All language subtitles for 06-36-Glenlivet-Clean Up

Now that we

have our background in a good place,

I'm going to start diving
into a little bit of retouching.

Getting those rough composites
that I made earlier

dialed in a

little bit more

accurately, and then I'm going to move
to some masking work.

I think some of my edges
get my frequency separation rolling

and see what happens after.

So the next step I want to take is to

zoom into this area
because it's kind of bugging me.

We're
going to go into our composite groups,

find where that is,
which is labeled Stripe.

And I'm all lined up

and all I need to do is

paint that mask in

so many different ways that you can do it.

You can pop it. You can lasso it.

You can just use a brush.

And that's what I like to do.

I'm kind of a brush junky, you might say,

because it's just quick and easy.

Less, less mouse clicks.

It's as accurate as I need it to be.

It's going to use 100, 100 on my flow
and opacity, and I'm going to start it

at the end and shift click

down to this end of the stripe.

You know, probably

when off the end, it's not material,
it's non-visible.

Doesn't really matter,

but I'm going to clean it up anyway.

Do the same thing for the upper stripe.

Well, it's a little bit bright

relative to the label, but
the label might be brightening up later,

which will then cause

this to be apparently darker.

So we'll see what
happens when we get there.

Obviously, around brush isn't great

for creating square edges,
which is not a big deal for me

because I just do that on the ends
and that squares everything off.

I usually just paint outside the edges.

As scary as that might sound.

It works for me.

I think this one is probably a little bit
too round still, so I'll squared off,

get rid of that.

Not going to worry so much about
these little stray pixels at the end.

That's just how these things photograph.

As you can see, it's not a perfect mask.

I could use paths.

I don't want to use paths.

I just want to do it quick and easy

with that.

Done.

I'm going to move down to the signature,

which was also on its own exposure.

I've got a Sig label here.

I think
when I was first talking about this,

I really liked the overall label exposure.

If I just brought in the SIG,

it's going to be really dark
relative to the surrounding areas.

So I'd like to

just mask in that whole label.

And as I'm looking at it

for that exposure, I'm seeing some other
really nice golds up here as well

that I think
I might make a part of the same mask.

I might even integrate the 18

into the Sig label mask.

This is one of those tricks
where the photographer

didn't
create a specific exposure for that area.

But because I'm looking at a layer stock

where I've got everything lined up,
I can toggle my mask so my layers

and find out if there's something
that may enhance an area

that wasn't
necessarily intended to be enhanced or

it was just not thought of at the time
because there's so many other things

to be thinking about
as you're shooting through these.

I mean, imagine trying to light
every single

tiny piece of this label
and you'd be going nuts.

So fortunately, like I said, I can just

kind of turn off that mask
just to see what happens.

For now, I'm going to do a quick select,

I think, of this label area

because as you know, I'm
not a big Path fan.

Just like that.

And then it's
like I need to subtract that area down

below.

Do that.

There's probably some stray stuff
happening around here

and whew, that's

going to require a little bit of custom
brushing, in fact,

because I already have this sort of mask
made.

I'm just going to

not use my PIN tool
because I need to re plug it in.

But we are just going
to mouse our way through

this edge.

I'm not seeing a great need for precision
mouse

precision mask just yet

and may or may not be necessary
because the liquid above

and that exposure hasn't changed.

You know,
eventually I may need to tighten this

this mask up even more.

But for now, I'm just going to clean up
what I had done originally.

That quick selects

wasn't giving me what I wanted,

and so I'd be doing this

anyway with a quick select,

like I said, a path,
of course would be really precise,

but it would also take 20 minutes

and I don't feel like doing that.

You'll notice I'm not going to worry
about what the mask is doing

over on this glass
because I have a front glass

labor group that's part of the composite
that's behind that mask or excuse me,

the mask is behind that layer group,
so I don't have to worry about this side.

One thing I am noticing is
there's a little bit of blur on the edge

of that glass and that's being caused
by this foreground glass not being

over far enough to cover up

the blur of the image behind it.

To fix that, I am going to just scooch it
over a tiny bit.

It's one of the things
that no one else would notice

when it prints because it'll be too small
for that kind of resolution.

But I noticed it,
and that's all it takes to fix it,

so I might as well do it
while I'm in there.

Back to the Sig label.

Looks like I just need to kind of
do a quick brush through on this.

It's going to see what

I have notice when I do this.

There's really not a change over
in this area.

It only changes once I get over in here

so I can be a little
bit loose in this region.

But I'm just going to go

and keep it kind of clean.

Get used to hitting the X key a lot.

I'm toggling between my foreground
and my background.

Layers, colors,

and I get lost

in which one I'm on.

But it doesn't matter
because I can just undo what I've done.

Hit X and I'm back in the game.

I'm using the

I think that's the backslash backslash key

to preview where my mouse or my mask is.

I don't know why my mouse is my mask
today, but that's how it's going to be.

So let's just roll with it.

All right. That's looking good.

I might have a tiny bit of a cut there.

Nope, nope, nope.

This is all fine.

Maybe a little clean there.

A little bit there, a little bit there.

I think this highlight edge
I want to keep in the mask.

Like I said, I'm not going to go down
to the pixel right now.

I don't think it's important.

But of course, being a retoucher,

you also need to be a perfectionist.

So I'm going to clean up
some loose ends here and.

And we're done. Okay,

There is my Sig label.

I can see it's much brighter.

I like it. It's kind of dynamic.

Gets that gold going

and just really locks
everything into place on the bottle.

That was way too dark.

Just doing the gold,
only it would be really odd looking.

And like I said, I felt as though

the 18 had a better shine to the gold.

So I'm just going to do a real quick

mask of that area.

I'm just shift clicking away right now,

doing straight lines

because I'm not using a walk home.

So that's the trick.

You know,

these areas are nice and round,
my brush is nice and round

and they just go very well together.

Looks like there's a little bit
of a sharpening halo around these,

which is fine because when it prints

that whole Asian will give you

more contrast in the edge

and it just looks better when it prints.

It's previewing

my mask,
make sure I got all the gold in it.

Not really
being too concerned with precision,

You know,

it's easy to get lost in your masks.

You could cut a million of them

for any given image
if you really felt like it.

And that's, you know, one

technique in practice that

almost all good retoucher is have is

taking control of their images through

the creation of masks.

And we're hoping that one day

a lot of this will be automated

so we can just tell our machines

to mask the 18 and

in a microsecond it'll be done

a nanosecond.

Okay, cool.

So now that 18

matches a little bit
better to the surrounding area,

some of these other golds are popping.

That should be popping.

It was on a sig label composite layer and

I thought it looked great somewhere else,
so I did it there.

Easily done for the next area.

Let's look at

what do we have.

We have cap gold,

which is all of this.

This has already been done.

My mask is looking clean up here.

I might fill this out later.

I know I have an exposure for this.

I'm still not exactly sure why.

It looks like my cap
gold could use a bit tighter mask.

So let's do that real fast.

I'll get started
and see if this will turn on

for me.

Going to do a real quick mask here.

My path earlier wasn't perfect.

You can see a little bit
of a little bit of an edge there.

I'm going to take a quick
look at my hardness.

Mm hmm.

Cool.

Yeah.

So one thing I want to do,
if I just want to have a slightly sexier

looking edge while I'm working,
is to save this real quick.

Select and mask can be a little bit
squirrely sometimes,

so I often save
right before I run into it,

just in case some weird things happen.

We're going to run
up, go up into select and mask.

I'm going to go on layers

and I want to add a slight
feather to this edge.

See that it feathers up and

I really wish
this was done on a smart object.

But masks can't be smart objects yet.

Hopefully they're working on that

preview on and off.

Yeah.

So that edge is just tightening up
a little bit.

Helps me to not get distracted by it.

Okay.

And I'm going to be cleaning up
that mask eventually anyway.

But for now, we're just going to do that.

Okay. So

I was working on Cap Gold,

making a real

lovely mask for that.

See, for a while comes work right now.

Hmm. Okay,

so let's get a slightly better edge.

I don't think I need to worry about this
too much.

All right, so with that,

I'm going to look at this
cap liquid layer,

and I don't see any reason to use it.

It's just a brighter exposure.

At some point.

There was a,

uh, soft box reflection

that was happening, but I think
because of my compositing layers,

I actually got rid of that.

And it's just one of those details
that Rob knew he needed to get a exposure

without that soft box reflection in it.

But, you know, I didn't realize

that there was another exposure
that didn't have it in it,

which is great.

It just sometimes works out
magically that way.

And in this case it did.

So we're just going to roll with it.

I'm seeing a little bit of weirdness
coming from somewhere.

Let's have a look at where this may be.

Sit there.

No. Huh?

This is interesting.

I'm seeing this line

right here, and I'm not quite

sure where it's coming from.

So we're going to go over into bridge

or I'm going to pop up in 111.

So that's what it's supposed to be.

And look at that.

It is actually in the file.

It's, you know what it is?

It's the top surface of the whiskey
and you're looking up at it.

So you're looking at the bottom of the top
surface of the whiskey.

And it's just creating that straight line
going across.

It's actually an oval up there.

It's just
has the illusion of a straight line.

Not sure what I'm going to do with it.

It's actually a cool little

face right up there
and I might brush it out.

I might leave it. It's
part of the real thing.

I do need to
eventually get rid of these lines

because those are the diagonals
that are in the background.

And we've taken out these diagonals.

So because of that, yeah,
you know, I'll leave it there.

I might clean up
a little bit of this stuff in here

when I'm cleaning these areas.

But for now we've got our

upper gold label, Blue label on there.

I know that it's going to need
a little bit of color work eventually.

For now,
we're just going to leave it like it is

and have a look
at some other areas in this image.

This back line has been bugging me.

It needs to be blurry
so it blends with the background.

It's kind of tricky.

There's a lot of edges
that are going to get in the way

and we're going to need to do
quite a bit of masking work

to make it happen.

We've also got some frequency
separation stuff coming up

and for now let's just kind of click
through our layers,

make sure everything's
where it needs to be.

We've got a top,

we've got the back glass,

a little bit of a splotch back here.

I think it's all right.

Yeah, I'm cool with it.

Um, maybe just give this thing
a little bit of a kiss.

Slower.

Come in with a smaller brush.

10% flow.

I'm going to make

this a little bit darker on top

cuts.

See what happens
if I go pure white up here?

Yeah, I like it.

And, um,

keep going through our layers.

I'm going to go ahead
and just take this to the bottom.

I know my front
glass is in a good place. Now.

One thing I did want to look at
with my front glasses, I was given

two exposures, one was non highlight
and the other was highlight.

And I think I want to check out

if these highlights on the right side of
the glass are desirable.

And to do that, I'm
just going to add a mask

to my foreground glass

and we're going to use a low flow

brush black paint
in some of these highlights.

Take a quick look at it,

see if it's something we are into and

it's not bad.

It's kind of sparkly.

Pull out a little ways.

Yeah, that's a little bit

of dynamic interest right here.

Although I do I do like seeing the bottle
through the glass

and all these highlights
kind of block that.

But that's really

your call
because none of it was intentional.

Um, but it's an option.

I'm going to go for less distraction.

But one thing that is distracting me
is this piece right here.

See that?

I'm going to isolate that
a little bit more.

Just take it down.

It was bugging me,

so I'm using my background

layer just for this little piece,

and that's completely fine.

There's no problem with it.

Mm. Um,

we're going to get to this clean up here
in a few minutes,

get to these really fun cleanups
right there potentially as well.

I'm feeling good
about all of my composite pieces.

There's my label stripe.

Um, not

100% sure on.

Yeah, I like that brightness.

That's good.

It's kind of showing that there's
some light happening on the surface

not knowing.

I think this is my back glass mask peeking

in all the way over there. Yep.

So let's just clean this up real fast

because we don't need any stray pixels

that are unintentional.

That's fine.

As you can see, masks are what they are.

All that matters is

how the image looks on,
how the mask looks.

Okay,

finishing this off sig label base.

That's what our base

exposure is doing.

And these are
these are our composite pieces.

And we've got a background plate over here

for now. The backgrounds doing fine.

We've got kind of an odd color
in the separate corner.

Not quite sure what I want to do with it.

As you remember, it's really easy to fix.

I just have to open up my linked asset.

I've got a hue set layer
that's doing its thing.

I can, you know, put a group on it
and I can

then do whatever I feel like doing,
adding different colors into it.

Gradient maps.

I can do fun things like additional
use that layers, push this out,

maybe go to a little bit to the red,
save it, close it.

And my composite is going to update
with those colors.

A little bit of warmth.

I don't know.
I might make it glow in the super corner.

A little bit of light
coming in potentially,

because I do have a light
on the left side of the glass.

Or maybe,
yeah, maybe I'll put a little flare.

I think that's all the rage these days.

Okay.

Next is this back

line boy. Um,

the back line, if we take off our layer

mask, here's the issue.

Everything blends when it's out of focus

and the

background blends
into the edge of the foreground.

They mix together,

they interact.

You can see that

I've got an edge coming this way.

And then this highlight cuts

into that edge where the shadows don't.

And it's not sure what you call that.

It's kind of like a light wrap or a light
bleed.

It almost flares.

I've been watching a lot of

what is it dark matter lately, sci
fi show, a couple of different sci

fi shows, actually,
and even the new Star Trek.

And they've always
got this neon in the background

and, you know, it's these really saturated
red lights and blue lights.

And when you
when you pause the image, if they have

a really

small angular light coming into, like,
let's say a shoulder,

you'll get a glow that cuts a few inches

and it's the exact same shape
as the light behind them.

And I've been paying a lot of attention
to that lately because

it really is a common element
in retouching

when you're changing out of parallel
or adding things into a scene

that you learn
how light wraps around foreground objects.

So I do a lot of

analysis in TV shows and real photography

to sort of study how light interacts
with other elements within a scene.

Anyway, it's all really, really dorky,
but I love it.

Um, so this package
is going to give me a lot of trouble.

It has a

blur that stands out
as it gets further away from the camera.

I used to know the word
for that, but I forgot it.

And to fix that,

we're
going to have to do some magic tricks.

I think what I'm going to do

is go back to my

table mask and I am going to duplicate it

and we are going to create first

a glass mask.

Just watch for a minute
and then you'll see what I'm doing.

Okay, There's a path

and call this back glass.

So I just know what I'm doing.

Back to our funding tool.

Oh, come on, Pen tool.

All right.

This is super blurry,
so this mask doesn't need to be precise.

It's just something that I can use
to create a selection when I eventually

need a better mask on my glass.

There you go.

Something like That's

maybe put another one there.

Okay, good enough for now.

I have about glass.

So now with this table mask,

what I need to do is just get rid of

anything that's in the way.

I'll just do it this way, I guess.

You know, sometimes

it doesn't want to change direction.

Not sure why.

Okay,

that's.

Looks like I didn't draw a straight line.

Let's just go ahead

and make this background edge straight.

I'm going to kind of dip in to it
a little bit.

I have a like I said,

these edges mesh together

and I've got to cut far enough into this

background edge
that I get rid of that light mix

that's happening
because I have to recreate it.

It's like I said,
it's it's a really tricky move.

I think

photographers don't really understand
how tricky that is

because they're not a part of the process
and they just see the final results,

but they don't know the pain
that's involved

with fixing this back edge

Yeah, every time I do it, it's
kind of like I'm doing it

all over again for the first time.

Okay, so now I have

a little bit better
mask for this back edge.

I am going to

I guess I'm

going to recreate this mask again,
unfortunately.

So we're going to delete it.

We're going to load this election.

I'm going to load my bottle.

I'm going to load my back glass
and I'm going to load the front glass.

This gives me a silhouette

going to activate that mask
and go back in to select and mask.

I have a preference set up differently.

Quick wand select and mask.

I forgot to put that on

and we are going to feather
it back up a little bit

and we're going to shift our edge in

as much as we can.

And then I'm going to add
a tiny bit of contrast

to Harden that edge up.

I see some background lines
that I didn't quite get rid of.

That's all right

and that's good.

Remember, okay, we're back in action

and we want to

now see about

getting our back bend blends properly

or do I want to work on my foreground
frequency separation

and I'm going to do something
that's a little bit fancy.

You probably haven't done this

and it's a really nice tool

for when you have a blurred edge

that is going away from the focal plane.

Those blurred edges are really

a specific kind of feather

and if we just run a Gaussian blur
on the whole thing

and then try to unpainted it

to blend the Gaussian blur with
the previous edge, it looks really bad.

And I

don't
want to just hand paint a blurred edge.

So what I'm going to do

and this is really cool

is I've got my table mask.

I rebuilt a whole

new mask so that I could dip
into the Blur back here

and I'm going to load
this up as a selection.

I'm going to make a new layer.

I am going to.

Mm. I'm going to do select my load

and I'm going to fill my new layer
with white.

Now I'm going to load my selection.

I'm going to make sure that there's not
too much of a blur on it and there's not.

And I'm going to fill that with Black

and I'm going to go ahead and invert it
because that's its final destination.

And what I'd like to do
now is convert this into a smart object.

And I'm going to

go up to Filter Blur Gallery

and we're going to tilt shift.

What this is going to do is

I've got a tilt shift plane.

As photographers, I'm sure you're
well aware of what a tilt shift is

here is a tool to kind of replicate

that behavior of tilt shift optic optics.

And it really works well on these

focal plane blurs

that you would like to recreate.

And I'm just going to go off my memory

because I don't have this set up
to preview the image within my

tilt shift or in my Blur gallery.

So I'm going to increase my

depth of field, essentially here.

I if I remember correctly,

it was pretty sharp in the front somewhere
around there, sort of blurring out.

Let's have a quick look

at what the falloff is doing.

Sometimes.

Sometimes you just really need
to play around with it to get the this

point of the blur
to be in the right place.

I think that's about where I want it.

I'm going to add
a small amount of grain to the edge

just so I get rid of any banding
that's inherent.

Um, it's not really looking
the way that I want it

to, to be really honest right now,
but I think it might just be this monitor.

It's just turning a little bit

more, a little bit less,
I think less because

yeah, I really, I need it to be
I need it to be as narrow as possible.

Otherwise I'm going to run
into a whole bunch issues.

Let's just try that out real fast.

I made it a smart

object because if I don't like the Blur
how I've set it up,

I can just double click, go back
in, reedit it.

I don't have to set up the whole layer
again.

I'm going to go ahead and save

and I can preview my effects

using this little smart filter eyeball.

And I'm going to turn off

the preview of my foreground.

Take a look at where that edges.

You can see a kind of a little bit.

There's actually a narrow
focal plane right there.

It's about an inch or two.

So it blurs in the front
and it blurs in the back.

So with that,

I'm going to run
back in to my Blur gallery.

I'm going to slide
my center point up a little bit

and I'm going to bring this in.

Probably have to bring that in
and move this up even further

and I can pull this line out.

And in get this,

I don't like how hard that edge is.

So I'm going to use a slider up here
called Focus.

And what focus is,

it's a

it's like a camera.

It's like the camera being slide out
slightly out of focus

across the entire image, and it blurs up

the sharpest area of the tilt shift.

So by focusing the lens slightly,

I am just creating a slight,
a slightly softer edge right there.

And that's definitely what I want to do.

And for this, I'm going to pull out.

There wasn't a whole lot of blur
on this front edge.

If I remember, my depth of field
was actually a lot narrower right there.

Um, let's
go ahead and add just a tiny bit more

blur.

Come on. Yep.

It's going to be too much.

Um, let's try that.

Cool.

That's looking better.

All right, so the reason why I did this
black and white, smart

object kind of thing is I'm going

to go down to my channels

and I'm going to make a selection

out of this preview
because it's just a mask.

I can also copy and paste this layer

into a mask, too.

But I've got a lot of other
objects on my mask.

They're not quite sure
how I want to run this just yet,

but let's have a quick
look at my plan for this,

which is to

invert my selection

and to come down here on to my

foreground layer.

I'm actually an inverting that.

And what I'd like
to do is to use that feather

to push out the edges of my mask.

Looks like I'm not quite
where I want to be,

but let's just try it out
and see what happens.

Sometimes with these masks
you have to go over it a couple of times.

It keeps it's like an additive property.

It doesn't have a really defined edge
on the first pass,

so you have to make it whoa.

So you have to make
a couple of passes on it.

Look at that.

Holy crap.

Okay, See that?

Beautiful.

I'm cutting in quite a ways.

It doesn't matter.

You have to, because of all this
light wrap that you get.

But check that out.

I've just extracted the table.

I cut in far enough
that I got rid of the background blur.

That's pretty fun.

So I'm going to keep going
because now I'm excited.

I thought I going to be in
for a lot of suffering, but

my plan seems like it's working.

I just have to get rid
of this kind of interior line

that happens
by painting over and over again.

And I don't think,

let's see what happens
if I just do an option delete

just to get my first pass on it.

I was just fiddling
with my foreground color

and that just saved me
a couple brush strokes.

This is where it's going to get

a little trickier.

Who This is always a difficult area

because your path for your mask, for

the bottle is cutting into the bottle
just a tiny bit.

And so you'll get these kind of edges.

We'll fix that in a few minutes.

Wow. Okay.

That's looking good.

A little bit of light

on the edge here.

No big deal.

And I have extracted the foreground.

Almost

One other thing you may notice

that is happening so hard edge.

I think what I'm going to do for this is
I am going to

load oh, boy,

I'm going to load my back glass.

I am going to

I think I'm just going to go save

and go into the my

selected mask,

set my output to be a selection.

I'm going to preview on black

like that

and I'm going to just feather

the crap out of that selection.

I think I'm going to not contrast it
because that tightens up the edge

and I'm going to shift
it in C by shift it out,

it expands the mask

and if I shifted in, it starts

choking in the edge and gives me a blur.

Contrast kind of chokes it in as well.

I don't know if I'm going to get

exactly what I need out of this,
but we're going to try it anyway, right?

That looks the way that I

believe it needs to be.

So I'm outputting to a selection,
so I'm going to click okay.

And when I do that, I'm going to get
a choked in feathered mask selection.

With that, I can go out here.

I see that
I need to paint in from my previous mask,

so I'm going to select the inverse,
come in with my brush.

I can't do an option fill with black

because it's going to fill all this in
and I really don't want that.

Here's the mask I just made.

I'm going to hide it.

I like working with

marching ants and we are going to cut in

to this glass.

Unfortunately, we're going to have to lose
a little bit of the glass

because that's just the nature
of these blurs.

It's not ideal,
but we don't have a choice.

Well, we do, but it would take an hour

or two to fix it,
and I don't want to do that.

So this is where it's going to get tricky.

Um, I'm going to see if I can do

some creative blending.

That's. And that's unfortunate.

I'm not sure what that is
probably the edge of my mask.

It's that will blur it.

Now. No big deal.

Let's get this one cleaned up.

So it looks like select
a mask. Didn't do a great job.

Gave us kind of a hard edge.

And I'll probably fix that by just

running a slight Gaussian
on this whole thing.

Whew.

Let's just do this.

Keep that out.

Oh, man.

Paint this over.

I can use my previous

mask to fix this again.

As you can see, edges are tricky.

Just thinking about
if I have a better way to do this,

which involves

the back glass composite.

I do. It's a lot of work.

I would need to float a copy of the glass.

I have and enlarge it
and do all sorts of tricks.

So for now I am going to instead

d select what I have come in with

a soft flow

and kind of

get a little bit of an edge back.

It's out of focus,
so we have some room to play

and I really need this glass

on its own floating layer right now.

But that would take some time.

So get rid of some of these edges,

play around with blur.

You can see that
I'm just kind of blending.

I'm actually creating a slope
that didn't exist before,

kind of bending the glass in a little bit

to tie it in to this corner.

It's kind of an odd trick, but

I know it works.

I'm just gradually massaging it back in.

Okay,

so some little stray pixels up here

from my tacky mask.

Good enough for now.

All right.

I feel like I've got a see
the other curves

in just a little bit,
but optically you don't really notice it

visually, you don't really notice it.

All right.

With that done,

my next task is going to be

a bits of

frequency step
because I need to do some cleanup,

so I'm going to do a complete foreground
for frequency. So

basically take everything that's in here
because I know it's looking good.

I can clean up my mask later.

It doesn't matter.

It's all going to be within
the same layer group in its own way.

I know that all of this stuff
is going to work and we're

getting really close to color,
which is going to go fast on this.

Cleanup is going to take a few minutes
and let's get going on some separations.