IntroductionWelcome| 00:00 | Hi, I'm Derrick Story. I'm the digital media
evangelist for O'Reilly Media. I'm a photographer,
| | 00:06 | I'm a writer,
| | 00:07 | and I'm a teacher and I'm also a big fan of Aperture.
| | 00:11 | The professional photo management application that anyone
can use. Especially after watching this training video.
| | 00:17 | This video here, Aperture 2.1 Essential Training, will take you
through all the steps that you need to know from upload to output.
| | 00:26 | I'm also going to show you some workflow.
| | 00:29 | That way you will know what to do and then
what to do next and then what to do after that.
| | 00:34 | What's so cool about the way that we are going to do that is I'm also
going to you how to customize the workflow. So once you kind of get
| | 00:41 | your feet wet, then you can make this application
yours. You can customize it so that it fits perfectly.
| | 00:47 | Just like a great pair of sneakers.
| | 00:49 | I'll cover importing.
| | 00:51 | I'll cover adding information to your photos,
things like captions and ratings and keywords.
| | 00:57 | It's actually fun.
| | 00:58 | It's not like eating vegetables at all. It's enjoyable.
| | 01:01 | I'll show you basically everything you
need to know about adjusting your images
| | 01:06 | or maybe not everything but you will be very
good at making your pictures look very pretty
| | 01:11 | after you work with those movies.
| | 01:13 | And then I will show you how to get the pictures
| | 01:15 | out of your application so you can export them. So you
can make web pages. You can even create beautiful books.
| | 01:23 | I mean we have so much to do. I'm so excited about this.
| | 01:26 | Get comfortable, get Aperture open and let's get to work.
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| Using the example files| 00:00 | About the exercise files,
| | 00:02 | if you are a premium member of lynda.com Online Training
Library or if you are watching this tutorial on a DVD-ROM,
| | 00:10 | you have access to the exercise files used throughout this title.
| | 00:14 | For this title, the images used are provided within Aperture
Project Containers which you can load at the outset of the
| | 00:20 | training by simply dragging the containers
into the Projects tab of the Inspector pane.
| | 00:26 | The images within the Project Containers are
set to the original state without any adjustments.
| | 00:31 | While following along with the chapters
in the videos of this course,
| | 00:34 | you will be making adjustments to many of the images
| | 00:37 | as well as the settings to Aperture itself.
| | 00:40 | As we make changes, your images will differ from
those in the original downloaded Project Containers.
| | 00:45 | If at any time you want to return to the original state, delete the
project from Aperture and replace it with the original Project Container.
| | 00:54 | If you are a regular, monthly
| | 00:56 | or annual subscriber to lynda.com, you can
follow along from scratch with your own images.
| | 01:02 | Let's get started.
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1. Getting StartedUnderstanding key Aperture terms| 00:00 | I'd like to introduce to a few basic terms
that you will be hearing throughout this training.
| | 00:05 | These terms represent sort of foundation points in Aperture.
| | 00:09 | For instance, the first pair that I'm going
to introduce you to is Master versus Version.
| | 00:14 | You are going to hear this over and over and over again.
| | 00:18 | The Master File is the file that you bring in
from your camera or for the memory card reader.
| | 00:23 | In the case of this pelican, I will
click on in here and let's go to Metadata
| | 00:28 | so that I can show you this master is a raw file.
| | 00:33 | I can tell by the extension, .CR2.
| | 00:36 | So when he comes in, this pelican, as a raw file,
that is my Master and he is safe and sound.
| | 00:42 | I don't have to worry about him.
| | 00:44 | I don't have to worry about when I make image adjustments
and so forth that I am going to ruin this file mainly
| | 00:49 | because the way Aperture treats your
masters is that it projects them.
| | 00:52 | But yet you still have a lot of flexibility.
| | 00:55 | I could adjust this file and have fun
with it or if I wanted to I could create
| | 01:00 | and this is the other term here, a version of it.
| | 01:03 | I am going to right- click on it.
| | 01:05 | I am going to say New Version from Master.
| | 01:08 | You notice that it looks just like our original pelican,
| | 01:12 | yet this is a version of that file and
I can have all sorts of fun with it.
| | 01:17 | The beauty is that instead of bringing in another 7.13
megabyte file, this is nothing but a little bit of metadata,
| | 01:25 | kilobytes of metadata instead of megabytes as we have here.
| | 01:29 | So for example, if I make some adjustments.
| | 01:32 | Let's say I change its temperature and warm him up a bit.
| | 01:36 | I have what appears to be another picture.
| | 01:39 | A whole different version of my master yet it
takes up very little space on my hard drive
| | 01:45 | and I can create as many as these as I want.
| | 01:49 | So here is our master.
| | 01:50 | This is the raw file that comes in off the card or the
camera and here is a version which is not a duplicate of it
| | 01:57 | but literally another version that takes
up very little space on a hard drive.
| | 02:01 | When we are looking at this picture here, We are essentially
looking at a preview of our image and previews are generated
| | 02:10 | by Aperture and we are going to talk about this a little
more in Preferences but you can have previews generated
| | 02:16 | when you import your images and the previews
are JPEG representations of your image.
| | 02:22 | So if you make some edits to your master
file, then those previews will be updated
| | 02:29 | and you can either force those updates yourself or there
is a number of different ways that I will talk about later.
| | 02:35 | What's interesting about previews and
the real point that I want to make is
| | 02:38 | that you can share these previews with other applications.
| | 02:42 | So you can share these JPEGs with for
instance, iPhoto or Keynote or Pages.
| | 02:48 | So there are portables files, they're files that allow
you to use Aperture as your main image database,
| | 02:55 | yet have your pictures available in other applications.
| | 02:58 | I will talk more about that in Preferences, but for now just
know that preview is a JPEG representation of your file.
| | 03:05 | I want to talk about projects versus the Project pane.
| | 03:10 | We are going to go over here.
| | 03:12 | So here is our Project pane and all of our projects
and all of our other work would be listed in it.
| | 03:20 | Tidepools is a project itself.
| | 03:23 | Now the easiest way to think about this
is that Projects, this is our Library.
| | 03:28 | This is where everything is stored.
| | 03:31 | Tidepools.
| | 03:32 | That's our photo box or container containing our
master image, a version, web galleries and so forth.
| | 03:39 | So you could sort of think of this, this
project is being a book in the Library
| | 03:43 | and we can have a whole lot of these if we want.
| | 03:46 | So just know that there is the Project pane, which you would
hear a lot, and then there are actual Project Containers
| | 03:53 | that our photos are stored in and
that's the difference between those two.
| | 03:57 | I am going to move next door to
this other tab, this Metadata tab
| | 04:02 | and metadata is another word you
are going to hear quite a bit.
| | 04:06 | Basically, there are two types of metadata.
| | 04:09 | There is the metadata that your
camera writes when you take a picture
| | 04:13 | and this is information that's
associated with the photograph.
| | 04:17 | For example, metadata would be the Aperture and that
would be the diameter of the lens opening or Shutter Speed,
| | 04:25 | which should be how long the shutter was open
when you made the exposure, or the ISO Rating,
| | 04:30 | which is how sensitive your sensor is to the ambient light.
| | 04:35 | These are all types of what we called EXIF Metadata.
| | 04:39 | That's your camera writes with the
file so that when you import the photo
| | 04:43 | into Aperture, you will also import this metadata.
| | 04:47 | Now there is another type also.
| | 04:49 | We often refer to it as IPTC Metadata and this is editable.
| | 04:55 | This is the stuff that you can add and you can tell
| | 04:58 | that these fields, you are allowed
to click in them and write things.
| | 05:01 | So I took this photographs so I could write my name in
this field right here and it auto completes it for me
| | 05:08 | because quite honestly, I have written my name
in here before and Aperture remembered it.
| | 05:12 | So this is IPTC Metadata and it is editable.
| | 05:16 | It allows me to add additional information
to be associated with the photograph
| | 05:20 | such as Caption and Object Name and Copyright Notice.
| | 05:24 | Both types of metadata, they are very useful.
| | 05:28 | One type that we will spend some time
with, the Keyword metadata field.
| | 05:32 | This is important because you can add keywords
to be associated with your photographs
| | 05:36 | and then you can use those very same
keywords to search for photographs later on.
| | 05:41 | So very handy.
| | 05:42 | But for now just understand that metadata is all types
of information that's associated with your photograph
| | 05:47 | and that some of it's editable and
some of it the camera writes itself.
| | 05:52 | Another thing that I want to mention is Inspector
versus a heads-up display and the best place
| | 05:59 | to really describe this is with the Adjustments pane.
| | 06:02 | The Inspector itself actually occupies part of the interface
and right now we have it what we have here on the left side
| | 06:09 | and this is where our Projects, or
Metadata and our Adjustments live,
| | 06:13 | this entire area is the Inspector
and I can demonstrate that.
| | 06:16 | If I click on the Inspector button, it goes away and
I click on the Inspector button again it comes back
| | 06:22 | and there is also a keyboard shortcut for that.
| | 06:25 | It's the letter I, I am pressing I and they come and go.
| | 06:29 | So that is the Inspector pane.
| | 06:31 | That's very handy when you are working within the
Aperture interface proper and you want to have all
| | 06:37 | of your tools right here and your photo and your thumbnails.
| | 06:41 | However, there is also a heads-up display or HUD
and you will hear me talk about that quite a bit
| | 06:47 | and that's very handy because it's a floating window.
| | 06:49 | So if I hit the H Key, I bring up the heads-up
display and I can move it around anywhere I want.
| | 06:57 | Now you noticed that it also has
Projects, Metadata and Adjustments.
| | 07:01 | Very useful but it's a floating window.
| | 07:03 | So for instance, if I am working in full screen mode, I
just hit the F Key to bring myself to full screen mode.
| | 07:10 | The Inspector pane is gone.
| | 07:13 | I have eliminated all that interface,
so I could just focus on my photograph.
| | 07:17 | So having the heads-up display, and
hitting the H key and I will hit it again,
| | 07:22 | allows me to work in these different modes.
| | 07:24 | Yet still have all of my controls.
| | 07:26 | I am going to hit F again to hide that and I will
hit H again to get rid of the heads-up display.
| | 07:32 | Now there is only one more term now
that I want to run by for right now.
| | 07:36 | Of course, we are going to be talking about terms all
through this but these are the basic things so you just have
| | 07:41 | to know and the final one is Vault and that's
down here at the bottom and you open the Vault
| | 07:47 | and close the Vault using this little button down here.
| | 07:51 | Now you notice we don't have anything in here right now.
| | 07:54 | The Vault is a really wonderful feature of Aperture.
| | 07:58 | That allows us to back up our work, to
store so that we don't lose our images
| | 08:03 | or the information that we add to go with those images.
| | 08:06 | For instance, the versions that are created go in the
Vault right along with the Master and it allows you
| | 08:12 | to connect a hard drive to your computer and
then the Vault is placed on that hard drive
| | 08:19 | and every time you make a change to anything in
your Aperture Library and you activate the Vault,
| | 08:24 | it will only record those changes or only back
up those changes and that way you have all
| | 08:29 | of your information there if you need it.
| | 08:31 | Now I'm going to talk more about the Vault
when we get into archive and then backup,
| | 08:35 | but for now I just want you know
what it is and where it lives.
| | 08:39 | It's right down here in the bottom.
| | 08:41 | So these are the basic terms that you
will hear me discussing quite a bit.
| | 08:46 | There will be some terms that you
don't hear, such as save and save as.
| | 08:51 | In fact if you go up here to File, you
notice we don't have Save or Save As.
| | 08:56 | That's because things such as masters
and versions replace that.
| | 09:00 | We don't have to work on our master and then save as,
because Aperture just keeps track of our changes for us
| | 09:07 | and if we want we could have another version.
| | 09:09 | So those replace some of the traditional terms that we hear.
| | 09:13 | But the main things that you are going to hear me say
throughout this training will be Master, Version, Previews,
| | 09:21 | Projects, Metadata, Adjustments,
Inspector, Heads-Up Display and Vault.
| | 09:28 | That's your core foundation.
| | 09:29 | That's what we will be using and now we are ready to go on.
| | 09:32 | To take a look at the interface.
| | 09:34 | See you there.
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| Touring the interface| 00:00 | I would like to take you on a little
tour of the Aperture Interface.
| | 00:04 | Now with version 2.0 Apple has really cleaned this up a lot
and this is a lot more attractive and I think a lot easier
| | 00:10 | to use and understanding just a little bit about where
things are located will allow you to work efficiently.
| | 00:17 | One thing I want to note at this point, I am
going to show you some basic interface locations
| | 00:23 | and keystroke commands and things like that.
| | 00:25 | But then after that you can customize this interface
so that it fits the way that you want to work.
| | 00:31 | So remember, this is how it comes out of the box but
you can take it just about any direction you want to go.
| | 00:37 | Now I am going to start with the top here and at the
top here we have our toolbar and this is very simple.
| | 00:43 | This is where, for instance, we have the button to
hide and display the Inspector, to bring an Import,
| | 00:51 | New Projects and albums, moveing all the way over,
a lot of the stuff I am going to be covering
| | 00:56 | in different movies throughout this training.
| | 00:59 | Different ways to view, which I am going to show
you some selected keyboards commands for that.
| | 01:04 | Going into Full Screen, the Loupe
for magnifying parts of the photo.
| | 01:08 | And a little bit about keywording since keywording
such as important part of keeping track of our images.
| | 01:15 | So this is all on the toolbar at the top here.
| | 01:18 | If I don't want the toolbar, if I want to reclaim some
of this real state while I am working on pictures,
| | 01:24 | I can go to Shift+T and I can hide that toolbar.
| | 01:28 | And I hit Shift+T again and I can bring it back.
| | 01:32 | And remember earlier when I said that
this is a very customizable interface.
| | 01:36 | Well, we are going to start right with the toolbar.
| | 01:39 | If I go down here in View and I go
to Customize toolbar, click on that.
| | 01:44 | Oh my gosh, look at all these options I have.
| | 01:47 | So if I decide that for reason I have to have Batch Change
up in my toolbar, I can just grab this, put it right up here
| | 01:56 | and it will now become part of my toolbar.
| | 01:58 | We are not going to do it right now.
| | 02:00 | I am going to keep this toolbar sort of out of
the box but later on remember you can go back
| | 02:06 | and you can make this anywhere that you want.
| | 02:09 | I am going to click Done.
| | 02:10 | We will leave the toolbar for a moment and we
will talk a little bit over on this side here.
| | 02:15 | We will start with the Inspector pane which has three tabs,
Projects, Metadata and Adjustments, and you can turn off
| | 02:23 | and on that pane by clicking on the blue 'I' or you
can just hit the I Key itself and get rid of the pane.
| | 02:32 | Now if I want to cycle through the different
tabs in the pane, I can click on them of course,
| | 02:39 | but how 1980s is that? If I hit the W Key, then I
can just cycle through them just by hitting the W Key.
| | 02:49 | Very handy. Allows you to work it very fast.
| | 02:52 | Now in between the toolbar here and the Inspector pane,
there is the Import pane and if I click on Import,
| | 03:00 | it will show up here and this is where I bring pictures in
from the camera, from a memory card, from other hard drives.
| | 03:07 | We use the Import pane for all of that.
| | 03:09 | This is what images come into Aperture.
| | 03:12 | We are not going to bring any in right now,
so I am going to click that X and it hides.
| | 03:17 | But anytime that I want to bring it up I could just hit that
little down pointing arrow there or I could hit Command+I.
| | 03:25 | Either way brings up the Import pane.
| | 03:28 | Down here since we are hanging out on the left
side, I will just show you the Vault really quickly.
| | 03:33 | I have talked about a little bit in an earlier movie but
this is where we store our Vaults which are our areas
| | 03:39 | that have all of our backup information in them and
that makes up the bottom of the pane. As your projects
| | 03:46 | and stuff grow you may not want to
have this displayed all the time.
| | 03:50 | So you can hide the Vault pane just by
clicking on that little arrow there.
| | 03:53 | That toggles both open and closed.
| | 03:58 | Now at the heart of the interface right
here are these two areas, the Viewer area,
| | 04:03 | which is up here, and the Browser area down here.
| | 04:07 | This is where we really get to look at our
pictures and play with them and so forth.
| | 04:11 | So when I click on an image it is
displayed up here in the Viewer area.
| | 04:17 | Now this is fun because I have
different ways I could view my images.
| | 04:22 | If I hit the V Key, V as in Viewer, I can
toggle through a bunch of different looks.
| | 04:28 | So hit it once and I have this combination of
the Browser and the Viewer which is very handy.
| | 04:33 | That way I can just kind of motor
through these different images.
| | 04:37 | By the way, you can use the Right
Arrow key and the Left Arrow key to go
| | 04:43 | through the thumbnails down here in the Browser.
| | 04:46 | It allows you to work really fast.
| | 04:48 | If I hit the V Key again, then that gets rid of the
Browser and I just get a bigger rendering of the image
| | 04:55 | and that's handy when I want to get a good look at things
and if I hit V one more time, then I get all thumbnails.
| | 05:02 | Which is nice when you are sorting things
or keywording, all that kind of stuff.
| | 05:06 | Hit V one more time and here we are.
| | 05:08 | Now you can see that we can start
to do combinations of stuff.
| | 05:12 | I can hit the I key and I can get rid of
the Project pane and the V key and well,
| | 05:19 | look it. Suddenly I have a whole different look.
| | 05:22 | Hit V again, all thumbnails.
| | 05:24 | Hit I and bring back the Project pane.
| | 05:27 | I am feeling very much in control of what's going on here.
| | 05:31 | Now at the bottom down here we
have a few interesting tools also.
| | 05:35 | This is the Control Bar at the bottom.
| | 05:37 | So it's the toolbar at the top, the Control Bar at the
bottom and we have some rotating, if I rotate an image.
| | 05:45 | I have the little rotating thing in here.
| | 05:48 | Just kind of fun.
| | 05:48 | You can turn it upside down.
| | 05:50 | With this image you wouldn't really
know which was up, would you?
| | 05:53 | So we will just take it back to where it was before.
| | 05:56 | You have some Lift and Stamp tools
down here and your Primary tool.
| | 06:01 | A lot of these I will be talking about later.
| | 06:04 | The Quick Preview, this is really exciting.
| | 06:06 | This allows you to work it very fast when you first
bring in your images, so that Aperture doesn't have
| | 06:11 | to fully render those raw files. It's a new feature in
Aperture 2.0 and this is one I think you are going to like
| | 06:17 | when we dig deeper into it and then
of course, you can control the size
| | 06:21 | of your thumbnails, just by doing that little slider bar.
| | 06:24 | I am going to hit the V Key one more time.
| | 06:27 | I am going to bring this back to this combination
and I think this is a handy place to start
| | 06:32 | where you have the larger image with the Browser
below and I think we are ready to go now.
| | 06:38 | You have a good feel for this application.
| | 06:40 | You kind of know where things are, you know how to customize
them if you want and we will move on and now we are going
| | 06:46 | to start using these different panes and these
different views of our images as we get our work done.
| | 06:52 | So stay tuned and we are going to get to it.
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| Setting essential preferences| 00:00 | Previously, I have showed you how to customize
Aperture's interface and it's a very flexible workspace.
| | 00:07 | We can do more customization or kind of making it
the way that you want in the Preferences dialog box.
| | 00:13 | I am going to show you some of the
essential Preferences settings now.
| | 00:17 | We will come back to some of more of the detailed stuff
later on but just to get you going in the right direction,
| | 00:24 | let's go up to Aperture.
| | 00:25 | We will open Preferences and you will see that the
Preferences dialog box is divided into six areas.
| | 00:35 | This is a change with Aperture 2.0.
| | 00:37 | Once upon a time, back in the old Aperture 1.0 days,
we just had one pane that had everything in it,
| | 00:43 | but now as more functionality has
been added to the application,
| | 00:46 | Apple has broken it into these different areas and it's a
lot easier for us to go directly to where we want to go.
| | 00:53 | Now we can start in the General tab here and the
first thing that I want to point out to you is
| | 00:58 | that the location of your Aperture Library.
| | 01:01 | By default, it's in the Pictures folder.
| | 01:04 | Now you can change that.
| | 01:05 | If you don't want your master Aperture
library living in Pictures folder,
| | 01:09 | say that you want it on a separate hard
drive, all you have to do is click Choose
| | 01:13 | and then you can put it anywhere that you want.
| | 01:15 | For now, I am going to leave it in the Pictures folder.
| | 01:18 | That's a handy place, but remember by clicking Choose
you can have your Aperture Library be somewhere else.
| | 01:25 | The thing to think about is of course, you
want to determine this before you start filling
| | 01:30 | up your Aperture Library, right, so make a decision now.
| | 01:34 | Are you going to keep it on your laptop?
| | 01:36 | Are you going to keep it on desktop machine or you
are going to keep it on the separate hard drive.
| | 01:40 | Make that setting and then off you go.
| | 01:43 | Another option that you have is that when you connect
your camera or your memory card, what's going to happen.
| | 01:49 | If you know you are going to use Aperture only for
your photo management, then you can actually select it
| | 01:54 | from the Pop-up Menu and say every
time my memory card is connected
| | 01:58 | from my camera then Aperture pops open
and it says I am ready to import those.
| | 02:03 | However, there could be occasion when
maybe I want to do something else.
| | 02:07 | Let's just say that maybe I want to drag some
photos off the memory card on to your desktop,
| | 02:12 | but the last thing that you might want to do is
have Aperture load and do all that sort of stuffing.
| | 02:16 | Oh my gosh, I just wanted to grab a few pictures.
| | 02:19 | If that scenario is possible with you, then I would
recommend that you go with No application here.
| | 02:25 | That way nothing happens when you connect
your memory card to your computer.
| | 02:29 | You make the decision, do I want to go to Aperture.
| | 02:32 | Do I want to do something else?
| | 02:34 | We are going to come back to this adjusting the Black
Clip and the White Clip and that is actually part
| | 02:39 | of our image adjusting segment and I
will cover those a little bit later on.
| | 02:44 | One box that I want to encourage you to leave unchecked
is the Create new versions when making adjustments.
| | 02:51 | What happens is if you have this box checked, every time
you do an exposure adjustment or white balance, whatever,
| | 02:59 | Aperture will create a new version and you can see
that if you like to play with your photos a lot,
| | 03:03 | you can end up with 10 or 15 versions of
one photo that just have slight changes.
| | 03:09 | So generally speaking unless you have a specific reason
for checking this box, I would leave it unchecked.
| | 03:15 | Now I do think it's a good idea to
Show warning when deleting masters.
| | 03:19 | Something like are you sure you want to
throw away that prize winning photograph.
| | 03:23 | It doesn't read like that but you get the idea.
| | 03:26 | Leave that box checked and then I think it's also handy
to show the alert when you finished importing photos
| | 03:33 | because it gives you some options, that
it gives you three options as you will see
| | 03:37 | when we get to that section of the training.
| | 03:39 | So for now leave that box checked, I think it's handy.
| | 03:43 | Let's move over to Appearance.
| | 03:45 | The favorite thing that I want to show you in
Appearance here is this Viewer Background Brightness
| | 03:50 | and that's this right here and that's the tone here.
| | 03:53 | I am going to close this for a second as I can
better demonstrate with a vertical photograph.
| | 03:57 | We will get more background and we will back to Preferences.
| | 04:04 | Now it set for 18% and that's this tone right here.
| | 04:09 | Those of you that have been in photography for a while
will recognize that number because that is neutral gray
| | 04:14 | and that is what your camera's
exposure meters calibrated to.
| | 04:18 | However, you may want it little
bit brighter or little darker.
| | 04:23 | It's up to you and here is where you make that control.
| | 04:25 | I am going to return it to 18%
because I just think that's cool.
| | 04:29 | Also, the Browser Background Brightness that's down here
and you can adjust that the same way and I think it's kind
| | 04:36 | of nice to have it a little different tone than this.
| | 04:39 | Just for no other reason, it's
statically speaking that looks better.
| | 04:43 | Hot Area and Cold Area display Thresholds, I
will come back to those when you do image editing
| | 04:49 | but basically they show you when you have
clipping in your highlights or shadows.
| | 04:53 | They have a nice little way of showing
you that and that's what those control.
| | 04:57 | The Clipping Overlay again, it's related
to that and you can choose a color.
| | 05:02 | You have some other little goodies in here.
| | 05:03 | It can be Monochrome and we will
cover that a little bit later.
| | 05:07 | This one I do want to talk about right now though and
that's Shows or Hides Viewer Only and this is a behavior
| | 05:15 | for when you double click on a photo
and you have some choices here.
| | 05:19 | The default as you see when you double click on
an image-- and let me show you this right now.
| | 05:24 | We have Shows or Hides Viewer Only.
| | 05:26 | Let me close this and we will go to
-- here we are in thumbnail mode.
| | 05:32 | Now watch what happens.
| | 05:32 | I am going to double click on this pelican.
| | 05:35 | By doing that preference setting
what I get is an enlarge view of it
| | 05:39 | and if I double click it again
that's why it says shows or hides.
| | 05:43 | I come back to the thumbnail.
| | 05:44 | I think that's a handiest way to go.
| | 05:47 | Let me go back to Preferences.
| | 05:48 | It's very useful.
| | 05:50 | That way if you just want a quick look
at something you just double click on it.
| | 05:54 | You get a view of it and then you can
double click again and it goes back.
| | 05:58 | However, you do have some other options here.
| | 06:00 | You can enter and exit Full Screen mode, which is a little
slower and you moves your interface to the background.
| | 06:07 | Just show you real quick on this.
| | 06:10 | See the difference there and that's nice.
| | 06:12 | Some people like to work in full screen mode only and so
this behavior would be for them and then you double click
| | 06:18 | and it brings you back to that thumbnail
or you could just do nothing at all.
| | 06:24 | In other words you could just double click all there
nothing happens and I guess that would be for people
| | 06:28 | that maybe have a little bit of a
nervous twitch while they are working.
| | 06:30 | So we will just leave that one alone.
| | 06:33 | For most folks, Shows or Hides Viewer Only.
| | 06:37 | On Search Scope, we will come back to
that when we do some Metadata stuff.
| | 06:42 | The Loading Indicator, this is up to you.
| | 06:44 | It's a little thing that spends while
Aperture is decoding a raw file.
| | 06:48 | If you like it, great.
| | 06:50 | If you don't -- Show tooltips on controls, leave
that checked for now and we will talk a bit about it.
| | 06:58 | The Badge referenced images, badges
are little guys down here.
| | 07:02 | Leave that checked and Show activity label next
to status indicator, leave that checked too.
| | 07:09 | These are all default settings and they
are pretty handy for the most part.
| | 07:13 | We will run into them a little bit later and then if you
decide you don't like them, you can come back and uncheck.
| | 07:17 | Let's go to Export real quick.
| | 07:20 | You can do something in Aperture that we called
Round-tripping and that is if you kind of hit the wall
| | 07:27 | in terms of trying to edit an image, you can't quite get
it looking the way that you want and you would really feel
| | 07:32 | like you need to work in something like Photoshop.
| | 07:35 | You can do that and this called a round trip and you just
click on that image and you say edit in the external editor
| | 07:41 | and it takes you to the editor that you have set right here.
| | 07:45 | So for an example, if I wanted to use Photoshop for
my Round-trip Editor, I could just select it here.
| | 07:52 | It would show up right here and then that way when I
chose External Editor, Aperture would automatically take
| | 07:58 | that image in the Photoshop and let me
continue to work on it and I have a choice.
| | 08:03 | When that image comes back that's the round trip.
| | 08:06 | When it comes back in the Aperture, it can come
back as a TIFF or a Photoshop file and these are oh,
| | 08:12 | by the way 8-bit settings or if you wanted
to they could come back as 16-bit files.
| | 08:19 | But if you do that I would recommend that you need
to have a reason for it because they are big files
| | 08:25 | and you are going to use up a lot of space.
| | 08:27 | So for the most part I think 8-bit TIFF
or a Photoshop file should be fine.
| | 08:32 | If you know you need 16-bits, here
is where you make the change.
| | 08:36 | Another thing that you can do is pick
an image and then send it off via email.
| | 08:41 | And depending on what email application
you use you set that up right here.
| | 08:46 | For instance, Mail is the default
application that comes with the Mac.
| | 08:52 | This is what most of us use is what selected here but if you
are a Eudora user or a Microsoft Entourage user and you have
| | 09:00 | that loaded on your hard drive and
that's what you want Aperture to use
| | 09:04 | when it sends photos out, then select one of those.
| | 09:07 | We will leave it on Mail right now because quite honestly
I have no other choice and you can also set up a default.
| | 09:14 | That is I mean you can't overwrite it.
| | 09:16 | You can set up a default for how that
attachment is added to that email.
| | 09:20 | For the most part, Email Medium-JPEG is the way to go.
| | 09:25 | It's not too big, it's not too small and it doesn't
take up too much room and you can send it to most people
| | 09:31 | and they won't go crazy where as you could send them
some gianormous file that takes them forever to download.
| | 09:36 | They might not answer your mail anymore.
| | 09:38 | So Email Medium-JPEG is a good way to go.
| | 09:42 | If you want you can overwrite it later and finally
when you are creating web pages and so forth,
| | 09:48 | if you want your copyright to appear on those web
pages you can enter your copyright information here
| | 09:54 | and then Aperture will automatically add it to those pages.
| | 09:58 | This is kind of a handy thing and
I recommend that you do it.
| | 10:02 | Now I need to talk about Previews for just a minute.
| | 10:05 | I touched down them earlier but I wasn't really
able to talk about their value or their use.
| | 10:10 | The cool thing about having Aperture generate previews
from all of your images or at least the images
| | 10:17 | that you consider your prize images is that other
applications such as iPhoto, such as Keynote, Pages,
| | 10:26 | all sort of other applications then can see those
images while you are in those other applications.
| | 10:33 | This is really cool.
| | 10:34 | For instance, if you love the slide show
functionality of iPhoto and you want to use Aperture
| | 10:41 | as your image database then you can store
all of your images in Aperture and edit them
| | 10:46 | and so forth and then in iPhoto see those images.
| | 10:50 | You actually have an option in iPhoto
that allows you see your Aperture images.
| | 10:55 | Drag them into iPhoto the ones that you want and
make a slide show and the way that you set that up is
| | 11:00 | that you make sure that you have this box checked
here, Share previews with iLife and iWork.
| | 11:05 | And it really should be in parenthesis
and everything else on the planet too.
| | 11:09 | Because if we had those boxes checked
then Aperture makes those images available
| | 11:13 | to any application that can read them.
| | 11:17 | And it's not just iLife and iWork.
| | 11:19 | And in terms of the quality of those previews
right here is where you get to set that.
| | 11:24 | I think the default that Aperture gives you
is 8 Medium which is fine if you're going
| | 11:30 | to do some high quality printing or
something out of these applications.
| | 11:34 | Let's say you are creating reports
and pages and you want those photos
| | 11:38 | to look really good that you bring it from Aperture.
| | 11:39 | You might want to bump that up a little bit and
then in terms of what size those previews are,
| | 11:46 | you get to choose that right here and
you have a number of different options.
| | 11:50 | You could go Don't limit, which is another way of saying
full size but I think that most folks are going to be happy
| | 11:58 | with previews that are somewhere in this range here.
| | 12:02 | Now the one thing I want to mention to you
that if you are going to use your previews
| | 12:06 | to make slide shows in the different application.
| | 12:08 | Make sure you leave yourself a little head
room so that you can zoom-in on those images.
| | 12:12 | Remember, you need a little extra resolution.
| | 12:15 | So if your slide show for example, on the screen it
fit on a 1440 monitor and you know you might want
| | 12:22 | to be zoom-in a little bit then
choose 1680 for your previews.
| | 12:26 | Give yourself a little working room there.
| | 12:29 | Now, I want to go this top box here which is
New projects automatically generate previews.
| | 12:35 | I think this is a good idea.
| | 12:37 | You could generate those previews manually
but if you just have Aperture creating them
| | 12:42 | for you then they will always be there when you need them
and this middle one here, this is kind of out of step
| | 12:49 | with the other choices here but it will make a
little bit more sense once I explain it to you.
| | 12:54 | When you import images from your camera, Aperture
tries to let you work with them very quickly.
| | 13:00 | But think about it.
| | 13:01 | It has to generate previews for you to
actually start working with those images
| | 13:05 | and if it still generating previews and you
want to work then that could be a problem
| | 13:10 | and sometimes people say well Aperture
is kind of slow on that import.
| | 13:15 | That's a lot of the reason why.
| | 13:17 | So we have this new option now in Aperture 2.0 that allows
you to use the embedded JPEG from the camera when possible
| | 13:25 | and what that means is that your camera has already
created a JPEG for just say a raw file that you have shot
| | 13:32 | and so what Aperture will do this is kind of amazing.
| | 13:34 | It will use that embedded JPEG to show it to you on the
screen so that you can have access to that image right away
| | 13:42 | to look at or to photo rate or to keyword and
then it's generating previews in the background
| | 13:48 | and then when it has its own higher quality preview for
that image, it will substitute for that embedded JPEG.
| | 13:55 | This is really cool.
| | 13:56 | It's very handy.
| | 13:57 | So I recommend that you do check this box because it
gives you access to any JPEG that's available right away
| | 14:04 | and then you will let Aperture
do its work in the background.
| | 14:08 | Here in Metadata, this basically deals with presets that we
haven't talked about it earlier but they are all listed here
| | 14:17 | and you kind of looking at this and you go and oh, okay
Viewer Basic, Grid View, oh this is very interesting.
| | 14:25 | You probably don't really know what this means yet.
| | 14:28 | I will give you a brief explanation and then
we will read this and this a little bit later.
| | 14:33 | Essentially, you are going to have all this Metadata.
| | 14:36 | You have the stuff that the camera wrote.
| | 14:38 | You have stuff that you have added and
you can organize this anywhere you want.
| | 14:42 | This is one of the themes of Aperture is that you
can customize everything about the application
| | 14:47 | and then you can even have the application
when you are in these different views.
| | 14:52 | In the Viewer mode, at Light Table, in the Browser Mode.
| | 14:55 | You can have the application show you only the information
that you want and this is where you get to choose that.
| | 15:02 | So once we create that information which
will be in a few movies up the road.
| | 15:07 | Then you know that you can come back here and
choose these different looks for your Metadata.
| | 15:13 | The one that I do want to show you right now
is the bottom one which is Image tooltips.
| | 15:18 | This is kind of fun.
| | 15:19 | If you check this box here-- I will go ahead and close this.
| | 15:23 | When I mouse over an image, the tooltips
will show up that's the thing here
| | 15:29 | that gives us all this cool information
about what's going on with our picture.
| | 15:33 | Things that I talked about before, the Aperture,
which is the opening of the diaphragm and the lens.
| | 15:39 | You can see all that just by mousing
over and then when I mouse off it's gone.
| | 15:44 | You control that in that preference.
| | 15:47 | I will go back to Preferences here.
| | 15:49 | By clicking this box here.
| | 15:50 | It's kind of handy.
| | 15:51 | Now you might not want it on all the time but when
you are first working with your images it's very handy
| | 15:57 | and then when you start image editing
you might want to turn it off.
| | 16:00 | We will talk more about that later.
| | 16:02 | Finally, if you have a .Mac account then
Web Gallery may be of interest to you.
| | 16:09 | I am going to click OK right now because this is telling
me I have to have one of these things to use this.
| | 16:15 | If you are .Mac member and you use a (ph) Aperture iPhoto,
you have this really great functionality that allows you
| | 16:21 | to select just a few photos and then press a
button and it creates a Web Gallery for you.
| | 16:27 | I mean a really cool Web Gallery, but you have to have this
service for it to work and here is where you control that.
| | 16:33 | If you don't have a .Mac account you will not
care about this at all because you can't use it.
| | 16:38 | So .Mac members you will riveted to the screen
when I talk about creating web galleries.
| | 16:44 | The rest of you, it will be time
to go get a cool refreshment.
| | 16:47 | So I am going to return to this General Tab here and
now you have a lot more control over your application.
| | 16:54 | You add the ability that you have to customize the
interface with the things that you can do under the hood
| | 17:00 | in Preferences and you are in the driver
seat and we haven't even warmed up yet.
| | 17:04 | So we will go on the next movie and keep it rolling.
| | Collapse this transcript |
| Understanding RAW files| 00:00 | I would like to take a moment to talk about Raw Files
because in part Aperture is here because of raw files
| | 00:06 | and the first thing is what does raw stands for.
| | 00:08 | I mean is it uppercase raw or is it lowercase raw, I
can tell you right now raw doesn't stand for anything.
| | 00:14 | Raw is raw.
| | 00:16 | It is just a type of file where the camera captures all the
information puts it in the container and then you upload it
| | 00:24 | to your computer and then your computer has to figure
out what to do with it and that differs from a JPEG
| | 00:29 | because when you shoot in JPEG Mode,
your camera actually processes the image.
| | 00:34 | So it's fully baked when it comes out of the camera.
| | 00:36 | It's ready to go.
| | 00:37 | You could hand it to a friend and
he could open in the web browser.
| | 00:40 | JPEG is a fully baked file.
| | 00:42 | Raw is raw.
| | 00:44 | It's like doughy and gooey and stuff and you
need something like Aperture to bring it to life.
| | 00:50 | So here we are in Aperture right now and I just want to show
you a way to tell if you have a raw file or a JPEG loaded
| | 00:59 | into the application, because a lot of cameras and
especially digital SLRs can shoot in both formats.
| | 01:06 | So here we have the pelican shot and
I have him highlighted right here.
| | 01:10 | I am in the Metadata tab of my Inspector and I can see
that I have a raw file because of the extension here .CR2.
| | 01:18 | Now it isn't .RAW because raw isn't really a file format.
| | 01:25 | It's just a term for a specific type
of file but it's not a file format.
| | 01:29 | So if I was shooting Nikon for example, this could be .NEF.
| | 01:34 | But I am shooting Canon so it's a .CR2.
| | 01:37 | Olympus, Panasonic they all have their own extensions.
| | 01:41 | So one of the ways you can tell that you have a raw file is
| | 01:46 | if it isn't JPEG right, because
if I click on this file here.
| | 01:50 | This is a JPEG and it shows up as a JPEG in
the extension whereas here we have a raw file.
| | 01:57 | This way you can't go wrong.
| | 01:59 | This is not if it isn't this and it's that kind of thing.
| | 02:02 | Here I have my pelican again.
| | 02:04 | I am going to go to the Adjustments Tab and you will
notice that here I have something called RAW Fine Tuning
| | 02:13 | and I can open it up and I have all sorts of fun stuff
here that we are going to talk about when we talk
| | 02:17 | about image adjustment but that's
not what we are doing right now.
| | 02:21 | The main thing is that if you click on an image and
RAW Fine Tuning appears then you have a raw file.
| | 02:28 | There is no doubt about it.
| | 02:29 | Watch what happens when I click on a JPEG it goes away.
| | 02:33 | No RAW Fine Tuning not a raw file.
| | 02:36 | Come back to our pelican, RAW Fine Tuning appears.
| | 02:41 | So this is how you can tell if you have a raw file.
| | 02:43 | Now the wonderful thing is that Aperture makes
it as easy to work with raw files as the JPEG,
| | 02:50 | so you have to do this stuff to find out
what you have and what a change that is
| | 02:54 | because the whole reason why people didn't shoot with
raw files for a long time it's because the workflow was
| | 03:00 | so difficult and Aperture has changed
all that raw files, JPEGs.
| | 03:05 | They are just as easy to work with and you even
have to like look it up to see what you have.
| | 03:11 | This is a great stuff and we are going to have a lot
of fun working with these files in the future movies.
| | Collapse this transcript |
| Following the standard Aperture workflow| 00:00 | Before we go any further, I want to give you an overview
of the workflow that we will be using in the Aperture.
| | 00:06 | Now Aperture actually has a way to work.
| | 00:09 | In order words, from taking you from point A, which is really
having images on your memory card, to point whatever. T or F
| | 00:20 | or something where you actually
doing something with those images.
| | 00:24 | I will be putting them to a printer,
putting on a web page, making a slide show.
| | 00:28 | Well there is a certain set of steps that goes through it.
| | 00:31 | These are not written in stone but they
are important steps and what I am going
| | 00:34 | to show you right now are the basic concepts of the flow.
| | 00:37 | This would be the framework for the movies that we
have coming up, so that you understand why I am talking
| | 00:44 | about importing now and not talking about making prints.
| | 00:47 | Because making prints actually is
later; it's part of the output.
| | 00:51 | So the basic steps are this.
| | 00:53 | We are going to import our images and of course, we have the
Import dialog box to do that and we can bring those images
| | 01:01 | in from a memory card, from another hard
drive, even from the computer is on right now.
| | 01:07 | But the first thing that we want to do is bring them into
Aperture and when we talk about importing you will see
| | 01:14 | that there is lots of fun stuff that
we can do during the import process.
| | 01:18 | In other words, you can get a lot of your work
done at import so that you don't have to go back
| | 01:23 | and do a bunch of keywording stuff later on.
| | 01:26 | One of the beauties of the Aperture
is its time saving feature.
| | 01:30 | I am going to close this right now.
| | 01:32 | Once we import then we will have
a bunch of images in our library.
| | 01:39 | Now we will put them in a project.
| | 01:41 | We will create a new project and
we will put those images in there.
| | 01:44 | So the next step then is to sort them.
| | 01:46 | In other words, we need to know our good images from
-- not so good images and we are going to mark those.
| | 01:53 | I will use stars or something like that.
| | 01:56 | So for instance, if you have these three images here.
| | 01:59 | When you are looking at thumbnails they all look
pretty much the same but I am willing to bet that one
| | 02:04 | of those images is sharper than the other two
and I want to know that and I want to mark it.
| | 02:09 | So when it's time to make a print or build a
web page or something I don't have to go back
| | 02:14 | and look at all three images to
figure out which one is the best.
| | 02:18 | I want to go to the best and use it.
| | 02:20 | So we are going to rate our images
and then we are going to sort them
| | 02:24 | so that we know exactly what our
strongest pictures are and the ones that --
| | 02:28 | we are going to hang on to them but they might
not necessarily show up in our portfolio.
| | 02:33 | After we have rated our pictures then we are going
to adjust the ones that are the good ones, right?
| | 02:40 | Why spend time on adjusting all three of these images
when all you really need to do is image edit the best one.
| | 02:47 | That's the one you are going to use and one of my
complaints about the older workflows was that you just ended
| | 02:53 | up pouring everything in the Photoshop
and spending a whole lot of time working
| | 02:57 | on stuff that you may or may not use later on.
| | 03:01 | The nice thing about the Aperture Workflows, find out what
your best stuff is and then that's the stuff you work on.
| | 03:06 | Then the final step is to output
and you have lots of options here.
| | 03:11 | You can send your best image to a printer.
| | 03:14 | You can build web pages with your
shots, you can create slide shows.
| | 03:18 | There are lots of fun things to do with your
pictures once you have all the basic steps done
| | 03:25 | and that can change over time.
| | 03:26 | So for instance, you may do the first shoot
and decide that you want to make a few prints
| | 03:32 | and then a month later you may want to come
back to that shoot and build a web page.
| | 03:36 | Well, all that work that you did when you first set up
that project, that's already done and so when you feel
| | 03:43 | like making a web page, you just make a web page.
| | 03:45 | You don't have to go back to the beginning of the workflow.
| | 03:48 | So our basic steps are Import, Sort, Adjust and
Output and of course, we will always be backing
| | 03:55 | up because that's very important and I will be talking about
that also, but these are the steps that we are going to use
| | 04:01 | in the upcoming movies to move you through the photo
management process as quickly and efficiently as possible.
| | Collapse this transcript |
|
|
2. Importing ImagesPreparing for import| 00:00 | Before we start actually importing images,
there's a few things I want to cover first.
| | 00:06 | Now, a lot of this is going to be broken
up into movies that follow this movie.
| | 00:10 | But I want to kind of paint the overview, the
landscape, the big picture here on importing your stuff,
| | 00:17 | and there is a few things to consider before
you actually ever hit that Import button.
| | 00:22 | One of the first things to think about is your library
structure itself and that's going to be right over here.
| | 00:28 | Now, I am going to tell you right now, you are
probably going to change your mind over time
| | 00:32 | on how you manage your library,
but you have to start somewhere.
| | 00:36 | What I recommend is that you think about your projects,
you can create projects for big sort of things.
| | 00:42 | Let's say nature, sports, people,
things like that, and then if you want,
| | 00:48 | you can just put your images in
each of those major categories.
| | 00:53 | However, if you are the type of person who likes
to have sub-divisions in Aperture, those are albums,
| | 01:00 | and I will show you how that works right now.
| | 01:02 | I am just clicking on this project, Tidepools.
| | 01:05 | I'll go up here to File and New Album.
| | 01:08 | So I can create a sub-division, an album, that
contains a subset of the photos that are in here.
| | 01:18 | The reason why I am bringing that up now is because
when you import images from your camera or a hard drive,
| | 01:26 | you can create projects on the fly,
but you can't create albums on the fly.
| | 01:33 | So if you want to take your images directly
into an album, into a subset of a project,
| | 01:39 | you have to remember to create it first
before you initiate the import process.
| | 01:44 | Just a little tip there, we'll go
into more detail on that later.
| | 01:48 | Another thing that I'd like you to think about is
the notion of managed library versus reference files.
| | 01:55 | A managed library is something that's
contained all within an Aperture container,
| | 02:00 | usually in your Pictures folder,
although it can be anywhere.
| | 02:04 | So everything, master files, versions, web
pages, the whole enchilada in that one container.
| | 02:11 | The advantage to that is that if you have a managed
library, you can use the Vault to back it up.
| | 02:17 | The other option is that you put your master
files wherever you want, on another hard drive,
| | 02:23 | on an array, wherever you want to do, and then
you point Aperture to those master files.
| | 02:30 | The advantage to that is that you don't have just one
container that gets bigger and bigger and bigger over time.
| | 02:36 | You can have master files live in different places.
| | 02:40 | The disadvantage? You can't use the Vault to back them up.
| | 02:44 | I am going to talk in more detail
about that in an upcoming movie,
| | 02:48 | but again I just want to plant that
seed so you're thinking about it.
| | 02:52 | One other thing that I want to cover right now is
the value of adding the metadata when you import.
| | 02:59 | And metadata is your name, your
copyright information, keywording.
| | 03:05 | This is all very valuable stuff to add when you are
importing your images because it's easier to do then
| | 03:11 | than going back and adding that later on.
| | 03:14 | The advantage to having keywords for
example is that you can use them for search
| | 03:19 | when your library is very big to help you find images.
| | 03:23 | So you can find that one image amidst thousands
of images if it has keyword applied to it.
| | 03:30 | So keywording is important and the easiest time to do it,
| | 03:34 | at least the initial phase, is while you're
actually adding your pictures to your computer.
| | 03:40 | So these are some of the big things
that I want you to think about now.
| | 03:44 | We're going to talk more about library structure.
| | 03:47 | We are going to talk more about
managed versus reference files,
| | 03:52 | and we're going to talk more about
adding metadata on import.
| | 03:55 | These are all valuable things that will help you
maintain an organized library so that you can have fun
| | 04:01 | with your pictures, and not worry about where things are.
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| Using managed libraries or referenced files| 00:00 | One of the very first things that we have to
figure out before you upload a single image is,
| | 00:06 | are you going to go with a managed library where Aperture
stores everything in a container in your Pictures folder,
| | 00:14 | usually or you are going to go with a referenced
file approach, and that's kind of cool too.
| | 00:20 | What you do with the referenced file approach is you put
your masters anywhere you want on an external hard drive
| | 00:26 | for example, and then you just tell Aperture
where they are and Aperture points to them.
| | 00:32 | So the master files are outside of Aperture and then
Aperture keeps track of everything else in this container,
| | 00:38 | the versions and the meta-data and all that good stuff.
| | 00:41 | But the big stuff, the big files live somewhere else.
| | 00:45 | Let me show you how that works.
| | 00:47 | We go to Import, and I have a card reader already hooked up.
| | 00:52 | A nice little Fire Wire card reader, which I
really like, and I have some pictures here.
| | 00:57 | So, before I import them, I have to decide where are
they going to be stored, and so we're going to start
| | 01:04 | up by taking a look right here where it says Store Files.
| | 01:08 | Now, by default Aperture will put it in its managed
library because it's looking out for you, right?
| | 01:16 | Because that way, you don't even have to think about it.
| | 01:18 | Backup, it can be handled by the Vault.
| | 01:21 | Everything is in one, nice, and tidy place.
| | 01:24 | However, if you decide that you want
those master files to live somewhere else,
| | 01:29 | you just click on the pop-up menu
and you can choose another location.
| | 01:33 | For example, I created a Pictures folder on the Desktop,
and I can have Aperture put them in there or if I want,
| | 01:42 | I can just create anything, any location by
using the Choose dialog box, find what I want,
| | 01:49 | and then it will show up in the pop-up menu.
| | 01:53 | For now, we'll go to Pictures on the Desktop.
| | 01:57 | Now, one other thing to keep in mind
is that you probably want Aperture
| | 02:00 | to create sub-folders for you every time you upload a shoot.
| | 02:05 | That way, you won't have a whole bunch of pictures, a
whole bunch of master files just loosed in one folder.
| | 02:11 | You can have them nice and tidy in sub-folders,
and you can even give those sub-folders names.
| | 02:16 | For example you can give the sub-folder the
Project Name or the Image Year/Month/Day.
| | 02:23 | You have lot of choices here.
| | 02:25 | And if you want, you can even create your own sub-folder
| | 02:30 | by just hitting the Plus (+) symbol,
and dragging these bubbles up and down.
| | 02:34 | So you can create, if I wanted to add for example
Current Date to this one, I can do that, just like that.
| | 02:40 | And now, I have created my own custom
sub-folder preset, that's a lot of fun.
| | 02:46 | I am going to hit Cancel right now
because we don't really need to do that.
| | 02:50 | I'll just go with let's say Project
Name, and now I am ready to go.
| | 02:55 | So I've made a crucial decision.
| | 02:58 | I have decided A) am I going to keep my images in
the Aperture Library which would be right here,
| | 03:06 | or am I going to store them somewhere else
which would be the referenced file approach?
| | 03:11 | And if I do store them in the referenced file approach,
what kind of sub-folder structure am I going to create,
| | 03:18 | when am I going to name those sub-folders,
and I can select that here or create my own.
| | 03:23 | This will help you be organized, help you
know exactly where your master files are,
| | 03:29 | and if up the road you change your mind, the beauty is
Aperture allows you to move those master files around.
| | 03:36 | So this isn't a decision for life, but it's one that
you want to make right now before we go any further.
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| Creating metadata presets and views| 00:00 | What I would like to talk about for the next few minutes
is adding Metadata, when we are importing our photos.
| | 00:06 | Now the advantage to this is that, it's a real time
saver because many people never go back and add things
| | 00:13 | such as keywords and copyright information,
after the photos have been uploaded,
| | 00:17 | but if you do it while you are putting your pictures in
Aperture, then you have that information there waiting
| | 00:23 | for you and you can get right in
to the fun stuff such as sorting
| | 00:27 | and image editing, all that good stuff you like to do.
| | 00:29 | Now, I am going to show you a way to make this process
even easier, by creating Metadata Views and Presets,
| | 00:36 | so that a lot of your information is there
prefilled and you are only looking at the field
| | 00:43 | that you want to use and not the whole list of stuff.
| | 00:46 | Let's see how that works right now.
| | 00:47 | I am going to go to the Metadata tab here in
the Inspector and you can just see that looking
| | 00:53 | at the All IPTC view, that there
are all sorts of stuff here.
| | 00:58 | Now, we don't want to use all this, we
don't even want to look at all of this.
| | 01:01 | So we are going to create a view that is more
narrow and only has the fields that we want.
| | 01:06 | Now, I am going to switch for a second,
over to General because I just want
| | 01:10 | to make the distinction between EXIF data and IPTC data.
| | 01:15 | I have talked a little bit about this before
I am going to touch on it one more time,
| | 01:19 | just so that we are nice and clear,
as to what we are doing here.
| | 01:23 | The EXIF data that is added by the camera
at the time of capture and is things
| | 01:29 | such as ISO Speed and Shutter and Aperture.
| | 01:33 | So that's camera information you don't have to worry about
it, IPTC on the other hand that's the stuff that we can add
| | 01:40 | and this is the stuff that helps us later on such
as Keywords and Captions and even our Author Byline
| | 01:47 | and our Copyright information and IPTC Metadata is what
we are going to work with now as we create these presets.
| | 01:56 | The first thing I am going to do, is create a new
view that has only the information that I want,
| | 02:01 | I am going to go up to the Gear menu, I am going to say
New View, and it will ask me for a name and we are going
| | 02:09 | to call it Basic Import because this is the
view that we will use, when we import pictures.
| | 02:18 | Now click OK, so we have Basic Import
appear in the popup menu and you will see
| | 02:25 | that we have all sorts of fields here to choose from.
| | 02:29 | Now, when you create your first Metadata
view, if you don't see these fields down here,
| | 02:33 | chances are that possibly this
Hide Empty Tags was checked, okay,
| | 02:38 | so just uncheck that one and that will show everything.
| | 02:41 | Now I am going to go through and choose some of the fields,
that I want in this view, such as Byline and you will see
| | 02:50 | that I have done a little work
before there's my name, Caption,
| | 02:55 | we want to make sure we have some caption information
in there, City, I think city, state and country,
| | 03:03 | is great Metadata to have with your photos
because a lot of times you can remember, oh!
| | 03:08 | I shot that in Milan and especially, if you don't go
| | 03:10 | to Milan everyday that's going to
narrow your list down a quite a bit.
| | 03:14 | We are going to keep rolling down here Copyright Notice
and I am going to show you how to customize that right now,
| | 03:24 | Country Name we want, again that's a very helpful
stuff, keep rolling, Keywords very important,
| | 03:33 | adding the few keywords on import, can save us a lot of
time later on, State and I think we are about safe here,
| | 03:45 | I think we have just about everything that we need.
| | 03:47 | So, I have Byline, so I can put my author's name here,
Copyright Notice and I am going to fix that right now
| | 03:54 | and easy to make that copyright symbol is to hit the
option G and then I am going to fill in my name, excellent.
| | 04:08 | Now I would like to have my Copyright Notice right
under my Byline, so all I have to do is just grab that
| | 04:14 | and I can pull it up there and I
actually like to have the Caption on top.
| | 04:19 | So I am going to put that up there, now I have Caption,
Byline, Copyright, City, State should be below City,
| | 04:27 | don't you think, so put State right
there, Country and then Keywords.
| | 04:33 | So, these are the basic fields, that I want to
have available to me when I import my photos,
| | 04:38 | I don't want to see all that other stuff,
this is it right here and I have Basic Import.
| | 04:44 | So I have created a new view.
| | 04:46 | Now what I also like to do is add a little bit more standard
information, and then we are going to create a preset also.
| | 04:54 | You know odds are pretty good that, photos
that I add to Aperture are going to be by me,
| | 04:58 | so at least preset I am going to leave
my name there and my Copyright I am going
| | 05:02 | to add a year, right here to the Copyright.
| | 05:06 | City I never know where I was going to be, I am
going to leave that black, State for the most part
| | 05:12 | for this Metadata view, I am going to put USA and if then if
I travel abroad I can a create a different preset for that
| | 05:20 | and we will leave Keywords blank for now because
those will be determined by the photos that we add.
| | 05:26 | Now I am going to go back to the Gear menu,
this time I am going to Save as a Preset.
| | 05:33 | So we have already created a view,
now we are going to create a Preset.
| | 05:36 | Now I will show you how these work
together in just a moment.
| | 05:39 | I am going to call this Basic Import Preset, so we can
tell it a part, although, it does live in a different part
| | 05:51 | of the menu, but this makes it
extra clear, I am going to click OK.
| | 05:56 | Alright, we are all set now, what I would like to do is I am
going to memory card that I have connected to the computer.
| | 06:06 | Just a word here about where I am going to put this.
| | 06:10 | So I have some new shots on this memory card,
right here, and they are not of tide pools.
| | 06:21 | What should I do?
| | 06:22 | Actually they are of the Marina and I think in this case
what I would like to do is create a new project for Marina.
| | 06:30 | So I am going to go up here in New, Project, there
we go and you will see that Aperture is very smart,
| | 06:40 | because all of you are creating a new project
you probably want to put the photos in there
| | 06:43 | and that moves the import area over
to my new project that I have created.
| | 06:47 | Here are my shots, we have talked about where we
are going to store the files and I am going to put
| | 06:51 | in the Aperture Library we have covered all that
I want to go down here to Adding Metadata From.
| | 06:57 | Now, I don't want this All IPTC thing, remember this
eight the bazillion fields, what I want is a little view
| | 07:05 | that I have created and a little preset
that has the information that I want.
| | 07:09 | Here's the trick, now watch closely.
| | 07:11 | This is not magic, this is just good Aperture metadata work.
| | 07:16 | I am going to click on this.
| | 07:17 | I am going to go all the way down, here's my preset and I am
going to click on that, I have my basic information there.
| | 07:26 | Now I am going to go up to my view that
populates my view with my basic information,
| | 07:33 | yet I have these open fields that I can edit.
| | 07:36 | So, I can type in here, some basic caption information.
| | 07:45 | Remember, I can go back and change this later on, so if
don't want this caption for every shot in this upload,
| | 07:52 | that's okay, I will just put something general in here now
and for some specific shots if I want the specific caption,
| | 07:59 | not a problem later on to change that, I am going to
click down here the City beautiful Ventura in California.
| | 08:10 | Ventura, as you may or may not know is the current home of
lynda.com, therefore, you will a certain amount of shots
| | 08:18 | from the area of Ventura, when I am
down here doing photography and Keywords
| | 08:24 | and I can add a few basic keywords right now, if I
want such as Marina and I am not going to add any more
| | 08:35 | because I actually have a whole separate
movie on doing keywords and import.
| | 08:40 | I just wanted to show you that we have this field available.
| | 08:44 | Now, when I click Import All, all of this information
that we have created in the preset will be associated
| | 08:52 | with all of these images and put in this project.
| | 08:55 | Look at all the work that I have done, before I even
open one picture, I mean these pictures are still
| | 09:02 | on my camera's memory card, they are now even in
Aperture yet, but by the time they get to Aperture
| | 09:07 | and I first open them, I would have done a whole lot of work
and this happens very quickly once you set up these presets,
| | 09:14 | then you can use them and get information associated with
your images just like that, just with a snap of the fingers.
| | 09:20 | So what we have done in this movie, is that we have
talked about the value of adding metadata to your pictures
| | 09:27 | on import because it's a very time saving activity,
| | 09:30 | we have created a new Metadata view
that has, just the fields that we want.
| | 09:36 | We have created a Metadata preset, that has filled in a
few of those fields, so that we don't have to type our name
| | 09:43 | and our copyright information over and over again and
then we have called them up, when our pictures are ready
| | 09:49 | to upload and associated that metadata with those pictures.
| | 09:53 | In the next movie we will talk about keywords and then
believe it or not we are actually going to do an import.
| | Collapse this transcript |
| Adding keywords on import| 00:01 | I would like to take a minute to talk about the
value of adding a few keywords during the import.
| | 00:07 | The reason why this important is because you'll know that
every photo that's in your Aperture library will have
| | 00:12 | at least one or two or more keywords associated with it.
| | 00:16 | If you wait until after your photos are in Aperture and
say I'll keyword in a little bit, believe me you are going
| | 00:24 | to have a whole lot of photos with no keywords at all.
| | 00:28 | The problem with that is that later on when you want to
find one of those of photos amidst the thousands of images
| | 00:34 | that you have in Aperture, the once that don't have
keywords won't work when you do a keyword search,
| | 00:39 | so it's very important to have at least a few
keywords with every photo and it's quite easy to do.
| | 00:45 | Now we have out custom Metadata view setup here and I
added Marina a little bit earlier in the previous movie
| | 00:54 | and I am going to add just a couple of more keywords.
| | 00:57 | So as I look at these images before we do any
keyword we are going to just take a quick look.
| | 01:02 | Obviously, I am not going to be able to add things like
water to all these images because this shot has water
| | 01:07 | in the background and this shot doesn't, so water would not
work as a keyword, water would not work as a keyword here.
| | 01:14 | I can't use skull as a keyword because
I have no skulls in these are the shots.
| | 01:19 | So I am going to have to go with some
basic keyword to sort of cover this shoot,
| | 01:25 | so I can add harbor because some days I may be thinking
Marina and other days I may be thinking harbor.
| | 01:34 | Now you'll notice here that Aperture has added some
other keyword for me, that is the Auto Fill function
| | 01:42 | and what happens is when you've done some keywording before
and you are using a similar sequence then it will remember
| | 01:48 | that sequence and add the other keywords
from that sequence, if I don't want those,
| | 01:54 | all I have to do is hit the Delete
key because they're highlighted.
| | 01:57 | So I go oh!
| | 01:58 | No, no, I wasn't thinking that at all.
| | 02:00 | I could just hit Delete and they are gone or
if I want I could just leave them there going.
| | 02:04 | That is exactly what I wanted; thank you very
much for just saving me a few keystrokes.
| | 02:10 | So Ventura and California and USA are also added in this
keyword field, and you go well why are you doing that?
| | 02:18 | You already added them in your IPTC data.
| | 02:22 | That's true, but sometimes when I am doing a specific
keyword search, I like having the geographical information
| | 02:28 | in there also, that just gives me more options, now you
may feel that's redundant and that's perfectly fine.
| | 02:35 | So we will leave the geographical information to you,
but either way you want to have at least one or two
| | 02:40 | or three basic keywords that cover your shoot in there.
| | 02:45 | Now, if you are the type of person that has a lot of
shoots on one memory card, this could present a problem.
| | 02:52 | So I would say that one of the strategies
for working efficiently with Aperture is try
| | 02:57 | to keep one shoot per memory card, then that
will allow you to have some good basic keywords
| | 03:03 | that you can add while you are importing.
| | 03:06 | It makes it a lot easier.
| | 03:07 | So just a review, there is great value in adding
keywords while you import because you are assured
| | 03:13 | that each image will have some keyword associated with it.
| | 03:17 | By creating a custom view and a custom preset, it's very
easy because you have the keyword field right there waiting
| | 03:25 | for you and three, then when you do your import,
if you want you can go back and add custom keywords
| | 03:32 | to specific images later on, it's
just as easy as adding them at import.
| | Collapse this transcript |
| Importing images from a digital camera| 00:00 | In this movie I am going to import a whole bunch
of images from our memory card into Aperture.
| | 00:06 | I am going to start up by going up here to Import and I
have my memory card reader connected with photos on it,
| | 00:16 | but I don't want to import them into Seashore.
| | 00:19 | This is Marina shoot.
| | 00:21 | So, all I have to do is, click on the project where I
want the pictures to go and Aperture is smart enough
| | 00:26 | to follow along with me, so I can tell my
source right here which is the memory card
| | 00:32 | and I can tell the destination, very easy to follow.
| | 00:35 | Now I am going to go over to the
images themselves for a few minutes
| | 00:40 | and then we're going to get into our setup pane right here.
| | 00:44 | Clicking on one image I have some
basic information right here.
| | 00:48 | I can see the filename, I can see the capture date,
the type of file, the size and this dimensions.
| | 00:54 | I am going to come back to this image
information box a little bit later
| | 00:58 | because Aperture will show me some
adjusted information also.
| | 01:02 | I'll click on the gray area and that
deselects that image and we're going to talk
| | 01:07 | about where I am going to store the files.
| | 01:10 | Now, I am going to put them in the Aperture
library, I like the managed file approach.
| | 01:15 | However if I want to have referenced file setup
all I have to do is click on the pop-up menu,
| | 01:22 | figure out where I want them to go, I have a pictures
folder setup on my desktop, I could put them there.
| | 01:29 | If I decided I want them to go somewhere else altogether,
I just go down to the Choose Menu and I get a dialog box.
| | 01:37 | I want to have them in the Aperture library, I
am going to go for the managed file approach,
| | 01:42 | so I'll just leave that checked right there.
| | 01:45 | Now this is a front box right here, If there are duplicates,
in other words if I am importing images on a memory card
| | 01:52 | or having erased of previous import I could
check this box right here and it will make sure
| | 01:58 | that I am not importing any duplicates, no need
to add extra pictures to your Aperture library,
| | 02:03 | believe me, it will get big, fast enough on its own.
| | 02:07 | One of my favorite features on import is
where I get to adjust the version name.
| | 02:14 | Right now, when I click on an image, this
is the filename and if I did nothing else,
| | 02:20 | if I just left it as master filename,
this is how my photos would be named.
| | 02:26 | I would like to adjust that a little bit, I want
a custom label to go in front of the filename,
| | 02:32 | I am going to deselect this, I am going to go to the
pop-up menu here and I have a number of presets here.
| | 02:39 | This is from Apple, except for one, this
one right here, Custom Name with Master.
| | 02:45 | This is one I created myself.
| | 02:46 | I am going to show you how to do that.
| | 02:49 | All you have to do is go to edit and you
get this nifty little dialog box here
| | 02:54 | that allows you to create any type of preset you want.
| | 02:58 | So for instance I created a custom name with preset, I
want to be able to put a label in front of the filename,
| | 03:05 | now let's say that you wanted the master filename in front
of the custom name, you could do that and then if you wanted
| | 03:13 | to go absolutely crazy, you could do something
like add image here, put that right there
| | 03:21 | and now you have created your own custom preset.
| | 03:25 | If I wanted to give this a new label, all I would have to
do is click the plus button and it gives me a new label,
| | 03:32 | and I can add the bubbles that I want, but I am not
going to do that right now and in fact I am going
| | 03:38 | to go back, I like the way I had set up before.
| | 03:42 | So I am going to delete Image Year and I am
going to take Custom Name and move it back here,
| | 03:48 | and then I can just click Cancel
and there is no harm done at all.
| | 03:52 | By the way if you have one of these presets that you
created that you decided you didn't want in the list.
| | 03:58 | Just click on it, hit the minus button and it goes away.
| | 04:03 | I am going to click Cancel because all of this was just to
show you how this works, I already know what I want to do.
| | 04:09 | I want to choose from my preset, Custom Name with Master
and for my custom name, I am going to type Marina.
| | 04:18 | Now how does this work?
| | 04:21 | Well you get to actually preview
what Aperture is going to do.
| | 04:24 | Just click on an image.
| | 04:27 | Now here is the File Name that we saw before, but in red.
| | 04:30 | Now we have the adjusted filename based on what I
setup here in the Version Name in the Name Text.
| | 04:37 | You'll see that you have Marina in front of my master
file name, pretty slick, so you know exactly what's going
| | 04:42 | to happen before you hit the import button.
| | 04:44 | I am going to click on the gray area again and we're
going to move down to the next area, Time Adjustment,
| | 04:52 | boy this can save your bacon, I am telling you.
| | 04:55 | We have a hard enough time changing the time
on the microwave when daylight savings comes,
| | 05:02 | imagine especially if you have a whole bunch of cameras.
| | 05:06 | Imagine, how goofed up your timestamps can be on
all of your cameras or if you travel for example,
| | 05:12 | let's say you have your timestamps correct.
| | 05:14 | You live in California, you fly to New York to take
some pictures and to have vacation or whatever,
| | 05:20 | you take some shots but you don't change
the date timestamp on your camera.
| | 05:24 | All your pictures are going to be off.
| | 05:26 | Aperture allows you to fix that on import is very easy.
| | 05:30 | All you have to do is go from none, because that
leads the timestamp alone to adjust time zone.
| | 05:36 | Now, my camera is set for West Coasts Los Angeles, but
where I actually took the pictures was in New York,
| | 05:44 | so I'll click on this, go to America, go to
New York and now my timestamp will be adjusted.
| | 05:52 | How do I know that's going to work?
| | 05:53 | Let's click on another picture.
| | 05:56 | Here is the file date right here and here is the adjusted
file date that Aperture will fix for me on import,
| | 06:03 | this is a beautiful thing I am telling you.
| | 06:06 | Now we're down at the Metadata field and we've
been doing a little work on this in previous movies
| | 06:12 | and now we're going to benefit from our earlier efforts.
| | 06:15 | I am going to click on my basic import preset
because I've already filled out some information
| | 06:21 | and I don't feel like writing that all again.
| | 06:24 | Then I'll go back to my basic import, Metadata
View and I get some additional fields,
| | 06:30 | plus I have the information from
their preset, that's so nifty.
| | 06:35 | I am going to type in Marina, now I only typed the
letter M because I had typed Marina Shoot earlier
| | 06:45 | in the caption field and Aperture remembered it for me.
| | 06:49 | If I didn't want to use the same caption, I could
just hit the Delete key and type something else,
| | 06:54 | but I like it, so I am just going to leave it alone.
| | 06:56 | Now, you may be wondering since I
only have one image selected here,
| | 07:01 | is all this work only going to be applied to one image?
| | 07:03 | Well let's click on the gray area and see no, so all
this information that we're filling in on this side,
| | 07:11 | this is what will be applied to any
images that we have selected over here.
| | 07:15 | So, if you accidentally have one selected while
you are typing in your Metadata, do not worry,
| | 07:20 | what is important is that you don't have just
one selected, when you actually do the import.
| | 07:26 | That leads me to one other thing, if I only wanted
to import, let's say these five images right here,
| | 07:32 | I could just hold down to Command key, select
these five images and only they will be imported,
| | 07:39 | when I click the Import button and you will
notice that, Aperture keeps track of it for me.
| | 07:43 | So, we have complete control, I need to go,
wait I actually don't want to import this one,
| | 07:47 | hold down the Command key again and
click on it and that will be deselected.
| | 07:52 | Of course you can do the old Mac trick, where you select
one, hold down the Shift key, select the one at the end
| | 07:58 | of the sequence and it will select everything in between.
| | 08:02 | So, this part of the Aperture works just like other
things on your Mac, right now I am going to leave none
| | 08:08 | of them selected and by doing so that means they will
all be imported, that makes perfect sense doesn't it?
| | 08:15 | Anyway so we filled out our caption,
when you come down here.
| | 08:18 | I am going to add my city which is
Beautiful Ventura in California,
| | 08:28 | USA and I am going to add just a few keywords right now.
| | 08:33 | General keywords that apply to all the images
in the shoot, Marina, that's an easy one.
| | 08:39 | Now, I have typed in Marina before so you
notice that Aperture finished it off for me,
| | 08:45 | and I actually did some key wording in two sessions,
so in the second session I had additional keywords.
| | 08:52 | Watch what happen when I type a comma, demo,
I get the rest of my keywords right there.
| | 08:58 | Now if I don't want those, all I have to do is hit
the delete key and I could type something else.
| | 09:04 | But Aperture does remember sequences of keywords and other
text of such as in the caption and it will auto fill for you
| | 09:13 | when you want but it also highlights it when it auto fills.
| | 09:17 | So, if you don't like it, all you
have to is hit the delete key.
| | 09:20 | In this case I do want it, it just saved me
a whole lot of time and I am ready to import.
| | 09:27 | Now I just take one last check of everything, make
sure that my images are going where I want then to.
| | 09:33 | Make sure that none of them are selected, that way they'll
all be imported, make sure that they are going to the place
| | 09:39 | that I want, that they have the right version name.
| | 09:44 | That the time zone is adjusted if needed to be, that I
have the right Metadata, everything looks great to me.
| | 09:51 | I am going to click the Import
button and watch them rolling.
| | 10:04 | After the import is complete, I
get this nifty little dialog box.
| | 10:10 | It gives me a few more options.
| | 10:12 | One is Aperture is asking me, if I wanted to erase the
images on my memory card after they've been imported,
| | 10:20 | I don't want it to and the reason being is
that I have not backed up these images yet.
| | 10:25 | So, if I were to erase the images off the
memory card, they would only exist in one place.
| | 10:31 | If I leave them on the memory card,
I actually have them in two places
| | 10:35 | and then when I backup my Aperture images
then I can take them off the memory card
| | 10:40 | because then I'll have them in two places again.
| | 10:42 | So, this is a big no for me.
| | 10:44 | I could just eject the card.
| | 10:46 | I want to leave it in right now,
so I am just going to go with Done.
| | 10:52 | What I am presented with are all
my images, ready to look at.
| | 10:56 | I am going to make the thumbnails just a little bit bigger.
| | 11:00 | So, we have done a lot of work here on this import
and if you think back to how importing used to be,
| | 11:07 | it could be connecting the memory card and just dragging
the bunch of images into some folder that you may
| | 11:12 | or may not remember where they are later on.
| | 11:14 | This is light years ahead of that.
| | 11:16 | We now know exactly where our images are, they are
keyworded, we have our information added to it,
| | 11:22 | such as our Copyright and then we have keywords.
| | 11:27 | Oh my gosh!
| | 11:27 | Forget about things such as adjusting timestamp
or being able to add a custom file name.
| | 11:35 | This is such an improvement and it really makes
our photography more organized and it allows us
| | 11:42 | to get our work done faster and more efficiently.
| | 11:45 | So, I am a big fan of the import function in Aperture
and I think you will be too once you give it a try.
| | Collapse this transcript |
| Importing iPhoto libraries| 00:00 | In an earlier movie, I showed you how to
import images from a digital camera and we walked
| | 00:06 | through the entire import process from top to bottom.
| | 00:09 | However, you may want to bring in images from an
iPhoto library also. That basic process applies,
| | 00:15 | so if you have any questions about all those details, make
sure that you review importing images form a digital camera.
| | 00:22 | Right now, what I am going to do is show you how to change
the source, so that you can bring in images from iPhoto
| | 00:28 | and still have all those same benefits that you had before.
| | 00:32 | Now I am going to go up instead of just going to the
regular Import arrow here, I am going to go up to File
| | 00:38 | and go to Import here because there are more options.
| | 00:42 | Now if you are bringing in images from an iPhoto library,
| | 00:46 | you may be tempted to choose this option
right here, but actually I don't recommend it.
| | 00:51 | And the reason being is that it will bring
in all of the images from your iPhoto Library
| | 00:56 | and that could be a whole bunch and quite honestly some
of that could stuff you just don't want to bring
| | 01:02 | into Aperture. You know a lot of earlier shots a lot of
test shots and lot of stuff. What I recommend is, instead,
| | 01:10 | you create an album in iPhoto or series of albums that has
your best shots or just the stuff that you want to bring
| | 01:17 | into Aperture and then you can
bring them in album by album.
| | 01:20 | Now you may be wondering well, how do I do that?
| | 01:22 | It's really kind of easy. Instead of going
to iPhoto Library, you just go to Images.
| | 01:29 | And our Import dialog box opens up. I have an external hard
drive here that has a few iPhoto libraries on it and I want
| | 01:38 | to bring in some images from one of those iPhoto libraries.
| | 01:42 | So I click in my iPhoto Libraries. It's this bottom
one that has the shots that I want. I click on it.
| | 01:50 | Now, this is really cool.
| | 01:52 | What we are looking at here, they are not individual images.
| | 01:56 | Aperture can actually recognize albums
created in iPhoto not just individual shots.
| | 02:03 | So, I want to go down here to Titles because
these are the images that I want to bring in,
| | 02:08 | I created these titles in iPhoto, using the Greeting
Card function, that's something that I can do
| | 02:14 | in iPhoto, that's not that easy to do in Aperture.
| | 02:17 | So, I will like to bring them into my Aperture library, by
clicking on the album Titles, then I can see all the images
| | 02:25 | that are inside that album and
just bring those into Aperture.
| | 02:30 | Now, I might not want to bring them into Marina,
| | 02:33 | I may want to create a new project
altogether and have those albums import there.
| | 02:38 | So, pay attention to where your destination is going to be,
| | 02:41 | if it's not exactly where you want,
you might want to correct that now.
| | 02:45 | As I mentioned in the earlier movie,
importing images from a digital camera,
| | 02:50 | you can set up all of your Metadata right here.
| | 02:54 | That is applied to the images that
are coming in from iPhoto.
| | 02:57 | So, this is a stronger way to go, I think because
then you are only bringing in the images from iPhoto
| | 03:04 | that you really want and you are not adding the whole lot
to your Aperture Library possibly, years of photographs
| | 03:10 | and you can do it in a more systematic, organized
way and it's the method that I recommend,
| | 03:16 | for bringing photos in from iPhoto to Aperture.
| | Collapse this transcript |
| Importing images from a hard drive| 00:00 | In earlier movies I talked about bringing Photos in from
your digital camera and from iPhoto, but a very common place
| | 00:06 | where we store our images is on the hard drive itself.
| | 00:09 | So let's bring some pictures in from
the hard drive to our Aperture library.
| | 00:15 | We are going to go up to our Import arrow and since
it's on our hard drive, we can click on local files
| | 00:23 | and I have a bunch of really nice windsurfing images on
my desktop and I would like to bring them into Aperture.
| | 00:32 | You can see they are quite handsome, we will be
playing with these a little bit more later on.
| | 00:37 | So I have my source taking care of, but my destinations are
all wrong and I am not going to bring them in to Marina.
| | 00:43 | I actually want to create a new project called Wind Surfing.
| | 00:47 | So I just got up to New, Project.
| | 00:50 | You notice that Aperture follows the new project.
| | 00:53 | I type in Wind Surfing, we are ready to go on this side.
| | 00:59 | Now over here in our Import area, we're going
to store the files in the Aperture library.
| | 01:06 | So, I am going to go for the managed library
approach that means the files will actually be copied
| | 01:11 | from their original source into the Aperture Library.
| | 01:15 | If I just want to reference them, then I would
change this to reference them in the current location
| | 01:21 | and then Aperture would not copy in the master
files, but it would reference them there,
| | 01:25 | which is great as long as you leave those
files where they are I want to manage,
| | 01:30 | I am going to put them in the Aperture library.
| | 01:32 | I can check the box Do not import
duplicates, just as a safeguard.
| | 01:38 | I am going to leave my master filename as it is, or just
go with this right here, I could however customize it
| | 01:45 | if I wanted, but for now we will
just go with what the camera wrote.
| | 01:48 | There is no time adjustment necessary
so I can leave that as none.
| | 01:53 | I do want to bring in some metadata though.
| | 01:55 | So I am going to use my basic Import field
here, my view that I created earlier.
| | 02:01 | But I didn't take these pictures, someone else did.
| | 02:04 | Chris Mattia.
| | 02:05 | So, I want to add his name and since I am not absolutely
sure what existing metadata he may or may not have in that,
| | 02:13 | it may or may not be consistent
with the way that I run my library,
| | 02:17 | I am going to a click on the Replace instead of the Append.
| | 02:20 | And I am going to a replace the
Byline, I am going to type his name in.
| | 02:27 | He has done some photos for me before so, it auto fills
and I am also going to replace the Copyright Notice.
| | 02:37 | Look at that.
| | 02:39 | Isn't Aperture a beautiful thing?
| | 02:42 | Does all this work for me and we
will leave everything else alone.
| | 02:49 | Now, if he is adding some keywords, I don't have a
problem with that, I just want to make sure that his name
| | 02:54 | and copyright is consistent with
my conventions, which they are now.
| | 02:59 | Now, I am ready to go.
| | 03:00 | I just want to make sure that I
don't have anything selected here.
| | 03:03 | I am going to hit the Import All button.
| | 03:06 | They are rolling in right now.
| | 03:10 | Apertures is building these previews that's why
you see these rectangles, but they will fill in,
| | 03:16 | in just a moment it's really good at getting
those previews up and running very fast.
| | 03:22 | Now let's take a look at our work, so we
click on one image and it will go to Metadata.
| | 03:26 | We will see that we have a Copyright
Notice exactly the way that I wanted.
| | 03:33 | He did have some keywording so, that's pretty terrific.
| | 03:36 | So that shows up right there, everything looks really good.
| | 03:40 | I don't have the Byline field here.
| | 03:42 | If want to add the Byline field to general, all I have to do
is click on Edit General and I could add that Byline field
| | 03:50 | to this view here and it would show up or it could go to
one of my other views, if I wanted to see name and Byline.
| | 03:56 | I don't happen to have that one
here, but I could create that also.
| | 04:00 | Again you can see the flexibility
that Aperture presents you.
| | 04:04 | Everything looks very good.
| | 04:05 | So, now I have successfully imported these images into
my Aperture library and we can use them for our sorting
| | 04:12 | and raving and all the other good things that we
want to do and that I'll be doing in upcoming movies.
| | 04:18 | So, just to reiterate brining in pictures from your hard
drive really isn't different than from an iPhoto library
| | 04:26 | or from your digital camera, it's just a different
source and the process is basically the same.
| | 04:32 | So, if you have any questions about any of the details
in terms of the master filename and things like that,
| | 04:38 | just go back to the movie on importing you images from
your digital camera and I go over all those stuffs
| | 04:45 | in great detail otherwise we are ready to go.
| | Collapse this transcript |
| Importing images from an iPhone| 00:00 | If you have an iPhone, then you know it's a terrific data
capture device and Aperture can read those photos and you can
| | 00:06 | actually use Aperture to organize the images from your
iPhone. It's not that much different than using images from
| | 00:13 | another source. I'll show you real quickly
how it works. I have my iPhone plugged in
| | 00:18 | to the computer, I go up to the Import button.
| | 00:21 | There it shows up, right there,
| | 00:24 | there is my source. Now I may want to create a new project,
iPhone images for example and put them in there. I definitely
| | 00:31 | don't want to put them in Marina, but
for now we will leave this right here
| | 00:35 | and then here are the images from my phone.
| | 00:38 | Now, one of the things that you will notice as I am scrolling
through these, you'll go, why do you have these shots right here?
| | 00:45 | Well remember, the iPhone is a data capture device and it has some
very handy uses. So one of the things that I do, when I'm in
| | 00:54 | a parking garage.
| | 00:55 | Before I leave my car, I take a picture of where my car is
parked. This is really helpful, when you are getting on a plane
| | 01:02 | and you're going to gone for a week and then you come back to this
gigantic parking garage. So if I forget where I parked, was I on
| | 01:09 | the fifth floor or sixth floor? All I do is pull out
my iPhone, look at the last picture I took and there it is,
| | 01:16 | I parked in F on floor six and I know exactly where
my car is. Remember this is a data capture device.
| | 01:24 | Over here on the right side, this is very much the same as
we have looked at before. So if you had any questions about,
| | 01:31 | how to fill out any of the fields here, just go to the
movie on importing from a digital camera and I go over
| | 01:38 | all of this in detail. Once you decide what pictures you want to
bring in, you just click on them. If you have multiple pictures,
| | 01:45 | just hold down the Cmd key and click on it,
| | 01:48 | hit the Import button and they will go to wherever you point
them to. As I said I recommended that you create a new project.
| | 01:56 | And you are ready to go. So, now you have your iPhone images
in your Aperture library, along with all of your other assets.
| | 02:03 | It's a very handy way to keep all of that information organized.
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| Using tethered shooting| 00:00 | A new feature that Apple added with Aperture 2.0
is the ability to tether a camera to your computer
| | 00:08 | and actually see the pictures up
here in Aperture as you're shooting.
| | 00:13 | This is pretty cool. Now it doesn't work with all
cameras, but fortunately, Apple has published a page,
| | 00:18 | that give us a pretty good idea of what
cameras work and what cameras don't.
| | 00:23 | I am going to show you the URL right up here,
| | 00:25 | it's a knowledge document right here it's
support.apple.com/kb/ht1085 and if you go there,
| | 00:36 | you will get some tips on Tethered
shooting and it will list the Canon
| | 00:42 | and Nikon cameras and how they connect to the computer?
| | 00:46 | So, for instance with some Canon
cameras, you use the USB interface
| | 00:50 | and with others, use the FireWire so on and so forth.
| | 00:55 | Now at the bottom of this document it will tell
you, the cameras from vendors other than Canon
| | 01:01 | and Nikon, may work if they are set to use PTP.
| | 01:05 | This also true for cameras made by these manufacturers.
| | 01:09 | For example I am going to show you how this works
with a Canon G9, which isn't in this list right now.
| | 01:15 | So let's get to Tethered shooting, first thing I want to
do is, I want to setup a Project for my Tethered shots
| | 01:23 | and I don't really want them to live the Marina.
| | 01:25 | So I am going to go here to Project.
| | 01:32 | Just create that and make sure that it is
highlighted because when I start the Tethered Session,
| | 01:39 | it will look for the Project that's highlighted and that's
where we will want to put the images and I go up here
| | 01:45 | to File, Tether and I am going to Start a new Session and
of course your camera has to be connected to your computer
| | 01:53 | at this point, or this won't do any good.
| | 01:56 | So make sure your camera is connected, make sure
it's turned on, we are going to start the Session.
| | 02:01 | This is what's becoming a very familiar Import dialog box.
| | 02:06 | We have the Destination, that's correct our
Tethered Images because I have it highlighted.
| | 02:10 | I am going to store the files in our Aperture Library.
| | 02:13 | We will keep them Master Filename.
| | 02:16 | I am going to go with my basic Import Data.
| | 02:19 | But I am going to pre-populate some of those
fields with my Preset and now do Basic Import
| | 02:26 | and we will give it a Caption, excellent
and now I am ready to start the Session,
| | 02:32 | I just clicked the Start Session button and I get this heads
up display, which is pretty handy, has my camera identified.
| | 02:39 | There is my Canon G9, it tells me where things are
going and if I want to take a picture, all I have to,
| | 02:47 | is make sure my camera is pointed in the right direction,
| | 02:50 | settings are the way that I want
and then I push the Capture button.
| | 02:55 | Now Aperture will actually activate my camera, it will
take the picture and then within just a very short time,
| | 03:02 | the image shows up here in Aperture, we will do
another one, I will just change my angle a little bit
| | 03:09 | and I will hit the Capture button,
it will take a second shot.
| | 03:15 | Now the image is also being written to my memory card.
| | 03:18 | So I have it in two places.
| | 03:19 | But this is a very handy technique for if you are
doing product photography or Portrait Photography
| | 03:26 | and you actually want the images to show up in Aperture,
so you can take a look at them as you are working.
| | 03:32 | Once I am done with the Session, I just click Stop
Session and now I am right here in my Library.
| | 03:39 | I am going to go to Metadata and just double
check, make sure everything showed up.
| | 03:44 | There is my Caption, there is my Basic
Metadata, there is my Copyright Notice.
| | 03:49 | I am ready to go.
| | 03:51 | Now I have one more interesting thing to tell you.
| | 03:54 | This technique, believe it or not, works with an iPhone too.
| | 03:58 | The only difference is and this is a
frustrating difference, but as of the recording
| | 04:04 | of this movie that the Capture button didn't work.
| | 04:08 | So even though the iPhone is tethered to your computer,
you actually have to trip the shutter with your finger
| | 04:13 | on the iPhone and I know I can hear groaning right
now because groaned too when I discovered that.
| | 04:20 | Other than that it's kind of fun to shoot with the iPhone
Tethered to Aperture, but for the most part you going
| | 04:25 | to be using a more serious camera and it does
have some very handy uses and if you work
| | 04:31 | in the studio a lot or if you do portraiture.
| | 04:33 | You may want to consider Tether
Photography and Aperture together.
| | Collapse this transcript |
|
|
3. Viewing ImagesWorking in All Projects view (and setting the Key photo)| 00:00 | A new feature in Aperture 2.0 is called All Projects,
and I want to give you a peek at it, right now.
| | 00:07 | I am actually going to show you where it is first,
and then I'll tell you a little bit more about it.
| | 00:11 | We are going to open up a Library here, and you will see,
All Projects sitting right at the top of the Library list.
| | 00:19 | Now this may be confusing at first,
because up here you have All Projects also.
| | 00:23 | But that's a different All Projects, that means all
of these Projects listed here in the Projects pane,
| | 00:31 | whereas this All Projects is a -- kind
of an interesting way to peek inside
| | 00:36 | of the existing projects that you
have, and that its usefulness.
| | 00:40 | Quite frankly, it's entertaining, and is also handy, because
instead of having to click on each one of these Projects
| | 00:46 | to see what we inside, I can just
go over to All Projects and skim.
| | 00:52 | I am just moving my mouse, and as I move my mouse I get
| | 00:56 | to see all the different images
that are in a particular project.
| | 01:00 | So if you will go over here wind-surfing.
| | 01:02 | It could be kind of fun, it's sort
of like a little movie, isn't it?
| | 01:07 | As you watch or when you have these
sequence shots and Marina, same thing again.
| | 01:12 | We are inside the Marina project,
and I get to see all the photos.
| | 01:16 | Now if I find something that I want, for
instance, let's say that I want to work
| | 01:20 | with this shot right here, then
all I have to do is click twice.
| | 01:25 | It opens up that project, and it
takes me to that shot right there.
| | 01:30 | It's highlighted and then I can do whatever I need to do.
| | 01:33 | If I want to go back to All Projects,
I will just click here.
| | 01:36 | Now if I want a different thumbnail for the
project, let's say on wind surfing here,
| | 01:41 | and I want to have a different, what we call a key photo.
| | 01:45 | Then I just skim right through it, and then wait till I find
something that like -- ooh, I kind of like that one there,
| | 01:51 | all I have to do is, stop there, hit the space bar.
| | 01:55 | Now that becomes my key photo for that particular project.
| | 01:59 | This is kind of fun, it's something
that showed up in iPhoto '08 first,
| | 02:03 | and was a very popular feature Aperture has adopted it.
| | 02:07 | I think it does save time, because it does allow you to peek
into projects quickly, and get a feel for what you want,
| | 02:14 | and once you see something that you want,
for instance, if I wanted this photo,
| | 02:17 | then all I have to do is, double-click on it.
| | 02:20 | The project opens and I go right there.
| | 02:22 | So I think it is very handy, and the
fact that it is entertaining also.
| | 02:26 | Hey, you know, it's okay to have a little
bit of fun, while we are doing our work.
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| Using Quick Preview mode| 00:00 | I am going to show Quick Previews right now, and this
is another innovation that Apple brought to Aperture
| | 00:06 | with version 2.0, and it's very good one.
| | 00:09 | The bottom line on Quick Preview
is that it speeds things up.
| | 00:13 | It allows you to work faster than we
could in previous versions of Aperture.
| | 00:18 | I am going to give you a little bit of background
history as to why it works the way that it does,
| | 00:23 | and then I will actually show you how it works.
| | 00:26 | So I have a folder here, a project full of RAW files.
| | 00:30 | These were just captured recently.
| | 00:33 | Now click on one and go to Metadata, and you will see
that they are captured with a Canon DIGITAL REBEL Xti.
| | 00:40 | It's a 10 megapixel camera, in RAW mode, and
so the file sizes are about 8.5 megabytes each.
| | 00:47 | And you can tell it's a RAW file by the .CR2.
| | 00:51 | So these are fairly substantial
files, not huge, but not JPEGs either.
| | 00:57 | So if I am viewing these files on a laptop.
| | 01:00 | Let's say maybe a laptop that's a few years old.
| | 01:03 | When I double-click on one, to see what's going on.
| | 01:07 | You saw that little Loading there, well, that little Loading
can last a lot longer on a computer that isn't as powerful
| | 01:14 | as a desktop machine that I am using right now.
| | 01:17 | That's because Aperture is decoding that RAW file
on the fly, and then presenting me with an image,
| | 01:24 | and it does that every time I go to another image.
| | 01:27 | It's decoding those RAW files on the fly.
| | 01:30 | So we will take this here, I double-click on it.
| | 01:34 | Decoding that RAW file, you saw
there a little bit of loading.
| | 01:37 | Now when you have a whole lot of images, and especially
true for photographers working in the field on laptops,
| | 01:43 | and you need to get your work done quickly, those load
times can stretch out and can actually get in the way
| | 01:49 | of you doing your sorting and your
keywording and your photo editing,
| | 01:54 | all the stuff that you want to do right off the top.
| | 01:56 | And people were complaining that
Aperture seems a little slow.
| | 02:00 | So the way that Apple has addressed that
is it created what we call Quick Previews,
| | 02:05 | and the way that you turn them on is right down here.
| | 02:08 | This little icon right down there, we'll click on
it and when it's yellow, I am in Quick Preview mode.
| | 02:14 | Now let me double-click on an image, and
you will see there is absolutely no Loading
| | 02:18 | at all, and this is on a very fast machine.
| | 02:23 | You will never the see the Loading symbol on Quick Preview.
| | 02:27 | If you are on the slower machine, it's
going to be a substantial difference.
| | 02:31 | Now, so why is Quick Preview faster
than the old way of doing it?
| | 02:35 | Well, what Aperture is doing in Quick
Preview mode is that it is looking
| | 02:39 | for any available Preview JPEG
that's associated with this RAW file.
| | 02:44 | And instead of decoding the RAW file from scratch,
what it's doing is presenting you with the preview.
| | 02:50 | Now when you are first loading your camera images
off the memory card, and you want to start playing
| | 02:56 | with them while the images are still loading,
| | 02:59 | Quick Preview mode then will actually
grab a JPEG that came with your RAW file.
| | 03:04 | A lot of time there isn't JPEG on the memory
card along with a RAW file, and we will use that,
| | 03:10 | and then in the background, it will
continue generating its own previews.
| | 03:14 | Once it has a preview for that image, it will substitute
its preview for any other preview that it's using.
| | 03:20 | So it's very intelligent, always working in the
background, and it allows you to work very quickly.
| | 03:26 | Now I am going to just skim through
a handful of images here,
| | 03:29 | and just show you how fast I can
work, it's incredibly speedy.
| | 03:34 | So if you are rating, and you are doing things where
you are looking for best image in a group of shots,
| | 03:39 | this is very handy, I am going to double-click it again.
| | 03:43 | Now what can't you do while you are in Quick
Preview mode, well, the one thing that you can't do,
| | 03:49 | I'm going to Adjustments here, you
will see that's all grayed out.
| | 03:53 | I have been fooled by this.
| | 03:54 | I've forgotten that I am in Quick Preview mode.
| | 03:57 | Even though there is this yellow
border right here that tells me, hey!
| | 04:00 | Quick Preview mode!
| | 04:02 | And this yellow thing down here, I still forget sometimes,
| | 04:05 | and I'll go to make an adjustment,
and it will be grayed out.
| | 04:09 | So all I have to do is, go out of Quick
Preview mode, the border turns white,
| | 04:14 | and then my Adjustments are available to me.
| | 04:17 | That is basically the only thing
you can't do in Quick Preview mode.
| | 04:22 | Everything else is available to you.
| | 04:24 | I will turn it back on here, or you can add Metadata,
you can Rate your images, you can give them star ratings.
| | 04:33 | You can do all sorts of stuff, just about
anything you need to do, except image edit itself.
| | 04:38 | So you can see where Quick Preview mode would
be a very handy tool for working quickly,
| | 04:43 | and I think it's especially handy for people who have
older machines, maybe a laptop that's a year or two old,
| | 04:49 | but yet they still want to see the state of the art,
Apple software, in order to manage their images.
| | 04:55 | Quick Preview, it's a great addition to Aperture 2.0.
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| Using metadata overlays| 00:00 | I like to show you a pretty nifty
feature called Metadata Overlay.
| | 00:04 | Now you have done some investment in adding Metadata to
your pictures at upload and possibly even afterwards,
| | 00:10 | adding Keywords and Copyright information
and Captions and so forth.
| | 00:14 | This is a way to get sort of a payoff for
some of that work for what you have done.
| | 00:18 | Now there is payoff all along the road
and this will be one of the first ones.
| | 00:22 | I am going to go up to Preferences and we are going
to go the Metadata tab in our Preferences dialog-box
| | 00:30 | and what you can see here, we have
choices for Viewer mode and Browser mode.
| | 00:36 | Now Browser mode is this right here, this is a
Thumbnail view, then of course, if I double click on one
| | 00:41 | of these images then I get Viewer mode, the larger version.
| | 00:45 | So what I can do is I can choose a
Metadata Overlay for each of those modes.
| | 00:50 | So I am going to choose File Info for one
set and then I can toggle between two sets,
| | 00:56 | so it's not like I am just stuck with one choice.
| | 00:57 | I can choose one way to look at my data
and then I can choose a second way to look
| | 01:02 | at my data and then I can switch back and forth.
| | 01:05 | So File Info, that's pretty much EXIF data and then
IPTC that's the stuff that we add on Import and so forth
| | 01:12 | and Keywords and Caption and all that good stuff.
| | 01:15 | So I am going to set this up for both my
Viewer and Browser, set it up the same way,
| | 01:21 | pretty nifty and we also have a List
View, which I haven't talked about yet.
| | 01:24 | But that we will and you can setup
a Metadata Overlay for there also.
| | 01:29 | We are all good to go here.
| | 01:31 | By the way, you get some choices as to where the
placement is; you can place over or below the image.
| | 01:38 | When you place it over, there is actually
some overlap on the image and below,
| | 01:42 | it puts all the Metadata below
it and then you can Show Labels.
| | 01:47 | The Labels I don't like especially
on the IPTC because it will be things
| | 01:51 | like caption, colon and then it has a caption.
| | 01:54 | We don't really need that, I just want the information.
| | 01:56 | So I am turning off the Labels and I
am going to place everything below.
| | 02:00 | We will click.
| | 02:01 | We are ready to go here.
| | 02:03 | So here we go and now we have our File and so
we know that the image number and so forth,
| | 02:09 | but let's say I want to switch Viewer sets, I just go up
to View, go down to Metadata and go change a Browser set.
| | 02:17 | Now pay attention to this Keystroke
command right here, Change Browser Set.
| | 02:22 | Now I have IPTC data showing below there.
| | 02:25 | Now if you noticed that keyboard command, it was Shift+U.
| | 02:28 | I can toggle back and forth between
the two, it gets even more fun.
| | 02:33 | This only from Thumbnail mode, we don't
have that much room to show stuff.
| | 02:36 | But if I double-click look at this,
I have my File Info right here.
| | 02:41 | This my EXIF data and the keyboard command is Shift+Y.
| | 02:46 | Shift+Y allows me to go back and forth.
| | 02:49 | So I can look at my IPTC Metadata, then hit Shift+Y
again and go back and look at my EXIF Metadata.
| | 02:57 | If you forget the keyboard commands, don't worry.
| | 02:59 | Just go back to the View menu and they are right here.
| | 03:02 | Change Viewer Set and change Browser Set
and there are those keyboard commands.
| | 03:07 | So this very handy way to have additional information
available to you, right when you are looking
| | 03:12 | at your photo, is called Metadata Overlay.
| | 03:15 | You set it up in the Preferences, right here.
| | 03:20 | You choose from the various views that you have
already created or that Aperture has provided for you
| | 03:25 | and then you can switch among them, under the View Menu,
going to Metadata or remembering those keyboard commands.
| | 03:33 | It's a very handy and useful tool and you get some payback
right away for that Metadata work what you have done.
| | Collapse this transcript |
| Managing previews| 00:00 | Aperture has the potential to serve as our
database for all of our images that we can share
| | 00:06 | with other applications and outside of Aperture itself.
| | 00:09 | But in order to do that there are few
things that you have to know how to work.
| | 00:13 | At the heart of this is previews and I am going to
show you a little bit about how to manage your previews
| | 00:19 | and how to control them for your own devices.
| | 00:25 | We will start out in the Preferences area here,
under Previews and we talked about these boxes before
| | 00:31 | but essentially, if you want to generate previews
automatically when you bring photos in the Aperture,
| | 00:36 | check this box and if you want to let
Aperture use any JPEG that's available
| | 00:41 | for a preview while it's generating its own, a lot of
times it can steal one from the camera as it's coming in,
| | 00:48 | check that box and then very importantly,
make sure that this box is checked
| | 00:53 | because that allows the Aperture not only to share
the previews that you generate with iLife and iWork,
| | 00:58 | but virtually any application outside of
Aperture, that's a very important box to check.
| | 01:04 | As far as Quality goes, eight is a good place to
start and if you need a little higher quality,
| | 01:09 | if you're going to do some high-end printing or something
with these previews, then you might want to up it to 10
| | 01:14 | or so, but for now I think 8 is a good Quality compromise.
| | 01:18 | Then finally, you have some sizes to choose from,
how big are you going to make your previews?
| | 01:23 | Well, it depends on what you are going to need them for.
| | 01:26 | If you are going to use them for slideshows where
you do a lot of zooming in and work like that,
| | 01:31 | then you might want a little larger preview
such as the 1680 that I have setup here.
| | 01:37 | If you are going to do something that doesn't require
very big previews, let's say just a smaller slideshows
| | 01:42 | or a little 4x6 prints then having a preview
that's fit within 1280 is absolutely fine.
| | 01:49 | We have our set at 1680 right now.
| | 01:52 | I am going to show you how to test
that because you may not remember.
| | 01:55 | You may be changing that preference and you may not
know, well, what size are my previews right now?
| | 02:01 | Here is a quick way to test, all you have
to do is skew Aperture side a little bit,
| | 02:07 | grab an image and then drag it off on to the desktop.
| | 02:11 | Now just the fact that you can do that first
of all tells you, that you have a preview
| | 02:15 | because if you didn't have a preview,
Aperture would not allow you to do that.
| | 02:19 | What you actually dragged out of
the Aperture there was its preview.
| | 02:24 | Now how do you tell how big it is?
| | 02:25 | Well, I am just going to right-click on it, I am going
to open it in Preview, I am going to go up to tools,
| | 02:33 | go to the Inspector and it tells
me that my preview size is 1680.
| | 02:38 | Well, that's what I have set in
preferences so it makes perfect sense
| | 02:41 | that that's the size of the preview that I have right now.
| | 02:44 | But what if I decide those previews are too big and that
I really don't need to be taking up that much disk space?
| | 02:50 | I am going to go ahead and trash this right now.
| | 02:53 | I can actually change the size of
my previews and regenerate them.
| | 02:58 | I am going to go back to Preferences,
change the size of my preview to 1280.
| | 03:06 | Now just by doing that, that doesn't mean that
everything automatically is going to change.
| | 03:11 | I have to force that change to happen.
| | 03:14 | Now I could go up to Images and choose Update Preview,
but I don't really know, when Aperture is going to that
| | 03:21 | because they are sort of batch processes and sort
of stuff and I want that preview updated right now.
| | 03:27 | So what I am going to do instead is hold down the Option
key, go to Images and now that changes to Generate Preview.
| | 03:36 | I will click on that and Aperture will generate a new
preview on the spot for anything that I have selected.
| | 03:43 | Let's double check that to make sure that it worked.
| | 03:45 | I will drag that preview off, right-click on it, open
it with Preview, go to tools here is the Inspector
| | 03:56 | and lo and behold, my preview now is 1280.
| | 04:00 | This is how you control the size of your previews.
| | 04:02 | Now you determine the use for them whether it be
slideshows, greeting cards, prints or whatever.
| | 04:07 | But if you need to change the size of the previews
| | 04:10 | that Aperture is creating for you,
this is the way that you do it.
| | 04:14 | I am going to close this here and I am going to show
you another example of why previews are important.
| | 04:22 | So here is my Aperture library, here
is where I am storing all of my images.
| | 04:26 | What if I want to make a greeting
card from one of these images?
| | 04:30 | Well, I don't have the greeting card
function in Aperture, but I do in iPhoto.
| | 04:36 | Let's launch iPhoto, go down to my dock.
| | 04:40 | If you have that box checked in Preferences that allows
you to share your previews in other applications,
| | 04:46 | when you go to iPhoto for example, under File you
will have this right here, Show Aperture Library.
| | 04:52 | And I click on it and I actually get a browser.
| | 04:56 | Wow! That's pretty cool.
| | 04:58 | And what if I want to make a greeting
card for one of these shots?
| | 05:01 | I will just drag it right into my iPhoto library.
| | 05:04 | Now what comes into my iPhoto Library is that preview,
that's why it's important that you manage them properly.
| | 05:11 | I will go ahead and close this.
| | 05:14 | 1680. That's the size that it came in there.
| | 05:16 | If I wanted to change that size, we know how
to that now in Aperture and now we can go ahead
| | 05:22 | and make a very cool Greeting Card with it or a
Postcard, something that I could not do in Aperture.
| | 05:31 | I can also make a slideshow from that whole project and
use things like the Ken Burns, zoom-in and so forth.
| | 05:38 | So there's a lot of reasons why you would
want to use your previews outside of Aperture.
| | 05:44 | If you are in pages and you want to use Aperture images
in your report, if you are working in keynote and you want
| | 05:50 | to have a presentation, well, where
are all your pictures going to be?
| | 05:53 | They are going to be in Aperture.
| | 05:55 | So you won't have access to them and what these other
applications are going to use are your previews.
| | 06:01 | I will go ahead and get out of
iPhoto, we will back to Aperture.
| | 06:07 | Now I have one more thing that I want to explain to you
about is and if you decide that these previews are taking
| | 06:13 | up too much disk space, you can get rid
of them, you can actually tell Aperture
| | 06:17 | to delete the previews that have already been generated.
| | 06:20 | We will go back to the shot here, I will go up
to Images and now I will select Delete Preview.
| | 06:27 | It's going to ask me, am I sure I want
to do that because once I do that,
| | 06:32 | I cannot share this image outside of Aperture.
| | 06:35 | I will go ahead and click Delete.
| | 06:37 | Now here is the test.
| | 06:39 | If I try to drag this off, I can't do
it because there is no preview at all.
| | 06:46 | I go, oh, well that was a mistake.
| | 06:49 | I think I do want the preview, hold down
the Option key, go back up to the Images,
| | 06:55 | Generate a Preview and I am back in business.
| | 07:01 | Previews, they are very useful.
| | 07:03 | If you want to share your images outside of Aperture, you
need to generate them and now, not only do you know how
| | 07:10 | to create previews, you know how to regenerate them
at different sizes and at different image qualities.
| | 07:16 | You should be able to do just about
anything you want with your Aperture images.
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| Viewing your images using Slideshow| 00:00 | Slideshows are a great way to take a look at your images.
| | 00:04 | Now you have lots of different options
that Aperture provides for you.
| | 00:07 | You can create your own custom
options and you can even add music
| | 00:11 | to your presentation to give you that little extra oomph.
| | 00:14 | I am going to show you how to do that right now.
| | 00:17 | Start off by just clicking on a project.
| | 00:19 | You can click on an album or you can
even just select a bunch of pictures.
| | 00:23 | Make your selection and then you go up to Slideshow.
| | 00:26 | You get this little dialog box and
you click on the pop-up and you see
| | 00:31 | that Apple provides you with some basic starting points.
| | 00:34 | You have Dissolve, so I'll just click Start,
the slideshow begins, you see your first image,
| | 00:41 | the image dissolves into the next image and you are going.
| | 00:44 | Well, that's nice but, that's maybe
a little poky for me, a little slow.
| | 00:49 | I like something a little perkier.
| | 00:51 | Can I create my own custom slideshow?
| | 00:54 | I am going to hit the Escape key to get out of here.
| | 00:57 | Well, the answer happens to be, yes, you can.
| | 01:00 | We're going to go back the slideshow.
| | 01:03 | This time I am going to go all the way
down to the Edit button and look at this,
| | 01:08 | oh boy, we get all sorts of options here.
| | 01:11 | So here are your Presets and you can click on them
and you can see how the parameters change 4-Up Fast.
| | 01:19 | This one is kind of fun.
| | 01:20 | I have to show you this one right now and
then we'll create our own custom preset.
| | 01:24 | Check this out, 4-Up Fast, hit Start, remember how
hard this used to be in the old days when you had
| | 01:32 | to have a whole bunch of projectors and stuff
setup and I mean it would be a whole production.
| | 01:37 | For us now, now a piece of cake, just make a preset.
| | 01:40 | I am going to hit Escape, let's make our own preset.
| | 01:44 | I'll go back to slideshow, go to Edit and
I want to create one that's just for me.
| | 01:50 | So what I want is actually, now I want something
that's kind of perky but just a single image.
| | 01:57 | So I'll click plus.
| | 01:58 | I am going to call this Single
Fast, because I want a slideshow
| | 02:04 | that just motors through my images, so Single Fast.
| | 02:08 | So I am going to show images for a fixed time.
| | 02:11 | Now the other options that I have here are Fit to music,
you go Fit to music, that's right if I choose that,
| | 02:17 | my Items library is available to me and
I can pick songs to go with my images.
| | 02:22 | That's pretty fun stuff, but I
am going to do for a fixed time.
| | 02:26 | Manually navigate images.
| | 02:28 | No, that's too much like just kind
of viewing them in regular Aperture.
| | 02:32 | We're just going to go, Show images for fixed time and I
am going to have that fixed time just like 1.5 seconds.
| | 02:37 | I don't want to loop it, I just want to run one time through
and since I am going fast, I'll just go with good quality,
| | 02:44 | best quality is available and especially if you have
a powerful machine, Best is the great way to go.
| | 02:48 | But if you have a not so fast machine, Good will help
them render more quickly and if you have two monitors,
| | 02:55 | you can play the slideshow on the main one only and
if you want that, just check that box right there.
| | 03:00 | Now I am just going to go with one row and one column,
single image, we don't have to worry about Padding,
| | 03:07 | no Fade Time because I am just going to go, pop, pop, pop.
| | 03:10 | Not any cross fades, I don't want any
transitions, I want something that just motors.
| | 03:14 | I am going to keep it on the black background, but if
I wanted a different background I just click on that
| | 03:19 | and I get the standard colors dialog
box and we're ready to go.
| | 03:23 | I click OK, start my slideshow and off to the races we go.
| | 03:30 | This just gives me a quick view so I can
just enjoy my images and if I am looking
| | 03:34 | for some specific thing then this is a great way to go.
| | 03:38 | I am going to hit Escape, we're out of that slideshow, but
if I want to come back to it, all I have to do is click
| | 03:45 | on slideshow, there is my preset, there are the
other ones and I can create as many as I want.
| | 03:51 | So slideshows are a fun way to look at your images,
they are very easy to do, just pick a group of images,
| | 03:57 | either a project or an album or just select them, go to the
slide show button, either use a Preset or create your own
| | 04:05 | by clicking on the Edit button, click Start,
sit back and enjoy, it's a lot of fun.
| | 04:11 | I hope you will give it a try.
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|
|
4. Comparing, Selecting, and Organizing ImagesCreating Projects and Albums| 00:00 | Projects and albums. I would like to talk about
two of my favorite containers in Aperture.
| | 00:05 | One is projects, which we've been working
with, and the other is albums. which I am going
| | 00:09 | to talk a little bit more about in this movie.
| | 00:11 | First let's start with projects.
| | 00:13 | We've been creating projects all along.
| | 00:16 | They are containers that have everything that we do,
our master images, our versions, all of our metadata,
| | 00:21 | they all live in the project and
to create a new one is very simple.
| | 00:25 | We just go up here, you select Project, you
give it a name and off to the races you go.
| | 00:32 | Now we can put photos in there.
| | 00:34 | I am going to get rid of this project right
now, I just right-click on it and then I go
| | 00:39 | to Delete Project and it's gone, so let's go back to here.
| | 00:43 | Now Albums are subsets of projects and they are nice because
they allow us to group pictures in various ways and to play
| | 00:52 | with them and so forth, but they are
actually just virtual representations
| | 00:56 | of the master files that we have in our project.
| | 00:59 | In other words, you can't screw things
up pretty much when you create an album.
| | 01:03 | So let's create a subset of Wind Surfing.
| | 01:06 | I am going click on the first image,
I am going to hold down the Shift key,
| | 01:10 | click down here and then I simply go to Album.
| | 01:16 | I have a new album that contains the images that I
selected and we'll just call it, Surfing Album, excellent.
| | 01:27 | Now I can do all sorts of stuff here.
| | 01:29 | I can sort my images by image date, by rating
once we rate them, version names, file names.
| | 01:36 | I can go from ascending to descending just by clicking on
this button and I can even move things around manually.
| | 01:44 | I can also delete images as I am looking at things here, so
if I don't like a particular image, I think it's not strong,
| | 01:51 | I just click on it, right-click
and then go, Remove from Album.
| | 01:57 | I'll do that again.
| | 01:59 | Take this one out, right-click, Remove from Album.
| | 02:06 | Now I've only removed the image from the
album, it's still in my project right here,
| | 02:13 | it's still there and I'll show you how that works again.
| | 02:15 | Let's remove 1613, I'll right-click on it
and I'll go Remove from Album, it's gone.
| | 02:22 | Now let's go back to our project here
and there it is right there, 1613.
| | 02:27 | So we haven't removed it.
| | 02:29 | Now if I were working in the project and I
right-click on it and I choose Delete Version,
| | 02:35 | then it's gone because I don't have the Delete
from Album option here, I am in the project.
| | 02:39 | If I delete that version, I'll get a warning sign,
especially if you have that checked in preferences
| | 02:44 | as we talked before, to let you know
that you are taking out a master.
| | 02:47 | That means you are removing that
basically from your hard drive.
| | 02:49 | So you don't want to do that.
| | 02:51 | I think it's safer, to create an album, put your
images in there and then choose Remove from Album.
| | 02:59 | Now you will see that in the right-click window here, we
have Delete Version and you want to stay away from that
| | 03:05 | because it will also remove it from your hard drive.
| | 03:08 | Stick with removing from album.
| | 03:10 | So Albums are a great place to play with your
images, to look at them in different ways,
| | 03:16 | to put together a story board for a slideshow or for
a book, get everything just the way that you want
| | 03:22 | and then once you have the album setup to
your liking, then you can start using some
| | 03:26 | of the other tools that Aperture offers you.
| | 03:29 | Make a book, create a light table, a
web gallery, a web page, all that stuff.
| | 03:35 | Albums are a nice place to get
organized for these other output options.
| | 03:40 | So give Albums a try.
| | 03:41 | Remember, that they are a subset of the Project, that you
create them by selecting the images and going up to Album
| | 03:49 | and that if you remove something from the album,
simply right-click on it and choose Remove from Album,
| | 03:55 | do that and you'll be in great shape
and you will get organized very fast.
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| Rating images| 00:00 | I am going to get to one of my favorite things
in Aperture right now and that's rating images.
| | 00:05 | Now, this is called photo editing and photo
editing is a little different than image editing.
| | 00:10 | Photo editing is like in the old
days, probably before your time,
| | 00:14 | but unfortunately I remember them, where I would take a
bunch of slides, film slides, put them on the light table,
| | 00:21 | have a marking pen and then go through them with a
loupe, look at each side individually and the ones
| | 00:26 | that I liked I would give two dots and the ones
that I really liked I give three dots and the ones
| | 00:32 | that were marginal I give one dot and the ones
that were rejects, I wouldn't give any dots
| | 00:36 | at all. Then I would put them either in the sleeve and
then that way I would know which one were my best slides
| | 00:42 | and then which ones weren't and if I needed to make a print
or create a slide show, then I could grab the versions
| | 00:49 | that had the most dots, pretty good stuff.
| | 00:53 | Wasn't the most fun thing in the word and it's
especially hard on the back on the long day.
| | 00:57 | Aperture makes that easy using a rating system, where
I just get to add stars as I go through the images.
| | 01:03 | Now, the first thing that I like
to do is setup my Metadata overlay
| | 01:07 | for both my browser and my viewer to show these ratings.
| | 01:11 | So, I am going to go to preferences here, we are going
to go to Metadata and I am going to select Ratings
| | 01:18 | from my first set, for both my viewer and my browser,
that way I can see my star ratings as I am making this
| | 01:26 | and ratings, that's a preset, so that will be there
waiting for you, when you are ready to use it.
| | 01:33 | Now, I just changed my viewer set and all I have to
do is just go to View, Metadata, Change Browser Set
| | 01:40 | and I am all ready to go and I am going to hit the V
key, that way I get the combination of an enlarged image
| | 01:48 | and I have my thumbnails down here and
that will make it easy to rate them.
| | 01:53 | Now, I use the star system, go to Metadata and up here
you can see some of the controls we have for rating.
| | 02:00 | You can just hit a number key to assign
a star rating or you can Increase
| | 02:04 | and Decrease the rating using these keys over here.
| | 02:07 | In the beginning, we are going to use
the number keys to rate our images
| | 02:11 | and I am going to show you how this system works.
| | 02:14 | I am going to go through all these
images in windsurfing just once.
| | 02:19 | If it's an image that I like and that I generally want to
keep and possibly will use later on, I'll give it two stars.
| | 02:25 | If it's something that I don't think I am ever
going to use, I don't give it a rating at all.
| | 02:30 | Now, you may be wondering, well why don't you just
give it a final rating the first time through?
| | 02:35 | Well I haven't seen all the shots yet so it's hard for me to
make a final determination just by going through them once.
| | 02:42 | However, if I go through them once, sort of do a little
filtering, then go back through the images again.
| | 02:48 | Then I can apply my final ratings with the
confidence that I've seen the whole shoot.
| | 02:52 | This is very fast and very easy to do.
| | 02:55 | My left hand, I am going to hit the Number key and
my right hand I am going to work the Arrow key.
| | 03:00 | So, for instance, let me move my pointer out of the way
here, I like the shot, I hit the 2 key, I give it two stars,
| | 03:07 | hit the Right Arrow key go to next image.
| | 03:09 | I like it two stars, this one I like it, but
as I look at it enlarged, it's fairly soft.
| | 03:14 | So I am not going to rate it, I go to the
next one, like it, good; good shot, nice shot.
| | 03:24 | This one a little soft again I am not going to rate
it, I am going to hit the Arrow key, go to next one.
| | 03:29 | See that's a sharper version of it, I can
tell already, soft, I am not going to rate it.
| | 03:34 | It's too soft, too soft.
| | 03:37 | Here is a good one, two stars, two stars.
| | 03:42 | Well this is a nice little series here.
| | 03:43 | I like this, two stars.
| | 03:47 | These are all good, this one, it looks like it has a
little bit of flair and I really can't see him no stars.
| | 03:55 | This one doesn't do much from me,
oh I do like this one, two stars,
| | 03:58 | this is like a soft inferior version
of the previous one so, no rating.
| | 04:02 | Here is a good one two stars, two stars, two stars, ooh!
| | 04:09 | look at that one, that one when we go back through the
second time, I will probably give it a higher rating,
| | 04:14 | but for now, I'm just going to stay disciplined.
| | 04:18 | If it's a shot that I want to keep, I give it two stars.
| | 04:21 | If it's a shot that I don't think
I am going to be using, no stars.
| | 04:24 | No stars and this one is too soft.
| | 04:26 | Go to next one, nope, nope.
| | 04:30 | Ooh! I like that one, two stars and the last shot two stars.
| | 04:35 | Now, I have gone through, just change viewing
modes again, I am going to hit the V key
| | 04:40 | and will reduce the size of these a little bit.
| | 04:45 | So, I have two star images and I have no star images.
| | 04:52 | Now, I can do a couple of things here.
| | 04:54 | One of the things I like to do is create an
album with just the images that I want to keep.
| | 04:58 | So, I am going to sort now by rating.
| | 05:02 | I have all my two star images at the top
and then I have no star ratings down here.
| | 05:08 | So, these I don't care so much about.
| | 05:11 | So, I am going to select all of my images
that I've rated and I hold down the Shift key.
| | 05:16 | Now I am going to create a new album.
| | 05:20 | This is one of those uses for albums that's very
handy and I am going to call it, Best Shots.
| | 05:28 | So, these are the surfing shots that
I have given a rating of two stars.
| | 05:33 | Now, what I am going to do since, I've seen
the whole shoot and I have some perspective.
| | 05:37 | I am going to go through it again and I am either going
to increase the rating to three stars or if it's the short
| | 05:42 | that I really like, I can go up to four stars, I
am going to change my Sorting back to Image Date.
| | 05:50 | The reason why I change the Sorting back to Image
Date is that if I change the rating of an image,
| | 05:55 | if I am sorting by rating, it's going to bounce
around and I sort of find that confusing.
| | 05:59 | So once I've made my sorts, then I go back to Sorting
by Image Date and then that way the images just stay
| | 06:04 | where they are, if I change their rating.
| | 06:06 | I am going to hit the V key so I
can get a good look at the image.
| | 06:10 | Now, we are going to a go back through them again and I
have some perspective, I even have few images in the back
| | 06:15 | of my mind that I think are possible four star candidates.
| | 06:18 | So, I am going to hit the Arrow key on this
one because this one remains a two star for me.
| | 06:22 | It's okay, but it's not setting my world on fire.
| | 06:27 | That one is two stars.
| | 06:28 | Still two stars.
| | 06:29 | No changes yet, nothing that's really lightning me up.
| | 06:32 | They are all good shots.
| | 06:34 | I enjoy looking at them, but no
winner shots here yet, no heroes.
| | 06:39 | That one I love the water, but I can't quite see him.
| | 06:44 | No, see now that one, I like that shot there.
| | 06:47 | So, I am going to increase the rating to
three stars, and I am going to hit 3 key
| | 06:50 | or I could hit the equal the equal sign will
do that, and the minus will take it down.
| | 06:56 | So, you can go either way.
| | 06:58 | So, that's a three star. We'll leave that one
a two, two, nice, nice, these are all good,
| | 07:07 | but nothing spectacular there, if
that one were a little sharper.
| | 07:12 | Now, how do I check sharpness?
| | 07:13 | Because rating is a great time to look at that.
| | 07:16 | Here is one way, just put the mouse wherever
you want to check sharpness and hit the Z key.
| | 07:23 | By hitting the Z key you can zoom in
to 100% wherever you put the mouse.
| | 07:29 | If I wanted to check over here, put the
mouse there, hit the Z key and brings in.
| | 07:34 | It's very, very fast way to just
check the sharpness on things.
| | 07:38 | Now, I will also talk about the loupe in another movie-
which is also very handy- but I find that when I am rating,
| | 07:44 | just by putting the mouse where I want and hitting
the Z key for zoom, is actually a faster way to work.
| | 07:49 | So, as I zoom in on this shot, I go not quite as sharp
as I want, at least for a three or four star rating.
| | 07:56 | So, I am going to leave it at too, hit the Arrow
key to go to the next one, we'll keep that a two.
| | 08:02 | Ooh! that one is pretty tempting let's
see how it looks put the Z key on,
| | 08:08 | not bad on the sharpness, not bad
especially for an action shot.
| | 08:11 | I am going to increase its rating to three.
| | 08:14 | Hit the Arrow key, I will move my pointer out of
the way, that one's fine, two stars, two stars.
| | 08:21 | Ooh! that one is exciting, I can tell you right now,
I love that action shot that's a three, two stars.
| | 08:28 | Now, let's zoom in on it just a little bit.
| | 08:30 | Now, I am going to leave it at two stars right now, it's a
good shot, but I will tell you that one is on the border.
| | 08:37 | Oh! I like that one, three stars,
that's a good looking shot, three stars.
| | 08:44 | We have some good looking stuff here.
| | 08:45 | Now, my favorite of this bunch as I go
through them, that really tell the story.
| | 08:50 | As I go back through my three star shots.
| | 08:54 | I have a lot of good ones here, in the three star-ville.
| | 09:03 | That one's fairly awesome. I am going to give that one
a four star rating, so I am going to hit the 4 key.
| | 09:10 | All right now I am going to hit the V key and
we are going to go back to Browser mode here.
| | 09:14 | Now, I am going to Sort by Rating.
| | 09:17 | So, I just bring my scroll bar up to the top, so
I have my best image at a top followed by the once
| | 09:26 | that I think are very strong and then my average images.
| | 09:30 | This is what so much fun now, when it's
time to work with my Wind Surfing shots.
| | 09:36 | Let's say that I want to make a print or that I
want to create a book that has a variety of images.
| | 09:42 | When I come back to Wind Surfing, all I
have to do is look at the star ratings
| | 09:46 | and I know, right away, what the best shots are.
| | 09:49 | This also comes into play for image editing, there is no
reason at all why I would want to spend time image editing
| | 09:55 | in a shot that I clearly don't like and since, I
know now which shots I like and which shots I don't,
| | 10:01 | let's spend the time working on the
shots that have the most potential.
| | 10:05 | So, when we are adjusting our images, we'll be
working with our four and three star images,
| | 10:10 | we know that we have the two star images in our back pocket.
| | 10:13 | We will hang on to the ones that are rated, they
are fine, I am not going to throw them away,
| | 10:17 | but I am not going to spend a lot of time on them either.
| | 10:19 | So, you can see how photo editing can add efficiency to
your work flow, because by doing photo editing you end
| | 10:27 | up spending time on your best shots and not wasting
time on the shots that aren't quite as strong.
| | Collapse this transcript |
| Using the Loupe| 00:00 | I am going to talk a little bit about the
Loupe tool that you will see right up here.
| | 00:05 | This is one of those gee-wiz features like, Oh my gosh!
| | 00:09 | If you want to show off Aperture to somebody the Loupe
tool is probably one of the things that you want to go to.
| | 00:15 | Now what it does is it allows you to have a magnified
view of parts of your image so you can evaluate them.
| | 00:21 | That is sort of the practical side of things.
| | 00:23 | I am going to click on this guy here
and hit the V key or go to View mode.
| | 00:29 | So as I am going to my images and I am rating
them and so forth, I may want to know well,
| | 00:34 | which one of these two images is
the sharper of these two here?
| | 00:38 | So if I Command+Click on this guy, I
can get them side by side and I go OK,
| | 00:44 | but I am looking at them here and
I still cannot really tell.
| | 00:48 | This is where the Loupe tool comes in handy.
| | 00:50 | Now there are a couple ways to get to
it and this little icon that is up here,
| | 00:54 | but the Loupe also lives over here in the View menu.
| | 00:58 | So we have got two places to get to it and you can also use
the keyboard shortcut which is that little guy right there.
| | 01:08 | He is in the upper left hand corner of
your keyboard right under the Escape key.
| | 01:14 | That is how you get the keyboard shortcut for Show a Loupe.
| | 01:17 | We are just going to click on Loupe right now and you can
see it right away and you go oh wow, this looks pretty nice.
| | 01:25 | We are looking at a 100% and I can just move it around,
so I could take a look at that bolt right there.
| | 01:31 | This is pretty good detail and then I could drag
it over here and look at this bolt and tell.
| | 01:43 | So this is pretty handy and right away you go wow, this
is just like a big magnifying glass I can move around,
| | 01:47 | but Apple has really built a lot of functionality into this.
| | 01:50 | You have a little popup menu right here that gives you
more options; I am going to show you those right now.
| | 01:56 | Now if you don't see the pop-up menu right away that
means your Loupe is a little too small in diameter.
| | 02:00 | See what happens if I make it too small?
| | 02:03 | The pop-up menu goes away.
| | 02:04 | So if you don't have that pop-up menu, just pull that handle
out and it will appear when it has enough room to operate.
| | 02:11 | On the pop-up menu, I am going
to start with percentage here.
| | 02:14 | The default is a 100% but you can drop that down to 50%.
| | 02:20 | You can look at 200%.
| | 02:22 | I actually think that 100% is the
most useful view when trying
| | 02:25 | to evaluate your images, so I generally
leave it right there.
| | 02:29 | Going back to the pop-up menu, you have
the Focus on Loupe and the Focus on Cursor.
| | 02:34 | I actually like the Focus on Cursor
and I will show you how that works.
| | 02:38 | So we will just put our Loupe somewhere
let's say right here.
| | 02:40 | Now I am going to change it to Focus on Cursor.
| | 02:43 | So the Loupe stays right here, but watch now,
I can just go over here, look at that bolt
| | 02:49 | and then I can go over here and look at that bolt.
| | 02:52 | It is a lot easier to maneuver.
| | 02:53 | It is a lot easier than dragging
that Loupe all over the place.
| | 02:57 | You just let your mouse button, your cursor be the guide
for your Loupe and you leave your Loupe part where it is.
| | 03:03 | So I think that is a very handy tool and this is the
one that I recommend going to that is Focus on Cursor
| | 03:08 | or if you like the traditional way where you
move the Loupe around, you can do that also.
| | 03:13 | I am going to move it back to Focus on Cursor
because I think that is the niftiest way to go.
| | 03:20 | That way I can just park it.
| | 03:22 | This is kind of fun.
| | 03:23 | You have another option which is Color Value.
| | 03:26 | So if you want to see the color value of a
particular area just put your cursor wherever you want
| | 03:31 | and you will actually get the RGB
color readouts for that image.
| | 03:35 | Now you do not want to leave that on all the time,
| | 03:37 | but if you need to those values then all
you have to do is choose that option.
| | 03:42 | We will turn that off.
| | 03:43 | Now here is one option that I really suggest you
do not choose and I am going to show you why,
| | 03:50 | but we are going to be on Mr. Toad's Wild Ride
for a moment, so I am going to prepare you now.
| | 03:55 | The Centered Loupe is an innovation that
Apple brought a little later in the game.
| | 03:59 | It used to work a different way.
| | 04:01 | So when I click on this I am actually going to
take off Centered Loupe and just watch out here.
| | 04:07 | Alright, now I have this thing here, now this is the
way that you had to use it all the time where what is
| | 04:13 | in this little circle here would get magnified
and it is really crazy and hard to manipulate
| | 04:19 | and then what happens is you do
not have your options available.
| | 04:22 | So if you want to change the magnification
or whatever, that my little menu is gone
| | 04:26 | and you go how do I get my little menu back in?
| | 04:28 | You are just running them up.
| | 04:29 | What you have to do is, is you actually have to go up
here to View, click on it and turn Centered Loupe back on.
| | 04:37 | Relief. So the reason why I am showing you that I do
not suggest that you use it, but just so that you know
| | 04:43 | in case you do, how to turn it off, you just go up here to
View and then make sure that that is showing right there.
| | 04:50 | Now you can change your Loupe scaling here and you actually
get keyboard shortcuts for that and you can also select,
| | 04:56 | Show the Color Value in Loupe, that is in case if that
little pop-up menu for some reason is not working let's say
| | 05:01 | that you have your Loupe a little too small for that,
| | 05:05 | so then you can make those changes
right up here, you can make those thing.
| | 05:10 | But generally speaking, I think the best way to go is make
your Loupe big enough so that you get the pop-up menu,
| | 05:16 | set it up to the way that you like and then you
can turn it off and on with a keyboard shortcut,
| | 05:25 | at the menu or up here in the bar, either way.
| | 05:30 | I am going to turn it off right now.
| | 05:31 | It is a great way to evaluate images and I
have to tell you, it makes a very nice demo
| | 05:36 | if you are introducing the Aperture to some new folks.
| | Collapse this transcript |
| Organizing a series with Stacks| 00:00 | Photographers who shoot a lot of action stuff or portraits,
anything where you end up with using long sequences
| | 00:08 | of shots, will appreciate the Stacks feature in Aperture.
| | 00:11 | It allows you to organize your work into stacks and then
decide which is the best image in that sequence and put it
| | 00:17 | at the top of the stack and then you can collapse
those stacks and you only see your best images knowing
| | 00:23 | that you have other shots behind them in
the stack that you can open up at anytime.
| | 00:28 | So when you have a bunch of shots like this, let's say
we are in the Wind Surfing and when you have a bunch
| | 00:33 | of these sort of shots, you know that there is really only
going to be two or three shots in this whole shoot here
| | 00:40 | that are your best shots that you are going to want to use.
| | 00:43 | You want to keep the other stuff, but you don't
necessarily want to be looking at it all the time.
| | 00:47 | This is where stacks comes in very handy.
| | 00:49 | So let's set up some stacks right now.
| | 00:51 | You can go up to Stacks here at the
top of the menu and I am going to turn
| | 00:54 | on the Auto-Stack feature and you
get this little dialog box here.
| | 01:00 | Now right now I can't do anything because I don't have any
images selected, so I don't get to make any adjustments.
| | 01:07 | So what I am going to do then is go back here in to
the browser, do Command+A and select all of my images.
| | 01:15 | Now the auto stacking feature is enabled, these
are time sequences here so these are all the shots
| | 01:20 | within the 15 second period or
30 second period, 45 and a minute
| | 01:25 | and you can move this slider anywhere
along the scale that you want.
| | 01:28 | I am going to move it over to 15 seconds.
| | 01:33 | By doing so, I've created a number of stacks here,
so here is one stack right here with 12 images in it,
| | 01:40 | here is another stack with 10 images and then
we have one more stack right here with 15 images
| | 01:47 | and we have these little bars in between so we can
tell where one stack ends and one stack begins.
| | 01:52 | Now I think this view is still a little overwhelming
so what I like to do is collapse all the stacks
| | 01:58 | and then just work with them one at a time.
| | 02:00 | So I am going to go down here to close all
stacks, so much easier on the eyes, right.
| | 02:07 | We'll start with our first stack.
| | 02:09 | So all you have to do is click on the
little number and that expands that stack.
| | 02:14 | I still have my other two stacks down here just waiting for
work, but right now I can just work with this one stack.
| | 02:20 | So these are all the images that were
shot within this sequence of time.
| | 02:24 | What I want to do now is determine what is the best image
from this stack and then promote it to the top of the stack.
| | 02:30 | So as I look through these here, this is
a good time sometimes you use the Loupe.
| | 02:34 | I'll just tick my Centered Loupe here,
make sure that it focuses on the cursor
| | 02:43 | and I will just take a quick peek of some of these images.
| | 02:49 | Now that's not bad, that one is a little
softer than I like, oh, that one is too soft.
| | 02:55 | I am looking at my two star images right now.
| | 02:59 | That looks pretty sharp and it has some nice motion.
| | 03:02 | I think that's the one that I want for the pick of my stack.
| | 03:05 | So I'll go ahead and get rid of the loupe for a second.
| | 03:08 | Then all I have to do is select that image,
go back up to Stacks and make it the Pick
| | 03:14 | and here is the keyboard shortcut for that.
| | 03:18 | Now that image goes to the top of the stack and when
I collapse that stack, that is the picture that I see
| | 03:24 | and when the stacks are collapsed like this and I go to do
something with this album, let's say that I want to use it
| | 03:30 | for a web gallery or I want to layout a book or
any number of things, then all Aperture will see
| | 03:38 | and use are my picks at the top of the stack.
| | 03:41 | It will ignore the rest of the stuff and this is very handy
because if you are putting together, let's say a web page
| | 03:48 | and you only want your best shots and you don't want to have
to go through and filter the good shots from the bad shots
| | 03:54 | in any particular sequence, collapse your stacks and then
go ahead and make your web page, design your web page
| | 04:01 | or your web gallery whatever you want
and Aperture will only use the picks.
| | 04:06 | Let's do another one.
| | 04:07 | So open up the Stack right here.
| | 04:09 | This is where the ratings really help.
| | 04:11 | If I have clearly an image that I decide is the best
image in the bunch, then I just have to click on it,
| | 04:18 | make it the pick and now it goes to the top of the
stack and one more time right here by just looking
| | 04:24 | at these things you got a couple of three star images,
| | 04:27 | but I tell you the one that keeps
catching my eye is this guy right here,
| | 04:31 | we're going to make it the pick, collapse the stack.
| | 04:36 | Now you can open your stacks all at once, you can
use the Open All Stacks, that will open everything up
| | 04:43 | and you can close them all at the same time or you can open
and close any particular stack by using the Open Stack,
| | 04:50 | Close Stack and here are all the
keyboard shortcuts for that.
| | 04:55 | Now if you decide that you don't want to use
stacks, that you want to get rid of all of this,
| | 04:59 | then all you have to do is go back to the
Auto-Stack Images and move this over to zero.
| | 05:05 | All the stacks will go away and the images will be sorted
by whatever criterion you have set up here at the top.
| | 05:12 | But for now, we are going to leave these
images stacks because I think it?s very handy.
| | 05:16 | I have all of the stuff that I don't want to
see out of the way and when I open this project,
| | 05:20 | I'll only see my favorites from that shoot.
| | 05:24 | So stacking is very handy again for portrait shooting,
when you have a lot of shots of one person in a sequence.
| | 05:30 | Let's say you are shooting in the Best mode and you
just want to know the best shot from every sequence.
| | 05:35 | It's also very handy in action and sports photography.
| | 05:38 | It's a good feature.
| | 05:39 | You probably won't use it all the time, but for
specific types of shooting I find it very useful.
| | Collapse this transcript |
| Grouping with Smart Albums| 00:00 | We have all sorts of different ways to look at our photos
in Aperture and one of my favorite is Smart Albums.
| | 00:06 | Smart Albums allow me to create a specialized album where
I set various criteria such as rating or some other piece
| | 00:14 | of Metadata or even camera exposure and then it pulls
together all the pictures within that group into one album
| | 00:21 | where I can use them and look at them and then
I can change those criteria whenever I want.
| | 00:26 | Now you can create a smart album within a project and
we will only look at the images within that project
| | 00:31 | or you can create at the Library level which is what
I like to do and what we are going to do right now
| | 00:36 | and that Smart Album will into all of my projects.
| | 00:39 | So I am just going to click on Library.
| | 00:41 | I am going to go up here to New Smart Album and I want
to create a smart album that has my best shots in it.
| | 00:49 | Stuff that's four stars and more.
| | 00:51 | So just give it a name.
| | 00:55 | I will click over here on Rating, is greater or
equal to four because those are my best shots.
| | 01:04 | Click Close and just like that I have a Smart
Album that's looking into all of my projects.
| | 01:10 | You see that we have shots here from both the Wind Surfing
Project and we also have shots in the Marina Project.
| | 01:17 | All my four stars stuff.
| | 01:18 | Now if I were to go into the Marina Project for example
and change the rating of an image to four stars and go back
| | 01:27 | to Best Shots it will up here in the album
and by the same token if I go back to Marina
| | 01:32 | and I demote an image then it's no longer in Best Shots.
| | 01:38 | So as you add pictures to Aperture and you give them four
star ratings this is a living breathing virtual album
| | 01:45 | that you can always go to and have display of the
shots that you want given a particular criteria on.
| | 01:52 | You can use it for search too.
| | 01:54 | Let's go back to the magnifying glass here.
| | 01:56 | We will click on it.
| | 01:57 | That brings up our Filtering panel and let's say
that I want to search by a setting on the camera.
| | 02:06 | So I will go to EXIF data and I
want to search by White Balance.
| | 02:13 | By the way this is a fairly impressive
list and this is only one of the categories
| | 02:18 | that you can use for a Smart Album search.
| | 02:21 | Go all the way down here at the bottom here is a
White Balance and let's say is cloudy and I am going
| | 02:29 | to leave my Rating because I only want to know my cloudy
shots that are let's say three stars or more and I want
| | 02:38 | to choose the criteria that includes both Rating and EXIF.
| | 02:42 | So that will be all.
| | 02:43 | If I wanted to go either way then I would choose
any, but we are going to all and this gives us all
| | 02:50 | of our cloudy shots here that are three stars or
more and if I wanted to up the ante I want to see all
| | 02:58 | of my cloudy shots that are four stars or more.
| | 03:00 | All I have to do is make this adjustment.
| | 03:02 | You can see how quickly this works and how alive it is.
| | 03:05 | A lot of times just have a Smart Album sitting at
the Library level that I can just go to open up,
| | 03:11 | change the criteria to certain thing that I am working
on and then look at those images and the fun thing
| | 03:17 | about Smart Album versus regular search is that even
after you have set it up and done it you can go back
| | 03:23 | and work on some other stuff and your
images are there waiting for you.
| | 03:29 | So Smart Albums they are a virtual collection
that allow you to set various criteria
| | 03:34 | and then it will pull together the images that meet those
criteria into an album that is a living breathing album
| | 03:41 | that will update as you change things in your library.
| | 03:44 | It's a very handy tool.
| | 03:46 | I use it all the time and I think you will too
now that you have seen how wonderful it is.
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|
|
5. Making Basic Image AdjustmentsDefining the difference between master and version files| 00:00 | Before I really roll up my sleeves and get into adjusting
the images, I just want to revisit the difference
| | 00:07 | between the master image and a version of the master
image because there can be some confusion around that
| | 00:13 | in versions are actually a very powerful
part of working with adjustments.
| | 00:18 | So for instance, if I work on this
image here, I am going to hit the V key
| | 00:23 | and I am going to go to my Adjustments palette.
| | 00:27 | Now any change that I make to this image --
let's say that I want to make it Monochrome.
| | 00:35 | Alright, I am not working on a version right now.
| | 00:38 | I am actually working off the master
image and I am making all sorts of changes
| | 00:43 | but remember, Aperture is not destructive.
| | 00:46 | So I am not actually changing the original
RAW file, I am just having fun with my image.
| | 00:51 | All of this work can be turned on
and off with just a simple click.
| | 00:55 | I can go right back to where I was and I could increase
contrast on this shot and I can have all sorts of fun
| | 01:03 | with it and then when I am done, I go back to my thumbnails
and it's a black and white photo, but it's really not.
| | 01:11 | So what Aperture has done is read my original RAW file and
then has taken the information that I've created in terms
| | 01:18 | of adjustments and that's basically overlaid that over
my RAW file and it has generated an image for me to look
| | 01:24 | at here and at anytime that I want, I can go back and just
turn all of that stuff off, so I can turn off the Monochrome
| | 01:32 | and it comes back to color, so it's all there.
| | 01:35 | Where versions comes in is that what if I want to keep
a color version to look at and I want to have a black
| | 01:43 | and white version to look at, at the same time, and I
want to have them side by side and I don't want have
| | 01:47 | to be going back and turning off and on controls.
| | 01:50 | That's where versioning is really handy.
| | 01:53 | So I just right-click on my image and I say, I
want to create a New Version from the Master.
| | 02:00 | It creates a stack here, this is a stack.
| | 02:03 | It creates a stack and then puts
my new version right next to it.
| | 02:08 | Now if I wanted, I could go up here and I can go to
Monochrome Mixer and I could change it to black and white.
| | 02:17 | Let's say black and white.
| | 02:19 | I can add these different filters and I could adjust
the contrast and I could have all sorts of fun
| | 02:28 | to whether I could bring up the shadow a little bit.
| | 02:31 | I am going to hit the V key to bring up
a nicer view of it and too maybe I'll do,
| | 02:37 | maybe a little Definition, which
works in the mid-tones there.
| | 02:41 | And I have something that I like.
| | 02:42 | And I hit the V key again and now I have a
stack with the version that's black and white.
| | 02:47 | This is just a black and white version of this shot.
| | 02:51 | It's not a whole another shot, it's just
metadata, it's just killer bits of information
| | 02:56 | where Aperture has read the original master, created
a version and I can do this as many times as I want.
| | 03:02 | I could if I wanted, I'll right-click on this, now
I could duplicate this version or I could go back
| | 03:08 | and create another version from the master.
| | 03:10 | Let's say I want to duplicate this
version and add some more effects.
| | 03:15 | So now here is my duplicated version and I want to
maybe have a different black and white look to it.
| | 03:25 | Let's say Monochrome with Blue Filter, that's
a whole different look and maybe on this one,
| | 03:32 | I want to open up the shadows a little bit more.
| | 03:36 | We can put these side by side.
| | 03:37 | I will hold down the Command key go to View mode.
| | 03:40 | So I have two different interpretations,
they are both versions and I am not eating
| | 03:46 | up very much space on my hard drive at all.
| | 03:48 | So version is very helpful for having different looks of
your photograph and then that way you don't have to go back
| | 03:55 | and be turning the off and on corrections,
you can just do it.
| | 03:59 | Alright, you can just enjoy it and
just have a mull there in the stack.
| | 04:02 | Then you can even decide which one you like the best
and you can make it the Pick, right in this stack
| | 04:07 | and then we go back to View mode and then when I
collapse the stack, this is the one that I see on top.
| | 04:15 | So this is very handy, very useful tool, I want you
to keep that in mind because when we are playing
| | 04:20 | with our adjustments, remember, you can create
versions of the images, try out new adjustments,
| | 04:26 | try out some of the stuff that I am showing you and
then just have it there in the stack and then decide
| | 04:31 | which one you like best and put it on top.
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| Working with the Adjustments tab| 00:01 | I am going to take a moment and give you
a basic overview of the Adjustments tab.
| | 00:05 | It is here in the Inspector and is one of
the tabs along with Projects and Metadata.
| | 00:09 | At the top of the tab, we have some specific
controls here where we can add bricks.
| | 00:17 | Bricks, what I mean by bricks?
| | 00:19 | Well, these are bricks right here, this is
the Exposure brick, this is the Enhance brick.
| | 00:24 | We have bricks that show up by default and then we
have additional bricks that you can use and up here
| | 00:30 | under the plus sign is where we get to add bricks
that we want to add to our Adjustments tab here.
| | 00:36 | So right now you can see that White Balance, Exposure,
Enhance, Levels, Highlights and Shadows and Color grade out,
| | 00:42 | that's because they are already in the tab here.
| | 00:45 | If I wanted to add for example, Edge Sharpen I would just
select it and it will be added to the brick for that image.
| | 00:54 | In the Gear menu here we have some specific controls.
| | 00:58 | So we are not adding bricks here,
but we can adjust certain things.
| | 01:02 | For example, with the Histogram View I could change
it from Luminance which it is right now to RGB.
| | 01:09 | Now below the histogram we have Auto Exposure and then
we have Auto Levels, both for Luminance and for RGB
| | 01:18 | and these basically are exactly that you open an
image, you click on Auto and you see what you get.
| | 01:24 | Sometimes you like it, sometimes you won't,
beneath that we have the RAW Fine Tuning brick
| | 01:30 | and if you are shooting RAW files, you'll have this.
| | 01:33 | It will identify the camera that the RAW files capture with.
| | 01:38 | It will also give you what version of RAW Fine
Tuning it's using to interpret that RAW file.
| | 01:44 | The default for the current version of Aperture is 2.0.
| | 01:48 | However, if you've upgraded, you may
have some images that were 1.1 or 1.0
| | 01:55 | and the thing is you can switch among
these different types of interpretations.
| | 02:00 | So if you have a file that you've
been working with at 1.1 and you want
| | 02:04 | to see how it will look under 2.0, you can click on it.
| | 02:08 | You can see what Aperture does with it, if you like
it, keep it and if not, you can return it to 1.1.
| | 02:12 | You have a couple of other little controls here.
| | 02:15 | Here is where you get to Reset anything that you've
done in the brick and then you have a Gear menu
| | 02:21 | that usually gives you some context specific
choices and later on, you will see in the bricks
| | 02:26 | that this is where you also get to set presets.
| | 02:28 | So you can set presets for let's say,
certain White Balance settings and so forth.
| | 02:33 | Generally speaking, I would just say about this
brick that the defaults that you are presented
| | 02:39 | with are the defaults that you want to keep.
| | 02:42 | I am going to go through brick by brick in separate movies.
| | 02:45 | But I usually don't do too much
messing around in this brick.
| | 02:48 | I think Aperture creates profiles for all the cameras that
it can read and I think it does a pretty good job of that.
| | 02:55 | If I don't like something particular in the
profile, I can adjust it here in RAW Fine Tuning.
| | 03:00 | White Balance again.
| | 03:02 | We have another White Balance eye dropper here
where we just choose a neutral gray in the image
| | 03:08 | and we can do some White Balance correcting.
| | 03:11 | Now we have our sliders and we have
both the Reset and the Gear menu.
| | 03:17 | Moving on down to Exposure, Enhance -- now one
of things that I will say in this overview is,
| | 03:22 | generally the order that Apple puts his bricks in is
the order that you want to work with your adjustments.
| | 03:28 | So it is quite simply starting at
the top and working your way down.
| | 03:32 | If you want to add an adjustment, let's say that we want to
add a Monochrome Mixer, let's say I want to create a version
| | 03:41 | of this shot, I'll right-click on it and I'll create a new
version for master and let's say that I want to add a brick
| | 03:49 | because I want to do a specific control, I'll just
go up to the plus (+), choose Monochrome Mixer
| | 03:55 | and that brick is added to my Adjustments
Tab and I can work with it.
| | 04:00 | Now you will see that, that brick won't stay there, right.
| | 04:03 | It does away when I go on another image and
then I come back and that brick will be there.
| | 04:09 | Under the Gear menu if I wanted to and this
is new with Aperture too, if I wanted to,
| | 04:14 | if this is the brick that I used all the time, I could
add it to the default set, but I want to caution you
| | 04:20 | against adding too much to your Adjustments
Tab, because it can get cluttered.
| | 04:24 | So if you do add an adjustment to the tab
here, make sure that's one that you use a lot.
| | 04:30 | The other thing I want to show you in the
Gear menu is that if you find a setting
| | 04:35 | that you really like, you can save it as a preset.
| | 04:37 | So let's say that I create a custom black and
white setting here where I like the red --
| | 04:45 | the red is too far there, that's a little too
contrasting, there we go, that's not too bad.
| | 04:52 | We'll do something like this--
no, I will go the other direction.
| | 04:54 | I want to make it a little brighter,
we'll play with the blue.
| | 04:57 | There we go.
| | 04:57 | Let's say that this is the black and white setting that's
my setting and that I want to apply to image after image.
| | 05:05 | Once I get it setup the way that I want, you
can Save it as a Preset, I'll give it a name
| | 05:10 | and we will call it Derrick's B&W,
it shows me the RGB values,
| | 05:16 | I click OK and now it's added to
Gear menu, there it is right there.
| | 05:21 | So let's say that I go back and I just
have a regular Monochrome Conversion there,
| | 05:26 | that's a straight Monochrome Conversion,
but I want to use my special setting,
| | 05:30 | I go to the Gear menu, I choose Derrick's B&W and voila!
| | 05:35 | There we go.
| | 05:36 | So this is the overview of the Adjustments
menu which you see here in the Inspector pane.
| | 05:43 | There is also going to be basically, the same
thing that you'll see in the heads-up display.
| | 05:47 | I am going to click the H key and
here is our heads-up display.
| | 05:52 | Again, same order, same options, same
bricks available, everything works the same.
| | 06:01 | The only difference is that this is a floating Inspector.
| | 06:04 | So if I wanted to work for example, I am
going to hit the F key in Full Screen mode.
| | 06:10 | Now I have my adjustments right here
and I can put them anywhere I want.
| | 06:14 | I am not tied to working within
the former Aperture interface.
| | 06:18 | I am going to hit F again to close that,
I am going to H again to close that.
| | 06:22 | Now we are ready to start working on
the individual adjustments themselves.
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| Reading a histogram| 00:00 | I am going to show you the histogram right now.
| | 00:02 | I think this is a valuable tool for helping you adjust your
images, especially, the Exposure and Contrast and Levels.
| | 00:10 | Now what a histogram is, it's a graphical
representation of all the tones that are in your image.
| | 00:17 | So for example, if your image has a lot of dark
tones, then you'll have a lot of information here.
| | 00:23 | If your image has a lot of bright tones, they will be
stacked up over here on this side and as in the case
| | 00:30 | of this image, if your image has lot of tones in
the middle of the image, a lot of mid-tone action,
| | 00:36 | then you will have a lot of information stacked up there.
| | 00:39 | So a histogram represents the tones in your image and
sometimes it's helpful to help you understand what's going
| | 00:45 | on in your picture by looking at the histogram.
| | 00:49 | Let's take a look at this shot right here.
| | 00:50 | I am going to hit the V key, so we can go to View mode.
| | 00:54 | Now the histogram for this shot shows me
that a lot of the tones are in the middle.
| | 00:59 | So I don't have a lot of dark tones going on and I
don't have hardly anything happening in the highlights.
| | 01:06 | So I can probably increase the pop on this image by making
some adjustments based on what I see in the histogram.
| | 01:13 | Right now, the image is what we will call flat
and when we say an image is flat that means a lot
| | 01:18 | of its tones are piled up in the middle of the histogram.
| | 01:21 | Now the best way to show you these changes is to go to
Levels right down here and I am going to turn them on just
| | 01:28 | by clicking it because in Levels we actually make
our adjustments while looking at a histogram.
| | 01:34 | So I am going to make adjustments to this histogram and then
we'll see the changes reflected in this histogram up here.
| | 01:41 | So here is our image right here, it does look a little
flat, let's start by moving the highlight pointer
| | 01:48 | over to the edge of where the information begins.
| | 01:51 | Now you can see that by doing that, what I am doing is I am
spreading the tonal values out and I am moving tonal values
| | 01:59 | that weren't in the highlight zone before into there
and by doing so, my image gets a little brighter.
| | 02:07 | By the same token, I think I have an opportunity to move
the shadow or the dark pointer over just to the edge of that
| | 02:15 | to bump up those blacks a little bit also.
| | 02:18 | So we see again the histogram up here spreading out and
finally, if I want to make some mid-tone adjustments,
| | 02:26 | I can slide the mid-tone slider and you can
see I move it one way and the histogram,
| | 02:30 | all the mid-tones in histogram slide towards
the dark side and if I move it the other way,
| | 02:38 | the mid-tones in the histogram
slide towards the highlight side.
| | 02:41 | I am going to keep somewhere in the middle here.
| | 02:44 | So now working with the histogram has allowed
me to help understand what this image needs.
| | 02:51 | Now let's look at the difference.
| | 02:52 | I am going to uncheck the box.
| | 02:55 | There is our flat image right where
the tones are stacked up in the middle.
| | 03:00 | Now after an adjustment based on the histogram
here is our new image and it has much more pop.
| | 03:06 | So I am not saying that the histogram should be
your final end all and be all decision making
| | 03:12 | for tonal adjustments, but it's a very helpful tool.
| | 03:15 | Let's look at one more.
| | 03:18 | Now you see on this histogram, a lot of the information
is piled up on the left side so that tells me
| | 03:24 | that this image is dark, it possibly could be underexposed.
| | 03:28 | At the same time we have to keep
in mind this is wood, right.
| | 03:32 | So you want the tonal values for wood are dark also.
| | 03:35 | So we got to keep that in mind
as we work with this histogram.
| | 03:39 | Let's play with the levels a little bit,
let's move our Highlight slider over.
| | 03:44 | Now if we do a standard adjustment, where we just
bring it to the edge of the information technically,
| | 03:51 | you can say that we have a good histogram here because
we have tonal values spread out over the entire graph,
| | 03:58 | but when we look at the picture
itself, that's not exactly what I want.
| | 04:01 | I mean this is wood and sometimes wood needs
to be darker and have deeper texture values.
| | 04:08 | So in this case I wouldn't follow the histogram exactly.
| | 04:11 | What I would do, is actually back
it off a little bit right here.
| | 04:16 | So I am brightening it up a little bit, but I am
not blowing out those things and then I am going
| | 04:21 | to slide my mid-tones a little bit this way here and
try to create a bit of a wood look and I am going
| | 04:29 | to actually clip some of the dark areas
because I want to enhance that darkness.
| | 04:35 | Now this is something probably
a little bit more to my liking.
| | 04:38 | So even though technically, I haven't
done the perfect histogram adjustment
| | 04:43 | or I have data spread all the way across,
I like the way the photograph looks.
| | 04:48 | Let's check our work.
| | 04:49 | So there is our original version,
here is the version after some work.
| | 04:53 | I think it has definitely improved,
but we haven't gone overboard.
| | 04:57 | So the point that I want to make is
that the histogram is a valuable tool.
| | 05:01 | It is a graphical representation of all the tones that are
in our picture and it allows us to help decide the best way
| | 05:09 | to approach the picture when making Exposure adjustments.
| | 05:13 | We'll be using that throughout this training.
| | 05:15 | It's a great tool and I hope you like using it also.
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| Using the Auto settings for Exposure and Levels| 00:00 | Aperture provides us with some nice
Auto Tonal Correction Controls.
| | 00:06 | Primarily we have Auto Exposure, and we have
Auto Levels; both for Luminance and for RGB.
| | 00:12 | I am going to show you how these work.
| | 00:14 | Auto Exposure is exactly that.
| | 00:17 | It worked with this Exposure slider here, which
when you slide in Exposure slider to the right,
| | 00:23 | it makes things brighter, and you go
to the left and make things darker.
| | 00:27 | It's very much like exposure on your camera.
| | 00:29 | If you underexpose a shot, it?s dark,
if you over expose a shot, it?s bright.
| | 00:34 | So Auto Exposure helps correct for that
automatically, and sometimes it works very well.
| | 00:39 | We will take this shot right here, of our flag.
| | 00:43 | Click Auto Exposure.
| | 00:46 | We see that it adds 0.25 amount of Exposure.
| | 00:50 | And that's a very tasteful adjustment in this case.
| | 00:53 | I think that's a good correction.
| | 00:55 | I am going to do Command+Z to undo that.
| | 00:58 | Now let's try Auto Levels.
| | 01:00 | We are going to work in the Luminance channel and
Luminance is of course simply the darks and the brights.
| | 01:06 | Doesn't mess with color at all, we
are only dealing with tonal values.
| | 01:09 | So what Luminance is going to do, let's go down
to Levels here, so we can see it in action.
| | 01:15 | I will setup our Histogram for Luminance.
| | 01:21 | There we go, now we are ready.
| | 01:23 | Basically adjusting the blacks and the whites or
the dark values and the bright values of the image.
| | 01:31 | Click on it.
| | 01:32 | That's a pretty nice adjustment.
| | 01:34 | You can see what it has done is, it's moved the white slider
in a little bit past the edge of the Histogram information.
| | 01:41 | It has brought the black slider up, right to the
edge, and it's a pretty good looking adjustment.
| | 01:46 | I like this approach in this case.
| | 01:48 | Auto Levels for Luminance has done a nice job.
| | 01:51 | I am going to hit Command+Z to undo that.
| | 01:53 | Let's see what happens now when
we go to RGB, Red, Green and Blue.
| | 01:58 | Now it's going to make adjustments in all three channels.
| | 02:02 | That's even a little bit more aggressive,
it's a little bit brighter.
| | 02:06 | Some people will like that look, some
people might feel it's a tad too aggressive.
| | 02:10 | This is really up to you.
| | 02:12 | Remember, once an adjustment has been made, you can
continue to play with it, you don't have to keep it
| | 02:17 | where it is, it can be a starting point, if you like.
| | 02:19 | We are going to undo that.
| | 02:22 | Now, I want to show you what happens
sometimes when these things run amuck,
| | 02:27 | because these are not the final
decision makers in our tonal adjustment.
| | 02:31 | We will take this shot of a kayak right here.
| | 02:34 | That's a fairly nice looking shot right now.
| | 02:36 | Our tonal values are spread pretty much
across the graph here, not too bad at all.
| | 02:41 | So let's see what happens when I do Auto Exposure.
| | 02:45 | Oh my gosh, that is not good at all.
| | 02:48 | That is not a good look.
| | 02:49 | It has taken a bunch of the information
and pushed it way over to the right.
| | 02:53 | Look at this, very strong, 1.36 Adjustment.
| | 02:56 | I don't know what it was thinking, but
obviously it was thinking the wrong thing.
| | 03:01 | So I am going to undo that.
| | 03:03 | Our Auto Levels, that's much more elegant, a much
more subtle adjustment in the Luminance Channel.
| | 03:11 | I am going to undo that.
| | 03:12 | Let's see what happens with Auto Levels in RGB.
| | 03:15 | I think that's the nicest of the bunch.
| | 03:18 | It has nice contrast, it hasn't blown anything out.
| | 03:21 | It's a good looking Histogram.
| | 03:23 | So in this case, I would keep the Auto Levels for
RGB, or maybe even play with it a little bit more.
| | 03:29 | So as you can see the Auto Exposure
controls that we have; both Auto Exposure
| | 03:34 | and Auto Levels, that they are good starting points.
| | 03:37 | You have three different looks that you can
take from, and then you can choose the one
| | 03:41 | that you like and continue to improve it.
| | 03:44 | I don't always use them.
| | 03:45 | Sometimes I will just go straight to Levels or Exposures
and do it by hand, but sometimes when I want to take a look
| | 03:51 | at the possibilities of an image, I will use
these Auto Controls and I find them very handy.
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| Using the White Balance brick| 00:01 | Well let's take a look at the White Balance brick
right here near the top of our Adjustments tab,
| | 00:07 | keeping in mind that we usually work from top
to bottom when making our image corrections.
| | 00:12 | Now White Balance is really a combination of Temperature
and Tint, the temperature running from cool to warm
| | 00:20 | and the tint running from green to magenta.
| | 00:24 | The combination of these two sliders
makes up our White Balance.
| | 00:28 | We also have an Auto White Balance dropper here, and the
way that usually works is that you want to click on it
| | 00:35 | and then find a neutral grey area
to see if I can find something.
| | 00:40 | It's neutral grey here.
| | 00:43 | And give Aperture a whack at correcting it.
| | 00:46 | Now in this case we didn't get a very good auto adjustment
and it actually was heavy handed with the magenta.
| | 00:53 | And you can try it again to find a neutral.
| | 00:57 | That one is a little bit closer.
| | 00:59 | But sometimes you just have to take matters into your own
hands and I think that's what we are going to do right now.
| | 01:04 | So I am going to hit Command+Z to undo that.
| | 01:08 | As I analyze the shot, what I see is what I see often with
water shots where we just have a little too much of blue
| | 01:16 | in the shot, and that's in our Temperature slider here.
| | 01:19 | And the easiest correction, a lot of times is just
simply moving the slider a little bit to the right
| | 01:25 | to bring a little bit more yellow into the shot.
| | 01:28 | So we are actually compensating for that blue cast.
| | 01:33 | Now as I look at green and magenta or the tint part
of the deal, I think we are in pretty good shape.
| | 01:38 | I am not seeing any heavy green or magenta
tint, if I were, I would compensate accordingly.
| | 01:45 | And you're going to find this with White Balance adjustment.
| | 01:47 | You are going to spend a lot more time working
with temperature than you are with tint.
| | 01:52 | A lot of times the tint is fairly accurate, and
this is the temperature that's going to be off.
| | 01:57 | So we have made our adjustment here and what
you are really looking for are a mixture
| | 02:01 | that your neutral tones are neutral in color and then
everything else usually falls into place from there.
| | 02:07 | Now to really bring this home often to really see
the maximum results from your brilliant adjustments,
| | 02:15 | you'll need to do a little exposure
or levels adjustment too.
| | 02:19 | Now, if I click on Levels right here, I am going
to just show you how you can bring those colors
| | 02:25 | to life, those adjustments that you have made.
| | 02:32 | Now we have a shot.
| | 02:35 | Here we were before the White Balance
correction, definitely a blue cast.
| | 02:39 | We eliminated that by moving the
Temperature slider a little to the warm side.
| | 02:46 | And then by making into levels adjustment, we are able
to really show off those color adjustments that we made.
| | 02:52 | Look at how all this has come to life
in here, couldn't really see it before.
| | 02:57 | So Exposure and Levels can really drive home.
| | 03:01 | It can be the frosting on the cake
to your color corrections.
| | 03:04 | So again, White Balance is a combination
of Temperature and Tint.
| | 03:09 | Most of the time, you will be working with Temperature,
every now and then you will be making some Tint adjustments.
| | 03:14 | You can use the Auto White Balance tool.
| | 03:16 | Sometimes it works, sometimes it doesn't.
| | 03:19 | Really the best way to go is to just look at the image,
| | 03:22 | try to figure out where the color
casts are and then correct accordingly.
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| Using the Exposure brick| 00:01 | I am now going to take a look at the Exposure brick.
| | 00:04 | Exposure is really the management of the lights and
the darks in our image just like with your camera.
| | 00:10 | So if you underexpose a shot, it will be dark and
if you over expose a shot, it will be too bright.
| | 00:17 | Now I am going to hit the Return
key to bring us back where we are.
| | 00:21 | Now looking at the image for the most part I like it,
but I think I want to improve it just a little bit.
| | 00:27 | It's a little dull.
| | 00:28 | I think I would like to brighten it up a little
bit and I know that by brightening it up a bit,
| | 00:33 | I am going to lose a little bit more information here
in the highlights which I am already on the edge.
| | 00:38 | But I have other tools in this brick
to help me recover those highlights,
| | 00:42 | and then I do have a little gap in the black point here.
| | 00:46 | So I might want to use my Black Point tool to close that up.
| | 00:49 | So let's get to work here.
| | 00:50 | I am going to slide my Exposure slider.
| | 00:54 | Now that is a little brighter and I sort of like that.
| | 00:56 | It has a little bit more oomph to it.
| | 00:59 | But I have lost some information in my highlights.
| | 01:02 | I have the Recovery slider that's specifically for that.
| | 01:06 | We do not have this in earlier versions
of Aperture, so this is a nice tool.
| | 01:10 | It works best with raw files by the way because
raw files have more information to recover.
| | 01:15 | So I am going to pull that in and as you
see I have recovered highlights right here,
| | 01:20 | right here and even have short this up a little bit.
| | 01:23 | Now I want to just add a little bit of black to the image.
| | 01:26 | Watch what happens to this end of the
histogram when I slide the Black Point slider.
| | 01:31 | Look at that, I get to control just that one spot.
| | 01:34 | So by increasing the blacks a little bit,
I kind of add a little contrast to this.
| | 01:40 | If I wanted to I could brighten it up just
a tad more with the Brightness slider.
| | 01:45 | Although it's a little heavy-handed for this shot.
| | 01:48 | I think I like the exposure better.
| | 01:51 | Alright, let's take a look at what we have done.
| | 01:53 | There is our correction.
| | 01:56 | There is after our correction.
| | 01:57 | Not a huge difference, but this one definitely has more pop.
| | 02:01 | So the Exposure brick is for managing the lights and the
darks, your main slider here is the Exposure slider itself
| | 02:09 | which you also have recovery for recovery
and highlights that have been blown out,
| | 02:13 | usually because you overexpose a little bit or because you
made an exposure correction where you lost some highlight.
| | 02:20 | You have the Black Point slider that allows you to add just
black, so it just works on the left side of the histogram.
| | 02:27 | And you have brightness that is overall brightness control.
| | 02:31 | I don't use it as much as I do exposure because I
think the Exposure slider is a little bit more elegant.
| | 02:36 | You can do a lot of tonal work right here
in this brick using these four sliders.
| | Collapse this transcript |
| Using the Enhance brick| 00:01 | I am now going to take a look at the Enhance Brick.
| | 00:03 | The Enhance Brick follows the Exposure Brick.
| | 00:06 | It allows us to further refine our adjustments.
| | 00:10 | This flag shot here we had done some work earlier.
| | 00:13 | We had used Auto Levels and Auto Exposure on
it and we manage to brighten it up quite a bit.
| | 00:19 | Now uncheck Exposure just so you can
see where we were and here we are now.
| | 00:24 | So we have taken the first step toward improving this image.
| | 00:28 | Now we are going to work on it in Enhance using
the Contrast slider, the Definition slider,
| | 00:35 | the Saturation slider and the Vibrancy slider.
| | 00:38 | Contrast does exactly that it tends to increase or decrease
the contrast in the shot and the way that it works is
| | 00:46 | when we increase the contrast you will see that
it spreads out the histogram in both directions
| | 00:53 | and then you can see how the highlights
and the shadows are emphasized in the shot
| | 00:59 | and when we decrease contrast it collapses the
histogram a little bit and it flatten outs the image.
| | 01:06 | Now we are going to use Contrast on this shot.
| | 01:08 | Normally we are increasing contrast
but I think when we did our Exposure
| | 01:12 | and our Auto Levels adjustment that
the contrast got a little too hot.
| | 01:16 | You will notice here in the histogram
we are clipping our whites a little bit.
| | 01:20 | Whenever you have something banging up against up
the wall there that means you are losing information.
| | 01:24 | In this case, we are losing information
in some of the highlights here.
| | 01:28 | So I am going to use Contrast just to back off our
adjustment a little bit and bring it back into range.
| | 01:36 | It subtle but here is of a high contrast or we are going
to use contrast just to back that off a little bit.
| | 01:42 | So that helps temper some of our earlier adjustments.
| | 01:46 | Definition, on the other hand,
that affects the midtone contrast.
| | 01:52 | So not so much on the edges but it affects
the midtone contrast in the middle here
| | 01:57 | and it's almost always a good thing and it does adds
a little sharpening at the same time and on shots
| | 02:04 | that have this sort of graphical element to
it, they really kind of - it makes it pop.
| | 02:10 | You can see that I am going to -- will click it on and off.
| | 02:16 | I hope you can see it on your screen but the
midtone enhancement of the Definition slider kind
| | 02:25 | of gives a little bit of grit in your middle tones there.
| | 02:28 | Now Saturation and Vibrancy they are two
different approaches to achieving the same thing.
| | 02:34 | Both of them either sort of pump up
the color or they downplay the color.
| | 02:39 | Use Saturation generally speaking for outside shots
like this and generally speaking use Vibrancy for shots
| | 02:47 | that involved people because the difference with Vibrancy is
Vibrancy will protect the skin tones while it enhances the
| | 02:55 | colors in all of the environment.
| | 02:57 | Saturation on the other hand well
just does it across the board.
| | 03:01 | So sometimes the problem with just
using Saturation if there are people
| | 03:05 | in the shot is that it will mess up their skin tones.
| | 03:08 | So they will turn too orange, too
red kind of have that ruddy look.
| | 03:11 | For this shot though we can use Saturation, we don't
have people in there and I am just going to move it
| | 03:17 | over a little bit and just kind of
pump up that color a little bit.
| | 03:21 | Now on the other hand if I felt that
the color was a little too strong
| | 03:24 | in this shot I can slide the Saturation slider
the other way and take it out and almost get sort
| | 03:31 | of a dual tone look here, I want a little color here so we
are just going to pump it up a little bit and I am going
| | 03:37 | to undo it and I will show you Vibrancy also.
| | 03:40 | Vibrancy pumps up also and it's a little bit more
subtle and I think it's a little bit more sophisticated.
| | 03:46 | You will notice with Vibrancy we have
more changes happening over here.
| | 03:52 | Watch how it brings this area to life.
| | 03:53 | Isn't that nice?
| | 04:00 | Overall I prefer the Vibrancy slider.
| | 04:02 | I think it's a more intelligent algorithm and
for this shot we are going to stick with it
| | 04:07 | because it doesn't overdo the reds here as the Saturation
did but yet it bumps up our subtle tones nicely.
| | 04:13 | So we are in very good shape here.
| | 04:16 | We do have the Tint sliders down here.
| | 04:19 | These are advanced controls that we generally keep hidden.
| | 04:22 | Basically what they allow us to do is adjust the
tint in the black, the gray and the white areas.
| | 04:27 | So that would be in the black,
in the gray, in the white areas.
| | 04:31 | For now I am just going to close them and we will work with
just the Contrast, Definition, Saturation and Vibrancy.
| | 04:39 | So you can see the Enhance brick is a very powerful brick.
| | 04:42 | It allows us to adjust Contrast which
works on the ends of the histogram.
| | 04:48 | It allows us to adjust Definition which
works in the middle tones of a shot.
| | 04:54 | It has Saturation which is a little bit more heavy-handed.
| | 04:57 | Sometimes it works great.
| | 04:59 | Sometimes it's too strong especially for people
shots and has Vibrancy which I think is one
| | 05:04 | of the more elegant color enhancers in all
of the Aperture that works on subtle tones.
| | 05:08 | It has a different algorithm and for the
most part I think provides better results.
| | Collapse this transcript |
| Using the Levels brick| 00:01 | I am now going to move down to the Levels Brick.
| | 00:03 | We are going to keep working with this same image.
| | 00:05 | We have done some Exposure adjustments.
| | 00:07 | We have played with it a little bit Enhance and
I still see some opportunity for improvement
| | 00:13 | and I think Levels would be exactly
a right adjustment for that.
| | 00:17 | Now our Levels Brick again, very much works with
our histogram and it allows us to make adjustments
| | 00:23 | in the dark areas, the middle tone
areas and the bright areas of the image.
| | 00:29 | As you see here, we have brought our image a pretty long
ways but we have some gaps here in the dark and the white.
| | 00:36 | You may or may not want to move these adjustments
all the way over to the edge of the histogram.
| | 00:41 | Let's take a look at them and see what we get.
| | 00:44 | I am going to start with the bright area.
| | 00:46 | By the way, I am working in the Luminance channel,
which is mainly adjust (Ph) the brights and the darks
| | 00:51 | and this Levels control that we
have seen in Photoshop for years.
| | 00:56 | The easiest way to work in Levels, if you like
working in RGB you can switch to that or you can work
| | 01:02 | in the individual channels and when
you work in the individual channels
| | 01:06 | by the way, you will really change the color.
| | 01:09 | So you are not working with Luminance any more,
| | 01:11 | you are actually working adjusting the red,
adjusting the green, adjusting the blue.
| | 01:15 | If you know what you are doing I
think this is a very powerful tool.
| | 01:19 | Let me undo this.
| | 01:20 | For most of us though working in Luminance, just working
with the lights and the darks, it's the best way to go.
| | 01:26 | I am going to move our highlights right here.
| | 01:28 | We are just going to bump those
up a little bit and I like that.
| | 01:33 | Just needed a little bit of brightening
and let's take a look here at our darks.
| | 01:41 | What happens is, for me anyway, as I look at
this image and especially looking in here,
| | 01:46 | I bring those darks over to the edge too much.
| | 01:48 | I think I am losing a little too much information.
| | 01:52 | I kind of like the darks backed off.
| | 01:54 | Maybe just a little bit here.
| | 01:57 | So I am not going to move the darks all the way
over and then we look at the midtone adjustment here
| | 02:04 | and I do want to move the midtone adjustment.
| | 02:07 | So just brighten it up just to
here, just something like that.
| | 02:11 | So you can see where levels kind of allows us to fine tune,
they kind of get in there and make smaller adjustments
| | 02:19 | to the Exposure and the Enhance
adjustments that we have already made.
| | 02:24 | Let's turn Levels off just to see where it gone.
| | 02:27 | You could see when you compare now that this duller
and this has a little bit more brightness to it.
| | 02:33 | So we have adjusted the Exposure, we have enhanced
it a little bit with some of these other controls
| | 02:41 | and now we have pretty much finished it off with levels.
| | 02:43 | I think we have a pretty good looking shot and again,
levels is our ability to work directly with the histogram
| | 02:51 | to adjust the darks, the lights and the midtones.
| | Collapse this transcript |
| Using the Highlights and Shadows brick| 00:01 | The Highlights and Shadows control are very helpful
especially for dealing with contrasting situations
| | 00:07 | such as this shot here taken during the middle of the day.
| | 00:10 | We have some dark areas that are in shadow.
| | 00:13 | There is some very bright sand here and I think we
could improve it using the controls in this brick here.
| | 00:19 | Now before I explain those controls, for this shot I want to
go to full screen mode and we will use the heads-up display.
| | 00:25 | I have a little change of pace here.
| | 00:28 | So I am going to hit the F key to
bring this to full screen mode.
| | 00:32 | I am going to hit the H key to bring up our Inspector.
| | 00:38 | Now we can get a good look at what we are doing
and we will go down here to Highlights and Shadows.
| | 00:44 | There we are.
| | 00:44 | So basically we have two sliders in Highlights and Shadows.
| | 00:48 | The Highlights slider works with the very bright
areas trying to recover information and again,
| | 00:54 | this works best on Raw files because there is more
information to recover and the Shadows of course,
| | 00:59 | works in the dark area and it's trying to
recover detail in the dark areas of the shot.
| | 01:04 | Let's start with the bright areas here,
which are clearly a little blown out.
| | 01:09 | This is sand here and maybe we can
bring back some of that texture.
| | 01:12 | So I will just move my Highlights slider here and
look at that suddenly before we didn't even know
| | 01:21 | that there is a line of foam here at the water?s edge
and by recovering some of that information, that's nice.
| | 01:29 | So now we have sand that is sand color.
| | 01:33 | We can see that little bit of foam
that was along the water?s edge there.
| | 01:37 | We have recovered information in this part of the shot
here and it's a lot easier on the eyes quite frankly.
| | 01:42 | Now we have some shadow areas here.
| | 01:44 | Let's see what we can do with that.
| | 01:46 | We are just going to open those up a little bit and
we can bring back some detail in those areas also.
| | 01:57 | Before very contrasting, I tell you when you shoot
in mid day and especially when you have bright areas
| | 02:03 | and dark areas it can be very difficult
to control that range.
| | 02:08 | So with Highlights and Shadows control we can
control the highlights, bring back the detail,
| | 02:13 | bring back some of the life to the shadows
and see everything that's going on.
| | 02:18 | Look at this.
| | 02:18 | We even have a gull up here.
| | 02:19 | We probably didn't even know that we had him before.
| | 02:22 | Now I do want to alert you that there
are some Advance controls inside of this.
| | 02:28 | Most of the time you won't need to go into them but you
do have things such as Radius, which means exactly that.
| | 02:35 | So if you think about how much of an area your
corrections are going to affect, that's the radius.
| | 02:41 | So you can see how the radius affects, how it spreads out.
| | 02:49 | Generally speaking I leave Radius alone but if
you want a fine tune your controls it little bit,
| | 02:55 | the radius can help with that.
| | 02:58 | Color Correction, I don't normally see a
whole lot of changes do the color correction.
| | 03:07 | Then it has High Tonal Width and this is
really it like a contrast adjustment here.
| | 03:11 | So if that you want to add a little contrast
or flatten it out a little bit you can do that.
| | 03:19 | We will leave it right about there.
| | 03:21 | Midtone Contrast, if you want to make your
shot look bad really fast go too far on that.
| | 03:30 | This affects the overall picture here.
| | 03:33 | So we are going to bring it right
back right in here, there we go.
| | 03:39 | It's funny.
| | 03:39 | Just look at that.
| | 03:40 | Just a little bit that's too contrasting.
| | 03:42 | We have lost some of the work we have done.
| | 03:44 | Just going to bring it back right about into there.
| | 03:47 | Then you have Low Tonal Width also.
| | 03:50 | You can see that doesn't affect the bright areas
very much but it does affect the shadows areas more.
| | 03:56 | Again, these are all little fine tuning sliders.
| | 03:59 | For the most part, you will be able to work just with
your Highlights and Shadows slider but if they come close
| | 04:05 | and you just feel like you need to
kind of finish it off a little bit,
| | 04:09 | you can open up the Advanced area here
and play with those Advanced sliders.
| | 04:13 | So again, Highlights and Shadows are great way to recover
information in your bright areas, in your dark areas
| | 04:20 | and it's especially helpful when you take
pictures during the middle of the day
| | 04:24 | and it got those harsh shadows to deal with.
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| Using the Color brick| 00:00 | Let's take a look at the Color Brick right down here.
| | 00:03 | Well, I tell you this is a fun area.
| | 00:05 | This is more fun than playing with
Crayola crayons and more powerful tool.
| | 00:10 | So what we have in the color brick is that we have some
predefined colors here that we can work with, a red, yellow,
| | 00:17 | green, blue, a dark blue and a
magenta and in the earlier versions
| | 00:22 | of Aperture we were limited to
just working with these colors.
| | 00:26 | So you would look at your image and
go oh, I want to work on the yellow.
| | 00:30 | There is a lot of yellow and you could play with
the Hue which would be changing its actual color.
| | 00:36 | You could work with the Saturation of that color
which makes the color more intense or less intense.
| | 00:44 | You could work with the Luminance and that would
make it brighter or darker and then the Range sort
| | 00:49 | of allows you to shift it all one way or another.
| | 00:52 | So we have these basic sliders.
| | 00:55 | The thing that happened in the later versions of Aperture is
that now we also get the eyedropper that allows us to click
| | 01:02 | on a particular color and work just with it.
| | 01:05 | So we are not limited to the predefined colors
in the Color Brick and this is very powerful.
| | 01:10 | So let's walk through it with this shot right here.
| | 01:13 | Now I would like to go to full screen mode because it's
fun and I think it will be great way to look at this image.
| | 01:19 | So I am going to hit the F key.
| | 01:20 | There we are in full screen mode and I am going
to hit the H key to bring up the heads-up display
| | 01:25 | and here is our Color Brick right down here.
| | 01:29 | But we have some yellows here.
| | 01:30 | Now I could sample them but I could just pick the yellow
brick itself and I can play with the Hue of those yellows.
| | 01:39 | I can make them more green or more red.
| | 01:43 | Now you will notice as I make these changes here
| | 01:47 | that if there is some yellow tone
in other colors it will affect them.
| | 01:52 | It might be slight but there could be some
spillover just something to be aware off.
| | 01:58 | I am going to -- I want to take out
some of the green and that yellow.
| | 02:01 | I want them have them a little bit more toward the red side.
| | 02:04 | Now I can increase here Saturation.
| | 02:06 | I can go too far when I increase the saturation.
| | 02:10 | That's like sunglasses saturation or I can actually
make them very faint and virtually have them blend
| | 02:16 | in with the white little gooey things there.
| | 02:18 | I am going to take more of a conservative
path and bring them right into there
| | 02:23 | and then I can make them lighter or darker.
| | 02:28 | I don't want to make them too dark.
| | 02:29 | I want to have a little brightness something just like
that and of course, I could play with the range of all
| | 02:35 | of my adjustments and as you slide you can see that
it affects the hue and some of the brightness too.
| | 02:46 | So we are going to just kind of leave it where it was.
| | 02:48 | So that's great.
| | 02:50 | So as long as you have these primary
bricks in your photograph you are
| | 02:53 | in great shape, but what if you have a color like this.
| | 02:56 | It's sort of an odd color.
| | 02:58 | I don't know really exactly what this color
is and that's what the eyedropper is for.
| | 03:03 | I am going to click on the eyedropper
and I am going to click on an area
| | 03:07 | in this odd color and now look what happens.
| | 03:13 | It sort of changes to an orange.
| | 03:15 | So I have created a custom color that I can play with now.
| | 03:22 | Now you will notice also that there is
a little bit of effect on the yellow
| | 03:26 | because that color had some yellow in it.
| | 03:28 | So I am going to take the Hue leave it right
in there and I am going to saturate these guys.
| | 03:34 | It really brings them up something like that.
| | 03:39 | We are going to make them a little bit
brighter and then we have the Range.
| | 03:46 | I am going to leave the Range right there.
| | 03:50 | Now one thing that you will notice that when I did the
custom color on this, I still had my brick on the yellow.
| | 03:57 | So the custom color picker will change that whatever
brick you have highlighted to the custom color.
| | 04:04 | So I have actually lost my yellow control because I
left it on yellow when I click on the custom color.
| | 04:11 | Those are couple ways that I can fix that.
| | 04:13 | One is to go to another brick, click here and
click on my yellow to bring back my yellow.
| | 04:20 | So you see you have a lot of versatility here
and if you make a mistake nothing to worry about,
| | 04:25 | Aperture gives you a way to fix it and what I want to do
I still think there is a little too much green in there,
| | 04:31 | so I just want it back that off a little
bit and now we are in pretty good shape.
| | 04:35 | Now we have actually added real oomph to this shot.
| | 04:38 | Here is how it looks before.
| | 04:41 | It looks pretty flat by comparison and here we are now.
| | 04:45 | We didn't do exposure, we didn't do enhance, we
did nothing but work with the actual color itself.
| | 04:51 | Now this is a pretty compact nice looking view.
| | 04:54 | A great way to work with all these controls.
| | 04:57 | If you like to have more of an expanded view however,
you can go up here to the Expanded View icon.
| | 05:04 | Click on it and what it will do is it breaks all of
these out into the little individual mini bricks.
| | 05:11 | There is a different way of looking at
it and if you have a lot of real estate
| | 05:14 | or if you like looking at things this way, it's terrific.
| | 05:17 | I think for most of us so the collapse view.
| | 05:20 | There is a more efficient and then the other thing that I
want to remind you about and this is in all of the bricks
| | 05:26 | that if you find a correction that you really like and that
you want to hang on to it and apply to other photographs,
| | 05:32 | just go to the Gear Menu and save it as a
Preset and it will show in this list right here.
| | 05:37 | So that's our Color Brick.
| | 05:39 | It gives us lots of control.
| | 05:40 | We can control Hue, Saturation, Luminance and Range.
| | 05:44 | We can work with standard color options
or we can use the color picker to work
| | 05:48 | on a specific color that isn't in our Color Brick line up.
| | 05:51 | It gives us a lot of power and the ability to work on
specific areas of our photograph without having to go
| | 05:57 | into Photoshop and do layer mask and things such as that.
| | 06:01 | Good tool, I really like a lot
and I use it almost all the time.
| | Collapse this transcript |
|
|
6. Making Additional Image AdjustmentsUsing the Retouch brick| 00:00 | I am not going to move down to the Control Bar here because
we have lots of amazing tools down in this area here
| | 00:07 | and I am going to start with one of the most
amazing of the bunch and that is the Retouch tool.
| | 00:13 | This is something that everyone wants to do and in prior
versions of Aperture the Retouch tool wasn't nearly
| | 00:20 | as robust and we ended up having to go to other applications
such as Photoshop to do our retouching and the cloning work.
| | 00:28 | No more. This is a very strong tool and I
am going to show you right now how it works.
| | 00:32 | I am going to go to full screen mode on this image.
| | 00:35 | So I am just going to hit the F key, take us to full
screen mode and we have up here our Control Bar appears
| | 00:44 | when I move the mouse up to the top so we can get
to all of our Control Bar tools and I am going
| | 00:48 | to pick the Retouch tool which is right here and we
get a little heads-up display for the Retouch tool.
| | 00:55 | Now we have two areas for it.
| | 00:57 | We have Repair tool and basically what the Repair tool does
is it allows us just to click on a spot that we want to fix.
| | 01:04 | Aperture reads the area around that spot,
picks up both the texture and the tone
| | 01:10 | and the color and then makes the repair for us.
| | 01:13 | It's fairly amazing stuff and then we have the Clone tool,
| | 01:16 | which allows me to pick an area
of the image and then clone it.
| | 01:21 | So I can fix something.
| | 01:22 | I can fix like a stain or something like that by picking
up information from the area right next to the stain.
| | 01:29 | I am going to show you both right now.
| | 01:32 | We have three controls Radius, Softness and Opacity.
| | 01:37 | Radius will be of course, how big the diameter
we are going to do for our correction.
| | 01:43 | Softness has to do with the edges of the correction
and usually right around here 30-40 is nice.
| | 01:50 | It gives us a little softness around the edge but
not so much to where it looks like we are retouching
| | 01:55 | and then Opacity is if you want a 100% repair,
| | 02:00 | you want to see some of the previous information below
it then you would lower your opacity to 50 or so.
| | 02:08 | Most of the time you are going to have your opacity over
here at 100 which means it's a full repair at 100% Opacity.
| | 02:16 | Now when we are working with the Repair tool, I recommend
that you check the box Automatically choose source.
| | 02:22 | That lets Aperture figure out what information
it's going to use to make the repair.
| | 02:26 | It's very good at that.
| | 02:28 | So why not let Aperture do that and then
Detect edges, which is absolutely amazing?
| | 02:34 | It allows us to make repairs right next to an edge.
| | 02:37 | Actually, let me show you that right now.
| | 02:40 | I want to fix this little spot right here.
| | 02:42 | I want to take that out.
| | 02:44 | Now this normally could be very difficult because it's right
up against the edge of the kayak here and to just repair
| | 02:51 | that with the round tool can just make you crazy.
| | 02:53 | The first thing I want to do is I am
going to reduce the Radius just a bit.
| | 02:59 | Right here I am going to make sure I am in Repair mode
and then make sure that I have Detect edges checked.
| | 03:05 | Now I am going to go right go right over this here.
| | 03:08 | Now I have to dip down into the kayak
a bit in order to cover my spot here.
| | 03:14 | Hopefully Detect edges will work and it will
only repair the wood and not the kayak itself.
| | 03:20 | So here we go.
| | 03:21 | I am going to click on it and wow, check that up.
| | 03:24 | That spot is completely gone yet it
didn't migrate at all into the kayak.
| | 03:30 | A nice clean right on the edge repair.
| | 03:34 | It really doesn't get any better than that.
| | 03:36 | Now the Clone tool also works pretty well.
| | 03:38 | I am going to click on that right now.
| | 03:40 | Let's say that I wanted to clean
up a little bit larger area.
| | 03:44 | Let's say this stain that's over here.
| | 03:47 | I just want it to look like the wood that's next
to it and that can be a pretty tough order here.
| | 03:53 | Let's see if Aperture is up to it.
| | 03:55 | I want to increase my radius so
that it's a little bit bigger
| | 03:59 | so that I can cover as much of that stain as possible.
| | 04:02 | So I am going to adjust the Radius just a little bit.
| | 04:06 | I want it be able to cover the spot that's
I can without too much extra information
| | 04:11 | and then I am going to pick up at right here.
| | 04:13 | This is going to be my sample area and hold
down the Option Key and sample it and click.
| | 04:18 | Now I am going to move directly over to
the side and I am going to go to work.
| | 04:27 | It's absolutely amazing.
| | 04:31 | The way that it works here.
| | 04:33 | Very good.
| | 04:34 | Now I am just going to clean this up right here.
| | 04:36 | Look at that, water stain all gone, beautiful cloning.
| | 04:44 | It clones exposure.
| | 04:45 | It clones texture and it clones color.
| | 04:48 | It's very effective and you can adjust the Opacity,
Softness and the Radius all three controls.
| | 04:56 | So the Repair tool works for just taking out spots.
| | 04:59 | It's really good if you have sensor dust in
the sky, you can just use the Repair tool
| | 05:04 | and just click-click-click-click-click on that
sensor dust and it will take it right away.
| | 05:09 | And then if you have a little larger
area that you have to repair something
| | 05:13 | like this water stain in the wood, go to the Cloning tool.
| | 05:18 | Hold down the Option Key, select your source and go to work.
| | 05:22 | I will tell you this will save you a lot of Photoshop work.
| | 05:25 | You can stay right here in Aperture
and work quickly and efficiently.
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| Using the Spot and Patch brick| 00:00 | Right next to the Retouch tool in the Control
Bar here we have the Spot and Patch tool.
| | 00:06 | Now the Spot and Patch tool was actually
in Aperture from the very beginning.
| | 00:11 | To be honest with you a lot of people really didn't
like it very much and they found it hard to use
| | 00:16 | and as a result we ended up giving0:20 the Retouch tool
which we know works wonderfully and is a beautiful tool.
| | 00:24 | However, Apple did not remove the Spot and Patch tool when
they brought in the Retouch tool and I guess we figure
| | 00:31 | that some folks like using it and that it does
have a few more controls than the Retouch tool.
| | 00:37 | So I am just going to give you a quick look at it right now.
| | 00:40 | I think for the most part the Retouch
tool is going to do the job for you
| | 00:43 | but we will take a quick peek at Spot and Patch.
| | 00:46 | I am going to click on the icon right here and it brings
up this little heads-up display and the first thing I have
| | 00:54 | to do is decide on the radius of my correction.
| | 00:58 | I thought I would work on this right here.
| | 01:01 | We will try to get rid of this
rusty bolt seems like a good thing.
| | 01:07 | I am going to close Spot and Patch for a second.
| | 01:09 | Let's zoom-in on.
| | 01:10 | Let's have some real fun.
| | 01:11 | I will put my mouse pointer right here.
| | 01:13 | I am going to hit the Z key, there we go.
| | 01:16 | Now we get a good look at it.
| | 01:18 | Now we will hit the Spot and Patch and reduce
a radius a little bit something like that.
| | 01:27 | What do you say?
| | 01:27 | So the first thing what you do is you just click
on this area and you get this yellow circle.
| | 01:34 | Oh boy, that doesn't look very good at all
and that's what you get right out of gate
| | 01:39 | and this is what I think freaks people out in the past.
| | 01:43 | At the same time, you get a new brick over here in
your Adjustment Palette where you can kind of try
| | 01:49 | to fix these things here and the first thing I
want to see is all the detail has been wiped out.
| | 01:54 | So I will go to the Detail slider here
and I will move it back the other way.
| | 01:59 | I am going to bring back some detail but
by doing so I get that nasty bolt back.
| | 02:09 | Softness, I know softness helps a little bit.
| | 02:16 | Here is our detail.
| | 02:18 | It's getting a little bit better.
| | 02:20 | I am running out of tools here to work with
though and I think that's just about it.
| | 02:28 | So when you get in close it doesn't look so good.
| | 02:31 | If we zoom-out again, if I hit the Z key you will
notice that it's not quite so bad but you can see
| | 02:37 | that it's not nearly as effective as our
Retouch tool and sometimes it can fix areas
| | 02:43 | like for instance, when you are working in the sky.
| | 02:45 | I think it works a lot better because you
don't have as much texture to deal with,
| | 02:49 | so that little bit of blurring isn't too bad.
| | 02:51 | I am going to go ahead and just reset it right now.
| | 02:54 | We will bring back our bolt and you have the Patch tool.
| | 03:02 | This is sort of like the cloning tool that we had before
or you can actually pick an area and you want to try
| | 03:15 | to find something where the texture is kind of the
same, something like that and try to match it up.
| | 03:23 | I am going to zoom-in on that.
| | 03:27 | Now you see that's a lot better.
| | 03:29 | So you can save the Spotting tool for working in the skies
and areas where you don't need to have the details much.
| | 03:36 | When you need to hold on to the texture and thing like
that, the Patch tool is a much more effective way to go
| | 03:44 | and then when you done with it and you want all that
stuff to go away, all you have to do is just click
| | 03:50 | on the X right here and there is your correction and
if you want to bring it back just click on it again.
| | 03:57 | You can make your adjustments.
| | 03:58 | Try to line things up a little
bit there, something like that.
| | 04:04 | I will click on that.
| | 04:07 | That's not too bad.
| | 04:09 | Well, except when you back off like there.
| | 04:12 | So you can see the downside of the Spot and Patch tool.
| | 04:15 | In all honesty, I could tell you I have tried to work
with this and it could be that I am just bad with it
| | 04:21 | but a little search on the internet sort of
shows that a lot of people feel the same way.
| | 04:25 | So there is my look at the Spot and
Patch tool and my recommendation is
| | 04:30 | if you have an area to fix, use the Retouch.
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| Using Straighten, Crop, and Flip| 00:00 | We are going to have a little fun
now actually playing with our image.
| | 00:03 | We are going to straighten out a horizon, we are
going to crop it and we are going to flip it around
| | 00:09 | and flip is actually new to Aperture 2.0.
| | 00:12 | I am going to show you all three right now.
| | 00:14 | Let's go to full screen mode just because it's more fun.
| | 00:17 | I am going to hit that F key and we are in full screen mode.
| | 00:20 | Now the Straightening tool which will allow
me to fix this crooked horizon right here.
| | 00:25 | It's up here in the control bar.
| | 00:27 | So as I go up to the top of the screen,
here is our Straightening tool right there.
| | 00:31 | I just click on it and I get this little
up and down arrow and watch what happens.
| | 00:35 | I am just going to hold down my mouse button.
| | 00:37 | I get a nice grid and all I have to do is
just line up that horizon with the grid.
| | 00:45 | That's fabulous and the cool thing about Aperture is that
it crops and straightens at the same time and if you don't
| | 00:51 | like exactly what you did, you just click on it
again and- til you get it the way that you want.
| | 00:59 | Something that will work.
| | 01:02 | There we go.
| | 01:03 | We're all now nice and straight so
we're straightened and we're cropped.
| | 01:07 | And what I mean by cropped we haven't
done a physical cropping yet
| | 01:10 | but when you straighten something you
are actually rotating the image around.
| | 01:13 | And in the old days then you have this cockamamie
thing and you have to go and crop it yourself.
| | 01:18 | Aperture takes care of that for you so that when you
take your finger off the mouse button it just fixes it.
| | 01:23 | So you are ready to go.
| | 01:25 | Now let's say that I want to crop
a little bit of this area here.
| | 01:28 | So I am going to go back up to the control
bar and I am going to choose the Crop.
| | 01:31 | I am not going to constrain it in the beginning.
| | 01:35 | Here is a little Crop heads-up display.
| | 01:37 | I am just going to pick an area that I want
and I can do anything here that I want.
| | 01:42 | So I can make a shot something like this.
| | 01:46 | When we hit the Return key it's going to crop
my image and now I have really zoomed-in on it.
| | 01:52 | I have mentioned a couple times that Aperture
workflow is nondestructive and what I mean by that all
| | 01:59 | of these instructions that we are doing regardless
of the tool that we are using totally nondestructive.
| | 02:05 | The Cropping tool is I think the most visual
way to show how nondestructive Aperture is,
| | 02:10 | because in Photoshop now I would have save
this file, all that information that used
| | 02:15 | to be part of the picture has been thrown away.
| | 02:18 | Look what happens in Aperture.
| | 02:19 | I am going to go back up to the Cropping
tool, click on it, it's all still there.
| | 02:24 | I can change my mind.
| | 02:27 | I haven't lost anything.
| | 02:29 | All of my information is always right there waiting for me.
| | 02:33 | Now I do want to mention about constraining.
| | 02:35 | We can constrain to different sizes.
| | 02:38 | For instance, if you know you are going to
be making 5x7 you can just constrained to 5x7
| | 02:44 | and then that way however, you move this thing.
| | 02:47 | You will remain in those exact proportions and so
that your prints will fit nicely so and if you want
| | 02:52 | to go 7x5 you just click this thing right
here and it turns it right around for you.
| | 02:58 | So we can now make it vertical that's pretty nifty.
| | 03:02 | I hit the Return key.
| | 03:04 | Now it will already looking better.
| | 03:05 | I want to show you one more thing and
this is new in this version of Aperture.
| | 03:11 | I can flip now.
| | 03:12 | So I am going to bring up my heads-up
display here, up here under the plus symbol,
| | 03:19 | I have the Flip brick say that really fast a bunch of times.
| | 03:25 | Right there, it flips the image for me and it gives
me a brick and I have some choices how it flips.
| | 03:31 | I can flip it horizontally.
| | 03:34 | I can flip it vertically.
| | 03:36 | I am not sure why it wants to do that.
| | 03:37 | Let's see what's been surfing down under, oh ouch that hurts
or I can just go back to regular horizontal or if I want
| | 03:49 | to take off the flip altogether, I just uncheck the box.
| | 03:53 | So you have flipping, you have cropping and you
have straightening all of them are nondestructive
| | 03:59 | and they really allow you to tighten up the image,
straighten it out if it just oriented the wrong way.
| | 04:04 | Say that you want this picture to be
on a magazine spread and you want it
| | 04:08 | on the other side, simply flip it and you are in business.
| | 04:12 | Now I will tell you one thing about flipping
watch out for lettering it can embarrass you.
| | 04:19 | So that's all I have to say right now about all
that stuff but remember Aperture is nondestructive,
| | 04:24 | so anything that you do you can undo later on.
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| Using the Red Eye correction tool| 00:00 | So, I've imported some new shots into our Aperture library.
| | 00:04 | I have got some cool kids shots here, and
one of them has this tremendous red eye.
| | 00:09 | I mean you can probably see it appearing
out at you right now as we speak.
| | 00:13 | So, this is a good opportunity to look at
the Red Eye Correction tool and Aperture,
| | 00:18 | and that's what I am going to do right now.
| | 00:20 | We'll click on our red eye boy here,
and I am going to hit the V key.
| | 00:26 | That way I can bring it up, get a better look at
it, and this is a major does of red eye, I tell you.
| | 00:33 | You're not going to see anymore red eye
than what we have here in this shot.
| | 00:37 | And this is a good opportunity for me to talk about the
best red eye correction in the world is actually prevention
| | 00:44 | because you'll see that the Red Eye tool is nice, it works
well, but preventing red eye gives you even better results.
| | 00:51 | So if you have the opportunity to turn up the lights in
the room or may be have your subject look at a bright light
| | 00:58 | and then turn back to you or not shoot
directly into your subject's eyes
| | 01:03 | and these are all mainly with a point/shoot camera.
| | 01:05 | You are better off trying to prevent
it at capture then correct it.
| | 01:09 | However if that fails, we have the
Red Eye tool right here in Aperture.
| | 01:13 | I am going to click on it right now, and basically what
you want to do is set the radius of your correction,
| | 01:20 | so that it covers best you can the red eye area and trying
not to overlap into the non red eye part of the eye.
| | 01:28 | So let's take a look and see how we did here.
| | 01:31 | Something like this should work.
| | 01:34 | So all I have to do is to center it right over the area
that I am working, and I click, and I get the correction
| | 01:43 | and then I'll go to the other eye and do the same thing.
| | 01:46 | They're usually the same diameter.
| | 01:47 | I usually don't have to change that diameter, and click.
| | 01:52 | And then, when I close the Red Eye tool
here, those little yellow things go away.
| | 01:58 | Now because we've been working on this
photo, you'll look at it and you'll go ooh,
| | 02:02 | I can still tell that that's a corrected red eye shot.
| | 02:05 | And that's true, you as a photographer will know that.
| | 02:08 | However, a lot of people when they look at
the shot, they won't think much about it.
| | 02:13 | And one of the tricks I have is, don't point it out.
| | 02:15 | Don't say, Hey!
| | 02:16 | I corrected this with a Red Eye tool and then
they'll be-looking at the eyes and then go, Oh!
| | 02:20 | Well that kind of worked.
| | 02:22 | So you're really best to say nothing.
| | 02:24 | Let them look at the rest of the shot, and enjoy it.
| | 02:27 | The Red Eye Correction tool is a good tool to use
when you have no other course, but for the most part,
| | 02:33 | try to prevent it upfront, and I think
you'll be more happy with your results.
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| Using the Lift and Stamp tool| 00:00 | Lift and Stamp is a very powerful tool in
Aperture that allows us to take the information.
| | 00:07 | It could be image adjustments, it could be
keywords, it could be all sorts of stuff.
| | 00:12 | That way you have apply it to one image and then apply it
to any number of images without having to do it manually.
| | 00:18 | So it's a time saver.
| | 00:20 | It's a bit of an automation.
| | 00:21 | I am going to show you Lift and Stamp in adjustments here
because it will knock your socks off but we can also use it
| | 00:29 | for other things also and I would
reiterate that as I get through this movie.
| | 00:33 | So what I mean by that.
| | 00:35 | So let's a take a look at this image here of the kayaks.
| | 00:38 | So I have done some work on this image.
| | 00:40 | I have made some Exposure adjustments.
| | 00:42 | I have done some Enhance adjustments.
| | 00:45 | I have a done a little Levels work and you can see
that this shot looks different than its counterparts.
| | 00:52 | Now if I wanted to have these other shots look the
same as this shot or at least have the same adjustment,
| | 01:00 | does that mean I have to go through
and remember these settings here,
| | 01:04 | oh Exposure is 0.49 and I did Definition at 0.42.
| | 01:10 | Do I have to go through and remember all that
stuff and then manually apply it to these images.
| | 01:15 | Of course not.
| | 01:16 | Aperture would never let you do that.
| | 01:17 | It is much smarter than that.
| | 01:19 | Instead I select the image and I go
down here to the Lift and Stamp tools.
| | 01:25 | Just click on it and I get the
heads-up display for Lift and Stamp.
| | 01:30 | I will just move that over here.
| | 01:33 | So you can see that we can lift Adjustments,
IPTC data, Keywords, all sorts of stuff
| | 01:39 | and you just click the box and
that turns all this off and on.
| | 01:44 | Right now, I just want to lift my Adjustments that I did on
this image and then stamp them on to the other two images.
| | 01:52 | So now I will click this image and I will hold down
the Command Key, click this image and then I just click
| | 01:59 | on Stamp Selected Images and just like that Aperture
goes to work and applies those same adjustments
| | 02:07 | to these other two images and you
can do this for all sorts of images.
| | 02:11 | You can also do this for Metadata and Keywords.
| | 02:14 | It's a very powerful tool.
| | 02:17 | Now you don't even have to use these little guys down here.
| | 02:21 | I am going to hit Command+Z to undo what
we did and instead I am going to click back
| | 02:28 | where we want to lift and hold down Shift+Command+C.
| | 02:34 | That's the keyboard shortcut for Lift and Stamp and then
I just select my two images and then go Shift+Command+V
| | 02:45 | and just like that it applies it to them.
| | 02:47 | This is a very powerful tool.
| | 02:50 | I will try to remember to mention it
again when we get to some Metadata stuff
| | 02:54 | but right now you can see the application
| | 02:57 | for when your image adjusting a lot of
images that have the same qualities.
| | 03:02 | You get one the way that you want it and then all you
do is lift those adjustments and apply it Stamp it
| | 03:09 | to the other images and you have just
saved yourself a whole bunch of time.
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| Using the Rotate tools| 00:00 | Down here next to the Lift and Stamp tools
| | 00:04 | are the Rotate tools. Now I don't know if you've ever had this problem.
| | 00:08 | Have you ever shared a camera with somebody, and especially if
it's a girlfriend or a boyfriend or a spouse or someone, it seems
| | 00:15 | like you always hold the camera one way
and they always hold the camera the other way?
| | 00:19 | So the pictures can come in sort of cockamamie. So for instance,
| | 00:23 | if I shot this shot, I would have it this way,
because my way is going to be the right way.
| | 00:30 | But the other shot may come in
| | 00:32 | like this, for the person who holds the camera the other way.
| | 00:35 | So how do you fix this? It's very easy in Aperture,
I am just going to take a minute to show you.
| | 00:40 | We have the Rotate tools to rotate counterclockwise
| | 00:44 | and to rotate clockwise and all you
have to do is just click on your image,
| | 00:49 | hit the Rotate tool,
| | 00:50 | to go where you want and that's all there is to
it. So you have Rotate tools for both directions.
| | 00:56 | This will help preserve the harmony in relationships
where one person holds the camera one way
| | 01:01 | and the other person holds the camera the other.
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| Using Vignette and Devignette| 00:00 | Two new tools in Aperture that I really
like a lot allow us to control the darkness
| | 00:06 | and lightness on the corners of our photographs.
| | 00:08 | It's a very handy tool.
| | 00:10 | One is the Devignette tool, and that's a correction
tool and that happens when we have a filter ring
| | 00:16 | that maybe it's too thick for a wide-angle
lens or a lens fit that doesn't fit right
| | 00:20 | and we get some of that darkening in the corners.
| | 00:23 | You may have seen that before.
| | 00:24 | So the Devignette tool allows us to correct that, and
then we have an artistic control called the Vignette tool
| | 00:31 | that allows us to create an effect where we darken the
outside of the photograph and it allows us to focus more
| | 00:38 | on the center of the image, and I want
to show you how that works right now.
| | 00:41 | I am going to hit the V key to bring up this image, and
we will start with the artistic tool, the Vignette tool,
| | 00:49 | and you have to go up to the plus sign up here.
| | 00:51 | It's not a part of your original set
of bricks, and I will choose Vignette.
| | 00:58 | So the tool is added down here.
| | 01:02 | And what you have is you have two types of
corrections or two types of effects I should say.
| | 01:07 | These are effects, not corrections.
| | 01:10 | One is Gamma and the other is Exposure.
| | 01:12 | Now the Exposure is more subtle and the
Gamma has a little bit more intensity.
| | 01:19 | Generally speaking I find myself using the Gamma
because when I am using the Vignette tool I am trying
| | 01:24 | to create an effect and I sort of
like the intensity of the Gamma.
| | 01:28 | So you have the Amount so you can control how much
| | 01:31 | or how little vignetting occurs,
and you can see this on the corners.
| | 01:38 | Look here with a fair amount and
then you can also control the Size.
| | 01:41 | So you can go very heavy.
| | 01:43 | Look at that, where you really--
it's pronounced at this point
| | 01:47 | and you are saying, I am making an artistic statement here.
| | 01:50 | I am doing something that I want you to
notice, or you can have it more subtle
| | 01:55 | where it's just improving the photograph, but the
viewer won't really think about how you improved it.
| | 02:01 | So we'll do something like this
here, and let me show you the effect.
| | 02:04 | I am going to turn it Off and On.
| | 02:06 | Now you notice there are changes to the
histogram when we create this effect
| | 02:12 | and you really see it when we use a Devignette.
| | 02:17 | So you are actually changing the tonal values
of areas of the photograph with this tool.
| | 02:23 | So leave that on.
| | 02:25 | Now what I want to do is we'll leave Vignette On because
let's say that we have this problem that we captured
| | 02:31 | with a wide angle lens and we want to correct it now.
| | 02:34 | Even though it really isn't a problems. It's an effect.
| | 02:37 | I am going to darken the corners a little bit more.
| | 02:41 | Okay, so we have created a Vignette effect, and
now let's say that we want it to correct it.
| | 02:47 | So we will go up here and we will
choose Devignette and it shows up.
| | 02:53 | Now this is very similar except you
are working in the opposite direction.
| | 02:58 | You can have the Amount.
| | 03:00 | We will give full amount and the Size.
| | 03:04 | Now we will look at that histogram.
| | 03:08 | In this case, it's really shoving all that information
over to the right and how you are seeing that reflected
| | 03:14 | in the image, these bright areas are
going to get very bright, very bright.
| | 03:21 | Now you could use this as an effect, probably not as
often as you would with the Vignette tool, but again,
| | 03:28 | it allows you to control the tonal values on the
corners of the image, and it's also very effective just
| | 03:35 | when your lens does something that you don't want
it to do, you can correct it pretty nicely here.
| | 03:40 | I am going to turn off the Devignette tool.
| | 03:43 | We will go back to our effect, and by the way, if
you want to eliminate a brick from the line up here,
| | 03:49 | all you have to do is select it and
hit the Delete key and it goes away.
| | 03:53 | It goes back up here where you can
store it nice and neat and tidy.
| | 03:58 | So now we will go back.
| | 03:59 | Here is our Vignette tool.
| | 04:00 | I think this is the effect I want.
| | 04:02 | I like it because it's drawing my eye
to the center of the photograph here.
| | 04:06 | So these are two new bricks that we have in Aperture 2.
| | 04:10 | The Vignette tool is an artistic effect and we
have the Gamma which is stronger and the Exposure
| | 04:16 | which is more subtle, and the sliders
to help control the amount and size.
| | 04:20 | And then if we do get Optical Vignetting
that we want to get rid of,
| | 04:25 | we have the Devignette tool and
it's right up here in our lineup.
| | 04:29 | Both are great tools.
| | 04:31 | Play with the Vignette tool especially;
I think you will like it.
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| Using Monochrome, Color Monochrome, and Sepia| 00:00 | Once upon a time making black and white images
from our color shots was just a lot of work.
| | 00:06 | It would be like these complicated Photoshop recipes that
you have to follow up to end up with good looking black
| | 00:12 | and white, not just converting something to gray scale
but something had real black and white qualities.
| | 00:17 | Well, Aperture has given us some great tools for doing
that very same thing and they are easy to use and what I
| | 00:23 | like to do is l like to show you how to convert an image
to Monochrome, to Color Monochrome and then also Sepia.
| | 00:30 | And what I am going to do is I am going to work
with this shot here and this is a great opportunity
| | 00:34 | to talk a little bit more about versions because I
want to have black and white or monochrome versions
| | 00:41 | of my shot but I want to keep my color too.
| | 00:43 | So we are going to create more versions for this
shot and then we will have them all in the stack
| | 00:48 | and then we can pick whatever we want,
we want to use when we want to use it.
| | 00:52 | So let's get started.
| | 00:53 | The first thing what I am going to do is I am going to click
on the shot and then I am going to right-click on the shot.
| | 00:58 | I am just going to make a New Version from Master and
this I will use for my first black and white conversion.
| | 01:05 | So we will click on that now and I
will just hit the V key to pull it up.
| | 01:10 | Down here you can see here is our
original shot and here is a version of it.
| | 01:16 | Go up to Adjustments, the plus sign and go to Monochrome Mixer.
| | 01:21 | We will pull that up in the palette and right away we
get a monochrome conversion but we can finetune this.
| | 01:30 | Here is the basic Preset Monochrome.
| | 01:33 | You can see it's pretty nice.
| | 01:35 | It's out of the shoot.
| | 01:36 | It looks good and then we have some options.
| | 01:40 | If you have ever shot black and
white with film then you know
| | 01:43 | about using a red filter and an
orange filter and yellow filter.
| | 01:46 | Well, we have those built into Aperture.
| | 01:48 | So if I want to do Monochrome with a red
filter conversion or an orange filter,
| | 01:55 | all I have to do is click on those
Presets and I get what I want.
| | 02:00 | Now I like the Orange version conversion here but
let's say that I want to adjust it a little bit more.
| | 02:07 | Let's say I want to maybe just brighten it,
move- add a little bit more red to it.
| | 02:12 | I can do that and then it becomes Monochrome with a
Custom Filter because I have altered these settings
| | 02:19 | and I find something that l really like, I can save it
as a Preset, right here and it will be added to my list.
| | 02:29 | Extremely handy.
| | 02:31 | So there is the monochrome.
| | 02:32 | Now I am going to go back to my original shot here.
| | 02:37 | Let's make a Color Monochrome.
| | 02:39 | So I am going to right-click on it.
| | 02:40 | I am going to make a new version from this master.
| | 02:45 | So now we have three shots in our stack.
| | 02:48 | We have our master.
| | 02:50 | Here is another version, here is our black and white.
| | 02:54 | I will go up to Adjustments.
| | 02:55 | We will choose Color Monochrome this time and this is fun.
| | 03:02 | So this is like making a dual tone really.
| | 03:05 | Color monochrome. I think is a little
bit of a misnomer but it's okay.
| | 03:10 | We know what it really means.
| | 03:12 | So we will click on Color Monochrome and now you get
to choose the color that you want and the intensity.
| | 03:18 | So it comes out of the shoe with a suggestion.
| | 03:21 | Now if you have zero intensity, you are
basically taking it back to the original shot
| | 03:25 | and a 100% is the heaviest application of your
color and you can go somewhere in between.
| | 03:31 | So you can play with these kind of antique-y faded effects.
| | 03:36 | The slider is a lot of fun and you can
also play with the actual color itself.
| | 03:41 | So you can adjust the color and so make
this color little brighter let's say.
| | 03:47 | It's a standard color palette where you
have all of your different color options.
| | 03:51 | We will close that.
| | 03:54 | Now the new color selections reflected here
and then we can play with the Intensity.
| | 03:59 | I will create something like this.
| | 04:01 | It's sort of a hand painted kind of look.
| | 04:04 | So that's our color monochrome
and we will go back to our master.
| | 04:07 | I am going to make one more version.
| | 04:11 | So New Version from Master and then this time I am going
to come up here and we have Sepia Tone and we will pick
| | 04:20 | that one and Sepia is a set color toning of
course, in the old chemical darkroom days.
| | 04:28 | Sepia was an actual chemical that you have added
so it has a standard color if you will and the way
| | 04:35 | that you altered it was how long you
kept it in the bath with the Sepia Tone.
| | 04:40 | The longer you kept it in the bath the
more pronounce the effect would be.
| | 04:44 | We have that same ability here except we don't have
to breathe icky chemicals while we are doing it.
| | 04:49 | We just have the Intensity Slider, so this will take us
all the way back to color and then we can apply the effect.
| | 04:57 | I don't like to be too heavy handed with it.
| | 04:59 | I think that's a little strong for my taste.
| | 05:01 | I like it a little bit more subtle and
again, check out the histogram here.
| | 05:06 | The histogram, whenever we are making these adjustments
things are happening as one way that you can have monitor,
| | 05:13 | as I go this way you can see that the dark
areas, more of the information is being shifted
| | 05:19 | over to the dark area or the dark area is actually changing.
| | 05:24 | It's not being more shifted over,
I think it's actually changing.
| | 05:28 | It's moving those pixels around.
| | 05:30 | So we go right about here and we are in great shape.
| | 05:34 | Now here is a fun thing that you can do.
| | 05:35 | Let's go back to our Metadata template.
| | 05:40 | So right here in Version Names,
every time we create a version.
| | 05:43 | So we have in our version names our
original shot and then we have a Version 4,
| | 05:50 | Version 3, here is our original black and white.
| | 05:54 | So we can just highlight here and just call this
Sepia and then this one we can call Color Monochrome
| | 06:06 | and then this one, we can just
call good old Black and White.
| | 06:18 | Excellent.
| | 06:18 | I am just going to go back to our thumbnail mode here.
| | 06:24 | So we have the stack and we have
our color version, we have a Sepia,
| | 06:30 | we have a Color Monochrome and we have a black and white.
| | 06:32 | So then you can decide which one you like best.
| | 06:34 | Which one is my pick.
| | 06:36 | I am going to go to Black and White.
| | 06:37 | I am sort of a Black and White fan.
| | 06:40 | So then I just go up to Stacks.
| | 06:42 | I called that out as a Pick and then I
collapse my stack and there is my shot,
| | 06:48 | but I always have my other versions here available
whenever I want to use them for any need that I have.
| | 06:54 | I haven't added a lot of information to the hard drive
because these are all just kilobytes of information.
| | 07:01 | These are just instructions that are reflected in the image.
| | 07:04 | So not only do we get to look at monochrome and
the different variations of monochrome conversion,
| | 07:09 | this is a great way to take a look at how Versions and
Stacks can really give us a flexibility that we want
| | 07:16 | when we are experimenting with our images and
trying to find the best effects to apply to them.
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| Reducing noise| 00:00 | I am going to talk a few minutes now about Image Noise.
| | 00:03 | It's a fact of digital photography.
| | 00:05 | It shows up in our images often when we raise the ISO up
high to 400, 800, 1600, 3200, if your camera will go there,
| | 00:14 | and it looks a lot like what we used to call Film Grain.
| | 00:17 | It does a pattern that's not natural.
| | 00:20 | So we are going to take a look at
a little bit of image noise here
| | 00:24 | and then look at Aperture's tool to help reduce it.
| | 00:27 | I am going to go into Full Screen
mode because we want to really zoom in
| | 00:31 | and take a look at this image at a magnifying level.
| | 00:34 | So I am going to hit the F key.
| | 00:35 | I am going to put my pointer over here.
| | 00:38 | I am going to hit the Z key so I can zoom
in, and this is what image noise looks like.
| | 00:43 | As I said, if you have ever shot
film, you will recognize this,
| | 00:46 | it's not that much different than a film grain pattern.
| | 00:49 | I am going to hit the H key.
| | 00:51 | It will bring up our heads-up display for Adjustments.
| | 00:56 | Now the Noise Reduction is not one of those standard
default bricks, so we will go up to the plus (+) sign
| | 01:02 | and we will just motor on down, straight down here,
and now we have added that brick to our palette.
| | 01:13 | Noise Reduction is on.
| | 01:14 | So we have two sliders.
| | 01:16 | We have the Radius slider which is the area,
the correction it will cover in terms of pixels
| | 01:21 | and then we have the Edge Detail and that's
the one that really has a pronounced effect.
| | 01:26 | So I am going to move Radius all the way over.
| | 01:30 | Now if I have Edge Detail all the way over to the left
which is the strongest application of Noise Reduction
| | 01:38 | or the least amount of Edge Detail, you
will see that we've lost a lot of sharpness.
| | 01:42 | Yes, we have eliminated noise, but at what price?
| | 01:47 | Sometimes the cure is actually worst than the
disease and this maybe one of those instances.
| | 01:53 | If I move the slider all the way over to the other side
then this is as if I have applied no noise reduction at all,
| | 02:01 | I can tell by clicking Off and On, you don't really
see any difference, but I have a lot of Edge Detail.
| | 02:06 | And what we want to do is find a
happy medium somewhere in the middle.
| | 02:10 | And a lot of times what I try to do is smooth out the skin
tones a little bit yet try to retain as much sharpness
| | 02:17 | as I can in the eyes because that's where people look.
| | 02:21 | People shots, your viewers will go to
the eyes, so we want to keep as much --
| | 02:25 | you can see here that's going to bother viewers because
that's going to be disturbing, the eyes are too soft.
| | 02:31 | So we want to be up here somewhere where we have some Edge
Detail in the eyes, but now we have improved the skin tones.
| | 02:39 | Watch I will check the box and you can see
the skin tones are definitely smoother.
| | 02:44 | Now this isn't the most sophisticated
noise reduction tool on the planet,
| | 02:49 | it's great to have it because you
can do corrections like this.
| | 02:53 | But there are plug-ins both for Photoshop and now
with the Edit API that Aperture has in version 2.1,
| | 03:01 | and going forward we are going to see Noise
Reductions plug-ins for Aperture also.
| | 03:07 | So if you have noise show up in your images a
lot, if you are pushing the envelope and ending
| | 03:12 | up with little bit more image noise
then you care to have in your images.
| | 03:16 | Then you may want to look into those separate third-party
plug-ins for Aperture, and we are going to talk about those
| | 03:23 | in the Edit API movie, and I will give a preview at some
of the plug-ins that are available now and we are going
| | 03:30 | to have lots of stuff, we'll probably have even more
than one noise reduction plug-in before too long.
| | 03:35 | So you have that option, but built-in, right now into
Aperture you do have the Noise Reduction brick and if you do
| | 03:42 | that balancing act between Edge Detail and Noise Reduction,
I think you will still come up with results that you like.
| | 03:48 | I am going to go ahead and close this.
| | 03:50 | We will hit the Z key.
| | 03:52 | We will back out of it, and as you can see
this is a fairly natural looking shot now.
| | 03:57 | The skin tones look a little smoother.
| | 03:58 | We still have sharpness in the eyes.
| | 04:00 | I think we have done a pretty good job with this one.
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| Using the Sharpen command| 00:00 | Aperture has two sharpening filters for us.
| | 00:03 | Edge Sharpen and just regular Sharpen.
| | 00:05 | I like Edge Sharpen a lot.
| | 00:07 | I am not quite so crazy about Sharpen but
I am going to show you both right now.
| | 00:11 | We will start with this photo right here.
| | 00:13 | I am going to hit the F key and bring it up to full screen.
| | 00:17 | One thing about sharpening.
| | 00:19 | You really want it good look at your shots.
| | 00:20 | So you want to get it nice and big.
| | 00:22 | Some people recommend that you go to a 100%.
| | 00:25 | I don't think you absolutely have to go to 100%
but you want a nice big view of your image.
| | 00:31 | I am going to stay it back a little bit
from a 100% right now because I want
| | 00:34 | to show you the effects of sharpening over a broader area.
| | 00:37 | I am going to hit my H key.
| | 00:39 | This brings up our heads-up display.
| | 00:42 | Now sharpening is not part of the default set of bricks.
| | 00:46 | So we go up to the +sign and we
choose Edge Sharpen right here.
| | 00:53 | Now the basic way to sharpen with Edge Sharpen is
start out by moving the Intensity all the way over.
| | 00:59 | So this shows us the full effect of
Sharpening and then you move your Edges slider
| | 01:06 | and Edges really shows us what's being
sharpened and this is a visual art, alright.
| | 01:13 | I mean you are going off what you see here.
| | 01:16 | So I like Edges somewhere in here.
| | 01:18 | I like what's happening to this right here.
| | 01:21 | It's really kind of bringing up a little bit.
| | 01:23 | Bringing out that texture and Falloff is the overall
effect applied during the three passes of Edge Sharpen.
| | 01:31 | Edge Sharpen actually sharpens in three passes.
| | 01:34 | So Falloff gives a preview of that
and if you move it back down here.
| | 01:38 | You will see it's little softer and you move it
back up here you see the Effect is little stronger.
| | 01:44 | I normally end up somewhere in here to Falloff,
that looks good and then the final step is just
| | 01:50 | to back off the Intensity a bit
until it looks good to my eye
| | 01:56 | and you know what it almost always
ends up for me right around 80 or so.
| | 02:00 | Now you can see the effect by clicking on
and off right here and it's noticeable,
| | 02:08 | you will see it here and even look at the eyes.
| | 02:11 | So originally when you look at this photograph
you go "Well, it doesn't need to be sharpened.
| | 02:16 | That looks great.
| | 02:17 | ? Well that's true but it can look even better with
some very smart sharpening and the beautiful thing
| | 02:23 | about Edge Sharpen is that when I
getting artifacts anywhere look at this.
| | 02:28 | All this stuff is nice and clean.
| | 02:30 | The sharpening effect with Edge
Sharpen it's only applied to luminance.
| | 02:36 | It's not applied to the RGB channels.
| | 02:38 | So luminance of course, is bright and dark.
| | 02:40 | So by doing it that way, we don't get the
color fringing in the halos that we get
| | 02:45 | in shall we say lesser sharpening filters and
speaking of lesser sharpening filters just take a look
| | 02:51 | at the other sharpening filter that's in Aperture.
| | 02:53 | So I am going to turn this off right now.
| | 02:56 | I am going to remove the brick by hitting the Delete
key and now I am going to pick up regular sharpen.
| | 03:04 | This was the original sharpening filter that
was in Aperture and I am so glad that came
| | 03:10 | out with Edge sharpening not too long afterwards.
| | 03:13 | So once again we have Intensity.
| | 03:15 | You move it all the way to the right and now we have Radius.
| | 03:19 | We don't have the other controls and
Radius really talks about how wide
| | 03:24 | of an area the sharpening effect is being applied to.
| | 03:26 | A large radius means that more sharpening
is applied further out from the edge.
| | 03:31 | So as I move the Radius slider here, you will
see the effect and it's just so not elegant.
| | 03:42 | We are getting this ruddiness in
the skin, the texture in the skin.
| | 03:47 | The edges are over.
| | 03:50 | I mean look like he has on eyeliner practically.
| | 03:52 | We are getting these halo effects around the edges here.
| | 03:56 | That's because the sharpening is being applied in
the RGB channels not just in the Luminance channel.
| | 04:01 | It is not a very good filter and I recommend
that basically you just stay away from it.
| | 04:08 | Work with Edge Sharpen, it's a much better filter.
| | 04:10 | One of the neat things about the latest version
of the Aperture is that we also have the Edit API
| | 04:15 | and the Edit API is going to allow specialized
plug-ins such as a Sharpening plug-in that we can use.
| | 04:23 | There is going to be probably noise
reduction and all sorts of good stuff.
| | 04:27 | So not only do we have the good sharpening filter.
| | 04:30 | I am going to get rid of sharpen altogether
here but I just don't like it and really want
| | 04:33 | to looking at, we will come back to Edge Sharpen.
| | 04:37 | So not only do we have this nice Edge Sharpen filter that's
in the Aperture that I think it's pretty good Edit API.
| | 04:44 | We will probably have more options for sharpening
and we will actually going to talk about Edit API
| | 04:49 | in an upcoming movie but for now I
want to leave you at Edge Sharpen.
| | 04:54 | It's the way to go and the procedure
is move the Intensity all the way over.
| | 04:59 | Play with your Edges slider til you get
the look that you want on the edges.
| | 05:04 | Move Falloff so that you get a feel for how
it's going to look after the three passes
| | 05:08 | and then back off your Intensity to what finally looks good.
| | 05:12 | You can check your work by clicking
the box and then unclicking the box
| | 05:16 | and try to work at a 100% or at least a large view.
| | 05:20 | If you do those things I think you will have a very
good outcome with this sharpening filter in Aperture.
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|
|
7. Using Unique Aperture ToolsHighlighting hot and cold areas| 00:01 | Aperture 2 provides you with the option to give you a visual
indication of hot areas and cold areas in your photograph.
| | 00:09 | Now what does that mean when you
highlight hot and cold areas?
| | 00:12 | Well, the hot areas of course are the white
areas and when they are hot that means
| | 00:16 | that there isn't any image detail
there, that they are actually blown out.
| | 00:20 | And the cold areas are the shadow areas, and when
they are cold that means there isn't any image detail
| | 00:26 | because the shadows are what we called plugged up.
| | 00:30 | Now what does that mean and how do you use it?
| | 00:32 | I am going to show you right now.
| | 00:34 | We are going to go this shot right
here and I am going to hit the V key.
| | 00:38 | So a hot area would be this right here and as you can
see it's almost pure white, there is no detail at all.
| | 00:45 | We know that there is something there, sidewalk or something,
but the exposure is so overexposed that it's blown out.
| | 00:53 | And then the cold area would be something like this, where
we have a black black with virtually no detail either.
| | 00:59 | Now how do we tell if this area is actually plugged
up compared to this area or compared to this area?
| | 01:05 | There are different degrees of being cold and being hot.
| | 01:10 | Well, what you can do is is you can go over here to View,
| | 01:12 | go to down to Highlight Hot & Cold Areas
and turn that on just by clicking there.
| | 01:20 | And what it will do is you will get a visual
indication of a hot area and a cold area.
| | 01:26 | So right here, we have no highlight detail, no
highlight detail, no highlight detail at all.
| | 01:32 | In other words, that's pretty much pure white.
| | 01:34 | So if you were to print on the paper, you would just
see the paper right here with no information at all.
| | 01:41 | Now, usually you want to have a little
bit of information, it just looks better.
| | 01:45 | What happens is when that pure white
of the paper just shows through,
| | 01:48 | it looks different than the other whites in the image.
| | 01:51 | It's not a terrible thing but it's a noticeable thing.
| | 01:55 | By the same token when your blacks plug up and you go to
pure black, that's exactly what is, this is pure black.
| | 02:01 | So you see absolutely no detail, you see no texture,
you see nothing but pure black, and it's distracting.
| | 02:08 | Sometimes especially if you have
large areas of absolutely pure black.
| | 02:11 | So okay, we know how to visually indicate that
now, but what do you do about once you see it?
| | 02:18 | Well, we are going to go over to the
Adjustments tab here in our Inspector
| | 02:22 | and for the highlight areas, I am going to go to Recovery.
| | 02:26 | Our Recovery slider here is very
good at recovering highlights.
| | 02:30 | So all I have to do is just move the slider just a
little bit and you'll see that I have just by moving it,
| | 02:38 | just ever so much, I have added just a little bit of
information here enough to turn off the threshold.
| | 02:46 | And as I slide it more you can see that more
information is added, that's not really needed.
| | 02:51 | In our histogram, we are really moving
away from having any sort of bright white.
| | 02:55 | So you can overdo it on any of these adjustments, all you
need to do is just move it so that our indicators are Off
| | 03:02 | and I usually give it just a smidge
more and we are in good shape there.
| | 03:07 | As for our plugged up areas here, you
see that we have a little gap here.
| | 03:12 | So we are not spanning the entire
histogram in terms of our blacks.
| | 03:17 | So all I have to do then is go down to black
point and I am just going to move that a bit.
| | 03:26 | Just back it off enough there so
we are not going to black black.
| | 03:30 | Now as I move it the other way, as I increase the blacks,
it looks like a disease spreading across the picture.
| | 03:36 | Oh my God, how do I stop it?
| | 03:37 | I'll just go to the other end of
slider, that's how you stop it.
| | 03:41 | So we will go back, back, back till there is
no information in any of those areas and boom!
| | 03:48 | There we are.
| | 03:49 | Now we are working on a JPEG right now that just
doesn't have as much data in the bank so to speak.
| | 03:56 | On a RAW file these sliders will be more subtle.
| | 04:00 | In other words, you can move them more and have less change,
which is actually a good thing. There is more fine tuning.
| | 04:06 | Another way that you can go about
things, let's just reset this right now,
| | 04:11 | is that you have the Highlights
and Shadows control down here.
| | 04:15 | So you can also use this and this a
little bit as you can see more subtle
| | 04:19 | but it's not giving us quite enough
horsepower to get rid of that.
| | 04:24 | So we have to use the Recovery slider for
our highlights, and then as for Shadows,
| | 04:32 | this Shadow Recovery works pretty nice, right here.
| | 04:35 | I like it because it's a little bit more subtle than
just moving a black slider, the black point slider.
| | 04:42 | So we will probably go with this.
| | 04:44 | So on this image I would probably use
the Shadow sliders for the shadow areas
| | 04:50 | but then work with the Recovery slider, right there.
| | 04:57 | It eliminated almost everything for our highlights.
| | 05:03 | Now that's a pretty nice shot.
| | 05:04 | So let's turn these off and on,
so you can see the difference.
| | 05:09 | By turning On our Recovery slider we can get rid of
that stuff, nicely, and then down here, same thing
| | 05:20 | with the Shadows. If I turn that Off
we have a lot of plugged up areas,
| | 05:24 | but by using the Shadow Recovery slider
down here we can get our blacks back.
| | 05:31 | Very nice. We're in pretty good shape.
| | 05:33 | Now we can we can make a nice print and we don't have
to worry about having our blacks totally plugged up
| | 05:39 | or showing pure paper white through
the bright areas in our image.
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| Using RAW Fine Tuning| 00:01 | I am going to take a moment and talk about RAW Fine Tuning.
| | 00:04 | It's at the top of our Adjustments palette right here,
and it will only show up if you have a RAW file selected.
| | 00:13 | If these are all JPEGs, no matter what I clicked on,
| | 00:16 | I would not have all RAW Fine Tuning
there because it is not a RAW file.
| | 00:20 | You have to have a RAW file for RAW Fine Tuning to show up.
| | 00:23 | Let's open up this brick and see what we have.
| | 00:26 | Well the first thing we see is you
get to see what Camera you have here.
| | 00:29 | Now this is for a reason.
| | 00:31 | Apple has created a profile for the RAW files for this
particular Camera as it has with many, many others.
| | 00:38 | So these settings here are not just willy-nilly
settings, they are based on work that Apple has done,
| | 00:44 | profiling the files that are produced by this Camera.
| | 00:47 | Now the latest version of RAW Fine Tuning is 2.0.
| | 00:51 | There were previous versions.
| | 00:53 | When Aperture first came out, we had 1.0
interpretation, then we had 1.1 interpretation
| | 00:59 | and now with Aperture 2 we are up to
version 2.0, and they are different.
| | 01:03 | Let me see if I can show you those differences right now.
| | 01:05 | I am going to hit the V key, we go into View mode.
| | 01:09 | RAW 2.0 tends to be a little brighter and
has some differences in the Shadow areas.
| | 01:14 | Let's see if we can see any difference if we re-interpret
this RAW file with the 1.0 profile, it's definitely duller,
| | 01:23 | so they have changed the profile quite a bit.
| | 01:26 | And one of the reasons why I want to note this is
that if you have been putting RAW files into Aperture
| | 01:30 | from the very beginning you may have some of your
older stuff, maybe interpreted with 1.0 or 1.1.
| | 01:38 | So if you go back to work on that stuff before
you get going, I would check RAW Fine Tuning
| | 01:44 | and see if you have a current version
in the list or an older version.
| | 01:48 | If it is an older version, you might want
to go with 2.0, take a look at it there.
| | 01:53 | Now the reason why they don't automatically convert all
the old RAW files, you can imagine what would happen.
| | 01:58 | If you did a whole bunch of work on an old RAW file
and then they updated Aperture and they overwrote all
| | 02:05 | of your work, you would not like that very much.
| | 02:07 | So they want to leave that option in your
hands, but a lot of times I think you will find
| | 02:11 | that the 2.0 conversion is a better conversion.
| | 02:15 | Now as for these sliders, I have a piece of advice.
| | 02:18 | For the most part just leave them alone.
| | 02:21 | Apple has done a lot of work to get these a way that
they feel is the best interpretation of your files.
| | 02:26 | If however, you feel the need to make a change
to their initial interpretation of your RAW file.
| | 02:34 | For instance, you think they just add way too much
Boost and do you want your Boost to down here,
| | 02:40 | that's a rather dull look, but then again you may
be a rather dull guy and that's what you prefer
| | 02:47 | and if that's what you want, then you can make that
change and you can go up here and you can create a Preset
| | 02:54 | that says, my dull look and then apply
that Preset to any RAW interpretation.
| | 03:00 | So you can overwrite what Apple does with RAW Fine Tuning.
| | 03:05 | Generally speaking though I think they do
a good job of interpreting your RAW files.
| | 03:10 | Most of my RAW files look very good when they come in, and
when I am editing them I am only editing them for the things
| | 03:16 | that I need to do I am not trying
to fix a RAW interpretation.
| | 03:20 | So RAW Fine Tuning, it only shows up as a brick.
| | 03:23 | When you click on a RAW file, the latest version is 2.0, if
you have older RAW files in there and you are getting right
| | 03:31 | at your critical work, make sure that
you have the latest version selected
| | 03:35 | or at least take a look at it to see if you like it better.
| | 03:38 | For the most part you don't need to mess with
these controls because Apple has worked on them.
| | 03:43 | You can just go up to this brick, close it like that,
keep an eye on this number and you will be in great shape.
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| Setting Adjustment presets| 00:00 | I am going to show you how to create
and manage Adjustment Presets.
| | 00:05 | And what those are?
| | 00:07 | They are actually a set of predefined settings that
you like, they are yours that you can hang on to
| | 00:13 | and use it as a shortcut to apply them later on.
| | 00:16 | Now you see in each of the bricks here, we have the
little gear, and when you pop-open that little gear,
| | 00:21 | you will see that you can save settings as a Preset.
| | 00:24 | So if I were to make a bunch of adjustments here, Exposure,
Recovery, Black Point, it's exactly the way that I wanted,
| | 00:32 | and I knew that I probably want to apply that to photographs
in the future, then I will just go here to the gear,
| | 00:37 | I'd save as Preset, I could give it a label and then it
would show up in this list, very handy and very easy to do.
| | 00:46 | Now there is no place in my opinion that these presets
are more valuable than in the White Balance brick.
| | 00:53 | And one of the reasons why I say that
is if you've ever used Adobe Camera Raw
| | 00:59 | and you've opened up the White Balance area there.
| | 01:02 | You will see that not only do you have the settings that
your camera captured at, you also have all the settings
| | 01:08 | that are in your camera's White Balance Preset menu.
| | 01:11 | So you will see Cloudy and Daylight and Tungsten, it's
wonderful, and you can just flip among them to look
| | 01:19 | at all the different White Balance settings,
if you see something that you like better
| | 01:22 | than what you captured at, you can
just choose it, it's very handy.
| | 01:26 | What happens in Aperture, when you click on the White
Balance gear, you get something that looks like this.
| | 01:32 | There are no presets at all.
| | 01:34 | I am going to show you how to correct that.
| | 01:37 | I am going to show you how you can create your
own set of presets so that you have Cloudy
| | 01:42 | and White Balance, just like all the other cool kits.
| | 01:45 | So we are going to go up here to White Balance, and
we are going to click on my gear, and look at that,
| | 01:51 | I have Daylight, Cloudy, Shade, Tungsten,
Fluorescent and I want to add one more,
| | 01:57 | and I am going to show you how I am going to add
it so you can add all of these to your Preset list.
| | 02:03 | So we are going to add Flash, that's
the one that's missing right now.
| | 02:06 | So I am going to go to Temperature, I am just
going to click on it, so I can enter a number.
| | 02:11 | Now the Temperature for Flash, for the Flash Preset is 5500.
| | 02:16 | I am going to hit Return.
| | 02:17 | You have to make sure you hit Return
afterwards because that's actually entering
| | 02:22 | in that number and the Tint for Flash is 0.
| | 02:27 | Okay, so this is the preset for Flash and
of course it's slightly warm and that's
| | 02:32 | because flashes are cool and helps offset that.
| | 02:36 | Now I want to save this as a preset.
| | 02:37 | I just go to Gear menu, I go to Save as Preset.
| | 02:42 | There are the numbers that I entered.
| | 02:44 | All I have to do is type Flash and hit
Return, I have now created a preset
| | 02:51 | and it goes along with the rest of my presets.
| | 02:53 | Now actually in this list of things, I
think Flash belongs up here under Shade.
| | 02:58 | So I am just going to grab it, and I can move it up.
| | 03:01 | So you can change the order of
these things anyway that you want.
| | 03:06 | Now I want you to take a look at the screen right here
because here are the settings for all of the other presets.
| | 03:12 | So when you are ready to setup Daylight, all you have to
do is enter 5500, and 10 for Tint, choose Save as Preset
| | 03:22 | and give it the label Daylight, and go on
through and do the rest of these settings,
| | 03:27 | and then that way your list will look like my list.
| | 03:30 | So all you have to do is just freeze
this frame right now, write these down
| | 03:34 | and then enter them in your Aperture library.
| | 03:37 | So do you want to see how it looks
when I apply these presets to an image?
| | 03:41 | Let's click OK.
| | 03:42 | So let's just hit the thing here to undo
anything that we have done up until this point,
| | 03:48 | by doing that I return to the camera's native
White Balance setting, this is what I captured at.
| | 03:54 | Now let's take a look, let's just
roll through these other Presets.
| | 03:57 | So we will see how Daylight looks, it's a little different.
| | 04:03 | We really notice a change in the background there,
and then Cloudy; Cloudy warms up as you would expect,
| | 04:10 | use the Cloudy Preset on overcast days,
when you are shooting in an open shade.
| | 04:15 | All those conditions tend to be a little
blue and the Cloudy Preset helps offset that.
| | 04:21 | Shade is even stronger, it's even warmer.
| | 04:24 | So it's a pretty strong warming filter.
| | 04:27 | Flash is calibrated to offset the blueness of Flash
photography; our Tungsten is a cooling filter and hang-on
| | 04:36 | to your hats when I do this one because
it's going to make things very blue.
| | 04:39 | Oof! But that's because Tungsten lights tend to be very
warm, so you need a strong blue filter to balance that out.
| | 04:47 | And then finally we have Fluorescent,
which is just kind of in its own universe.
| | 04:52 | So I could either go back to Daylight, or if
I decided, I don't like any of those settings,
| | 04:58 | I want to go back to what I captured to that, I just hit
the Return key here and we are back to where we started.
| | 05:03 | So Presets for Adjustments are very
useful tools, they are easy to create,
| | 05:09 | just enter your settings then Save as a Preset.
| | 05:14 | Once you do that, you will build
up a very nice list of goodies.
| | 05:18 | And remember, these are the basic ones for your camera,
| | 05:21 | but if you find yourself shooting
in a situation over-and-over again.
| | 05:25 | For instance, inside a gymnasium or
basketball and you finally figure out,
| | 05:30 | how to correct that weird lighting that you have in there.
| | 05:34 | Then save that as a Preset and
call it whatever, My Home Gym.
| | 05:40 | Then that way when you have a bunch of images coming, you
can just select them all and use that Preset to correct them
| | 05:45 | and you don't have to fill around with it.
| | 05:47 | So Presets are great shortcuts, they
can speed up the adjustment process,
| | 05:52 | and I encourage you to setup your
Presets and use them often.
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| Roundtripping to an external editor| 00:00 | I am going to talk about round-tripping.
| | 00:03 | Round-tripping is a useful function in Aperture that
allows us to use external image editors for those tasks
| | 00:10 | that we can't quite accomplish in the
Adjustments tab within the application here.
| | 00:15 | Now as good as Aperture is at adjusting images and it's
very good, every now and then you will find the need to go
| | 00:23 | to an outside image editor to do something
special that you can't do within Aperture.
| | 00:27 | For instance, let's say that I've worked
this image in Aperture, I really like it,
| | 00:33 | but I want to use a different a Sharpening filter what I
have available to me here, and so I'd love to round-trip
| | 00:41 | to Adobe Photoshop CS3, use the Smart Sharpen
there and then bring that image back into Aperture.
| | 00:48 | I can do that, it's very easy.
| | 00:49 | So the first thing that I have to do is go up to our
Preferences, click on Export and then right here we have
| | 00:57 | at the top of the Export tab, we have External Image
Editor and you can see we have no application selected.
| | 01:04 | I am going to select Photoshop CS3, so I just click on
the Choose button; go to Applications, go down in here;
| | 01:10 | we are going to choose CS3, we are going
to select that and now it's up here.
| | 01:18 | Now we have a couple other options.
| | 01:20 | When the image comes back from Photoshop, we
have the choice of bringing it back as a TIFF
| | 01:26 | or a Photoshop file and either 8-bit or 16-bit format.
| | 01:31 | I recommend a Photoshop file in 8-bit format, unless you
have some particular reason, why you need a 16-bit file.
| | 01:39 | Remember, those files are humongous.
| | 01:43 | So unless you know, you need a 16-bit file; go with
the 8-bit right here and you can bring it in at the dpi
| | 01:50 | that you are most comfortable with, for instance, a lot
of people like to work at 240, that sounds fine for me.
| | 01:57 | Now that's all you have to do,
we are all setup to Round-trip.
| | 02:00 | I am going to close our Preferences.
| | 02:03 | I am going to go to my image and I am going to
right-click on it, and I can go Edit With and look what's
| | 02:12 | in my pop-up menu right there Adobe Photoshop CS3.
| | 02:15 | I am going to click on it and Aperture
takes me over to Photoshop.
| | 02:22 | Here I am right here, I am in the beautiful Photoshop
interface and we are going to up to the size of our image,
| | 02:29 | just a little bit here, we will go to 50%, and I want
to use the Smart Sharpen Filter because I really like it
| | 02:38 | and I think it will work great on this image.
| | 02:40 | So I am going up to Filter, I am
going to Sharpen, go to Smart Sharpen.
| | 02:47 | If you use Smart Sharpen here's what I recommend you,
go to 0.8 for the Radius and you can Remove Lens Blur
| | 02:55 | or Gaussian Blur or Motion Blur depending
on what your particular softness is;
| | 03:00 | most of the time Gaussian Blur will do it, and then you
just move the slider in the direction that you want.
| | 03:10 | This is going to require fairly aggressive sharpening.
| | 03:12 | It's trying to get some image noise here.
| | 03:14 | So just go, we won't push it too far and then I click OK.
| | 03:22 | Okay, so now I have applied my Smart Sharpen.
| | 03:25 | I have done what I wanted to do in Photoshop.
| | 03:29 | All I have to do then is go to Save.
| | 03:33 | Photoshop saves the image and I am going to close it.
| | 03:37 | I am going to go back to Aperture
and look what happens, oh my gosh!
| | 03:43 | It's so smart.
| | 03:44 | So here is my original image right here, and I am going
to click on Metadata so we can see what's going on.
| | 03:51 | Here is my original JPEG.
| | 03:54 | Now here is my Round-trip image, came back in as
a Photoshop file and see that little target there.
| | 04:01 | Okay, that tells me that I have round-trip this image.
| | 04:04 | So that's pretty cool and it's very easy.
| | 04:07 | So why wouldn't you want to do it all the time?
| | 04:10 | Why not just use Photoshop as your external
image editor and you are comfortable with it?
| | 04:15 | Why not use it for all your images?
| | 04:16 | Well, there is a very good reason.
| | 04:19 | When you do your image editing in Aperture, remember, it's
that non-destructive work-flow that just uses XML data,
| | 04:26 | a set of instructions that's only kilobits
| | 04:29 | so that your image edits keep your file
sizes nice and small, because this is data.
| | 04:34 | So I started out with 2.10 megabyte file.
| | 04:39 | Now when I round-trip into Photoshop and I brought
that file back, look at the size of my round-trip file.
| | 04:46 | Now this is a full-blown Photoshop file and it's a big
one, and it is weighing in at 21 almost 22 megabytes.
| | 04:54 | So that's what happens, Aperture has to bring
in a full-size file when you round-trip,
| | 05:00 | whereas when you work within Aperture you get to
use that very light weight XML data for your edits.
| | 05:06 | So the rule is, use Aperture as much
as you can for your image editing.
| | 05:11 | That will keep your hard disk space usage to a minimum.
| | 05:14 | When you have the round-trip, that's great,
just know that when that file comes back
| | 05:19 | in the Aperture it's probably going to be
a lot larger than what you started with.
| | 05:22 | But a lot of times, you know what, for those shots that
really needs something in a Photoshop, it's worth it.
| | 05:28 | If you follow that rule of thumb you will be in great shape.
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| Using the Edit plug-ins| 00:00 | I am going to show a new feature as of
Aperture 2.1 called the Edit plug-in.
| | 00:06 | Now this is very helpful and it's along the same lines as
round-tripping, only you are round-tripping with an Aperture
| | 00:12 | and not to External Editor such Photoshop or whatever
External Editor you like to use for round-tripping.
| | 00:21 | So how does this work?
| | 00:22 | Well, let's work with our same image as before.
| | 00:25 | So here is our original little boy Shaun, and then here
is the Roundtrip version that came from Photoshop CS3.
| | 00:33 | Let's open it up again in Edit plug-in.
| | 00:36 | So I am just going to right-click on
the image and I am going to Edit With.
| | 00:41 | This time instead of Photoshop CS3 I am
going to use the Dodge & Burn plug-in.
| | 00:46 | This is the plug-in that Apple included with Aperture 2.1.
| | 00:50 | It's really a demonstration of the Edit API, but you know
what, it's adoring good one and a lot of people really
| | 00:57 | like it and we are going to use it right now.
| | 01:00 | So we get a new window here.
| | 01:02 | We have Aperture behind, and we have some tools.
| | 01:06 | We have a Dodge tool and a Burn, Saturate,
Desaturate, Sharpen, Blur, Contrast and Fade,
| | 01:12 | and what's interesting about all these
tools is we can use them with a brush.
| | 01:16 | So you can apply Sharpening to a specific area.
| | 01:20 | I am going to do a little burning
actually, I want to burn in his shirt here.
| | 01:23 | So I am going to go to Burn, and I am going to have pretty
good strength, so in that way you can see the effect,
| | 01:31 | and I am just going to do just a little burning here.
| | 01:35 | Just add a little information to his shirt here, alright.
| | 01:42 | Good enough!
| | 01:43 | Now all I have to do is click on the Save button,
and the plug-in moves the edited image back
| | 01:50 | into my Aperture Library, and it shows up right here, let's
click on the Metadata tab so we can see what's going on.
| | 01:57 | So here's our edit image using the Edit plug-in; here
is our Photoshop image that we did round-tripping.
| | 02:08 | Now you will notice that you pay a similar price
with the Edit plug-in as you do with Photoshop.
| | 02:13 | The Edit plug-in's basically 21 megabyte
file, Photoshop basically 22 megabyte file.
| | 02:20 | So we've added a lot of image data to our hard drive
here, but when you need to do these sorts of things,
| | 02:26 | when you need to Roundtrip to Photoshop
or you need a specialized tool
| | 02:29 | from the Edit plug-in, then you need to do it, right.
| | 02:32 | But the thing is, just like with round-tripping only do
it when you need to do it, if you can use the basic tools.
| | 02:38 | In Aperture that's a better way to go because
that doesn't really add any size to the file,
| | 02:44 | such kilobits of data are hardly noticeable at all, whereas
when you use the Edit plug-in or you use round-tripping
| | 02:50 | to an External Editor, you're going to bring in a big file.
| | 02:54 | Now we are going to see a whole lot of
plug-ins coming down the pike for Aperture.
| | 02:59 | So we will see things for Noise
Reduction, for localized editing.
| | 03:04 | There's going to be all sorts of good stuff and there's
going to be very tempting to use these things all the time.
| | 03:10 | But just keep in mind, when you use the
Edit plug-in, it's just like round-tripping.
| | 03:14 | You are bringing a big file back into your stack here.
| | 03:18 | You get what you want, but you do have to pay a price.
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| Making fine adjustments| 00:00 | I am going to show you a couple of nice fine tuning
adjustments that you can make inside the Adjustments tab
| | 00:07 | to make your Aperture experience a little more precise.
| | 00:10 | For example, let's say that we want to make an
Exposure adjustment on this image right here.
| | 00:16 | We could do what we have been all along which is use the
slider, and we can just watch the numbers as they roll by.
| | 00:23 | But what if you wanted to do it in more
measured increments, it's very easy to do.
| | 00:29 | All you do is click within the field once, and
then you can hit the right arrow key and you can go
| | 00:37 | up one increment at a time, very easy to do.
| | 00:45 | Now if you want to go on even finer increments, hold down
the Option key and you can go just a little bit at a time.
| | 00:57 | This is a nice option in addition to using the slider
or if you want it, you can type in a number here too.
| | 01:03 | So you have three different options.
| | 01:06 | I like though, just using the arrow keys
because it allows me to look at the image.
| | 01:10 | I don't have to look at the numbers so much,
I know I am just going and increment at a time
| | 01:15 | and when I get it the way that I want I stop.
| | 01:18 | Now I have a related tip that I think you will like
too and this one is for your black-and-white images.
| | 01:24 | We have worked on this image a bit.
| | 01:25 | We used the Monochrome Mixer, we did our Custom sliders
here for our Red, Green and Blue and took it as far
| | 01:32 | as I felt I could take it using this particular brick.
| | 01:36 | But I am still not quite happy with the image.
| | 01:39 | Well, there is a way that you can fine
tune your black-and-white work also.
| | 01:44 | You can use the Luminance slider for the
different color channels in the Color brick.
| | 01:48 | This is a terrific tip that was shared with
me by Graham Smith, an Aperture user who hangs
| | 01:55 | out on the Inside Aperture website
on oreilly.com and he discovered
| | 02:00 | that you can use the Luminance slider
to adjust your images even more.
| | 02:04 | So now I can do some fine tuning here in the
Red, I can bring up those skin tones a bit,
| | 02:13 | and I'd love to brighten this area in the eyes here.
| | 02:15 | A lot of times this is a Blue area, so the whites of
the eyes look a little Gray so if I go to the Blue brick
| | 02:22 | and I adjust the Luminance there,
I can brighten up those eyes.
| | 02:26 | This is a terrific way to fine tune your
black-and-white work, look at the difference.
| | 02:33 | You've taken it to a whole another level
and it's very precise, and of course,
| | 02:38 | you can use the trick that I showed you
earlier, using the left and right arrow keys.
| | 02:43 | So a couple of ways to fine tune your Aperture experience.
| | 02:49 | Both of these tools will help you work more
precisely when you are in the Adjustment tab.
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| Customizing the Adjustments tab| 00:01 | By now after working with all these different adjustments in Aperture,
| | 00:05 | there are probably some that you like a
lot and some that you are not so crazy about.
| | 00:09 | If you happened to have one of those you are not so crazy about,
| | 00:12 | here in your default set,
| | 00:14 | you can remove it
| | 00:16 | and there is something that you love that's up here
in the plus menu, you can add it to your default set.
| | 00:21 | I am going to show you how to do that right now.
| | 00:24 | Let's say that you are not such a big
Highlights & Shadows kind of person.
| | 00:29 | So you can just click on the Gear menu,
| | 00:32 | go Remove from Default Set,
| | 00:35 | let's click here and click back
| | 00:38 | and you'll see that it's gone.
| | 00:39 | Now you still have access to it,
| | 00:42 | it's up here, right?
| | 00:43 | So you can always bring it back if you want.
| | 00:45 | You have just taken it out of your default set.
| | 00:49 | Now on the other hand, you just love Edge Sharpen
| | 00:52 | and you think it's one of the most
wonderful things on the entire planet.
| | 00:57 | Go to the plus menu,
| | 00:59 | add Edge Sharpen,
| | 01:02 | click Add to Default Set,
| | 01:06 | and now it's part of our Default Set. I'll click somewhere else,
| | 01:12 | and you'll see that will always be here and
this true even after you close the application
| | 01:17 | and you open it back up again,
| | 01:19 | Edge Sharpen will be here,
| | 01:20 | Highlights & Shadows will not.
| | 01:22 | So now you can customize the Adjustment tabs
| | 01:25 | for the workflow that works for you.
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|
|
8. Modifying MetadataApplying keywords| 00:00 | I'm going to explore keywords a little bit more.
| | 00:03 | We talked about it when we were importing images and
that's a great place to add some of our foundation keywords.
| | 00:10 | For example, with this image here, on
import we added boy, child, kid, son.
| | 00:15 | Same thing here, that's because
those were added globally on import.
| | 00:19 | But what if I want to just fine tune
my keywording a little bit more?
| | 00:23 | All these kids are the same kids here, except for this young man.
So what if I wanted to add his name? I'll just select them all.
| | 00:31 | And now I'll bring up my Keywords heads-up display.
| | 00:35 | Right here.
| | 00:36 | And let's say his name is James.
| | 00:40 | We don't have James here, so we can
add him to our list, it's easy enough.
| | 00:44 | Let's add him at the top level,
| | 00:47 | there we go.
| | 00:48 | There's James.
| | 00:49 | All I have to do is take James' name,
| | 00:52 | make sure that Primary is not on,
| | 00:55 | which we're good. If we are on, that means James
is only be applied to this image here, but it's not.
| | 01:00 | Click that off.
| | 01:01 | I'm just going to take James,
| | 01:03 | drag him onto any of the images that are highlighted.
| | 01:06 | He appears here,
| | 01:09 | he appears here.
| | 01:10 | He appears everywhere.
| | 01:11 | Very easy to do.
| | 01:13 | Now this one here, this young man
is named, let's say he's named Jack,
| | 01:18 | let's add him right here.
| | 01:20 | Jack is added to our Keywords
| | 01:22 | and we have to give Dad his props.
| | 01:25 | There is Dad,
| | 01:26 | so I'll customize Dad right here.
| | 01:28 | Drop him on there.
| | 01:30 | This is Mom in the photo here and we cannot
leave Mom out of the mix. So there is Mom,
| | 01:37 | and there she is right there and she shows up here in our Keywords.
| | 01:41 | You can see how quickly you can work the
Keywords heads-up display, it's very easy to use.
| | 01:46 | It remembers every keyword that you use
and they will just become part of this list.
| | 01:51 | If you want to add a keyword that isn't in the
list, you just use the little plus sign right here.
| | 01:56 | Select your images,
| | 01:57 | make sure that Primary only is not on,
| | 02:00 | drag it onto any of the selected images
and it will be added to all of them.
| | 02:05 | It's very easy to use and it helps you
to get just a little bit more organized.
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| Making primary-only adjustments| 00:00 | I am going to talk about a concept now called
Primary Only and it can be your best friend
| | 00:05 | or can be your worse enemy if it's on and you don't know it.
| | 00:09 | First of all how do we know if Primary Only is on or not?
| | 00:13 | Well it's this button down here.
| | 00:15 | Right, that's the On and Off button for Primary Only.
| | 00:17 | Now what is Primary Only?
| | 00:20 | Let me see if I can explain this right here.
| | 00:22 | I am going to select all of these images right here.
| | 00:24 | So I am just going to do Command+A that selects them all.
| | 00:28 | Now only one of them is the primary image.
| | 00:31 | It's the one with the thicker white border.
| | 00:33 | Now I can click on any image.
| | 00:35 | I can make any image the primary image.
| | 00:37 | It doesn't make any difference and right now because
this isn't activated it's really a moot point.
| | 00:43 | I just have the indicator.
| | 00:44 | Let me know that if primary image were
turned on this would be the primary image.
| | 00:50 | What does that mean?
| | 00:51 | Well, when primary image is turned on, if I
were do something like drag a keyword here,
| | 00:57 | that keyword will only be applied to this picture.
| | 01:01 | However, if Primary Only was turned off, if I
was to drag a keyword here it would be applied
| | 01:07 | to all of the images that are highlighted.
| | 01:10 | Now why would you want that?
| | 01:11 | Well, there are times when you are working and you
have a bunch of images on the screen or you want
| | 01:16 | to apply let's say a keyword to all of them.
| | 01:19 | Then however, for instance, let's say
you make this one your Primary Only.
| | 01:22 | You are working away and you go, "But I
want to put shadow on this one image here."
| | 01:28 | Well instead of deselecting everything and doing a
bunch of stuff and then just dropping the keyword there,
| | 01:33 | all you have to do is make sure that that's a primary
and turn on Primary Only, pop your keyword on there.
| | 01:39 | It only gets applied to that.
| | 01:41 | Turn Primary Only off and you can
keep doing what's you are doing.
| | 01:45 | So there is an efficiency aspect to it.
| | 01:48 | People get messed up with it when Primary
Only is on and they don't realize it.
| | 01:53 | So they select a bunch of images.
| | 01:55 | They drop a keyword on it and it only gets applied to
one image and they go, oh my gosh, Aperture is broken.
| | 02:01 | It's only keywording one image at a time, even
though I have all of these images selected.
| | 02:06 | When that happens all that means is that you have
Primary Only on, all I have to do is turn it off.
| | 02:12 | I am going to show you how this works right now.
| | 02:14 | So I am going to go up here to Window
and we will get the Keywords HUD.
| | 02:19 | So I have these images selected and we have some keywords
here and let's say that I want to add Kid to these images.
| | 02:25 | First thing I am going to do is I am going to
turn Primary Only on and we will look for kid.
| | 02:30 | There it is right here.
| | 02:32 | Now when I drop this keyword on here, the keyword will only
be applied to this image because I have Primary Only on
| | 02:39 | and this is the primary image because
it has a thicker white border.
| | 02:43 | So I would drop it right on here.
| | 02:45 | I have kid.
| | 02:46 | Click on another image, you see I don't have it.
| | 02:49 | It only was applied to that one image.
| | 02:53 | Now, let's turn Primary Only off.
| | 02:56 | Let's drop kid on this image again.
| | 02:58 | I will just drop it on the same one.
| | 03:00 | Now look at the other images.
| | 03:02 | It's been applied to all of the images.
| | 03:05 | So that's the way Primary Only works.
| | 03:07 | Now is this something that you
are going to use all the time.
| | 03:10 | I don't know that's up to you.
| | 03:12 | It depends on how your brain works and when
you are doing a bunch of organizational stuff,
| | 03:16 | is it easier for you to turn Primary Only on and off
| | 03:20 | or would it be just easier for
you to get rid of everything else.
| | 03:23 | Just click on one image and add a keyword.
| | 03:26 | That's up to you but the thing that you need to know
is that when this button is on and you have the bunch
| | 03:31 | of images selected, the image with the thick white border
is the only thing that's going to receive the change.
| | 03:37 | So keep an eye down here.
| | 03:39 | I would say leave it off all the time
and only use it when you need it.
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| Adjusting the time and date| 00:00 | Aperture allows us to adjust the
date and time when we upload our images,
| | 00:05 | and sometimes we forget to do that. And so then we're looking
in our library and we see that clearly we had screwed up.
| | 00:12 | We had left our time-stamp incorrect on our camera.
| | 00:16 | In this case, for an example, this was a East
Coast shot but it's time-stamped West Coast shot
| | 00:21 | and I need to make an adjustment.
| | 00:23 | Well, I get a second chance at it. All I
have to do is make sure the image is selected,
| | 00:28 | I go up to Metadata,
| | 00:30 | I choose Adjust Date and Time.
| | 00:32 | We're going to go to East Coast now,
we're going to move it ahead three hours.
| | 00:37 | We're going to make sure that we also change
the master file because wrong is wrong.
| | 00:41 | We want everything corrected
| | 00:43 | Click Adjust,
| | 00:45 | and just like that our image date has been corrected.
| | 00:48 | So the easiest way to go of course is to make sure
that your time-stamp in your camera is set correctly.
| | 00:55 | But for those times when you travel or daylight
savings happens and you don't make the change,
| | 01:00 | you get a second chance in Aperture,
either when you are uploading the images
| | 01:04 | or afterwards in your library using
the Metadata, Adjust Date and Time.
| | 01:09 | Any of these methods will work and they
will keep your time-stamp absolutely accurate.
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|
|
9. Searching for ImagesUsing the Search box| 00:00 | So by now you have probably done some work
| | 00:02 | adding valuable metadata to your images.
| | 00:05 | Now it's time for the pay off.
| | 00:06 | In other words you can use Aperture's powerful Search features
to find the images that have specific metadata attached to them.
| | 00:14 | I'm going to start by showing you the Search box, which is right
up here. This is one of the most simple ways to search your photos
| | 00:21 | to find something that you want.
| | 00:22 | Let's say that I want to find pictures of James in my entire Library.
| | 00:27 | James is one of the keywords that I have.
| | 00:30 | Let's see how that works.
| | 00:31 | I'm going to go over to the Projects
tab here and I'll click on Library.
| | 00:36 | I think for most folks this would
be the intuitive thing to do, right?
| | 00:40 | I want to search my entire library and find James.
| | 00:44 | So you click on Library,
| | 00:46 | you go up here and you type in James.
| | 00:49 | You hit Return
| | 00:50 | and you get nothing.
| | 00:51 | Hmm, there is something wrong here.
There must be a better way to do this.
| | 00:56 | So let's open Library here.
| | 00:59 | Oh, it must be All Projects.
| | 01:01 | So you click on All Projects,
| | 01:03 | Oh but wait,
| | 01:04 | the Search box is gone.
| | 01:05 | So how do you search your entire library
for a keyword or any other piece of text?
| | 01:11 | The key is you go to All Photos.
| | 01:14 | You were almost there, you just had to click one more time.
| | 01:17 | So now we go to All Photos which has all the photos in our library.
| | 01:21 | By the way these are standard albums that
come loaded with ever copy of Aperture.
| | 01:26 | So now I'll go up here and I'll type James,
| | 01:30 | click Return.
| | 01:31 | Ah-ha!
| | 01:32 | Here is that young man,
| | 01:35 | let's double-check.
| | 01:36 | That's right.
| | 01:37 | All of these shots are James. So the key is, when you're
in Projects and you want to search your entire library,
| | 01:44 | go to All Photos and use the simple Search box right up here.
| | 01:49 | I take James out
| | 01:50 | and now we're looking out all the images in our library.
| | 01:53 | So this is one way to search your entire library.
| | 01:57 | Mainly it's going through all the text,
| | 01:59 | and we can confirm that by clicking here,
| | 02:02 | and you can see that it's a Full text search.
| | 02:05 | Now in upcoming movies I'm going to show you how to refine your
search a little bit more, using the Filter heads-up display
| | 02:11 | and by using a smart album.
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| Using the Filter HUD| 00:00 | Right next to the Search box we have the Filter heads-up
display that allows us to fine tune our searches even more.
| | 00:07 | I am going to click on it right now.
| | 00:09 | Let's look for James again, we know that's a keyword.
| | 00:12 | Click on Keyword,
| | 00:13 | click on James
| | 00:15 | and there we go, we have all of our James' shots.
| | 00:17 | But
| | 00:18 | the power of Filter means that we can
search by more than one criterion.
| | 00:23 | So for example,
| | 00:25 | let's say that I want to search by James and an
adjustment that I made on one of the James' photos.
| | 00:32 | So I'll go to Adjustments here,
| | 00:35 | and let's say, ooh! I know. Highlights & Shadows.
| | 00:39 | Highlights & Shadows.
| | 00:40 | And now we found the James' shots.
| | 00:43 | Plus, we found the shots where we
made Highlights & Shadows adjustments.
| | 00:48 | You have all sorts of options in the Filter heads-up display
so that you can find just about any shot that you want.
| | 00:55 | Now one of the things I want to show you while
we are here. I'm going to click on the Adjustments.
| | 00:59 | So we have all of the standard adjustments
and we can search by Raw Decode versions,
| | 01:06 | and I think this is really helpful if you have been using
Aperture for a long time and you have different versions of
| | 01:12 | Raw Decode in your library
| | 01:14 | and you want to find all of the old Raw Decodes, all the 1.0s
| | 01:19 | or all the 1.1s,
| | 01:21 | you can use this Adjustment Filter to find those, and
then if you want you can update them to 2.0, or not.
| | 01:28 | It's a very handy thing to have in the Adjustment search here.
| | 01:32 | Now, we were searching in All Photos,
| | 01:34 | but we can also limit our search and search
within Projects or even search within Albums.
| | 01:40 | So you have a lot of options here, you can search your Aperture
Library or you can search just in portions of the Library.
| | 01:47 | I'm going to go ahead and close this now.
| | 01:50 | Let me see,
| | 01:51 | let's open that backup.
| | 01:53 | I'm going to go ahead and clear my Search filters.
| | 01:56 | I'm going to take away the Adjustments filter,
| | 02:00 | and I'm going to close the heads-up display
and we are right back to where we began.
| | 02:04 | So for simple searches, the Search box works great,
| | 02:08 | but if you want to search by multiple filters then
the Filters heads-up display is a more powerful tool.
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| Creating Smart Albums for searching| 00:00 | Another way that we can do a filtered search is to use
a smart album. That way we can hang on to our results.
| | 00:07 | Let me show you how that works. I will go to Library because
I want to setup a smart album that will search my entire library.
| | 00:13 | I'll go up to File,
| | 00:15 | we will do a New Smart Album right here.
| | 00:17 | We will call it James,
| | 00:19 | we are going to look for James again.
| | 00:21 | We'll go to our Keywords,
| | 00:23 | we will search on James.
| | 00:25 | Now let's add an Adjustment filter,
| | 00:28 | and we will do our Highlights & Shadows again.
| | 00:31 | We will change Any to All,
| | 00:33 | and we're back to where we were before, except now
we get to hang on to our results in the smart album.
| | 00:40 | But let's drill down our search even more.
| | 00:42 | I will go back to Adjustments and this time
| | 00:45 | let's search for Monochrome,
| | 00:47 | and now we've narrowed our search to one photo.
| | 00:50 | So this is James.
| | 00:52 | We used Highlights & Shadows on this
Adjustment and we used the Monochrome Mixer.
| | 00:56 | And the nice thing about it is that it's all
contained within one album that we can keep.
| | 01:01 | And if we want to change a filter,
| | 01:03 | for example, I decide later that I
don't want the Monochrome Mixer filter,
| | 01:08 | I can just take that out,
| | 01:10 | close it,
| | 01:11 | and it's right there.
| | 01:12 | Now one of the things that I do, I usually just keep a smart
album right here and so I can just change it anytime I want.
| | 01:19 | It's a nice alternative to using the Filter heads-up display,
| | 01:24 | because the Filter heads-up display will change the minute you
leave it whereas a Smart Album will hang onto your results
| | 01:29 | that you can always go back and refer to.
| | 01:32 | So we have three ways to look for things.
| | 01:34 | You can use the standard Search box, or
you can use the Filtered heads-up display,
| | 01:39 | or you can use the filtered search with
the smart album and hang onto your results.
| | 01:44 | The choice is yours.
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|
|
10. Exporting ImagesExporting masters and versions| 00:00 | So we now have a lot of images in our Aperture Library.
| | 00:03 | But every now and then you?re going
to want to take something out.
| | 00:06 | And you can take out images in a couple of different ways.
| | 00:09 | You can export the Master, for instance,
in the case of this RAW file right here
| | 00:14 | and we can see that's a RAW file by the .CR2.
| | 00:16 | You may want to just take that RAW file out complete and
work with it somewhere else, may be in another application,
| | 00:24 | or if you've done some work on that RAW file, you
may want to send out a version of it and have all
| | 00:29 | of your image edits apply to that
version when you export it.
| | 00:33 | So you have a couple of different things here.
| | 00:35 | I am going to show you how they both work.
| | 00:37 | Let's start with just exporting a Master file.
| | 00:40 | So I am going to right-click on it, we'll go to
Export and we are going to export our Master.
| | 00:46 | Now this is pretty easy, we'll put it in a Pictures folder
| | 00:49 | because after all it's a picture
and it's a logical place to put it.
| | 00:53 | I could create a sub-folder if I wanted, but I am not going
to, we're just going to put it loose in the Pictures folder.
| | 00:59 | I could keep the Master Filename which is what I
recommend for Master files, but if I wanted to,
| | 01:05 | I could add a Custom Name, a Version Name something like
that, but I am going to keep the Master Filename for now.
| | 01:13 | And I can include any Metadata that I may
have added to that Master file in Aperture.
| | 01:19 | I am going to recommend that you do include the
Metadata, because after all you've done this work,
| | 01:24 | why not have it follow your file once it leaves Aperture.
| | 01:27 | And there is no need to show and alert when we're finished.
| | 01:30 | So I am going to click on Export Masters, off it goes.
| | 01:34 | Now let's take a look and see what we've done.
| | 01:37 | We'll go to Pictures and there
is our Master file right there.
| | 01:40 | It's a RAW file, it's the original RAW
file, I can put that in Adobe Camera Raw
| | 01:46 | or in some other application and I am in business.
| | 01:49 | So that's the Master file, that's very
straight forward, let's go back to Aperture.
| | 01:54 | Now what if I want to export a version of that?
| | 01:57 | I've done some work on it and I want to export
the black-and-white version of that Master file.
| | 02:03 | Once again, it's a right-click.
| | 02:05 | I go to Export, this time I am going to choose Version.
| | 02:09 | Once again, we'll put it in our Pictures folder.
| | 02:12 | Now, I have some options, I can export it as a JPEG, a TIFF,
a PNG file, a Photoshop file or some of these other presets.
| | 02:22 | Now one of the complaints that people had
when they first started using Aperture was
| | 02:26 | that they thought they were limited
to these presets right here.
| | 02:30 | Apple actually only provided these as a convenience.
| | 02:33 | This isn't the end all of what you can do.
| | 02:35 | For example, if I wanted to export a JPEG at the original
size, but I wanted to play with the parameters a little bit.
| | 02:42 | I go down here to Edit and I get another dialog box.
| | 02:46 | Now, I can create as many presets as I
want here using a variety of parameters.
| | 02:51 | So for example, the JPEG preset at Original
Size gives us a JPEG, it includes the Metadata,
| | 02:58 | Image Quality is 10, that's the Original Size, DPI is 72.
| | 03:03 | The Color space is sRGB, no Black Point Compensation.
| | 03:07 | What if I wanted to export a JPEG at Original
Size, but I wanted to make some adjustments here.
| | 03:14 | All I have to do is click the plus (+) button.
| | 03:16 | Let's say JPEG Original Size, but at 240 DPI.
| | 03:22 | So we will keep this, we'll send out to Metadata.
| | 03:25 | We'll keep it at 10, that's nice Image Quality setting.
| | 03:29 | Original Size, but I am going to change my DPI
to 240, and since, I am going to be printing
| | 03:34 | with this may be I want to change my Color space too.
| | 03:38 | So we'll go up here and we'll use Adobe RGB
which is a nice color space for printing.
| | 03:43 | Black Point Compensation, this gives
your blacks a little more richness
| | 03:47 | and 99.9% of the time it improves
your photo, I check the box.
| | 03:52 | We are not going to add a Watermark
right now and I am going to click OK.
| | 03:56 | So now I have my new setting right here and
it actually becomes part of my Presets list.
| | 04:02 | I am not going to create a sub-folder again, we will keep
the current Version Name and we will export this version.
| | 04:08 | Now usually this will take a little bit longer
because Aperture is actually reading your RAW file,
| | 04:13 | it's reading the image adjustments
that you've made to that RAW file,
| | 04:17 | and then it's applying the export
parameters that you've selected.
| | 04:21 | I am going to minimize Aperture.
| | 04:23 | We'll go to our Pictures folder.
| | 04:25 | Look at that, it's right there.
| | 04:27 | Now let's verify this, let's open it with Preview, and see,
and low and behold, there is our shot, it's Monochrome,
| | 04:35 | we'll go to tools, we'll go to Inspector 240
pixels/inch; RGB with a ColorSync profile of Adobe RGB.
| | 04:46 | That is spectacular, I minimize this again.
| | 04:50 | We'll come back to Aperture.
| | 04:53 | So when you export your images out of this
application you have a lot of choices.
| | 04:59 | You can just export the Master in the case of a RAW file.
| | 05:03 | You get the RAW file right out of there, you can add the
Metadata if you wish, or you could export any version
| | 05:09 | of that Master applying any number of export presets.
| | 05:13 | So the great thing about Aperture is you have
as many options going out of the application
| | 05:18 | as you do while working in the application.
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| Using the Export plug-ins| 00:00 | Another option that you have when you are exporting your
images out of Aperture is to use a third-party plug-in,
| | 00:06 | and there is a whole lot of these things available.
| | 00:08 | They have third-party plug-ins for Aperture to Flickr;
for Aperture to Gmail; for Aperture to just about anything
| | 00:17 | that you want to do outside of
Aperture, it's probably a plug-in for it.
| | 00:21 | Now I have loaded a plug-in into our version of Aperture
here, it's a nifty little one that allows me to take a bunch
| | 00:27 | of photos and create an archive, a zipped archive.
| | 00:31 | Now, this is something that I could do on my own, I
could export a bunch of images; a bunch of images;
| | 00:35 | a bunch of versions, loose, and then I could put them in a
folder and create an archive and end up at the same spot.
| | 00:42 | The idea with this plug-in and with
almost all of the export plug-ins is
| | 00:47 | that it saves your time and sort of streamlines a process.
| | 00:50 | This whole notion of working faster
and more efficiently and smarter,
| | 00:54 | and export plug-ins fit right in with that sort of thinking.
| | 00:57 | So let me show you how this one works, because it's
very similar to how many of the plug-ins operate.
| | 01:03 | I am going to click on a couple of photos
here, I'll hold down the Command key,
| | 01:07 | and let's say, I want to send these out of Aperture.
| | 01:10 | I want to scale them down to half-size and
I want to put them in a zipped archive.
| | 01:15 | So I could do that individually, but instead,
I am going to right-click on the image.
| | 01:19 | I am going to choose Export and you'll see my Versions
and Masters here, but now I have this plug-in down here,
| | 01:26 | and every plug-in that I might add
after that will show up on this list.
| | 01:31 | I have one plug-in loaded right
now, it's the Archive plug-in.
| | 01:35 | So it brings up this dialog box.
| | 01:37 | I get to choose the type of archive I want.
| | 01:39 | I am going to use the standard Zip file.
| | 01:41 | I am going to export my versions because I want all of
my corrections, I mean I have worked on these photos,
| | 01:47 | I perfected them, they are fine art and that's
what I want to send out and share with the world.
| | 01:52 | All of my presets are here, I am going
to choose JPEG - 50% of Original Size,
| | 01:57 | because the people that I am sending them
to, don't need these gianormous files.
| | 02:01 | They only need a big enough picture so they can get
a good look at it, and I am going to click Export.
| | 02:07 | Now the plug-in is going to ask me,
where I want this archive to go?
| | 02:10 | We'll put it in our Pictures folder.
| | 02:12 | You see that I have one there already, and we will another
too, it is called PhotoArchive2, and we will click Save.
| | 02:19 | Now it's going to work, the plug-ins working with Aperture.
| | 02:22 | It's taking these images; it's scaling them down
to half-size; it's putting them in a zipped archive
| | 02:29 | and they should be waiting for us right
now, let's go over and take a look.
| | 02:33 | Here is our Pictures folder, and low and behold there
is PhotoArchive2 containing our four images scaled
| | 02:39 | to the specifications that I set on the Export.
| | 02:43 | I'll close this up, we'll come back
to Aperture and we are all finished.
| | 02:48 | So you have a variety of ways to send images out of the
Aperture; you can export Masters; you can export Versions,
| | 02:55 | or you can choose from the wide variety
of export plug-ins that are available.
| | 02:59 | If you like to see some of the plug-ins that are currently
shipping, all you have to do, is go to the Aperture page
| | 03:05 | on Apple's site, click on the Resources tab and it will
take you to the Download page where all the export plug-ins
| | 03:12 | and actually some of the new edit plug-ins are available.
| | 03:15 | You can shop there and download the ones that you want.
| | 03:19 | So you have a couple of ways to export things,
out of the Aperture and it's almost as easy
| | 03:23 | as putting them in Aperture, in the first place.
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11. Archiving PhotosDeveloping a backup strategy| 00:00 | I want to talk a minute about backup strategy. You've put a lot of
work into your Aperture library, and you've put a lot of work into
| | 00:07 | capturing your images and uploading them onto your computer.
So, you want to make sure that all of that is protected so
| | 00:12 | that you have it, in case there is a computer
crash or something unpleasant happens.
| | 00:17 | So, you have two basic routes to go.
| | 00:19 | The first route is, if you are using the managed approach, the
managed library approach. As I talked about in the import movies
| | 00:27 | and that's a choice that you have to make when you import
your images. You have to choose managed or referenced.
| | 00:32 | If you go the managed route,
| | 00:33 | then you can back everything up in the Vault and I'm going to show
you how to do that in an upcoming movie. I am going to show you
| | 00:38 | how to create a Vault and then back everything up to it.
So, that's very easy. You just create the Vault,
| | 00:43 | you update it whenever you want and all of your work
including your master files go into that Vault.
| | 00:49 | Now the thing is, you want your Vault to
live on an external firewire drive, right?
| | 00:54 | Don'y want your Vault on your computer hard drive because then you
have both your Aperture library and your Vault there and if something
| | 01:00 | happens to your computer, well you'll lose everything.
| | 01:02 | So, you want it on two separate drives. Other than that, it's
a very straight forward process. One of the reasons why I like it.
| | 01:08 | Now the other route is, if you go the referenced file approach,
and that would be where you have images somewhere else on another
| | 01:16 | hard drive or on your computer
| | 01:21 | and you have Aperture point to these. So, here are your master
files. You have Aperture point to them so then everything else
| | 01:27 | that you do, the versions and the metadata and all that
that will live in the Aperture library, but your masters
| | 01:33 | themselves are where you've kept them originally.
| | 01:36 | So you are responsible for backing those up.
| | 01:39 | So, when you are in Aperture,
| | 01:43 | using the referenced file system, remember,
if you create a Vault and you back it up,
| | 01:48 | yes it will backup your versions and
your metadata, all that good stuff,
| | 01:52 | but it won't backup your master files.
You have to take care of those.
| | 01:56 | So, the choice is pretty simple. If you go the managed library
approach, you can create a Vault, everything goes into it.
| | 02:03 | If you go the referenced approach,
| | 02:04 | then Aperture will take care of your metadata and stuff but
you are going to have to backup your master files on your own.
| | 02:10 | Make sure you have a strategy for that, if you go that route.
| | Collapse this transcript |
| Backing up with vaults| 00:00 | Whoever thought that backing up stuff would be so exciting?
| | 00:04 | But I have to tell you I really
like the Vault system in Aperture 2.
| | 00:08 | It's terrific, it's easy to use, it's very intelligent,
and I am going to show you how to set it up right now.
| | 00:13 | All you have to do is go down
here to where we have Vault,
| | 00:16 | and you go up to the little Gear menu and we just add a Vault.
| | 00:19 | Now we get a little bit of information here.
| | 00:22 | This is the stuff I've actually talked about.
| | 00:24 | And the main thing is this reminds you that if you have
reference files if you are not using a managed library,
| | 00:28 | you have to back up those masters yourself.
| | 00:31 | But, if you are using a managed library as
we are here, everything goes into the Vault.
| | 00:35 | So we click Continue.
| | 00:37 | You go to your external FireWire drive and give it a name.
| | 00:43 | Something real original like this,
and then you just click Add.
| | 00:50 | So I now have a Vault down here, all ready to go.
| | 00:52 | I've set it up.
| | 00:53 | It doesn't have anything in it yet, but it's ready to go.
| | 00:56 | And I know that it still needs some work because I
have red arrows, and what the red arrows mean is that,
| | 01:02 | Aperture has looked at your library and has looked at
your Vault and it said, "You have masters in your library
| | 01:07 | that aren't in the Vault. You might want to update."
| | 01:10 | So then all you have to do to update
the Vault is click on the red arrows,
| | 01:13 | click on Update and Aperture will go to work.
| | 01:16 | It will back up everything.
| | 01:18 | All of your metadata, your versions,
your masters, the whole thing.
| | 01:22 | Now what happens is, once Aperture is happy that it
has everything out of your library into the Vault,
| | 01:28 | these little arrows here, they'll go from red to black.
| | 01:31 | And the black arrows mean that
everything is backed up and that you are
| | 01:34 | in great shape, and there we go, right on cue.
| | 01:38 | Now our Aperture Vault is looking terrific, up-to-date.
| | 01:41 | So we even get little mouse over Up-to-Date thing there.
| | 01:44 | If I make a change, let's say I make a metadata
change and let's say that I go to this image here,
| | 01:52 | and I add the color yellow to the Keyword.
| | 01:58 | Okay, so I've added a keyword.
| | 02:00 | I've done a little metadata action there on that.
| | 02:03 | Look what happens when I go back to Projects.
| | 02:06 | My Vault now turns yellow.
| | 02:08 | I have a yellow indicator on my Vault.
| | 02:11 | That means that I've made a couple of changes.
| | 02:13 | That's not a master file change,
that's just a metadata change.
| | 02:16 | So those updates go really fast.
| | 02:19 | Just click on it, update it, I'll go back to black.
| | 02:24 | Now you can hide the Vault area.
| | 02:26 | If for example you need more space up here to work on
your projects, and then when you want to check its status,
| | 02:32 | just click that, and you are in great shape.
| | 02:34 | And you can open up your Vault by
clicking on this little arrow here
| | 02:38 | and that will actually show you the FireWire drive.
| | 02:41 | You can even eject your drive from this menu.
| | 02:44 | So, the Vault system, it's very handy, very easy to use.
| | 02:48 | I think it's a terrific way to
go if you have a managed library.
| | 02:51 | In fact, I think it's one of the biggest arguments
for going with the managed library approach.
| | 02:56 | You have three colors of indicators.
| | 02:58 | Black means that everything is backed up.
| | 03:00 | Masters, versions, the whole deal.
| | 03:02 | Yellow, means that you've made some metadata changes,
| | 03:05 | and if you click on the yellow arrow then,
Aperture will take care of that for you.
| | 03:10 | And then, red of course means that Aperture see that you
have masters in your library that haven't been backed up
| | 03:15 | and you probably want to do that sooner than later.
| | 03:18 | One other thing, you can have as many Vaults as you want.
| | 03:21 | I usually have like three of them
in three different locations.
| | 03:24 | One at home, one at the office, and one at the studio.
| | 03:29 | Then that way, when I take my laptop to either
of those places, if I've added pictures,
| | 03:33 | I just update that Vault there, then
update the Vault at the other location.
| | 03:37 | And then I have backups in multiple locations and that's
even better than just having a FireWire drive right next
| | 03:44 | to your computer at home because if something happened
at home, then you would still lose everything.
| | 03:49 | So, multiple vaults in multiple locations, not a bad idea.
| | 03:54 | So, the Aperture Vault system, I love it.
| | 03:57 | It's perfect for managed libraries.
| | 03:59 | You can use it with referenced libraries too, but
remember it only backs up the work that you've done
| | 04:04 | in Aperture and not your reference files.
| | 04:06 | Those you have to take care of yourself.
| | Collapse this transcript |
| Backing up a project| 00:00 | So we've covered how to back things up
with the Vault which is really cool.
| | 00:04 | But then Aperture gives you this other
option for backing up just a project
| | 00:09 | and of course projects are our
containers that have everything in them.
| | 00:12 | They have our master files, they have our
versions, they have all of our metadata.
| | 00:16 | So, we can back up just a project by doing drag and drop.
| | 00:20 | It's very easy to do.
| | 00:21 | So what I want to do right now is I want
to take my Marina project and I want
| | 00:25 | to back it up onto another FireWire drive.
| | 00:28 | Now, this is not really a back up,
it could be a transfer or whatever.
| | 00:31 | For instance, if I put on this FireWire drive and
I go over to my friend's house who has Aperture,
| | 00:36 | I can connect the drive and then I could drag my project
| | 00:39 | into that person's Aperture library,
and all of my work would be there.
| | 00:43 | So it's a very portable container.
| | 00:45 | I am going to show you how to do this right now.
| | 00:47 | So first thing I am going to do is, I am going to move
my Project pane over to the other side because I got
| | 00:52 | to shift Aperture over a little bit,
so I can do some dragging and dropping.
| | 00:55 | I am just going to hit Shift+I and there's
my Project pane over, that was Shift+I.
| | 01:01 | I can move it back and forth that way.
| | 01:03 | Then, I am just going to slide this over, so I can
reveal my FireWire drive that's sitting right there.
| | 01:09 | I am going to grab Marina and I am just
going to drag it on to that FireWire drive.
| | 01:16 | Then, it's a straight Copy command.
| | 01:19 | I open up FireWire drive, and there is Marina right there.
| | 01:23 | Now, this is interesting.
| | 01:24 | Let's go with bigger icon so we can see what's going on.
| | 01:27 | So we have a Vault here and this is my Vault for backing
up my entire library, and it has a little lock on it.
| | 01:34 | And then we have a project which is just the
Marina work, and it has a different extension.
| | 01:39 | It has the Marina.project.
| | 01:42 | So, I can take this now and I can
put it on another computer.
| | 01:46 | I'll tell you one of the great uses for this for those
of you that use laptops when you are on the road,
| | 01:52 | may be you are an event photographer, you can
go and do your shoot, and let's say that you are
| | 01:57 | in Argentina and you have this great Argentina shoot.
| | 02:00 | Put everything all of your work in a project,
have it all nice and organized in there,
| | 02:05 | do your keywording when you are
on the plane, all that good stuff.
| | 02:09 | And you can have it right there on your laptop.
| | 02:11 | Then, you can copy that onto an external FireWire
drive or whatever you happen to have that works.
| | 02:17 | And then so then you have that Vault and all of
your work from Argentina on this portable drive.
| | 02:22 | And then when you get home and let's say that you
have a desktop setup that has all of your work on it,
| | 02:27 | and all sorts of network things connected to it, just drag
that shoot from Argentina, that project that you've created
| | 02:35 | into your master Aperture library and all the work that
you did in the field, will be there in your master library.
| | 02:42 | So, this is a very handy, portable way to move your
work around and you can also use it as a quick backup.
| | 02:48 | One thing that I do when I am in the field is that I'll
have an extra drive or two, and I'll just drag projects
| | 02:55 | out onto a separate drive or even onto
a thumb drive if it isn't too big.
| | 03:00 | And then, that way I just have my computer
backed up quickly with the project container.
| | 03:05 | So, it's very versatile.
| | 03:06 | It's just another way to go.
| | 03:07 | So, I am going to close this now, slide Aperture back over.
| | 03:11 | I am going to hit Shift+I again.
| | 03:14 | It will move our Inspector pane back over to the left
side, and we've now transferred our Marina project
| | 03:21 | and all its work to an external drive, and from
that point, we can do anything we want with it.
| | 03:26 | The project system is very versatile, very handy.
| | 03:29 | Great way to go, use it with the Vault system and
you can cover just about any back up situation.
| | Collapse this transcript |
| Restoring from a vault| 00:00 | Well, the whole reason why we do all this backup stuff
and create Vaults and all these things to make sure
| | 00:07 | that our stuff is protected, is so that if something
happens we can restore, we can get all of our stuff back.
| | 00:15 | So for example, if I had the tragic thing happen
where my Aperture Library crashed on a hard drive;
| | 00:22 | the whole hard drive went down, and then I had to put a
new hard drive on my computer, and I reinstall Aperture.
| | 00:28 | Then I am going to want to restore
my Aperture Library from the Vaults,
| | 00:31 | because that's why I was doing it in the first place.
| | 00:34 | So let me show you how that works,
it's really kind of interesting.
| | 00:37 | So the first thing we are going to do, we are
going to have to emulate this a little bit,
| | 00:41 | so I am going to close this Aperture Library right now.
| | 00:44 | I am going to quit Aperture.
| | 00:46 | Now I am going to relaunch Aperture, but
this time I am going to create a new library.
| | 00:52 | So what we are saying is that, this is like we have
a new hard drive and we have installed Aperture,
| | 00:57 | and we are going to setup an empty library.
| | 01:00 | So if you hold down the Option key when you launch
Aperture, it gives me the option to Create a new library,
| | 01:08 | or I can Choose a different library also,
if I have another one setup somewhere.
| | 01:11 | I am going to just Create a library right here,
and we are going to put it on the desktop.
| | 01:16 | So I will click on Desktop here.
| | 01:17 | We will just call it Aperture Library
2, right here on the Desktop.
| | 01:22 | I am going to click Create.
| | 01:25 | We can see it showing up, there it is.
| | 01:29 | Continue; we will decide later on that, and we
are not going to Import to any Project Files
| | 01:34 | at the moment, we have got plenty to keep us busy.
| | 01:37 | So now I have an empty library, which is the good news.
| | 01:41 | I have managed to get back to this point,
but I want my pictures, I want my pictures.
| | 01:45 | So we are going to populate this library
with what we have saved from the Vault.
| | 01:48 | We are going to put this theory to the
test, that's what we are going to do.
| | 01:52 | So I am going to open up my Vault System here.
| | 01:54 | I am going to go to Restore Library, click on that.
| | 01:58 | Now it's going to ask me, where is my Vault?
| | 02:01 | Well, let's find it.
| | 02:03 | It's on that FireWire drive.
| | 02:06 | Here is my FireWire drive.
| | 02:07 | There is the Vault I have been backing up.
| | 02:10 | I am going to select that, and the Destination, yeah,
| | 02:14 | we are going to write this new library
that we created on the Desktop.
| | 02:17 | Then all I have to do is click
Restore, and of course we get the Alert,
| | 02:21 | because we have to be kept informed
as we go through the process here.
| | 02:26 | Click Restore, and now we are going back to work.
| | 02:29 | Now, the one thing that you will have to
keep in mind, it will restore everything,
| | 02:34 | but it will have to regenerate the thumbnails.
| | 02:36 | So if you have a really big Aperture Library,
then it's going to take a little while.
| | 02:41 | Now, we have restored it, so now it needs
to relaunch, so we are going to do that.
| | 02:46 | Let's relaunch the library.
| | 02:47 | It should come right back up.
| | 02:50 | It's doing a little bit of work behind
the scenes, so we will click Continue,
| | 02:53 | we will decide later, and we are
not going to import anything.
| | 02:57 | So it has got to regenerate the thumbnails,
and you can see that going on here.
| | 03:00 | So if you have a big library, this would be a great time
to go grab some lunch, because you are not going to be able
| | 03:06 | to do a whole lot until you have thumbnails.
| | 03:08 | It's all in there, but then Aperture has to
kind of create the things for you to look at.
| | 03:13 | So while it's creating thumbnails, I am going to
go over here to our Project pane, and look at this,
| | 03:18 | all of our projects are here, our albums are here.
| | 03:21 | Look, it even remembered our smart albums
that we created, they are all there.
| | 03:26 | They are all there waiting for us.
| | 03:27 | So if I click on James, there is James,
just like we had never been away.
| | 03:32 | I can go down here to open up my Vault.
| | 03:35 | It even restored my Vault System.
| | 03:37 | So everything that I had in my
original Aperture Library is here.
| | 03:42 | The only real caveat is that it's going to have to
regenerate some thumbnails; that's not too awful of a thing.
| | 03:48 | Just make sure-- let's see if our metadata is even here.
| | 03:52 | Let's go to Marina, let's pick a shot.
| | 03:54 | Look at that.
| | 03:57 | All that work that I did, it?s all here.
| | 04:00 | So restoring from the Vault is almost as easy
as saving it to the Vault in the first place.
| | 04:05 | You are protected.
| | 04:06 | Just make sure, as I mentioned in the movie about
Vaults, it's a good idea to have Vaults in a couple
| | 04:11 | of different locations, that's just good backup strategy.
| | 04:13 | But if you do that, and if you keep them
maintained, then that way you are protected.
| | 04:18 | If you have a problem with your main Aperture Library,
| | 04:20 | you know that you can always get your
work back and be up to speed quickly.
| | Collapse this transcript |
|
|
12. Using Aperture's Book-Making and Design ToolsUsing templates for book layout| 00:00 | Apple's Book Making tool is amazing
on many different levels.
| | 00:03 | You can go the easy route and just click a few buttons,
| | 00:07 | and before you know it you will have a custom bound
professional looking book showing up in your mailbox,
| | 00:12 | or you can customize it in any number of ways.
| | 00:14 | I am going to show you the easy way first, and then we
will explore some of the custom features in future movies.
| | 00:20 | We are going to work with a new project.
| | 00:22 | I brought in Megan's Plants, which
is just perfect for a book,
| | 00:26 | because they are bright and colorful, and really pretty.
| | 00:29 | Now, the first step in Book Making process that I recommend
is that you create an album of the images that you want;
| | 00:35 | in that way you can play with them
and get your storyboard together.
| | 00:38 | So in this case I am just going to use them all.
| | 00:40 | I am just going to do Command+A, select all the
images, and I am going to create a new album.
| | 00:46 | We will call it Plant Book, that
way we actually know what it is.
| | 00:52 | So now that I have created the album, I
can play around here and sort of decide,
| | 00:56 | what order do I want these images to show up?
| | 00:59 | Now, the best image that you have or the image that you
want to be on the cover usually should go to the top.
| | 01:05 | So you can just start moving pictures around.
| | 01:07 | Then I want to put kind of these green
guys together, something like that.
| | 01:16 | We will bring in a few more flower shots
up here at the beginning, like this.
| | 01:21 | So this is the process where you are sort of
grouping stuff together in the way that you want.
| | 01:26 | I am not going to get overly precise here; I
could actually play with this part for hours,
| | 01:30 | but you would probably get bored, walk off,
and just leave me to do this by myself,
| | 01:34 | and that's really not the point of this training.
| | 01:37 | I will move this over here.
| | 01:40 | We will put this guy up here with these
guys, and I think we are pretty set now.
| | 01:45 | So the point is I have created a basic
flow, this is the storyboard for my book,
| | 01:49 | starting from the beginning, and
rolling all the way through the end.
| | 01:53 | Once I have it the way that I want, and this isn't
written in stone, you can change your mind later on,
| | 01:58 | but actually it's easier to do it at this point now than to
try to organize it later on in the Book Making tool itself.
| | 02:05 | So now, just make sure that my album is selected here, and
then I go up here to New, and I am going to create Book.
| | 02:13 | Now, a couple of things are going to happen here.
| | 02:17 | One of the things that you will see happen is
that after I make a few basic selections here,
| | 02:21 | Apple is going to add a book in here under Megan's Plants,
and I can return to that and work on it whenever I want.
| | 02:28 | So you will see that pop up here pretty soon.
| | 02:30 | Now, you have a few choices to
make at this point in the process.
| | 02:33 | So one of the first decisions you are going to
have to make is how big is your book going to be.
| | 02:37 | You have three choices here, three stock choices,
and Apple can make books in any of these three sizes.
| | 02:43 | The Large is 8.5x11, and that's in inches.
| | 02:47 | The Medium is 6'x 8'.
| | 02:49 | Then the Small, and these are really kind of
cute, these little flip books, they are 2.6'x3.5'.
| | 02:57 | I am going to go with Large right
now, I want a nice big 8.5x11 book.
| | 03:01 | Now, the next choice I have to make
is what type of theme do I want.
| | 03:06 | We have a lot of themes to choose from
here, personally I like Modern Lines.
| | 03:13 | I will tell you right now, here's the photographer's
trick, that when you have black backgrounds,
| | 03:18 | make sure photos really pop out, and these flower pictures
are going to look great with the black background.
| | 03:23 | So I am going to choose Modern
Lines, and I am all ready to go.
| | 03:27 | Now, you do have an Options & Prices button here.
| | 03:29 | If you click on that, it will actually
take you to the Apple web page.
| | 03:33 | That will give you an overview; just
gives you a little information here.
| | 03:39 | It tells you about Softcover Books and Hardcover Books.
| | 03:41 | It will give you those sizes and the prices.
| | 03:44 | So if you need to know that or if you forget, all you have
to do is click on that button, make sure you are connected
| | 03:49 | to the Internet, and that web page will pop up for you.
| | 03:52 | So we are going to Choose Theme now.
| | 03:58 | Here's where that untitled book comes up.
| | 04:00 | Here's our theme.
| | 04:02 | Then down here we have all of our pictures.
| | 04:04 | I am just going to give this book a name.
| | 04:06 | I am going to call it Megan's Plants.
| | 04:09 | I am calling it Megan's Plants, because she is
the photographer that took all these pictures,
| | 04:13 | and not only did she take all these
pictures, these are her plants.
| | 04:17 | How cool is that!
| | 04:18 | Now, here are our blank pages.
| | 04:19 | Now, there is a couple of ways you can go.
| | 04:21 | You can drag each of these pictures into the
layout, but for the first time through it,
| | 04:26 | I want to show you the really fast way to do it.
| | 04:28 | You go to the Gear Menu right here, and then
you just choose Autoflow Unplaced Images.
| | 04:34 | Look at that, it's building our book for us right here.
| | 04:41 | This is so pretty.
| | 04:43 | I want this book.
| | 04:48 | Alright, now we just have a little bit of titling to do.
| | 04:53 | We are going to give it a name.
| | 04:55 | All you have to do is click on to type.
| | 04:59 | We hit Return, and I think we have another title right here,
| | 05:03 | just like the title page; that
was the cover, the previous one.
| | 05:08 | I will put a little space in there.
| | 05:13 | Then this template usually has
something at the end, yes, right here.
| | 05:17 | I am not going to put anything in there.
| | 05:19 | I am just going to have that blank.
| | 05:21 | We are all set.
| | 05:22 | Our book is laid out and ready to go.
| | 05:24 | I love the way that it looks.
| | 05:29 | Now all I have to do is go to Buy Book.
| | 05:31 | I will go ahead and leave those text fields empty.
| | 05:36 | Click Continue.
| | 05:37 | Now it presents us with this Buy Book page.
| | 05:42 | We get to choose the Color of our
cover; I am going to go with Black.
| | 05:46 | How many do we want; now the reason why that's grayed
out right now is because we don't have an account setup.
| | 05:50 | If you had an account setup, these numbers would not
be grayed out, and you could choose your quantity.
| | 05:55 | If you don't have an account setup, you just click
on Set up Account, and it only takes a few minutes,
| | 06:00 | and then you will come back to this page, make
your selections, and then you just order the book.
| | 06:05 | They package it up really nice.
| | 06:06 | As with so many Apple things, when it comes to your mailbox
or when it comes to your home, opening it up is just as fun
| | 06:13 | as looking at the book itself,
and they are absolutely beautiful.
| | 06:16 | I am going to cancel this out right now.
| | 06:19 | Now, that is the easy way to make a book,
and it doesn't get any simpler than that.
| | 06:24 | So basically the steps are, figure out what shots you want.
| | 06:28 | Put them in an album, and then organize
them in the order that you want.
| | 06:32 | Once you have them in your album, then
you go up and you just choose Book.
| | 06:38 | They will present you with some options
for Size and Theme and so forth.
| | 06:42 | Make those selections.
| | 06:44 | Then go to the Gear menu, choose Autoflow Unplaced Images,
add a little type in a few places, and buy your book.
| | 06:53 | It doesn't get any simpler than that, and
these things are absolutely beautiful.
| | 06:57 | Now, in upcoming movies I am going to show you how to
customize this process a little bit, so stay tuned.
| | Collapse this transcript |
| Customizing an existing template| 00:00 | So even though we have all these wonderful templates
to work with from Apple that are beautifully designed,
| | 00:05 | we can still customize them to
suit our own needs and purposes.
| | 00:09 | I am going to show you some great tips now
for making their template more like yours.
| | 00:14 | Let's start with some type.
| | 00:16 | So obviously we can add type as we did, just by clicking
on it, but you might change your mind on the type,
| | 00:21 | and all you have to do is highlight
it, and type, and hit Return.
| | 00:27 | Now, if you want to change the actual font size itself,
highlight the type again, right-click on it or Ctrl click,
| | 00:35 | go down here to Font, and choose Show Fonts.
| | 00:39 | Now you have the Apple Font Menu and you can pick anything
that you want, and you can do it on a case by case basis.
| | 00:46 | We are going to go back to our original font
size, and I am going to close that right now.
| | 00:52 | We are in great shape.
| | 00:54 | Now, you can remove pictures and
you can substitute pictures.
| | 00:59 | Let's go over here.
| | 01:00 | Let's say on this shot here that I
want to have a different picture there.
| | 01:06 | I just click on it once, and I look for something else.
| | 01:11 | Let's say that I want to add this little guy here;
what I will do is just drop them right on there.
| | 01:18 | Now you will notice, now I have a number 2 here.
| | 01:22 | That means this picture has been used twice.
| | 01:26 | So I can find where it has been used before, and
substitute, take it out, drag another shot in there,
| | 01:34 | and that picture number will go down to 1.
| | 01:37 | So all Aperture is doing is helping you keep
track of how many times you are using a shot.
| | 01:41 | If there is no number, then that tells you, oh,
I haven't used it yet, and its letting you know
| | 01:46 | that so you can go ahead and add
it to your book, if you so desire.
| | 01:50 | I am just going to go ahead and
change this picture right now,
| | 01:54 | just for the fun of it, so I will
just drop it right on there.
| | 01:57 | Now, you may notice that we have some yellow triangles
here; that's telling me that in Aperture's opinion,
| | 02:03 | these shots are too low resolution
to make a quality printed page.
| | 02:08 | So why would that be?
| | 02:09 | So let's go over to Megan's pictures and take a look.
| | 02:11 | I will just click on the metadata.
| | 02:14 | Oh, there's our situation, look at that.
| | 02:17 | These are fairly low resolution shots.
| | 02:19 | Now they are fine for viewing on screen,
but they don't have enough resolution.
| | 02:25 | In other words, their numbers aren't big
enough here to make a nice printed book.
| | 02:30 | Generally speaking, you are going to want to have
something more like 1600, 2400, upward in that area,
| | 02:37 | in order to have enough resolution for a good printed piece.
| | 02:41 | So it's something to keep in mind if you are bringing in
pictures from the outside into Aperture for book making;
| | 02:46 | make sure that they have a nice
high resolution so that you have all
| | 02:50 | of your options open while you are working on your book.
| | 02:53 | Now, if you have enough resolution, then you
can actually crop your photo a little bit.
| | 02:58 | Let's go here.
| | 02:59 | I will go to this shot here.
| | 03:00 | If I double click on the image, I get the
image scale, and I can crop my photo just
| | 03:06 | by moving the picture up and down the scale here.
| | 03:09 | Now, once I move it up, I can click on it, and I get
the hand, and I can reposition it, just like that.
| | 03:19 | Again though, this requires more resolution.
| | 03:22 | If I have a low resolution shot, I am only
going to make matters worse by scaling it up.
| | 03:27 | So you have to keep that in mind.
| | 03:28 | Same thing with this shot here.
| | 03:30 | I am just going to double click on it.
| | 03:32 | I can scale it up a little bit, and
then once I do so, I can move it around.
| | 03:39 | So this is both cropping and repositioning at the same time.
| | 03:44 | Another option that I have is I
can change the master page layout.
| | 03:48 | If I just click on a page, go to this triangle
here, and let's say I don't want a 3-up --
| | 03:54 | or maybe not a 3-up that way, let's say I want
to change the 3-up so that the vertical is
| | 03:59 | on the left side instead of the right side.
| | 04:02 | Just click on that and it changes just that page.
| | 04:06 | You have all of these options available to you.
| | 04:08 | You just have to click on the page, and
then choose the Page Layout that you want.
| | 04:12 | While we are at it, while we are on this page
here, if I want to change the Background Color,
| | 04:16 | let's say that I don't want Black, just go up here,
choose a different color; I can make it Hunter Green
| | 04:23 | if I wish, and it changes it just for that page.
| | 04:26 | You can do this on a page by page basis.
| | 04:29 | I am going to take this back to Black right now.
| | 04:32 | Now, I can turn off and on page numbers
also, and that's under the Gear Menu.
| | 04:37 | We just go up here to Page Numbers, and I can turn them
all Off, or if I decide I do want page numbers after all,
| | 04:43 | just go back to Page Numbers, either go Always or Automatic.
| | 04:48 | Both of them usually result in
having page numbers on the page.
| | 04:51 | Finally, if I want to add a new page, it?s very simple.
| | 04:54 | Just basically click on the image, go to the +
sign, choose Add a New Page, I get a blank page.
| | 05:02 | I can choose the Template that I want, let's say 2-up.
| | 05:08 | Then I can add a couple of shots
to it, let's add these two shots.
| | 05:14 | You will notice as I add these two
shots, their numbers change from I to 2;
| | 05:18 | that's letting me know that I am
now using those pictures twice.
| | 05:21 | If I want to make a little adjustment on
them, double click, scale and reposition.
| | 05:29 | So you see it's very easy to customize
the template that Apple provides for you.
| | 05:34 | Just keep in mind that you want to have nice,
big resolution shots, so they print well,
| | 05:39 | and so that you can zoom in and reposition them.
| | 05:42 | Keep in mind that you want to make sure that you don't use
photos anymore than 2 or 3 or 47 times in the same book,
| | 05:49 | and you can keep track of that by
watching these numbers right here.
| | 05:54 | Once you get the book just the way you want, click
on the Buy Book button, and the next thing you know,
| | 05:59 | your customized work is showing up in your
mailbox, ready to share with your friends.
| | Collapse this transcript |
| Creating a custom template| 00:00 | Well, you can use Apple's pre-designed
layouts and they look terrific,
| | 00:04 | and you can even alter them a little bit
if you want to make the book more yours.
| | 00:08 | But, with Aperture 2 you can take
it even another step further.
| | 00:11 | You can design your own layout from scratch.
| | 00:14 | And that's not only to make a book, sure you can design a
book let's say that you have a printer that prints out 13
| | 00:20 | by 19, and you want to print your own book at that size.
| | 00:24 | You definitely can do that, but this
tool will take you even further.
| | 00:27 | You can for example design your own flyers, you can
design your own posters, you can make your own postcards.
| | 00:34 | In fact, let me show you how to use these
custom layout tools to make a custom postcard.
| | 00:39 | I am going to do that right now.
| | 00:41 | I am going to take you back over to Plant Book
because we are going to start from square one here
| | 00:47 | and I would like to use this shot right here.
| | 00:50 | And now I am going to go up to New, and we are going
to create a new book specifically for this project.
| | 00:56 | Now Aperture is asking me, do I want to create
with just one image or create with them all?
| | 01:01 | That's nice if it did double checking with
me there, but I am just going to create
| | 01:04 | with the one image because I am just making a postcard.
| | 01:08 | Now instead of using one of the presets, I am going to go
down here to Custom and I am going to choose New Theme.
| | 01:15 | Now I am going to call it Postcard.
| | 01:16 | The width is going to be 6 inches.
| | 01:23 | Now, you only have to hit the Tab key to go to the next one,
4 inches, Tab and I am just going to have 0s for all these
| | 01:31 | because we don't need any margins or anything like that.
| | 01:37 | Okay, so I have 6 inches wide by 4 inches tall.
| | 01:40 | My postcard is all set up, I click OK.
| | 01:43 | Now that I have created a new theme, I'll just choose it,
| | 01:48 | and we get the standard layout
that we have been using before.
| | 01:51 | I am just going to click on one of these.
| | 01:53 | Now, I am only going to make one postcard
right now, only design one postcard.
| | 01:57 | So instead of having the spread, I am just going to look
at a single page, just click on that box right there.
| | 02:02 | And then I am going to drag my
photo up here, so far so good.
| | 02:08 | This is all stuff that we have kind of worked with
before, but now we get to break in to some new territory.
| | 02:14 | Before, what happened is if I double-click on this
image, I could crop it, I could scale it up a little bit
| | 02:20 | and then once I do so, I can move it around.
| | 02:22 | I want to do something different.
| | 02:24 | I want to actually edit the layout itself.
| | 02:27 | We can do more customization here.
| | 02:30 | So I am going to go up to this box right here.
| | 02:33 | Now, when I click on it, I actually get these handles.
| | 02:35 | I can play with my image or I can do more design elements.
| | 02:42 | Now, I need to find the options.
| | 02:44 | There is an Options box here.
| | 02:47 | There it is, right there, Show Layout Options.
| | 02:50 | I am going to choose that.
| | 02:51 | Now look at this, I have all these options right here.
| | 02:55 | And what I want to do is I want to
create a photo border right here,
| | 03:00 | and I want to create it, let's say a half an inch thick.
| | 03:03 | I'll enter 0.5, hit Tab, and now I have a photo border.
| | 03:09 | Excellent!
| | 03:09 | And I can even move my picture around within
the photo border, just double-click on it,
| | 03:15 | and I can just reposition it a little bit here.
| | 03:19 | Okay, we're in good shape.
| | 03:21 | So, now I have created my photo border.
| | 03:24 | I am going to go back to Edit mode
because I want to do more.
| | 03:26 | I would like add a little bit of text down here.
| | 03:29 | So I am going to go down to the Gear
menu and I am going to go to Add.
| | 03:34 | Now I can add a regular Text Box where I type
in something or I could add a Metadata Box.
| | 03:41 | Now this is terrific because we have been
doing Metadata all along through this training.
| | 03:45 | We have been adding captions and keywords, and
copyright information, so why not use that stuff,
| | 03:51 | and I am going to show you how to use that right now.
| | 03:54 | Just click Metadata.
| | 03:55 | It actually creates a Metadata Box.
| | 03:57 | Here's that I can resize.
| | 03:58 | I am just going to grab it here.
| | 04:02 | Now right now it's picking up the Caption field.
| | 04:04 | Well, we don't have anything in the Caption field.
| | 04:07 | But if I go up here to this little T in
the tag, this gives me my Metadata options.
| | 04:13 | But what I would like to do is use the
Version Name instead, and look at that.
| | 04:18 | Comes right in there.
| | 04:20 | Now, it looks like there is no such thing as a Ventura
Dewy Lily but there is Dewy Lily, so I can edit this.
| | 04:27 | All I have to do is double-click in here.
| | 04:29 | I get my I-Bar.
| | 04:31 | Just take out Ventura.
| | 04:33 | Now we just have Dewy Lily, and I have all
of my type options available to me too.
| | 04:38 | I'll just highlight, right-click on it or Ctrl-click.
| | 04:41 | And I can do my Font menu if I
wanted to make any adjustments.
| | 04:46 | Let's say I want to make it just a little bit bigger.
| | 04:49 | So move it up to 18 point, maybe even 20 point, here we go.
| | 04:58 | Now just click outside of it here.
| | 05:00 | Nice, but the position is a little
off, I would like to reposition it now.
| | 05:05 | I can drag things or if I just want to keep things on a
nice straight line, I can use my Left and Right Arrow keys,
| | 05:13 | and I can use my Up and Down Arrow
keys to position it lovely.
| | 05:16 | I don't need that extra space.
| | 05:18 | I'll just tighten that up a little bit right there.
| | 05:20 | Looking very good.
| | 05:21 | Well now we have the title for it, wouldn't it be nice
to put the copyright information on this card also.
| | 05:27 | So, let's create another Metadata Text Box, go back to
here, go Add, Metadata Box, just drops it in that open area.
| | 05:38 | This time, we are going to go up here,
and we are going to choose Copyright.
| | 05:43 | There is a copyright information.
| | 05:45 | I am going to double-click in there and highlight it.
| | 05:47 | I want to make the size a little bit smaller.
| | 05:49 | So I'll right-click on it.
| | 05:51 | Go to Font, Show Fonts.
| | 05:53 | Let's take that size down to like 12 point.
| | 05:57 | Excellent!
| | 05:58 | That's all we need to do there.
| | 05:59 | And then I can tighten this up a little bit,
come out here, just kind of close that up,
| | 06:07 | and I think I am going to move it down and move it so that,
| | 06:12 | that end her last name is flush
with the edge there and there we go.
| | 06:18 | Now we have our copyright information, our
title, our image itself and a photo border.
| | 06:25 | I will go out of the Edit mode so I
don't accidentally change something.
| | 06:30 | Now all I have to do is print.
| | 06:32 | So, if click on the Print button,
we get the Print dialog box.
| | 06:37 | I would choose my printer wherever printer is
connected to my computer or on the network.
| | 06:42 | Select that there.
| | 06:43 | Once I select that and make my print settings,
then this box will no longer be grayed out.
| | 06:49 | I hit the Print button and then outcomes
a beautiful custom design postcard
| | 06:54 | to my own specifications, we'll cancel it out right now.
| | 06:59 | Now you can use the tools that I just showed
you to design postcards, posters, flyers,
| | 07:05 | and custom size books that you print yourself.
| | 07:08 | I mean this is a really amazing set of layout controls here.
| | 07:12 | They are all inside of Aperture, and all I have to do
is learn what buttons to push, add your photographs,
| | 07:19 | and you can make some seriously nice output.
| | Collapse this transcript |
| Generating PDFs| 00:00 | Not only do we have a lot of Custom options
when we are creating our artwork, our posters,
| | 00:06 | our postcards in this case, we also have
a lot of options for outputting them.
| | 00:10 | We can print to a printer as I talked about before,
| | 00:13 | but we have some wonderful PDF options
too that I would like to show you.
| | 00:18 | Now before I go to the Print dialog box,
which is where those PDF options are stored,
| | 00:23 | I want to remind you of one thing; before you go over there,
just make a note on where your postcard is located here
| | 00:29 | in this layout because you don't want to print the whole
thing, you don't want to print a bunch of blank pages
| | 00:34 | in your PDF, you just want to print this one page here.
| | 00:37 | And also, in a PDF way of thinking of things, this
is page 7 not page 6 even though it says 6 here
| | 00:43 | because we have a blank page up here.
| | 00:46 | So, remember that page 7 that's where our postcard is.
| | 00:50 | Alright, now we are safe to go over to PDF land.
| | 00:53 | I am going to click on the Print button, and right here, we
have the PDF pop-up menu and we have all sorts of options.
| | 01:01 | These are all workflows actually, these are automated
workflows that Apple has pre-designed for you
| | 01:06 | and stuck them right in there,
you don't have to do anything;
| | 01:09 | all you have to do is just pick which one you want.
| | 01:12 | And I'm going to pick Save PDF to Aperture and what
that's going to do is it's going to take my card here
| | 01:19 | and it's going to run a little workflow and then allow me
to save it as a JPG or a TIFF back in my Aperture library.
| | 01:26 | Now, why would I want to do that?
| | 01:28 | Well, think about slide shows.
| | 01:30 | Can you imagine being able to create
you custom slides, your title slides
| | 01:34 | or maybe even all of your slides using these tools?
| | 01:37 | Very impressive and a lot of fun.
| | 01:39 | So, these are the kind of thing that running
these PDF workflows can help you with.
| | 01:45 | Before I forget, like I go up here,
we are going to do from 7, tab,
| | 01:50 | to 7 to make sure we don't make a
PDF with the bunch of blank pages.
| | 01:55 | Everything else looks good.
| | 01:56 | Just go over here to PDF, Save PDF to Aperture.
| | 02:01 | The little workflow starts running.
| | 02:04 | Now we can save it back into our same project that
we have been working with, which is what I recommend.
| | 02:10 | I am going to save it as a JPG
but you can save it as a TIFF.
| | 02:14 | By the way, any PDF you put in the
Aperture, Aperture can show it,
| | 02:18 | they can only display the first page just so you know that.
| | 02:21 | So we will do JPG and I'm going to
use a custom name, we use Title Slide.
| | 02:26 | I think we are ready to go.
| | 02:28 | I'm just going to click Import and
now we are going to go to our library.
| | 02:34 | I hit the V key, so I go through.
| | 02:37 | So, here we have all of our original images and
then down here at the bottom, look what we have.
| | 02:42 | I'm going to double click on it.
| | 02:45 | Isn't that lovely?
| | 02:46 | Look at this.
| | 02:47 | I am going to go over to our Metadata.
| | 02:49 | So we have a nice 1200 by 800 Title Slide that
I can use for slide shows or for other uses.
| | 02:56 | I can create a whole slide show using this
layout, this custom layout that I have done
| | 03:01 | or I can just do just the front and back titles.
| | 03:04 | All my options are open.
| | 03:06 | So on the creation side, you can create just about
anything you want but Aperture is a book making tool,
| | 03:11 | calling a book making tool is really kind of selling
that short because this is actually a layout tool.
| | 03:17 | And then because of all the PDF options we have,
we can create all sorts of electronic versions
| | 03:23 | of our artwork or we can send them to our printer.
| | 03:26 | Really, the choice is yours and this
is a very flexible and powerful tool
| | 03:31 | to help us use our images and show them in the best light.
| | Collapse this transcript |
|
|
13. Building Web PagesBuilding a web page| 00:00 | Another terrific output option that we have in Aperture
for lovely images is to create web pages and we have a lot
| | 00:08 | of flexibility in how those web pages look.
| | 00:11 | So I thought I create one for you right now and
let you see all the tools that we have to do that.
| | 00:16 | I started out by creating an album and
I think an album is a good way to go
| | 00:21 | that contains the images that I want to put in my Web Page.
| | 00:24 | Of course, the advantage to an album for a Web Page is very
similar to the advantage of using an album to create a book,
| | 00:30 | in that you can organize your images beforehand
and you can change your mind later in the Web Page
| | 00:36 | but it's really easier to get things done now.
| | 00:39 | Once I have the album the way that I want,
I'll just make sure nothing is selected,
| | 00:44 | that way Aperture knows to take all of the images.
| | 00:46 | I go up to New and I choose Web Page.
| | 00:51 | Very quickly, Aperture builds a sample Web
Page for me, at least the starting point
| | 00:56 | where I can take it from there adding my own choices.
| | 00:59 | First thing I'm going to do is I'm
going to change the theme to black.
| | 01:04 | I like Stock Black, it makes my pictures
look better and then we'll give it a name,
| | 01:12 | let us call this Marina Web Page,
just like that and hit Return.
| | 01:19 | Now, I really don't have any more work to do
over here in the Inspector for the moment,
| | 01:23 | so I can save this real estate and bring my web stuff over.
| | 01:27 | So I am just going to hit the eye key that
will hide the Inspector for the moment
| | 01:31 | and give me a little more breathing room here.
| | 01:33 | It feels so much better on the eyes, doesn't it?
| | 01:36 | Kind of tidy up a little bit.
| | 01:39 | Let's give it a title, I'll have to use highlight.
| | 01:43 | Oh let's say, let's call it Ventura Marina
and then we can put our website over here,
| | 01:51 | so people know where to go to find
out more great stuff from us.
| | 01:53 | Okay, all are cleaned up there.
| | 01:58 | Now, go down to the bottom and we
will do our copyright information.
| | 02:06 | Okay, terrific.
| | 02:08 | Now we can take a look at the design of the page itself.
| | 02:17 | Come back up at the top.
| | 02:18 | Well, I have twelve images here and
they fall nicely into three columns
| | 02:23 | and four rows, I'm going to leave it like that.
| | 02:26 | I could change that if I make three columns and
three rows and I spill over into the second page.
| | 02:32 | No, I want everything on one page.
| | 02:34 | So we will go with four rows, three columns.
| | 02:38 | We have our black template chosen and then I'm going to
have them fit within rectangles and we will go something
| | 02:46 | like 200 wide by 120 tall, but I could adjust
that just by clicking on these arrows here,
| | 02:53 | make them smaller, that looks pretty good to me.
| | 02:57 | Oh! I go. Oh no!
| | 02:58 | Maybe I want to go 120.
| | 03:00 | So you just play with these until
you get in the way that you like.
| | 03:04 | Now, I also have options as to the data that's
listed with my photographs and if you go
| | 03:10 | under the little Metadata icon here, you
will see we have all of our overlays.
| | 03:15 | Right now I have File Name selected.
| | 03:17 | This is one that I actually created in an earlier movie.
| | 03:21 | I showed you how to create your own Metadata
overlays but I could choose something else.
| | 03:25 | I could have a Caption Only except in this case that's not
so good because the captions are same for all these images
| | 03:32 | and how are people going to say, tell me one from the other.
| | 03:35 | Notice that one shot that had the Marina only
shoot as a caption, that's well, maybe not so good.
| | 03:41 | So we will go back to File Name but you get the idea.
| | 03:45 | Anything that you have already created as a Metadata
overlay is available to you right now via this pop-up menu.
| | 03:53 | So that's our Thumbnail page and I
think we?re in pretty good shape there.
| | 03:56 | Now I'm going to go to the Detail
page and just click on that.
| | 04:00 | Same thing, we can check our title here, we can check
the size that we want to run our images on the page.
| | 04:07 | We can go ahead and double check our copyright
down here if pick that up from our thumbnails.
| | 04:13 | Everything looks pretty good there,
so the only thing I really need
| | 04:16 | to adjust is what information I want to run with my photo.
| | 04:22 | Right now I have Caption & Credits and that's kind
of nice but what if I were showing this Web Page
| | 04:27 | to my photographer friends and they were really
interested in things like Aperture setting
| | 04:32 | and shutter speed and all that, could I do that?
| | 04:35 | Absolutely, and you don't have
to go and re-enter it by hand.
| | 04:38 | We don't like doing that in Aperture.
| | 04:40 | Once we apply Metadata then we want to use it everywhere.
| | 04:44 | So I will go up to my little Metadata icon here and we'll
go with a Photo Info- EXIF and this is a standard preset
| | 04:53 | that comes with our Metadata overlays and choose that.
| | 04:56 | Now look at this how cool is this, so we get
the file name and the image date, time stamp.
| | 05:02 | We find out what I camera use, what the pixel size are,
all of my settings even the Focal Length, my ISO Rating
| | 05:10 | and look even find out what Lens Model I used.
| | 05:15 | Now, if you are showing this to photographer
friends, they are going to love this.
| | 05:19 | And if I want to look at another detail page,
I'll just click on this arrow right here.
| | 05:24 | I get to the next page, I get to
see its settings, very handy.
| | 05:29 | Well, I think were in very good shape now.
| | 05:31 | It looks like we have done all the
designing that we need to do for the moment.
| | 05:36 | I could publish to my .Mac account if I have
one and that's basically one click publishing.
| | 05:41 | I will press this button I make sure and connect it
to the internet, Aperture connects to my .Mac site,
| | 05:48 | it puts the website on there and then it's
available with all of my other .Mac websites.
| | 05:54 | That is easy as I guess.
| | 05:55 | Or, if I had my own website, I could export web pages,
click on this button here, I'll get a dialog box,
| | 06:05 | I'll just choose Desktop and I get a
few options here in terms of quality.
| | 06:11 | Pick what I want.
| | 06:12 | I'll pick High Quality for everything.
| | 06:15 | Then when I click Export, what Aperture will do, it will
build my website for me, it will put it in the folder
| | 06:21 | and then it will replace it right
where I tell it to and then I can take
| | 06:25 | that folder and drop it on my server if I have one.
| | 06:28 | Or a fun thing to do is burn it to a CD and you can share
it with folks, they can put the CD in their computer
| | 06:35 | and open up the Web Page and then they can use your
browser to navigate all of your photos and have all
| | 06:41 | of that web functionality without
even having an internet connection.
| | 06:44 | So you have lots of good options
there, and I think we are all set now.
| | 06:49 | So I am going to hit the eye key
again, I'll bring back my Inspector.
| | 06:53 | Now, this will stay in my project and I can always go
back to it, I can make adjustments whenever I want.
| | 06:59 | So, you see that building web pages is another
terrific output option that we have in Aperture.
| | 07:05 | It's very easy to do, it's very powerful and it gives
you another way to share your photos with other people.
| | Collapse this transcript |
| Publishing a web gallery| 00:00 | Another option that you have for sharing your images on the
web, if you are a .Mac member- and that is a huge caveat here
| | 00:09 | because you need to have a .Mac account
for the Web gallery functionality to work.
| | 00:13 | So if you do, pay close attention because this is quite
amazing and if you don't, watch anyway because who knows?
| | 00:19 | You may decide that up the road, this is
something that you would want to partake of.
| | 00:23 | So, what we are going to do is we are going
to start out the way that we have so often.
| | 00:27 | We are going to have an album, full of images here.
| | 00:31 | Now, instead of choosing Web Page up here,
which we have done in another movie, showed you how
| | 00:38 | to design your own Web Page, we are going to go up to Web
Gallery right here. Web Gallery. And this is even simpler
| | 00:46 | than building a webpage and building
a webpage wasn't really that bad.
| | 00:49 | So I'm going to choose Web Gallery
here and I get a list of options.
| | 00:54 | Now again, this will come up if you have a .Mac account
and then Apple will ask you a few questions here
| | 01:01 | and then when we click Publish then it will connect
with the .Mac account and actually produce this thing.
| | 01:07 | So we don't even have to design it,
all we do is we create an album
| | 01:11 | and then we click a button and then we check a few boxes.
| | 01:15 | So, we can give it a name here. We will call it
Ventura Marina, take out the Web, sort of redundant.
| | 01:25 | I could give it a description right now but I'm not going
| | 01:29 | to because there's something pithy
and that everyone goes, "ooh!
| | 01:33 | You must be a writer too."
| | 01:34 | And then we can make choices here, Album
viewable by Everyone, anyone that has URL.
| | 01:41 | Only me, which I could see that being useful
sort of because I am number one fan of my photos.
| | 01:48 | And then you can set these little presets too and what these
are here is that you can set a password for certain accounts
| | 01:55 | so you can set a username and password configuration.
| | 01:58 | These are some that I have already created here
and so that we can edit those or create a new one.
| | 02:05 | I use it for clients if I have clients that I want
to review pictures from a photo shoot and have them
| | 02:11 | to make their selections but they don't
necessarily want other people to see those.
| | 02:15 | So, that's what that is, we are
going to go with Everyone right now.
| | 02:19 | What sort of things are we going to allow?
| | 02:22 | Well, you can allow the Downloading of Optimized Images so
that way if someone sees a shot they like and you want them
| | 02:28 | to be able to download a nice high-res version of
it, you can let them download the Actual Size Image.
| | 02:36 | This is pretty incredible.
| | 02:38 | You can allow clients and this is where
that passwording comes in sometimes.
| | 02:42 | I am not sure you want to offer this to everyone but
if you have someone that has a username and password
| | 02:48 | and you are working with them and you want
them to be able to download the master files,
| | 02:52 | you select this one right here or
you can allow them to download both.
| | 02:56 | So we will just go with Optimized Images for right now.
| | 02:59 | And then another kind of neat functionality and
this is where it gets into the community stuff.
| | 03:05 | You can allow people to upload stuff
too, via the web browser or via e-mail.
| | 03:10 | A scenario for this could be let's say that there
is a big family reunion and you are taking pictures
| | 03:16 | and a bunch of other people are taking pictures too.
| | 03:18 | You need to decide to be the one to get the ball rolling.
| | 03:21 | I'll put up the website, I will
make it available to everyone,
| | 03:24 | no password and I will enable the uploading of photos.
| | 03:28 | In that way, other people can contribute to the
website. You will put the first 30 pictures up
| | 03:34 | but then the other family members can add to it and it
can be just living community area for your whole family.
| | 03:39 | So that sort of stuff is fun.
| | 03:41 | And if you want to allow that, check either both of these
boxes or one of them depending on how you want people
| | 03:47 | to have access and you can hide the album on your Web
Gallery page, so you have an overall Web Gallery page.
| | 03:54 | This album will become part of it unless you
check that box and you don't want it to show there
| | 03:59 | and then of course, show the version name.
| | 04:02 | So if I click Publish then .Mac will go to work and
do all the stuff and let show you what one looks like.
| | 04:10 | I have one ready to go, I cancel it here,
and we'll go down to our web browser
| | 04:15 | and I'll pull up, here is one that I created for Iceland.
| | 04:21 | Now here is my overall .Mac presence.
| | 04:24 | So if I click on that, all of my web galleries will show
and then there is a setup options that I have appear.
| | 04:30 | Remember those choices that we had
to make in that earlier dialog box?
| | 04:35 | So, if I had downloading enabled,
this would not be grayed out.
| | 04:39 | People could download images, so
they could select and download.
| | 04:44 | People can subscribe via RSS, so if it's a community
thing and you have people uploading from all directions,
| | 04:50 | they may want to subscribe so that they
know via RSS when someone has added picture.
| | 04:55 | And then, of course, the Uploading function.
| | 04:58 | If you enable that that won't be grayed out and you
can send it to an album and you can tell a friend.
| | 05:05 | So you can actually click on this and share
the link to the album with someone else
| | 05:11 | and then these are really beautiful to look at.
| | 05:12 | If you click on it, you get the picture;
if you click on the information,
| | 05:18 | you get all the Metadata which I think is pretty slick.
| | 05:24 | If the downloading is enabled, they can download
right here or they can go to the next picture.
| | 05:33 | We will go back to the album and they can look at it
via Grid or they can do Mosaic, which is very nice here.
| | 05:43 | I can do Carousel so they can just do the old .Mac here.
| | 05:50 | This is very slick and all this is done for you.
| | 05:53 | We will go back to Grid, we can also run the Slideshow.
| | 05:58 | The user can even adjust the background color,
this is all on the user end. And then of course,
| | 06:05 | you can change the size of the Thumbnails.
| | 06:10 | So, this is pretty good stuff and the way that you create
all of that, I wish I could tell you that was talent
| | 06:17 | and sweat and all that stuff but it really isn't.
| | 06:20 | All you have to do is have a .Mac account, click on the
Album, go up here to Web Gallery, check a few boxes,
| | 06:30 | add the name, click Publish and you are done.
| | 06:34 | Pretty incredible stuff. So if you don't want to make
your own web pages as we did before and you have .Mac,
| | 06:40 | take a look at this option. It's very, very nice.
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14. Printing ImagesPrinting a single image| 00:00 | Well, we have all sorts of wonderful output
options in Aperture and printing is no different.
| | 00:05 | They have really done a nice job of giving
us an easy way to manage our printing.
| | 00:09 | I'm going to show you that right now.
| | 00:11 | We are going to start out by making just a
single print, I'm going to pick my kayaks here
| | 00:16 | and I'll go up to File and I'll choose Print Image.
| | 00:21 | And up comes a dialog box here that really has three parts.
| | 00:25 | The areas where we get to set our presets which I'm going
to do in just one minute and then the area where we get
| | 00:31 | to make some settings and then finally the
image itself and we get to see what's going
| | 00:36 | on with the image as we worked these settings.
| | 00:39 | I'm going to start out by creating a new preset because that
way all of the work that I do over here will be retained
| | 00:45 | and I can come back and then next time if I
want those same settings, I just hit the Preset,
| | 00:50 | I don't have to reset the whole dialog box.
| | 00:53 | Very handy, this is good stuff.
| | 00:56 | So we will do a New Single Image Preset
and we will call it Letter Print just
| | 01:06 | like that and we are ready to get the work.
| | 01:11 | So right away, we have to pick our printer and do all
sorts of stuff, we basically started at a ground zero there
| | 01:18 | but that's okay, I don't have a problem with that because
that gives me the opportunity to show you everything
| | 01:23 | in the dialog box and that's what really what I to do here.
| | 01:26 | How many copies?
| | 01:27 | OK, this is all standard stuff, print All or From 1 to 1.
| | 01:31 | Now it gets interesting.
| | 01:33 | So first thing we will do is we pick our printer
right here and this button here; Print Settings,
| | 01:38 | this is your access to the Print Driver software
because every time you add a printer to your computer,
| | 01:45 | there is Driver software that goes with it an if you click
on Print Settings that gets you to the Driver software
| | 01:51 | so you can make those specific settings for your printer.
| | 01:54 | For instance, if you have an Epson R2400, you might want
to go in there and adjust the ink or the paper type.
| | 02:02 | You'll have all of the Epson papers
available to you, all that good stuff.
| | 02:06 | You do that customization by hitting that button and
then it will bring you back to this menu right here.
| | 02:12 | Paper Size, we are going to do US Letter on this
and for Orientation, we are going to do Landscape.
| | 02:19 | Now for a ColorSync Profile, what is that?
| | 02:21 | Well, if somehow you have to manage your colors,
in other words, you have calibrated your monitor
| | 02:28 | so that what you are seeing on your screen is accurate
but then when your computer, when Aperture hands off all
| | 02:34 | that information to the printer, you want to
make sure they are talking the same language
| | 02:38 | or at least they can communicate with one another.
| | 02:41 | And there is a couple of different ways to do that.
| | 02:43 | You can have the System Manager
and that's basically in Aperture.
| | 02:47 | You can have your Printer Manager because all of the
printers come with software where they can take charge
| | 02:53 | of the printing process or you can work with
specific ICC profiles for the types of paper
| | 02:59 | that you are running through your printer.
| | 03:01 | And that's my favorite way although, all the different
ways work really well depending on what you use
| | 03:07 | and you can probably use the same thing that you are using
now for Photoshop or however you are making your prints.
| | 03:13 | Just make that selection in this
pop-up menu and you are good to go.
| | 03:18 | Black Point Compensation is one of those wonderful
things that almost always improves your prints
| | 03:23 | and I think really what its doing
is it's compensating for the black.
| | 03:26 | You see certain blacks on your screen but they don't
quite come out the same way when you make a print
| | 03:31 | and I think this kind of shores that up a little bit.
| | 03:33 | And speaking of on-the-fly adjustments,
you have a Gamma adjustment here.
| | 03:38 | The way that works is that you have the opportunity
to make your image a little lighter here.
| | 03:43 | Now, why would you want to do that?
| | 03:44 | Well, one of the biggest complaints that people
have is they get everything set up on their computer
| | 03:49 | and even though their screens calibrated and that
the colors come out right, the image is always seems
| | 03:55 | to be a little darker than what they saw on their
screen and I think it's a little frustrating for folks.
| | 04:00 | So instead of going back and changing your actual
image, which I don't think you want to do that,
| | 04:06 | you already have that adjusted on the calibrated screen.
| | 04:09 | Instead what you want to do is you can
just make a little adjustment right here
| | 04:14 | at the Gamma and this is only for the print.
| | 04:17 | So it's not affecting your original image.
| | 04:20 | So if your prints are consistently coming out slightly
dark, you can just bump the Gamma a little bit here
| | 04:25 | and hopefully that will bring you right in line.
| | 04:27 | You also have an opportunity to do some sharpening
right before the job goes to the printer.
| | 04:32 | And that's not such a bad idea; we
usually sharpen in three places.
| | 04:37 | When the file first comes in especially raw file and
that happens in raw fine tuning and Aperture takes care
| | 04:43 | that for you automatically and then you might want to do
little sharpening while you are doing your image adjusting,
| | 04:48 | just so you get look in the way that
you want but that's for on the screen.
| | 04:52 | Now you are going to put it on paper and when
ink on paper usually spreads a little bit,
| | 04:57 | so you need to add a little bit of
sharpening right before you print
| | 05:00 | to compensate for that and you can do that right here.
| | 05:03 | And the rule of thumb is sharpen to
what looks good to your eye, right here.
| | 05:10 | So let's sharpen to what looks good to the eye, we will do
something like that and then add just a little more amount,
| | 05:18 | just a little bit not the radius just a little bit more
amount and that usually will mean that the print will come
| | 05:25 | out of the printer looking pretty much
like what you see on the screen here.
| | 05:30 | Now you can scale to fit the entire
image or fill the entire page.
| | 05:35 | Most photographers are going to pick Fit Entire Image
because they worked hard on cropping their image just right
| | 05:40 | and they want it to show on the page in all of its glory.
| | 05:44 | However, if you don't care about that and you just want
all that paper filled and if the proportions are different
| | 05:51 | from your original image, these proportions
are different than what the paper are.
| | 05:56 | Then you can go ahead and fill entire page but
remember some of your image is going to be cropped.
| | 06:02 | I'm going to go back too, I'm one of those guys, I want
the entire image on my paper here and then finally,
| | 06:08 | I love this one where you get to adjust the border.
| | 06:12 | So I'm going to give it a nice healthy border.
| | 06:16 | Sort of gives it a little fine art look.
| | 06:18 | I am going to go all the way to one inch.
| | 06:20 | So I am going to create a one inch border there.
| | 06:23 | I'm pretty much ready to go, so all I have to before
I hit the Print button is hit the Save button here,
| | 06:29 | I am going to save all of my settings
and now all I have to do is hit Print
| | 06:35 | and out comes, what I predict to be, a beautiful print.
| | 06:39 | Now, let's say I want to create another preset that has
all of these basic settings except I am going to print it
| | 06:45 | on legal size paper instead of
Letter Print, how do I do that.
| | 06:49 | Well I'll just make sure my Preset is selected, I click Save
As, now we'll give it Legal; give it a new name, click Save.
| | 07:04 | I just make the change that applies
in this case, US Legal, excellent.
| | 07:12 | Everything else is the same, beautiful, I am in great shape.
| | 07:16 | Now I just click the Save button and I have
save that preset, let's see if it works.
| | 07:21 | So here is Legal, let's go back to Letter.
| | 07:25 | Brilliant, we are in great shape here.
| | 07:28 | So, then I will pick wherever preset I want to use.
| | 07:31 | Obviously, I have to make sure
the right paper is in the printer.
| | 07:34 | Once I have everything all lined up, I hit Print and out
comes, well maybe not a masterpiece but at least something
| | 07:42 | that you are looking forward to sharing
with friends, and neighbors, and loved ones.
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| Printing a contact sheet| 00:00 | Another output option that we have is making a
contact sheet from a bunch of images that you have.
| | 00:06 | Now why would you want to do that?
| | 00:08 | Well, maybe you are really cheap and you just don't want
to spend a lot of money on paper or possibly you just want
| | 00:13 | to have a lot of images on one sheet of paper but you can
hand to somebody else and let them say, uh, I want that one
| | 00:19 | or I want that one and then you can make a big print.
| | 00:22 | I'm going to show you how to do that right now.
| | 00:25 | We are going to take one image and then I'm going to
hold down the Shift key and I will click on another one
| | 00:29 | and we are just going to take a whole slew of
shots here and we will go up here to print.
| | 00:36 | Oh! Look at that, Aperture is so smart.
| | 00:38 | It knows I'm going to do more than one right
now, so it changes Print Image to Print Images.
| | 00:43 | And it's going to bring up a dialog box very similar to
what we saw when we printed a single sheet and in fact,
| | 00:53 | it is the same dialog box and if
you have any questions about details
| | 00:57 | on these settings then see that
movie on printing single images.
| | 01:02 | Right now though, I'm going to create a new preset
for my context sheet, so I'm just going to go up here,
| | 01:09 | New Context Sheet Preset and I'm going
to call it Derrick's Contact Sheet.
| | 01:23 | Excellent, we are ready to go right now.
| | 01:27 | One copy, we are going to print as many as we need, we are
going to use the printer that we have on the network here.
| | 01:35 | I can make some specific printer
settings by clicking on this button.
| | 01:39 | We are going to print on US letter, will
have our orientation to be Best Fit.
| | 01:45 | We are going to let the system manager colors first
but we are going to turn on Black Point Compensation.
| | 01:53 | No need to do any Gamma corrections here because this sheet
is going to come out of the printer just looking smashing.
| | 01:59 | I'm going to pick for the moment just
Number of pages 1 and that means I want all
| | 02:06 | of these images just to fit on one sheet of paper.
| | 02:09 | However, if want them a little bigger, if I want to
spread it out over two sheets, it's easy enough to change,
| | 02:14 | I'll just highlight it 2, hit tab, the pictures get bigger
and now we have all of our images on two sheets of paper.
| | 02:23 | I'm just going to go with one though for the moment.
| | 02:25 | I kind of like this outrageous sheet
of color here, isn't it beautiful.
| | 02:32 | Now I could change the number of columns and rows to
something specific, so if I wanted just three columns
| | 02:40 | and four rows, I enter those numbers right
here and that will be reflected in my output.
| | 02:48 | A fun thing to do is you can add Metadata to this.
| | 02:53 | So all those Metadata overlays that
you have created or that came in stock
| | 02:57 | with Aperture are available to
you when you make a contact sheet.
| | 03:01 | So if you want to do something like Name Only,
that Metadata will be added to the sheet here.
| | 03:07 | You can choose the font size; small, medium, or large.
| | 03:11 | You have to kind of play with that to see what works best.
| | 03:13 | I think a lot of it's relative to the size of the paper.
| | 03:18 | Generally speaking, I have good luck with medium and I
haven't seen a huge difference between medium and large
| | 03:24 | and then I can adjust the border,
just by moving the slider here.
| | 03:28 | And that's not the border just for the sheet of
paper but it's a sub-border around every image.
| | 03:33 | So I guess something that I like, I
think they are looking pretty good,
| | 03:38 | we have all of our images, we have
a nice orderly layout here.
| | 03:42 | We have Metadata.
| | 03:43 | I think we are ready to go.
| | 03:45 | So before I print, all I do is make sure that I hit the
Save button that will save all of my settings right here
| | 03:53 | to my preset and if I wanted to have a variation
on this preset, all I have to do is choose Save As,
| | 04:01 | give it a new name, make the changes
that I want and then hit Save again
| | 04:06 | and I will have a second preset with just those changes.
| | 04:10 | I am ready to go now, so I will just hit the Print button
and out of the printer, will come this beautiful sheet
| | 04:15 | of paper, all organized with Metadata on it and this is
a great way if you want to hand something off to somebody
| | 04:22 | where they can look at a whole bunch of images to sort of
get a feel for a shoot and maybe give you same feedback, uh!
| | 04:28 | That looks interesting, that looks interesting.
| | 04:30 | Can I see a larger picture of it?
| | 04:32 | One other thing that you can do that's kind of fun is if you
want, you can create a PDF of this sheet by just clicking
| | 04:39 | on this button and it will take you to the standard
List-in dialog box where you can create a PDF
| | 04:45 | and then you can e-mail your contact sheet to a
friend and let them pick the pictures that way.
| | 04:50 | It's a very versatile tool, very
handy, you should give it a try.
| | 04:54 | It's really a lot of fun.
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ConclusionGoodbye| 00:00 | I've had a great time working with all the different aspects
with Aperture, and I hope you have too. So what's next?
| | 00:07 | Well now it's time to get your pictures in this application,
so you can start adjusting them and making great books and
| | 00:13 | making prints and building webpages.
| | 00:15 | That's the next step.
| | 00:17 | Now, if you forget how to do anything,
| | 00:18 | just go back to that movie, watch it and I'm sure you are
going to be up to speed and be a seasoned Aperture professional
| | 00:26 | before you know it. And I hope to see you in
another title before too long. Bye, bye now.
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