All language subtitles for 05-29-The Tentacle-Clean Up.mp4

This next step is going to be

an important part of the puzzle.

And that's often how I look at my
images, is

they are puzzles.

That's why I think I love retouching so
much.

I love puzzles.

I love trying to figure out how to put
a bunch of pieces together

without necessarily even knowing what
the final picture is,

which you do normally in puzzles.

But this is a different kind of puzzle

that we're working on right now.

And

part of this puzzle is

we're going to try to get that ink to
sit on the water in a believable way.

And I've got a plan for it.

It's not going to be too complicated,
too tricky.

I'd like to just use a little bit of
layer masking,

and

I think that's going to give us what we
want.

So to do that,

what I need to do is

I'm happy with the position of this
background

for now.

It's going to stay exactly where it is.

And

that needs to be the case

because of what I'm about to do.

I'm going to take this

layer that I was playing with earlier,

when I was doing some testing,

and we're going to

put this up on top.

And I am going to hide the whole thing

the first thing I want to do, just so
I'm not looking at

something a little bit strange, is I'm
going to be

bringing my layer blending back to
normal.

I had it set slightly differently before

when I was doing that experiment.

And

we're going to go ahead and take that
off again.

Looks like I may have

hit cancel instead of ok, because I'm
using a walkhom, and it's just not very

accurate sometimes.

So I'm going to hide all of that,

and I'm going to go ahead and apply my
red

to that layer.

You can see, as you're kind of bouncing
around

in this stuff, you get some

cool effects

and happy accidents.

I'm going to clip to my

ink layer,

which

is invisible right now.

And what I want to do is go to my layer
mask,

and I'm just going to kind of paint

this layer.

And it looks like I have a slightly
different color.

Scheme going on it's because

I had duplicated this and then
duplicate it again,

and it was multiplying on top of itself.

One quick thing I want to do, I was
thinking about this as I was working,

is the brightness of the water

is

kind of bugging me a little bit.

And I want to just take this down,
because I think it's a distraction,

and I'm not really going to be able to

blend these areas together if I'm
looking at that distraction.

So with that said,

I need

to

put this on to here.

I need to

invert it

so it doesn't affect the wine.

And we're going to

just really quickly,

sort of

paint a little bit of shading

onto the edge of the water,

because it is going to be covered up by
the sink here really soon.

And so light would interact

with it differently.

And like I said, it's just a little bit
too bright for me right now.

I think I processed it bright because I
wanted

room to move with a curve.

And I didn't know exactly what I
wanted.

And if I'd made it too dark, opening it
back up again would be really destructive.

So

I open things up in raw,

because I have more latitude to work
with there.

Ok,

that's a little bit better.

It's not so distracting.

Now, if you want to see where it was,
that's where it was, it's just the

brightest thing in the scene, and we
don't want that.

So back to the

blending of the ink into the water.

I'm going to

see what happens if I

give it a little bit of transparency on
the edge.

I've got

some stuff happening

at the back edge

of the tray this was photographed in.

That

makes it a little bit tricky

to

get this transition where I want it to
be.

So one thing I would like to do,

and maybe you've already done this, is
just kind of clean up

this back edge a tiny bit,

just so it doesn't pop through
unexpectedly.

I know I'm kind of working all over the
place right now, but I'm

just

setting myself up for success.

I don't ever say that it's silly.

Maybe you do, but I think it's kind of
silly.

All right, back

to this,

remember, we're just

only

taking

a duplicate of

our background layer,

putting it up on the top so that it
matches,

making it invisible, and then just
painting in only the edge.

If you look at my layer mask preview,

this is the only section that we're
painting in right now,

because our ink is way down on the
bottom of the layer stack.

And we wouldn't be able to bring it up
on the top unless we masked

this

bottle glass, which we could also do.

But I'd like to just kind of

show you how to do things multiple ways.

This is doing the same thing right
here, where I'm just masking the bottle glass

water layer

and showing what's underneath.

But

because of some issues that might
happen, I'm going to do a top one.

And there's also some other reasons for
it

which

may or may not be relevant.

So

we'll just

keep working this way

and see if we can get kind of an
interesting transition happen happening

down at the bottom here.

I'm trying to bring the ink forms from

the background into the foreground,

so that they're just not sitting behind
the edge

of the scriple.

It wouldn't really make much sense.

It creates

a sort of a dimensional

flattening that

I'm positive wasn't the intention.

So

we're going to try to bring iting up to
the foreground a little bit,

and maybe i'll even

take it all the way

out up here,

just for a second,

and then,

rather painting it in, i'll paint it
out.

Because with something like this, I
never know exactly what I want.

And

I'm allowed to have a little bit of
freedom,

which for me is kind of unusual.

Because

most of the time I have an art director

sittin right on top of me

who

doesn't let me have any fun

now not doing it.

So we're going to

pull that out a little bit further.

Maybe these forms kind of even

sneak around to the front a little.

There's a little bit of transparency.

Let's see what happens if we do it
over.

Here's

just kind of,

now it flattens it out.

I don't like how that's working

back here is maybe a different story.

We're just going to

gently

pull this in,

and whatever's happening right here with

this coming into the front.

I've got a mask I can

pull real quick to fix that.

It's going to keep on massaging this

and really slow, because

there may come a point where something
just snaps into place,

and by gradually easing into it,

I can hopefully find

that happy place

it's in there.

So that's looking kind of neat

not 100 percent sold on this

back corner.

But I think I'm going to be doing a lot
of

sort of dodge and burn and overall
tonal shading

to this background, because right now

it's really dominating the scene,

and I feel

like I need to really push it back,

because

we don't want this shot to be about

this stuff in the background,

even though it kind of is, because it's

eighty percent of the scene.

With that done, I'd like to do a quick
test

on

my

water.

I'm going to go ahead and do a little
organization,

and we're just going to call this

foreground.

And

it just allows me to kind of clean this
up a little bit.

I'm going to go ahead and group these
up and call them background.

And I've got a foreground too as well.

But for now, I'm going to leave that as
is.

What is this thing do?

And we don't need that

cool.

And so

one thing I was going to do real fast
is,

and that's because I made this layer
group, is,

I'm going to go

and create a gradient map.

And what this does is it remaps the
luminosity

of the image, so black to white, to
whatever values you assign on this

gradient.

You've probably used it before, because
it does all sorts of cool stuff for creating

monotones and due tones and try tones
and just special effects.

So my idea for this

is, I'd like to

come in with a real

deep red.

I think my hues were somewhere over
here,

but i'll check.

I should really remember this value,
because that's my hue value.

And that's what's driving all these
colors that are happening right here.

I know, I want my lightest tones

to be more of a gray.

I might put a 10th, a tent into them.

I might not.

I think I was just at 338, but that
might not even be the right color.

And a pop back out,

check my hue real quick.

345, I was close

more towards the red, it looks like.

So, back into the gradient,

and up here.

Come on,

one day, all this will be done in one
window, and

I will be very thankful.

Ok?

So what that's for is, I'm going to go
ahead and invert that.

I'm still kind of not sold on this area

at all.

So i'll be going back to that in a few
minutes.

And I'm going to

give

this water a little bit of color,

because it's supposed to be

reflecting.

The

color of the background

that's a little weird.

It's, ok.

I just want to test and see what's
happening.

I'm always trying to come up with a plan

for

the next

stage of the image.

I like experimenting

on

things as they pop in my brain,

simply because I might kind of forget
what I was

thinking of doing.

And

by doing this now, it might open up
some possibilities

for another direction.

So

I just kind of play as I work

when I don't know exactly what it is
I'm supposed to be doing.

And this is that process,

so a little bit heavy on the sat.

I'm going to

pop back into here,

and we're going to just pull some
saturation

out of

the blacks,

kind of like that.

See, I can make the blocks

this color, I can make them that color,

can put a lot of saturation into and
pull the lightness up.

Whatever I want to do,

I'm just remapping

gray scale luminosity.

That's kind of even chromatic
luminosity.

If that's the thing, oh, no.

Sounds like a fancy word.

That's kind of getting there, kind of
not

let's go even less.

Just it's such a delicate balance.

Maybe if I open up

the highlights

a little bit,

not really,

ok, but for now it's got a little bit
of tone.

Before and after.

You can see just that,

that shadow side of the ripples.

Picking up

the background

and keeping these

highlights

a little bit more pure,

is

what I'm thinking I want.

So

with that done, I'm going to

add a little bit of shading here.

And there's

just some stuff

that I would like to play with

in terms of

overall lighting and mood of this
background,

and that we're going to get to work on

fixing

my experiments on the bottle,

maybe cleaning up this wineglass just a
little bit.

I may look at adding

a tiny bit of wrap

onto the surface right here,

because

I kind of like what's happening on this
edge, but we don't have anything, and

this glass just feels really flat,

even though I've got highlight right
here.

I also need to think about

taking this out and adding something
more.

Like this

was part of

the glass, and I didn't frequently
separate it out.

I wasn't sure what I wanted to do over
here,

so I kind of just left that open for
now.

So just real quick, I'm going to

maybe add an overall curve

to the composition.

I just want to kind of see what happens
if I make it a bit moodier.

And

I know I'm bouncing all around.

I keep saying that, but

this image,

you're kind of

almost

expected, or

it's almost expected of you to play
around with this and really be creative

with it.

It's ok to bounce around.

There's no linear progression in it.

There's my progression.

Of course, I do things my way.

But hopefully this image just inspires
you to really just try out a lot of

different things.

And I'm just giving you some tools to
allow you to do that.

So

I'm going to bounce around.

I'm going to set a little bit more mood
to this thing.

And I'm going to come in with a dodge
burn layer, real fast.

We just call that dB.

And I'm going to set it to soft light.

I want it to be a little bit more
gentle.

If I went to overlay,

I'd get a little bit too much contrast

or shading too quickly,

because that's what overlay does.

And so

just with a real low flow brush,

I think I'm going to kind of

fix my transitional areas that are
happening here.

I'm unfortunately darkening the glass
tube, because I don't have a mask that

I can pull from right now.

I may even want to

do this on a different layer.

So I'm going to pop this

down to here.

And this is going to do something weird.

See, I just did something weird.

So maybe not

put that back on top,

see if I can get a type of mask

that will allow me

to

block

my

glass out, so I'm not

putting a lot of burn on it.

So I'm going to do that.

I'm going to go back up to nine percent,

and I'm just going to real quickly

undo

this.

Yeah, that's what I was doing.

I need to,

I need to

commande invert.

This is what I want to do.

This is what I want to do,

and this is what I want to do.

It it's a little confusing sometimes.

No, one's expecting anyone to be
perfect.

It's just a lot of

trying to remember which space you're
in,

because

it gets

just hectic.

Ok,

so this is just kind of my

blocker

for

my wine glass.

It's just preventing me from painting

over it as I'm burning.

Not necessary, but I just felt like
having it there

and let us go out and extend this up.

I'm just going to paint it into here as
well,

because I think I'm going to be, I'm
burning a lot behind

all of this

cool

and ran a de selects,

ok,

says lookin pretty patchy.

But I'm going to clean it up,

to come back into here

and

just keep

playing with

my overall tones.

Ok, just kind of push it back to the
background

a little bit.

It was just dominating

the waterline,

and

we couldn't have any of that.

One thing you want to remember when
you're dodging and burning

on soft light or overlay, is if you
want to back off,

this sort of area,

but you don't want to brighten it
because you're working in black or white.

The way

overlay in soft light work is

fifty percent is neutral.

So I just bring up a fifty brush like
that.

And if I paint

fifty percent down here, it just

takes it back to normal,

right?

So if I go to a normal here, you can
see this is just fifty percent gray

fading into black.

And

so if I have a mask already, I could
group this.

I could put the mask here, and then I
could put another mask there,

which may probably be smart to do.

But in this case,

I just want to show you that

when I paint with a fifty percent brush,

I can bring this area back to normal.

And if I really wanted to reshade that,

I just go back to black and

can put this in here, like that.

I can also do the same, just go white
and just gradually

lighten this area back in.

So

with that done,

I've got a

controller somewhere for this.

And I feel as though

I want to either extend

this lightness out or

bring

the darkness

in.

So brush

that's ok.

It's a

fairly perceptible change.

Got this kind of annoyance down over
here.

So I'm going to

almost hide it by?

Can I darken?

Yep, I got a little room to darken.

And so I can

pull this curve into this area a tiny
bit more.

So I think what I want to do now is I
want to leave this as is and give my

brain a little bit of time to digest.

Still not really happy with what's
happening here,

but I think it's a good idea,

as you're working through these kinds
of images,

to take a break from what you're doing

in the direction you were going, because

maybe it's just not

quite what you were looking for.

So

instead, you can go and kind of

cleanse your palate, so to speak,

and work on something else

in the image,

and then come back to it.

And maybe you'll have

some insight and some fresh ideas

to

experiment with.

What I'm doing right now is,

I felt like adding a little bit of
contrast to the background, because I

darkened it down quite away.

And so I just made myself a fancy curve

that I know is going to

pop highlights just like that,

and I'm painting

that into

the background,

because before I

go down this next path,

you know, I want to come back to this
and have it look sparkly.

So that's what I'm doing

that's cool.

That's good enough for now.

going to save this thing,

because I just did a nice chunk of work
on it.

And what I want to do next is

attend to a few of

these outstanding

issues with

the glass

and the bottle.

So yeah, I've just been kind of

allocating a little bit of space in the
back of my brain as I've been working

on this, thinking through some ideas.

And I'd like to try that out right now,

because I feel like we've got a really
good direction on this background.

And I want to now

start locking this foreground in a
little bit better.

And to do that, I need to clean up

some loose bits

in my bottle and glass

composition.

And

we're going to start with

looking at

what I did on these edges.

I think I had a huesat colorize

I should have just turned it off, but

it's there.

And I think what I'd like to do is
attempt

to get a little bit of highlight wrap

around this thing.

The background's got a little bit of
light to it,

and I feel as though it should be

illuminating the sides of the bottle
just a little bit.

And I had, you know, there was some
there before that.

We've taken out

there was quite a bit, actually.

so now I'm going to add that back in

it's a little bit challenging.

It's not a common request that I need
to do this, but I feel in

this case

it might be pretty helpful.

So i'll show you how that works.

And what, I mean,

if

I could just go ahead and save

that file without any rap,

you can see,

you know, that it's just

kind of popping off the background in a
weird way.

Maybe that's good.

I don't really know,

it's such a

tricky thing when working with
aesthetics.

What

you see as being right might not be
what someone else

sees as being right.

So

I just kind of have to use my best
judgment.

And

my clients like that.

I

try to make some of those decisions for
them

so they don't have to micromanage.

And

with that said, I'm going to pop back
up over here,

and we're going to look at

quick experiment.

Remember, I've got my glass on its own

separate

layer,

and I still need to fix this.

Right here.

Should only take a second.

So

in my bottle,

in my cc,

I've got this kind of a blur mask

set up.

And I think what I need to do

is

take,

I'd like to just take a curve,

and I'm going to go ahead and group
these up.

And I'm going to go ahead and put a
layer mask on the group,

so that

everything I do is going to be affecting

these areas equally.

And I'm going to go ahead and

lift

the shadows up a tiny bit

and open up any highlights that are
there.

I'd also like to, while I'm here,

to fix this edge that's been bugging me.

And to

do that, I'm just going to go ahead and

flip back down

to my frequency steps,

see where this line is coming from.

And rather than

fix the mask,

I'm just going to

paint out the low frequency

into the edge of the mask,

because I'm just dealing with a really
delicate edge right there.

And that allows me to fix it in half a
second.

And that thing was bugging me to you.

So we'll fix it.

And that's done.

Go ahead and push this guy out

a little bit of high frequency

there.

Using frequency sep is a glorious way to

deal with edges

and avoid having to cut in too far to
get rid of any sort of

camera blur that's present.

Maybe just a tiny bit more over here.

Other times you just have a lot of
light wrap to you

and

the light wrap extends far enough into
the image

that

to get rid of it, you need to

really

cut your path

too far into the inside,

or your mask, if you just feel like not
doing paths.

So this edge has been kind of bothering
me, and I know it needs to be cleaned.

So I'm just going to do that real fast.

Bam, that's done with sights a little
bit trickier.

I'm just going to use a normal brush.

Well, hello.

And

we can

sample here.

And I think I can just do that sort of
thing

ten percent.

Just paint a darker tone

into

this side.

Something like that.

It'll all go away.

Ok,

easy.

I'm not going to mess with that.

And

you can see there's still some little
fading stuff that's happening over

here.

And that was because

I had just set up a

rap

curve.

That's going to put a little bit more
light down on the sides,

and you'll see why here in just a
second.

So with that done, I'm going to then

do something I don't normally do

just because I want to try it.

And I'm going to go

back

up to

345,

because right now

that's

my red color.

I'm going to do some lamboglow

and set this back down to normal

or excuse me to multiply

and see if I can

tease a little bit of a rap in this
thing.

Still not kind of coming out the way I
want it to.

I'm going to just do a quick dynamic
feather

and see if, when I blur this, check it
out.

See, I'm just blurring what I already
have blurred.

And what I'm doing is, I'm extending
that wrap of both the curve

and the color fill further into the
center of the bottle.

It's going to get a little funky.

It got a lot funky down there.

I probably need to burn some stuff,
although actually that's not so bad.

I do have a little bit too much of a
highlight hit

right in these things.

And that's because,

remember, I got rid of that.

But getting over to this is

a real tricky.

I kind of need to bring this section

over into here and then conform it to
that shape.

Light wraps around in weird ways.

So I just kind of wanted to leave it
there.

You don't really see that.

That used to be highlight.

I'd like to try to hide things

so I can save myself twenty minutes of
pain sometimes.

And that's one of those spots.

So I'm a little bit pink.

I want to get,

see if I get more saturated.

I'm going to push that little bit
higher into the reds,

and I'm going to go ahead and dupe that
to see if it helps.

It does not.

So what I need to do

is potentially

toss another curve,

make it a little bit darker, maybe just
add

some more red to it

this way,

kind of like that.

You know, it looks kind of weird in
this setting,

and that's because it's on a gray
background right now.

So I am going to

update my layer comp, because that's
how I've been doing this.

I'm going to update that.

This is the layer set that I want to be
in the comp.

And I'm going to go ahead and save,
flip back over to this one.

I had my previously

UN

edged image in there.

So, and that was, so I wanted to see
kind of a before and after

of what I had just done.

Ask me how I think that far ahead, but

I'm kind of weird like that.

So that was before and after.

I think that's kind of cool.

Maybe it pushes to the background too
much.

I'm not sure it needs to have it
otherwise, it's just

kind of floating in the scene.

I don't know how rob's going to respond,

we shall see.

But for now, I kind of like what's
going on with that.

I think

obviously the tentacle just pops out on
its own.

I don't need to see every single
surface of the bottle separate from a background.

I might just do a little bit of shading
around the edges to get this edge to

pop out, because it's really blending
in.

That part might be important,

but it's not the fault of those red
layers I just made, because it's just

not there.

Anyway,

i'll look at that in just a moment.

But for now, I want

to

take a quick crack

at

the wine glass,

because

it's probably bugging you as much as
it's bugging me.

So

to do that, I want to go back to my

layer and glass,

sorry, my bottle and glass comp.

And within that,

I have my

glass linked smart object.

And it is

looking like that.

I think what's bugging me right now, is

this tiny little speck?

Maybe I need to, you know, maybe it's
not that I want to bring this highlight

all the way down.

I think maybe I just want to

close the gap up here

and maybe get rid of this

strange.

Looking into

the highlight.

I'm sometimes thinking to you that I
want to bring

a white

line to the rim,

or maybe it's this front rim goes
white.

I'm not really sure.

But that

darkness on darkness

isn't

really working.

It just needs some sort of shape up
here.

And then we're going to fix this.

And

so that's how we're doing this.

I'm going to go back to my

glass file here,

and I'm going to get some gray all the
way back there, because

my eyes are

a little bit tired.

And

we're going to really quickly

fix

this highlight.

And I'm pretty sure it's on that layer.

And that is my

high frequency

upper layer.

And I can show you what that looks
like.

That's what it looks like

with that.

I'm going to

be on the wrong tool every year.

Quick alignment,

super easy.

Cleaned going to go check out what's
happening here,

since I know I need to fix,

and it looks like,

oh,

what does that look like?

Oh, that's part of this mask.

So before I do that,

otherwise, it's just not going to look
like it's supposed to.

I can also maybe just turn it off real
quick,

and

then I can fix this

and just not worry about this mask

right now.

I just want to bring

this thing all the way up.

It's kind of cool, because it has these
little flares around the side of it.

That's something that I would never

think or be able to kind of create on
my own without having a reference,

because it's

just a weird quality of light and
optics.

And

our little brains can't figure that out
on their own.

So I got that made, got that filled in.

Going to take a quick look at the low
frequency layer.

And that is just solid white.

So I don't need the mixer brush,

although

a mixer brush might actually be cool
with that, because I could

bring

these

side edges up with me

like that, which I wouldn't be able to
do if I was just using

a normal white brush.

It would fall off to gray, rather than
falling off to

this

kind of desaturated orange.

And I'd like to

just

round out this bottom

as well,

like that

a little bit nicer,

although go in full uniform right
there, is maybe not the best idea,

we'll find out.

Ok, back to

my normal view,

and I need to fix my layer mask.

This layer mask is controlling
transparency on the glass.

I made it

from pulling a channel

a little while ago.

So just to remind yourself

where this thing even came from,

it was something I had to create to
give myself transparency on the glass.

I probably could have gotten around
that by

painting

a foreground layer

into

this glass here, and then just kind of
curving it in different ways

to make it appear transparent.

But I wanted to get fancy and show you
how you can

link a file and make it pop out the top
with some transparency.

Just some kind of neat Photoshop tricks,

and

that's how it works.

How does that old David Letterman skit?

Stupid human tricks?

Yeah, so these are

kind of stupid Photoshop tricks, but
they're not really stupid, because

they're fancy.

Ok

with that.

I don't want to do that.

I want to,

I think, mixer.

I can even mix her

on

masks

just like that.

There is just a weird little nub down
at the bottom.

Maybe I want to

just kind of soften that up.

Nope that's going to give me trouble.

That's a tricky little one.

So maybe for

now,

brush

a shift.

Brush

white.

For now, we're just barely going to
touch it.

I'll get cool.

Um.

So let's take a quick look at what we
had just done.

I removed

a little speck that was up here.

I bridged the gap on

this highlight.

If I go back to my history whoa.

You can see that I went from

this,

from this

to

this

couple minutes of work.

100 different ways to do it.

That's how I chose to do it, because
I've got my layer stacks already built.

I mean, just you, rid of that little
bump.

And, like I said,

kind of into it.

But

I always feel like I want to drag it
down

even more.

And let me just

this little piece right there.

Maybe we'll just around this,

or square this off at the top,

something like that.

Cool.

Next, I'm going to look at

fixing this little

piece of light,

looks like I'm up here.

That one's been bugging me.

I'm not going to worry about this.

This is looking great.

Think

I would love to get rid of

this guy, but there's going to be

ton of issues that happen when I do.

Someone is going to try really quick

fix

and see

if I can't

just bring

the wine

all the way

over to the edge.

Go ahead and get rid of this one too.

You know, that highlight is already so
delicate.

And

when we put a bunch of stuff around, it

just sort of loses

that delicacy.

So

I'm going to

blend some of this stuff together

using just a stamp tool right now.

If I need to come in with

my mixer brush, I will.

But for now,

I just want to

get rid of this, kind of.

I think it was just a reflection from
something.

And then I can go

back to my stamp tool

and get rid of the high frequency and
Fo,

just like that.

Cool.

This one's ok.

I must want to

bring this thing all the way down and
around, but it's actually sitting on a

dark surface, so

it wouldn't really be there.

Maybe it looks a little bit strange in
that termination.

If I did want to fix this, it would be
the same process

that I used for this guy up here, where
I'm just going to

basically,

probably just make a mask and just
paint white all the way through to the bottom,

like I said, I don't think it's
necessary.

We're going to leave it like that for
right now.

And I'm going

to

quickly

get rid of this thing right here

it's

bugging me.

It's going to be kind of tricky,
though, because

it needs to have

really the same rap

as

the bottle in the scene.

I'm not sure

if this is the right thing

to do here.

Layer masks are tricky.

When you get this heavy and deep into
them,

you never quite know if you're making
the right move.

So you just sit down some color

and

see what happens.

There is just kind of a weird line
happening there.

So I got rid of it.

It's fine.

going to go back into my step and

see what I can do about

taking out whatever this thing is.

It's an old highlight.

Not

sure

if

this is going to have some bad effects
on the main composition.

We're going to check that out in just a
sick.

So I don't think I can paint outside
the lines on this one.

Nope.

So maybe it will just come in with a
normal flow

brush

and

just kind of paint in this stuff.

So it's really just seeing through the
glass into the bottle.

Doesn't look like it needs to be
anything special.

I might add some color to it as well.

It's just one of those details that

you got to be paying attention to you

when you do this, when you do this kind
of work, because

these sort of things are often
overlooked.

And if you don't

mind and pay attention to these things,

I'm going to find your image, and

I'm going to post it to the bad

Photoshop subredit, and everyone's
going to make funny.

So it's kind of my worst nightmare and
fear is that one of my images is going

to be on bad Photoshop, someday,

but hasn't happened yet.

let's keep our fingers crossed.

Ok, that's cool for now.

I think I might have some masking
issues up there.

Nope it's just

this sort of thing happening.

So to fix that, I'm just going to do
that.

This is still kind of weird.

We're going to

make it more believable

adding a

curve,

and

I think I need to put it

inside,

nope it can stay right there.

It's going to go and add a little bit
of red.

Invert that,

come into this,

and

get my foreground background set up the
way that I want them,

and push a little bit of red into this.

I think I'm going to make the tentacles
red, actually,

have them kind of reflecting the
background a little bit.

I'm going to get rid of that,

and then I can kind of

add any more red that I need.

I think I'd need to fall off on the
edge here.

And I know this is kind of

a little bit on the sloppy side,

but

sometimes you need to cut corners
because you only have

a limited number of hours you can do
something.

And so

you just kind of kind of let things go
and not get to micro.

For now, I'm cool with where that's at

just kind of double check my work, make
sure it got all the little things that

I wanted to get.

One lost little detail

that I think should get taken out,

is this thing right here.

It's a little bit of a blob now.

And that's ok,

because,

you know, what's coming next,

and it's got

zero shift.

Let's add a little

90s,

a lens flare,

because I think that's

the general mood

for this image, is,

we're going kind of retro

it's all the rage.

So

maybe even exaggerate this just a tiny
bit,

to make it seem like

it's intentional.

Look at that

Calgon,

ok,

we're going to save.

Oh man, what is this?

What is that?

This does not need to be here.

I don't know of being

slightly ocd is good or bad for being a
retoucher,

because

if you are heavily ocd,

I think your job would never ever be
over.

Fortunately, I'm not.

There's some sloppiness in there.

But

like I said,

you could do this forever and ever and
ever.

So for now,

it's going to turn it down a tiny bit.

It's such an insignificant

part of the scene.

And it's non essential as well.

So we're not going to waste too much
effort on it.

Cool.

I'm going to go ahead and

save that out.

Get a quick update in my

comp here.

This is

what I just did,

getting into those things.

I think my fingers might have saved at
some point

before I got rid of a few other things.

So we don't get to see

all the glory

of my cleaning.

And so

with that said, I'm right on the edge
of saving this thing out

and getting our update.

But I do

want to see what's happening right there

it's a little bit of,

hm, I don't know, something weird.

So let's see if we can

just even out this edge

a little bit tricky.

Doesn't have to be perfect.

I just want it to be not what it was

like that.

I don't know if this one's to come over,

I've got some settings

that I can adjust to,

maybe just kind of

shoot this out the side,

see if it's any

cooler than it already is.

Let's get rid of that little nub,

does just bother anyone.

It's going to be small, I'm not sure

let's see what happens real fast.

I'm going to do that

and we're going to go back to here,

and I'm going to go back to my mixer,

and I'm going to just

remove it from existence

and get this little cleaned.

Ok,

cool.

Cool, cool.

That's a whole lot better.

So let's get this saved

and

pop it back into our main comp, which
is still a couple levels up, but let's just

save.

I'm going to make it go away.

That little guy

see that?

I think that's a lot better.

This had been bugging me,

so I'm happy with it.

And we're going to save that out.

I'm going to close it,

pop back into our main composition

and behold the glory

of

all that

cleanup.

I just did

really dialing in the glass,

getting it to look as

we intend it to be.

I just worked my way through it.

Sometimes I don't like to do everything
at once.

I really just want to get things
together and be able to start looking

at them

in a way with as few distractions

as possible, just to make sure I'm on
the right track.

And then I kind of refine

the stuff that I started up earlier.

It's all a process,

it's all intentional,

and

it's essential to developing these
kinds of compositions.

And so I'm really happy where this is
going

to look.

The glass looking good.

And so now I think I'm just really
going to start dialing in the background,

figure out what's happening with this
water, that sort of thing.

And so

here we go.