All language subtitles for 03-17-Cocktails-Cocktail with Garnish- Full Edit.mp4

This next image is another cocktail
image.

As you can see,

a little bit different.

Bigger glass,

some

garnish,

some rosemary lime,

another white background,

another thick, base

ice

condensation,

pretty much the same thing we had
before in terms of process.

What we'll be looking at,

types of layers will be using,

got a little bit different, of a
different mask.

This time without rosemary.

I'm going to show you

a quick trick

to

cut out all those shapes without

going through the pain of pathing it.

Some of you may really like the path,

as you know.

I'm not a big fan,

but i'll show you a trick

for getting around the path.

Let's take a look at rob's notes.

We only have two exposures for this one.

We have a base image and a condensation
image.

is our primary.

And

this

image, I'm not seeing any significant
issues.

Lighting looks great exposure looks
great.

There's no weird shapes going on.

There's not going to be a ton of cleanup

in terms of the larger forms.

Of course, we've got all the micro
clean up, but this one is actually

really clean.

The lighting setup didn't highlight.

A lot of the surface flaws in the glass.

There's not as much cat hair on this
one as there was on the previous

overall.

I think it's going to take a little bit
less time than what we had done before,

which is great,

always good when you can just whip
through an image and get it out of your

face and move on to the next one.

Because sometimes you have twenty or
thirty of these to do.

586,

which is our condensation exposure.

Same story.

Nothing made you going on.

I'm going to

process them, probably with the same
exact settings.

So let's move into that.

Just as before,

we are going to

set a crop.

Just minimize

our canvas a little bit,

focus our eyes,

make smaller file sizes

that's looking good.

Potentially a tiny bit of rotation.

If I look at my top line here, you can
see that it is

not straight.

This is something you can do in
Photoshop.

I like to do it with my raw files.

That way, if I have to reproces stuff,
I'm not going back and forth and having

to re rotate things.

I can just do it once.

It's my master.

I know that it's going to fit

with everything else I've done.

Bottom looks, ok, sometimes you have to
skew instead of rotate.

In this case it's just a rotation.

I don't expect photographers to get
this perfect, because you can spend

half an hour

camera rotating, stand rotating.

All sorts of weird stuff happens.

So as long as they're close, I'm happy.

I'm going to go into my rotation tool.

I'm going to hit shift arrow

to just kind of jumping around in
larger amounts, until I feel like it's

straight

against my guideline.

That's feeling about, right?

I've got 70.7.

I'm going to hide my guide,

because I like to check

a visual

straightness, because sometimes that
top line

being sort of mathematically precise
and straight, throws the whole image

off for some weird reason.

There's all sorts of things to go on.

I'm thinking, I want to go back to 0.6

to touch.

It's leaning to the left

for me right now.

I don't know why it just is.

0.6

is working.

No chromatic aberrations to worry about
on this one.

I want to go through the same process
that I always go through.

I'm going to push my highlights down.

I'm going to

open what little shadows there are,
just a smidge.

Bring this down.

Keep my lung where it is.

Histogram looks great.

My white balance was set by Rob.

I'm going to leave it where it is.

The background looks neutral.

I don't see any casts.

I don't see any reason to

rewhite balance.

If we want to try that, we can just
check really quick to see.

As you notice,

maybe it's kind of hard to see on web

or on video, is that I went blue.

I don't want to go blue.

I want to go warm, because the liquid
is warm.

All right?

That's looking exactly the way I want
it to.

I'm going to

get my settings from one to another,

bam,

just like that.

We're good.

I'm ready to process.

Go over to bridge,

get the same rollin.

I'm going to go to my settings,

still on my psd.

Ergby

folders,

going to Bourbon.

We'll just push that

where it needs to go.

It's going to be going into somebomby's
cocktail

set is output.

Commandy.

And we are ready

to

flip the bridge.

We have our cocktails,

we have our layers.

We're going to stack those up,

same process every time.

This is just such a great way to start
your image.

It's painless, it's quick, it's

fast,

it's consistent,

and

it's kind of like magic, because
there's even time.

All right,

we have our two layers for this one.

I don't need to bring my notes in, I
know it's going on.

I've got a base layer in, a
condensation layer.

Pretty easy to remember.

I'm going to do the same process I
always do.

Give myself a base, or a mane, or a
primary, or whatever you want to call it.

Give myself a condensation group.

And

I am ready to cut a path around my
glass.

And then I'm going to show you a trick
for cutting out that.

Rosemary, I'm sure you probably already
know what it's going to be,

but we'll walk through it and why.

Oh, one thing I forget, I was getting
ahead of myself.

I'm going to go and put some solid
color down, because I know I'm going to

need it later.

I need to align these,

even though we crop the same.

There's still a little bit of a
difference

that I noticed when I was moving my
layer set around.

Going to set this to difference.

This time I'm going to be below,
instead of above, with my primary

primary, because I only have two
exposures.

I don't have to worry too much about
what's on top.

I'm still going to be matching to my
primary it's just on the bottom of the

stack.

Now, instead of the top of the stack.

Condensation looks.

Good.

All the way throughout.

That's great.

Perfect

back to normal.

Do a quick toggle.

Seems to hold together.

I think the glass

or the stand on this one made, may have
shifted slightly.

Not a big deal

for this.

I want to actually make sure that my
left right is aligned, rather than my

side, or at my top and bottom.

So I'm going to

just spend a quick second

to see

what's happening

with this.

Because I want my edges to

match up a little bit better.

So I'm thinking, I need to actually

shift this one over to the left
slightly.

And then now I'm going to check my left
edge and see if it's

matching up it is.

All right, that feels like a better
alignment to me.

There'll be less edgework to deal with

as I brush

that condensation onto my primary
exposure.

All right.

Now that I'm aligned,

I'm going to go ahead and group

these two up,

and I'm going to

start

making my

path,

except in this case,

I've already made my path.

You don't need to watch that again.

I'm going to deselect my layers,

paste it in ice.

Want to have it at the bottom as a
copy, just casing,

shifting with it, and need to revert
back to the original it's now, my same document.

With that done,

I'm going to

select my path,

click on my main group, create vector
mask.

Going to go ahead and set my feather
before I forget

0.23

just gives it a little bit of an aliist
edge, so it doesn't look so cut out

easy.

I usually don't even need to zoom in to
do it.

I know what it does,

and you can experiment around, see what
I think a lot of people feather it too

much.

Looks kind of fake and hoky.

0.2

to 0.4

works for me.

We have our glass cut.

And now I'm going to show you a quick
trick.

You probably know it,

to knock out the strawsmary.

Looking closely at this image, it is
slightly difficult to mask because

apparently

there was a little bump

somewhere, probably a vibration.

And there is a double edge

around the edges of the rosemary.

Within whatever shutterspeed he had,
this thing moved around, it's ok.

I'm going to trim those edges down

and tighten them up to get rid of that
kind of

ghosted edge.

To do that,

I want to turn off my mask.

Good at my one tool,

set my tolerance pretty high.

We'll try 45.

I want to make sure it selects all this
stuff,

and

we're done.

Almost done.

Kind of come in here a little bit.

Five by five that's

good.

Do this.

Do that.

Remember, these are going on white,

so we don't need to worry about making
an absolutely perfectly precise mask,

because they're getting reapplied back

onto a background that they were shot
on.

So we won't get a lot of halos
infringing if we don't perfectly cut

these things out.

So for this next step,

after I've made my selection of both
the line

and the rosemary,

I'm going to kind of backtrack a tiny
bit,

and I'm going to combine my initial
path mask

with this mask.

And to do that,

what I'm going to do

is

a little bit of a process.

I think the first thing I'm going to do
is just get rid of my vector mask.

That can go away.

I'm going to go ahead and add my
rosemary selection

to the main mask,

invert that.

And what I'd like to do is, because I
know I have a path

going all the way up to the edges of
the line,

I can just really quickly come in,

cut down here,

cut close to where the lime is,

come back out again,

invert my selection,

fill it with black

and now I've got my cutout for the
rosemary and the line.

I'm only going to focus on

that selection right now.

I'm going to

go into my refined edge,

through the keyboard shortcut,

because I don't want to use selected
mask.

What I'm doing right now is, I'd like
to just

smooth

this pretty chunky selection out.

Going to look at it on

white,

outputing to

my layers.

I'm looking at it the wrong way.

That's ok.

We can just pop back out again.

Click on this.

Fortunately, you can't switch views
once you're in here.

You have to go back out again,

look at it this way.

Instead, I'm going to look at it on
layers, because it has my background.

So all I'm doing right now is just
smoothing out the edge of the mask,

making it less masky looking.

I'm going to choke the edge in just to
hair,

to get rid of all the ghosting.

Take a quick peek.

It's all looking great.

I'm not going to worry about this edge
over here.

And that's great.

It'll be a tiny bit of cleanup, but for
the most part that's exactly what I want.

Ok.

Now I'm missing the glass, so I'm going
to come back to my path.

I'm going to make a selection out of it.

And with that done, I'm just going to

fill that selection.

First.

Make sure I've got

a little bit of a feather on it.

To see, I needed to check.

We're going to make it the same that we
had done before in the properties panel 0.2.

And what I want to do with that is

to fill this bottom section with white.

But I've also got this area up here
that I need to

disable from the selection.

So using some keyboard

shortcuts, I'm just going to cut this
out real fast.

That subtracts it from the selection.

Going to get rid of this real fast.

I'll have to do a little bit of cleanup
on that mask.

This is the back of the line.

Going to get rid of that too.

And with that, I can then just fill
with white

deselect.

Go back to my image

done.

Now we're masked.

We are on a canvas.

That's the color that I want it to be.

We have the rosemary cut out.

We have the lime cut out.

We didn't have to path this thing.

It would have taken twenty minutes.

I wanted to do it in less than five.

And that's what I did.

I'm going to do one tiny cleanup on my
mask.

Just taken a brush.

Kind of a soft edge, because I have a
soft edge happening,

and just clean up that little piece.

I didn't like it.

If I really wanted to get picky,

I can go in and just make these shapes,
whatever I want them to be.

This one square.

I don't want to square.

I'll round.

Maybe get your to this.

Lots of things you can do here.

You're in control.

This is your

rosemary.

You can make it however you want it to
look.

You can cut out some interior shapes,
whatever you want.

We're going to leave it like that for
now,

because I want to get into

our clean up

and get this image looking good and out
the door.

All right.

Same process as always.

I think I'm going to use the

technique I had used on the previous
one, where I have my condensation out

of my main frequency separation.

I'm not even sure that I need to do
frequency separation on this one.

But yeah, once again, if I don't do it,
I'm going to just hate myself and have

to go back and do it.

Because I can see that there's a little
bit of stuff happening down here

and a little bit up here, but not too
much.

All right.

So for that, go down to our base,

turn off our mask

go up to our actions.

Run this once.

I'm going to use the same radius as
before.

I'm pretty sure there's nothing

too crazy down here.

Maybe even go up to six

so that I can push all of these

almost more a patterns up to the
surface.

Yep, I'm going to go with six.

I'm going to run it twice.

I'm going to hit my fq too.

Look at my high frequency,

and we're ready to clean.

Ok, same process as always.

I wish I could introduce you to

something else that was exciting,

but this is just

kind of exciting on its own.

I'm going to go ahead and run my

grain layer.

I should really make this script do the
thing that I want it to do, instead of having

to go back in and dial it down to
fifteen every time.

Maybe i'll fix that for the next one.

All right, act fifteen.

I'm going to go back down about thirty

on the opacity.

And this is just going to

allow me to not look at

these flat Fields of gray, because it
just looks weird to me.

I always expect to see a little bit of
grain

when I'm working,

these are all on white.

So the grain doesn't even show up
because it's an overlay mode.

And overlay on mode

and

overlay mode on white.

Doesn't cause

anything to pick up on that white
surface.

Ok, toggling.

want to get rid of this

black line.

I think I like it

just gives a little bit of something to
the side.

There's another one on this side that
kind of mirrors what's happening at the

base of the glass.

I definitely want to get rid of

these other parts though, but I do want
to keep this

black line.

I'm pretty sure Rob would want to as
well.

But it's hard to say.

You never know,

and you can't

see everything and talk about
everything when you're on the phone or

having a meeting with a photographer.

There's just so many micro details

in these images,

and

the photographer isn't responsible for
finding all of them and telling you

exactly what to fix.

And in fact,

it's really important to

establish relationships

with

and spend some time talking to them,

learn about how

they see the world and how they see

their photography and the products that
they're photographing,

to really

find a way to empathize

with them

and see the world through their eyes,

kind of get a feel

for how they respond to images.

I find that the more you can do that,

the faster you can get your work done.

Because instead of it taking ten rounds,

it's going to take one.

And when you're able to

achieve that goal and develop that
relationship with your clients and your photographers,

it's

just such a beautiful feeling.

All the work goes really quickly.

Everybody trusts each other,
everybody's happy,

and we all get to work less

and enjoy our lives more.

Right?

We're down to the bottom.

This is that moreay pattern, or
whatever it is.

I'm not quite sure

it's just something that we need to get
rid of.

So I'm going to

just paint it out.

As you remember, I kind of upd my radius

to

put it

on the high frequency layer.

Going to get rid of this real fast.

Ok?

It's like that.

I could also use a 5th percent gray
brush for this.

I just kind of switch back and forth.

I don't know, I feel

safer using a cloned tool,

but I can tell for this, it really
doesn't matter.

All right, just like that, we have now

cleaned all the stuff that was on the
bottom

that traditionally would have taken
quite a long time

to

clone or heal out

because of the nature of those tools.

Let's just do a quick little

before and after, so you can see

this is after.

This is before

easy.

Don't have to worry about any of these
gradients.

We're just climbing high frequency.

All right.

I'd like to now

work on some of these larger forms

for this.

I think I'm going to use a diffused

healing brush.

I know it's going to work.

If it doesn't know.

A big deal,

just like that it's gone.

These larger forms,

we can try a quick heel to see.

You see what it does.

I might have to do a little bit of
mixing there.

But

these are large enough and broad enough
that a healing should work.

And as you can see, it's actually not.

So what I'd like to do instead?

Oh, man, look at all these reflections.

Ok?

So what I'd like to do instead is just
switch to a mixer.

And we're just going to smooth this out,

make sure that I'm actually doing what
I think I'm doing.

Just kind of get rid of this

hard line that was happening here it's
a bit of a tricky one.

It's a

giant grad,

but it's a two step grad.

That's kind of banding.

And these are notoriously difficult to
get rid of.

I'm going to try a trick where I'm
going to switch to my heel brush.

I'm going to just go down that line

and see if I can blend

those two shapes together

as a start.

And I think I am.

Yep,

seems about right.

And then I can come back in with a mixer

and a little bit more gently,

give myself

a grad that I feel

works

in that area.

Just a little bit of something going on
here.

I think I might have some high
frequency noise

that I don't want to touch.

That

yop.

Oh man,

still stuff in here.

Like I said, that is kind of a tricky
area.

When you

do these separations,

you really kind of have to shift

your normal ways of thinking about how
you apply color and shape and Photoshop.

In this situation, my healing brush
isn't work,

isn't working,

my mixture brushes aren't really doing
what I wanted to do.

So instead, I'm just going to switch to
a normal brush.

I'm going to select this value.

I'm going to come in super low, my
flow, one percent.

And

I think instead, what I want to do

is just kind of paint

this tone into this area

and just give myself

something else to work with instead of
what was there,

because

it's just not happening.

And so I'm just

extremely lightly

painting in

a bit more white tone.

I can then come over here, and if I
want to

add some more darkness on the sides, I
can

like that.

It's pretty.

You've got to go back and forth quite a
bit.

There will be some blobs that happen.

And when those happen,

now that I have a shape that I like a
little bit more, I can just come in

with my mixer,

low flow and blend those areas in
together a little bit better.

Here's before and after,

yep,

just all sorts of stuff happening down
here.

And five minutes mixer, I've got a
better

blend, a better gradient on that side.

Not perfect, but I don't want to spend
too much time with it right now.

It's going to get it looking better
than it was.

And I feel that that is

for

the bottom part of this class.

I'm not sure I want to go completely
uniform.

Maybe some of these stripes down here,
maybe this little thing here,

let's see where it is.

Real fast

it's there.

I'm actually going to use the

stamp tool

on

the low frequency

first.

I'm going to clean up my high
frequency.

I'm just going to match

what's already there,

just by doing an aligned

brush

like that.

I know I need to get rid of that stuff

before I do my low frequency move.

I'm not going to worry about these
specks too much.

They're going to be

really tiny

when this prints.

I'm going to go over to my mixer brush,

and I'm just going to

yank

that

out of there.

This one's a little bit trickier.

You've got to kind of go down the line.

We might do a shift move.

We're just kind of

pushing this down a little bit.

We're going to keep some of that shape
in there,

just so it's not so uniform.

But I want to get rid of the main part
of it.

I'm not going to work on this right now.

You leave that for now.

Come in and hit the side,

see what we're working with.

I think my primary goal right here is to

just

tone this down a tiny bit.

Maybe leave a little bit of it.

I'm not sure,

but

I am sure that

a client would find it distracting.

So we'll touch that up a tiny bit,

good or high,

match my line

when I soften that.

And I'm just painting on my high right
now with a low flow cloner.

And I'm going low flow because I'm
trying to decide, as I'm working,

how much of blood I want to keep and it
looks like I don't want to keep any of

it, which is fine.

Okay, I do have a little bit of stuff
here.

I'm not sure.

Yep, this needs to go.

Just these highlights.

I'm going to leave those shapes

down there.

But I am going to get rid of this
highlight.

I just feel it's not necessary.

And as you can see,

I think my low

it's not my low.

It is my high.

I'm going to go crazy

and just smooth all that out.

Come down to the sky,

get rid of that black highlight, or
that bright highlight, rather.

And

I think I'm just going to go ahead and

kind of

play with that shape a little bit.

Cool.

That's looking better to me.

Print size is like this.

No big deal.

So much to clean.

It never ends.

Ok,

let's go up to the top.

We don't have anything clean up here.

This is going to become brighter really
soon.

So, anyway,

stuff that's on here is going to
disappear once I make it brighter.

The one quick thing I would like to
clean up here

is,

I've got

something

on my high frequency.

It's just a little shape that doesn't
need to be there.

It might still be a little bit on the
low.

Something happening right here

oops,

it was on the wrong one.

That one.

Ok, there we go.

That looks great.

That looks great.

Do we want to fix this?

Yes, we do.

Believe it or not, that's on a low.

So I'm just going to connect

the dots.

Like that

helps to fix the continuity of the top
line of the glass.

I think that's looking really good.

And we're going to

smooth that out, just to touch.

All right,

for the cubes.

I'm not going to bother.

I think all of this looks really good.

Any scratches that are in there are
going to be hidden by all these

bubbles.

We're also going to have a condensation
version.

This top bubble up here,

I kind of like it.

I'm going to leave it for now.

And

I want to take a quick look at
condensation

to make sure

that

I don't need to do any retouching on
this.

We didn't do a rough mask when we
started,

simply because I knew this was going to
work.

There aren't too many layers for this
image.

The condensation is going to cut off at
the top and the bottom of the liquid,

so I don't have to retouch any of this
stuff.

And so let's just take a look at how
that composites together.

Real quick, because we're almost ready
to do color,

same process as before.

We're going to make an inverted mask.

You could actually go the other way if
you wanted to, and paint out the tops

for this one.

It might even be easier to go that
route,

because

we're not painting as much.

Doesn't really matter.

I could even just come in

with a lasso tool, take this whole
section

and fill it with white,

and then only have to brush in the
edges.

I look for little tricks, like not
little tricks, but little time savers,

as I'm working,

when you can make fewer strokes,

because it doesn't matter for one image,

but when you have 100 of these to do,

any seconds you can shave

turn into hours

at the end.

So I always like to try to find ways to
optimize my workflow,

whether it's photography, retouching

pretty much anything, making toast

try to find some optimizations to your
workflow.

All right, that means just to go up to
the edge.

I'm going to bring that up a little bit
more,

like what's happening here.

Rob doesn't want the condensation going
up the sides.

You can see why.

It just gets real messy

in some worlds.

Maybe we'd

paint some opacity up there.

But he wants just a really clean top to
the glass.

We'll go down to

the bottom here,

and we're going to see how far we need
to paint this down.

I think he wants, if I remember,
correctly,

to be able to see a tiny bit of
condensation

over the clear part of the glass,

just to

give it

a feeling of realism.

And we're going to

play with that bottom line just a tiny
bit,

see how far we can bring it down.

Gets a little tricky on the sides.

So I'm just going to go to

low flow brush,

and I'm going to try both directions.

I'm going to try going that way.

It's not bad.

Breaks up a lot of that stuff we were
seeing earlier.

So let's try this side a little bit.

Nice.

There's a drop coming down here, which
I think works well.

We can try bringing it

all the way down, see what happens

can't go down that far.

Going to pull back

a little bit over here.

I'm going to leave

this stuff on here for right now,

and I'm going to pull this down in
front,

right there.

We can just pretend that light is
shining through the bottom of the glass,

so you're not seeing the condensation
on the surface of the white because you

would really only see it on the surface
of the darker parts of the image.

That's how light works.

And so we're going to pretend that's
how it works for this.

That's looking good.

All right.

I feel good about the condensation.

Who knows what's going to happen down
here?

They might want to see a version with
it painted off.

I want to leave it in there for now,
because

from my perspective, I like the way it
looks,

just kind of an interesting breakup of
those surfaces.

And with that said,

I'm ready to do a little bit of color
work.

We're not going to need to do much,
because

this

image is already beautiful.

On its own.

It was lit really well.

There's no heavy compositing of
exposures.

Looks to me like it's almost going to be

a single curve for the primary parts of
the image.

I might need to add a little bit of a
selective

adjustment to

the rosemary.

Those are never quite as sparkly as

they need to be.

Going to be real easy.

I'm going to stay inside.

My mask

looks like my condensation is going to
be the same curve.

Yep,

right?

So

I'm going to switch to a mouse,

go to my curves.

I feel like I need to brighten

the liquid up just a tiny bit, it's

feeling a tiny,

a bit dark to me,

and find out where that value is.

Ok?

So there's my value in liquid,

there's my value of highlight.

And my rosemary is down here.

So if I wanted to,

I could open up the rosemary a little
bit here, but I'm going to put that in

its own curve.

So for now, we are going to

block our liquids

and

open up our highlights.

Maybe open these liquids up a tiny bit
more.

I'm introducing a lot of saturation
right now,

and

I don't want that it's just getting
real yellow.

I have two options.

I can either desaturate

or I can just

turn this into a luminosity layer

and only worry about that

adjustment, controlling my luminosity.

I don't want to add any more saturation
to this anywhere.

So I don't need to

create another layer for saturation.

The top of the glass is around the 240
range.

Bottom of the glass is 233.

They're a little bit unbalanced, but I
think in this case that's all right,

simply because the glass on the bottom
is thicker and it's going to be darker.

So if I made them even it would just
look strange

and not real.

As I mentioned, I'd like to do a

quick curve

on our rosemary.

So I'm going to zoom into that, because
I'm not ready to make the mask for it.

I just want to

give it a little bit more life.

Usually those parts of an image are
outside the primary

region of the lighting.

And so all the times the light will
skim across that area

and not

illuminate it like the rest of the
image.

So something to watch out for.

I felt it was a little bit dark.

So I want to just

add a quick mask to it.

Takes two seconds

and really helps the image to kind of
pop up open.

I might be able to go over the line a
little.

Maybe not.

Maybe, maybe not.

Maybe

I think I like it.

But I want to

add a touch of saturation,

maybe shift it

a little bit more.

Green

it's looking

kind of yellow to me.

That's

a simple thing to do.

Get my folders set up,

put my mane above my secondary.

I am going to,

yeah,

use another curve.

It's always good to practice curves,

if you're not

a master at them yet.

I'm going to add a touch of green.

I'm going to pull out some red.

When it yanks some yellow

out of it by adding blue.

I may be going the right way right now.

I might not.

I'm not sure let's invert that.

Go back to our brush

see you what we did.

Yep,

I think I had

lumbush two.

Maybe I don't need to do that.

Let's go quick before and after and see,

yeah,

that's too dark,

so we'll get rid of the lumb.

Will work on color only.

So

if you see that, before and after

mine's a little bit greener.

The original was a little bit more red.

And the reason for that,

it wasn't a white balance issue, it's
actually

the light bouncing off the surface of
the liquid, which is an orange red,

and it's casting

an ambient color reflection up onto the
line.

So in reality, it would have that cast.

But in our world we want it to

look more like a lime.

So I'm going to add a little bit of
green to it, so it's more limy.

I didn't really

worry myself too much about that mask.

I think you've got a little bit of an
edge there.

I don't really care.

What's happening here.

None of it is material to me.

Although

with that same curve,

I can maybe make the top of this

tiny bit more green too.

And just for

fun, let's see what happens with this?

No, it turns to yellow.

Rosemary does have a little bit of
yellow on the interior parts of the stock.

So I'm going to leave it just like that.

Let's take a look at this whole image,

with our

normal view

noncondensated.

And also our

condensation layer.

Ok,

take good long look.

Make sure there's nothing that jumps
out.

One thing I'm seeing in the
condensation layer.

I don't have any cleanup on this.

I might need to have a little cleanup
on this, because I want to

just real quickly

put a retouch layer in here.

I like this little piece of light up
here,

but

I don't

like this

spot.

It's not important.

I just want to give it a quick test

to see what's happening,

it's not frequency separated sadly.

So we might just run in some issues.

But I just want to do a quick test

for

my own reasons,

to see what it looks like without that
spot

yep.

Just like that, it was pulling my
attention down to the bottom.

And I want my attention to go up to the
top.

I don't need that to be perfect.

It's going to be small.

You'll never see it in the print.

It looks right to me.

So yeah, always take a good, long look
at your images.

Double check what's going on.

Double check your work,

make sure everything's lining up.

And I think we are ready.

Oh, once, let me just

verify what I was talking about.

I had really bounced my color
adjustments on and off.

All right.

So let's do.

That here's where we were,

here's where we are.

I like what I see.

Like I said before, this image was
really close already.

And we just needed to bring it to life.

And I

think that's what we've done here.

We're going to

put this on the right canvas,

do our

layer cops,

save as tiff.

And we're ready to get rob's eyes on it.

So, same process.

This is lost time

first.

Once again, I want to save this thing.

I'm working so fast that I don't even
think to save.

It's just

all happening in a matter of seconds.

This is going to be our

stump, bees cocktail.

And we're on v one.

It's going into our folder.

I always like to do checks.

I'm going to turn this off.

This is going to be my condensation.

Compan,

come up here.

Call it condensation.

Turn my condensation, layer off.

Make a new computer,

normal, whatever you want to do.

I'm going to save

when I go out to my clip art a mini
layer talk.

1114300,

do rgb white.

Could make this transparency.

I don't really care.

Just takes a second.

Solid.

We're going to go.

We're going to come in where we were
before 92 or 93

instead of 95.

Get rid of that.

Bridge,

whoops,

bridge.

Find our version one, which we just
saved.

Option, drag onto the canvas.

Scale it

about where we want it.

Think that's how I want it, top to
bottom.

Actually.

Now I'm going to go pretty high up on
top.

This isn't like a final composition on
eleven by fourteen.

This is just presentation.

That looks about right.

I want to bring my background

up to 95, because this is looking a
little bit too bright, relative.

There we go.

See,

blends in a little bit better,

feels, more uniform.

So we have our stumpy stumbies,
cocktail noncondensation

version on eleven by fourteen canvas

with our regular layer comp.

And just to show you once again

that I can flip through my layers

in a different Photoshop document from
within a canvas Photoshop document by

just going into my properties panel,

selecting layer comp that I want,

loads up my visible layers in the psd
and allows me to do some quick flips

for exports.

Send this off to Rob, and we can get
going on the next image,