All language subtitles for 06-37-Glenlivet-Color & Client Packaging.mp4

Ok we've got our

primary mask cut.

I'm happy with it.

So a little bit of frequency separation
action.

I'm going to go through the same
process that I've done before,

and then

we'll get going on

a few little fun bits of clean up

like this.

I'm going to, as I've done before,

turn off my

primary mask,

make sure I've got

everything in order.

I think I'm just going to

leave this

as it is.

I've been thinking about my frequency

separation layer group names lately

as of last night.

And what I'm thinking about is just
calling it like a pre freak,

potentially.

So it's just my

pre comp.

Always thinking about these sorts of
things, just

creating structures

and organizational tools,

so that when I'm working, I don't have
to think.

I can just do

focus on the work.

Rather than

data management,

which is always a big part of

photography.

And retouching, is managing all of
these assets

that you're generating.

And it's really important to stay
organized.

I do a lot of photography and have
hundreds of thousands of photos,

that

if I didn't keep them organized,

it would be real, bad news.

So what I'm looking for here is, I know
I have all these little

pieces I need to paint out

this is what my low frequency is going
to look like.

Imagine i'll be doing a little bit of
stamping.

I'm trying to decide if I want to

get rid of these internal lines right
here.

And

because sometimes I'm unsure exactly
what it is that I want and what I'm

looking for,

I just do

a quick test.

So six is a little bit high sometimes,

but I'm seeing some good shapes in here
that

are what I'm imagining I want my low
frequency

layers to look like.

So when I click on, ok, run it again to
scrub off any remaining

and then

run my

apply image

If you want to take a quick peek at

what a frequency separation action
looks like.

It's really nothing major,

making groups, making selections, copy
merging smart objects, mediums,

clippings.

Fu is just a paste of the original,

giving it a name.

Running through apply image, which is
subtraction with a couple of little

fancy Numbers sewn in, and then just
some layer blending modes and stuff

really straightforward.

The only tricky part of it is just the
apply image.

And there are

different Numbers for sixteen bit, as
opposed to eight bit.

And those are all available.

Infinite

Numbers of tutorials.

About frequency separation,

I'd apply it a little bit differently.

All right, that was my test.

Just want to take a quick look at

what I'm up against with these areas.

This is my primary bit of cleanup.

I also have quite a bit of cleanup that
I'm going to need to do in the neck here,

some diagonals that I'm going to want
to get rid of.

And looking at my low

layer,

I can see all of this stuff getting
wiped with either a mix or brush

or

a heel tool.

And

you know, as I'm talking through this
stuff, this is really what's going

through my mind.

I'm not just explaining it for you.

I'm really thinking about my approach
to this image.

There's always an internal dialogue
going on

about what I'm

going to be doing.

So I think that's going to work for me.

These little

glow highlighty, I think what it is,
it's like

the gold foil probably has some sort of

bonding

agent in it, and when that hits the
paper, it saturates it and kind of

diffuses out.

It's almost like an oil mark or
something.

That's what I see this stuff as being.

It's definitely being generated by the
foil,

because it's all around those areas.

So

it's not something that was in my
notes, but it really is kind of tacky looking.

Really cheapens

the look of the bottle.

So

knowing that I can clean it up real
quick with my steps.

I made a plan the second I noticed it,
to

take care of it exactly the way that I
am now.

And

everything's going to plan,

I was going to push that around real
fast.

And

I really enjoy

this process.

And I like looking at it before and
after,

because

it's so easy to do these things now.

And

I just feel really pleased with myself.

And it encourages me to keep working,
because

this used to be such a pain, and now
it's such a pleasure.

Ok, that's my high freak,

and I'm going to go over to my low.

See what's happening,

looks like

some mixer brush action

that I can do here.

I just did a shift line to get rid of
those forms.

I could do some painting as well.

Notice how I'm mixing right on top of

this line.

And nothing's really happening to that
line, because for the most part it's

all up on the high frequency.

There's some bigger chunks that aren't.

So this little light shade here

I can get rid of real quickly,

might clean that up a tiny bit

down here.

Looks like most of that stuff was on
the high frequency.

I'm just going to

take a little bit of extra time to get
rid of these bumps.

Some distractions

kind of

yep.

And like I said, I'd like to

take a peek at my handiwork, because
that was so quick and so easy, and I

just got rid of all that stuff.

Which, looking at it using the stamp
tool, wouldn't have been

very challenging.

It would have gone fast as well.

Because this is a really flattery of
color,

but it's just perfect right now.

And so I'm really happy with how that
turned out.

I'm going to take my previously existing

layer mask,

pop it onto that.

Going to turn this group off.

I'm going to call this my

pre freak.

That's my new name, for it

tells me what it is.

Let's just get it out of the way.

For now,

get our layers up that we're concerned
with.

And table masks can go back down again.

Notes are fine up there.

I don't really need to reference them
anymore.

So we'll move those down,

get this kind of closed up.

I could group these up too, but it's
fine for now.

And pull this out of the way.

All right,

a little bit more clean up to do on the
bottle,

some high frequency information.

And for this,

I think,

no, there's quite a bit of

colored noise happening.

So I can't

just do a gray brush

paint like I've done before.

Actually,

I want to

do one

tricky thing, which is

a lot of times with these

prefreaks.

I'd like to have

a copy of them down below, so that

I can kind of

preview

our review, what this line is, for
instance.

So see that line that's right there.

That is the side of either,

what do they call those?

It's like a Gator board.

A v flat, I think, is what they call.

It.

It's just like a nine foot tall piece
of Gator board taped together that they

use for these long reflections.

Could also be a soft box,

but just used to create shape on the
side of the bottle.

And

I just needed to check out what that
was,

so that I know if I need to retouch it
out or not.

And I don't.

So let's just keep going with

the

dust cleans.

Here.

You can see, I need to clean up this
mask to know.

A big deal.

I've got layers for that.

Where it's going to

gently get rid of some of this.

I can borrow from down here

because that's got the texture

that I'm looking for.

There are all sorts of

pieces of dust.

I could do this for probably a few
hours.

But when you're not going to do this
for a few hours, because I would get

really boring,

I'm just going to get rid of some of
the major stuff right now.

If you look down here, this little thing

that's some of the issues that you
encounter with frequency separation

corners get rounded off a little bit.

If I needed to fix that corner,

I would just create a new layer up
above that was a retouching

layer, and I would just fix that in a
way I normally do.

In this case there's nothing going on
there that I need to fix, which is

great.

But I have

solutions for

the small issues you encounter when
using this technique.

Ok,

let's get to the bigger forms, because
I don't think cleaning dust is that

important right now.

I cleaned up these little bleeds on the

gold foil already.

Let's just get a couple of these big,
giant specks

removed

like that.

I'm not sure what this thing is.

It's going to go away though,

it's like that.

Ok?

And down here, I know we're going to
have a lot of clean up to do on the

desk to you.

There were

some big chunks down there.

But I want to focus on the bottle right
now, especially actually up at the top,

because that's going to be a fun clean,
getting rid of the

diagonal

stripes from the previous background.

But just a few more

removals that we're bugging me.

Ok.

LA, lay,

this

thing probably needs to go,

probably ok.

With these highlights right here,

gives a little shine and sparkle.

I definitely wanted to get rid of that
one.

Let's have a quick look at

where we're at

with all this stuff.

There's kind of a weird texture here.

We may want to keep,

but it's

easily cleanable.

Big giant grad Fields.

And I can just

barely pay attention to where I'm
sourcing my clone from.

This is a little trickier.

I'm not quite sure where all that stuff
is.

See how i'll have all these lines in
here,

and that's going to make it

a real tricky cleanup.

I'm going to do

something that may or may not work.

I'm going to

source from this area

and see what happens when I

just paint over

this stuff.

I'm still going to need to mix your
brush

to get the color underneath to come out,

because that's what it looks like.

It's got that pale color from the

reflection values in the dust,

basically.

And so I'm just going to get rid of a
lot of the hard edges.

See, what's happening with this line.

And that's tricky.

It's really tricky.

I would almost need to do some custom
brushwork in there.

But for now, we're going to

just see what happens

if I add a little bit of noise

and

fix the underlying low frequency
structure.

Ok, up to these guys.

What that is?

Those are my diagonals.

I already know what they look like

in reality.

So I know I want to get rid of this.

And just for fun,

we'll preview it here.

So you can see, I'm not really doing
anything.

But if I were to go after

the underlying

low frequency first,

I would have some granular structures
up on top

that would be bugging me.

So I'm just going to do this part first.

But it doesn't really matter the order.

This little white guy,

I think, he's going to go away,

that's going to go away

with this section.

I think I'm just going to take all of
that out.

And if you want to pay attention

to what's happening here

I'm basically just matching up

some shapes and forms.

this area, I'm going to go to a low
flow,

so I can just smoothly paint it in

ten percent.

Flow will take you up to 100 percent

structure pretty quick.

So I usually just tap ten most of the
time.

If I'm not at 100, I'm somewhere down

in the one to three percent flow range.

I wish I could remap

one to ten to be one to ninety

or ten to ninety.

That would be awesome.

But for now, once to ten is usually the
range that I like to stick in.

And I even actually usually just stick
in the one to three range for flow.

Ok.

So there's my high frequency done.

Now I'm going to come into my low, I
think.

For this.

I'm just going to use a healing brush,

because a mixer is going to take a
little bit too much work.

So we're just going to

not really pay too much attention to
that intersection just yet.

Just going to

get rid of, get rid of the main
structure

of that diagonal.

Pretty much like that.

I'm going to

probably just mix this out in a minute.

Ok.

Good enough for now, put a little
feather on it,

and we're going to

take care of

part of this one

and come over here

and take care of most of the rest.

That little bright dot is on my high
frequency.

Ok.

Now,

switch over to the mixer.

This

shape before I had a whole bunch of
verticals in it,

and has a bunch of verticals over here
too.

So I'm going to match that and make
vertical strokes.

Don't really care

about being perfect.

There's no such thing as perfect.

And just like that, I'm almost done
with that section.

I don't think I want to carry all this
stuff over into here.

I like all these kinds of stripes that
are happening.

In a perfect world,

we would have just a uniform grad

going along the background, but we're
picking up all sorts of internal reflections.

I'm not necessarily a fan of it, but I
know how hard it is

to not have those things,

and I think it gives a little bit of
life to the bottle as well.

And see what's happening down here.

Come back to

my

favorite tool.

I mix a brush.

Get those taking care of.

Get that taken care of.

I'm going to leave this little piece
here.

I'm going to leave those things there.

And

one thing I also I'd like to do up here
is

push this thing away.

Just like that it's

a nice shape in there.

maybe this one too.

See how beautifully the mixer

blends

the low frequency information together.

And that's been my whole goal with this
technique

is to create

a more complementary

tool set

for frequency separation.

Whereas before, with traditional
frequency set

it's kind of on its own, and

most of the tools in Photoshop don't
complement

the process very well.

So I created a new process

that I think is just a lot easier to
understand

and to work with

my buddy, Seth, who did another
tutorial that I mentioned

on one of the previous

tutorials for this set,

has christened the process as frequency

point o.

I like it.

I think it's a good way of

articulating what it's about and
describing it.

So that's what we're calling it for
now.

Frequency set, tipino.

You've been watching me do quite a bit
of it, and hopefully you're really

enjoying it, because

I've been doing it for almost two years
now, and I still

feel joy when I use it.

Ok,

that's looking pretty good for

this section.

I could of course go further with it,

but I don't need to right now.

just get rid of this little distraction
up there.

Few of those

maybe one of these two.

Ok,

as I mentioned a while back, we're not
going to worry about this typography

issue up here.

I can look at

potentially just softening

these guys.

Go into a low flow cloner,

going to my high frequency.

Just kind of get rid of those

highlight shapes that are on the edge
of the rim

of the bottle.

Not worry too much about that,

and see what we have to work with.

Because I think that's going to get rid
of too much of the type

that's bouncing around in there.

So we'll do that for now.

Go back to the mixer.

I'm going to push

this area over

and to hear what's going on.

Oh, that's what's going on.

Lost in layers

where we go,

shift twenty.

Just kind of push this little shape up

and get rid of the swing.

Get rid of that one.

Get rid of that one.

And maybe do a little bit of smoothing
on the side here.

I think I need to

work on that highlight shape.

And remember, I'm on a frequency

foreground

layer set, and I have a mask.

So if I want to get rid of this blue
line, I can actually just push it out

to the side,

like that.

And it tucks right under the mask.

So I don't have to worry about that
edge right there.

It's just a real quick, easy fix.

Not necessarily that I needed to do
that, but it was there, and I might as

well show you how to do it.

So, there's that?

All of this is looking good.

No

big standouts up here.

Maybe just polish that up a tiny bit.

It's still quick before and after of
this section.

Look at that.

Amazing.

Cool.

Ok.

I want to keep moving.

This.

Area's looking good.

I remember had a little bit of an issue
over here.

Go into the mixer,

push some

different colors into this area.

I'm going to push these dark bits

higher up to cover up

the issues that were happening.

Zero shift ten,

just kind of reshape these a tiny bit.

It's a pretty small part of the overall
composition.

So I'm not going to worry

too much

about perfecting it.

But I do want it to have the proper
form up there,

and to get rid of all of the

pieces of dust, I think will be good.

Kind of a weird edge here.

And this,

maybe some of this.

I still have a

rog link green layer that I need to run,

and I was saving right before I did
that.

Come up here.

Realize that I need to fix my scripts.

Fourteen's fine.

Going to take it down to 706050

soft light.

Ok,

there we go.

That's fine.

I get a little bit more saturation to,
it's

pretty easy.

Just pulled us up.

Uh?

You still know how painful that used to
be.

Cool.

So I liked all these glares.

They're a little busy maybe, but I
think they're fine for now.

Elsewhere on the bottle,

not seeing any significant issues.

This label is still looking really good.

And let's go ahead and really quickly
clean this glass.

Because I know

I'm starting to run a little bit long
probably.

But this is a difficult shot.

There's lot of elements.

It's not like

cleaning a glass.

We have a whole scene

to work on,

three primary elements, four primary
elements, plus a background,

and plus

integrating them all together.

So it's a lot of work.

And the more elements you have in a
scene, the longer it's going to take

every time

and keep on clean in this glass.

A few little

distractions down here.

Nothing major.

These have been bugging me for a while.

So let's just take them out.

Few scratches.

Cool.

Ok.

For the most part,

that's in a good place.

Maybe get rid of this one down here.

I'm not worried about these blown
highlights.

Specular highlights are meant to be

255.

No printer is going to freak out if you
have a specular highlight that is printing

zero

across the cmyk.

It's only when you have large

structures of

non color that a pressman will freak
out about.

And I know, because

back in the day, I used to work in

big print shops

that's where

I figured a lot of stuff out

my pre press skills.

Ok?

So down to the table,

a few big chunks here and there.

These grooves are a natural part of the
table.

So

we're going to leave them in place.

I'm just going to get rid of

larger distractions.

Maybe this,

maybe not

cool.

I'm going to go over to the mixer,

just kind of play with that

a little bit.

I think that's, ok,

it's not the end of the world.

Sky and sky.

And

maybe this one, because it might wind
it being a focal point.

See, what's going on.

Down below

it's just a little bit of a white patch.

Cool?

This brighter area is just a reflection

of the insides of a glass

wamp.

So this little m

noggin

there's my retouch layer.

Like I said, sometimes there's just
spots where

a normal air on top is the better
option.

So

reason for that, this is a corner

median will

slightly

around off the corners.

That's how I fix that.

Looks like we have some out of focused
dust

down here.

Most of it is on

our high frequency,

I think.

Yeah.

Pretty much

go and touch it out really quick.

Easy.

All right.

So we got a glass clean,

and we have a table clean,

and our bottle is clean.

And let me just verify

what I said, in case

I'm full of it.

Yep,

that's going to go away.

That's going to go away.

And that one's going to go away.

Foyle's looking good.

Labels looking good.

All of our

millions of specks are looking

fantastic.

It never ends.

Holy crap, ok,

beautiful.

That was clean up.

I'm not sure how long that took, felt
like ten minutes, maybe it was twenty.

Traditionally,

that probably would have been,

I don't know, an hour and a half.

Two hours of cleanup

frequency separation allowed me to do
it in much less time.

And the results are always

better than what you get with

cloned tool and healing tool.

Much more uniform,

much more realistic and believable.

This little edge back here, I had a

intersection

from

the previous background.

I'm going to do something so fun and
just mix it out,

get rid of that kind of highlight that
was back there,

done.

I could be adding a lot more blur here,
but I don't want to.

I think it's fine the way it is.

I am going to be needing, actually, to
do one thing that I missed, so I don't

have to do it now.

But I'm going to go ahead and do it.

The previous image had a bright
highlight coming down into the glass.

We no longer have a bright highlight
coming down into the glass.

So what we're going to need to do is to
darken that up a little bit.

And the way I'm going to do that is
turn to a normal brush,

as you can see,

and I'm going to go to

my low flow,

and I'm going to create a new layer

within my frequency separation stack.

And I'm just going to paint

some color that I picked up from the
background

into my low frequency information,
because that's what low frequency is,

it's just

some blobs of shape and color.

And I'm hopefully,

hopefully

going to

get

some wrap color here that

is

a little bit

closer to what's happening on the
background,

kind of like the lighter version of it.

Using hsb, I can just lower my
brightness value of that color.

So I'm still painting with the same hue,

but

a slightly darker version of it.

And

I'm going to be really loose

and

non concerned with what I'm doing,

because

all that matters in the end is that it
looks good,

not how you got there.

cool.

That actually is looking pretty sweet.

I'm not

sure

what exactly is happening with this
feathered edge.

It feels like I've got just a little
bit of highlight on the side,

but

I

think for the most part,

I'm ok with it.

Maybe I could just add a little bit of
darkness.

Might need to work on that feather

a little bit.

It's just mixing kind of weird.

Maybe if I turn this off and see what's
going on.

Nope, see it's always there.

Man, that's just

what happens with big feathered edges.

Probably need to come in

just a little bit

and figure that out,

because

it'll bother me.

All right, take a quick look at a
darker version.

Definitely not.

Although it's still not making a whole
ton of sense.

With

this background.

I like to experiment a little bit.

Probably what I'm going to wind up
doing is, when I get into my color,

probably what I'm going to wind up
doing is, when I get into my color,

i'll put some curves on it and see if I
can clean up that edge.

But for now, let's make sure that

things are where we need to need them
to be.

Not a big fan of what's happening right
here.

Not quite done.

We're going to

just

kind of knock this highlight down a
little bit.

Part of that as a masking issue.

Part of that is just a light wrap issue

from

the bright background.

So using frequency separation, not too
much of a problem.

Just going to push that down real fast.

Give ourselves a nice shoulder

to work with.

Yes, there's still dust.

I know.

Let me see.

What's happening right here.

that's what's going on.

Ok,

a good deal.

All of this was being generated by my
previous

pre frequency mask.

Easy to lose track of, but there's like
a feather on top of feather, and they

don't fit together perfectly.

So

that's what happens.

It goes away.

As soon as I turn that off,

I'm filled with joy.

Ok, cool.

I wanted to get rid of this

top little piece here.

I got rid of it.

Now I'm happy with the overall

appearance

of everything, except, of course,

for

this

tiny little white dot,

which could potentially end
civilization as we know it.

So now that that's gone,

the planet has been saved.

Cool.

All right.

So all the cleanups done.

I'm happy with it.

Yes, I'm happy with it.

And we're going to move on to

getting the foreground color where we
want it,

getting the background color where we
want it,

and

getting aircrop made

and sending it off to Rob

for him to share in our joy.

So onto color.

I'd like to start with the back class.

It's kind of bugamy.

I feel like it's too bright.

It's pulling all of my attention

over to it.

So what we're going to do is,

I'm going to keep my layers intact down
here,

and

I need to stay inside

my

frequency layer.

So I'm going to call this

foreground, because I want all of my
color to remain in the foreground mask.

That's why I made it.

So I'd have to keep cutting masks and
having things that bleed out into the background.

I'm going to group these up.

I'm going to call it my freak.

And I'm going to create a new

color correction set,

pull that into it.

And remember,

I have masks

that have already been made.

That's why you spend a little bit of
time

in front, I don't really need a mask
for the top.

I just seen a mask for this bottom.

And even then,

not a big deal, but we'll just load it
up anyway,

and see what happens

for this one.

Curve

going to put my pen down

let's just see what happens if I pull
the highlights

a little bit,

darken my mid three quarters

and

add a little snap

to it.

That's pretty cool.

Goes from that to that, starts receding
into the background just a little bit.

The

bottom of the glass

definitely isn't, right?

I'm going to fix my mask really fast

and use the right color.

And I think what i'll do for this is
just, do,

I think they call it a dynamic feather.

Not sure what makes it dynamic,

but

it's just a properties panel.

Thing.

Just adds

a feather to the mask without having to
run a filter.

It's kind of like a smart object
slider.

And that's what I wish we could do

with

select and mask.

Not sure why we can't, but not yet.

Ok,

there's that

feel like I want to maybe not darken.

That edge.

Tops a little bit dingy to me, so we'll
pop that out.

Let's go ahead and

make a backglass

folder.

Because one of the thing I'd like to do
with this

is

to

maybe take this one down a little bit
further.

Invert it.

Hundred hundred

and

am I fully contained here?

Me,

kind of,

there we go.

Yeah.

That's, the problem with highlights is

when you Graham up, they look kind of
fake.

So what i'll do is a fancy trick, go
into my layer style,

take this little,

oh, that's right, it's broken on layer
groups.

I think I can

come here

yep.

On layer groups.

It's kind of an all or nothing thing.

Once you get past 255,

it breaks.

So we'll go to our own individual

curves.

See that

I'm taking that gray

mess of highlights

that I created with this highlight
pull, and I'm just allowing

a little bit arranged to poke through
the mask.

And that makes it slightly more
believable,

but still maintains

a bit of darkness on there.

One thing I do need to do is to

get rid of this

little bleed I had over here.

Ok,

there's my back.

I may lightn it depending on how bright
this background goes.

But for now, I just wanted to push it
to the background

foreground glass.

I think before doing that, I'm going to
go ahead and

open up this bottle.

So we'll load in our

mask for the bottle, which I generated
previously.

And I'm going to

go ahead and make a folder

and call it bottle.

I didn't do boodle.

And I got my selection.

I'm going to go ahead and mask it and

get fancy.

Take my

previously done

foreground

front glass mask, which

let's, just go ahead and make a path
out of it, if it will allow me to

select it, which it won't, because I
have that closed.

So do that

deep it.

So I'd have to dig around

for it again.

now I can load that as a selection, go
to my bottle

and knock

out of that corner.

Ok,

so I've got

my bottle loaded.

I'm going to have a whole bunch of
internal masks

to do, but I'm going to do those
quickly.

Just going to go into a curve,

liven this thing up a little it's

feelin, a little bit on the dark side.

So we are going to open up the liquid.

We're going to

bring up our quarter tone highlights.

This is adding a bit of contrast, while
at the same time

lightening the darker parts of the
image.

And it's

just a different kind of contrast that
I like to pull

and it is going to add quite a bit of
saturation.

I think that's ok.

For the most part.

What I can do,

if

I'm getting feedback from the clients
that it's just too orange,

is

i'll throw it down a hue sat.

I'm going to flip to my red.

So I'd off to mask all this out, which
I should anyway.

But for now i'll show you this chick.

So I'm on reds.

Go plus,

pull the yellows into that

mix,

pull all the saturation out to see
what's happening

and it's hitting the label pretty hard,
which isn't a good thing.

So we'll eventually need to make a mask
on that.

But for now,

I can turn this over to color

and

just pull that saturation down a tiny
bit from this move.

Or I could also

shift this over to lumb

and take away a bit of that

orange movement that happened.

I'm personally

a really big fan

of

fluorescent whiskey.

I'd

like the tone of it.

But as I've learned on previous shoots,

clients are really specific about

the hue and saturation

of

their products,

so they don't want it to be false
advertising.

Ok.

With that done,

I'm happy with that color.

I think might still need a little bit
more refinement, but for now,

I like the contrast I'm seeing here.

If I felt like it needed more sat, I
could go back to that red that I just created

and go that way, but not quite as far
as my contrast curve pull had done.

Next, I want

to,

oh, look, see, I didn't clean this
little thing in here, but we're going

to pretend it's a highlight and not
worry about it.

I didn't need to darken that section
down.

So I'm going to do that in my curves as
well, staying in

the

bottle mask,

I'm going to go and go quickmask,

and I'm going to change my preference
for that,

because it should never be that high.

And

I like

a tone that's a little bit easier on
the eyes.

We go.

Good enough.

Speaking of which, this red has been
bugging me.

If you want to fix that

and knee,

we need to go to cursors and here

and here

and

there.

The reason I do that is, when you get a
big, red, bright thing that suddenly

pops on the screen,

it can leave some,

what do they call that?

effects in your eyeballs, where you see
spots everywhere.

So by turning it into

a color, that's easier on your rods and
cones.

You'll save yourself some eye fatigue.

Ok,

made my quick mask

it's rough.

And I'm going to

do something fancy.

I'm going to create a black and white

adjustment layer.

I'm going to call it top label,

and

I'm going to send this thing out with
my own interpretation of the color, because

I know I'm right,

no, I'm going to flip this thing over
to a luminosity.

And I know my blues are too bright

and too saturated.

And so by lowering the lumb of the blue,

I can get it closer to

product color,

which is going to be somewhere in that
range.

So

black and white layer

set to lumb.

It only controls lumb.

It doesn't control color.

And I can just

change the

brightness of my blues only.

And with the clean levet, if I slid
this all the way out,

I can do the same with the golds.

So

I could pull the golds down.

In this case I want to kind of pop on a
tiny bit.

There's a little bit of red in there
too.

So I'm going to push that open.

And with that one adjustment, I've done
the move that I wanted to do.

Probably could have done it with the
curve as well.

But

I wanted to show you that, because it
was going to work for that as well,

double as well.

So there it is.

Next.

I want to

take this down.

a little bit too bright,

staying in my bottle.

I'm going to go back to quickmask.

I met some guy recently that is

the senior and lead retoucher for a
very big

retouching agency.

And

I heard him

tell a junior

that

they were not allowed to use

a quick mask,

yep lead retoucher, telling them not to
use a quick mask.

And the reason for that is

he

hates quickmasks,

so

apparently he doesn't want anyone else
using a quick mask.

I thought it was kind of strange,

because

I like quick masks.

And I think it should be

up to the individual to decide whether
or not they want to use a quick mask.

Ok.

So

this is going to be gap,

and

we are going to

just kind of pull this down a little
bit more than likely, I'm going to need

to desat the blues, because we no
longer have a blue background.

So I think I'm going to

just kind of do something like that.

And then I'm

going to always do this

gap, and then

we'll run.

I might have to do

a color change

depending on where this background
lands.

But for now,

we'll just desaturate it like that.

See that it was a little bit bright, a
little bit distracting.

Now it kind of fits in better with the
scene.

Move it on to the foreground.

You'll notice, I saw the washer that's
about to get cropped out.

And

so we're going to do a

quick review of what I've done with my

bottle set.

This is why I like to group things up,
so that I can just add a single button, press,

see the whole

move in one click.

That's cool.

I like it overall.

Maybe a little bit of darkness needs to
be introduced to the bottom of the

bottle, but for the most part,

we're going to leave that like it is.

And I am going to

move this down so it doesn't bug me.

Cc, so far, these are a moves we're
going to do.

Now, a front glass

it's just going to be front glass.

Going to load up my

path for the front

and

put

a mask on that thing.

One thing I need to check

this little intersection, make sure
that my mask was in the right place.

Looks like it,

all right?

Front glass,

I think I'm going to open it up a
little bit, but keep it off.

The base of the glass.

I want to get the liquid

looking

the same color as

the bottle and the backglass.

I think the back glass matches

the bottle pretty nicely.

And

so to do that,

we will

do the same thing.

I always do,

go to a curve.

I was not sure where all this stuff is
going to be.

That's up

there.

I think the brightness value of it is
fine.

Just needs to

come alive a tiny bit,

like that,

like that.

And we're going to take our

blue brush now

and take it off.

This

bottom area

that's looking a lot more in line.

I know that I can actually make this
one a little bit brighter,

because Rob took an

separate exposure in focus, which means

he wants it to be a focal point in the
image.

And if I pushed it back, it would look
out a place.

And if I brightened it up too much, it
would start dominating the scene.

So there's going to be kind of a fine
line

of brightness.

And I like my curve here.

So I'm just going to run through some
opacities,

make sure that

I'm thinking about it the right way.

It actually doesn't look bad a little
bit darker.

I'm at fifty percent right now.

I think the top looks better than when
I met 100.

So I'm going to go to 50,

and I'm just going to dupe that

adjustment, and I'm going to go ahead
and fill it with black,

and then run

the adjustment

over

my liquid,

just like that.

Ok, it's a little bit on the

yellow side in the highlights.

So I think I'm going to add a touch of
red

to

the highlight range,

and I am on normal.

Oh, I'm on fifty.

No wonder.

It didn't do what I wanted it to do.

Ok,

that's a little extreme.

So we'll go down to 607060.

Yep,

right there.

Cool.

Maybe one last touch.

I met 250 on my highlights.

I'm going to do one more curve,

going to

bring this down just a smidge,

invert my mask,

go to a brush,

and we'll just

see about this bottom piece here.

Don't think I need to be all the way
over.

I'm going to go a little bit lower flow

and just kind of

unmask

this darker part.

I really was only concerned with these
bright values.

If I had more time, I'd build some
luminosity mask for this whole scene.

Actually,

having ever been into luminosity masks,
but lately I have, and

I've got some tricks for those that
don't involve needing to buy plug ins.

But for now

let's leave that.

Oh, one other piece of color

that is really essential to this
composition

might take a minute or two, because I
don't have the exact masks that I need

for that.

But we do have enough masking that we
can do a quick test.

And

who has guessed what the final color
adjustment needs to be?

What is missing from our stack?

What is missing is

the bottle,

plus the back glass,

plus the foreground glass,

plus a folder

and an inverted mask

of all three

of those products.

And that is, the

table

it's

really kind of faded out.

There's no saturation to it.

I got some bright glares that are
undesirable

because they're from the previous
background.

Got some table reflections,

a lot of faded stuff over here.

Not really what we want.

So

with that in mind,

I am going to

make curve.

I would really love some fancier curve
options.

Have a plan.

Nobody's listening to me.

But if you ever want to see what you
can really do with a curve,

look up

a plug in for after effects called
fresh curves,

and

just

be amazed

at what the possibilities are.

Sat overset, let me oversat brightness
over value, all sorts of just weird

controls that we should be able to do
in Photoshop, but we can't.

So for this table, I want it to be
darker, moodier,

matching the background a little bit
better.

I'm going to go ahead and

pull these highlights down that are
back there because they don't match.

Not really sure that's going to solve
it.

But for now, we're just going to see
what happens.

Pull some contrast back in, which,
unfortunately, is going to brighten

that highlight.

But as you can see,

I just am introducing a lot of richness

to the table that we didn't have before.

I probably should have done that

first, and then the bottle and then the
glasses.

It would have balance differently.

But for now, I think I like what I'm
seeing.

I need two

add,

no blur

except for

the 0.3

I'm going to say.

But what I do need to do, of course,

is to fix

this bottom edge,

because it's a hard mask,

and I can't assign feathers to paths.

Maybe

that needs to pop.

Yeah,

it gets a little blocky without it.

Let's just go ahead and

quickly

unpaint that edge,

kind of like the darker corner over
here.

So we'll leave that as is.

I probably have the same thing going on
here.

All that looks good.

Don't need to fix it.

This

guy,

I'm going to keep it dark.

And I think the same thing with this
one.

Yeah,

maybe just the front edge.

Cool,

we're not selling costers.

I don't need to make them sexy.

Nice.

All right,

there's my table.

I'm

relatively happy with what's happening.

I might want to add

potentially a vibrant slider, because
it desats the SATs,

but doesn't work in the area that I
need it to.

We'll see if I can do a hue sap pull,

but I'm pretty sure I can't

go to do that

it's.

That it's color, so I don't affect my
lung.

And I'm going to invert that.

And the area that's bugging me right
now,

is this patch right here.

The reflection is picking up the table
and picking up the glass,

and is causing

bit of over saturation

right there.

So I just felt like it needed to come
down a tiny bit.

Otherwise.

It's just sticking out.

You can still see these areas are still
a bit of an issue, but I'm not going to

overthink it right now.

Last thing I want to try before I go
into the background

to

see if there is a way.

And I don't think there is.

This is something that's going to take
a little bit more time,

and

I don't want to get too far into it
right now, but just reel quick.

I am going

to

oh, man,

one quick layer.

And I just want to

sample from back here.

And we're going to go low flow

and watch this not work.

As I thought,

it's a tricky section.

I don't like it there.

But, like I say, that's a ton of work

to make that happen.

I would almost have to rebuild the
entire table back here.

We'll do a quick test of

a

curve.

See, what's happening.

It just gets gray and nasty.

And we'll invert it,

and

see that gray and nasty.

You know, what I really want is a lot
of this tone

that's

got richer values in it

to come in.

Maybe something like that,

maybe something like that,

maybe a little bit

less

green

in

the shadows.

Ok, let's just see if I can massage

this into place.

Kind of

it's still ugly.

It needs to be gray,

tables brown.

the background reflection is gray,

so not really too stoked.

Well, does kind of paint down the
valley for now

maybe pull a little bit of that red out.

It's getting kind of heavy.

It's a little grayer.

It's got some color to it.

Not quite as bright.

But you can see the process

that

my brain goes through

when looking at this image and

trying to

get rid of a lot of the distractions

that are

inherent in this kind of photography.

With shiny surfaces

and background swapping.

Got the foreground where I want it.

Going to work on the color a little bit
here.

Overall tone.

I think it needs a little bit of
contrast.

These books are looking a little on the
dull side.

Almost want to add a flair

of some sort,

but I'm not quite sold on that idea

yet.

I can add just a quick

screen layer,

go into a grad,

do something like that.

Check, check it out.

Am I not going to transparency?

Here

let's see.

What's happening.

That should get a transparency.

Y.

Ha.

Do that.

I can then

go into my layers.

I can add color overlay.

I can put some tone

in it, that kind of thing.

Just give some

light coming from the corner.

Potentially,

of course, that's not where I'm headed
exactly.

But if I push this out

this way and just knock

my opacities down a little bit.

You can see what's going on.

It's kind of cool.

It might work.

Still, have some funky color back there.

But I like, I like the rainbow that's
happening.

I don't think it's too distracting just
yet.

One thing I would like to do

is

to add a bit of a curve

to this thing.

And by maybe increasing my highlight
values

in the background,

I can make more sense of that
reflection that I was working on just a

second ago.

So something like that

gets a little bit of dynamic

action happening

when I go ahead and save it, flip back
over

to my layout.

Boy, um, there it is.

Nice update,

let's see.

What's going on.

Yeah,

it's something.

That's a tough call.

I feel like the

bottle is still in the foreground.

Maybe it's getting a little foggy

in the background.

And I'm starting to see some
discontinuity of edges here.

So I'm liking a little bit of that
light coming through,

though.

And so what I'm going to try is just to
flip back over here

again and go

to

my adjustment layer.

Let's put this up here.

And I'm not going to call it anything,
because this is such a small

layer set, and we're just going to take
it way down.

Yep.

Just like that.

I have, oh, I'm doing a color overlay,
that's right.

And that's going from

kind of a reddish to more of a
yellowish.

Cool.

Let's try that out.

Nice,

nice, nice, nice.

Ok, so we went from

the last step.

Was there there.

But if we wanted to go back to the
first step, we're going from there,

to

to there.

I'm liking it.

One thing I definitely need to do for
this image, however, is we've got a

little bit of a washer action happening
in the corner.

And

I've also

remembered

that

our crop for this is

a little bit different than the current
crop that we have

on the scene.

This is going to be a

fourteen by 22 crop,

and

I've already got my Numbers pegged in,

as you can see, it's a little bit
narrower than what we have.

It's not going to really change

the overall light adjustment that I've

graded,

because it's

just

kind of coming in on the edges.

I've got a little bit more off to the
right that I need to compensate for.

And so

I'm going to do some rule of thirds.

It looks like,

put that glass close to the edge.

This intersection

of glass and bottle close to that third,

pulling out a little bit to the right,
and looks like I have a table edge I

need to be concerned with.

So we'll choke that in just a touch.

And

let me see.

I've got some options up here.

And

I can adjust the opacity so

that I can have a look at my crop
without actually cropping,

which really helps to determine

what the crop is.

I can hide my edges

so that I'm not distracted by a bunch
of vectors.

And

like what I see with that,

it's balanced

oftentimes in advertising.

For this sort of scene,

the art directors need

a really large amount of space on the
side of a composition to add some typography

and what not.

Knowing, what could go off to the right
there?

You know, I've got this little white
things.

If they wanted white type, they'd ask
me to tone down that white back there,

or just remove it completely.

For this.

We don't know what's happening.

So we're going to leave that as it is.

What I'm paying attention to right now
is just the general balance

of the image.

I don't want too much left, and I want
too much right.

And I want to give some breathing room
to the upper top of the bottle.

And

with that in mind,

I'm feeling good about the crop.

You know, if I came

over this way

it's just getting too pushed into the
corner,

and then there's just all this empty
space off to the right.

But I need to

have

fourteen by 22.

And I can't crop anymore off the top,
because this is already getting a

little bit

too tense.

So

with that,

I like where it's at.

I'm going to not delete cropped pit
pixels.

Click on, ok.

Way to seck, because sometimes it needs
to redraw.

My smart objects,

smart filters.

Takes a few seconds.

There, it goes.

That's looking good.

I'm going to go ahead and save,

because I felt like that was a really
solid move.

I like the position of my background.

If I needed to,

I can move it around.

I will definitely be sitting down with

Rob and discussing

the overall aesthetic here.

But it's a solid, solid

first round.

And I've done everything that I needed
to do on this image.

And

I'm really happy with the process and
some of the new tricks I figured out

along the way.

And

I'm hoping you dug it as much as I did.

Thanks.