All language subtitles for 05-30-The Tentacle-Color.mp4

We've got this image in a good place
now,

and I'm happy with the glass.

I'm happy with the bottle

and the backgrounds

looking pretty cool.

But

I'm feeling like there's still a few

little pieces that need some attention.

I'd really like to get

on top of

that water and ink

interaction.

And intersection

it's still feeling a little non
dimensional to me.

I really want to just

work my way through refining the image,
to integrate all of the

pieces that I've put together here.

let's figure out where to start.

And I think

I just want to play around with this
corner right now.

This one's doing smoke stuff.

This is feeling a little bit too normal
for me.

And

yeah, definitely this corner needs to
fade in a little bit further.

I'm not sure if we're going to do smoke
in front of the bottle and the glass,

but we'll look at that real quick.

Shouldn't be too much longer to wrap
this thing up, because

I think it's lookin pretty sweet.

So let's dive into this corner

and look at that highlight.

I want to fix that thing.

It's a little

not sexy

for this guy here.

We've got

our foreground

two layers.

So let's

see what that's happenin.

And this is going to be

foreground ink.

Yeah, because this is just

that little thing right there.

And like I said,

you know, I can put this one behind.

I'm still considering.

It

would

require

a mask,

right there.

Just want to take a quick peek at if
that is an easier solution

to this problem.

Don't think it is.

See, that

it's kind of the same effect,

but a little less pain.

It's a little simpler,

little more pro.

But let's continue, just kind of

playing around

with

the way I've got this set up.

Think I'd like to bring

this corner one over

a little bit further,

maybe bring these down just a shade.

That's kind of cool.

Second, it's

got some dimension, and it's

pulling its way into the front

let's.

Let's see if there is an option here

for getting this down just a little bit
closer to the foreground,

kind of dig in that,

get a little bit more flow.

It's interesting.

It's hard to when you look at this,
because

you're really zoomed in.

And what looks good

all the way up here,

you know, this looks pretty sweet.

But

the museum out, and it's

not anything like what it looked

when we resume it zoomed in

so

constantly, kind of

balance back and forth.

I'm not aware of

my actions when I'm doing this, so

I'm pretty sure I'm bouncing all around
this image as I work.

Would you look at that?

I've been painting on the wrong layer?

I'm going to fix that.

Or

I might even decide

to switch gears

and

do a dump

from here to here.

It's a tricky one.

And

let's just take a quick look at

my mistake.

I think that's what I need to do there.

No, I needed to do that.

Ka,

wanna flip these around?

I actually can.

But

for now let's

stick with it.

You know, I could do something real
fancy and

pop this to there, and then invert it.

And then I've got the same thing that I
was working on up here.

But for some weird reason, I just want
to keep working this way.

So

with that done,

we're back on track.

I'm going to keep on massaging

this intersection.

I think it's

getting real close.

Because now when I zoom out,

these

don't have that hard

line that they did before

when I was

zoomed out.

Maybe just to touch more.

three percent flow

painting with white

on the right layer group.

Ok.

And this is where I was when I
discovered

my mistake.

I think I have something

happening

right there.

Or is it there?

I think it's there.

Ok,

back to this

three percent.

This little interior piece,

I need to bring it down any further

gets a little bit too

obscuring,

kind of like this little ripple action
right there.

And so I'm going to keep it.

And I wanted to look at

right here,

kind of sort of not really

let's see what happens if I come all
the way around

like that.

Sometimes you've got to make some bold
strokes

and just toggle, see if it's what you
want.

You know,

don't

really

obsess about making the perfect move.

21st century Photoshop

which is great, because it used to not
be that way.

Sweet.

I like that,

and

think I like this over here.

We can just experiment a tiny bit.

I don't think we need to see all the
way out to that edge.

Maybe it's just kind of

working its way around or something.

Definitely doesn't want to be on top of
that.

All right.

That's looking pretty cool.

I do want to

slightly

burn this light piece down.

So I'm going to

go in with my black brush

and

give that a little bit of dark tone.

Was just

popping out too much for me.

And I kind of wanted to take a quick
peek at

what happens when I

push down this area

to

lift the bottle off.

The background

it's a really tough call.

I like this kind of thing.

And

by burning it, I'm getting rid of it.

So let's see what happens when we go
the other way.

One little trick you can do

is, instead of dodge burn with black
white, which is

the normal way to think of dodge burn,

you can go ahead

and add

sat saturation

to the dodge burn.

And so instead of burning de gray or
dodging degrad,

you're going to be dodging to saturated

background color.

I'm going to pull it up barely above
fifty percent.

Because if I dodged fifty percent,

oh, sticky slider.

If I dodged fifty percent,

then

all I'm going to do is be saturating
this background.

I'm not going to actually be changing

the luminosity of it.

And so what I want to do

is

push this up above fifty,

just smidge,

however,

much of the value.

I want to bring up the background,
which is not all the way to full brightness,

but

just a little bit higher than what it's
been.

And I want to give it the same
saturation as the background.

So fancy little trick.

It's good to really wrap your head
around what dodging burn is and how it

works with overlay or soft light,

and then

use all of that knowledge to your
advantage.

So

I wanted this edge to pop out a little
bit more.

I think if I go too dark it's just
going to get shadowy.

So instead, I'm going to do

a hand

dodge glow

of a red saturation value around the
edge

to

give myself a little bit more
definition.

And I can also, here, maybe just go

straight to black.

It's pretty black already,

but you can see, I just introduce a
little bit more definition right there.

Now, this edge is popping out

a little bit more nicely.

There's it before and after,

you know, just really soft glow.

Nothing that stands out too much,

looks like I need to lift up over here,

and maybe

going to keep it there,

starting to get a little bit of majesty.

If I wanted to bring it up even
brighter,

I just

push my hsb

blightly

higher.

And if I wanted to just kind of

push that in

a tiny bit, but I don't think it's
necessary, I think it's becoming

too obvious at that.

Point

there is a little bit of glow

maybe down over here,

to

I'm actually doing some kind of
finishing moves.

I probably shouldn't be doing that, but

I don't know, like I said, I sometimes
just like to

switch gears and

make that part of my brain happy.

So that's what I did there.

Stuff on this image, the black surface
of the water

is

looking a little bit too black and
needs to start pulling some reds in.

So I'm going to

see what I can do about that real fast.

Since that's where I was working on.

Previously, I should get back into that.

Color is being

created from my gradient map.

I'm pretty sure that's

what I want to be doing

to color that area.

So let's see if we can

put a little bit more sat

in there and

give it a little bit more that
background color.

So with that move,

you can see

we're picking up a little bit more of
the background.

It's

integrating

better.

I'm still really not cool with the
brightness of this backside.

And I think that's what's causing the
disconnect and it to look like it's just

this

straight line back there.

But we'll get to that and sek

right now.

This is just for that piece,

and the

saturation value of it

feels.

I like the saturation.

What I don't like is

the brightness.

So I'm going to tap it down

a little bit more towards the corner,

and

let's have a quick look at that.

Gradient map is kind of weird.

I can't undo it once I get out of it.

But so I have to click through history

to

toggle

and

think, that's looking cool.

So let's quickly

do a

burn.

Our edge back here.

I was just noticing

Got a little bit of contamination

on my stem.

So I'd like to fix that,

and then i'll get into that

back edge

these

two adjustment layers

where

poking into

the stem

and causing a lot of discoloration,

see if I bring it all the way up,
that's what I'm talking about.

So I'm going to bring this down

on the right layer group

whoa,

think, what needs to happen?

Oh, this is a tricky one.

Ok.

So the issue is,

Adobe hasn't quite figured out how to
make

clipped layer groups work.

So I have to do this by hand

and just dodge it out of both

you can't do

a lot of

clipping adjustment layers onto groups.

What I really want to do is group these
two up, and then clip the group to this

layer and then do some fancy mask stuff

there.

But things start falling apart when you
do that.

So

I'm just going to do the seal fashion
way,

and

paint it out of those areas.

Just like that.

Gave me what I wanted.

No, I don't have that dark

stuff creeping up into here.

That's cool.

I like this dark stem.

I thought about lightning it, doing
something with it.

I'm not going to.

The one thing I'm going to do is just
fix that real fast, but not yet.

So still working on the foreground
group.

And

one thing I wanted to do

is to add a

dB layer

to that group.

And we're going to go into soft light,

going to clip it.

So I'm only affecting

that layer.

And I'm going to, with black,

see what I'm going to do there.

I'm going to paint this edge down,

and it's going to just run over
everything.

Because I can't do

fancy clip groups like I want.

So we are going to block it

out of those areas.

No, can't do it.

Don't have the right masks.

So,

low flow.

And I'm going to

just kind of shape the water a tiny bit

so that

it

kind of hides this transitional

area

somewhat

see that?

Because it's just too bright, right
there?

That's what's causing those
distractions.

That's what's causing this area to look
like

it's a hard line.

Is the

color of the water underneath

the ink.

If this were a reality,

would be

getting

blocked

by the ink.

So the light coming through the ink

would diffuse

scatter and

actually cause a shadow to happen up
here.

I think.

Pretty sure that's how it works.

So I think that's what was causing my
eye to

really

not believe what was happening back
there.

Ok.

So see what this does?

I know we're losing a lot of the

lot of the water ripples, but I think
that's, ok,

they're not that important.

Yeah, see, it needs to be darker.

So x,

can it go ahead and

really take those down over there?

They're getting distracting.

Maybe pull this down a little bit, kind
of a

base vignette, in a way.

I think that's the right way to do it.

I don't need to do it through a curve.

That's cool.

I'm going to load a mask real fast,

and make sure

that.

Maybe

tricky,

do something else quickly,

do that,

clear that,

load this as a selection,

and then

run

a mask on it.

So I can use the dB.

I just did to generate a mask that was
pretty fancy.

And I'm just seeing if a curve gives me
a slightly more realistic

tonal shade.

Because I felt like this was just a
flat gray, and it is.

So I'm deleting and putting that one in
there,

and

just adjust.

This gives me a little bit more
flexibility and that brightness value

as well.

This is getting kind of cornered.

It's not really what I was anticipating.

And by that, I mean everything's
getting shoved over to here.

And this is just kind of like taking
over on the left.

But that's, ok,

we're playing around.

This is just for fun and creating
something compelling and interesting.

With that in mind,

I can

maybe

just

back off

a tiny bit

of this.

So I need to go

black

and

push this open.

Now.

We're

not so cornered over here.

It's just giving

a foreground plane a little bit more
room to breathe, and making it not feel

like it's forced into this corner.

Cool.

With that done.

Only

other step I'm

definitely interested in right now

it's just kind of one of those
finishing touches.

We're nearly there.

I mentioned it a few minutes ago, and
that's why, you know,

I've got to go

take care of it.

on my foreground layer,

inside my bottle glass.

Save

inside here

inside here.

Come on.

I mentioned fixing that.

And, you know, I just can't let it go

to

come in with a normal brush,

hope that I can scale it,

and I'm going to pull some white

up,

and we're going to just real quickly

go ten percent flow

and

just kind of connect the dots

a little bit.

On the high pass layer,

or high frequency layer,

I always call it high pass because

I pass and me go a long ways back,

way

back.

So

I always think of these as being high
pass layers.

High pass made me drop out of college,
to

be quite honest.

It's a long story, it's a funny one,

but it's true,

it was all for the best.

I can certainly tell you that.

Cool.

Ok.

So,

I really just had to fix that thing is
driving me crazy.

It was just breaking up that space.

I think we're really close to wrapping
this thing up.

I know that

I can look at it forever and ever

and find other things that I would love
to do with it.

But

I need to get it dialed in

and

off to Rob, get his eyes on it, get
some feedback

and

make sure that everything is kind of as
intended,

or

that

it makes him happy, since I went in a
slightly different direction.

See what that I did, right there.

Look at that

so much better.

Ok, we're going to close that.

I was going to do a close save,

burying it back into the component,

and look at that.

It makes

all the difference

in the world,

really does.

It just causes my eye to not

go straight to that little piece.

There's all sorts of other little
pieces that my eye goes to.

But that's ok.

For now, I think I'm digging where
that's going.

We're just going to take a quick look at

just some options.

Just real quick.

What happens if I turn my top layer
mask off and

I've got this

sweet little contrast curve?

You're

just a quick experiment just to see,
because my eyes have been looking at

this for so long now, and everything
looks right, because this is what I've

been looking at.

So sometimes it's fun just to like,
play with what you have

and see if there's a little bit more

that you can do.

And

in this case,

I kind of like what I'm seeing.

There there's something cool about it.

So what that means is, maybe I'm just
going to pop this thing open.

A little bit.

I'm going to show you one quick kind of
curve

that

you may or may not know about it's
fancy.

Do I have a script set up for it?

Because I like to load it

without

doing anything.

So I have the same down in my scripts

called sl curve.

And I do it, and I don't have it loaded
the way that it needs to load.

So we'll turn it off real fast.

So it's a curve

set to overlay.

Remember, overlay, fifty gray is
neutral.

So what do you do?

You

bring down your highlights

right to the middle,

bring up your shadows right to the
middle.

This is creating a gray image.

And when I click this little button,
and nothing happens,

if I turn it back to normal, that
happens

I've made my image gray.

So

go back to overlay.

And

when you have an overlay curve, it
introduces a lot of really lovely

contrast into your image.

It's almost like a mini high pass.

And so what I like to do is just add
this at the end's kind of a little finishing

contrast curve, but it doesn't
introduce a lot of the chromatic

distortion that a normal curve does.

And I don't know, I kind of

like to pat myself on the back with it,
because it's a fun little curve that I

figured out

a little ways back.

And you can control the mid tones with
it a little bit as well,

but it just kind of gives your image a
little bit of snap.

Once you get it balanced down the
middle, you can then

just sort of guide it around.

See what it does.

It's a real subtle thing,

but it just treats the underlying
pixels a little bit differently.

And with that little bit of snap done
on my soft light curve,

I'm

seeing a few other issues pop up that I
want to address really quickly.

I know I said I was almost done, and we
are,

but I do need to fix these real fast.

And what that is,

I want to shape some light here.

And there I'm seeing

some weird forms that

could be interpreted

strangely by an art director,

because that's what they love to do.

And so I'm going to fix this little
thing over here.

Just kind of

take your eye away from the background

next to the bottle a tiny bit.

Just

something odd was happening here that I
wasn't really a fan of.

So

I'm going to just push that down a tiny
bit.

And I'm thinking,

I also want to darken this side down a
smidge.

I'm not going to do that with my dB
layer.

It's going to flatten it down just a
tiny bit.

I do want to

group things up, because I love groups.

And we are going to,

below my soft light curve,

add another curve, I know

lots of curves, eight bit

it's scary.

And

do that.

Invert it.

Go in with

the low flow brush.

And we're just going to

slightly vignette

this side

a little.

Something about it just needed to come
down.

Let's pulling a little bit of attention
away.

Maybe this little piece right there,

after not quite there yet.

Think I've got a little bit too low
flow.

It's going to take me an hour to do
that.

I'm not going to worry about that
little line,

because if

you're

doing a good job,

it would already be gone.

All right.

There's little burn action.

I think that's enough.

Yeah,

kind of

what happens if I go

like that on.

It's

having a quick peek,

sort of

a little bit more muted.

It's just a little busy.

Overall

think that's where I want it.

I think I might have gone down into the
water over here.

Just a hair.

I'm seein a little bit too much light

on this corner.

So I'm going to just

kind of smooth that down, just to touch.

You may see things differently, and
that's

completely fine.

I'm just

moving light around where my attention
is distracted.

Beautiful.

And one other

fast little

kiss is,

I'm thinking

that

I want a tiny bit of tone in the stem.

It's looking a little bit

too separate from everything else.

And so I have a gradient map

layer already built.

That's adding

red tones to the shadow, repurposing
all sorts of stuff.

That's what I like to do,

it's being clipped to this.

So by painting

in right here,

I'm not affecting anything else but the
stem.

So

I'm just going to

give it a tiny bit of red in the shadow.

Like that

that's kind of cool.

It's a little bit neutral over here.

It's where it's going to bring that in.

I wish I could make this water more
saturated.

But

I think if I do that it's going to just
start

getting

real weird.

You know,

not doing it for me

for now.

I think that's looking really sweet.

What else would I'd like to

do, if anything?

I don't

think there's really anything else

I want to do to this.

It's got a lot of dionynamic

It's

got all of the elements that Rob was
looking for.

I think it feels good as a whole.

Let's just

zoom out, take a look at everything.

Make sure we're happy with all of these
adjustments.

See if there's anything that's really
catching your eye, that just seems out

of place.

Because I know that when Rob sees us

if there are any of those elements,

he's going to think the same thing.

So I'm hoping

we see

eye to eye, and I think we will.

I think he's going to be really happy
with this.

I'm happy with this, and I can't wait
to get it in front of him here, what he

has to say.

And

with that set,

we'll wrap this one up

send it on