IntroductionIntroduction| 00:00 | Hi, my name's Derrick Story, and I'm going
to be your tour guide for Aperture 2.0.
| | 00:05 | Now Apple has included, they say, a hundred new features,
or even more than a hundred new features in this release,
| | 00:12 | and I have to admit there is a lot of new stuff here.
| | 00:15 | We're not going to cover a hundred new features because not
every one of them I think is vital or that important, however,
| | 00:22 | there are six areas that hold new features
that I do want to cover in this title.
| | 00:28 | The first one has to do with interface.
| | 00:29 | They have changed the interface.
| | 00:31 | It is nicer.
| | 00:32 | It's easier to use.
| | 00:33 | It's cleaner.
| | 00:34 | People coming from iPhoto will like this
interface, and I'm going to talk about that.
| | 00:39 | I'm going to talk about things such as the tabbed
browser, double-click behaviors, things like that.
| | 00:43 | We're going to cover that in this title.
| | 00:46 | I'm also going to cover performance improvements.
| | 00:48 | We now have something called Quick Preview
and it is fast, and it works great,
| | 00:53 | and so people that thought Aperture ran too slowly
before I think are really going to like this feature.
| | 00:59 | New image decoding. There's RAW 2.0, and there's Baseline DNG.
| | 01:04 | These are very important in terms of image
manipulation, decoding, and eventually leading to output.
| | 01:11 | We're going to cover that in this title.
| | 01:13 | There are new image editing tools.
| | 01:15 | There are things like Recovery, Vibrancy.
| | 01:18 | There's a Color Dropper so that when you're working
in the color brick, you can pick a custom color
| | 01:23 | and adjust the hue, saturation and luminance of that custom color.
| | 01:27 | I love this and I'm going to show you how it works, and the Retouch brush.
| | 01:32 | There's a Retouch brush now, both for cloning and then just cleaning
up sensor dust, and it's so much easier to use than Spot & Patch.
| | 01:41 | In iPhoto '08, they introduced a .Mac web gallery function, and
iPhoto users love it, and so now we have it in Aperture too,
| | 01:50 | but because we're Aperture users, we get a little something
extra, and the extra that we get is that we can allow users
| | 01:57 | to download the master files too, and since it's password protected,
this is a very usable system, for not only sharing your photos,
| | 02:04 | but actually doing business, and it works great. And finally,
just a fun thing, you can now create your own keystrokes.
| | 02:12 | You have a customizable keyboard.
| | 02:14 | You can save it in sets.
| | 02:15 | You can share these sets with other people, you can have
different sets for different types of jobs that you do.
| | 02:21 | It works very well.
| | 02:22 | It's a terrific convenience, and these are just some of the
things that we're going to cover in this title, so get comfortable
| | 02:28 | and come with me, and let's find out what's going on in Aperture 2.0.
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1. Improved InterfaceNew preferences and tool bars| 00:00 | One of the first things that you're going to
notice when you open up Aperture 2.0 is, wow,
| | 00:04 | this thing really looks different, and it is different.
| | 00:07 | It's different on purpose.
| | 00:08 | It's easy to use and Apple has spent a
lot of time going in that direction.
| | 00:13 | Now as with any new application, you'll start out by looking at
the Preferences dialog box, and I'm going to go there right now.
| | 00:20 | You just go up to Aperture; click on Preferences.
| | 00:23 | Now these are mainly the same Preferences we've always had
in Aperture, but they're in categories, so you have General,
| | 00:29 | which this used to be at the top of the Preferences list, and now
it's own category, Appearance, Export, Previews, on and on and on.
| | 00:37 | Now you'll notice that there's a new one over here, Web Gallery,
and that's because that function has been added to Aperture 2.0,
| | 00:44 | and I'm going to talk about it in an upcoming movie, but right now
the main thing you need to know is that when you come to Preferences,
| | 00:50 | you can just go to the category area that you want to
make a change, make your change, and then click out of it.
| | 00:56 | At the top of the interface in the toolbar area
here, this has also been cleaned up quite a bit.
| | 01:02 | You still have Inspector, and clicking on that toggles it off
and on, and now we have a label to go with our blue import arrow,
| | 01:09 | because not everyone knew that blue arrows pointing downwards meant
that you were going to import images, and of course you can import them
| | 01:17 | from your computer, or from a camera, and
this works the same way as it always has.
| | 01:22 | It just has a nice label now.
| | 01:24 | Projects, Albums, Light Tables, all that stuff has been put
into this one pop-up menu here and you can see them all.
| | 01:32 | Now I really like this.
| | 01:33 | I think this was a very nice move, so if you want to create
a new album, a new project, just go to the pop-up menu,
| | 01:38 | and select what you want, Email, Slideshow right over here.
| | 01:42 | Over on the right side you have your view options, and of
course a lot of these many people use keyboard shortcuts for,
| | 01:49 | so you may or may not use this menu, Full Screen mode, Loop, and Keywords.
| | 01:55 | Now people that have been using Aperture in the past, some
of them like the control bar that's down there at the bottom,
| | 02:02 | and you may notice that when you first fire up
Aperture, you don't see that control bar anymore.
| | 02:06 | Well, it's still around.
| | 02:08 | You have to activate it, so you go up the window here.
| | 02:11 | Go, Show Control Bar, and if you're a control bar fan,
there it is for you, and if you're not a control bar fan,
| | 02:20 | you can go back to the window and you can hide the control bar.
| | 02:24 | Just these few simple changes have really cleaned up the interface.
| | 02:28 | There's a few more goodies that I'm going to touch
on in upcoming movies, but this'll get you going.
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| Using the Tabbed Inspector and HUD| 00:00 | Now if you watched the previous movie where I was talking about some
of the basic interface changes that Apple has introduced in Aperture,
| | 00:06 | you may have noticed that I conveniently glossed over
this change over here on the left side with the Inspector.
| | 00:12 | At first it may look like the Inspector of old because you have your
projects, and you open them up, and you have folders, and Smart Albums,
| | 00:21 | and all that good stuff, and if you open it all the way up, this
may look like something that you have on your computer right now,
| | 00:28 | but what's missing is over on the right side, and on the right side, this
is where the metadata used to be, and the metadata isn't there anymore.
| | 00:36 | What Apple did was that they took our Inspector and they made it
tabbed, so now if I click on metadata, I have all the stuff right here.
| | 00:44 | I don't have a photo selected.
| | 00:46 | Here, I can actually show you how that works.
| | 00:49 | Let's pick something fun here.
| | 00:51 | We'll go down here to soccer.
| | 00:53 | Let's pick a game.
| | 00:55 | I'm going to click on that.
| | 00:56 | Now I will click on the Metadata tab, and you'll see that I have all my
nice metadata that I'm used to seeing, except it's over on the left side.
| | 01:04 | It's not on the right side anymore, and that's nice
because that gives me more screen real estate to look
| | 01:09 | at my pictures, and after all, that's what Aperture's all about.
| | 01:12 | It's about pictures.
| | 01:13 | It's not necessarily about all these windows.
| | 01:16 | Now if I want to work on a picture, I can do that too.
| | 01:19 | I can click on the adjustments tab in the
Inspector and there I have all of my tools.
| | 01:25 | Now clicking with the mouse, it's obvious, but it's not always the easiest
way to go, so that's why we have the W key, and by pressing the W key,
| | 01:35 | I can cycle through these different tabs in the Inspector,
so for instance, I'm working here and I decide, oh,
| | 01:43 | I want to work over here, but I want to see the metadata on that shot.
| | 01:47 | I don't necessarily want to make any adjustments, and I just hit the W key.
| | 01:51 | That brings me over and I don't have to be
moving my mouse willy nilly all over the place.
| | 01:55 | Now this also works when you're in full screen mode, and I think
this is even better than what we're seeing here in view mode,
| | 02:03 | so for instance, I'm going to hit the F key right now.
| | 02:06 | That brings me into full screen mode, and I really get to appreciate this
shot in all of its glory, but I want to make some image adjustments here,
| | 02:14 | so all I have to do is hit the H key, and that brings
up the heads up display which we're used to seeing.
| | 02:20 | However, look at this, it used to be just adjustments in the
heads up display where I would do things like, for instance,
| | 02:28 | maybe play with the temperature a little bit,
or take the exposure and change that a hair.
| | 02:37 | This is something we're used to doing in a heads up display, but
feedback that Apple got was that people like working in full screen mode.
| | 02:44 | In fact, they just want to stay in full screen mode all the time, and so
by changing the Inspector here, by hitting the W key as I was doing before
| | 02:53 | when we were in the view mode, I can cycle
through, and I have my projects here.
| | 02:58 | I have my metadata here, and of course I can make image adjustments, so for
instance, if I'm working in full screen mode, and I'm working on this shot,
| | 03:06 | and I decide that I want to go down to a different album, I don't have
to go out of full screen mode, change albums, and then come back in.
| | 03:13 | I simply hit W. It brings me over to projects.
| | 03:16 | Go to the second album, Game Two here, and say, "Oh, there we go.
| | 03:20 | That's the shot I want to work on," hit W again.
| | 03:24 | Actually, I hit it twice to bring me over to
adjustments, do my work, and then when I'm all finished,
| | 03:30 | I can just hit H. That gets me out of the Inspector.
| | 03:33 | Hit F. That brings me out of full screen mode, and I'm back in view
mode, where again, I have the same behaviors over here in the Inspector
| | 03:41 | on the left side, so this is a very easy, very efficient use of screen
real estate and it allows you to use as much of your monitor as possible
| | 03:50 | for working with and looking at your photos, and not filling it up with
a bunch of pallets, so that's a quick look at the tabbed Inspector,
| | 03:58 | and it works the same in view mode as it does
with the heads up display in full screen mode.
| | 04:03 | You choose the way you want to work.
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| Understanding the new double-click behavior| 00:00 | One of the most natural things to do on a Mac is to double-click.
| | 00:04 | We do that with almost every application that we have.
| | 00:06 | We do it in the finder.
| | 00:07 | We want to open something, we double click on it.
| | 00:10 | It's funny that in previous versions of Aperture, we didn't really
have a good, predictable double click behavior, but we do now in 2.0,
| | 00:19 | and I like it a lot, so if I want to take a little closer look
at a photo, for instance, this gentleman right here getting ready
| | 00:25 | to kick the soccer ball, I simply double-click on it, and it opens
it up in view mode, and then I double-click again, and it goes back.
| | 00:33 | Same thing. I go, "Well, this looks like a good shot to me.
| | 00:36 | It's rated five stars.
| | 00:38 | It better be a good shot, but I want a closer look."
| | 00:41 | Simply double-click.
| | 00:43 | There it is, and I get to look at it in view mode.
| | 00:45 | Now, if you're an experienced Aperture user, I
want to show you one more level to this, which is,
| | 00:51 | let's say I want to look at the lettering here on his jersey.
| | 00:55 | I just put the mouse pointer right there on the B and then I hit the Z
key, and that will bring me up to 100%, and the reason why I mention that,
| | 01:04 | it's a nice combination to use with double clicking.
| | 01:07 | I hit the Z again.
| | 01:08 | I move back out and then I double click again and I'm back in thumbnail
mode, so suddenly you can move in and out of your photos very easily.
| | 01:17 | There's an option though.
| | 01:18 | Right now, we're double-clicking and we're going into viewer mode, but
you have an option, and this is again for the people that like working
| | 01:26 | in full screen mode, and full screen mode for some folks is as
good as it gets, so I'm going to go over to Preferences here.
| | 01:36 | I'm going to go to Appearance, and right here
we have an option for our double click behavior.
| | 01:44 | I'm in viewer right now, but look at this.
| | 01:48 | There's an option for full screen.
| | 01:50 | I'm going to select that.
| | 01:52 | I'm going to close Preferences.
| | 01:54 | Remember earlier when I was talking about Preferences, and how once you
get used to the categories, you can just find what you want quickly?
| | 02:00 | I think that's a good example.
| | 02:02 | Before, when it had been a long list, it may have
taken me a little bit longer to get to that preference.
| | 02:07 | Now I'm going to double click on the guy getting
ready to kick the soccer ball here, and look at that.
| | 02:13 | I'm in full screen mode, and I can zoom in by hitting the Z key.
| | 02:18 | Hit Z again, I move back out, and double click
again, and I move back into thumbnail mode.
| | 02:24 | This is very natural.
| | 02:25 | You will be using it within minutes after you fire up Aperture, and
it'll just become totally like, "How did I live without it before?"
| | 02:34 | Well, we don't have to worry about that,
because we have it now, and I hope you enjoy it.
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| Using the All Projects view| 00:00 | In Aperture we've always used projects to help us
organize our photos, those containers right over here.
| | 00:05 | You can see it right here in the Project Inspector, and it
looks like a little box, and of course, just like in real life,
| | 00:10 | you keep all the photographs in there, the
masters, the versions, the web pages, light tables,
| | 00:16 | all that good stuff is contained within
the project, and it works very well.
| | 00:20 | Now what happened was that when iPhoto '08 came out, they introduced
something called Events, and Events are a different way to organize photos.
| | 00:29 | They're done according to time, like for
instance, when you go to a birthday party,
| | 00:33 | and you take pictures all day, and you upload those into iPhoto.
| | 00:36 | Those become an event, and you can call it birthday party,
so people wanted that for Aperture, and Apple listened,
| | 00:44 | and so what they've done for Aperture is
they've created a version, a type of event,
| | 00:49 | and they call it All Projects, and the way that it works is like this.
| | 00:52 | You go over to Library, and you click on All Projects, and you'll
notice that right here we have nature, wedding, road trip, and soccer,
| | 01:01 | just like we have projects that are named nature, road
trip, soccer, and wedding, and you can scrub through them
| | 01:10 | by simply moving the mouse in one direction or the other.
| | 01:14 | If you don't want to scrub that way, you can use the arrow keys also.
| | 01:19 | Right now I'm simply using the right arrow key and the left arrow key.
| | 01:25 | If I decide that I want a different photo to be the key photo, the
photo that's on top, I hit the spacebar, and that becomes the key photo.
| | 01:33 | Same thing here on wedding, I come up to wedding and I can scrub by
moving things around, and I decide I really want this to be the key photo.
| | 01:42 | I hit the spacebar and there it is, so it's another way for us to look
at our projects, just like in iPhoto, Events are another way for people
| | 01:50 | to look at the images they've uploaded, so as you organize your
projects, and as you create new projects, they are automatically included
| | 01:58 | in the All Projects container here, and then you
just have a simple way to look inside of them.
| | 02:03 | You can always do it the old fashioned way where you go back
on nature and click on it, but if you're in All Projects,
| | 02:09 | you'll get an overview of everything, and if you want to go
inside of the project, you simply have to double click on it,
| | 02:15 | and you're right inside the project as you normally
would be if you clicked on the project container itself.
| | 02:20 | It's just a handy tool to look at all of your projects and to quickly
scrub through them so that you don't have to open each one individually.
| | 02:27 |
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| Integrating with iPhoto | 00:00 | If you've been using iPhoto and you have a lot of great shots
in there, chances are you may want to bring some of those shots
| | 00:06 | into Aperture, and there's a really easy way to do that.
| | 00:09 | Now I'm not talking so much about migrating your
entire ginormous iPhoto library into Aperture.
| | 00:16 | I'm talking more grabbing a shot here, grabbing a shot there.
| | 00:19 | You're working on a project in Aperture and you go, "Oh, I've got
this one really wonderful shot in iPhoto that would be perfect,"
| | 00:25 | and you want to just bring that in, and
that's what this next little goodie is for.
| | 00:30 | Now, Aperture has actually included something in 2.0
called Show iPhoto Browser, and when you click on that,
| | 00:38 | it actually shows you inside of your iPhoto library.
| | 00:42 | I'm going to create a new project here, and I'll show you how that works,
so let's go up here to New Project, and I'm going to call it iPhoto.
| | 00:51 | Hit the return key.
| | 00:52 | I'm going to leave it highlighted.
| | 00:54 | Now I'm going to go up to file again, and
let's take a look at our iPhoto browser.
| | 01:00 | Click on that and what I get is an actual look inside
of my iPhoto library, and I have everything here.
| | 01:07 | I have events, photos, I have my albums,
and basically everything I've created.
| | 01:12 | I get to look inside of iPhoto, and let's say that I want to grab
this picture of the cathedral, and I want to bring it into Aperture.
| | 01:22 | I just drop it right onto the new projects I've created there.
| | 01:26 | Aperture tells me that it's imported the photo.
| | 01:29 | I click Okay.
| | 01:31 | I can go ahead and close the browser.
| | 01:32 | I don't have to leave it open because it's so easy to get into,
and now inside of Aperture, I have brought in that iPhoto picture.
| | 01:40 | I'm going to click on the metadata tab.
| | 01:43 | I can just take a look here, and you'll notice that not only
did it bring in the photo; it brought in the original RAW file.
| | 01:51 | It's not just bringing in a preview.
| | 01:53 | It's bringing in whatever you have in iPhoto.
| | 01:56 | It will bring it into Aperture, and then you can use it from there.
| | 01:59 | This is a very handy feature for people who have been
using iPhoto and maybe don't want to move everything
| | 02:04 | into Aperture, but occasionally want to grab a shot or two.
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| Highlighting hot and cold areas| 00:00 | One of the challenges that we have in photography is maintaining
information or detail in the highlight areas and in the shadow areas,
| | 00:07 | and of course the more detail that we have there,
usually the better the prints look and so forth.
| | 00:12 | Aperture's always had a way to indicate blown out highlights, but
now in Aperture 2.0, we also get an indicator for when we're plugging
| | 00:20 | up the shadow areas, and I want to show you how that works.
| | 00:22 | First I'm going to go up to the View menu here, and
I'm going to select Highlight Hot and Cold Areas.
| | 00:27 | That turns on the indicator.
| | 00:29 | Now I'm going to go over to wedding, because weddings are the perfect
spot to deal with this sort of thing, and double click on our bride.
| | 00:38 | Now you'll notice two things are going on here.
| | 00:40 | First of all, we have a lot of detail loss here in the highlight areas,
and then we have a little bit of loss up here in the shadow area.
| | 00:48 | I'm not going to worry so much about the shadow areas right now.
| | 00:50 | Let's concentrate on her dress, because if we were to print this,
we would have large areas of white with absolutely no detail at all.
| | 00:57 | We probably want to recover just a little bit of that.
| | 01:00 | Let's go over to the Adjustments tab here, and I'm going to
click on Exposure, and we have a new slider called Recover,
| | 01:09 | and this is new in Aperture 2.0, and watch what happens.
| | 01:13 | It's almost like magic.
| | 01:14 | I'm just going to slide that, and we actually
recover details from the highlight areas.
| | 01:21 | It's wonderful how it works.
| | 01:23 | Now you don't have to eliminate the red altogether because some
spectral highlights are okay, but the difference between this
| | 01:31 | and this in a print is going to be substantial,
so we'll take it right back here.
| | 01:36 | Something like that works nicely for me, and I double click again,
and I want to show you also how shadow recovery works, so we go down.
| | 01:46 | Let's look for something.
| | 01:47 | This is a candidate right here.
| | 01:49 | This could have some plugged up shadows, and sure enough, it does.
| | 01:54 | Look, and we have in the purply blue area and we have
no detail in here, so this has all gone to black.
| | 02:00 | I'd like to recover a little bit of that, so I'm going to go down
now to Highlights & Shadows, go to the shadow slider and just move
| | 02:10 | that just a little bit, and that will
help me recover some of that information.
| | 02:16 | Now you always have to make a decision.
| | 02:18 | You're going to have black-black areas and
you're going to have white-white areas.
| | 02:21 | It's a matter of degree and how it works with the rest of the photo.
| | 02:25 | For instance, if I were to try to eliminate all of this, that is an
unpleasing photograph, so I have to balance between recover and aesthetics,
| | 02:34 | so I'm going to pick something right about here and that works fine for me.
| | 02:40 | I'm okay with some of these areas going black-black, but I've created
what I this is a more pleasing interpretation of her hair, and again,
| | 02:49 | the indicator is a tool to help us understand what's going
on, but again, the goal isn't to eliminate it completely,
| | 02:56 | it's to know how much you have there and so you can make an
editing decision that works both aesthetically and technically.
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| New filtering and searching options| 00:00 | Aperture 2.0 provides you with some excellent new filtering tools.
| | 00:03 | There's one in particular that I wanted to show you because I think
it's so exciting in that now you can actually search by adjustment,
| | 00:10 | and what I mean by that, image adjustment, something
that you've done to your photographs and you want
| | 00:16 | to find all the examples of that type of adjustment in your library.
| | 00:19 | I'm going to start by going to All Photos right here, because that way I
can look in my whole Aperture library, and I'll go up here and right next
| | 00:27 | to the search field here is this little button, and we're
going to click on that, and that brings up our Query HUD.
| | 00:37 | Now what I want to do is I want to add search by adjustments, and
that's under the plus sign there, and I'll just check on that,
| | 00:47 | and I'm going to change my criteria to any match, and we're going to take
rating off because we don't need that, and what I'd like to find are any
| | 00:56 | of the shots in my library that I've used the
Monochrome Mixer for my black and white shots.
| | 01:01 | So I'll go, adjustments includes, and then I'll pick here,
Monochrome Mixer, and then I'm actually going to create a new album
| | 01:10 | with these current images, so I'll just click on that,
and I get a new album here, and I'll just give it a title.
| | 01:16 | I'll call it Monochromes, and we'll just add it right here.
| | 01:22 | Now, as I look through here, we have stacks, so if I collapse these stacks,
we start out with an original color photo, but the search was able to go
| | 01:32 | into those stacks and find examples where I've used the Monochrome Mixer,
and I can find all the shots that I've converted to black and white
| | 01:43 | or some sort of sepia by using the search by adjustments query.
| | 01:49 | This is very powerful and there's all sorts of things you can do with it.
| | 01:54 | It's a new feature in Aperture 2.0, and I think you'll find
a lot of uses for it once you start playing around with it.
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2. Quick Preview ModeUsing the Quick Preview mode| 00:00 | I'm going to introduce you to one of the most popular features in Aperture
2.0, and it's called Quick Preview, and this addresses a big complaint
| | 00:08 | that people had in the past with the application,
which is it just ran too slowly.
| | 00:12 | Every time that you wanted to do anything, rate images, sort images,
add metadata, it just seemed to chug along unless you had of course,
| | 00:20 | state of the art Apple hardware, which not all photographers have.
| | 00:24 | Now the difference with Quick Preview is that the way that it works
is that instead of decoding the RAW file every time you touch it,
| | 00:31 | and let me show you how that works right now- oh, let's go to road trip.
| | 00:36 | We haven't been to road trip yet, so this is a RAW file right here.
| | 00:40 | I'll click on the metadata tab and you can see that as an NEF file,
which is an icon RAW file, so even to show you this thumbnail here
| | 00:48 | in the old days, Aperture would actually decode that
RAW file, and if I moved over to the next RAW file,
| | 00:54 | I'd just hit the arrow key here, it would decode that, and decode that.
| | 00:58 | Now you can see, when you think about that, that takes a lot of
processing power, and no wonder things sometimes ran a little slowly.
| | 01:06 | Quick Preview addresses that in a very, very interesting way.
| | 01:10 | Now the way that you get to Quick Preview is
that you can go down here, and you click on this.
| | 01:15 | That puts you in Quick Preview mode, or you can also hit the letter P, and
you know you're in Quick Preview mode because you have a yellow outline
| | 01:25 | on your thumbnail, and this will be highlighted down here.
| | 01:29 | So what's different about Quick Preview
mode as opposed to how it was before?
| | 01:33 | Well, now as I cycle through these images,
I'm not actually decoding the RAW file.
| | 01:39 | I know there's a RAW file y looking at the metadata, but what
Aperture's doing is showing me whatever JPEG is available.
| | 01:47 | Now we can really test this out right now.
| | 01:49 | Let's go to full screen mode.
| | 01:50 | I'm going to hit F. Now watch.
| | 01:52 | I'm going to go fast here, so if you're prone to motion sickness,
you may want to look away from the screen for just a moment,
| | 01:58 | because I'm going to show you how fast Quick
Preview can let me go through these big RAW files.
| | 02:05 | Look at how quickly that is.
| | 02:07 | The reason why is Aperture does not have
to decode these on the fly anymore.
| | 02:12 | What it's showing me are JPEG previews either that it
has created and if it hasn't created them yet - let's say
| | 02:19 | that you just brought your images in from the camera.
| | 02:22 | It will use JPEG's that are available from the camera.
| | 02:26 | This allows me to work at lightning speed.
| | 02:29 | I'm going to click F again, and then I'm going
to click P again to turn off preview mode.
| | 02:35 | Now basically you can do everything in Quick Preview
that you would do otherwise except for image editing.
| | 02:42 | If I want to, for instance, let's say that I wanted
to image edit the shot, and I'm in Quick Preview mode.
| | 02:47 | I'm hitting P again, and then I go to adjustments here.
| | 02:51 | You'll notice that my adjustments are grayed out.
| | 02:53 | It won't let me make an actual adjustment
to the file because I am in preview mode.
| | 02:58 | However, if I hit P again, then all of my tools
come back, and that way you know, for instance,
| | 03:04 | that you can just work in Quick Preview mode almost all the time.
| | 03:08 | If I want to do rating, for instance, let's say that I want to make this
a three star image, and I can just blaze through these as fast as I want,
| | 03:16 | and then I decide that I want to do a little
image editing to it, I just hit the P key again.
| | 03:22 | All my tools come back.
| | 03:24 | I can double click on this.
| | 03:26 | I can make exposure or adjustments, whatever I want to do.
| | 03:29 | Let's say I want to darken it up a little bit.
| | 03:32 | Then I hit the P key again, and that brings it back in Quick Preview
mode, and I can just cycle right through these as fast as I want.
| | 03:42 | I go, "I want to do a little image adjustment," click P, brings me out.
| | 03:47 | That allows me to do just a little work here.
| | 03:50 | I want to take down the brightness a little bit, bring up black point.
| | 03:55 | Okay, I like it, great.
| | 03:58 | Hit P again.
| | 04:00 | I'm back into Quick Preview and I can go about my work,
and I double click here to bring us back to our thumbnails.
| | 04:05 | Quick Preview's extremely easy to use.
| | 04:07 | The keystroke is very intuitive.
| | 04:10 | My recommendation is that you stay in
Quick Preview for the bulk of your work.
| | 04:14 | Even when you're working on a laptop, it will speed up your workflow.
| | 04:18 | Then when you do want to do some image editing, all you have to do is
hit the P key, do your image editing, hit the P again, and off you go.
| | 04:25 | This is really going to make you happy regardless
of what kind of Mac you're running Aperture on.
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3. Raw 2.0Processing RAW 2.0| 00:00 | RAW decoding is a very important part of Aperture, and in
version 2, in Aperture 2, we also have RAW version 2 also,
| | 00:08 | and this is a new decoder that Apple has written
specifically for this version of Aperture.
| | 00:13 | I'm going to go over to RAW fine tuning.
| | 00:15 | I'm in the Adjustments tab in the Inspector
right now, and I have a photo selected here.
| | 00:22 | This is a Nikon RAW file, and because it came in with Aperture
2.0, Aperture is automatically using the RAW 2.0 decoder,
| | 00:32 | but if you've been using Aperture for a while, you know
that there have been different versions of RAW decoding.
| | 00:38 | The first version of Aperture had RAW 1.0 and then they
worked on that a little bit more, and they gave us RAW 1.1,
| | 00:46 | which is what Aperture users have been using up until this latest release
of 2.0, and now we have RAW 2.0, and I'd like to open up an image here,
| | 00:55 | and let's just take a look and see how this works, so let's
double click on it, and we'll just make it a little bit bigger,
| | 01:02 | and right now you'll see that we're in the RAW fine
tuning brick of the Adjustments Inspector here,
| | 01:09 | and I'll collapse it just so you can see all the things that are
part of it, and you'll see that we have some new tools here too,
| | 01:16 | and as we switch to the different RAW decoding,
the tools will change based on what we're using.
| | 01:22 | We're in RAW 2.0 right now.
| | 01:24 | It's a very nice interpretation of this image, but let's see how that would
compare to an older version of Aperture, and we actually have the ability
| | 01:33 | to look at the different types of decoding, so for instance,
if we go to 1.1, we notice that there is a subtle change,
| | 01:41 | but it's a fairly important change to the image itself.
| | 01:44 | It doesn't seem to have quite as much snap.
| | 01:47 | There isn't quite as much information in the darker areas.
| | 01:51 | The highlights aren't quite as crisp and we don't
have the same tools that we had in RAW decode 2.0.
| | 01:59 | Let's go back to 2.0.
| | 02:01 | Let's let you take a look at the difference here.
| | 02:02 | Now watch closely, and I'm going to let go right now.
| | 02:06 | You see there is a substantial change in the image.
| | 02:09 | Now what Aperture is doing is actually
re-decoding that file as I switch back and forth,
| | 02:14 | and we go back to 1.1 just one more time
just so you can see that difference.
| | 02:19 | The hue is different also.
| | 02:20 | The image is a little bit more what we would call
muddy, and at two, it comes up as a little crisper.
| | 02:27 | I think the hues are better.
| | 02:29 | Now going back to 1.1 quickly, I want you to
notice that we're missing a slider right here.
| | 02:34 | We've always had the Boost slider.
| | 02:36 | I'm going to move it here, and watch the histogram as I move it.
| | 02:41 | It actually works on primarily the mid tone area of the photograph.
| | 02:47 | You notice that the shadow area, the darker tones on the left
side of the histogram aren't changing very much as I slide Boost,
| | 02:54 | but it does give a little bit more pop
to the mid tones into the highlight area.
| | 03:01 | Now with RAW decode 2.0, we still have the Boost slider from before,
but we also have Hue Boost, and it does a very similar thing.
| | 03:14 | Where Boost works with exposure primarily, Hue Boost works with color and
you can see how it pops it up a little bit, and the histogram does change,
| | 03:25 | not as much as with Boost, because this
isn't really an exposure adjustment.
| | 03:30 | It's more of a color adjustment, but if you watch the daisy
itself as I slide, you will notice that there's a lot more pop.
| | 03:38 | It adds some color contrast to the photo.
| | 03:42 | Now the reason why Hue Boost is important is because
in theory anyway, now we can adjust both the contrast
| | 03:51 | and the color of a RAW interpretation independently.
| | 03:54 | Now these are subtle adjustments.
| | 03:56 | This is all part of what you're doing here when you're in the RAW fine
tuning brick, is that you're actually tweaking Aperture's adjustment
| | 04:04 | of the RAW file, its interpretation of the RAW file.
| | 04:07 | These aren't big, global image adjustments.
| | 04:10 | You do that later on with exposure, and white balance, and so forth.
| | 04:13 | What you're doing here is basically telling Aperture, "I like the
way that you're interpreting my file for my Nikon or my Canon."
| | 04:21 | For my own personal taste, I like a little
bit more contrast or a little less contrast,
| | 04:26 | and you can make those adjustments here and
then move onto the bigger image adjustments.
| | 04:32 | Now one thing that I'll say is that if your camera's profiled, as
it will be if it shows up here in this area of RAW fine tuning,
| | 04:40 | Apple has already pretty much presented you with what those
engineers think is the best interpretation of that RAW file,
| | 04:46 | so I don't want to give you the feeling
that when you see all these controls
| | 04:50 | in RAW fine tuning, that this is something that you have to play with.
| | 04:53 | You don't have to play with this.
| | 04:55 | You can just leave it alone because what you get out of the box here
is a profiled image interpreted the way that Apple thinks looks good,
| | 05:04 | and not something that you have to feel compelled to mess with.
| | 05:07 | Obviously, if you want to make other adjustments that don't
have to do with the RAW interpretation, such as brightness,
| | 05:15 | so you want to up the brightness a little bit, you want
to increase the black point, those are image adjustments.
| | 05:22 | Those aren't necessarily the interpretation of the RAW file itself, so I
don't want to give you the impression that you need to feel compelled just
| | 05:29 | because these sliders are here in RAW fine tuning, that
they're necessarily something that you have play around with.
| | 05:35 | You can ignore them, and be just absolutely
fine, and go about your business.
| | 05:40 | The other thing that I should mention around RAW fine tuning and around
RAW 2.0 is that if you have existing images in your Aperture library
| | 05:49 | that have been interpreted, let's say with the RAW
1.1 decoder, that when you upgrade to Aperture 2.0,
| | 05:56 | it will not automatically change the interpretation
of those images to RAW 2.0.
| | 06:02 | That would not be a good thing, and that would make photographers very
unhappy obviously, because if you've done a lot of work on an image
| | 06:09 | that you shot a year ago using RAW fine tuning 1.1 and the various
tools that you had in Aperture 1.5, then you don't want to upgrade
| | 06:18 | to Aperture 2 and have all that stuff go out the window.
| | 06:22 | Apple knows that, so they're going to leave your old images alone.
| | 06:25 | It's up to you.
| | 06:26 | If you want to go to an image and change it to RAW fine tuning
2.0 and take a look at it, you're more than welcome to do that.
| | 06:35 | You can even migrate whole sets of images over
to 2.0 and then decide if you like them or not.
| | 06:41 | By the same token, if you bring in an image right now into Aperture 2,
and you decide that you want to take a look at the decoding and you want
| | 06:50 | to take a look at the 1.1 decoding, and you decide that you like
that better, you can use RAW fine tuning 1.1 and there's no problem
| | 06:58 | with that whatsoever, so essentially what you have now in
this 2.0 version of Aperture is basically you have the option
| | 07:06 | to interpret your RAW files three different
ways, and you can pick the way that you want.
| | 07:11 | The new stuff that comes in, yes, it will be interpreted.
| | 07:14 | RAW fine tuning 2.0, Apple believes that this is its best RAW decoder
to date, but there may be certain images where you feel, "You know what?
| | 07:23 | I really like the way it looks interpreted with
RAW 1.1," and there's no problem with that at all.
| | 07:28 | You choose and then again, just to reiterate that it's
great having Boost and it's great having Hue Boost,
| | 07:35 | and that allows us to adjust our own profiles to the way
that we want, but do not feel compelled to use these.
| | 07:42 | They are here for people who like to make
very fine adjustments to the interpretation.
| | 07:46 | Apple has already figured that out.
| | 07:48 | You can go with their interpretation and then just move right into
your exposure enhance levels and all the different tools that you have.
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| Baseline DNG support| 00:00 | Previous versions of Aperture had limited DNG support and what is DNG?
| | 00:05 | Well, it's an open standard created by Adobe as an
alternative to using the RAW files that your camera produces,
| | 00:13 | so the way that some photographers use DNG is that they shoot
in RAW with their Canon, or Nikon, or Olympus camera, Panasonic,
| | 00:21 | and then when they bring the RAW files onto their computer, they convert
them to DNG, knowing that there will always be support for those files,
| | 00:28 | even if the camera manufacturers move on and create a new RAW
format, and maybe not support the older RAW formats anymore.
| | 00:37 | The problem has been for Aperture users that DNG support wasn't complete.
| | 00:42 | Then the other issue was that, well, what happens if you have a camera that
shoots in RAW but that isn't supported by Aperture, and what do you do,
| | 00:51 | so in Aperture 2.0, they came up with something called
Baseline DNG and it really tackles a lot of these issues,
| | 00:59 | and essentially what Baseline DNG means is that if you have an image
that's in a DNG format, even if the original image wasn't captured
| | 01:08 | with an Aperture supported camera, chances are very good that Aperture
will be able to import that image and you'll be able to work with it.
| | 01:16 | So this opens up a world of possibilities in terms of,
hey, I have a camera that I just love shooting with.
| | 01:22 | It captures RAW files or it captures DNG files and I'd
like to work with that high quality data in Aperture.
| | 01:29 | Here's how that works.
| | 01:30 | Let's bring one in right now, so I'm going to go to
the import menu here, and we'll go to a hard drive,
| | 01:39 | and I have right here- this is a DNG file, and we can see this over here.
| | 01:43 | That was actually captured with a Panasonic.
| | 01:47 | I believe it was an FZ8, a very nice little camera that I like a lot, but
Aperture doesn't support its RAW files, so I just brought the RAW files
| | 01:56 | onto the computer and converted them to DNG, and here's one
of the files right here, and let's bring it into the Aperture.
| | 02:04 | We'll bring that into the road trip project, because Golden Gate
Bridge, that seems like a natural, and I'll click the import button,
| | 02:13 | and Aperture tells me that it has brought my photo in there.
| | 02:18 | Let's go to road trip and we'll find my photo.
| | 02:27 | There's my Golden Gate Bridge shot right there.
| | 02:29 | Now let's go to the metadata tab and take
a look here, so we see that it's a DNG.
| | 02:35 | Oh, there's my camera right there, do you see?
| | 02:37 | It's a Panasonic DMC-FZ8.
| | 02:39 | It's a full file size here, which is - this
is the resolution that the camera captures at.
| | 02:46 | I have some of my other metadata.
| | 02:49 | I'm going to double click on the image and take a look at it.
| | 02:52 | Now what's interesting here is that I'm working with data from the camera.
| | 02:56 | It hasn't been converted to JPEG or anything, and this is a camera
that isn't supported by Aperture 2.0, and yet I can bring this file in.
| | 03:05 | Now of course, the first thing that I would do is go over to the adjustment
palette, and you'll see in RAW fine tuning that it identifies as a DNG
| | 03:15 | and when I click on the pop-up menu here,
I don't have RAW 1.1 or RAW 1.0 available.
| | 03:21 | This is a new feature in Aperture 2.0, the Baseline DNG.
| | 03:25 | I'm going to go ahead and close fine tuning here,
so then I can go ahead and go to work on my photo.
| | 03:33 | I think I might want to up the vibrancy a little
bit, and maybe bring up the contrast a hair,
| | 03:42 | and go ahead and play with my photo just as I would any other RAW image.
| | 03:46 | So the possibilities for Aperture users, if you have a camera that captures
RAW, that even with this latest update to Aperture isn't supported,
| | 03:56 | you now have a path to bring in high quality images, not processed
JPEG's, but the high quality DNG's into your Aperture library,
| | 04:04 | and work with them right alongside all of your other RAW files.
| | 04:08 | I think this is a terrific new feature.
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4. New Image Adjustment ToolsUnderstanding the Recovery slider| 00:00 | One of the new tools that we get by virtue
of having RAW 2.0 is the recovery slider.
| | 00:06 | I touched on this a little bit earlier when I was talking about how to turn
on the display to show hot and cold areas, and that's a nice combination.
| | 00:17 | That's a nice view to work in when you're recovering highlight detail.
| | 00:21 | Now in order to use the recovery slider, you
do have to be working in RAW fine tuning 2.0.
| | 00:27 | The recovery slider's right down here in the exposure brick, and you'll
notice if I switch my RAW decode to 1.1, the recovery slider won't work,
| | 00:37 | so if you have older images that you want to use the
recovery slider with, make sure that you update them
| | 00:43 | to the new RAW profile, the new RAW fine tuning 2.0.
| | 00:48 | Once you do that, then the recovery slider is active.
| | 00:51 | Now I'm going to take a shot here and we'll go back to our
wedding, because weddings are so perfect for this sort of thing,
| | 00:57 | and I'm going to double click on the image, and I recommend that
you go up to view and you turn on Highlight Hot & Cold Areas,
| | 01:04 | and then that way I can see the actual areas
where I'm losing detail in the highlights is here
| | 01:11 | in red, and so there's no detail in any of this area here.
| | 01:15 | Now what the recovery slider allows me to do is
that there is actually head room in this file.
| | 01:21 | There's information that Aperture can pull from the other channels
to help recover these highlights, and it does so very intelligently.
| | 01:29 | All I have to do is slide my recovery slider here
and basically I can take out all of the areas
| | 01:36 | that don't have detail, or add detail to all the areas.
| | 01:39 | I may not want to do that.
| | 01:41 | It depends.
| | 01:43 | You're always walking a balance here between how the
image looks and what your indicators are giving you,
| | 01:48 | but I don't mind a few little highlights right there, and that's all
there is to it, so the main thing to remember is that if you want
| | 01:55 | to use the recovery slider, that you have
to have RAW fine tuning 2.0 turned on,
| | 02:01 | and then that I recommend that you also use the Highlight Hot & Cold Areas.
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| Understanding the Black Point slider| 00:00 | The Black Point slider is right beneath the Recovery slider
and it's also new to Aperture 2.0, and like Recovery,
| | 00:07 | you need to use RAW fine tuning 2.0 in order for it to be active.
| | 00:12 | If I, for example, were to decode this image as RAW 1.1,
| | 00:19 | then you notice that the Black Point slider is no
longer available along with the Recovery slider.
| | 00:24 | I'm going back to my 2.0 decoding here,
because I want that Black Point slider,
| | 00:29 | and essentially what it does, it helps
you set the Black Point for your image.
| | 00:33 | It's very straightforward in a lot of ways.
| | 00:37 | As we look at the histogram up here, and actually, why don't we go ahead
and double click on this so we get a nicer view of this image. If we look
| | 00:44 | at the histogram here, and you'll see in the shadow area
here, in the shadows on this end, highlights over here,
| | 00:51 | and then of course mid tones in the middle, you notice on
the shadow end that there's a lot of missing information.
| | 00:57 | In other words, we don't really have any true blacks in this image.
| | 01:02 | Now I could go to levels down here.
| | 01:05 | I could activate another brick and set my black point to there.
| | 01:09 | The convenience of having the Black Point slider in exposure is that you
can make a lot of your corrections up here at the top without ever having
| | 01:19 | to activate other areas in the adjustments display
here, and every time that you activate a new brick,
| | 01:26 | that is more processing power that's required, so a lot of times if all you
have to do is just make a black point adjustment, no need to go to levels.
| | 01:34 | You can use the black point, and all you do is move the slider here,
and you'll notice how the histogram is adjusting just on the shadow end.
| | 01:45 | Now you may want to go all the way over the edge so that you have a
full spectrum of data, or you may want to go somewhere in between.
| | 01:54 | Remember, I always talk about this when I'm teaching
image adjustment, is that keep an eye on your picture.
| | 02:01 | Yes, its fun to look at the histogram and the histogram
is very helpful, but look at your picture also,
| | 02:06 | and let that be the guide for your final adjustment.
| | 02:09 | In this case, we're losing her hair to the background if I go too far with
the black and white adjustments, so I do want to back it off a little bit
| | 02:18 | so that I have some distinction there,
so again, the black point is helpful.
| | 02:23 | It keeps you out of levels, if that's all you have to do is just adjust
the shadow area, and it's only available with RAW fine tuning 2.0.
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| Understanding the Definition slider| 00:00 | We're going to move down the Adjustments area and move into
the Enhance brick, which is right below the Exposure brick.
| | 00:07 | We've been playing with Recovery and Black Point, and now I want to
introduce you to Definition, which is something that I like a lot.
| | 00:15 | Essentially what Definition does is that it boosts both the contrast
and the mid tones, and adds a little sharpening at the same time.
| | 00:23 | It's a very interesting slider, and for
certain types of shots, it works very well.
| | 00:28 | I'm going to work with a shot right here.
| | 00:30 | Let's go to full screen mode.
| | 00:31 | Let's have some real fun, so I'm going to
click F to bring me into full screen mode.
| | 00:37 | Then I'll click H and that brings up the Inspector, and I'm in
the Adjustments area, and Definition is right here in the Enhance.
| | 00:46 | Now what I'd like you to do- and let me move this Inspector here.
| | 00:50 | Let's watch and see what happens in this area right here on the photograph,
| | 00:54 | because I think this is the type of area
that will show off definition well.
| | 00:59 | We're going to add basically some mid
tone contrast, a little bit of sharpening,
| | 01:04 | what we sometimes call clarity, so watch as I slide the Definition slider.
| | 01:09 | You can see how this area very much changes and I'm going to
slide it all the way back, soft, and now bring it forward.
| | 01:19 | Now for a lot of shots of course, you can add too
much definition, so you want to be careful with that.
| | 01:25 | It's something that you want to show a little restraint,
and especially if you have people in your shots.
| | 01:30 | Be very careful, because for portraits, it can be unflattering, but
on a lot of shots, especially things like architecture, landscape,
| | 01:38 | still life as in this shot here, adding 30 or 40 points
of definition can give it that little extra something
| | 01:46 | that really brings it home and makes a very nice print.
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| Understanding the Vibrancy slider| 00:00 | Also in the Enhance brick, we have Vibrancy,
and this is yet another terrific slider,
| | 00:06 | something that we didn't have before that we now have in Aperture 2.0.
| | 00:11 | Now in some ways, Vibrancy is similar to saturation in that it really
boosts the color tones, but it does so in a much more subtle way,
| | 00:20 | and to demonstrate, let's double click on our bride
here, and actually let's go to full screen mode.
| | 00:28 | Let's have some fun, and I'll hit H to bring up our
Inspector, and let me show you what Saturation does,
| | 00:39 | and one of the differences between Saturation and Vibrancy is that
Saturation is better for things such as landscapes, cityscapes,
| | 00:51 | things like that, but the minute you get people, the minute that people
are in the photograph, you pretty much want to stay away from saturation.
| | 00:59 | Watch what happens to her skin tones as I boost the
saturation here, and you'll see that it's not very flattering.
| | 01:08 | It's too heavy handed and most subjects,
most models, most clients, your mom,
| | 01:15 | probably isn't going to like what saturation does
to her or his skin, so I'm going to back that off.
| | 01:22 | You can just hit this little arrow right
here, and that will take your settings back.
| | 01:28 | Now I'm going to boost the vibrancy, and you'll see the difference.
| | 01:33 | See how it's much more subtle, so what vibrancy does,
it works a lot on the non skin tone colors in the image.
| | 01:42 | It doesn't ignore skin tones altogether.
| | 01:46 | It does affect them, and you can see as I move the Vibrancy slider that it
does have an effect on skin tones, but it does so in a much more subtle way
| | 01:55 | than Saturation, so if you have people in your shot and
you want to give it a little more oomph in terms of color,
| | 02:02 | I would almost always recommend the Vibrancy slider.
| | 02:06 | Stay away from Saturation.
| | 02:08 | Leave that for architecture and landscapes, but
for people, Vibrancy is definitely the way to go.
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| Understanding the Color Picker| 00:00 | I'm going to move farther down into the color
brick here and show you the dropper tool.
| | 00:06 | This is a new addition in Aperture 2.0 and it's a very useful one.
| | 00:11 | Prior, we could always work on certain colors within our photographs
individually, but they were the colors that Aperture said we could work on.
| | 00:19 | They were predefined, and of course a lot of the
tones and colors in our photographs are unique
| | 00:26 | and don't fit into one of these predefined categories.
| | 00:31 | With the eyedropper tool though, we can work around that
and actually select an area that we want to work on.
| | 00:37 | I'm going to double click on this train shot here, because I like
this shot a lot, but I'd like to enhance the orange a little bit.
| | 00:45 | Now I could use Saturation or Vibrancy, but that would increase
the color and the saturation for the overall photograph.
| | 00:53 | I just want to work on the oranges, so I go to my eyedropper tool, and
you get the loop, and you can move the loop around wherever you want.
| | 01:01 | You can also make it larger or smaller, and I like to keep it small.
| | 01:05 | I'm just going to pick this color right here, and you'll
notice now that that has been added to my lineup of colors,
| | 01:12 | so I can increase the saturation, I can make
it a little brighter, or I can bring it down.
| | 01:20 | I want it a little brighter, but not too much.
| | 01:23 | I can even shift the hue of that orange in whatever direction I want,
and you notice it's only working on the color that I've selected.
| | 01:33 | I'm going to reset this using the arrow here, and basically
I think all I want to do is bring up my saturation a bit,
| | 01:43 | brighten it a bit with the luminous channel, and I'm in business.
| | 01:48 | Now you can compare your work to how it was
originally just by checking and un-checking the box.
| | 01:54 | I've unchecked it and this is how the original photograph looked,
and now using the dropper, I was able to bump it up a little bit.
| | 02:02 | It might be a little hot, so I'll just back it off just a hair.
| | 02:05 | I think I got a little heavy handed.
| | 02:07 | Let's check it again.
| | 02:09 | That's what I wanted.
| | 02:11 | This is so handy.
| | 02:12 | Now the thing that you have to keep in mind is it's great on a
shot like this when the orange is the thing that I want to work on,
| | 02:21 | and there aren't oranges in other parts of the
photograph, because those will be affected too,
| | 02:27 | so you have to keep in mind that it will affect everything in the
photograph that is that particular hue, but for a lot of images,
| | 02:34 | it allows you to do basically specific adjustments without
having to go into Photoshop and use those selection tools.
| | 02:42 | It's very handy and allows you to work very quickly.
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| Understanding the Vignette slider| 00:00 | A nifty, creative tool that we have in Aperture 2.0 is Vignette.
| | 00:04 | It's right down here below the color tool where
we were just hanging out in the previous movie.
| | 00:10 | If you don't see the Vignette brick loaded in the
Adjustments palette, simply go up to the plus sign,
| | 00:15 | click on it, and choose Vignette from the pop-up menu.
| | 00:17 | Now there's two types of Vignette effects that
you can apply in Aperture 2.0, exposure and gamma.
| | 00:25 | Exposure is more what we're used to seeing created by a camera lens.
| | 00:30 | It has a lot of gradation.
| | 00:31 | It's more subtle.
| | 00:33 | The corners darken a little bit, and then
the overall feel is less pronounced.
| | 00:39 | Let's take a look.
| | 00:41 | The way that I usually start with this, I'll move the size
somewhere in the middle here, and just slide the amount,
| | 00:48 | and you can see that this isn't a real heavy handed
effect, but as you increase the size, it is pronounced.
| | 00:57 | You can see what's going on.
| | 00:59 | We'll do a before and after here by un-checking and checking the box,
and what it does is it draws attention to the center of the frame.
| | 01:10 | Now let's switch to gamma, which is much more pronounced
and has less gradation, and is definitely a creative tool.
| | 01:18 | Look at how much stronger gamma is.
| | 01:21 | Now the thing that I do like about gamma is that this area here has
a lot more punch and is affected less than the exposure version.
| | 01:31 | Let's go back to exposure.
| | 01:34 | See how there's an overall- I wouldn't say muddiness, but it isn't
as crisp as with the gamma, but you have two different effects,
| | 01:42 | and depending on your photograph, you want
to pick the version that works best for you.
| | 01:46 | Both are very nice, very creative, but like so many of these
tools in Aperture or any other photo manipulation application,
| | 01:55 | a little can go a long way, so try not to go too crazy with them.
| | 01:59 | Have fun. Make a tasteful photograph and see how it works out for you.
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| Understanding the Retouch tool| 00:00 | In previous versions of Aperture, we had something to
help us clean up minor imperfections called Spot & Patch
| | 00:08 | and it was useful for sensor dust and things of that sort.
| | 00:12 | The problem with Spot & Patch was that it
wasn't the easiest tool in the world to use.
| | 00:18 | Fortunately in Aperture 2.0, we have something new called
Retouch, and it's a lot more fun and it's a lot more intuitive,
| | 00:25 | and I doubt if you'll be using Spot & Patch much more in the future.
| | 00:30 | Now Retouch isn't automatically part of your
Adjustments panel here, but you can add it easily.
| | 00:36 | Just go up to the plus sign and select Retouch and it shows up.
| | 00:41 | The brick will show up right here, and plus
you get this handy little heads up display.
| | 00:46 | Now I'm going to show you both parts of it.
| | 00:48 | There's the repair part and the clone part.
| | 00:51 | The repair is useful for imperfections such as sensor
dust, and let's find something in our image right now.
| | 00:59 | This area right here looks like an imperfection.
| | 01:03 | I'm going to just put my mouse pointer on it and then hit the Z
key, and then that way I can zoom into it 100% and a lot of times,
| | 01:11 | you'll want to work at 100% while you're making these sorts of corrections.
| | 01:16 | You can adjust the radius just by doing the radius slider right
here, and you'll want to choose a radius that's a little bit bigger
| | 01:22 | than your imperfection, like for instance,
that might not be quite big enough.
| | 01:27 | Something like - there we go.
| | 01:28 | Now that would cover it nicely.
| | 01:31 | Opacity, I like to hold back on the opacity a little bit and not go 100%.
| | 01:35 | Usually I will start somewhere around 30% or 40% and see how it looks,
and then of course you have softness, which on a correction like this
| | 01:45 | where you already have a soft area around it, you can - I usually keep
the softness right around - I'll start around 20 and see how it looks.
| | 01:55 | Then you simply just center your tool right over the imperfection
and click, and like that, it's gone, and on sensor dust
| | 02:05 | and things of this nature, especially where you have a sky or any
sort of continuous tone like that, the Retouch tool works very well.
| | 02:16 | Now you also have the Cloning tool and it's this radial button right here.
| | 02:21 | Let's find a different area to clone, and cloning is when you want to
take away something that isn't so much sensor dust, but an actual object.
| | 02:30 | I'm going to hit the Z key and let's look around here.
| | 02:35 | Maybe let's say that as I analyze this photograph, that I find some of
these areas here a little distracting, and I just want to clean them
| | 02:45 | up a bit, so I'll put my pointer right over one, and
I'm going to hit the Z key, and that will zoom in.
| | 02:52 | Now if I hold down the spacebar, I can actually move the image around
to get it where I want, and I want to take out this thing here,
| | 03:00 | because I find it a little bit distracting, so
this is the perfect thing for the Clone tool.
| | 03:06 | Again, you want to have a radius.
| | 03:08 | Now I'm going to move the Clone tool just a little bit
on this so the radius doesn't have to cover it perfectly,
| | 03:15 | so that looks like about right there, and I'm working with a
texture here, a sand texture, so I actually want it to be very hard.
| | 03:26 | I don't want to increase the softness.
| | 03:29 | I actually want the softness to be virtually nothing, because I
want to grab all the texture, and I don't want to add any softening
| | 03:38 | to it, and on opacity, I'll start with my usual 40% or so.
| | 03:44 | Now this time I have to pick an area to clone, and
you usually want to pick an area that's very similar
| | 03:49 | in texture and tone, and then you hold down the Option key.
| | 03:54 | This is very similar to how you do it in Photoshop.
| | 03:56 | You hold down the Option key and click.
| | 03:59 | Now this area becomes your source.
| | 04:02 | Now I'll go up to the area that I want to
change and I will just do a little repair work.
| | 04:09 | Well, looking at this, the first thing I would say is that
the repair work went well, but I didn't have enough opacity.
| | 04:16 | It looks like I want to get closer to 100% on this to really get
rid of that flaw, so I'm going to hit command Z, undo my work.
| | 04:27 | I'm going to increase my opacity.
| | 04:29 | Let's take it all the way up to 100% and see what happens.
| | 04:32 | I would go back.
| | 04:34 | I'll select my area again by holding down the Option
key and clicking, and let's give it another shot.
| | 04:40 | That's what I wanted.
| | 04:44 | Now I do have a little bit of an edge
right there, so I'm going to undo that.
| | 04:50 | I doubt it, unless people really had a good eye to see that,
but let's shoot for the moon on that, so I'm going to undo that.
| | 04:59 | I'm going to increase the softness a little bit
and I'm going to increase my radius a little bit.
| | 05:06 | We'll pick our area - again, Option key, click.
| | 05:10 | Now we'll come up here and let's see what we can do.
| | 05:14 | There we go.
| | 05:15 | Now that is a nice repair, so the object is gone.
| | 05:20 | I don't see any edges.
| | 05:21 | I've managed to match the texture and
the tone - very simple, very easy to use.
| | 05:27 | Now the thing I will say is again, fine for small
imperfections and things like we just did here in the sand.
| | 05:37 | You don't want to add two heads to a cow
or anything like that with this tool.
| | 05:41 | The two heads on a cow would be more of a Photoshop sort
of function and not so much as an Aperture function.
| | 05:49 | This is more for fixing things and you do have a little creative latitude,
but if you want to go crazy, then I would probably take my Aperture image,
| | 05:58 | send it into Photoshop, and add the second head there.
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5. Customizable Keyboard ShortcutsUsing the Command Editor| 00:00 | The keyboard shortcuts in Aperture 2.0 are terrific.
| | 00:03 | For example, I'm looking at a photograph here in
thumbnail mode and I want to see it a little bit bigger.
| | 00:08 | I just hit the V key, V as in view, and I get a
larger rendition of the image with thumbnails below,
| | 00:14 | and I go, "Well, I want something even a little bit bigger."
| | 00:16 | Strike V again, and the thumbnails go away, which leaves more real estate
for a bigger picture, and they go, "No, no that's not the shot I want
| | 00:25 | to work on," so then hit V again, and I'm back to thumbnail mode
- same thing with F. If I want a full screen view of that image,
| | 00:33 | I can hit the F key, and it brings me right into full screen mode.
| | 00:37 | I can take a very detailed look.
| | 00:39 | That's what I thought.
| | 00:40 | Hit F again, and I'm back into thumbnail mode.
| | 00:45 | We also played with the keyboard shortcuts over here in the Inspector.
| | 00:49 | By hitting the W key, I was able to tab through the various
parts, the various tabs of the Inspector without a problem,
| | 00:56 | so these keyboard shortcuts are terrific, and they're built right into the
application, but what if you wanted to have your own keyboard shortcuts,
| | 01:05 | or if you wanted to modify one or two of the keyboard
shortcuts that Apple has created in the default set?
| | 01:12 | In Aperture 2, you can do that.
| | 01:13 | You can actually make your own keyboard shortcuts.
| | 01:16 | Go up here to Aperture, and I'm going to
pick from the commands, Menu, Customize.
| | 01:22 | What I'm presented with is the default set.
| | 01:25 | This is the set that Aperture is using right now for my keyboard
shortcuts, and if I wanted to find zoom, I could type zoom in up here,
| | 01:35 | and it shows up right down here, zoom viewer, which
is the Z key, one of my favorite keyboard shortcuts.
| | 01:42 | Let's say that I did not like Z, and that I wanted a slash
instead, I could do that, and the way to do it - first,
| | 01:49 | you can't modify this set right here, and that's
the way Aperture looks at these keyboard shortcuts.
| | 01:56 | They look at them as sets, so the default set is owned by Aperture,
and I guess they want it that way so that if you go wacky crazy,
| | 02:03 | you can always come back to the default set, and everything will be
okay, but if you want to change some of these keyboard shortcuts,
| | 02:10 | then all you have to do is create a duplicate of this set, and then you
can have all sorts of wacky fun, and I'm going to do that right now.
| | 02:16 | I'll go up here to default, and I'm going to duplicate
it, and it's going to ask me to give it a name,
| | 02:25 | which I will happily do, and let's make it Derrick's Shortcuts.
| | 02:34 | Now that I've created a duplicate set, I can just create
all sorts of mayhem and you see that here's the default set.
| | 02:43 | Oh, by the way, in default, you get to pick your language,
and then here are mine, so then now for Z, for instance,
| | 02:53 | instead what I want to do is I really want to have the slash.
| | 02:55 | All I want to do is click on the function that I want
to use and then hit the key that I want to change it to,
| | 03:03 | so right now zoom is Z. I'm going to hit the slash key.
| | 03:06 | Down in the corner here, that has a question mark above
it, but I mean hit it on the actual physical keyboard,
| | 03:13 | and what it does is it creates a new function or a
duplicate of that function with the command that I want,
| | 03:21 | so I have it both as a Z and as slash, and I could leave it that way.
| | 03:25 | In fact, let's save it right now, and then I will go ahead
and close it, and then let's go back to this image here.
| | 03:36 | Let's say that I want a closer look at this area right here.
| | 03:39 | I'll hit that slash key, that new keyboard shortcut, and sure enough,
it comes right in as a zoom, and I hit it again and it goes back.
| | 03:46 | Well, let's try the Z key.
| | 03:48 | Does the Z key still work?
| | 03:49 | It does indeed, so now what I've created is that
I can zoom in from either end of the keyboard.
| | 03:55 | I have my slash key and my Z key.
| | 03:58 | Now let's go back to our commands here.
| | 04:02 | Go back to customize.
| | 04:04 | I'm in Derrick's Shortcuts.
| | 04:06 | If I decide that I only want one command for zooming, because
I will confuse myself or maybe people that use my computer,
| | 04:17 | and I want to get rid of the original one, all I have to do is click on
it, hit the delete key, and that will take it away, and now when I save,
| | 04:25 | I'd save this command, and come back to the application.
| | 04:32 | I'm going to hit the Z key, and nothing happens.
| | 04:35 | You get that delightful sound.
| | 04:37 | Let's do it one more time just for fun.
| | 04:39 | Oh, I'm sorry; your Z key no longer works,
however, if I hit my slash key, oh, 100%.
| | 04:46 | If I go, "I miss having that and I liked it,"
so I'm going to go back to Commands, Customize.
| | 04:54 | I think by now you're probably catching on to how this works.
| | 05:00 | Zoom viewer.
| | 05:01 | I'm going to hit the Z key.
| | 05:04 | Now we're back in business, so you hit the actual, physical
key on the keyboard when you want to set a keyboard command.
| | 05:11 | Now I'm going to go ahead and save this.
| | 05:14 | I'm going to close it.
| | 05:16 | Now you can switch among sets, and you can actually create
sets, and export them, and share them with your friends.
| | 05:21 | You can actually trade them like baseball cards if you want, because
if you go here to commands and you'll see that we have customize,
| | 05:29 | which is where we've been, but if I want, I can go back to
the default set, and I'll hit my slash key that I hit before
| | 05:38 | that in my Derrick Custom Set is a zoomer, and I get that delightful sound.
| | 05:42 | However, if I hit Z, which is the default, it zooms in.
So I have control over that here and I can export sets.
| | 05:51 | Let's go back to shortcuts.
| | 05:52 | Mine - we're going back to my set.
| | 05:55 | Okay, now look at this.
| | 05:59 | If I come up with the ultimate keyboard shortcut
set, then I can export that and I can give it to you,
| | 06:06 | and you can import it by using this command
here, and have my keyboard shortcuts.
| | 06:11 | This is just a lot of fun, and I think for people
that use the keyboard a lot while working in Aperture,
| | 06:17 | which I hope that's the direction you're going, because it
really speeds things up, and I can't underline that enough.
| | 06:23 | It really speeds things up, but now we have no excuse, because
if you didn't like what Apple gave you, you have your own.
| | 06:29 | You can create your own, and then you can even share them
with your friends, and that sounds like just a lot of fun.
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6. Sharing Your PhotographsEnhanced layout options| 00:00 | We've always been able to create terrific looking books with Aperture.
| | 00:03 | I think it's one of the application's strengths.
| | 00:06 | In Aperture 2.0 now however, I can create my own theme,
and then output it to the printer, so for example,
| | 00:13 | looking at the bird shots here, I really
would like to create a nice, big book.
| | 00:18 | Let's say my Epson R2400 and it can do 13x19 inch prints.
| | 00:24 | Wouldn't it be cool to make a book that was 13x19
inches, where I can use the full size of the paper?
| | 00:30 | So I'm going to do that right now.
| | 00:32 | I basically make sure that I have my album selected.
| | 00:35 | I then go up to New, go up to Book, and here are the themes that already
exist, but I want my own theme, so I'm going to go to custom here
| | 00:48 | in the pop-up menu, and I'm going to create a new theme.
| | 00:51 | Let's call it Epson 13x19, and the width will be 19 inches.
| | 00:59 | The height will be 13, and I'll leave all
the other settings as is, and click OK.
| | 01:05 | I now have a custom theme that I've created, and I'll choose it.
| | 01:11 | My images are down here at the bottom.
| | 01:12 | These are from the album, and these are from the browser, and I
can see right here that I have 21 pages at the custom size, 19x13.
| | 01:21 | Now it's just a matter of me going ahead and
populating the book with the pictures as I would.
| | 01:30 | Once I have everything set up the way that I want, and once
I've done my designing and using the tools here in Aperture,
| | 01:37 | then I simply click the Print button, and
I send this job to my Epson R2400 printer.
| | 01:43 | I'll put it on the paper that I want, and then I can bind it using my own
bindery or doing something creative, where for instance, that you do punch
| | 01:51 | and stitch or something like that, so this is a terrific new option in
Aperture, to be able to create books that we like that reflect the tools
| | 01:59 | that we have and the kind of paper that we want to use.
| | 02:02 | It's worth the look, and I hope you give it a try.
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| Publishing to a .Mac Web Gallery| 00:00 | If you have a .Mac account, Aperture 2 gives you a terrific way to
share your images with other people by creating a .Mac web gallery.
| | 00:08 | Now this is something that we saw introduced in iPhoto '08 that
was just very popular, and what Apple has done for Aperture is
| | 00:17 | that they've even added another feature that I'm going to show you
right now, so what I'd like to do is I'd to share some photos.
| | 00:23 | I've created an album here which is called Web Share, and basically
I've just selected eight images that I would like to share online.
| | 00:30 | Now not only would I like to be able to have people look at it.
| | 00:34 | Let's say that I want the folks that hired me to take these shots.
| | 00:37 | Not only do I want them to be able to look at the
shots I took, but maybe I want them to be able
| | 00:42 | to download the masters from the shoot also, so let's see how that works.
| | 00:47 | We go up here to New.
| | 00:48 | I'm going to choose Web Gallery and I can give it a name.
| | 00:55 | Now it picked up the name of my album, but I wanna call it Soccer Shots,
give it a descriptive name, and these are photos taken by - I even know
| | 01:08 | who the photographer is here, John McDermott,
who's a San Francisco photographer.
| | 01:17 | He's a terrific soccer fan, so we'll give him
credit right here, because these are his photos.
| | 01:23 | Now this is going to be a gallery that I set up for private use.
| | 01:28 | Let's say that I going to be a client, and I am going to allow
masters to be able to be downloaded through this gallery,
| | 01:34 | so I don't really want everyone in the world out there being able
to access this, so I'm going to choose Edit Names and Passwords,
| | 01:42 | and I'm going to create what I call client, and
I'm going to give client a new password here.
| | 01:52 | We'll just call it password - that's very
original, isn't it - and click OK.
| | 02:02 | Now it brings me back here, and this has been added too, so now this
album is only going to be viewable by someone who knows the password.
| | 02:13 | In this case, it will be client, because what I'm going
| | 02:16 | to allow here is folks can download either the optimized,
edited JPEG's here, or the actual master images.
| | 02:25 | I'm un-clicking uploading of photos via the web
browser, because this isn't that kind of site.
| | 02:31 | If I were doing a site that was a family reunion, for example, and I
got the ball rolling with my shots, and I wanted to allow other people
| | 02:38 | to be able to add to this site, then I would check that box.
| | 02:41 | In this case, I'm not interested in having
other people add photos to this webpage.
| | 02:46 | I'm more interested in them looking at them and being able to download
the ones that they want, and that goes also for adding photos via email.
| | 02:53 | Not a function that I want in this gallery.
| | 02:55 | Again though, if you're doing something that's more
community, such as a family reunion or holidays,
| | 03:01 | then this might be an option that you want to check.
| | 03:04 | Hide album on my web gallery page - I actually do want that, because
I don't even want other people to know that this gallery exists,
| | 03:13 | and show version name, yes, so now I'm going
to publish this gallery to my .Mac account
| | 03:19 | by clicking the Publish button, and it'll take a minute here to upload.
| | 03:23 | You see over here, you get to see the activity viewer, and we have
our .Mac icon with the name of our gallery, and it's going to work.
| | 03:34 | What's interesting is this progress icon here will turn into
a different icon in a bit and one of the things that I can do
| | 03:43 | with this web gallery is I can add photos later on and then click
on the icon over here, and Aperture will work with my .Mac account
| | 03:52 | to actually update it and add the new photos,
so this becomes a living webpage here.
| | 03:59 | When all of your images have uploaded to your .Mac gallery, I can
go take a look at them now, so let's go down here to web gallery.
| | 04:06 | There's a little button down at the bottom
of Aperture, and select Visit Web Gallery.
| | 04:12 | Aperture will tell your browser to launch, and then since this
is a passworded site, I have to enter my password information,
| | 04:20 | which I will do right now, and our secret
password is password, and I'll log in.
| | 04:36 | The images now download, and I can see them
in my browser, and this is really beautiful.
| | 04:42 | If I double click on an image, I get a nice
review of it, and I can click among them.
| | 04:50 | One of the fun things I like about .Mac
web galleries is the information button.
| | 04:55 | That gives me all of the information, the metadata, about that particular
photo, even down to shutter speed, and focal length, and ISO speed.
| | 05:06 | I click on I again, and I'm back to the photo.
| | 05:10 | Now if I'm the client, and this is what
we set up in this particular scenario
| | 05:16 | because the person viewing this can download the master images- its
password protected, all these client things - if I'm a client and I'm going
| | 05:23 | through these shots, and I decide that this is the shot that I want to
put in my brochure, all I have to do then is click on the download button,
| | 05:31 | and basically what .Mac will do, it will put
together a zipped archive for me with the images
| | 05:38 | that I have said that are available to the person viewing.
| | 05:41 | In this case, we have master plus optimize, and I'll click
download, and we can watch the process up here at the top.
| | 05:49 | These are rather large files, so it will
take a moment for .Mac to do its work.
| | 05:52 | In the meantime, I can continue to browse.
| | 05:55 | I can go back to the album thumbnails, and
I have some other options up here also.
| | 06:03 | The tell a friend option is very nice because it allows you to click
on this and then have the URL in a little message go to someone else,
| | 06:10 | so if you wanna share the gallery with somebody else.
| | 06:12 | Of course, if it's a protected one, they'll have to have the password also,
| | 06:16 | and we see now in the downloads here that
my file has been downloaded to the Mac.
| | 06:21 | I'm going to close that, so the download has
completed, and I have the files waiting for me
| | 06:26 | on my computer wherever I have my browser send those
things - most of the time it'll be the desktop.
| | 06:32 | I can hide the options up here and this is user stuff.
| | 06:36 | The users also have some other very nice options.
| | 06:39 | I like the mosaic look, which it gives thumbnails to the site here,
and then no matter which shot I click on, I get a nice, full view.
| | 06:51 | The carousel is also quite fun, and this will remind
you of something, I'm sure, if you're an iTunes user.
| | 07:02 | This is like cover flow, has that same feel, and if
you see one that you like, you can just click on it,
| | 07:10 | and that brings it right up, and we go back to album.
| | 07:13 | I can even change, if I want, the color
of the background and go gray, white.
| | 07:18 | Who would want white?
| | 07:20 | Our photos look better with darker backgrounds, and I
can run a slideshow, complete with slideshow controls.
| | 07:30 | I'm going to stop that.
| | 07:37 | We'll get out of slideshow.
| | 07:39 | We'll go back to mosaic, and I'll minimize the browser,
so as you can see, this is a very handy way to go.
| | 07:48 | One thing that I do wanna show you, one last thing, remember
how I mentioned earlier that this is a living webpage,
| | 07:54 | so if I go back to selects here, and I find another shot
that I'd like to add to my gallery, I can grab that shot,
| | 08:05 | drop it over here in the gallery, and it
has now become part of what we're doing.
| | 08:12 | I'm going to collapse that.
| | 08:16 | We don't want the whole stack.
| | 08:18 | I just wanted the top stack.
| | 08:19 | The way the stacks work, of course, if they're collapsed
only the top image then is paid attention to by Aperture.
| | 08:26 | I only want to use this top image here.
| | 08:30 | Now I'll click on this.
| | 08:32 | Basically what Aperture will do, it will update my existing gallery online,
so the scenario with this would be if the client calls back and says,
| | 08:39 | ?I really like the shots, but do you have anything of
the blue team kicking the ball or moving the ball around.
| | 08:46 | ? You go, ?Well, as a matter of fact I do, and I'll add it to the gallery
right now,? and then we'll go back to our web gallery, and there we go.
| | 09:00 | We have it right there.
| | 09:01 | This is a phenomenal tool.
| | 09:03 | Again, you do have to have a .Mac subscription in order for it to work, but
if you already have a subscription, I think you might as well get the most
| | 09:11 | out of it, and if you don't, it might be a good reason to sign up for .Mac.
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ConclusionGoodbye| 00:00 | I could go on and on about Aperture 2.0, but I'm going to stop
right now because I want you to have a chance to play with it too.
| | 00:07 | We've covered lots of things.
| | 00:08 | The image editing tools alone are worth this upgrade.
| | 00:12 | Quick Preview, so that you can work faster.
| | 00:15 | The new RAW decode 2.0, you've definitely got to take
a look at that and see how the sample images look.
| | 00:20 | You can flip between 2.0 and 1.1, and then little by little,
start bringing in some of your images and playing with them.
| | 00:27 | Now I don't recommend that you bring in your
whole existing Aperture library right away.
| | 00:33 | Take some time to get to know this application.
| | 00:35 | Play with the same projects.
| | 00:37 | Maybe bring in a few of your images and just enjoy learning
about the tools and figure out how they work and so forth.
| | 00:44 | Once you feel comfortable with Aperture 2.0, then
you can begin to migrate your library into it.
| | 00:50 | Now up the road, lynda.com will have an essential training for Aperture
2.0, and we'll be able to dig in even deeper to a lot of these features
| | 00:57 | and plus stuff I didn't have time to talk about in this
title, but until then, I hope you enjoy this application.
| | 01:03 | I hope you enjoy your photography, and I will see you soon.
| | 01:07 | I'm looking forward to talking more about this application.
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