Master Compositing For Advertising in Adobe Photoshop

1. Mastering Photoshop Compositing For Advertising: Hi. My name is Robbie, Andaman International, freelance designer and creative retouching. In this course, I'm going to teach you how to create the beverage at composite that can be used in an advertisement campaign and printed on billboards and magazines. In a reward situation, you will be learned how to manipulate and merge images together to create stunning and successful composites. Using advanced for manipulation and retouching techniques, I'll show you a range of techniques from creating a custom background from scratch, how corrupt things around objects all the way to how to paint lights and shadows and how to create that field effect Along the way. I'll show you some of my work flow tips and tricks, but I have collected over the years. Also, I'm going to be moving fairly quick. So I'm expecting that you have a basic knowledge of photo shop, which involves knowing how to use the essential tools like the brush toe, the close them toe, the selection tools and working with layers and their masks. By the end of their scores, you will have a deep understanding of photo manipulation and retouching techniques. You'll be able to create professional projects from scratch using your own images shot with simple studio gears, like a smartphone and a soft box. So join me in this course and actually the way to our advertising and researching career. 2. Source images: welcome back to compositing for advertising. We are now, unless into and in this Listen, we're gonna talk about where to find the source images used in this course on what Gary is to shoot them. So when you have access to the Source Files folder, you will find these leaves separate in PNG and PST formats, as well as thes honest slices already precut for you and ready to be dropped in your composition. All of these images were shot using a simple light bulb, the white paper sheet and the digital camera. In fact, if I show you the original files, you can see here the white background and the main light source, which is the light bulb right here on the left, as well as a simple background light. If you want to shoot your own images, you can use the soft box if you have one. But if you don't, there's a lot of tutorials on YouTube on how to make one. Or you can use a simple light bulb diffuser and the white paper sheets. You can see that I use simple tools to hold the orange slices and shoot them in different angles. Some of them are facing direct light on. Some are backlit, like this one right here. I place the light bulb right behind it to give it this life's flair, and we will be put in these in front of the bottle. Next, you will need these images, which is the bottle the owner spiel on the water droplets. These images are not mine. I downloaded them from several royalty free images websites. And because of the terms and usage agreements, I cannot redistribute some off them to you, so you will find the download links to them. Also, feel free to use your own images if you want to do so. Okay, that's all you need to know about. The image is needed for the course. I'll see you in less than three, where we will start creating our image. 3. Creating The Background: All right, So welcome back to compositing for advertising. This is lesson number three. In this lesson, we are going to create the initial campus and the background. I'm going to be used in photo shop CC 2017. Feel free to use any version you want. If you have an old one, you can still follow along with this course all the way to four shops. CS five. With that being said, I'm going to start by creating a new documents and set the with the 3 100 on the high to 2200. The resolution to 300 dp I, which is the center for print. You can use the minimum off 72 dp. I just for practice, but I don't recommend it if it's for a client and corn remote among a select RGB again, if your product is gonna be printed, you want to make sure to select seem like a But this is gonna be on the web. So Oliver toe RGB I'm going to select eight channel Select 16 if you want small thug radiance. But before we do that, I just want you to know that you are going to be working with smart object and blur filters a lot. And these filters will be painfully slow in 16 bit mode, especially with large fires. Unless you have a powerful machine. All right, I'm gonna sit the background to transparent and click create. First of all, I'm going to fill the canvas with background color, which happens to be a nice orange color. I'm gonna do that by present shift backspace shoes, background color and click. OK, Next, I'm gonna double click the layer to bring the layer style dialog box and choose Grady int over late that I'm gonna select foreground to transparent and change it to a very light orange. You can copy the hex code. If you want to choose the same color as mine, then I'm gonna change the style from linear to radio and increase the scales 200% or so. Then click. OK, I want to achieve the all effects. So I'm gonna duplicate this layer by right clicking and selecting placate layer. Or you can click control J hit control tea for free transform and scale it down to about 1/3 off its original size. Now on the Grady, it overlay I'm gonna reduce the scale until starts to look like wall. And that's how they achieved this effect. Make sure aligned with layer is unchecked and click. OK, I'm gonna group these layers by hitting control G and call it background. And that will be it for this lesson. And the next lesson we're going to start creating the orange peel, so stick around. I'm gonna show you how to do that. 4. Creating The Peel Part 1: welcome back to compositing for advertising. This is lesson number four. In this lesson, we're gonna start creating the orange peel, which is gonna be wrapped around our bottle. And for that, we're gonna be using the puppet warp and a little bit of masking. So to start, I'm going to bringing the peel image named orange peel dot PNG control over import. Very selective move toe. And then I'll drop it into our canvas before I start working on it. I need to convert the smart object. The reason I did that is because with smart object, you can scale images down and up again without losing the resolution. I'm looking at the bottom of the bill, and I wanted to be aligned to the background. Then we continue based on that. So the first thing I wanna do is greatly gap in the bottom off the field, because right now it's looking kind of squished a little bit, so I'm gonna take the last little and make a selection right between the end of each field , Then create a layer mask to hide it. I'm gonna delete the part eras Well, you can hold off or shift to subtract or at your selection, then hit all backspace to feel the mask with black. Now we start working with the puppet war, but first we need to rest. Arise the layer and apply the layer mask. So right click. Apply layer mask and restaurants layer, and then go to edit puppet work if you don't know how to work with the puppet warp tool. Basically, it's like the work feature in free transform, but it's more precise and has more control. You can click whatever you want in the match to end up in, and then you can click and drag to start working your image based on thespians. In this case, I added multiple pins on the top to prevent the top for moving and added only two pins on the bottom toe. Work it down. You can also hold shift to select multiple pains and dragged them at once. I suggest you play a little bit with it and you will get the hang of it. Hit the check mark on the top when you're done to apply the changes Amusing Control Z to see the before and after. Now I'm gonna fix the bottom part by adding an edge because right now it's not looking realistic. I'm gonna take the lesson tool and copy this part. Controls you to copy it in a new layer. I'm going to scale it down a little bit like so and use the puppet warp to orbit around it . I'm gonna add the layer mask and using the brush tools to blend it with the original. I'll do the same again, this time in when a copy this sport control student free transform and then edit puppet work, then with a layer mask or the eraser to blend it in. Now I'm gonna merge these together by holding control E. All right, so the bottom part done Now we're going to continue work in the top, so I'm gonna go to edit puppet work again. This time, I don't want the ball in part to move, so I'm gonna add pains to all corners and add one pin to the top and click and read it to the right. Okay. That's looking good. I'm gonna actually erased this part because you're not gonna need it. I feel like it needs a little bit more working, so I'm gonna legit just a little bit to the right. You don't want to go crazy with the puppet warp. Otherwise, it's gonna look distorted and blurry. And in this case, we need this top part to be a little bit more to the right, because we need more space to put the bottle in the middle. So to fix this, I'm gonna take the lesson toe and select this part, then had controls a to copy it in a new layer. Then I'm gonna drag it to the right to extend this part. All right, Now, we add the layer mask to hide the original. And Brendan, together with a soft brush, I'm holding off on right, clicking the mouse than drug in left and right to control the brush size and up and down to control the hardness. I'm not caring too much about the shape of appeal because the orange peel in general has no standard shape and can take any form. So we're gonna use that to our advantage and shape it the way we want. I'm using the brush tool here to Maki curvature. You can use the lasso tool if you feel more comfortable with, but you cannot use something like the mental because it makes smooth edges. But here we want jagged lines here. I'll take a soft brush and try to blend them together. Also. I wanna apologize if the brush is looking a little bit weird. Okay, So I posed the recording for a little bit and extended this part because I felt it needs a little bit more space. The next thing I wanna do is merge everything we have been working on into a new layer by selecting all of them than hitting control all the then I'm just gonna drag this layer to the top like so Now I will raise this part of the deal. I use a layer mask when I feel like I might go back to it. And I use the eraser when I'm not. Don't worry if these are looking the same right now because we're gonna be using the puppet warp and the close timeto on them later on to change their form. Now, looking at the image, I see that the thought part is not aligned to the bottom one. So So I'm gonna select this layer and use the puppet warp again to try to align them together. I'm gonna add three pins on the bottom to prevent it for moving an ad for on the top whole shift and select them all and drag them to the bar. I think that looks good for now. Okay, so that's the under this lesson, and the next lesson we're gonna work mark on the peel and finish it off. 5. Creating The Peel Part 2: This is lesson number five, and in this lesson we're gonna continue where we left off with the appeal and finish it so we'll start by taking the eraser tool and continue refining the top part. I think it's already looking good, but I want to change how it looks because it's looking the same as the bottom field and to go even further. I'm gonna use the puppet work. I'm focusing on this part, and I want a nice curvature because I'm going to add another piece at the end of it. Take your time and play around with it and feel free to add more points. Whatever you feel it needs. The next thing on a do is adding an edge to this part of the appeal, just like how we did with the base. So the lasso tool I copy this part control J rotated and then you guessed it go to edit puppet work. Hopefully, now you are more comfortable with the puppet warp for those who are using it for the first time, of course, but for those who are familiar with it, it should be pretty straightforward. Now we'll create a layer mask on start blending it. Then I'll scale it down and try to align it. I think it's a little bit big, so I'm gonna make it a little bit thinner and they'll hit, Controlled the right click warp a nudge it in place. All right. Now, I'm gonna continue extending this part using the same techniques we have been using before . So you'll see me fast forward in every now and then because I don't want this part off the course to take too much and you actually get bored. - Okay , so we need to create the ending edge off the peel. And to do that, I'm gonna copy this layer from the first part of the field, bring it to the top and then irritated and align it with the top off appeal. I'm gonna actually select all layers and scaled appeal down so I can have some space to work with. I'm trying to align it as best as I can for now. And then I used the layer mask to blend it in. Okay, I'm trying to find the layer off the bottom peel. Here it is there to actually, I'm gonna merge them together so I can use the puppet warp to align it with this one. Now I'm gonna copy this layer and use it to fix the edge off the part. We just add it our scales into position and use the puppet warp again. Next time on hold off and click on the layer mask I conti created black layer mask, which will hide it. And then with the white brush. I'm just going to reveal it only what I want. Okay, so not to make this edge. Looking realistic. I'm gonna take the panto and make you curve selection right at the edge. Right. Click makes election with zero Pixar feather. Then I'm going to invert. The selection on that would allow me to paint outside the bath we just created. I'm gonna click control age to hide this election and then erase this edge. Now I'm going to make some global changes and I need to organize the layers. I'm going to select the top here, there's and group them and do the same thing for the bottom once. - Okay , Now I'm going to align the two peoples together and use the puppet warp again to work the top feel down because it's a little bit all. I'm going to extend this part here by copying e piece from here and move it to the right, then blend it with a layer mask. Next, I'm going to enhance the curvature of appeal by going to filter, liquefy and using the forward work tool to push any bumps inside and fix any places. I see it is liquefied, really. You have to use your eyes in this step to the site. Make your lawyers and the low pressure to make small changes and build up. - Okay . The last thing I want to do is greatly new layer than take the close them tool or the healing brush. Make sure to select current and below and start changing the texture of the bureau by sampling in one area and baiting into another to make them look different again. Take your time in this step to achieve good results. - All right now the deal is completed. The next step is to support the bottle and make it look like it's inside the bill, and we will be doing that in the next video 6. Adding The Bottle: in this. Listen, we're gonna add in the bottle and mask it out to make it look like it's inside the bill. So we will start by important the image it control or the import. Here it is. All gina dot bong, I'm gonna head control A to select everything Control CD copy. Go back then. Hit control V rebased. The bottle actually has the best size for this document, so I don't have to recite it down or anything. I'm going to merge the clone stamp in there with this layer and name. It feels top or top ill. Then all resize it down a little bit because now I see it's big in relation to the ball. Monomers to problem P layers as well a name. It's pill bottom. I used control off 80 created, copy, merged and left the original group. I always work non destructively because I want to go back to it when I mess up the copy or when I want to make some changes in the future. Okay, so now I'm gonna add the mask to the bottle and then low this election off the field by holding control and clicking on the layer thumbnail. Then I grew up the brush and start painting inside this election on that and that will hide this part off the ball and make it look inside the peel. I want to reduce the brush size and use extra trouble between background and foreground and paint with white here to bring this part off the bottle. Then I'll do the same thing for this part as well. This time a load this selection off the bottom peel and continue baiting on the same layer mask. - One more thing you should know. If you click on the Link icon off the layer mask, you will be able to move the bottle without having to repaint the mask. And this actually really helpful if you decide to reposition the bottle later on. All right, so that's a wrap for this video and the next one we are going to start color correction and painting lights and shadow for the bill 7. Lighting and Color Correction: This is lesson number seven. And in this lesson, we're gonna do color correction and pay the lighting effects to bring this to life. So I'll start by grouping the two appeals together a name it's feel because I'm gonna do color correction to both of them inside the group. I'm gonna at the curves adjustment layer and darken it a little bit. You can see this adjustment layer is affecting everything. But I wanted only to affect the bill. So off course you can clip it to the group. But I wanted to show you a quick tip which, if you select the group and change its spending mode from passed through to normal, any adjustment layer inside the group will only affect the group. And I actually prefer this method because it helps me stay organized and not worrying about creating clipping masks over and over again. All right. Next, I'm gonna add the color balance and increased the reds quite a bit. Then add magenta and that blue, As you can see, that looks a lot better. All right, so that will be blessed 70 to minus 60 and 35. If you're not copy the numbers feel free to do so as I'm going through the course next time on a group the bottle and at the collarbones adjustment layer, I'm gonna add 55 red. First, let me change the blend the motor normal and then I It's a magenta know too much, and then some yellow. And that will be 55 minus six on minus 33 and shadow. I'm gonna add 27 minus four and money six, and it highlights, plus 14 plus one and minus four. You can see that this adjustment layer has ruined the blues off the off the label. So fix this. You can add the layer mask, of course, or you can add the selective color, then go to magenta as and degrees, yellows all the way to minus 100. All right, so now we are gonna start painting lighting effects. I'm gonna add the new layer in background group. You have the brush tool, choose the same color and click once. Then change your blending motor screen and skated up. Next, add another layer, choose the brown color click wants and sees the blend remote to most of life. I'm gonna scale it down on reduced capacity to 40% by hitting four in the keyboard. If the brush store is selected, it will change the flow to 40%. So make sure to switch to another tool like the hand tool. I'm gonna duplicate the layer and scale it down and reduced capacity to 20%. Or you could switch to soft light or overlay and increase the capacity. I'm gonna group these, there's and name it Shadow. Now we'll go to the bottom group and add a new there. I'll use the same honest color again. Then I love the bottle into selection and fill it using alter backspace. Next, I'm gonna make a copy off it and bring it to the bottom on at a Gaussian blur. About 78 radius is good. Then click. OK, I'm gonna change the bloody motor screen. Then I'm gonna activate this layer and do the same thing. This time I reduced the blur because I don't want it to exceed the bottle. This one is gonna be outside the group. I'm gonna hide it for now and at the layer mask to the 1st 1 on mask this area where the field is. I'm gonna do the same thing for this layer as well. You can copy the first layer mask to this layer if you are feeling lazy by holding off and dragon it to this layer. - Okay , so that's it for this lesson. I'll see you in the next one where we will be adding water droplets to the bottle. 8. Adding Droplets: This is us a number eight. And in this Listen, we're going to add the droplets to the bottle. I'm gonna bring in the first image, which is this leaf with the raindrops on it. Monograph it to our image and scale it down. I'm going to hide it by creating a black layer mask. First, let me put it inside the bottle group and group into itself. The name It's droplets. Now I can hold shift and trick on the layer mask to temporarily show it. Then, using the white brush, I'll start revealing only the droplets. I used this method because it's easier than cutting each individual droplets. Be afraid years, the quick selection or the mess. It'll if you're more comfortable with. Okay, now I can show the mask back and we got only the droplets. The color is not matching for the moment, so we're gonna fix that now. First, I'm gonna change the blending mode to luminosity, Then go to imaged adjustment curves and bring the shadows points up and that will get rid of the harsh shadows. Next, I'm gonna bring the second image. That could be only this part using the lesson to control. See the copy control Vida based. Then I'll scale it down and do the same thing for this one as well. Changed the lending more to luminosity. They created likelier last this a brew and start revealing the droplets and finally reduced the shadows with cars. Okay, so far, so good. No, my bring in the last image, which is this raindrop. I'm gonna use the quick selection tool to extract it. Then with the lesser to him in a copy at basic here on a basic here at the edge. Then goto curves, reduce shadows, reduce the blues at some green and some red. I'm gonna add even more lights because they're still dark. You could try different blending modes like cycling through them with a score. Well, I think all over looks good. I'm gonna make a copy on drive it to this site and flip it horizontally. I think these side drop is still needs color correction. So I'm gonna go to image adjustment color balance this time on Doug. More yellows and reds. Then I would do the same thing for the other one. Okay, so now, with the droplets in place, I will stop this. Listen here, and I'll see you in the next one where we will start adding the onus life 9. Adding Orange Slices: we are now unless and nine. And in this lesson, we're gonna add in the Ori slices to the scene. So before we start, I'm gonna rename these two layers this one, the front light and this one back light, then a group, all of them a name it bottle. Okay, so now we're gonna start bringing in the images. The 1st 1 is gonna be this floor slice. I have it already precut for you, and you will find these files in PSD and PNG formats. But I will show you really quick if you want to know how I get them. So the easiest way is to use the quick selection toe and trace the image. It should be really easy with this contrast, because I shot all of these images on a white background you saved on all to add or subtract this election Now hit queue for quick mask mode and at one pixel blur to further this election and hit control J. And there it is. I also fixed these gaps with the close them toe. Okay, so now I'm gonna select both the slice and the original background and bring them to the image the reason I bring the original image is because I want to use the original shadow off the slice and I'll show you how to do that in a moment. Make sure to reduce the opacity to see where to put this life right here is gonna be fine. Okay. Now I'm gonna bring back the opacity and change the blending mode off the original image to luminosity. And as you can see, the shadows are now blended nicely with the background, thanks to the luminosity blending mode also multiply. It works really good with pure white backgrounds. Now I will add the layer mask, grabbed the brush tool, increased the hardness and start hiding everything except for the shadow behind the slice. Now I'm gonna soften the brush and try to blend it with the image. Use a larger brush for better blending. - Then I'll hit X to switch to white and chose a small brush and bring back this area underneath the slice. All right. That looks really good. It would have looked this realistic if I would painted the shadows myself. Always recommend this method. If you are working with shadows for products and in retouching in general. It always looks nicer and more realistic. All right, so now we're gonna call it corrected and start by creating a curves adjustment layer and clip it a slice layer by holding off and clicking between them. I'll first increased highlights. Then I'll increase red and decrease green and then at some yellow by decreasing the blues because the opposite off blue is yellow. Next, I'm gonna add the color balance than add some reds on a little bit of flu in channels. I'm gonna add magenta and add blue and in highlights alive. Zion, magenta and blue. Let me see. How is that looking? I think I'll add green instead of magenta. Yeah, that looks much better. All right. Now I'm gonna group this slice and import the next image. This one is break up as well. I'm gonna select both the shadow on the slice and bring them to the document. This one is gonna be flipped horizontally. Then I'll scale it down to about this size again. Same thing as we did before. Changed the plenty motive and velocity, and then create a layer mask and start blending the shadow to the background. Use the lower flow. If you are not good enough for the brush toll. Don't worry. If you raise so much, you can always switch Dwight and bring it back. Ah, money. Who's the lower flow for this area? - Okay , Norman Addy curves to the shadow layer and lighted up. Then I'll add another one to this life and do the same thing. I'm gonna also add red the Chris Green and decrease Brill. Now a group, both of them, and call them floor slices. Okay, so now we're gonna complete bringing in the rest of the slices. I'm gonna head control and start by bringing this one. Then I converted to smart object. In fact, I will convert all of them to smart object because we're gonna apply. Got similar to them later. And that will enable us to you smart filters and modify the blur values or remove it at any time. It's always a good idea at your smart object because it keeps the original data off the image and so you can scale it up and down and it will retain the original resolution. However, the only down side of it is that it takes too much space and slows down for the shop, especially if you have a slow computer. I have some projects that exceeded one gigabyte insides. So keep that in mind. When you are sending a PSD file, for example, toe a client, you might want to rest, arise or layers. But, of course, do that. When you are happy and satisfied, do the finished results. Okay, the next one will be this slice. I'll first converted the smart object, and then I put it into position. All right, so now I'll keep important this license one by one and scale them down. Rotate them if needed. Feel free to placed in the way you like, But I want you to pay attention to the direction off the light because I shot all of the's images for the purpose of this composite, and I used them a main light source to imitate this composition. As you can see, all of the slices has a highlight and shadow and since the bottle will be the main light source and we will paint more lighting effects to the bottle in future lessons, it will make sense if you position the slices with the highlights facing the ball Also , one more thing you should know, nor is how I placed the slices. The front ones are bigger than the back ones, and that also gives a sense of distance. And this one is gonna be here. I'll put it right in front. I think this is the best position because it is backlit and has a nice highlights in the front to represent a reflection from the light off the ball. Okay, now we need to grow all of the's. I locate the back ones, dread them underneath appeal group and group them, use control and click on the slice to located on the layers panel. I'll group these ones and call them front slices and these back slices. One must aim is to import, and we'll place it inside the back slices group. Now I'm gonna call a correct them and start by a girl's adjustment layer and clip it to the front slices group. I'm gonna slightly liking them up and add red, reduced the greens just a little bit and then at some yellow next, add another curves to the back slices group and lighten them up quite a bit. Then add a little bit of Fred reduced the greens and add blue. Okay, that looks much better. The next thing I'm going to do is reduce the blues from this slice and reduce yellow and improve rights for this one. So first I'll add a curves adjustment layer, then go to blue on, drug it down to about this much, Then invert the mask by hitting control I and start by revealing it only for their slice. Next, another curves for the other one, this time at blue. Invert the mask and reveal it on this one. Okay, so that will be it. For this lesson and the next lesson, we will start importantly leaves and do some color correction. 10. Adding Leaves: we are now, unless and then. And in this lesson, we're gonna add in the leaves to our image. So I've got all of them open right here in photo shop. You will find this fine in PST format and the rest of the leaves will be individual. PNG's. Now I'm going to bring them in, and you don't have to watch me doing the copy and paste thing for the next three or four minutes. So I'll fast forward this step and I'll see you in a bit. - No . Okay, so this is how I placed the leaves. You can go ahead and post the video import leaves, put them in position on go back to follow along. So I'm gonna select all of them and group them, Except for these two, because I decided to put them behind this license. I'll call it leaves, and then I create the girls adjustment layer and clip it to the group. So first I want to darken them a little bit, then as a little bit, afraid to blend it with the inch and then at some yellow. I don't want this adjustment layer to affect all of the lives. So I'm going to paint black on the layer mask on some of the leaves. These are backlit and should be light. And also for these. All right, so now I'm going to add Gaussian blur to the front leaves and slices, and that will give it a nice depth of field effect and also bring focus to our main object , which is the bottle and appeal. And then we're gonna add motion blur to some off the leaves to make them look like they are floating and moving in space. Okay, I'm going to start by the lives group. The 1st 1 will be this selected, then called a filter. Blur Gaussian blur. Choose the radius between six and eight, then click. OK. And this is when I told you smart filters would come in handy because now I can double click here and change the value at any time. Next one will be this this time. Goto, filter, blur, motion blur. So right here you have the ankle off the blur. Make sure it's pointing to the bottle because our main object is supposed to be making a sort of explosion effect, and 38 distance will be good I don't want the blow to effect all of the leaf, so I'll correct on the mask. Then take a black brush and remove the blur from this area. The next one will be this also the same thing again. You can add different values for each one. For example, if you want to make this leaf look closer in distance, make it bigger in size and give it the bigger blur value. - Okay , last leave is this one. It should be behind the front slices, - all groupies and call them back slices. And now I'll add blur to the front slices. You may be wondering, by the way, how I access the Blur pop up without going to the menu. That's because I assigned the keyboard shortcut to it, and you can do that by going toe. Edit keyboard shortcuts and design a shortcut to any tool in photo shop. Make sure you don't overwrite the old one. I'm using control. Que forgot simpler, and it was the shortcut for quit for a shop. I don't use it anyways, so I will end this. Listen right here. I think we made a good progress. I'll see you in the next lesson, where we will do some general fixes and complete painting the lighting effects for the bottle 11. Painting lighting Effects: we are now a lesson 11 in which we're paying more lighting effects to the bottle. So we've did a lot so far in previous lessons. We correct our peel place at the bottle, the slices and lives. In this lesson. I want to organize delays a little bit, as well as doing some general fixes and import one more image to the scene that I forgot to do in the previous listen before we go any further. So I'll start by hiding these adjustment layers by. I'm clipping them and putting them inside the group and changing the blending mode to normal, just like how we did before. I'll do this for all of them. Next, I will rename this group to back leaves because I realized I misspelled it in the previous lesson. Next, I'm going to turn on coloring for all the groups. These are very helpful when you have a lot of groups that contains a lot of layers, it helps you determine eights the end of each group by assigning a different color to each one. All right now we continue on, and I want to fix the A couple of things that bothers me a little bit like this slice that has too much motion blur. And this one as well. It should have bigger blue value than this leaf. I want to also fix this ugly blue fringing on this slice and on this one as well. All right, let's start first by the back slice, it should be in the back slices folder. I think 12 pixels is fine. The next thing I wanna do is important. This image. I got out the background using the parental and left another copy to use it as a shadow. So we'll bring it to the image and place it right here behind this slice. Next, I will change the blending mode of this layer to multiply. Then a lab beakers adjustment layer and clip it to the leaf layer and then lighting it a little bit and add some red and yellow to help its blend with the image. Now, I grew up these two layers and put them inside the back lives group. Okay. Next, I'm gonna fix the blur off the front slice and leave. So first I'll find the slice layer and increase its blur value, and this one should have smaller value. OK, moving on. Next thing to do is to fix the fringing on this slice. I'll fix it by first creating a color balance adjustment layer to it on at red and yellow to the mid tones and the shadows. I think that's too much red, so I'll knock it down. You can see there's still some off the fringing in the bottom, so all kuwaiti layer and clip it. It'll slice and remove this fringing with the close temple. - Next , I will create another color balance for this one and again at red and yellow to the middles and highlights. This time I'll invert the layer mask and reveal it only on the edge. All right, so now let's actually start painting the lighting effects on the bottle. But before we do that, I want to do one more thing, which is add in a little bit of lower to the peel just inside it to give it a definite field effect and bring focus to the ball. Okay, I'll first convert to be layers to smart object. Then I'll add about two picks older and invert the mask and start revealing it on Lee on the backside of the view. Use a lot of soft brush to make a good transition. Okay an hour creating new layer above the Baltic group. Then take the brush tool and pick this violet color and start painting on the inside of the deal. Now we'll change the blending mode to divide introduced the opacity to 30% and this will lighten up the inside of appeal. Next, I'll add another layer, reduced the flow on start painting on the edge of the bottle. Then I'll change the blending mode to divide on reduced capacity. If it's too strong, this will serve as an ultra glow. I'll add a layer mask and hide it from the outside of the bill and now at one last layer. Then click ones with a soft brush using the same color, then scale it up. Change the blending mode again to divide and the capacity to 30%. Now we want this. Do not be visible on the feel, so I'll create a layer mask and using the selection off the peel, I'll paint with black inside the selection now, always select all of them and call it light, and that brings an end to this lesson. Be sure to check out lesson number 12 where we will do color correction to the whole image . 12. Color Correction: This is lesson number 12 where we will do some color correction to the whole image. So at this point, we have our composition complete and everything in place. Now it's all about weekend values and changing things here and there to push the image to its best. So the first thing I wanna do is go to the bottle group and add occurs adjustment layer, then reduce the greens quite a bit on. That will add magenta cause I think it's yellow a little bit too much. Next I'll go to the floor, slice in the right, find the curves adjustment layer and lighten it even more. This life is the nearest of the light source and should be brighter. Now let's start color correction, and I will add the selective color at the very top. I'll start with red and then at plus six magenta minus three yellow and plus two black and yellow. I'm gonna add minus three plus for plus four, then in green Al at plus nine, minus 27 plus 12 and plus three two. Then in white, I'll just reduce the yellow slider to about minus 50. Now we will add a curves adjustment layer than change the blending mode. Too soft light, as you can see it, etc. Nice contrast, but it makes the leaves too dark, so I go to the green slider and move it to the right to add more lights to the greens. Okay, now add the color balance and then go for plus 11 minus five on plus eight in minutos and minus seven plus five and plus six in shallows. Then it highlights. I'll add blustery plus five and plus 17. I'll groupies and call it color correction. All right, The next thing on a door is light in the background a little bit more, and I'll do that by duplicating this back light layer and then scale it up. Next, I will reduce the density off the lighting effects right here at the label on the top of the bottle. And that's by going to the light group and painting with black on the layer masks of these layers with a low flow on a add a layer mask to this background light layer as well, and mask this area where the edge of the bottles to reveal it more because it's starting to blend in with the background. Okay, Now I want to tweak the position off the leaves and slices a little bit, and I'll start by moving this front. Slice a little bit to the center. I wanted to be in front of this leave, so I locate the layer of this leaf and put it in the back leaves group. Next, I'll find these do scales and down and push them a little bit to the center. I want to make this leaf about this slice as well. I think that looks much better. The next thing I wanna do is light in these leaves a bit by masking them out from this curves adjustment layer because they become darker because of the back and white. Just military added previously. Now I want this girl's adjustment layer to be affecting only the front leaves and not the back ones, because they are facing direct light and should be brighter. - All right, that's the end of this lesson. In the next lesson lesson number 13 and also the last lesson for this course. We will sharpen the image on do the finishing touches 13. Sharpening and Finishing Touches: this is Listen, number 13 And also the final lesson for this course and this. Listen, we're gonna sharpen the image and do the finishing touches on. Then we'll be done. All right, So the first step I'm going to do is sharpen the image. And this step requires a flatten image off all layers. So make sure you are happy with the positioning off everything. Otherwise, you will have to redo this step every time you want to make a change to the image. So I'm going to make a copy, merge off everything visible here. And you can do that by selecting all there's dip, locating them, then hitting control E. Or you can make a stent visible by hitting control. All shifty. So I'm going to make one right about the leaves group All first high, the color correction group. So it doesn't make you duplicate if it let me show you what I'm talking about. If you make a step visible, for example, here underneath the color correction group, it will make a duplicate if it unless it's heading and the image will look weird. So always make sure to hide the above layers or make a stent visible at the very top than drug it to the bottom. Now we go to filter other high test, then choose the relatively low radius like 1.5 pixels. Because if you start adding more than that, you will start seeing a nasty halo around everything. We're still seeing a little bit of the halo, even at one pixel radios. But that will not be noticeable on Lee. At 100% view on, we will not be showing that in the first place. Now I'm going to change the blending mode at one of thes for either over late soft, light, vivid light or linear light. I'll choose linear light because it gives me the best results. But as you can see, the halo is still showing at the edge of every object. You can always reduce the opacity if it's too strong, but I'm not going to do that. Instead, I'm going to avert a layer mask and start revealing it with the white brush and a low flow right here at the ball and every object that isn't focused, - you can see how much detail sharpening brings to the image. No, I'm going to reveal it on the back slices that are in focus now. It wasn't a low flow. I'm going to start painting at the center of the slices and make sure not to paint on the edge. Do not show the halo, and if you did that, you can always switch to black and hide it. Okay, so this is how the mask is looking. We revealed the sharpening only on the center, on the back slices that are in focus in the first place. The rest are out of focus and don't need sharpening because we want to bring attention to the main object. Now a group this layer and call it shortening. The next thing I want to do is fix this blue fringing on their slice. I'm going to find it. It's layer and add a new layer and clip it. Then I'll start removing it, using the close timeto by sampling from the inside and painting at the edge. Now we'll add another curves adjustment layer and reduce the blues quite a bit, and maybe at a little bit of Fred, and now we will invert a layer mask, a start revealing it here at this edge all right now, I want to add the little bit of glow to the image by adding some floating sparkles to the scene. So I'll add a new layer at the very top and then choose a small soft brush about 19 pixels . Then I'll start painting and adding dots randomly. Now we'll change the blend emote toe overlay. Next, I will add another layer and start doing the same thing, but this time with a bigger brush. All right. Now add another layer and do it one last time again with a bigger brush to add some variation in size, no one will call. This group sparkles on the last up for this lesson, and the final touch to after the image is adding some light leaks that comes from the glow off the bottle and between the gaps of the bill. So always great another layer, and then take the bento and start creating paths from the edge off the bottled and between the peel to the end of the campus. - Once you are done, choose the direct selection toe, hold, shift and select the mall, then right click, make selection and fill the selection with white. Now change blending mode to divide. Now we will add blow to this. But first I'll convert smart object, then go to filter, blur gal simpler. And at about 12 pixel blur. Now I will add a layer mask and hide it from the front slices and lives and any place that is already bright. All right, that was the last up in this lesson. And with that done, our image is officially complete. You still have one more video to watch, and that is the conclusion, so I'll see you there. 14. Conclusion: thanks for watching compositing for advertising. It has been my pleasure to present this course to you. You have now seen how to create a professional Bevers at compose it in for a shop. I hope you enjoyed it. I hope you have learned the new skills and the techniques that inspires you to be more creative and make projects even better than this one. And if your image did not come out as good as the image I created, don't worry alot I encourage you to keep practicing and use the techniques that I showed you in this course in your own projects. And you will get better over time because the main goal for this course is to give you knowledge. I want you to leave this course with new skills and knowledge that you didn't have before you enroll it. If you have any question regarding this course or you want to reach out to me, you can find me at these social media websites or you can give it back in the course discussion. And I also encourage you to give a good rating to this course. If you liked it once again, I think you for taking the time to watch this course and good luck for your future compositing and retouching projects