All language subtitles for 02-08-Stumpys-Image Processing.mp4

Before I really dig into

a set of images or a project.

I'd like to review everything I've been
given by the photographer.

And just, I like to make sure
everything's intacts,

everything makes sense.

All of the elements line up.

I really just want to review my files
and see where I'm at.

For the first image we're going to be
working on, we've got looks, like five

or six exposures on black, whiskey
bottle, different types of light being

cast on the bottle,

pretty much every part of the bottle.

I like having options.

I like that the photographer's thinking
about

all parts of the bottle.

It's

unfortunately, very difficult for them
to

see the finished product.

So as they're shooting,

they're often doing different exposures,

different reflections,

and

they hope that they've covered

all parts of the product that they're
shooting.

And my job as a retoucher

is to

put all these pieces together,

check out what their intentions were

and

really

understand

their creative intent.

All right, so let's take a look at
these notes.

We're going to be checking sunpies on
black.

The notes are

short and sweet, and that's how I like
them.

So for this set of images, we have

series of exposures.

Liquid right side left, side neck,
label and cap.

I'm going to be talking about these
more when we get into Photoshop, but

for now,

just checking these out, wanting, make
sure that my three o eight is my base.

It looks good.

I've got

side reflections,

side reflections,

more side reflections.

Looks like this.

One's probably going to be for the
label.

Maybe this one is, too.

I don't know.

At this point.

We're going to be starting with
processing, cropping

a little bit of color,

and,

yeah, whatever else we kind of discover
along the way.

All right, let's get processing.

What I'm going to be doing is

getting my images

cropped, cleaned a little bit in terms
of color, lightness, exposure,

maybe aligning it with what I've been
told in the notes.

Although

there's going to be a little bit of
back and forth as I process these out,

get them layered and deposited in
Photoshop.

And so I'm not going to worry too much
about making things perfect

yet.

I just want to put my normal settings
on the image,

get things where I want them to be,

spit them out of capture, get them in
the Photoshop, put it all together,

check it out, and then we'll go from
there.

So for

this set of images

right now, I'm just seeing a lot of
distractions around this bottle.

I don't want to see what's going on.

And I'm also seeing that the image
needs to be rotated, or just otherwise

straightened out.

what I'd like to do is

throw a little bit of a crop on here,

get rid of a few distractions so I can
see what I'm looking at.

These images are all going to be masked
out.

And so I'm not going to worry about the
overall canvas dimensions right now.

I'm just going to worry about isolating
my subject, getting it straight,

getting it pretty and getting it into
Photoshop.

So I've got a crop on here.

I'm going to go ahead and just see.

I don't think for this one that I need
to do any of the keystone tools

that can add a little bit of distortion
to the image.

I'm going to just go to try a simple
rotation

and see if I can get things
straightened up.

Turn on my guides,

get my edges lined up.

I don't often use guides, so I don't
know if I have a keyboard shortcut for

it.

So we'll go to the old school way,

just throw down

some edges,

maybe put this up here.

Just to see

if the rotation is also going to throw
off any of the horizontals.

In which case I would go and apply
keystones instead.

Just get

this sing

looking

in like it's in the right spot.

Not always easy to

see with the grid on.

I think I can turn that off.

But then it turns the guides off.

And that's not what I want.

We're getting pretty close.

You can use your arrow keys

in the number dialogue box to just
gently

dial it in.

Am I going the right way?

I'm not.

It's bouncing all around.

That looks

about right to me.

The horizontal

seems like it also is straight.

So I'm not going to need to use any
keystoning,

get back out, turn off my guides.

I'm happy with a crop.

I don't think it needs to be

much tighter.

So we'll stick with that for now.

Do you do?

So?

Now I'm going to play a little bit with
my color controls, my exposure,

sharpening, noise reduction, all that
kind of good stuff.

I've set up my panels for my workflow

so that they just have the tools that I
need to get the job done.

And

first thing I do

when I'm in capture is change my
sharpening default

one.

Isn't what you want.

I could explain it.

But for now

i'll just let you know, point to is
where you want it.

It produces a better granular structure.

These images are relatively noise free.

We don't worry about that too much.

I think

180 is going to be where I want it.

And so what I want to do next is

open up the dynamic range a little bit.

If that doesn't

sound like something you understand or
make sense to you, what I'm trying to

do right now is to

kind of push in the edges of my
histogram.

I'm actually compressing the dynamic
range of the image so that when I get

it into Photoshop, I have more room to
let the image breathe.

I can push my blocks into the shadows a
little bit better.

I can open up the highlights

and really kind of sculpt the image.

Whereas if

I

push the, push the image out to the
edges of the histogram and capture,

I'm essentially

closing off all the shadows, turning
them in the black,

pushing my whites

to be too bright.

So what happens is, if I want to open
up those areas

in Photoshop, I'm now limited by the
narrower dynamic range.

That is going to be

the result of

that process instead of the process
that I'm about to show you.

So got my image straight.

I'm just going to open up my shadows a
little bit,

increase the values so that I can

have a little bit more room to play.

Pull the highlights down.

The exposure is dead on.

I'm not going to play with it.

Contrast, I don't

think I want to adjust for this image.

Contrast and capture does do

beautiful things.

It's different than your contrast.

And Photoshop it's different than your
contrast.

And light room tends to keep the
shadows a little bit more open.

But my contrast is all going to be done
in Photoshop today.

I'm not going to play with any levels.

Everything's where I want to be.

Curves are going to be in Photoshop.

Don't want to add clarity,

because clarity is going to produce
halos on the label.

It does sharpen up the image
beautifully.

Microcontrast,

a joy,

but we don't want to do that.

Now.

F, at the end of the image, I want to
add some high passing.

I can do that there,

but for now, I want to keep the image
as stable and under control as I

possibly can.

Pull that back down to zero

sharpening.

I know, based on my experience
hopefully on your experience too.

That

140 to 180s in a good spot.

I can just do a quick test.

See what's happening on my edges.

I know it needs a little bit of
sharpening.

Some people don't sharpen it all and
capture.

I like to sharpen and capture, pre
sharpening, post sharpening, all that

kind of good stuff.

Let's just get this

right where I want it.

As you can see, we're

going to have a little bit of cleaning
once we start working.

Noise reduction,

I leisurely like to leave my color
where it is.

A lot of the imagery I work on, I take
it all the way out.

I like grain.

I like structure.

This Sony camera is relatively noise
free.

But I'm just going to go ahead and give
it a little bit of reduction.

Don't need to be too specific.

All right.

So my base image is feeling good.

And now I want to apply those settings
to all the other images.

I may need to do additional adjustments

to the other set, the other images in
the set, based on rob's notes for

things like labels and highlights, that
sort of thing.

So let's see what happens.

Select your

reference image, shift selects.

You can do copy to paste.

So we're going to copy everything,
paste it down.

I find that I do these almost exact
settings to every single image I work on

it's just,

like, is an open dynamic range.

Sharpening's good, noise directions,
good, gives me a base to work from.

And once I've got the image started, I
can then tweak it as needed.

But

with these images they're really
straightforward.

And I'm confident that

a default

setting will work well

for all of this.

So with the first

image applied to everything else, just
going to take a quick look,

if there are any surprises.

If there aren't any surprises, I can
process these out and get started in Photoshop.

This one looks like it's going to be
for my

reflection, could be for the base.

I seem to remember some notes about the
base needing different types of reflection.

This is

for the neck.

It looks right.

The highlights look a little hot, right
here.

So that tells me that

the way this image relates to the other
images, it probably needs to drop in

the exposure

just to touch.

I can either do that now or after I
have it composited, and I can go back

and forth and change the exposure.

For now, I'm just going to pull it down
a little bit, so it feels closer to

what everything else

looks like.

Looks like there may have been a little
movement in the bottle or the camera.

We're not going to worry about that
right now.

And yeah, I feel like these are all in
a good place, just to start roughing

things together.

So I am going to go over to my process

tab,

create a quick recipe

for this project.

After talking with Rob.

The images are intended to go online,
but also for print.

So I'm going to

be working in Adobe rgb for a wider
gamut.

I'd like to label these.

What there are going to be Arg for
shorts

and ape it.

That's

psdwgb.

We're going to go and keep these at
three under dpi, even though there's

going to be a web res 72.

That's all going to be scripted out
later.

They were to be go and save.

That that's good.

We'll be outputing to

a set of folders, which I've already
created.

You'll be outputing

to whatever set of holders you've
created.

And

let's get these going