gaps,

whoa

micro

um

down in

this

area here.

Let's just do attend

2.

Tis kind of

slowly paint this stuff away.

A few little distractions

might all get covered up with smoke

or ink

that's lookin.

Really good.

That's going to go.

Got a few things happening down here.

We have a reflection of the tentacles,

which I'm ok with.

I'm maybe not ok

with

this thing.

Oh I was on that layer.

No wonder things were doin.

Unexpected

behaviors

Kate.

All right.

And then we'll go back to the mixer

twenty.

This was a big blob from earlier.

Forgot about it.

Now it's gone.

All sorts of stuff down here.

Let us

give right over the top of it.

Ok,

that's good enough for now.

It's

come a long ways.

So if you'd like to see the before and
after,

nice

lots of

detail, removal on top of fine grads.

So what I'm going to try to do real
quick right now?

I'm going to say that.

I'm going to bring it

back into

my

bottle and glass comp.

We're getting really deep into the
layer cops right now.

I lose track of what's going on.

Sometimes

I might fix this little blob down there.

You can see that before and after with
the bottle.

It's pretty nice.

You can see it was necessary

because

this is the hero, all right here.

And if we don't make it perfect and
beautiful,

there's going to be a lot of really
upset people.

So

I'm not sure

if I want to use a mask

in this document, which is just the
bottle and the glass,

not the

full composite.

If I save this,

and

we come over

to

our

full composite.

Then

you can see we still need some
transparency here.

And I've got

two levels deep of

linked smart objects right now.

I have

my

bottle and glass,

which is now really just the bottle,
but it is still the bottle and glass.

And then

that opens up to my bottle on glass.

And then

within that, I open it up to another
glass.

So

I can do a transparency mask in here,

or I can do it

up above one level.

I'm going to try it real quick in here,
because my other level has a transform

on it.

And if I need to untransform it,

it just gets really messy.

So I'm going to take a quick look at my
layers

on my channels.

Excuse me.

I'm going to check out what's happening.

Think I want

it's pretty neutral.

So it's not going to matter to be
honest.

So we'll just go with the cleanest
noise.

And that's going to be the green,

pull that over.

And what I need, do I need the inverse
of that?

I think I need the inverse of that.

So click

on that.

I'm going to go up to

this layer,

and I've got my fq.

And I think what I need to do

is turn that off,

to turn that on.

Ok,

I didn't do it right?

Let me try to invert it.

That's what I want.

I don't want to see any of this glass,
because

I need smoke to come all the way
through it, because it's super

transparent, and you'll see everything
through the glass.

So

with that done,

just go into

my old normal brush.

And

I think this is the way I want to do it.

And I want to just

get rid of

this part of the mask.

I think this transparency down here I'm
not going to need.

I might be wrong, because it's just
dark.

And the background's dark, even though
it's red.

We can add a red tint

to the transparency here.

So we'll just leave it like that for
now.

This is where it gets a little bit
tricky.

I'm not sure exactly where the top
level is,

and I can't unpaint that.

What I want to do right now

is

do a sanity check

and make sure

this plan

is

going according

to

my

idea.

So

this doesn't need to be there.

Ok?

That's a quickie.

I think that's what I want.

Probably need to refine this a little
bit,

maybe

knock this noise down.

Tiny amount

that's my mask.

I'm going to save it.

We're going to go ride over

to

the composite, which is there.

I know this is really confusing.

I'm getting confused too, but it's
working exactly the way it's supposed to.

And this should update

with transparency,

might not be perfect.

There it is.

That was pretty tense.

I wasn't sure how it was going to turn
out.

I'm really relieved.

I definitely got a bit of work to do
here and there.

I'm going to knock

the transparency down a little bit.

So that it's a little smokier.

Got some issues here.

I don't know what's going on, but
that's ok.

I can figure it all out.

So

this is my

update, update, update.

I think it's just that it's got some
smart objects in there somewhere.

All right.

I'm really relieved right now.

I feel like I'm almost home.

I hope you could fall along with that,
because I know it was super confusing,

but

you've got the opportunity to

play it back and forth and

see if you can figure it out.

And next we're going to

just kind of play a bit more with a
color and the reflection and the water,

and see if we can get some cool wraps
going on the wine bottle to make it

reflect the background a little bit
better.

And once we do all those things, which
will take a few minutes, but not too long,

I think we're going to be really close
to being finished

and

just

enjoying this experience that has been

a little bit challenging at times, but
we're almost there.

And what I want to see happen next,

I'm a little interested

in

kind of just dialing in that glass.

Transparency it's

a bit of an unknown to me right now.

So to do that let's figure out

where all of our layers are.

I think what I want to do as well is
create a layercump for myself

that is

able to

be

used by my main composition doc, so
that as I'm looking

at this file,

I'm always going to have a background
behind it.

And

when I say, I don't want to have to
remember to turn off this background.

So

by saving a companion, and then coming
over here

and going to my properties, and I don't
know why I call it state I just did, it

will always have this state of layer
visibility.

So

even though I save my other file

with a gray background,

it's not going to show up on my main
composition.

Kind of a weird thing, but it works.

So

the issue I'm seeing up at the top here
is I need a little bit of a rim.

So I'm going to go into

color that allows me to see the rim.

And that's going to be dark, because

my background is dark.

And

when I go in here,

you can see that there's really not
much of that rim left.

This is a tough one.

This is what I want,

and this is what I've got.

So how do we fix this?

Well,

solid black is going to block out

the transparency.

Is that right?

No.

See, the way around needs to be white,

right?

White blocks transparency.

What I really need to do this?

I don't think that's going to happen.

I think that is just going to look
terrible.

So we're going to check it out real
quick.

See,

not good.

Not good at all.

You can see the background I just
created coming through,

it's sort of there.

I kind of feel as though I need to draw
it by hand.

I'm not looking forward to that.

So let's see what happens

if

I

do, you do a little bit of

the old

draw up by hand sort of thing.

Let's see here,

that's that.

I'm at 100.

So right now, you can see

I'm just painting white on this rim.

And this is why I don't like doing
this, is because

it's really,

you know as precise as I am.

It just, it just loses something in the
translation,

because these structures are just so
delicate,

and

there's nothing you can do about it.

I want a three pixel brush right now
too, is going to get

real small,

but roll tried.

Anyway,

I think i'll just go, have to go over
it twice.

And

as I'm doing this,

in the back of my head, I'm

trying to come up with other solutions,

believe it or not,

because that's just how my brain works
after all these years of

doing Photoshop

I'm constantly trying to come up with
new ways of doing things.

Ok,

that's my white rim.

I'm going to

do a

quick

save

and come back over and close down some
files here,

and come back into my composition, just
to see what's happening.

Update smart objects.

What is updating all the time?

Bottle glass,

this was a preview layer.

I'm going to ditch it, so it's no
longer updating all the time.

Save clothes.

And

some other stuff's going to start
updating.

Ok.

So this is where I was

when I'm just playing with getting a
rim.

And I know I could make a rim job joke,
but I'm not going to.

So we're going to

we're going to just wait for something
to happen.

Ok, notice, I've got this background on,

but I made that layer a minute ago
called state.

I'm going to save this, and we're going
to hop back over to our main composition.

That's going to update.

And

the background's not going to show,
because I have my properties for my

linked smart object set to state

weirdness, I know.

But there it is.

There is a nice delicate rim

that actually worked pretty well.

I'm happy with it.

I'm going to go ahead and draw in the
back one

or real fast.

So we're going to hop back out through
500 layers and smart objects

come over here.

I'm going to just use this as my guide.

I think I need to

do this.

And I wish there was a way that I could
do this nondestructively,

because it's going to make it really
hard to go back.

But I'm not

seeing a way to do that right now.

And this is really,

I almost feel like I want to do this at
a percentage.

And

I know you guys are probably freaking
out that I'm using a brush tool instead

of a pintool

right now, but

I don't care.

I'm a maverick,

ok, that's cool.

Maybe this little beat bit right there

doesn't look like what you

think it should look like

to me either.

Maybe I've got a little section

over here that needs to connect

like that,

ok?

And

that's all cool.

You know, these little white pieces are
giving it just a little bit of

something on the surface.

I did want to make this slightly

less

transparent.

So

full black is

fully opaque.

So by making it slightly

grayer,

I can make it

a little less

transparent,

right?

So I'm going to do that.

I think

I can also do it

a fancier way.

And I go up to these property panels, I
click on my mask density,

and I do something like that.

Kind of cool,

right?

Sooops,

you're not supposed to be there.

So density is, density of the mask

it's a little bit weird, a little hard
to understand.

If I make this red, you'll see.

So when I change the density, I'm
changing the gray levels

of my mask.

And

a little bit of trivia,

I invented that

it's a slider from light room,

long time ago, and

a computer far far away.

I was on light room beta when we were
developing it, and I needed a density

slider from asking.

So they built me one,

along with clarity.

And

that's what density does.

It just changes the density of a mat of
a mask.

So we're going to take that down a
little bit, rather than destructively applying

a levels or curve to it.

Going to

do that.

See, changes density.

We're going to keep it at 86 for right
now.

And we're going to return back to

our

comp to see what happens.

I got to save two levels deep.

it's all right.

Saving.

This is going to update, and it's going
to be glorious

there it goes.

See that

little bit of change in color there's
other ways that I could be doing this.

I feel like being fancy.

So that's how we're going to do it.

Definitely got some stuff going on up
here.

Probably need to color the rim

back out, but for now, that's looking
like a wineglass,

finally.

And

I'm stoked,

because I'm that much closer to be
undone.

So

with that,

I would next,

like,

I don't know, what do you want to do?

We're going to color up some water down
here.

And

I think then we're going to work on
stacking some ink layers.

Get some life into the same.

Think about wrapping some red around
the bottom.

So, moving into that real quickly,

let's go back out to

this guy.

And in this

image, I have a glass, a bottle, a
background that I don't care about.

And the ripples

coloring this is going to be a little
bit tricky, because

I don't have decided on color

guessing.

I could probably just color here too.

But we have lots of layers

and things intersecting.

But yeah, let's do it.

We're going to do our color.

All in this lay, are all in this
composition.

I'm not going to do it back out in
here, which is what I was just thinking

I would do.

But what we will do while we are out
here

is we are going to figure out why this
is gray scale.

And I'm hoping it's not what I think it
is, because

it's going to be a pain in the butt.

Somewhere in my glass file,

I lost

color.

And let's

turn this on

and get this back to a gray

zone.

Figure out what went wrong

somewhere in here.

I lost

a bit of

saturation.

And I'm not sure

what could have caused that.

I think it might have been inherent

in the image that I retouched.

Yeah, look at that.

That's just how it is.

It's kind of desaturated.

It looks a little bit weird.

I think I'm going to wind up fixing
that by hand.

I'll just paint some yellow onto this
thing.

I'm going to go ahead and

just

crank through

one quick little issue here

and see what's going on with all these
layers.

There we go.

So, inside the glass,

tedious, I know,

but this is the life of a retoucher.

And

I think I'm fortunate, because I'm not
a photographer.

I couldn't imagine being a photographer
and trying to figure out all this stuff,

because it's pretty heavy.

And I know

most photographers

don't have the patience for this.

I don't know

why I do.

Ok, so,

because I've got to keep the

refracted bottle

in the glass,

I need to make sure

the

inside of that refraction

is also cleaned.

It's all these details.

I know it's

just clean that up.

Rost.

Good enough for now.

What's going on up here.

Yeah, there's just a lot of schmag.

It's all right, though.

Ok, with that done,

I'm going to go ahead and

save this guy.

Return to one of my other documents.

Wait for my update.

That's what it did.

I think I've got an unwanted

background.

And I never pump this out, because

I feel like I'm going to keep adding
layers to it for some reason.

Ok, wait for this update.

There we go.

And

this is, ok, it looks like it should.

The glass is blocking in the light.

I may paint a little color.

And here later on, i'll probably do it
in the main comp, where I'm doing some

of my color.

For right now.

I wanted to

check out

the bottle

color.

Got a glass up here.

And what I wanted to do with this

is,

I

feel as though the

top is

maybe a little on the yellow side.

So we're going to

go ahead and

take some saturation out of it,

like that,

and will invert that.

Good on all.

Rush,

my painting white

Tara.

Get that a little bit closer,

that

this highlight's been bugging me.

So what's just

do that.

And we are going to

heel, because it's fastest,

make it go by.

Looks like

the mixer is going to be needed.

Kind of cool.

Just a little bit of aglow there

out.

Look at you.

I know there's a big stripe.

We're not going to worry about it.

Ok, that part's done.

Next,

I think I'm going to do a little bit of
a trick

to

get some a rap on this thing.

And to do that,

I am going to

do something fancy.

And we're going to

contract

some random number of pixels

fifteen

for now.

And then I'm going to

create a

solid color fill,

solid color fill,

and we're going to pick our background
hue,

maybe.

And then I'm going to

invert that thing,

and we're going full aesthetic,

vapor wave style.

That's what the kids dig.

Let's see what happens when we bring
that in.

I mean, all it needs is a lambo,

and we're going to be rockin.

Oh no.

But had my layer comp set up the wrong
way.

Damn it.

So I have to update this

lambo disappointment.

Ok,

just for fun.

Lambo, see all these layer comps?

Man, I'm spoiling the funded.

I suck.

Now it's a lambo.

Man, I'm no good.

Sorry, I failed.

I have to update my state after do all
sorts of

stupid stuff.

Ok, now it's going to work.

I swear

we're almost there.

It is,

vapor wave style.

Ok.

That was my fun for the day.

Back to work doing that.

So what I was thinking here is that I
want to

kind of blur this mask,

do something weird.

We're going to run a gauzian on it.

I'm going to

just do that kind of thing.

This gives me

a bit of a

edge light,

rim, light, side glow, sort of thing

to happen.

It's just an idea I've been kicking
around as I've been working.

I'm going to flip that to,

I guess not multiply,

kind of does it.

It's a little bit too pink,

a little bit of red,

something like that.

It's just an idea I wanted to play with
for a second.

Maybe that's not the way to do it.

Maybe I need to do

one of these

huge sad things,

and we can try

pump sat into a colorize.

Not worried about this stuff up here,

you know what I mean?

I think I'm just kind of focusing on
this side

right now.

That's terrible.

Not going to do what I want it to do.

I don't play with this stuff too much.

Usually my retouching is really
straightforward,

but

I'm just going to set that for right
now.

And I'm going to

update

this with my state.

I just kind of want to get it
integrated real fast and see what's happening.

Like said, I'm not too worried

about the top,

because this wouldn't be

seeing any light

that would go away

like that.

Starting to remember

a trick I learned not too long ago,
dealing with

linear light, ingredient maps and some
other weird techniques

are unique techniques.

Ok, there you go.

So, as you can see, I just wanted to
see.

I just wanted to check out what would
happen

when I added

this integration,

which it definitely is going to need.

If it's sitting on that background,

this is not going to work.

We won't see any red light wrapping
around this.

It would just kind of blend together.

I don't think if we want to see a real
highlight hit

on that side,

I have an idea for how to make this
thing work a little bit better, but I

like what's going on right here.

I think it's going to be really

crucial and essential to making this
happen.

I have to probably paint this one in by
hand.

This back white light, I'm not too
concerned about yet.

Some red's going to need to happen in
there.

To

setting myself up for a lot of
complications by

turning that thing

into a different color.

But as you can see,

we're in a little bit of a strange
place there.

I'm not sure.

I'm not sure how to make

this color happen

with this bottle.

I'm not sold on the idea of it yet, but
maybe as I work on this a little bit

more, I will be, and that will

stop me from having to wrap all this
red light everywhere.

So for now, I'm going to leave things
as they are.

And what I'd like to focus on is,

and I know I'm jumping around.

I usually don't jump around this much,
but this one is pretty complicated

and is requiring me to kind of think

non linearly.

And so what I'd like to kind of try
real fast

is getting the smoke down in here.

Because

by spending too much time with this red
stuff and the red wrap, I may be going

down the wrong path.

But the tasks that I really need to
take care of

are

a transition of ink in the water

and foreground

ink wrapping

and the color stuff I can just kind of

slap on at the end.

I have a bunch of ideas for how it's
going to happen.

I can make this thing look

100 times better.

And this shouldn't be a problem at all.

This side, maybe a little chickier,

but we'll get there.

So for now, I'd love to start focusing
on

what's happening down in the bottom
here.

And to do that, we're just going to
flip some layers around

and start masking.

So hang on