All language subtitles for 03-16-Cocktails-Bourbon on the Rocks- Full Edit.mp4

This

next image is one that I really like

for a number of reasons.

The shape of it's beautiful, the
lighting's beautiful,

just

the

dynamic motion in the liquid

is really appealing to me.

Also there's not very much work to do,
which is a bonus.

We've got a couple different exposures,

some variations.

Looks like

Rob is wanting to add a little bit of
condensation

to the glass.

So he's given me some options

for

varying levels

of that condensation.

And my job is going to be to composite
them together,

maybe come up with a few options.

So let's go through the notes, take a
look at what he wants,

get some processing done

and

get cracking

for the base image.

We've got number three, o one.

This is the clean exposure.

This is the hero.

This is

as he wants it to be.

So we're going to take a close look at
this, see what we have to work with,

kind of go through the same steps that
we've gone through before.

We are going to preserve our
highlights, open, our shadows,

do a little magic,

some cropping, and go from there.

One, clean glass.

311

is our condensation

on the liquid only.

We're blending that with a clean glass,
so the condensation

only appears on the liquid and slightly
fades into the glass.

What that tells me is I'm going to be
taking this middle section

and

only using that middle section,

maybe doing a little bit of blending up
here, maybe not.

I kind of like the clean surface of the
liquid.

So I'm feeling

like I'm going to just keep it within

only the area of liquid and not up on
the surface.

314,

we have

a different look of condensation on the
liquid.

Looks like it's a larger structure

to me,

different types of spray.

I don't know.

Photographers have some magic tricks
that

I don't really understand,

but he was able to get a larger spray
structure on the glass.

So we are going to composite that in.

I've got a couple other exposures, I
think, or just for

options,

but I don't have any notes on those, so

we're not going to use them for now.

We're just going to use these three.

I could process them out and just have
them available, doesn't take me any

extra time.

So i'll do that.

But then my layer stack is only going
to be the three

that I'm working with.

So let's jump into the processing.

First thing I'm going to do

is

get rid of

some visual distractions.

I'm going to go ahead and

crop into this image.

I don't need any of this stuff.

I'm not going to get too close.

I'm just going to

kind of give myself the same breathing
room on the sides.

Like to have a little bit of breathing
room, I don't need to

go edged edge.

And I'm also going to

make sure that I'm level

the sides of this glass.

It seems like

they come in, they're not meant to be
straight.

I think if I squared it up, it looks
really strange.

So I'm going to assume

that this glass does have a slight
angle to the edges.

You can confirm that by

looking at a guide next to it.

Yeah, it does angle down a little bit.

It's exaggerated by this shape, so it
looks like it's more of an angulated

than it is.

But my main concern right now is just
having a straight horizon

lying at the top of the bottle,

and it's looking a little bit off to me.

So I'm going to add one more horizontal
guide,

drop it down to the bottom.

And I think I'm going to rotate this

glass just a degree or so,

a

decimal

of a degree.

I'm not sure,

just like that 0.2.

I can even

be fancy and just go point to a,

looking right about where I want it to
be.

I'm going to go back to the hand tool

so I can see the cropped image.

Turn off my guides.

We're going to play with color.

Now,

the first thing I want to do is check
for chromatic aberration.

I've got a little bit of a line down
here, but that's not an aberration,

it's a refraction.

Because looking at me, at my other
edges, those are all intact.

So I've got it checked anyway.

But I don't need to analyze

for exposure.

This white is really close

to pure white.

That's not going to give me any room to
move.

I'm going to be stuck with that.

So I'd like to recover

a few of those highlights.

I'm going to go ahead and exaggerate it
for now.

Just give myself plenty of shape to
work with.

We're

down in the 240 land right now, which
is great.

These blacks are a little bit too
closed off for me.

I'm going to open those up.

And as you can see,

my

histogram

pay attention to that is compressing to
the middle.

So I'm condensing the dynamic range a
little bit,

just to give myself some breathing room.

That's working for me.

Take my sharpening back down to 0.2.

Going to leave it's

180.

Not a lot to sharpen in this image.

I'm not going to get any halos of that
amount.

So that's fine.

I like the noise reduction where it is.

Don't want to have too much texture on
this surface.

Terms of exposure

that feels dead on to me.

Don't need any brightness.

Don't even saturation

contrast will be lovely.

But we're going to go ahead and add
that in Photoshop.

Keep that at zero.

And that's looking exactly the way I
want it to.

And then select all,

copy, paste,

apply my settings to everything else.

We're going to go to our developed
settings.

Maybe we are gbpsd a bit.

Go to the right place,

and we are going to process those
files, bring them up and bridge,

and take those over into Photoshop.

Here we go.

All right.

With that done.

We've got our process files in bridge.

Same

technique as before.

Same process.

Load files into layers,

go over the Photoshop,

get rid of all the backgrounds.

Go over to our notes,

copy those in,

get them visible

to do.

Make it black

where we go.

I don't need them that big.

And we are going to

get some alignments going, because
that's my first step.

Doesn't necessarily have to be the
first step.

I can make groups, but there's just a
little bit less clicking this way.

So 317319

we're not going to worry about for
right now.

I'm not going to even align them,

because I'm pretty sure I'm not going
to use them.

But it's there, just in case Rob wanted
to see an option.

And it comes back later.

That set up and ready to go.

Three.

O one is our primary

set.

It to difference,

get rid of that.

Find something to align to.

This is going to be for condensation.

So

there was a little bit of camera
movement on this.

There's really nothing to align to in
this part of the glass,

because there's just condensation
everywhere.

So all of the

sharp edges that I would use I'm not
going to be able to see.

So I'm just going to use the edge of
the glass,

and then check the bottom, just to make
sure it's

pretty close.

And it looks like it is.

Turn that layer off.

Go to

this other one.

And I'm doing these individually,
because

the camera could have moved differently
for each one.

I'm not going to shift, click my layers
to move them in the same amount.

I'm going to spend a few extra seconds
just to do them

on their own.

And

I'm thinking there might be some
strange movement here.

So

put this back up, unnarmal

to a quick onoff.

No, it's just the way these are
refracting.

Top edge looks.

Good to me, doesn't really matter,
because all I'm using these for is the

center of the glass.

Now we're going to group these up,

get organized

base.

And I think what I'm going to do

with these

is, maybe

they're each going to have their own
mask.

So

I'm going to put them in their own
group.

We'll call this

condensation

large,

and

the southern one will be

condensation small.

And what I sometimes like to do with

a group

of

options that I can just toggle both on
and off at the same time just to see

the base,

is i'll actually just put those in a
group

called condensation, so that I can turn
them both off at the same time.

There is a little bit of movement here.

One second,

tiny bit.

I don't think it's going to matter,

but

I'm a bit picky.

No,

it's just a visual thing.

Go back to normal,

and we've got things lined,

we've got them grouped.

And now we're going to

make some rough masks.

See what that composite is doing.

As you've seen before.

My process is almost always the same.

I'd like to do some rough masks.

Just think, get things fitted together.

Make sure I don't need to go back to
capture

it's quick visualization

of what's happening in the image.

And to do that,

as you know, we just throw an inverted
mask down,

come in with a brush,

and just quickly

paint in the area of interest.

That,

as I mentioned before,

I'd like to keep it

right at the waterline.

I don't want to go over the surface at
all.

I don't want to do any blens

up over the surface.

Maybe just

really tiny bit,

maybe not

haven't decided yet.

It could be that if I cut this off
entirely,

it just looks kind of hoky.

Or maybe I want to

actually gradually paint it down a
little bit, so you can see that surface

tension on the water, and we don't have
to worry about all this stuff up here.

Maybe I'm going to do something like
that.

Haven't decided yet.

But for now, I just want to view these
two

in the same area.

I can actually take this mask, put it
up on

the layer group for those two.

And now I can just topple between

those two condensations,

and I'm liking what I see.

I don't see any need to go back into
capture for another process.

I knew those would fit together really
well, and they do.

The next thing I'd like to do with this
image is coin it up a little bit visually.

I'd like to see it on white.

I get really distracted by

pieces of the scene that aren't going
to be there.

Kind of makes it harder to clean, clean
up and retouch, because you're getting

distracted by all this.

So we're going to just create a quick
global mask

for

our image.

And I'm going to use paths, because I
have a lot of straight edges

and a lot of really

gentle curves.

I like using a rubber band as I'm
working.

You can find that option here.

This just allows me to get a visual for
where my line is going to be.

And

I've been doing paths for a few years.

I kind of know

where I need to be.

Putting my points

there's not a lot of guesswork for me.

One of my

techniques that I use for this is to
minimize the number of points that I

use.

Some people like to put a lot of points
down.

I go very minimal and the reason for
that

is,

the more points you have, the more bens
in the line

you're going to have.

Because

you're not always going to be on the
same tangent.

And you'll just get a lot of Waves

in the surface

of the mask

because you've created too many points,

and you're not

able to see what

your straight line really is.

I don't know, it's hard to explain,

but just know that

less

is better when creating

your mask.

And just Paz in general.

If you ever really want to dig in to
path

and try to understand

what a perfect path looks like.

An optimal path,

a really precise path that's been

crafted

over the decades.

I would suggest that you

open up in design

and or Illustrator

and convert

a typeface to its paths,

and take a look at how they construct

a typeface with paths.

Because

I can promise you that it's

extremely minimal.

And

every path is precisely placed

and they're perfect.

And you cannot move the points from
where they are without ruining the

letter forms.

And often masks are kind of the same
way.

You really want to put points in their
exact position

there's some flexibility, but if you
get them in the right spot,

they work perfectly

I use a little trick here concerning
path.

Drag

just allows me to go in the middle

and move some things around the way
that I want them to move.

Without it,

it gets weird.

All right.

That's

a pretty good mask.

I'm doing some weird edge things here.

There is an edge to this glass.

It's a wrap

of light.

I haven't decided yet if I want to cut
into it or not.

We'll see what it happens when I put it
on pure white.

Little bit of adjustment here and there.

That's looking good.

Going to go ahead and group these two
guys up,

and we're going to

add a vector mask

onto our products.

Turn off these layers,

get a solid color field back there.

I don't like going on pure white.

I'd like to put a little bit dot in it,
usually around 95.

The reason being is that a print will
never be on pure white.

There'll always be

a little bit of tone in it.

So I like to have that tone

to reflect how it's actually going to
print.

So around 95,

little bit of gray.

And

we are ready to start cleaning,

same process as before.

I'm going to make some frequency
separations,

do a little cleaning around the edges.

I'm not going to worry about the
condensation in my frequency separation,

because I have two options for that.

there is also

no cleanup that needs to happen

on.

The condensation

it's just too busy

for anything.

And I can use a healing brush

for those areas as well.

It'll just make things easier.

You'll see why.

One thing I want to look at before I do
that, though,

I sometimes do

reconstruction

before I frequency separate,

makes it a little bit easier,

and then

it gets built into the separation as
well.

In my conversations with Rob,

we were,

you can see, my masking is a little
clean up there.

We were wanting to balance the sides
out a little bit.

He felt that the glass

was kind of leaning to the right,

that

the

black filcil

card it's like a black flag actually,
that the flags on the side weren't

optimized.

And

we had a little bit of imbalance
between the left and the right.

So as we were talking and I was
reviewing the files, I thought that

a solution for me, and for his

request,

would be to just

duplicate

the right side over to the left,

maybe reshape it slightly,

but for the most part, just borrowing
what we had over there.

And I'm going to do a little bit of
creative masking

to

massage

that

into place.

Because I know it's not going to fit
exactly.

I'm going to do something that

you don't always want to do, but

it works,

and nobody's going to ever know.

I always want to clean this first
before I bring it over.

These are things that you need to think
about as you're working.

If I were to frequently separate this
out, I can clean this first before

bringing it over to the other side, and
then it wouldn't be double cleaning.

And

I think I want to do that.

But first I'm instinctive test this out
to make sure it is the right solution

for this problem.

We're going to go and click, ok,

see what we're working with,

see what I need to do to make that fit.

And we don't want this to look like a
mirror image, because then it's just

going to look like a mirror image.

So I'm going to actually

make it slightly thinner.

I need to stretch it out just a tiny bit

to get the

bottom edge to lineup.

I'm going to play with this in a minute.

That's looking about, right?

I'm going to add

mask to it.

And this is just a test, because, like
I said, I think I need to clean this

side first,

and then I can copy it over.

It's not going to be part of the
frequency separation.

Doesn't necessarily need to be.

I just like to do it that way
sometimes.

But I think what's going to happen, is,
once I get that other side clean,

I'm going to do the exact same thing I
just did here,

but it'll be nice and clean, and i'll
flip it over.

It is going to work.

So with that

task

done and I feel safe about it,

I'm going to just turn that off for now.

I mean, to

get ready to make a frequency
separation so I can clean up

the stuff on the glass,

clean up the size cubes, even though
we're putting condensation over it.

There may be an option to have no
condensation.

So we want to make sure that that's
included with what we send over.

I want to turn off my

mask

because I want to frequency separate
the whole thing.

There are reasons for that

with mask edges and

kind of aliest intersections that
you're not going to want to see.

So just keep in mind that when you
separate, it needs to be the whole

image and not the masked image.

I'm not going to put the condensation
in there.

Like I said,

so we've got our base just space.

Can go to my frequency separation
action.

Get into here.

I'm going to get button mode.

Going to click my first stage.

What I'm going to want to see here is
some of the

surface noise that was on the glass.

It's going to disappear.

It's going to all be going up to the
high frequency

layer.

There's really not a lot of texture I
need to worry about in terms of

looking for this pattern that I like to
get rid of with my double step medium.

One thing about separation and the low
frequency is you really want to use the

lowest number you can possibly get away
with,

because the higher you go, the more

corner and edging issues you're going
to have.

It's hard to explain.

Really, just experiment, play around
with this.

Get to understand it.

Dive deep.

Really explore what happens with
different radiuses, and how it affects

the image and haloes and all that kind
of fun stuff.

We're not going to do that today.

I really just want to

fly through this image.

So let's take a look at fours

working.

Like I said, I want to go lowest number
possible.

There is a lot of stuff on the top of
this cube here.

We're not necessarily you're going to
clean this all the day.

This is a great image to practice on.

Has a lot of surface noise and dust and
hairs and specks

that will give you great practice

on high

layer frequency separation cloning

glory.

So without in mind, I'm going to take a
look at four.

I like it.

Click.

Ok.

Ok, again.

Go up to twice q two,

and let's have a look at

what we're up against.

All right, you can see that there's
quite a bit of stuff on this glass.

I know robbed did a good job cleaning,
but you just can't clean everything.

It just sticks.

And

my solution for this one,

I think, is going to be pretty
straightforward.

There's not a lot of granular
structure, as you can see, it's just

these kind of speckles.

It's just breaking up the uniformity of
a flat gray.

And I think what I'm going to do for
this

is I'm going to clean a patch

of

the high frequency,

just a big chunk of it that I can pull
from

for my non aligned cloning tool
technique.

Because that side of the glass doesn't
have any more surface noise

than the interior of the glass.

And look how clean this is in the
middle.

This is going to give me a really big
patched clone from.

And I'm just going to be able to clean
this side up

with great ease

and

not worry about the underlying tones.

We've got a few more dots coming into
the sides here.

I'll get to that area.

When I get there.

We're going to be cleaning up this
piece quite a bit.

That's going to be slightly trickier,

but I think I've got a good solution
for that.

The cube, I don't know.

So

let's get to this layer.

Take a pretty big brush,

come over to our clean patch,

and where we are going to get rid of a
mountain

of dirt.

I'm going to turn off my alignment

so that as I go further down, we're not
going to bump into the cubes here.

And I'm going to be

lifting off

my cloned tool pretty often.

And that resets the

alignment source back to the original
source, rather than continuing

with where we were, I've got to make
down brush strokes, because up above is

the edge of the glass.

So we're going to make downstrokes,

a series of them, just getting rid of
all of this stuff that was on the

surface of the glass,

just like that.

And if you'd like to

sit there for a moment and admire your
work.

We can

turn off our solar layer.

Do I actually have a solar really
running?

Yes, I do turn off our solar layer,

clip our high frequency,

and just toggle that thing on and off.

And all of those hairs, all of those
dust specks that we're sitting on a

really soft grad underneath, that you
can barely even see.

But if you use the clone tool, if use
the healing tool, it would just make a

mess of things.

Turn that high frequency back on, and
all of those

surface

dust, bunnies and hairs are just gone.

It's a perfect blen.

There's no issues whatsoever.

Just two seconds of work,

and we've just avoided

twenty minutes of pain.

All right,

that sounds looking really good to me.

I'm going to go ahead and go over the
left side.

Same process.

I'm going to

take a closer look at it, even though I
don't need to.

Going to option click.

And we are going

to get rid of

all of that stuff.

Once again,

with this side, I can actually cut into

this region, because I'm going to be
replacing it in a few minutes,

so it doesn't matter, feel like I'm
picking up a speck.

it's one of those.

We be back over here

you'll notice I'm still using my mouse.

I don't need to be using a brush.

Nothing's wrong with the walkholm.

I just don't like the way it works on
my layers.

I'm always misclicking stuff, and

just

it's a little bit more tedious,

I find, than mouse work.

Get this edge a little bit cleaner.

Double check that I'm not getting rid
of anything too important.

I think I need to.

Yeah,

there we go.

Nothing important on that edge.

I will be adding a grain layer to this

because it is so noise free that it's
going to look strange when it's that smooth.

So we're just going to clean that up a
little bit.

Double check what's happening that it
will be covered with my grain layer.

Plus, I'm going to be rebuilding this
whole edge out.

That's done.

Turn this back on.

Worry about that.

It's all going to get covered.

All right.

We're going to move down to some
trickier areas.

It's going to be a little bit more fine

cloned work for this.

I'm not going to get every single last

piece of hair.

This is just really good practice for

high frequency

cleaning.

I'd like to get rid of some of the major

issues I'm seeing.

Let's just do a quick let's actually
work

with the high frequency activated.

This will give me a slightly better
idea of what needs to be clean, what doesn't.

Because

a solarized high frequency

is

a real paint in the butt.

Sometimes

I'm going to switch to my pintool.

If it's working it is

because I'm not going to be doing

any layer functions just yet.

We'll spend five or ten minutes for now,

getting some of these big chunks out.

You see that there's still

some underlying

noise that we're going to need to clean
up.

And that's because of

the low frequency.

Because we didn't push all

of the scratches and the hairs up to

the high frequency.

It would have created

a bunch of issues that I don't want to
deal with

right now.

So I left my radius pretty low, which
left some of these scratches

on the high frequency layer

whoa.

We got some clean up to do.

We're going to make it go fast.

I'm going to take a quick look at what
is actually on the surface of this low

frequency, or the high frequency.

There's a little bit of noise,

but it's mostly uniform.

I'm not sure I can pull from this area
up here.

I'm going to do one quick thing that

is going to help me visualize what the
final image will look like.

And that is my roggering layer.

Sometimes I like to put this up here as
I'm working.

That way I get a feel for being able to
paint in

flat areas of color on my high
frequency and get away with it.

Because, watch this.

I'm going to go to my brush.

I'm going to make it

fifty percent

that saturation.

And I want that.

I want this to be fifty.

Hit that.

And with just

a normal old brush tool set to 50, and
go back down on my high frequency,

and

we are going to go to 100 percent flow.

I'm going to go ahead and activate

the composite image.

And I'm going to just paint

out

all of this stuff

without being concerned,

without being concerned with what's on
my high frequency layer,

because I frequency is fifty percent
gray with a little bit of noise, and

then all this

high frequency information.

But

this area is all flat color

with a little bit of grain.

But I'm applying grain.

So it doesn't matter that I'm wiping,
the grain that's on the base layer.

You can see, when I wipe

the grain on the base high frequency,
I'm getting rid of some surface

texture.

But when I add grain back in

it.

It disappears.

So sometimes instead of cloning,

I just take a fifty gray brush and I
just paint away the crud.

Instead of setting up a clone source
and all that kind of fun stuff.

It's

a little bit of a shady move, doesn't
seem like it should work.

And it

takes a few minutes to wrap your head
around.

But once

you start thinking of your high
frequency

layer as just a bunch of gray pixels
with some slight variations,

you can do crazy things on it.

it's so fun to

discover

new techniques

for manipulating that high frequency
layer.

So as you can see,

I'm just coming in with a brush real
fast,

getting rid of that stuff,

not worrying too much about the
underlying texture.

Just like that.

We have

removed all of this stuff.

Look at that.

Whoa,

look at that.

It just goes away.

Simple

with that done.

And come up here.

These areas were a little bit trickier.

Wholly crap, all right.

I love this process.

It just makes me so happy.

I spent a lot of time in my life
cleaning these kinds of areas and just suffering

and having to undo and redo, and

just,

it always drove me nuts.

Nowadays,

I actually enjoy cleaning.

It's weird.

I'm weird.

But

this process is just so

refreshing and relieving.

And I know that almost any image I work
with is just going to go fast and smooth

and pain free,

just like that's done.

I'm going to get rid of this little
hair here,

going to come into this area.

This has got a little bit of noise in
it,

these big chunks.

I'm just going to go ahead and wipe
them out.

I'm still on my fifty gray brush.

It's

doing magic,

so I'm going to stick with it.

This is all going to be low frequency,
cleaning,

get rid of some little specks here and
there, these specks here and there,

this stuff down here, a little bit over
here,

wow, ok, that's all gone.

I've got kind of a chunk over here,

looking good.

This stuff's going to be tricky.

No, it's not.

That's going to be mix or brush time
with this.

I think I'm going to want to get rid of
all these specks.

I'm going to smooth it out with a mixer
brush

for the underlying stuff.

This little piece up here is going to
go away,

even though I'm going to be pasting the
right side on the left.

I'm just going to want it kind of clean

what's underneath it a tiny bit.

This is a little bit too much contrast
over here.

Whoops,

see, that's where it gets a little bit

sketchy.

And you've got to be

a little bit more careful.

All right.

That's looking good.

That's looking good.

These need to go away.

That's a problem with glass and ice.

Every time you zoom in there's more to
clean.

It never ends.

It's just lots of practice,

lots of patients.

But using frequency set,

it makes it just go ten times faster,
ten times more enjoyable.

All right, I think that's looking
great.

Having yet gone down to the bottom.

I'm still going to be painting of my
fifty gray brush.

It's working really, really well right
now.

I'm not seeing any issues come up at
all.

None of this stuff is ever going to be
this big.

I'm getting rid of some actual more a
patterns that were happening in the refraction.

I've got some low frequency clean up to
do there.

I'm going to go ahead and

clean this up, just to touch, don't
forget.

We've got condensation coming in.

It's going to

make a lot of that go away.

But we still need to have an option for

this noncondensated

glass

real quickly going to go to my low

and go into my mixer.

I think I'd like to use a mixture for
this.

I might use a heel tool

mix.

There's a lot of fun to play with.

I can just really create some nice

shapes.

And

the ice,

these two

type of low frequency

shapes

really complement each other.

I'm going to work very quickly right now

and

not pay too much attention to what's
happening, because

these are very nebulous

nondescript forms,

and nobody knows

what they're supposed to look like.

So I get to create the shape that I
want,

and no one will ever know.

With a lot of retouching,

you have to wipe

your memory clean of where you started,

because you're the only one who knows

where that

place was.

And

even though you know what the before
and after looks like nobody else does.

So you can have a little bit of freedom

to create that new reality.

All right, still, some clean up I could
do here, but it's going to be small,

if I want to.

I can, you know, come in with a samp
tool, go back to my high frequency

and

just get rid of a few little
distractions.

I'm seeing.

No big deal.

Maybe this little bubble here.

All right, let's go and quickly

clean up this side so that we can get
it onto the left side.

I'm seeing a little bit of stuff here
that I need to mix out.

I'm going to do that.

Come up.

Just follow these lines here,

get rid of

any flaws.

I could put a visualizer on top.

But this is actually going to wind it,
being lighter.

So

a lot of these forms are going to go
away when I brighten it

looking good.

You know, come in here.

I'm going to

do some kind of different brushwork

where I'm really moving things around
quite a bit.

Lot of shift clicks,

higher flow,

because

I just want to wipe this whole area.

There's nothing important.

That's happening in here.

I might rebuild the shape a little bit

with a curve.

Not sure yet.

But I just want to get this geometry

out of the way because I don't like it.

And I know rob's not going to like it
either.

It's just kind of a

byproduct of the photography

and

all the pieces of the set

that's good.

Looks like, I've got a tiny bit of high
frequency

that I didn't wipe a few minutes ago,

it's gone.

But I'm not sure.

I think this is the line that I have.

Okay, I do have a mask on the side.

So I'm going to

build out this edge in two seconds

by taking my mixer brush, going to my
low.

And we're just going to wipe to the
side,

just like that

would have been painful in the past.

It's not now.

It's just quick and easy.

That comes out.

It's a good chance.

I'm actually going to cut my mask in
just a hair.

We'll take a quick look at how this
edge bill does.

Because I'm going to get in trouble
once I get down there.

Get over here,

just,

you know,

go fast.

Don't worry about

how a cloning tool or a healing tool
would just smear the crap out of this edge.

This is just mixing down the sides.

A little bit of doubling there.

We're going to follow the

shape of

the forms that are already present.

Pull this out.

I know Rob doesn't like

white wraps

on the side, and that's why I'm
cleaning that up.

Just like that.

Less than a minute, cleaned up an edge

using frequency set, normally, that'd
be a mass of pain in the ass.

It's fine.

Now, it's not even material,

but if someone were to zoom in, they
would definitely notice it's

going to do the same thing of a hero.

Quick

looks like I've got a reflection

from a filcard.

So I'd like to just soften it a tiny
bit.

I don't think we need what's down here,

so I'm actually going to mix that out.

I don't mind this double line here.

This is a little bit trickier.

I don't know if it's necessarily going
to mix through or not.

I could curve it out

using a bunch of masks

and

some really fine tuned

channels or curves rather.

But for now, I think I'm liking what
the mixer does,

because it is pretty

uniform in its own way.

A tiny bit down here,

this area is slightly tricky.

I'm only going to go up to the edge of
the liquid right now,

because we're going to be replacing
this whole side in a second.

Let's go ahead and darken this down a
tiny bit.

I can also bring a little bit of rap
light if I need to just a kind of

smooth this out with a curve or dodge
and burn.

But

I like the darkness on the sides
because it reflects what's happening

above and below.

Going to just clean up the seria for
two seconds.

Don't forget about

this

cool that's good enough for now.

I think,

you know what?

Yeah,

it's actually easier than that

quick stamp.

Get rid of that, get rid of that.

Read to these guys.

Oh, boy, there's more.

Ok, like I said, every time you look,
there's more to clean.

We're going to pull back for now.

And I'm going to go ahead and

move my right edge over to my left,

because I know you've all been waiting
for that.

Take a quick look at making sure this
edge is where I want it to be.

Since I'm about to move it over,

I think.

So, I'm going to be doing a copy merged.

I can make a smart object so that if I
do update this,

I can just

paste the update into the smart object,
and

all the work started going to be done
for me.

Maybe i'll show you that trick.

Now we'll see, ok,

without looking good,

I mean, go back up

and do the same thing I did before,

going to take my right edge.

I'm going to do a copy merged without
my grain, because then my grain will

get multiplied to my grain.

We don't want that.

So we're going to do a copy merged,
which is

edit, copy, merge, control shift c,
command shift c.

And I think command shift v will be a
paste in place, doesn't really matter.

So remove in this anyway,

flip horizontal,

put it back, kind of where that other
one was.

It's going to go over there.

We're going to make it slightly

thinner,

like that.

Click it.

Ok.

I'm actually going to convert this to a
smart object.

This will allow me to update that side
of the image with the other side, if I

happen to change the other side.

It's also going to allow me to do one
trick with this, which is, I'd like to

warp it a little bit, maybe give it a
slightly different shape?

I'm not sure yet.

So I'm going to convert that to a smart
object.

I'm going to put it down into my
frequency separation layer, because

that's kind of my retouching group
right now.

So it all gets

toggled on and off, if I want to look
it.

Before.

And afters,

I think I still have a mask that I made
for that earlier.

I'm just going to copy that up.

I'm going to get rid of

the previous flip,

just like that.

Come back to here.

I remember now that

I did

actually do some scaling of this

as well from the top.

And because we're using a smart object,
we have a little bit more freedom

to

scale it up.

Scale it down and not lose

image integrity.

So like that.

See, what's happening at this bottom
edge.

Stone, a little bit of a funky thing.

That's ok, maybe we can

rotate it in that's the edge of my mask.

I like that rotation though.

So we'll slide it down even more.

We're going to do some creative masking
here in a second.

Go over to a mask,

go over to my normal brush,

and I am going to just

make it really nice and natural.

Transition

looks, like you've got a little bit of
this underlying

schmeg that I don't want.

So we're just going to cut that mask
right to the surface of the water.

Oh, man,

low flow.

And we're going to unpaint this.

Although, thinking about this, you
know, what I want to do is, I want to

actually get rid of this double line,
because

it will save me having clean it up

in a minute.

And I'm going to actually paint color

onto my edge, make it a little bit
brighter.

Doesn't need to be solid black.

It's going to do a quick curve on that
in a few minutes.

All right.

So, here's a trick with that smart
object I just made.

I'm seeing a little bit of

stuff here.

Watch this.

I'm going to go back to my low
frequency, go back to my mixer brush,

kind of

jiggle this around to see what's
happening.

And I'm going to

just

get rid of a line that I'm seeing here,
because it's almost like a posterization,

but it's actually just a shadow.

We're going to touch that out, because
it's happening over here too, with my mask.

Maybe it is, maybe it isn't yep it is.

So, with that done,

because I've scaled this around.

I don't want to redo it all over again.

I am going to take another chunk of
this,

copy merged again.

I'm going to go into the smart object.

I'm going to paste it.

I should have made the smart object
before I flipped it.

That's ok.

I'm going to do that.

I'm going to set it to difference.

I'm going to line these two up,

just like that.

It goes black.

I'm going to keep both in there.

And I'm going to

save it.

Close it.

Now the other side gets updated.

I can undo redo

to see what the change was.

See that little edge

bump it's gone.

It has all of my scaling already
translated.

I don't need to refit the whole thing
together again.

With that done.

Click on ok and then take a look at
this mass.

Grow fast,

see what's happening.

We're going to just

really quickly see what happens when I

paint it in.

We don't want that.

I think I've got a really good
transition happening here.

I'm not seeing anything else I need to
clean right now.

We do have this stuff happening down
here, but I kind of like it.

It's what glasses do.

It doesn't need to be perfect.

Ok?

With color correction, as you know,

I make a folder,

call it cc,

put it on top of everything else.

We solve the conversation to play with.

I'm not too concerned with that right
now.

The lighting on it's pretty much the
same as what's below.

I might put a few curves

on it, based on what I do up here,

but for the most part,

we're going to keep it below our color
correction.

I think this image doesn't need a lot.

I'm not even sure I'm going to need to
do multiple masks.

We're just going to put a global curve
on there real fast.

Then we switch to my mouse.

I don't like doing curves with a
pintool.

It's just weird.

Come up to our curve.

You can see that our

gray background is the spike right here
that's the most number of pixels in the image.

I've got quite a bit of room to move
right now with a highlight slide.

I'm going to get these pixels in here,
up into the 250 range,

but not quite, because I don't want to
blow them out and go to 255 like that,

because I'm still going to add a little
bit of a contrast curve

to it

right now, I'm at 250.

Back off that.

Just a hair,

and that's my

white point set for the glass and also
the liquid.

I think these yellows are

not doing fine, so I'm going to create
a quick mask between those two.

This is going to be for

glass only.

I'm going to just do a real quick

mask on this area,

because I don't need to be precise,

something just like that.

I think I like what's happening

on the ice with this curve.

So we'll leave that intact.

I do want to add a tiny bit of contrast
to the glass, even though there's not

any contrast to speak of

this.

Putting this here is going to open up
my shadows just

a smidge.

And then we're just going to

create a little bit more uniformity
from center to edge,

get rid of some of the splotchiness
that was occurring in there with a curve

that's looking about how I want it

yup.

I'm going to do one thing

that's a little bit unusual.

I'm going to go and set this to
luminosity.

I don't want to gain any extra
saturation in these lower areas.

Having an arm with contrast increase
the saturation.

So by setting it to lumb, I'm only
changing the lumb of the contrast, and

not the cromb

or Chrome.

M that's looking about how I want it.

Now, we're going to do the interior.

I'm going to go ahead and

now, yeah, I'm going to duplicate that
one.

I'm going to invert it,

going to clear it.

I'm going to put it below primary.

I'm not going to slide this high point

or the swite point, because that was
blowing out my center

just a minute ago.

I'm going to have this on its own

control.

I think it seems a little bit of
contrast.

I don't want to lighten these sides up
too much.

I like the richness

of it right now.

So I just want to add a little bit of

contrast.

And this one, I'm going to keep it on a
normal blending mode

even though it's on luminosity right
now, we're going to go back to normal.

I want a little bit of saturation in.

There

might be too much.

And to control that, I just do a group

name it, of course, set it to liquid.

I've got my curve, increasing contrast,

increasing saturation as well.

And I can just come in with a vibrance
layer

and pull down the more saturated parts
of the image.

I said it's color, so that it doesn't
affect luminosity.

Layer blend modes lots of fun

neat things you can do with them.

That's for the liquid.

I think

that's looking really sparkly, really
beautiful.

I think overall my color correction on
the glass is right where I want it to

be.

I don't see any other things I need to
do now.

We need to

throw the condensation down.

See, what's happening.

I don't have this masked off perfectly
right now, and it is being hit by the

color controls.

But color controls are targeted

at the same spots

doesn't change with the condensation.

There might be a lightness difference

between these two, there is.

So they need a slightly different curve
on them, then this color correction.

So what I'm going to do is pop these up
on top.

You can see there was a little bit of a
change.

Hopes,

pop these up on top.

There's the change.

I'm going to put my own color curve on
the condensation, because it's going to

be slightly less than what's down here.

The first thing I want to do is check
my masks.

I add some pretty specific notes from
Rob about where these terminated.

I'm seeing, too, that there

is a little bit a side issue over here.

So I'm going to go to a brush, go to my
mask,

get rid of some of this stuff, or maybe

paint it down.

Nope.

We're going to paint it up,

just

really smooth out.

What's happening over here.

I'm not sure I'd like

this

sort of blue

highlighted reflection on the side.

It's just disrupting my eye.

So what I'd like to do

is just mask that out.

It looks natural

it's.

The compensation's just disappearing

into the shadows over there.

On this side,

I'm going to clean up my mask.

Think about if I want to get rid of this

over here,

which I do.

I do have a little bit of a line here.

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

Check my bottom condensation

I don't know if I want to pull some
down into

this area over here.

That's not really doing anything for me,

but it's really a creative decision

that

as a retoucher

you're allowed to make.

And the photographer wants you to make
those decisions.

They don't have to think about it too
much.

They're just going to look at the image
and

check out if there are too many
distractions.

So that's what I'm trying to minimize
right now,

are those distractions.

I'm going to go ahead and pull
condensation up over here.

Maybe get a little bit closer to the
surface of the water

like that

let's

lookin wet and sexy.

So we have two different levels of
condensation,

got small and large.

I think the mask is working good for
both,

maybe not over here,

and it's on both of them.

So I'm going to go ahead and

mask that away.

It's just a little bit too noisy for me.

That's that

I can't forget my grain layer.

I'm liking the conversation.

As I mentioned.

I want to curb for those.

Look at that mask.

It's terrible.

Want to cur for those.

It's actually going to be the same for
both, because the brightness values are

the same it's going to be really
similar to what was happening with this one.

You can see on the liquid

that's my curve.

I'm going to come up here.

I'm actually going to duplicate that
curve,

bring it up, because I want the same
exact kind of contrast.

I just want less of it.

Put that up on top.

I'm going to put it at fifty percent,

hit in the five key,

before and after condensation.

Normal.

Those appear to be the same to me.

So I'm happy.

I think they're in a good place.

Notice, one quick thing I'd like to do
with the mask before we wrap this image up.

Going to just tap my point up here.

I'm thinking,

this little bottom line,

isn't meant to be ready to get rid of
that.

Come back out.

I think I'm going to just apply

a touch of feather.

0.2.

Doesn't need to be there.

Another broken thing,

if you go back, and you go back,

it's at 0.2,

even though it said it was at zero.

Ok?

That's looking really good to me.

One thing I need to check.

This

got moved to 255.

It should be 95.

There we go.

I was worried the glass was a little
bit too dark, because I thought my

background was 95.

But the background was actually 255.

But when you put it there,

the glass actually jumps to the
foreground, which is what I want.

It could even come up a little bit
more.

But for now, I really like this

brightness value.

And so one quick thing we need to do is
we've got three variations of this

image that we needed to ship.

And so I need to create those
variations.

This is going to take just a second.

It's a fancy trick.

We also need to get this on the right
canvas.

And I'm going to do that all in one
step.

The way I'm going to do it is, I'm
going to go up to layercomps.

We're going to make three.

We're going to call this one clean,

which is,

without this layer group

clean.

And then we need two different
condensations.

And that's going to be

small and large.

So this is our large.

This is our small.

And we're going to go ahead and save,

which, as you can see, I hadn't yet
done, because

I like to take risks.

I guess

this is Bourbon on white.

Version one.

We're actually going to have

three versions of this.

Not sure how I want to do this just
yet, but we'll find out.

Version one

saved.

Now I'm going to

create an eleven by 14300 dpi

click.

Ok.

Go over to my bridge,

and

I've got

file that I just saved,

as I showed you before.

We're going to option drag that onto a
canvas.

It's going to come in right about there.

One thing I need to do real fast is

I need to turn this off.

Go back to my layer.

Cops,

refresh.

Go to the next one.

Turn it off.

Refresh.

Go to the next one.

Turn it off refresh.

With that done, I'm going to save it.

Go back to my canvas.

Background's going to disappear.

Just like that.

I'm going to go ahead and make this
exactly what I had before.

Solid color.

95

that's how I like to shit my white
stuff out

on 95.

Maybe even for this one.

We're going to go a shade darker

so they don't get scared that the

glass is too dark.

Pops out a little bit more.

That way, this is my eleven by fourteen
canvas.

I'm in the center, left, right?

Ok?

Updown looks about right to me.

I'm going to

save

this, as in eleven by fourteen

v.

One

that's gone.

Ok, here's where the trick comes in.

When I'm ready to save my tips for this.

I'm going to save

my small condensation out as a small
condensation file.

It'll be a tip to ship over, to send
over to Rob.

I'm going to go into my properties
panel here,

and I'm going to then

toggle the layer com States that I
created in my primary

psd.

And I can then do that.

There's my clean layer.

I can say that I was a tiff

rjpeg.

There's my large

and here's my small.

They're all in the same document.

Any changes I make to the primary psd,
which is over here, will automatically

be updated on my eleven by fourteen
canvas.

I've got all three variations in one
Photoshop file, all three variations on

one canvas.

I can automate this process even
further.

But for now,

that will open you up to this idea.

It's

a new one.

Hasn't been used very much.

There aren't very many tutorials about
it, and not a lot of shops and

retouchers even though it exists.

But there it is.

It's one of my favorite things to do,
cranking out variations for products

and retouching.

And I really hope

you

understand how it works, and you are
going to love it as much as I do.

And that is our Bourbon on the rocks