IntroductionWelcome| 00:04 | Hi, I am Derrick Story, and welcome to Aperture 3
Essential Training. We've updated our training to 3.3.
| | 00:12 | Apple has updated some features and added
others, we've replaced only those movies,
| | 00:16 | for features that have changed, and what this
means is that the remaining movies will show
| | 00:21 | original interface, but their
underlying functionality will be the same.
| | 00:26 | In this course we'll begin with a
discussion of System Requirements.
| | 00:29 | We'll take a look at Preferences and other
Basic aspects, Importing and Tagging photos,
| | 00:35 | and different ways to View those photos then
see how you can Organize and Retrieve your pictures.
| | 00:39 | I'll show you how to crop and retouch
pictures, adjust the colors and apply effects
| | 00:46 | like Vignette and Black & White.
| | 00:48 | Finally, we'll come to the chapter on
what's new in Version 3.3, such as advanced white
| | 00:54 | balance and how to customize it, connecting
with Photo Stream, and cooperating with iPhoto.
| | 01:00 | There's a lot to see, so let's get
going with Aperture 3 Essential Training.
| | 01:05 |
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| Using the exercise files| 00:00 | This course comes with a set of
exercise files for those of you who have
| | 00:05 | access to them.
| | 00:06 | However, my advice to you is to
follow along using your photos.
| | 00:11 | I think you'll appreciate Aperture
3's features more if you see actual
| | 00:15 | improvements in your own work.
| | 00:17 | If you do use the Exercise Files,
they are located in this folder, which I
| | 00:21 | have put on my Desktop.
| | 00:23 | You can place the folder anywhere you wish.
| | 00:26 | Now Aperture 3 organizes
files into libraries and projects.
| | 00:30 | So you don't actually open a
single image. You open a library.
| | 00:35 | In this course, the Exercise File
overlays will show you which library to open.
| | 00:40 | Within it, you will find the relevant photos.
| | 00:43 | This being the case, sometimes your
screen will not exactly mirror the one
| | 00:48 | that you see on the lesson, but rest
assured that you'll have all the images you need.
| | 00:53 | We are also including a separately
downloadable copy of these materials as they
| | 00:58 | are in their final state
at the end of the course.
| | 01:02 | So you'll have the beginning stuff and
then you'll have the stuff that you see
| | 01:05 | at the end of the course.
| | 01:07 | But enough about Exercise Files. Let's get started.
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1. Getting startedUnderstanding the system requirements| 00:00 | Let's take a look at the System
Requirements to run Aperture 3.3.
| | 00:06 | Now you know you need a Mac, right? So we're
all on the same page that way, but Apple
| | 00:12 | actually gets a bit more specific about this,
so let's take a look at what kind of Mac and
| | 00:17 | what it should be running.
| | 00:19 | So basically, you need an Intel
Mac to power the Aperture program.
| | 00:24 | Now one of the big changes with Aperture 3.3
from its predecessors--Aperture 3 moving forward--
| | 00:33 | is that you need to have Lion running
Mac OS X Lion 10.7.4 to run Aperture 3.3.
| | 00:44 | So if you're running Snow Leopard and just
regular Aperture 3, and you want the free
| | 00:49 | update to 3.3, you must
update to Lion or it won't run.
| | 00:56 | So if you've been procrastinating on
doing that, this may get you over the hump.
| | 01:01 | Now in terms of the other things, memory,
pretty straightforward, it hasn't changed much, same
| | 01:07 | with the other requirements, you need a gigabyte
of disk space for the application and documentation.
| | 01:13 | I can tell you right now you are going to
need a whole lot more than that for your photos.
| | 01:17 | However, we will get into that later.
| | 01:20 | And then if you want a share the photo libraries,
which is kind of a new thing now with Aperture 3.3,
| | 01:25 | we're going to be talking about that.
You have to make sure that you update iPhoto
| | 01:30 | also to 9.3 or newer.
| | 01:34 | So those are the System Requirements. Make sure
your house is in order before you try to run Aperture.
| | 01:41 | Once you get it in order, fire it up,
and let's get on to the next movie.
| | 01:46 |
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| Understanding key Aperture terms| 00:00 | So, let's go ahead and launch Aperture
3 and let's talk about some of the key terms,
| | 00:04 | so that we are both speaking
the same language when we are using it.
| | 00:09 | The first thing that you'll see, of
course, is Aperture is going to ask you if
| | 00:13 | you want to use Aperture when
you connect a digital camera.
| | 00:16 | If you know you're only going to use
Aperture, then yes, you could make that
| | 00:19 | selection right now or you can decide later.
| | 00:22 | I am going to decide later because
we'll leave all of our options open.
| | 00:26 | The next thing that you'll see here that
when Aperture launches, you'll see this
| | 00:30 | Welcome to Aperture screen here.
| | 00:33 | This is kind of helpful.
| | 00:35 | You have some beginning movies over here
on the side that will help you get started.
| | 00:39 | Of course, you are watching a much
more in-depth training right now.
| | 00:43 | So, you may not care as much about
these movies, compared to people who aren't
| | 00:48 | using lynda.com training.
| | 00:49 | However, this screen is always here.
| | 00:52 | If you don't want to see it every time,
you'll uncheck this box, which we are going
| | 00:56 | to do right now, because
we don't really need it.
| | 00:58 | Then when you click Close, it
actually brings us to the Aperture interface.
| | 01:05 | I have one project loaded already.
| | 01:09 | This project will be
available in the Exercise Files.
| | 01:13 | The reason why I put it in here is
because I needed something to show you while
| | 01:16 | we explain the terms.
| | 01:18 | We are going to be adding more
projects and so forth in upcoming movies, but
| | 01:21 | right now, this is just in
here to help us get our feet wet.
| | 01:26 | So, let's talk about some of the key terms here.
| | 01:29 | The whole core of Aperture
centers around the project.
| | 01:33 | This is the project container right here.
| | 01:36 | This is what it looks like.
| | 01:37 | This is where your work is stored, this
is where your albums are stored, this is
| | 01:41 | where everything pertaining to the
photo is stored, with the possible exception
| | 01:47 | of the master file and that will
depend on what type of library you set up,
| | 01:52 | Managed Library or a Reference Library,
and we are definitely going to be talking
| | 01:55 | about the differences between those two.
| | 01:58 | But the project container is the core
of all of your Aperture work and it lives
| | 02:04 | here in the Inspector.
| | 02:06 | This is the Inspector over here on the side.
| | 02:08 | The Inspector has three tabs,
| | 02:10 | the Library, the Metadata
tab and the Adjustment tab.
| | 02:14 | We will be delving into those very soon.
| | 02:18 | Then also here in the Inspector,
under the Library tab, we have folders.
| | 02:24 | If we open up this project,
I created an album too so you could see what
| | 02:29 | an album looks like.
| | 02:31 | In previous versions of Aperture,
we had two types of folders.
| | 02:35 | We had blue folders and yellow folders.
| | 02:39 | It depended on where the folder
resided as to what color it is.
| | 02:43 | I think Apple decided that was a
little confusing and now we only have blue
| | 02:47 | folders regardless of where it lives.
| | 02:50 | So, if it's inside the project, it's blue;
| | 02:52 | if it's outside the project, it's blue.
| | 02:54 | We only have blue folders and blue
folders allow you to organize your work.
| | 03:00 | In other words, if you end up having
a whole bunch of projects here in the
| | 03:04 | Library pane, then you can break them
up into various folders and organize them
| | 03:10 | and then collapse and open those folders.
| | 03:13 | This is a very handy way to organize your work.
| | 03:17 | Albums, which are inside of projects
only, they allow you to do that also.
| | 03:22 | They are like virtual
collections of aspects of the project.
| | 03:26 | For instance, in this project here,
the Great Outdoors, I have all sorts of shots.
| | 03:32 | We have water shots, we have plant shots,
we have some deer shots, we have trees,
| | 03:39 | all sorts of stuff.
| | 03:40 | If I only wanted to look at the
deer shots within this project, I could
| | 03:44 | select all of these images here, all of these
deer shots, for example, and create an album.
| | 03:52 | In other words, it's a
virtual collection of images.
| | 03:55 | It doesn't change anything
within the project itself.
| | 03:59 | It just gives me different ways to add
images, to look at different images together.
| | 04:04 | They are virtual. So if I decide that I
want to get rid of this album, I can delete it.
| | 04:09 | I am going to just right-click on it
right now and if I wanted to delete that
| | 04:14 | album, I could check this right here
and the album would go away, but all of my
| | 04:19 | pictures would still be here in the project.
| | 04:21 | So, it's just a virtual collection.
| | 04:24 | Up here at the top, we have the
toolbar and there are all sorts of
| | 04:28 | interesting things up here.
| | 04:29 | These are shortcuts.
| | 04:30 | For instance, you saw that I went
over here earlier when I wanted to create
| | 04:35 | an album, right there.
| | 04:37 | We can customize this and I'm going to
show you how to do that in an upcoming movie,
| | 04:41 | so that this toolbar has exactly
the tools that you need and it doesn't
| | 04:47 | clutter up with the stuff that you don't want.
| | 04:50 | So here is the toolbar up here at the top.
| | 04:52 | Down here at the bottom, this is the
control bar area and we have some different
| | 04:57 | types of tools down here.
| | 04:59 | For instance, metadata overlays,
which we are going to talk about, and Quick View,
| | 05:05 | and Lift and Stamp,
and rotating, and the arrow.
| | 05:09 | All sorts of fun stuff down here and
we are going to delve into that also.
| | 05:14 | Then this main area here,
this is the browser viewer.
| | 05:18 | We have different ways to look at our images.
| | 05:20 | Right now we are in Thumbnail Mode.
| | 05:22 | However, if I hit the V key, V as in
victory, let me click on one of these images.
| | 05:29 | I get to cycle through the different
types of browser views that we have.
| | 05:33 | Here is the enlarged view of the
image with the thumbnails down below.
| | 05:38 | I am going to hit the V key
again. The enlarged image only.
| | 05:44 | Then hit the V key again and it cycles through.
| | 05:47 | So, you can see that in this browser
view here, we have different ways to
| | 05:52 | look at our pictures.
| | 05:53 | So, this is the basic Aperture interface.
| | 05:56 | This is what we'll be working
with over a whole bunch of movies.
| | 06:00 | Stay tuned and let's delve a little
deeper into some of these finer points.
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| Touring the interface| 00:01 | Before we dig in and really get to work,
let's take a look at our interface here and see
| | 00:05 | what we're working with.
| | 00:06 | So, we're in the basic view of Aperture 3.3
right now, and those of you that have used
| | 00:13 | earlier versions of Aperture may
recognize it's a little different.
| | 00:17 | The color is gone from the interface, and
we're working mainly with just monotone.
| | 00:22 | That's to make your pictures come
forward, there is a reason for this.
| | 00:26 | So, what are we looking at here?
| | 00:28 | Well, let's start over here on the left side with the
Inspector. This whole area is called the Inspector.
| | 00:34 | Right now we have the Library tab
open in the Inspector, and you can turn the
| | 00:39 | Inspector on and off by hitting the I key,
so when you want to just focus on your photos,
| | 00:44 | hit the I key, and that
will hide that Inspector.
| | 00:48 | Now we have three tabs, and you can go
among those three tabs. Of course, you can do it
| | 00:54 | at the old-fashioned way, you can just click
on them, or you can hit the W key just like
| | 01:01 | that and toggle among those tabs.
| | 01:04 | By the way, this once upon a time was called
Metadata. It's now called Info, and here is
| | 01:10 | where we have the information about our photo.
| | 01:13 | And then over here in Adjustments. This
is where we actually get to work on them.
| | 01:17 | This is where we get to do fun things like
change their tone and their color and things
| | 01:22 | like that, so that happens in the
Adjustments tab, and the Library, of course, lets you
| | 01:27 | know where you are. This is your
organizational system right here.
| | 01:32 | Now I want to show you a couple
of other little interface tricks.
| | 01:35 | If you hold down the Shift key and the T key,
you can hide up there, the toolbar, and then
| | 01:42 | you do it again, and that brings our toolbar
back. And you have some basic tools up here,
| | 01:47 | adding albums, all these goodies. We
touch on these throughout the training.
| | 01:52 | Here are the different views
right here that you can go through.
| | 01:57 | This is the toolbar up here, and then there
is a control bar at the bottom. It's hidden
| | 02:01 | right now, but if I hit the D key, I can bring up
the control bar, and that has some additional tools.
| | 02:08 | I generally keep that hidden.
| | 02:10 | Okay, so let's go to full-screen mode, because
this is where it's really exciting in Aperture.
| | 02:16 | This is the sexy viewing mode, and to go there all
you have to do is hit the F key and look at that.
| | 02:22 | We are right now in beautiful full screen.
Every pixel is dedicated to your photography.
| | 02:29 | Up here at the top, this is the library path
navigator. This shows you your organization
| | 02:35 | just in one nice little navigator, so we're
in the project right now, great outdoors in
| | 02:40 | the folder travel, in our projects, in our
own Aperture library. That up there is the
| | 02:45 | Library Path Navigator.
| | 02:47 | On the other side here, we have some filters, so you
can search your photos using this button right here.
| | 02:52 | This is the Search button, or we can
just filter our view, for instance
| | 02:57 | just looking at 3 stars, 2 stars, Color Labels,
Flagged, all that up there, or you can just
| | 03:04 | enter Text if you want.
| | 03:07 | Down here at the bottom we can make our
thumbnails larger or smaller with that little view right
| | 03:11 | there, and then when we want to work on one
of our photos, we can pick any photo here.
| | 03:16 | Let's go right here, just hit the V key,
that brings us up to a full screen view of just
| | 03:23 | the photo itself, and then to bring up
the floating inspector, hit the H key.
| | 03:30 | Now you notice that it locks right here, and
then we have a full screen view of our photo.
| | 03:36 | You can turn on and off that lock up here
for this little button. When it's off, you
| | 03:41 | can just move the Inspector around,
it truly becomes a floating inspector.
| | 03:46 | Some people like that better.
Now here is a trick you're going to like.
| | 03:50 | If I hold down the Shift key while I work on
a slider, look what happens to that slider,
| | 03:58 | everything else goes away. Isn't that nice?
| | 04:02 | So if you do like the floating inspector,
but you don't want it in the way while you're
| | 04:05 | making your adjustments, remember to hold
down the Shift key while you work on any of the
| | 04:09 | sliders, or you can just lock it just
right over here, it'll lock on either side.
| | 04:15 | You can drag it to one side or the other.
| | 04:18 | When you're done with the inspector, hit the
H key when you're ready to exit full screen mode.
| | 04:23 | Hit the F key, it brings
you back to the Aperture Interface.
| | 04:29 | And now we kind of know our
way around the new apartment.
| | 04:33 | So when we start thinking about where to place
the furniture, we will have some idea of where
| | 04:37 | it might go, so let's get to work
now that we're comfortable.
| | 04:42 |
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| Setting essential preferences| 00:01 | Let's take a look at our Preferences in
Aperture, and I just want to start out by saying
| | 00:06 | you should set some preferences.
| | 00:08 | It really makes the whole Aperture experience a
lot better to spend just a few moments up front,
| | 00:14 | to get some of the parameters
customized to the way you like to work.
| | 00:18 | So, we're going to go up here to Aperture,
go to Preferences, and we have these tabs
| | 00:24 | that go across to top.
Each tab has its own little bunch of settings.
| | 00:28 | We're not going to go into all of them here,
we're going to go into the important ones,
| | 00:32 | the ones that you need to know.
| | 00:34 | And I invite you to explore the other ones
over time, or we may touch on some of them
| | 00:39 | also in the upcoming movies.
| | 00:41 | Your Library location, that's pretty
important, where does your library live?
| | 00:45 | You get that file path right here.
| | 00:47 | You can reveal it in the finder by clicking on
this button, and you can change it right here.
| | 00:52 | Now, there are other ways to change your
library to switch among them, but this will always
| | 00:57 | let you know where your current
library that's opened, where it lives.
| | 01:02 | And then you have just some
fine tuning for that right here.
| | 01:05 | I do want to point out that if you don't
want to have Faces operating on the Aperture
| | 01:11 | where the application goes through and
tries to identify the faces of your subjects, you
| | 01:16 | can turn that off right here. This is where
you turn it off, so if you don't want it grinding
| | 01:20 | away on faces in the background, that's here.
| | 01:23 | And if you are working on a laptop, if you
are lucky enough to have one of the new MacBook Pros,
| | 01:29 | you can Enable gestures here.
| | 01:31 | And we're going to talk about trackpad gestures.
They are very handy, they can help speed things up.
| | 01:36 | Into Appearance, here's where you
get to set how it's going to look.
| | 01:40 | Do you want to Viewer bright?
Do you want it dark?
| | 01:44 | What you like the background to be?
All that sort of stuff.
| | 01:48 | Do you want the indicators showing
while you're loading photos or not?
| | 01:51 | Turn all that off and on here.
Do leave Badges checked.
| | 01:55 | I think that's very important. These Badges
provide a lot of information in a very small
| | 02:01 | space, and I think they are very handy.
| | 02:04 | And if you have two Displays, and you want to
run your Slideshows on the Secondary Display,
| | 02:09 | you can set that right here.
So, this is basically how things look.
| | 02:13 | Now, when we bring stuff in,
you get to have some choice here.
| | 02:18 | For example, when the camera is connected,
do you want Aperture to automatically open?
| | 02:23 | Do you want another application to open?
| | 02:25 | You set that here, and by the way, this is
computer-wide, this is system-wide, so you
| | 02:30 | get to make that decision here,
and then your computer should behave.
| | 02:35 | Now, I like No application. I don't want
anything to launch when I connect the camera.
| | 02:39 | So, that's what I choose.
| | 02:42 | And then another important area, and this
is new to Aperture 3.3 that when the camera
| | 02:48 | is sending the files to the computer or
through the memory card, you want this top box right
| | 02:55 | here checked, Camera Previews, because what Aperture will
do, it will read the JPEGs that are embedded in the RAW files,
| | 03:03 | this is for RAW shooters.
| | 03:04 | And will speed things up tremendously, and I'm
really looking forward to showing you how that works.
| | 03:10 | So, you don't need to know exactly how it
works, but you need to make sure that this
| | 03:15 | button is checked, because it will save you
time, and we like things to move faster.
| | 03:23 | Over here in the Export Tab, some basic choices.
What do you want your External Photo Editor
| | 03:28 | to be, Photoshop, or some other application?
| | 03:32 | Go on down, all of these things here that
have to do with sending things out of Aperture
| | 03:37 | to other applications or other Locations.
| | 03:41 | Now, when you Export photos, you have
some basic choices that you can make here.
| | 03:49 | In terms of audio and video, if you're not
messing around with audio and video, you don't
| | 03:54 | have to worry about these at all.
| | 03:57 | One important box is the location information.
If you shoot a lot of photos with an iPhone,
| | 04:02 | for example, that records where that photo
was taken, and you don't want that information
| | 04:07 | to travel out of Aperture,
then uncheck this box.
| | 04:12 | Aperture will not send
that data out with the photo.
| | 04:16 | Labels are very straightforward. We have an
option of these different color labels.
| | 04:20 | You can name these anything you want.
| | 04:23 | And they are very handy, so you could say
client review, sent to mom, all that kind of stuff.
| | 04:29 | You can customize these labels for your own use.
| | 04:33 | I would say that Previews is probably one of
the most important tabs in our Preferences
| | 04:40 | because Previews are the hand-off file that
Aperture uses to share images outside of the application.
| | 04:49 | So, if you're working in pages, for example,
and you want to see your Aperture library,
| | 04:54 | and you want to bring in a photo, from
pages from your Aperture library, whatever size
| | 05:00 | you set here, that's the size of photo
that's going to come into that page's application
| | 05:06 | or to any other application that taps your
Aperture library--and that includes iOS devices,
| | 05:13 | too, your iPhone and iPad.
| | 05:15 | So, what size you set here determines what
photo that gets sent out of the Aperture.
| | 05:21 | And pay close attention to that export movie,
because it's very important to know when I'm
| | 05:28 | sending the photo out of Aperture, what is that
photo going to look like if that is set right here?
| | 05:33 | And in terms of the quality of the photo,
the higher the number, the higher the quality
| | 05:39 | but also the larger the file size.
| | 05:41 | So, usually you want to go
for something like 8 or 9.
| | 05:44 | And then in terms of this pop-up menu, in
terms of Sharing previews, click Always because
| | 05:50 | you always want your photos available to your
other applications. This is the easiest way to go.
| | 05:56 | Photo Stream is relatively new.
It's part of iCloud.
| | 06:01 | It's a way for us to share photos among all
of our devices, our iOS devices and our Macs.
| | 06:08 | Now, we're going to have a dedicated movie to
enabling Photo Stream and how to control it.
| | 06:15 | What you need to know right now is that if
you decide that you do want to use Photo stream,
| | 06:19 | if you do want all the photos issued on your
iPhone to show up in your Aperture library,
| | 06:25 | for example, this is where
you enable it, right here.
| | 06:29 | The Photo Stream tab in your preferences is
where you turn this off and on. You're going
| | 06:34 | to learn more about it, and when you do, then you
can come back here and make your final decision.
| | 06:39 | If you're sharing Aperture images with
other accounts on the web, such as Facebook and
| | 06:44 | Flickr, you set those accounts up
here, and you hit the little plus sign.
| | 06:48 | You enter your account information and then
Aperture knows about your social network sites.
| | 06:54 | So, that happens right here.
| | 06:56 | And then finally, under the Advanced Tab,
you have some very advanced sliders.
| | 07:03 | It's funny how that works out, isn't it?
| | 07:06 | But mainly things like
showing hot and cold areas.
| | 07:09 | Areas where you lose
highlight details a hot area.
| | 07:13 | Areas where you lose
shadow details a cold area.
| | 07:15 | We're going to get into some of
those advanced techniques later.
| | 07:19 | And when I refer to going to the Advanced
Tab in your preferences, this is what I'm
| | 07:24 | talking about, to come
here and make those changes.
| | 07:27 | So here we are, these are the most
important settings, in my view, in your preferences.
| | 07:34 | Make sure you take a walk through them.
| | 07:36 | Customize things a bit so that
Aperture behaves the way that you want it to.
| | 07:41 |
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| Customizing the top toolbar| 00:00 | Let's spend a moment taking a
look at our top toolbar right here.
| | 00:04 | Now, I should mention that these icons
that we have up here, these are like shortcuts
| | 00:09 | to things that you have in the menu system.
So you can play with these shortcuts.
| | 00:14 | You can get rid of the one that you don't
like and add ones you do like and just make
| | 00:19 | Aperture a little bit more friendly.
Now, here's how you do that.
| | 00:23 | You go up to View, you go down
here to Customize Toolbar, right here.
| | 00:30 | And look at that, oh my gosh! There are
a lot of shortcuts here, aren't there?
| | 00:35 | So, if you want to get rid of one, let's say
that you're not absolutely wild about keywording,
| | 00:40 | you don't do it all the time, and you
want to replace it with something else.
| | 00:44 | A way to do that is go up to the
one that we're not crazy about.
| | 00:48 | We can just grab it right here.
Boom! I love doing it.
| | 00:52 | That sound is so funny.
Boom! You're gone.
| | 00:56 | And then we're going to
replace it with something else.
| | 00:58 | For example, let's say that
I create new projects a lot.
| | 01:03 | I can just drag that right up here.
| | 01:06 | And then I like to put those projects in folders,
I do that a lot, and I can drag that up here.
| | 01:13 | Now again, these are just shortcuts.
| | 01:15 | These save you having to remember the
keystrokes or going up to the menu system.
| | 01:19 | They're just very handy little icons right
here for the things that you use most often.
| | 01:25 | Now, if you start to go really crazy, it'll just keep
taking new things until you literally run out of space.
| | 01:33 | And at some point you may go, oh my gosh,
what have I done, this thing is a mess/
| | 01:38 | It's like a bad apartment.
| | 01:40 | Fear not, you can always go back to how it
was in the beginning by dragging the default
| | 01:46 | set up here, and boom! All fresh and new, just
the way it was when you first opened Aperture.
| | 01:53 | Whenever you get it however you want it,
just click the Done key, and there you go.
| | 01:59 | So, now Aperture is just a little
friendlier to you than it was before.
| | 02:04 |
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| Setting up two monitors| 00:00 | Well, if you have a little extra
screen real estate,e Aperture will
| | 00:04 | take advantage of it.
| | 00:05 | So I want to show you life with two monitors.
| | 00:09 | Life with two monitors can be two
separate monitors, or it can be a laptop
| | 00:14 | monitor and a separate monitor.
| | 00:16 | So you have a couple of different options.
| | 00:18 | You set that up under View, once
you've connected your monitors of course, and
| | 00:23 | then you go to your Secondary Viewer,
and right now we have it set as Blank.
| | 00:28 | And you have a few options here.
| | 00:30 | Another option that you have for your
secondary viewer is that you can use
| | 00:34 | it as a spare desktop.
| | 00:36 | So if you are listening to iTunes
while you work, or checking your email or
| | 00:40 | something like that, you can be doing
that work over here on your desktop, and
| | 00:46 | then doing your Aperture work over here.
| | 00:48 | But that's not the way I really like to work.
| | 00:51 | Here's what I like, and this
is what Aperture does so well.
| | 00:54 | Let me go to Secondary Viewer, and I
am going to go to Alternate, and this is
| | 01:01 | livin' large, isn't it?
| | 01:02 | Because now I can work over here in Aperture.
| | 01:05 | And if I get the V key for
example, I have my different views.
| | 01:10 | I have my standard Aperture interface.
| | 01:13 | But if I go to another photograph, I
get the full-screen view over here on
| | 01:19 | the second monitor.
| | 01:21 | So then I always have access to a full-screen
view of any of the shots that I'm working on.
| | 01:28 | And with Aperture 3 it gets even
better, because if I hit the F key,
| | 01:33 | Now I have a full-screen browser
view and a full-screen enlarged view.
| | 01:41 | So if I bring up the heads-up display
here, it creates a nice little workspace.
| | 01:46 | I'm going to hit the H key to do that.
| | 01:48 | And I can lock it right over here.
| | 01:51 | Or I can have it free
floating. I like to lock it.
| | 01:54 | So now I have my browser with the heads
-up display that I can go through here.
| | 02:01 | And if I want I can move
my heads-up display also.
| | 02:04 | I can move it over here and while I'm
working on the image just have it set over here.
| | 02:10 | The one thing that hasn't worked for
me anyway, and maybe you'll find a way.
| | 02:14 | If I go to lock it, I haven't
found a way to make it lock over here.
| | 02:19 | It always wants to come back to my main browser.
| | 02:22 | But that could be just
something that I haven't found yet.
| | 02:25 | So the bottom line is that
this is a terrific way to work.
| | 02:29 | If you have, like a 17 inch
laptop, and you have a nice display,
| | 02:35 | a Mac laptop can push pixels to both of them.
| | 02:38 | And you can set up something just like this.
| | 02:41 | It's absolutely beautiful.
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| Configuring for faces and places| 00:00 | A great new addition to Aperture 3 is
Faces and Places, and if you've played
| | 00:08 | with iPhoto '09, then you're
already familiar with this.
| | 00:12 | And in a lot of ways, it's a very
similar to what we have in iPhoto.
| | 00:16 | So if you've been working in iPhoto,
you're already well up the curve.
| | 00:21 | I'm going to dedicate a whole chapter
to those, to Faces and Places, but there
| | 00:25 | are a couple of things that I want to
let you know about right off the top
| | 00:29 | before we get to Chapter 9 and all
those sort of stuff, because it can have an
| | 00:35 | impact on your workflow as you are
initially setting up your Aperture Library.
| | 00:41 | This is especially true if you are moving
from Aperture 2 to Aperture 3. Here is why.
| | 00:48 | So when you move a Library from
Aperture 2 to Aperture 3, and we'll be talking
| | 00:53 | about this in more detail,
the actual moving the library part.
| | 00:58 | Aperture 3 has to do a lot of stuff.
| | 01:01 | To prepare that Library for use in
Aperture 3, it does database modifications,
| | 01:07 | it may reprocess your RAWs if
you have RAW files in there.
| | 01:11 | And people already comment that it
takes quite a while to do all of this.
| | 01:16 | Another thing that it will do if you
have Faces turned on initially is that it's
| | 01:22 | going to go ahead and start doing the
automatic face detection and recognition.
| | 01:28 | So that's going to add to your
transition time, to the time that it takes you
| | 01:32 | where you can actually start using
that old Aperture Library that has been
| | 01:35 | moved into Aperture 3.
| | 01:38 | So if you don't want Aperture to do
that right-away, if you would rather get
| | 01:44 | your old Aperture Library into Aperture,
or move a bunch of images in, and you
| | 01:49 | don't want to spend cycles
face detecting right-away,
| | 01:52 | what I recommend that you do is you
go up to Preferences, and you go to
| | 01:59 | the General tab here.
| | 02:02 | You actually turn off
Enable Faces. Just unclick it.
| | 02:06 | Now you'll notice that when you do
that, it actually is not in the Library.
| | 02:10 | You haven't loss the capability, but
what you're doing is you're saying, look,
| | 02:15 | we're going to do Faces, but
we're going to do little bit later.
| | 02:18 | I've got a lot of other stuff that I want to do.
| | 02:22 | First, when you're ready to start
working on Faces and using the techniques that
| | 02:27 | we'll talk about later, then just go
back to your General tab in Preferences and
| | 02:31 | then you can Enable Faces.
| | 02:34 | And then of course, Aperture will get to work.
| | 02:38 | Then you'll have a bunch of other
stuff taken care of and you'll have the
| | 02:42 | cycles to dedicate to Faces.
| | 02:44 | I also want a few notes about Places.
| | 02:48 | Going to Places here of course,
this is your geo-information.
| | 02:52 | So Faces is face recognition and
Places is geo-data where the shot was taken.
| | 02:59 | If you have images in your Aperture Library
that have geo-tags, and what do I mean by that?
| | 03:05 | Well, we go to Metadata here and it
has this information, the latitude and
| | 03:10 | longitude, information embedded in the
photo and that could have come from an
| | 03:14 | iPhone or could have come if you
are using another geotagging device.
| | 03:19 | Then when you click on Places in your
Library pane, it will show you stuff that
| | 03:25 | has geo-tags and it will show you
the location based on that geo-data.
| | 03:32 | It may or may not be right.
| | 03:34 | I noticed in this one library
that one image was geo-tagged.
| | 03:39 | It says right here on the image, Lake
Tahoe Basin, but this is not a correct geo-tag.
| | 03:46 | Know that that can happen.
| | 03:48 | Of course, you can fix that.
| | 03:50 | I'm just going to just make this
view a little bit smaller here.
| | 03:54 | This is our zooming view here, and
then we can just move stuff around.
| | 03:59 | Actually, we need to go up here to
Lake Tahoe is where that pin should be.
| | 04:07 | So you can do that.
| | 04:09 | You can just click on the Move Pins.
| | 04:11 | You get this little thing.
| | 04:12 | To change its locations, all
you've got to do is drag it.
| | 04:15 | That's what we're going to do.
| | 04:17 | We're just going to take this pin,
we're going to go up here, we're going to
| | 04:20 | take it to an approximate area.
| | 04:22 | I think right about in here
where it should be, there we go, let's say
| | 04:28 | maybe we'll move it a little bit more,
something like that, not super-precise,
| | 04:33 | but in the general ballpark
certainly closer than it was before, and then
| | 04:37 | click the Done key.
| | 04:38 | What's interesting is that it'll
actually change the metadata here too.
| | 04:43 | So again, we're going to get more into
Places, we're going to get more into Faces.
| | 04:47 | I just want you not to be surprised in
the early stages of setting up Aperture 3
| | 04:53 | by what may or may not happen depending
on how you have your preferences set up.
| | 04:59 | So Faces, if you are moving a bunch of stuff
in, you may want to turn it off to begin with.
| | 05:05 | And Places, if you have geo-tagged
information and you're telling Aperture in
| | 05:10 | your preferences to add Places
information to that as we setup here,
| | 05:16 | when you click on Places,
you will see some things.
| | 05:19 | And they can only be as correct as a
geo-data that's associated with the image,
| | 05:24 | but you can make that adjustment on
your own afterwards, and we'll get into all
| | 05:29 | of that good stuff when we tackle
more detailed look at Faces and Places.
| | 05:33 | But for now there is a little overview for you.
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| Understanding RAW files| 00:00 | I want to take a minute just to talk
about RAW files, because even though
| | 00:06 | they've been around for a while,
| | 00:07 | when I teach and when I'm talking to
people, I still sense some confusion about
| | 00:13 | RAW files and their role in photography.
| | 00:17 | This is especially important in Aperture
because Aperture handles these RAW files so well.
| | 00:24 | Now first of all, not all
cameras can shoot in RAW.
| | 00:27 | A lot of compacts can't.
| | 00:29 | In fact most compacts can't.
| | 00:31 | But then again, most
digital SLRs can capture in RAW.
| | 00:35 | What does that mean?
| | 00:37 | Well, I always like to think about a RAW file.
| | 00:40 | We have our little RAW badge, so we know
that we're looking at a RAW file right now.
| | 00:44 | I'd like to think about the RAW file,
| | 00:46 | if you're watching Martha Stewart and
she's making the cake, and she has a bowl
| | 00:51 | of batter and all the
ingredients are mixed up and everything,
| | 00:54 | all she has to do is put
it in the oven and bake it,
| | 00:57 | and that bowl of batter, that's the RAW file.
| | 00:59 | It has not been processed.
| | 01:01 | It comes out of the
camera basically as the batter.
| | 01:06 | Then Aperture will do the processing.
| | 01:08 | And it does it so seamlessly that you
don't even really notice that you're doing
| | 01:13 | anything different than
if you're shooting a JPEG.
| | 01:16 | Now if you're shooting a JPEG on the
other hand, the difference is that the
| | 01:21 | camera actually does the baking also.
| | 01:23 | So what comes out of the
camera is a fully baked file.
| | 01:27 | That's why you can just hand it off
to somebody else and they can look at.
| | 01:30 | So a JPEG is baked, but a RAW file still
requires some baking which can be done by Aperture.
| | 01:37 | Now as we're looking at these files,
the beauty of working in RAW is that you
| | 01:44 | have more image data available to you.
| | 01:47 | So for instance, when you're in the
Adjustments panel here, and you want to do
| | 01:53 | things like recover highlight
information using this slider here, we want to
| | 01:59 | recover information that
may be lost in the highlights.
| | 02:01 | For instance, stuff like this.
| | 02:03 | When you're working with a RAW file, you
just have more image information to work with.
| | 02:10 | So these sliders are essentially more
effective with RAW files than they will be with JPEGs.
| | 02:16 | And because, Aperture makes it so
easy to work with these files, you don't
| | 02:22 | really notice that you're doing
anything different than with a JPEG other than
| | 02:28 | maybe a little bit more processing time.
| | 02:30 | You may have noticed when
I did that Recovery slider.
| | 02:33 | We had the little processor going here.
| | 02:34 | Let's see if we can make
that processor come back.
| | 02:36 | Let's just make some
movements here. We'll go here.
| | 02:40 | So if we-- there it goes.
| | 02:42 | So it just processed for a second there.
| | 02:44 | If you have a slower machine, that
processing will take a little bit longer.
| | 02:49 | Part of the reason is because these
RAW files are much bigger than JPEGs.
| | 02:53 | JPEGs are compressed.
| | 02:56 | That means that they are made smaller.
| | 02:59 | They use these very ingenious
logarithms that supposedly only throw away
| | 03:04 | information that your eyes are going to see.
| | 03:08 | Some photographers will debate that
matter of course, whereas RAW files,
| | 03:12 | they keep everything.
| | 03:13 | So for instance with this Canon that I shot
with here, we'll go to the Metadata panel.
| | 03:20 | In the General view here, this file from this
Canon T1i, this RAW file, is 21.66 megabytes.
| | 03:28 | One shot, 21 megabytes.
| | 03:31 | That's a lot of data in that RAW
where as a high quality JPEG would only be
| | 03:36 | around three-and-a-half megabytes.
| | 03:39 | That's because it's compressed and
some image information gets thrown away.
| | 03:44 | That leads us to the question then, if
you're going to be a heavy-duty Aperture
| | 03:48 | user, if you're going to use Aperture
as your photo management system, and you
| | 03:53 | have the ability to shoot RAW
with your the camera, should you?
| | 03:57 | I would say if you can, I would honestly.
| | 04:01 | You're going to need more hard disk
space because of this file size thing
| | 04:05 | that we talked about.
| | 04:06 | You have to think about that.
| | 04:08 | You will probably need a more modern
computer because of the processing that
| | 04:13 | happens with these RAW files,
when we start making these changes.
| | 04:17 | Here on a fast computer, you noticed
that processing was not very long at all.
| | 04:21 | On the slower computer, it would be longer.
| | 04:24 | So those are a couple of considerations.
| | 04:27 | The payoff, however, if you can have
newer hardware and if you can afford more
| | 04:33 | disk space is that you have so much more
information that you have to deal with.
| | 04:37 | You can pull parts of your picture
out that you didn't even know existed.
| | 04:42 | Aperture is very good at doing that.
| | 04:44 | You have everything available to you.
| | 04:46 | So it's really up to you on
which route you want to go.
| | 04:50 | The point that I want to make here is
that if you've ever wanted to shoot RAW,
| | 04:55 | and you know you're going to Aperture,
this is the perfect time to start
| | 04:59 | shooting RAW because Aperture
handles these files beautifully.
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| Following the recommended Aperture workflow| 00:00 | Before we dig deeper into Aperture,
and we're going to get into importing
| | 00:04 | photos here next, I want to give you
my pitch for the Aperture workflow and
| | 00:11 | I am going to tell you why.
| | 00:12 | In the end, it's going to save you disk
space and it's going to save you time
| | 00:18 | if you follow what we
recommend as the Aperture workflow.
| | 00:22 | Now, what do I mean by that?
| | 00:23 | Well, essentially I can sum it up in
one sentence, which is "do as much work as
| | 00:28 | possible in this application."
| | 00:32 | Every time that you take a photo out
of Aperture and do something with it in
| | 00:37 | another application such as Photoshop
and then bring it back in, you're going to
| | 00:43 | be spending more time with that image,
and you're going to be bringing back in a
| | 00:48 | very large file which is
going to use more disk space.
| | 00:51 | Sometimes you have to do that.
| | 00:52 | So, that's the exception, but the rule
is that when you work inside of Aperture here,
| | 00:59 | you're going to work faster,
because you have everything available to you
| | 01:03 | that you need to do your work.
| | 01:06 | And it's going to be also very computer
friendly in the sense that if I were to
| | 01:12 | make changes to an image, and here we
have another raw file and let's say I
| | 01:17 | want to make some basic exposure changes here.
| | 01:21 | As I do this in Aperture, as I make
these exposure changes here, Aperture is
| | 01:26 | just generating kilobits, a very small
amount of metadata that represents this
| | 01:33 | change that I made right here.
| | 01:34 | Just a simple change, kilobits of
metadata that are associated with this master file.
| | 01:41 | If I were to take this
image out of the Aperture.
| | 01:44 | Let's say I were to roundtrip to Photoshop.
| | 01:48 | I'll just right-click on it here,
and where I get to actually edit it.
| | 01:54 | I can round trip here, edit
it with Adobe Photoshop CS4.
| | 01:58 | If I were to do that, to send it
outside of the Aperture workflow, just that
| | 02:03 | simple change that I made.
| | 02:04 | Let's say I use Levels or Curves in the
Photoshop to make this sort of change.
| | 02:09 | That image would come back and it
would be not much bigger than the original file,
| | 02:15 | like right now, we have it
at what 21, almost 20 megabytes.
| | 02:20 | It would come in probably twice that size.
| | 02:24 | So if you think about that as a workflow,
and if you're doing that in the norm,
| | 02:29 | then you really sort of
defeating the essence of Aperture.
| | 02:32 | The essence of Aperture is that
Apple especially now in version 3 has
| | 02:38 | really worked hard to give you all the tools
that you need to work with in this environment.
| | 02:44 | Making leaving Aperture the
exception and they've also done things like
| | 02:48 | allow us to manage our movies
in our audio files here now too.
| | 02:52 | So, more than ever, it's a all-in-
one digital management application.
| | 02:59 | So I just want to recommend and
I want you to keep this in the back of your
| | 03:02 | mind as we continue to work with this
application through all these movies
| | 03:06 | we're going to be doing, that learn it as best as
you can and try to stay within this application.
| | 03:12 | I think in the long run you'll be
much happier and then when you do have to
| | 03:16 | leave Aperture, make that the exception.
| | 03:19 | So, let's get on with the
show and start digging deeper.
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| Running Aperture Library First Aid| 00:00 | Here's a nifty trick that you may not know
about that if you hold down the Option and
| | 00:06 | the Command Key when you launch Aperture,
you get the Photo Library First Aid dialog box.
| | 00:14 | And you'll actually have three choices here,
the first one, as you can see, is to Repair
| | 00:19 | Permissions, and that one's a fairly
fast one, and in all honesty, I've never really
| | 00:27 | a noticed huge improvement
with the Permissions Repair.
| | 00:31 | However, the second one and the one
that's checked, the Repair Database, this is very
| | 00:37 | good when you start to notice that Aperture
may be having problems working with the database.
| | 00:43 | Remember, it's a database driven application.
| | 00:46 | So, if your database does become corrupt, or
if it has a few little hiccups in it, doing
| | 00:52 | the Repair Database sometimes can fix that problem
and get Aperture running nice and smooth again.
| | 00:59 | And then of course, if you need drastic help,
if you repair the database and Aperture is
| | 01:06 | still not running right, you can actually
Rebuild the Database, and again, this is only
| | 01:12 | when option 1 or option 2 do not work,
option 3, and it does take a lot longer.
| | 01:18 | But I want to show you that repairing the
database, which is the one that you're going
| | 01:22 | to use 90% of the time,
that is really not that long.
| | 01:26 | So you just make sure that the
middle radio button is selected.
| | 01:30 | You click on Repair, and there you go.
It can repair it that quickly.
| | 01:38 | Again, if you start to notice a little hiccup,
spinning wheels when you just try to do simple
| | 01:43 | things like move from one picture to another,
you may want to run Aperture First Aid and
| | 01:49 | see if it can smooth out
those problems for you.
| | 01:54 |
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|
|
2. Importing Photos and MoviesPreparing for import| 00:00 | Well, one of the most important things
to working with your images is to get
| | 00:03 | them in your Aperture Library to begin with.
| | 00:06 | So, let's do a quick overview of
the Import dialog box, which is really
| | 00:12 | improved in version 3.
| | 00:14 | Now I have connected a memory card to
my computer and I am going to go to
| | 00:19 | the Import arrow here, and Aperture will
see that I have a connected memory card reader.
| | 00:26 | And it identifies it right there and
then I get to take a look at the pictures
| | 00:32 | that are on my memory card.
| | 00:35 | So, that part is pretty much the same as before.
| | 00:39 | However, you'll notice that we don't
have the arrow thing anymore. That's gone.
| | 00:44 | The way that we control where our
images go is up here in this default brick.
| | 00:51 | We have a number of bricks to choose from
that are available via this pop-up menu.
| | 00:56 | But this one right here will show up,
because this is our destination.
| | 01:01 | So, right now these photos, if I were
to hit the Import Checked button,
| | 01:06 | they would all go into a new project and I
would give that project a name right here,
| | 01:11 | and it would show up in our library.
| | 01:14 | If I decided, since these are outdoor
shots, that I wanted them to go into an
| | 01:19 | existing project, then all I have
to do is click on that project here.
| | 01:25 | That changes up here, and
that's where those images will go.
| | 01:31 | We have to decide where the master is
going to be stored, either in the Aperture
| | 01:35 | library or in a different location and
I have dedicated a whole movie to that.
| | 01:40 | And then we have to decide
about the actual images themselves.
| | 01:44 | Right now they are all checked.
| | 01:46 | Everything that's checked goes into the project.
| | 01:50 | Now, if I were to click the Uncheck All
button, then all of these will not go anywhere.
| | 01:56 | They are all unchecked.
| | 01:58 | What if I only want to bring some in?
| | 02:00 | Let's say I just want to bring
in these four tent shots, I could
| | 02:04 | click-and-drag, select them all.
| | 02:07 | Now they are not going to go in yet,
because the boxes aren't checked,
| | 02:12 | then just check one of the boxes and for everything
that's selected, it will also get a checkmark.
| | 02:18 | Remember only things that
are checked actually go in.
| | 02:22 | So you can select, then check.
| | 02:25 | Same thing, just click, drag, check.
| | 02:28 | You can also use your Command key right
where you do one, hold down the Command key,
| | 02:33 | hold down the Command key.
| | 02:35 | But remember, if it's checked, it's
going in even if it's not or is selected,
| | 02:40 | the checkmark is what
determines what's happening. All right!
| | 02:43 | So we're going to Uncheck All of them
right now for the moment and just take a look.
| | 02:49 | Now you notice that I have both RAWs and
JPEGs here, and that leads us to our next brick.
| | 02:55 | And that is if you shoot RAW plus JPEG.
| | 02:58 | Now you have the option to import only
JPEGs, only RAWs, and you can import them
| | 03:04 | both and decide which one is going to
be the master, and I am going to dedicate
| | 03:08 | a movie to that because that is a
major improvement that I am so happy to see.
| | 03:14 | So, if I only wanted to import the RAWs,
for example I could do that and then
| | 03:19 | you'll see that all the JPEGs have gone away.
| | 03:23 | We'll just change it back to Both
for the moment, while we're working on
| | 03:29 | the rest of the bricks.
| | 03:30 | Well, let's see what else we have.
| | 03:31 | So we'll go up to Import
Settings. We have File Info.
| | 03:35 | That's nice.
| | 03:36 | That tells us information about that file.
| | 03:38 | If I don't want to see it,
I just go back and it goes away.
| | 03:43 | We can also rename files on import as before.
| | 03:47 | And that's very nice where we get to
choose from a variety of options on how
| | 03:53 | to rename our files.
| | 03:55 | That's all handled right here.
| | 03:56 | And if you don't have an option that
you like in this list, you can create your
| | 04:02 | own by going to the Edit
button. That's very cool.
| | 04:07 | We'll get rid of that for the moment.
| | 04:10 | Time Zone, again if you have your
timestamps set wrong on your camera and
| | 04:15 | you want to correct it.
| | 04:16 | Let's say that you live in
California and fly to New York, you forget to
| | 04:19 | change your time stamp.
| | 04:21 | You can fix that right here.
| | 04:23 | You just say what the camera time is and
then you choose what the actual time is
| | 04:28 | and Aperture will fix it for you.
| | 04:31 | So very, very handy.
| | 04:34 | Once again, we have Metadata Presets, so
you can actually add metadata on import.
| | 04:40 | And I love this.
| | 04:41 | Now a change in Aperture 3 is that
you can actually create a metadata
| | 04:46 | template on the fly right here in the dialog
box, and I am going to show you how to do that.
| | 04:52 | I love that.
| | 04:53 | Nothing like having metadata added on import,
so you don't have to go back and do it later.
| | 04:58 | You can also make some basic
image adjustments on import.
| | 05:02 | And we have some nice ones here, some
exposure fixes, some color fixes, and
| | 05:09 | basically everything that's
imported gets that adjustment preset.
| | 05:13 | Now I don't use this a lot myself, but
some people have specific workflows and I
| | 05:18 | have heard it comes in very handy.
| | 05:21 | File Types, Aperture
isn't just for photos anymore.
| | 05:25 | You can include videos and audio files.
| | 05:28 | You may want to import those at different times.
| | 05:31 | So you may want to import your photos
first, then go back and do your videos
| | 05:35 | or your audio files.
| | 05:37 | This allows you to control that.
| | 05:39 | If this card were to have movies on it,
if I check this box, I would only see
| | 05:44 | the still images, and then I could do
another import where I uncheck this box
| | 05:50 | and then I exclude the photos.
| | 05:52 | It gives you a lot of control over what
happens when you import your pictures
| | 05:58 | or your movies or your audio files.
| | 06:02 | If you're into AppleScript, you can
actually automate this process further by
| | 06:07 | creating the AppleScript and then
choosing it under the Actions brick.
| | 06:12 | And then finally, I have got
to tell you about this one.
| | 06:15 | This was another one on my list.
| | 06:18 | I can connect a hard drive to my computer.
| | 06:22 | I can call it out here by choosing it.
| | 06:25 | On import, not only will Aperture
import my photos to where they are supposed
| | 06:30 | to go, where we normally keep our
photos in the Aperture library, wherever that
| | 06:35 | happens to be, I can also backup a second
set to another drive all at the same time.
| | 06:41 | That means when I am done with the
import process, not only have I added
| | 06:45 | metadata and done all the other cool
things, I've actually Backed up my images,
| | 06:50 | which means then I can take that card,
erase it, and start shooting again knowing
| | 06:54 | that I have those images in two places.
| | 06:57 | I love backup on import, and
I think this is a very nice enhancement.
| | 07:02 | So you control all of that stuff
up here at the Import Settings.
| | 07:08 | Set it up the way that you want.
| | 07:09 | Aperture will remember your setup.
| | 07:11 | So if I were to close this
dialog box and then open it back up.
| | 07:15 | However I had this setup here,
that's the way it would reopen
| | 07:20 | when it came back up. You enable it up
here as I said before with the import
| | 07:25 | arrow, and if you decide that you don't
want to do an import, all you have to do
| | 07:30 | is click this box right here, and the
dialog goes away and you are back to your
| | 07:35 | normal Aperture interface.
| | Collapse this transcript |
| Using managed libraries or the referenced file approach| 00:00 | So we need to talk about where our
master files are going to be stored when we
| | 00:06 | import them into the Aperture library.
| | 00:08 | So what do I mean by master files?
| | 00:12 | Well, those are the actual
pictures that your camera has captured.
| | 00:15 | So when I take this picture,
whether it's a RAW or a JPEG, the camera
| | 00:21 | creates the master file.
| | 00:23 | And what Aperture does when I want to
work with one of these shots is that it
| | 00:28 | reads that original master file.
| | 00:30 | Let's say that I want to do some image
editing on this file, right here, and
| | 00:35 | I go to Adjustments and I want to make
some sort of change, I want to maybe change
| | 00:40 | the color temperature a
little bit, cool it off, let's say.
| | 00:43 | So what Aperture just did was it read
my original file and then it noted what
| | 00:49 | change I made, and then
it generated a new preview.
| | 00:53 | That's what I'm looking at.
| | 00:55 | Those previews are what are shared
with the other applications and so forth.
| | 01:01 | So it's a master file and preview and
the preview is based upon the master file
| | 01:07 | plus whatever changes I make to
the appearance or the metadata.
| | 01:12 | So, then the decision is where
do we store these master files?
| | 01:17 | We already know where the previews,
what we're looking at, where they're
| | 01:21 | going to be stored.
| | 01:22 | They're going to be stored in the
Aperture library on your computer.
| | 01:27 | The size of those files, of course,
are going go be determined by what we
| | 01:32 | selected here under the Previews
tab and under this pop-up menu.
| | 01:37 | So, we know what's going
to happen with the previews.
| | 01:40 | We know how big they're going to be.
| | 01:42 | However, the master files can be quite
big, especially if you're shooting RAW.
| | 01:47 | So, your poor computer may not be able
to handle all of the RAW files you shoot,
| | 01:52 | plus your music, plus your
movies, plus everything else.
| | 01:55 | So you may want to separate those
master files from your computer, put them on
| | 02:00 | an external hard drive and then
have Aperture read those files.
| | 02:06 | That's called the referenced file
system, or you may want to just store
| | 02:10 | everything on your local computer
in the Aperture library container.
| | 02:15 | Let me show you the Aperture library
container real quick just so-- we'll go
| | 02:20 | to the Finder here.
| | 02:21 | So in your Pictures folder, you have a file.
| | 02:25 | The minute you open Aperture, you have a
container here called the Aperture Library.
| | 02:29 | Now within this container are all the
work and metadata and everything that you do.
| | 02:35 | If you choose what we call the managed
file approach, which is store the masters
| | 02:40 | inside this container, then all the
RAW files and JPEGs that your camera
| | 02:46 | captures will go in here too.
| | 02:48 | Now if you have tons of disk space like
right here where we've got 1.24 TB, then
| | 02:56 | you can afford to have all
those masters stored here.
| | 02:59 | However, if you're working off a laptop
like I am most of the time, my laptop
| | 03:04 | could not store all the RAW files that I shoot.
| | 03:07 | I need to store them somewhere else.
| | 03:09 | So I store them in a separate
drive here called Photo Masters.
| | 03:15 | This is where they're stored.
| | 03:17 | Those masters that come off of my camera
are stored in this folder here and then
| | 03:23 | they are stored inside of here.
| | 03:26 | Then I point Aperture to these
files and it reads them and then it
| | 03:32 | generates previews.
| | 03:33 | It's seamless while I'm working.
| | 03:36 | In other words, I don't really notice
that I'm working off a referenced file or
| | 03:41 | a file that's stored
inside the Aperture library.
| | 03:44 | It's fairly seamless to me.
| | 03:46 | So let's go back to Aperture for a second.
| | 03:49 | So how would we set that up and what is the
thinking that we need to make that decision?
| | 03:55 | Let's go to our Import dialog box,
right here, and here are the files that we
| | 04:03 | had before, all waiting for us.
| | 04:06 | So I have both the JPEGs and RAW files here.
| | 04:10 | These are fairly big files.
| | 04:12 | So if I wanted to store everything in
my Aperture Library on my computer, then
| | 04:20 | here in the Import dialog box,
I would choose Store Files In the Aperture
| | 04:26 | Library and everything would be in there.
| | 04:30 | If however I decided that I need to
store these master files somewhere else,
| | 04:36 | because my computer doesn't have
enough room, then I would go and I would
| | 04:42 | choose another location.
| | 04:44 | In this case, I'm going to choose the
connected hard drive that I have and it's
| | 04:49 | a little LaCie Rugged.
| | 04:52 | Then all of my image masters are stored here.
| | 04:56 | Now the way Aperture works is that it
reads the master file, wherever it's stored,
| | 05:02 | either on an external drive or
in my Aperture Library, I'm going to go
| | 05:08 | ahead and just cancel this right now.
| | 05:11 | Then when make a change to the file.
| | 05:14 | It actually then remembers the changes that
I make and then it generates a new preview.
| | 05:20 | So it's not changing the master.
| | 05:23 | That's even true if it's a JPEG.
| | 05:25 | If I load this JPEG, no matter
where it goes Aperture will not alter
| | 05:30 | this original JPEG.
| | 05:31 | It will always generate a new preview.
| | 05:34 | So you just have to decide where
are you going to store your files.
| | 05:38 | On your computer, in that case, you
choose In the Aperture Library, or on a
| | 05:43 | separate hard drive, in that case, you
would choose which hard drive that would be.
| | 05:49 | I would create a separate
folder for those images to go in.
| | 05:53 | Now, here's the good news.
| | 05:55 | Let's say that you choose that route.
| | 05:57 | Let's say you choose the so-
called referenced file approach.
| | 06:01 | You can still do everything that you need to do.
| | 06:04 | I'm going to go ahead and close
the Import dialog box for a minute.
| | 06:08 | You can still do everything
that you would need to do.
| | 06:11 | For instance, you could change the
caption and you can build slideshows.
| | 06:15 | You can do all the stuff without a
hard drive with master files connected.
| | 06:21 | The only thing that you wouldn't be
able to do is make image edits or export a
| | 06:28 | file that's bigger than
the size of your preview.
| | 06:31 | So you could conceivably leave your
master files at home, take your laptop with
| | 06:36 | your Aperture Library, and all of the
previews that it generated, and build a
| | 06:41 | book or do your metadata or show a
slideshow, all that kind of stuff.
| | 06:47 | So, the referenced file approach is very
popular, especially with photographers
| | 06:51 | who are shooting these large RAW files,
because they don't have to keep those
| | 06:56 | original files on their computer.
They can be stored somewhere else.
| | 07:00 | Again, the way that you set that up is
that you go to Import and then you choose
| | 07:06 | in the Aperture library or on a separate drive.
| | 07:10 | You can change your mind up the road,
no matter what you choose, because you
| | 07:15 | still have this option.
| | 07:16 | If you go up here to File, you'll see
that you have two options under the File menu,
| | 07:22 | Relocate Master and Consolidate.
| | 07:25 | These options allow you to change your mind.
| | 07:28 | So, for instance, right now this master is
located in my Aperture library on my computer.
| | 07:34 | If I decided I wanted to move that
master out to an external hard drive, I would
| | 07:39 | use this command, or if I decided that
I wanted to bring a master file that was
| | 07:45 | on an external hard drive into my
Aperture library, I would use this command.
| | 07:50 | So, Aperture is very flexible basically.
| | 07:52 | You get to work the way you want, but
it is worth thinking about a little bit
| | 07:57 | before you get too far down the road in
setting up your Aperture library.
| | 08:01 | Where are those masters going to live,
on your computer or on an external drive?
| | Collapse this transcript |
| Creating metadata presets| 00:00 | We are in the Import dialog box here
and I want to talk about adding metadata
| | 00:05 | to your images on import.
| | 00:09 | This is a great time to add
additional information. That's what metadata is.
| | 00:14 | It's text information.
| | 00:15 | It's things like caption and keywords and city.
| | 00:19 | What's so great about doing it now,
especially the stuff that applies to all of
| | 00:24 | your images, such as your copyright, is
that it saves you from having to do an
| | 00:29 | extra step later on.
| | 00:31 | So, anything that you can do at the
beginning while you're actually bringing
| | 00:35 | your images in is usually a pretty
good idea, because it ensures that it will
| | 00:40 | actually get done and we all know about those
tasks that we say that we will get to later on.
| | 00:47 | In order to apply metadata to your
images during the import, you want to make
| | 00:51 | sure that you have your Metadata
Presets brick selected and that of course is
| | 00:57 | right here in the Import Settings.
| | 00:59 | So, we have that here and you get a Basic
Info brick, but you may want something else.
| | 01:06 | For example, I have a custom preset
that I like that just has my name and my
| | 01:13 | contact Website and my copyright notice.
| | 01:16 | It's very, very nice and that's
going to apply to all of my images.
| | 01:21 | Then I may want to have another Metadata
Preset that has some other information.
| | 01:27 | So, how do we create those
special presets just for us?
| | 01:32 | Well, let me show you how to do that.
| | 01:34 | First thing that you do is you go to
the pop-up menu here and you can do this
| | 01:38 | right in the Import dialog box, which
I think is terrific, and you go to Edit.
| | 01:44 | Now, when you go to Edit, you get
this dialog box that allows you to manage
| | 01:51 | your metadata presets.
| | 01:52 | So, here is our existing preset, our Basic Info.
| | 01:57 | You'll see that the fields where
the boxes are checked, those are the
| | 02:02 | fields that appear.
| | 02:04 | And here is the one that
I created for my preset.
| | 02:08 | So, for instance, the Website is
checked and here's the website and up here
| | 02:13 | Creator is checked and here is creator.
| | 02:16 | So, what if I wanted to create a new one?
| | 02:18 | Well, I just go down here to the
gear menu and I go on New Preset.
| | 02:23 | I give it a name, call it the Lynda Preset.
| | 02:30 | Now, I go ahead and select the fields
that I want to become a part of this preset.
| | 02:34 | So we will do Creator and we'll do
Website and we will do, let's say, Keywords.
| | 02:43 | We'll just go down to Copyright
and we can even do Usage Terms.
| | 02:50 | Okay, that's pretty good.
| | 02:52 | You'll notice that when I check a box, you
get in this gray thing here Clear Values.
| | 02:58 | I can actually add the values that I
want here, so not only do I have the
| | 03:02 | preset, it's also pre-populated forming.
| | 03:06 | So, I can put All rights reserved
here and I can remember Option+G gives us
| | 03:13 | that copyright thing.
| | 03:15 | It remembers from what I did before.
So that's nice that little auto-fill.
| | 03:21 | I don't know what the keywords are
going to be, so I'll leave that blank.
| | 03:24 | We will do that on import itself.
| | 03:27 | Creator though I have a pretty good idea and
Website I know that one too. So we are all set.
| | 03:33 | Now, I just click the OK
button and here's my Lynda Preset.
| | 03:39 | You notice the fields where I added
information that they are pre-populated for me.
| | 03:44 | The fields that I didn't have
the information, they are not.
| | 03:48 | I am going to uncheck everything here.
| | 03:51 | Let's say that I am just going to
bring in these tent photos right here.
| | 03:56 | So, I hold down the Shift key and
make sure they're all selected and then I
| | 04:02 | check a box and then in the Keywords,
I could apply tent and specific stuff just
| | 04:10 | as little shots or nothing at all.
| | 04:13 | When I click Import Checked then all
of this information will be added to the
| | 04:18 | metadata of the photos.
| | 04:20 | I know it will be added because I
have the Append radio button selected.
| | 04:25 | If there was other metadata already
with these photos, say that I was bringing
| | 04:29 | them in from a different place like a
hard drive, I could replace the metadata
| | 04:35 | in those photos with the
stuff that I've entered here.
| | 04:39 | So, you can either add to
it or you can replace it.
| | 04:43 | This preset will be here for you forever.
| | 04:46 | It will always be part
of your list from then on.
| | 04:49 | If you decide for some reason that you
didn't want one of these presets, you can
| | 04:55 | always go back to Edit, choose the
preset that you want to get rid of, go to the
| | 05:00 | gear menu and delete it.
| | 05:03 | It's really that simple.
| | 05:06 | So, metadata presets, the nice thing
about Aperture 3 is that you can create
| | 05:12 | them on the fly in the dialog box and
customize the metadata that you add to
| | 05:18 | your photos on import.
| | 05:20 | It's very powerful.
| | Collapse this transcript |
| Adding keywords on import| 00:00 | I want to talk just a second
about adding keywords at import.
| | 00:05 | It's not a perfect system but
it really can help you in the long run.
| | 00:09 | So, the challenge is of course
that we have all of these photos.
| | 00:13 | They are all taken about the same time and
same place but they are different items.
| | 00:17 | So, there are some keywords I can add
now and then if I really want to fine-tune
| | 00:22 | my keywording, then I can do that
later on in the Aperture library.
| | 00:27 | So, for example, right now, I know I
can add things like country, state,
| | 00:32 | location and at least have that in the
library after they have been imported.
| | 00:38 | We use our Keywords field here and I
included that in my metadata preset.
| | 00:43 | Let's just say that we are going to add
some-- now I am going to separate these
| | 00:48 | by comma and by doing so, then
each individual keyword is searchable.
| | 00:53 | So, we'll do USA then the
California, then we'll do Pt. Reyes.
| | 01:00 | There is my location and then I can
add keywords such as camping and maybe
| | 01:06 | hiking, maybe something like
outdoors, all separated by commas.
| | 01:13 | So, now when I import these images,
these keywords will be added to them.
| | 01:18 | Then if I want I can add more keywords later on.
| | 01:21 | The cool thing is that just with these
few keywords here, let's say camping and
| | 01:25 | Pt. Reyes, in the library of 100,000 images,
| | 01:28 | chances are these would show up in images
of just a few hundred and I can get to
| | 01:34 | what I wanted to fairly quickly
without really having done any more work.
| | 01:38 | So, doing a little keywording on
import is actually a very good thing.
| | Collapse this transcript |
| Importing images from a digital camera| 00:00 | Let's actually import some images.
| | 00:03 | We've been talking a lot about getting
ready to import, but let's actually do it.
| | 00:08 | This movie is about importing
images from your digital camera.
| | 00:12 | I am not going to import them all
because we are going to do a couple of
| | 00:16 | different things, but we will import some.
| | 00:19 | Obviously, when you connect your
digital camera, you are going to see different
| | 00:23 | pictures than these here.
| | 00:25 | So keep that in mind.
| | 00:26 | However, the photos that we do import
will be in the Exercise Files for those of
| | 00:31 | you that get Exercise Files
with your lynda.com training.
| | 00:36 | They'll be in there but like I said,
when you connect your camera, you will
| | 00:40 | see different images.
| | 00:42 | So, I would like to put the images that I do
import here into the Great Outdoors project.
| | 00:49 | So, I am just going to click on that and
then right up here we have Great Outdoors.
| | 00:55 | I am going to go ahead and click,
as a safety, Do not import duplicates.
| | 01:00 | I just usually leave that checked.
| | 01:03 | For now, we are going to go
with the Managed Library approach.
| | 01:07 | So these files will be
stored in my Aperture Library.
| | 01:11 | I am going to import some of them.
| | 01:14 | So the way that I do that, I will
uncheck them all and then we will go to,
| | 01:19 | we'll do tents and barbecue.
| | 01:21 | This will be the tent and barbecue import.
| | 01:25 | So, I'm going to hold down the Shift key
and then I have to check, right, so that
| | 01:31 | those selected photos are actually checked.
| | 01:34 | So, all of these will be imported.
| | 01:36 | Here is my metadata information.
| | 01:40 | I have a choice here and
I have both RAWs and JPEGs.
| | 01:44 | So, what do I want to do?
| | 01:45 | I am just going to import the JPEGs.
| | 01:48 | So, we'll just import JPEG files only
and right away you will see that a number
| | 01:55 | of files are cut in half.
| | 01:57 | Now, we just have these files here.
| | 02:00 | I could do the same thing with just
RAWs and I am actually going to show you
| | 02:04 | technique in upcoming movie how
later on we could add RAW files to this.
| | 02:10 | Right now, we'll just bring in the JPEGs.
| | 02:11 | Let's say that we want to work really quickly.
| | 02:15 | Then we'll go up here to the top and
just make sure, do we want to do anything else?
| | 02:19 | Do we want to rename files?
| | 02:21 | We'll leave the original file names.
| | 02:23 | Time Zone we don't need to mess with.
| | 02:25 | I am not going to do any Adjustment Presets.
| | 02:28 | I don't have to worry about the
excluding movies at the moment.
| | 02:31 | I don't have a backup drive connected,
although if I were at home, I would and I
| | 02:36 | would be saving these files
to a separate location also.
| | 02:40 | So, I think we're pretty well set.
| | 02:41 | So, we're all ready to go.
| | 02:43 | I am just going to do Import Checked.
| | 02:45 | We are going to go into our Great
Outdoors project and we're off and rolling.
| | 02:53 | Once we've done the import into our
Aperture library, I can eject the card,
| | 02:59 | I can erase and eject the
card or I can just say Done.
| | 03:03 | I always just choose Done.
| | 03:05 | I never do this one here because I don't
want to erase the card with my computer.
| | 03:11 | I like erasing the card in the camera
when I know that I've done everything I
| | 03:16 | need to do on the computer.
| | 03:16 | I don't want to accidentally make a
mistake here and erase the card too early.
| | 03:20 | So, I don't choose that.
| | 03:23 | Ejecting card, that
doesn't really hurt anything.
| | 03:26 | I am going to click Done because I still
want the card connected because I think
| | 03:29 | I am going to do some more work.
| | 03:31 | So, we will just do Done and then I am
going to hit the V key here to change my view.
| | 03:39 | So, here are our original
images from Great Outdoors.
| | 03:42 | Now, we have our other shots and
let's just look at our Metadata view here
| | 03:48 | and we see that we only brought in JPEGs
shown up here at the top from the Canon S90.
| | 03:56 | We sit here and we look.
| | 03:59 | Here's our keywords. Isn't that nice?
| | 04:01 | Look at that, there is my copyright info.
| | 04:05 | Up here, at the top, we have all of
our different ways of looking at things.
| | 04:12 | So, we can look at just Name Only
or whatever, but we are going to stick
| | 04:15 | with General for right now.
| | 04:18 | Everything looks like it's in great shape.
| | 04:21 | These files are being stored in my
Aperture library. That's inside my Pictures folder.
| | 04:26 | These are not reference files and
for the moment, we have JPEGs only.
| | 04:32 | Once you've done this and once you know
everything is set, then you can remove
| | 04:38 | the card from your card reader or
disconnect the camera from your computer and
| | 04:42 | go about your business.
| | 04:44 | So, here's import number
one from a digital camera.
| | Collapse this transcript |
| Using the RAW+JPEG option| 00:00 | I'm so excited about this next thing I'm going
to show you, because I think it is very cool.
| | 00:05 | We brought in these JPEGs. That's great.
| | 00:08 | But I'm thinking gosh!
| | 00:10 | Here I have the RAW files on my card,
I shot a RAW plus JPEG, and Aperture does
| | 00:15 | such a great job with RAW files.
| | 00:17 | I want to bring in those RAW files
too, but I don't know how to do it.
| | 00:22 | Aperture actually makes this very easy.
| | 00:26 | Here are those JPEGs only that we
brought in and we know they are JPEGs only
| | 00:30 | because it says that right up here.
| | 00:32 | So what I want to do now is I want to bring in
the corresponding RAW files. No problem at all.
| | 00:38 | We're going to go back to Import, now
my card is connected and your card has to
| | 00:43 | be connected for this to work.
| | 00:44 | So there is my card there, I'm going to
click on the project where those JPEGs live,
| | 00:48 | the Great Outdoors, and now I'm
going to go over here to our RAW+JPEG
| | 00:55 | pairs, and in this pop-up menu I have
this new item called Matching RAW files.
| | 01:02 | I'm going to click on that
and look what Aperture does.
| | 01:06 | It identifies the JPEGs only that we
imported. It knows that there are RAW files
| | 01:13 | for those JPEGs on this card.
| | 01:16 | It finds them and then
it lists them only for me.
| | 01:21 | All I have to do is just import them and
I will have both the JPEGs and the RAWs.
| | 01:27 | This allows me to work quickly when
I need JPEGs and then later on if I want
| | 01:31 | to I can bring in the
corresponding RAW files. On the Metadata,
| | 01:36 | I'm just going to make sure that my
preset is set here and what we're going to
| | 01:42 | do is we're not going to fill in any
keywords and let's see when we bring these in
| | 01:48 | if they have the keywords on the
JPEGs or if that's something we need to
| | 01:53 | bring in ourselves.
| | 01:55 | Let's find out right now
by clicking Import Checked.
| | 01:59 | Aperture goes and grabs those RAW files.
| | 02:03 | We're just going to click Done right here,
and now it's telling us as we look at these
| | 02:09 | it identifies that there are
both JPEGs and RAW files for these images.
| | 02:14 | Let's go to Metadata and we know
that we're looking at the JPEGs.
| | 02:20 | So what do we want to do now?
| | 02:21 | We want to see those RAW files, right?
| | 02:23 | So let's go ahead and click on these
and then we'll go to Photos and now we're
| | 02:29 | going to set the RAW as the master
because we've brought the RAW files in.
| | 02:34 | So we're going to set the RAW as
master. Now the RAW files are the master
| | 02:40 | here, and let's see.
| | 02:42 | Let's take a look at our
metadata and look at that.
| | 02:46 | Those keywords are there.
| | 02:48 | We are in great shape.
| | 02:50 | Now we're working with the RAW files so
if we want to do prints and if we want
| | 02:54 | to do in-depth image editing, we have
the RAW files to work with, which are much
| | 03:00 | bigger, much deeper,
much more substantial files.
| | 03:04 | Again, if you want to work quickly and
you shoot RAW plus JPEG, you can just
| | 03:08 | bring in the JPEGs, do a quick turnaround,
take care of business and then later on
| | 03:13 | let's say that evening when you have
more time to fiddle with those shots
| | 03:17 | you can bring in the RAW files.
| | 03:19 | You can only bring in the RAW files
that you want because for instance you may
| | 03:22 | not want to bring in all of the RAW files.
| | 03:25 | You may only want to bring in the RAW files
for the shots that you think are really good.
| | 03:30 | You can control that in the Import dialog box.
| | 03:33 | It's a very slick method.
| | Collapse this transcript |
| Importing movies from your digital camera| 00:00 | So one of the big changes to Aperture 3
is that we can manage the video content
| | 00:06 | that we capture with our digital camera.
| | 00:09 | We can import it and then we can
do great stuff with it once it's in
| | 00:13 | the Aperture library.
| | 00:14 | But just like with photos we have to
get it in Aperture before we can start
| | 00:19 | doing something with it.
| | 00:21 | And so I want to go over that right
now in the Import dialog box. Here we are.
| | 00:26 | We're in import right now and we can
tell because it says Import right here.
| | 00:30 | Here is our memory card. Here are the
shots that we've been looking at and
| | 00:35 | playing with, and they are
all of our still photos.
| | 00:39 | But I know there is a movie on here too.
| | 00:43 | And I just want to import the movie right now.
| | 00:45 | I don't want to bring anything else in.
| | 00:48 | So I go to my Import Settings pop-
up menu and I make sure that the File
| | 00:53 | Types brick is in front and center,
and of course that's right here.
| | 00:58 | There is File Types.
| | 00:59 | So here it is right here. We have all of
our other stuff, but now what I want to
| | 01:04 | do is I want to exclude the photos
and I only want to see the video.
| | 01:09 | So I'm just going to click the Exclude
Photos box and suddenly, lo and behold,
| | 01:15 | my only movie that's on my card here
shows up right here and it's all ready to import.
| | 01:22 | I can do a little bit of metadata stuff here.
| | 01:25 | So for instance, we'll just put in
movie, and we'll let everything else stay the same.
| | 01:30 | If I want to check any of its data,
I can go to File Info and I'll click on
| | 01:37 | the movie itself and indeed it is a
.MOV file. I can see how big it is and this
| | 01:44 | can be important if you are bringing it
into your Aperture Library as a managed library.
| | 01:50 | We know it's going to go right
there on your computer's hard drive.
| | 01:55 | If you can run movies as referenced
files also, keep that in mind, and of course,
| | 02:00 | if you wanted to go that route,
as we talked about before then you would
| | 02:05 | go to the Store Files pop-up menu and
you would choose the connected hard drive
| | 02:09 | where you wanted that master file to live.
| | 02:13 | In this case we're going to go ahead
and put it in our Aperture library, so I
| | 02:17 | will leave it right where it is.
| | 02:19 | I'm going to have it go in
the Great Outdoors project.
| | 02:23 | So I think we're all set. I think
we've got everything set up the way that we want.
| | 02:27 | I mean the big thing here is this
checkbox because when it's not checked
| | 02:33 | we see all the other stuff and the
minute that we check it, we exclude those photos.
| | 02:37 | We see just the movie files that are on here.
| | 02:40 | It's checked and ready to go.
| | 02:42 | So now I'm going to import it and
we're off to the races, we're all done.
| | 02:49 | So I'll click Done.
| | 02:50 | And here we are and here's our
movie right here, mixed in with everything else.
| | 02:56 | So now we have movie
files in with our still photos.
| | 03:00 | This is the way you control them on import.
| | 03:03 | We'll talk about managing them once
you have them in your Aperture library in
| | 03:08 | an upcoming movie.
| | Collapse this transcript |
| Importing images from a hard drive| 00:00 | Another way to go if you want to bring
images that don't exist in Aperture right
| | 00:06 | now into the Aperture environment.
| | 00:09 | Let's say from a hard drive.
| | 00:11 | Let's say that you've been
working hard over all these months.
| | 00:14 | And you have a folder of pictures that
are all nicely organized on an external drive,
| | 00:20 | or on your computer.
| | 00:22 | But you want to use Aperture
now to manage those images.
| | 00:26 | You can do that and you have
a lot of options doing that.
| | 00:30 | So I am going to show you that right now.
| | 00:31 | So we are going to talk about
pictures that aren't on a camera.
| | 00:35 | That are in a folder somewhere on a hard drive.
| | 00:37 | Either on your computer hard
drive or external hard drive.
| | 00:41 | But now we want to bring them into
Aperture and let Aperture manage them.
| | 00:45 | So we are going to go to our Import dialog box.
| | 00:49 | And I have a folder of images in the
Exercise Files called Product Shots.
| | 00:57 | Here they are right here. So here's our
Exercise File, and here are these images
| | 01:01 | called Product Shots.
| | 01:02 | And here they are right here.
| | 01:05 | So what I want to do is I want to
manage these images in Aperture, along with
| | 01:11 | stuff that comes in from my digital
camera or maybe from my iPhoto library.
| | 01:15 | Because the whole idea is to have one
central location to manage your work.
| | 01:20 | So that's what we are going to do.
| | 01:21 | Since these shots are much different
than our shots from the Great Outdoors,
| | 01:26 | I'm going to have them be a new project.
| | 01:29 | So we are going to create a new project,
and we are going to give it the name
| | 01:32 | Product Shots, right here.
| | 01:35 | We are not going to import duplicates.
| | 01:37 | Now here is a big choice on this workflow.
| | 01:40 | And I want you to really think about this.
| | 01:43 | We have a few options here.
| | 01:45 | One is that we could bring these images
into our Aperture library container
| | 01:51 | or managed approach.
| | 01:53 | So they would actually be copied, from
wherever they are into our Aperture library.
| | 01:59 | That's one approach.
| | 02:01 | Another approach and one that you might
like better if you have a whole bunch
| | 02:06 | of stuff out on an external hard
drive and you just want to manage it in
| | 02:10 | Aperture is to go the referenced file
approach for these, and just leave them in
| | 02:16 | their current location.
| | 02:18 | In other words, where these masters live,
that's where they are going to stay,
| | 02:22 | and we are just going to point Aperture to them.
| | 02:25 | I think it's really a great way to go,
if you have a whole lot of stuff out there.
| | 02:31 | To be practical since we are trying to
manage these Exercise Files and all that stuff,
| | 02:35 | I am going to go ahead and bring
them into the Aperture library.
| | 02:38 | We just have a few.
| | 02:40 | But if you're thinking about doing a
whole lot of this stuff, then you may want
| | 02:44 | to go In their current location.
| | 02:46 | Because that way you're not copying anything;
you are just pointing the Aperture to them.
| | 02:51 | By the way, you have one other option
which is you can just move them to a
| | 02:55 | completely different place.
| | 02:56 | Let's say that you have a brand-new
hard drive and you are just dying to put
| | 03:00 | a bunch images on it.
| | 03:01 | You could choose that hard drive
and move those images there and point
| | 03:06 | Aperture to them there.
| | 03:07 | So you have lots of flexibility.
Most folks are probably going to go with
| | 03:11 | In their current location
or In the Aperture Library.
| | 03:14 | So here we are, we are in the Aperture Library.
| | 03:16 | I don't want to bring all of these in.
| | 03:18 | I just want to bring a
few of these product shots.
| | 03:21 | So let's just say I want to bring these four in.
| | 03:23 | So I make sure that they're
checked. I am bringing in raw files.
| | 03:27 | If I wanted to, I could add some metadata.
| | 03:31 | I am just going to go with the basic
preset right here, no keywords or anything.
| | 03:37 | We are all set, we're going to
create a new project and we are going to
| | 03:41 | put these images in it.
| | 03:42 | So here we go, hang on to your
seats, just like that, here they are.
| | 03:49 | So now we have the new
project called Product Shots.
| | 03:53 | We have our images right here.
| | 03:56 | We go to the Metadata tab, we see that
we have the raw files, they are stored
| | 04:01 | in our Aperture library.
| | 04:03 | And we can do all the fun
stuff that we want to do with them.
| | 04:08 | If you have stuff that's out there,
on other hard drives, in other folders,
| | 04:13 | you can manage them in Aperture.
| | 04:16 | You can either bring them into your
Aperture library, or you can reference them.
| | 04:21 | If you have a lot of stuff, think about
going in the referenced route. I think
| | 04:26 | in the end it will save you a lot of disk space.
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| Importing images from an iPhone| 00:00 | A lot of us are carrying iPhones and
if you happen to be one of people,
| | 00:06 | you probably have some fun shots on that
device also that you'd like to manage along
| | 00:11 | with all of your other images.
| | 00:13 | And we can bring iPhone shots into
the Aperture library quite easily.
| | 00:18 | So the first thing that you want to
do is connect your iPhone with the
| | 00:23 | iPhone USB cable that comes with it,
to your computer, and make sure
| | 00:28 | Aperture is launched.
| | 00:29 | And then once you do that, go to your
Import dialog box and it will show up
| | 00:35 | right up here under Source.
| | 00:37 | And I have a whole bunch of shots on my iPhone.
| | 00:41 | I want to just grab a few of them
and put them in my Aperture library.
| | 00:46 | So I go over here and
I don't see anything here.
| | 00:49 | Boy, I'll tell you, this can freak you
out, because right away you're going to
| | 00:54 | think something is broken.
| | 00:56 | Actually this is where that filter will get you.
| | 00:59 | So you got to remember that the
Import dialog box remembers the settings
| | 01:04 | that you last used.
| | 01:06 | The settings that I last used
was importing RAW files only.
| | 01:11 | Well, there are no RAW files
on my iPhone. They are JPEGs.
| | 01:15 | So if I go here, and I go
to JPEG files only, voila!
| | 01:20 | There are all of my iPhone
pictures. They are there.
| | 01:24 | So Set Filter was preventing me from
seeing what was actually on my phone.
| | 01:29 | That can happen right here and that
can also happen here, because let's say
| | 01:34 | you're importing movies, and you
have the Exclude Photos box checked.
| | 01:40 | Once again, you are in freak-out mode
because your images aren't showing up.
| | 01:45 | So all you have to do is uncheck
that filter, and there they are.
| | 01:50 | I just want to pull a few of my famous
parking garage shots into my Aperture Library.
| | 01:57 | To do that I am going to uncheck them all,
because I just have a few I want to bring in.
| | 02:02 | I'll bring in this baby, this guy right here.
| | 02:07 | We'll go ahead and bring in Y3.
| | 02:09 | So you may wonder why I
have these images on my iPhone.
| | 02:13 | Well, one of the things that I
like to do with my iPhone is when I am
| | 02:18 | parking that in airport,
| | 02:20 | or somewhere else, especially when
I am going to be gone for a while,
| | 02:22 | I take a picture of where I parked so
when I come back I can actually find my car
| | 02:28 | and not wander aimlessly
throughout the parking garage.
| | 02:32 | So we'll bring these images in, and of
course, this is just like any other import.
| | 02:38 | So we can go to our metadata presets, and if
we want, we can add a keyword say iPhone here.
| | 02:47 | And everything else looks fine.
| | 02:49 | We are going to store
these in the Aperture Library.
| | 02:51 | We are going to create a new project,
and we will just call it our iPhone Shots.
| | 02:59 | I think we are all set, and
then we just click Import Checked.
| | 03:03 | They are going to come in really
fast, because iPhone shots are fairly
| | 03:08 | low resolution JPEGs.
| | 03:09 | Click OK, so here we go.
| | 03:12 | We have our new project.
| | 03:14 | We have our shots right here.
| | 03:17 | They all came in, click on the
Metadata tab, and we will see that
| | 03:21 | everything looks fabulous.
| | 03:23 | This is only two megapixels, because
it was shot with my first gen iPhone.
| | 03:28 | Your iPhone is a great photographic
tool, especially for shooting in parking
| | 03:33 | garages and hotel room numbers
and signs and all that good stuff.
| | 03:37 | Why not manage those shots with the rest
of your images in Aperture? It's easy to do.
| | 03:42 | Just connect your device and use the
Import dialog, and off to the races you go.
| | Collapse this transcript |
| Importing live images from an iPad or an iPhone| 00:00 | Now that are our iPhone and our iPad
cameras are much better, we can take advantage of
| | 00:06 | this one technique in Aperture that I
really like a lot called Tethering.
| | 00:11 | And what Tether allows us to do is connect
our iPad or our iPhone directly to our computer
| | 00:18 | and then do live importing of images.
And this is really fun.
| | 00:22 | And now that the cameras are good with these
devices, it's actually practical and useful.
| | 00:27 | Let me show you how to do it.
| | 00:29 | The way that I like to start is I like to
create a New Project just for tethering.
| | 00:34 | So, we're going to call it Tethered
Photos, and we have that right here now.
| | 00:46 | And then you connect your iPad or your iPhone,
turn on the camera so that you have an image
| | 00:52 | showing on the device, and then you go
up here to File > Tether > Start Session.
| | 01:03 | And it's going to ask you a couple
questions here in this dialog box.
| | 01:06 | Yes, we want the images to go into the
Aperture library, Original File Name.
| | 01:11 | At the moment, we're not going to add any
Metadata, and we have Tethered Photos selected already.
| | 01:18 | So, all I really have to do
is just start the session.
| | 01:23 | And it's telling us right here in the heads-up
display that the Destination is our Project.
| | 01:30 | And all I have to do now is on to device itself,
and I have an iPad set up here in the studio
| | 01:36 | to just take a picture.
So, I'm going to do that.
| | 01:39 | Taking a picture, and you get to see one of
the beautiful lynda.com coffee mugs right
| | 01:46 | here just like that.
| | 01:47 | And then I can do a little different angle.
Here I'll do a little--we'll do a variation
| | 01:52 | just so you can get the idea.
Here we will do one more shot.
| | 01:56 | I promise you, I won't make you
look at coffee mug shots all day.
| | 02:00 | Oh, so it's funny, the iPad
did--I have an iPad 3 here.
| | 02:04 | It did face detection on lynda's logo.
| | 02:08 | That's pretty cool! All right!
So, there is our second shot here.
| | 02:12 | Now, so the images have come directly from
the iPad into our Aperture library, same thing
| | 02:18 | works with the iPhone.
| | 02:20 | When you're done, you just
stop the session right there.
| | 02:23 | And now we'll click on one of
these images. We'll open it up.
| | 02:28 | Here is the other one.
We can go to Info and see what's going on here.
| | 02:33 | Let's go to EXIF data, and there we
see the Camera Make, the Camera Model,
| | 02:40 | a little detail about the picture itself.
Look at that, just like a real camera.
| | 02:46 | So, you could set up your iPhone or your iPad
in a live situation and have the photos streamed
| | 02:53 | directly into your Aperture library and share them
with your friends or maybe even start a little business.
| | 02:58 | Who knows what you can do? But this is a fun way to
bring images into Aperture with your iOS devices.
| | 03:04 |
| | Collapse this transcript |
|
|
3. Viewing ImagesWorking in Projects view| 00:01 | So one of the new ways we have at
looking at our photos and kind of sorting
| | 00:05 | through them in Aperture 3 is
what we called the all projects view.
| | 00:11 | And we have couple of different ways
to get to it, the traditional way, where
| | 00:14 | you go up to the View menu right up
here, and you can go to Show Projects.
| | 00:19 | That will take you to this view, or in
the Library pane, you can just click on Projects.
| | 00:24 | That will also do it.
| | 00:26 | So for here, Great Outdoors, and you want to go
to this view, you just click on the Projects View.
| | 00:32 | And then we can also work with this in
full-screen mode by hitting the F key,
| | 00:38 | and then we can work with all of
our projects in full-screen mode.
| | 00:42 | So we have a lot of
different ways to look at this.
| | 00:45 | Now you can imagine that over time, there are
going to be a lot of projects in this pane here.
| | 00:51 | Right now we only have three that we've
just created early on, but as time goes
| | 00:56 | on after a year, so you could
have hundreds of projects here.
| | 01:00 | So, Aperture gives you some ways to sort
of sort through them, and view them,
| | 01:06 | and filter them, and all that good stuff.
| | 01:08 | As they appear right now, we have
this little pop-up menu, and we can
| | 01:12 | just rearrange them.
| | 01:13 | We can go to Date with the
Oldest First, or the Newest First.
| | 01:18 | We can move that around.
| | 01:20 | We can go by Name, which is sort of alpha order.
| | 01:23 | So we have those different
sorting right off the top.
| | 01:28 | Now, right now they're in what we
call Ungrouped view, and that's this
| | 01:33 | little icon right here.
| | 01:35 | However, we can look at them in
groups by Calendar. Click here.
| | 01:41 | And suddenly we have our 2007-
2008, 2009-2010 and 2010 groupings.
| | 01:51 | So we've actually broken up the
ungrouped mass of, in this case, three projects
| | 01:57 | into something that's divided by date.
| | 02:00 | That's a handy way to look at things,
so you can see all the projects that have
| | 02:04 | photos from 2007-2008 for example.
| | 02:08 | If you use folders in your Library to
organize things, you can look at things that way.
| | 02:13 | So, all the Projects not in a folder
will show up here, and then everything that
| | 02:18 | is in a folder will appear below that.
| | 02:22 | So, it kind of depends on
how you're organizing stuff.
| | 02:25 | Now another option that you have is to
use this filter over here, where you can
| | 02:30 | actually type in a name.
| | 02:32 | For instance, if I type in
iPhone, then that is filtered.
| | 02:38 | So all other projects that have iPhone
in the name will appear, and everything
| | 02:43 | else will move aside.
| | 02:44 | So if you have like a vague idea of
what their project is named, that's not a
| | 02:49 | bad way to go either.
| | 02:50 | That's a nice little technique.
| | 02:52 | Now, let's go to full-screen mode,
because it gets even more fun.
| | 02:56 | I am going to hit the F key right now,
and we'll go to full-screen mode.
| | 03:01 | So again, this is somewhat
similar to what we saw before.
| | 03:05 | We have this pop-up menu that
allows us to rearrange things.
| | 03:08 | We have the ungrouping buttons, but
over here this changes things a little bit.
| | 03:14 | Now, watch what happens. I am going to
open up one of these projects here, just
| | 03:20 | by double-clicking on it,
and we get a new icon here.
| | 03:25 | And so now we can
actually look within the project.
| | 03:29 | So for example, if we wanted to just
see everything that was three stars or
| | 03:34 | better, we can do that and so we do a
little filtering right there. That's very nice.
| | 03:40 | And then you go okay, that's great,
and I want to go back to where I see
| | 03:44 | everything, and you can click on that.
| | 03:47 | Now, if you click on this icon right here,
this is a filter that gives you even more control.
| | 03:54 | So for example, again we can play
with the ratings here, three stars or
| | 03:58 | more, four stars or more, and nope, I don't
have any of those, so we can go back to that.
| | 04:02 | So that's kind of fun.
| | 04:04 | If we have flagged images, or
color labels, we can filter that way.
| | 04:09 | Text, we can filter that way.
| | 04:11 | But I want to show you keywords right now.
| | 04:14 | I am going to click on Keywords right
here and I can just filter by images that
| | 04:19 | are tagged with, for
instance, Hiking, or Camping.
| | 04:25 | In this case, it would be the same.
| | 04:27 | California, there we go.
| | 04:30 | Now California and Hiking, there we go.
| | 04:36 | Include any of the following and then
you have the different ways to sort.
| | 04:40 | So it can include any of the
following, or all of the following.
| | 04:43 | It depends on-- this is
regular search engine stuff.
| | 04:48 | So that's kind of fun also.
| | 04:50 | So if you wanted to find keyword "movie,"
for anything that goes in as a movie,
| | 04:54 | then you can just click on Movie,
and there you go. It shows up.
| | 04:58 | So that little extra is very
nice to help you navigate within the
| | 05:02 | projects themselves.
| | 05:04 | And then of course, you can go back
to the All Projects View by clicking on
| | 05:09 | Projects right here.
| | 05:11 | Here we are. I want to
show you two more little tips.
| | 05:14 | One is, as you're scrubbing through these,
I am just moving the mouse from side-to-side.
| | 05:20 | If you want to change the key image,
you just stop and hit the Spacebar and now
| | 05:29 | that image where you
stopped becomes the key image.
| | 05:32 | So that's kind of fun.
| | 05:33 | And then if you click on the little i
right there, this is just like iPhoto.
| | 05:39 | It opens up an Info box.
| | 05:41 | You can change the name of your project there.
| | 05:44 | You can add a description, which is kind of fun.
| | 05:47 | And if there is any geo data involved with
the images, those show up here on this map too.
| | 05:54 | Then of course, if you just want to
open the project, just go to the project
| | 05:57 | itself, you click on this button down
here, and now you're inside the project
| | 06:02 | where we can do all the stuff
we're talking about earlier.
| | 06:05 | So we'll go back to Projects here, and
then I am going to hit the F key, and
| | 06:10 | we're going to exit out of full-screen mode.
| | 06:12 | So this is very much like
events in iPhoto, isn't it?
| | 06:16 | A little bit more power, but the same concept.
| | 06:18 | If you've been using events in
iPhoto, then you're going to feel very
| | 06:21 | comfortable using the Projects view.
| | 06:23 | It's a lot of fun in full-screen mode.
| | 06:25 | It is handy and I encourage you
to take a look at it and add it to
| | 06:30 | your Aperture skill set.
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| Working in Photos view| 00:00 | Let's take a look at the Photos view.
| | 00:03 | We just took a look at Projects, and
Photos view is nice in that we're allowed
| | 00:09 | to see all of our images in the library,
and of course if you have thousands and
| | 00:13 | thousands of images, they will
all show up in this view here.
| | 00:17 | The nice thing about it is it's very
similar to Projects view is in that we have
| | 00:22 | ways to kind of filter and sort,
and do all that good stuff.
| | 00:25 | So for example, we can sort by
rating here, and you have ascending
| | 00:32 | and descending, right?
| | 00:33 | So we can put the bottom feeders on top,
or you can put your best shots on top
| | 00:38 | depending on how you choose that.
| | 00:40 | And you have these other criteria also.
| | 00:42 | Label, Version Name, Keywords, on and on and on.
| | 00:46 | So, you have that right there.
| | 00:47 | We'll go back to Date.
| | 00:49 | You also List View here, and a lot
of people don't really realize how
| | 00:54 | powerful List View is.
| | 00:56 | Let's click on it right now.
| | 00:57 | There is a lot of data here, so
obviously you have the Version Name, and the
| | 01:02 | Badges, and the Rating, and any
Labels that you may have given them, and
| | 01:06 | Flags if you've done so.
| | 01:09 | But you have Date and then you get
into some of this EXIF data, which I
| | 01:13 | think is really fun.
| | 01:14 | Aperture, Shutter Speed, Exposure
compensation, ISO, and so forth.
| | 01:19 | So you can sort your images,
for example, by any of these columns.
| | 01:24 | So for instance, if you wanted to, you
could sort all of your pictures by aperture.
| | 01:31 | And so this way, now we have everything,
well basically no aperture reading,
| | 01:36 | because EXIF wasn't recorded, and
then we switch it the other way.
| | 01:41 | And then we have aperture
going from 2.8 all the way up.
| | 01:45 | So, we can sort by aperture, we can
sort by shutter speed, and just click this
| | 01:50 | arrow, and that reverses the direction.
| | 01:51 | So now we have the slowest shutter speed
on top, and now we have the fastest on top.
| | 01:57 | And so you can look at all
of these columns and sort.
| | 02:00 | ISO is a fun one to sort by.
| | 02:03 | We can click on the arrow and go
the opposite direction of lowest ISO.
| | 02:07 | So List View is a lot of fun.
| | 02:09 | There is a lot of data here, and
you can sort by any of the stuff.
| | 02:14 | Let's sort by ISO, which we've
done right here with ISO 80 on top.
| | 02:20 | And now, when we go back and we change
our view, that sorting is remembered.
| | 02:26 | So that's kind of fun also.
| | 02:28 | So if we change this view here,
and now we sort by aperture, right?
| | 02:35 | And so we have this product shot up here,
and we go back to this and there they are.
| | 02:41 | So, you can rearrange easily in
this view by sorting by all these
| | 02:46 | different criteria.
| | 02:47 | Then we have our friendly traditional
filter over here where we can filter by our
| | 02:53 | stars or our labels, always kind of nice.
| | 02:57 | And we also have our Find dialog box, our
filters here, where we can filter that way also.
| | 03:05 | So all of our tools are available to us.
| | 03:07 | What's interesting about the Photos
view is that you have everything in your
| | 03:11 | Aperture library here and then you
use these tools to find what you want.
| | 03:17 | Very easy to use, right here
in your Library pane, Photos.
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| Viewing in full-screen mode| 00:01 | Well, we touched on full-screen mode
before, one of the really new and exciting
| | 00:06 | features in Aperture 3, but now we're
really going to dig in and I want to show
| | 00:10 | you some more tricks on how you can
really master what I think is one of the
| | 00:14 | most beautiful ways to work on your images.
| | 00:17 | So here we are and we're in the
standard Aperture interface and I want to go
| | 00:22 | to full-screen mode.
| | 00:24 | So the first thing I'm
going to do is hit the F key.
| | 00:27 | Now, you can go up here and click on
this icon, but it's just so much easier
| | 00:31 | if you just remember that F stands for full-
screen mode and we hit the F key and there we are.
| | 00:38 | Now we have basically the
Thumbnail Browser view in full-screen mode.
| | 00:44 | And this is a very handy view.
| | 00:46 | We can scroll up and down.
| | 00:49 | If you have a Mac laptop, one of the
more current ones, you can also use are
| | 00:54 | two-finger tracking to move
things up and down. That's very nice!
| | 00:58 | Now if you want to go and see one of
the images in a larger view, you can hit
| | 01:04 | the V key, the View key, and that will
bring this up to the full-screen view of
| | 01:11 | that particular image or we could
hit the V key again to toggle out.
| | 01:15 | Another thing that you can do is just double-
click on it and that will also bring it up.
| | 01:21 | Now, when you're in this view
here, you have a lot of options.
| | 01:26 | If you hit the Y key, you will
turn off and on the metadata overlay.
| | 01:32 | See that down there at the bottom?
| | 01:34 | If you do Shift+Y, you will go to your
alternate metadata overlay and of course
| | 01:40 | these are customizable.
| | 01:42 | Hit Shift+Y again, go back to my
original one, or hit just regular Y to turn it
| | 01:49 | off altogether, very handy.
| | 01:52 | So that way, if you want to just look
at the image itself and not have any
| | 01:56 | metadata, the Y key is really helpful.
| | 01:59 | Now let's talk about the filmstrip part of it.
| | 02:03 | So, the filmstrip right now is hiding.
| | 02:06 | If I go down to the bottom here, I
can bring it up so that we can see it.
| | 02:11 | If I want to have the filmstrip
always visible, I will go over to the
| | 02:15 | Lock button over here.
| | 02:18 | Now it is locked, so that as I move
from image to image, the filmstrip stays
| | 02:24 | there, regardless of where I move the mouse.
| | 02:27 | Then if you hit the unlock part of the
Lock button, then you're back to it hiding.
| | 02:33 | Now some people like to have the
filmstrip located in a different area.
| | 02:37 | For instance, you may want it on the left.
| | 02:39 | You just drag it over here, you just
click-and-drag the mouse so that the
| | 02:43 | filmstrip moves in the
direction that you click-and-drag.
| | 02:47 | Then the filmstrip will be where you put it.
| | 02:48 | Of course, once it's here, you can also
lock it here, also by clicking the Lock button.
| | 02:54 | So that's very handy.
| | 02:55 | If you unclick the Lock button,
then it will hide, all right.
| | 02:58 | So very handy sort of stuff. I'm going
to bring it back and I am going to lock
| | 03:02 | it for a second, because
I want to show you another thing.
| | 03:05 | Let's say now you're ready
to do some image editing.
| | 03:09 | So you hit the H key to
bring up the heads-up display.
| | 03:12 | As I talked about when we were doing the
overview of full-screen mode, you can lock it also.
| | 03:18 | So now we have this cool little
workspace where everything is all nice and
| | 03:23 | organized and neat and ready to work on,
and of course our buttons for metadata
| | 03:28 | overlay still work, so I can hit the Y key.
| | 03:31 | So you have a very nice working space here.
| | 03:34 | Of course, if you want to turn any of
this off, then you just hit Lock keys
| | 03:38 | again and you're back to
sort of the free-floating style.
| | 03:42 | Now I showed you the adjustment before
where you hold down the Shift key and you
| | 03:47 | make the heads-up display disappear,
I'm going to hold down the Shift key and
| | 03:52 | work on the exposure.
| | 03:53 | You notice all I see is
just that one slider there.
| | 03:58 | Let go and the heads-up
display comes back. Isn't that slick?
| | 04:03 | So I'm going to hit the H key again.
| | 04:06 | Now we're hiding the heads-up display.
| | 04:08 | I'm going to hit the V key to
bring us back to Browser view.
| | 04:13 | Then we can also play with the
metadata here. We can turn it off and on.
| | 04:18 | If you just want to look at a clean
view of your images, just hit the U key and
| | 04:23 | that hides your metadata overlay.
| | 04:25 | Ta-da, ta-da, very nice!
| | 04:28 | We'll leave it up for right now.
| | 04:31 | Then at the top, you have your
normal tools that we talked about before.
| | 04:35 | You move the mouse up to the
top and your toolbar will show.
| | 04:39 | It also has a Lock button, so if you
want it there all the time, you can lock it
| | 04:43 | and it will stay and then your
navigator path will stay beneath it.
| | 04:48 | If you decide that you don't want the
toolbar showing all the time, just go
| | 04:52 | ahead and unlock it. There you go!
| | 04:55 | We have our filtering over here on the side.
| | 04:58 | We'll talk about searching more in a
different movie and then, of course, our
| | 05:03 | Project Navigator Bar.
| | 05:05 | So this is pretty much the overview
for working in full-screen mode.
| | 05:11 | Once you're done and you want to go back to
the regular Aperture interface, you can
| | 05:15 | just hit the F key again.
| | 05:18 | That brings us back to home, sweet home.
Not quite as pretty as full-screen mode,
| | 05:23 | but still pretty nice.
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| Zooming to actual size| 00:01 | I have a quickie for you, but it's a good one.
| | 00:03 | We're going to talk about
zooming in, just real fast.
| | 00:06 | Sometimes you just want to zoom in
to 100% to see a detail in the image.
| | 00:11 | You don't even want to use the loop or anything.
| | 00:12 | You just want to see what you
want to see when you want to see it.
| | 00:16 | And that's what I'm going to show you right now.
| | 00:18 | So, let's say we're looking at this tent here.
| | 00:20 | I'm going to hit the V key just to
bring this into a different view.
| | 00:24 | I go, this is a nice tent.
| | 00:26 | I like this tent.
I wonder what brand it is.
| | 00:28 | I see some type here.
| | 00:30 | So if I could just zoom in and take a
look at it, I could probably find out.
| | 00:35 | So all I have to do is put the pointer
where I want to zoom in, hit the Z key
| | 00:40 | for zoom, brings me up to 100%.
| | 00:43 | If I want I can move around, I can move
this thing around in the Navigator, or I
| | 00:49 | can just move it around just by clicking
-and-dragging, either way, and then hit
| | 00:54 | the Z key and move back out.
| | 00:56 | Now what's so fun about this is
wherever you put the pointer, that's where
| | 00:59 | you zoom in.
| | 01:00 | So I put the pointer here,
hit the Z key, there we are.
| | 01:03 | Hit the Z key again and we're back out.
| | 01:08 | It's very easy, very fast.
| | 01:10 | Zooming, I think, is very helpful when
you just want to take a quick look at a
| | 01:15 | detail in an image and you don't feel
like doing loops or anything else.
| | 01:19 | So it's the Z key. Memorize it and use it.
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| Using the Loupe for a closer look| 00:01 | So earlier I showed you the zoom function,
and it's very handy when you just want to
| | 00:04 | take a quick look at something at 100%.
| | 00:07 | But sometimes you need to do more
precise work, and that's where the Loupe tool
| | 00:12 | comes in very handy.
| | 00:13 | Now there is a couple of ways to access it.
| | 00:16 | We'll start with the menu.
| | 00:17 | Just go up to View and you can
go to Show Loupe, there it is.
| | 00:23 | And you can also go to Hide Loupe, ta-da.
| | 00:27 | Underneath that you'll see you have
the Loupe Options, which is when it's
| | 00:30 | activated, that menu also
becomes activated, there they are.
| | 00:37 | But I am going to show you of what I
think is a little easier way to work, so
| | 00:40 | I am going to Hide the Loupe.
| | 00:42 | Now the keyboard command for it-- and
its in the upper left hand corner, on
| | 00:47 | most keyboards right underneath the
Escape key, and that's the way I like to
| | 00:51 | activate the Loupe, by just
hitting that key and bringing it up.
| | 00:55 | And since I want a little bit more
real estate for working here, I am going to hit
| | 00:59 | the I and that hides my Inspector.
| | 01:03 | Now we can work, now we have little
elbow room, so I am just going to drag the
| | 01:07 | Loupe over the image here, and I can
just take a look at things, and this is a
| | 01:13 | very handy way to work.
| | 01:15 | Now there is a pop-up menu right here,
and you can see that I'm set for Focus on
| | 01:20 | Loupe at 50%, and if I want, I can
go up to 100% and Focus on Loupe.
| | 01:28 | A way that I like the work actually I
like to move the Loupe off to the side
| | 01:33 | here and focus on the cursor.
| | 01:38 | Now this is very handy when you have
two images side by side, for example.
| | 01:42 | You can just park that Loupe in
between them, move your cursor around, and
| | 01:46 | take a look at things.
| | 01:48 | I can make the actual size of the
Loupe big or smaller just by dragging
| | 01:51 | that handle right there, and if
you're using a modern Mac laptop, you can
| | 01:57 | also use the pinch command to do this, which
is kind of fun, when you're doing laptop work.
| | 02:03 | But right now I just have to grab it.
| | 02:05 | Now I can also increase the
magnification with a keyboard command by
| | 02:10 | doing Shift+Command+Plus.
| | 02:13 | That increases it, and then Shift+
Command+Minus brings my magnification
[00:02:18.83 back down.
| | 02:21 | If I want to see the color values of
what I am looking at, I can go to this menu
| | 02:26 | and choose Color Value, and I will get
that readout as I move my cursor around.
| | 02:33 | But I am going to hide that right now.
Generally speaking I don't need it.
| | 02:38 | And then I am going to set my Loupe back
to Focus On Loupe, right here, and then
| | 02:46 | I'm going to hide my Loupe by
hitting the Accent/Grave key in the upper
| | 02:49 | left-hand corner of the
interface, and we're back in business.
| | 02:54 | So that is the Loupe.
| | 02:56 | I think it's more handy when you want
to look at a different magnification,
| | 03:01 | such as 50% or 200%.
| | 03:04 | If you just need a quick 100% view,
| | 03:06 | I would still use the zoom key, but
for that other type of work and for
| | 03:11 | comparing, when you got a couple
images, I think it's a great way to go.
| | 03:15 | Now to return to the state that we began,
I am going to hit the I key to bring
| | 03:20 | up the Inspector and we're back where we began.
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| Showing focus points| 00:01 | Aperture can actually show you the
focus points that were used when you took the shot.
| | 00:06 | Now, I know this has some usefulness,
but it's mainly fun and I have to show
| | 00:11 | it to you anyway.
| | 00:12 | So I'm looking at the shot right
here and I'm in the Metadata tab in
| | 00:17 | the Inspector here.
| | 00:19 | And I do have my camera info up.
| | 00:21 | And you'll notice that right here I
have this little focus point thing and
| | 00:24 | it lights up.
| | 00:26 | So If I click on that, I actually get
the focus points for the shot and the one
| | 00:32 | that was actually used to take the photos.
| | 00:34 | So here are the other focus points,
but I was using the center point on this one,
| | 00:38 | and then I can turn
that back off, very nice.
| | 00:43 | Now under the View menu you also have
Show Focus Points, so we could turn it on
| | 00:49 | there and you could also turn it off
there if you want, or you could hit
| | 00:55 | Option+F and turn them on
and Option+F to turn them off.
| | 00:59 | Now the Option+F is a nice way to go,
because if you're in full-screen mode, and
| | 01:05 | you are just working away, and you
want to see the focus points, you just hit
| | 01:08 | Option+F, there they are, and then
hit Option+F again to turn them off.
| | 01:14 | And then hit regular F again
to go out of full-screen mode.
| | 01:19 | I'm not sure how useful it is, but
I have to tell you it's a lot of fun and when
| | 01:22 | you're showing off Aperture to other
people, this might be one of the little
| | 01:26 | demos you want to do.
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| Using Quick Preview| 00:01 | I want to show you Quick Preview
mode right now and this comes in handy
| | 00:04 | especially when you're working in
the field. You might not be on your
| | 00:07 | most powerful Mac.
| | 00:09 | And you're working with large RAW files
that Aperture has to decode on the fly,
| | 00:13 | because that's what's happening
when I go from image to image here.
| | 00:18 | Aperture is actually having
to decode those RAW files.
| | 00:22 | Now if you are not doing image editing
and you just want to sort your images,
| | 00:27 | or you want to apply ratings, or you
want to do that kind of stuff, then there's
| | 00:31 | no need to actually decode the RAW files.
| | 00:33 | You can let Aperture work off whatever
preview it has available, because you
| | 00:37 | just need to see the image.
| | 00:38 | And that's where Quick Preview comes in handy.
| | 00:41 | Now the way that you enable it,
that's right down here in the corner, here
| | 00:44 | is our little button.
| | 00:46 | You just click on that and
now we're in Quick Preview mode.
| | 00:50 | And you see that my adjustments are disabled.
| | 00:53 | But I can go from image to image
very quickly and I can sort and do all
| | 00:58 | that wonderful stuff.
| | 01:00 | And then if I decide that I need to
work on an image, all I have to do is turn
| | 01:05 | Quick Preview mode off, just like that.
| | 01:07 | My histogram comes back
and I'm ready to go to work.
| | 01:11 | So Quick Preview mode, very handy
when you want to do sorting things, maybe
| | 01:15 | you're on a slower laptop, and you
have big RAW files, that all equals
| | 01:20 | Quick Preview mode.
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| Proofing profiles and on-screen proofing| 00:00 | One of the issues that a lot of
photographers have is they see their image one
| | 00:04 | way on the screen, and then it comes
out differently when they print it on
| | 00:08 | their inkjet printer.
| | 00:09 | And that's a color management issue,
and we could spend a lot of time talking
| | 00:13 | about color management.
| | 00:14 | But I am going to show you a tip
right now that may save you some time and
| | 00:18 | help you when you make prints out of
Aperture, and is basically using proofing profiles.
| | 00:24 | And these profiles are what your
printer uses when it does its output, and so
| | 00:29 | what we are going to do is that
we're going to look at our image on our
| | 00:32 | screen here, basically using the same
profile that our printer is going to
| | 00:37 | use to output it.
| | 00:38 | So, you can see right away that that
might increase our odds of getting an image
| | 00:43 | that looks more like what we see on our screen.
| | 00:45 | Now the one thing I will tell you
before I actually show you this is that your
| | 00:50 | screen needs to be calibrated.
| | 00:52 | The best way to do that is to use a
colorimeter and actually calibrate your
| | 00:56 | screen to standard screen calibration.
| | 01:00 | And that's a good way to go.
| | 01:01 | Now your Mac does have a built-in
calibrator, so you can do it visually.
| | 01:05 | That's an important part of the workflow,
because if your screen is way out of whack,
| | 01:09 | then even this technique
is not going to help you very much.
| | 01:13 | But if your screen is
calibrated, then this will really help.
| | 01:16 | So here's what we are going to do.
| | 01:19 | We're going to go up to View, and
see down here at the very bottom we have
| | 01:22 | Proofing Profiles and Onscreen Proofing.
| | 01:25 | Now when I choose a proofing
profile, I will automatically turn on
| | 01:30 | Onscreen Proofing.
| | 01:32 | So here we go. Right now we have an
SRGB image, which is a way that it is normally
| | 01:37 | captured in the camera.
| | 01:39 | And if I was printing out to let's say
an Epson printer, I would have loaded
| | 01:44 | in here all sorts of ICC profiles
for the different types of paper,
| | 01:49 | specifically for my printer.
| | 01:50 | And if I knew I was going to print on
one of those papers, then I could just
| | 01:54 | choose that and then I would be viewing
my image basically the same way that the
| | 02:00 | printer is going to be printing it.
| | 02:02 | Now I don't have any proofing profiles
for an Epson printer loaded in here right
| | 02:05 | now, but a color space that a lot
of people use otherwise is Adobe RGB.
| | 02:11 | It's a nice large color space,
and it's good for printing.
| | 02:14 | So we'll choose that.
| | 02:15 | Now you'll notice down here in the
gray we see Proofing Profile Adobe RGB.
| | 02:21 | Now as I'm looking at the image and I
make some adjustments, I'm basically using
| | 02:26 | the same color space that my printer
will be thinking about as it outputs the
| | 02:31 | image, and this can really increase
your odds of having the picture come out of
| | 02:36 | the printer closer to the way
that it looks on the screen.
| | 02:40 | So that's proofing profiles, and if
you want to turn it off, you just go back
| | 02:44 | to the View menu, click on that, and
now you're back to your regular calibrated monitor view.
| | 02:50 | Proofing profiles, it will increase your
odds just a little bit, and maybe bring
| | 02:55 | a smile to your face.
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| Customizing metadata overlays| 00:01 | Earlier I talked about the
metadata overlays, which are very nice.
| | 00:06 | How to turn them off and on, for
instance, here in the browser view by hitting
| | 00:10 | the Y key, or by switching the views
because you have two of them that you can
| | 00:14 | switch between by doing Shift+Y and
that allows you to switch between them.
| | 00:20 | So that's very handy, but you can also
customize the information that's in these overlays.
| | 00:25 | I want to show you that right now.
| | 00:27 | So I'm going to go up to the View
menu and I'm going to go down here to
| | 00:32 | Metadata Display and go
down to Customize. Here we go.
| | 00:37 | In our pop-up menu here, we have the
Viewer and our two views are Basic and Expanded.
| | 00:44 | Our Grid, the List View and then
we have tooltips too, which is fun.
| | 00:48 | I'm going to show you that also.
| | 00:50 | So here we are in the Basic View for the Viewer.
| | 00:53 | Let's say I just wanted to add a
piece of information to this overlay.
| | 00:58 | For instance, I wanted to add pixel size.
| | 01:01 | So I just click Pixel Size right here.
| | 01:04 | Now on the right-hand side, I can
actually even move to where that is listed.
| | 01:09 | You can drag these around
and control the display order.
| | 01:14 | Then down here at the bottom, we
can show the metadata below the image.
| | 01:17 | Right now, we're just
going to leave it where it is.
| | 01:20 | So we've added Pixel Size.
| | 01:21 | I'm going to click OK.
| | 01:23 | Now we have Pixel Size in
our Basic View. Very cool!
| | 01:28 | I go to Shift+Y, and we've got the big thing.
| | 01:32 | Then I go to Shift+Y again,
and we're back to our Basic View.
| | 01:35 | So this gives us a lot of control
over what information is listed.
| | 01:40 | We can do the same thing
of course for our thumbnail.
| | 01:44 | So we'll go back to View, go to
Metadata Display, go to Customize once again.
| | 01:51 | This time we're going to
work on the Grid Basic View.
| | 01:55 | If I wanted to add a Pixel Size there,
I can also do that. It's right there.
| | 01:59 | We'll just leave it at the end.
| | 02:01 | We'll not show metadata
below the image. I'll click OK.
| | 02:07 | Now we'll go back Grid View.
| | 02:09 | I'm going to hit the V key to
bring us back to the Grid View.
| | 02:14 | There is our information right there.
| | 02:17 | You got, oh, don't really
like that so much, not a problem.
| | 02:21 | You go back to View, go back to Display,
go back to Customize, make sure that
| | 02:27 | you're in the right mode here,
and then you turn that off.
| | 02:30 | You click OK and it goes
away, so pretty nice stuff.
| | 02:35 | Now I want to show you another thing
that I like, which is also the tooltips.
| | 02:40 | So I'm going to turn off our Metadata Overlay.
| | 02:43 | I'm going to hit the Y key, but
now I'm going to hit the T key.
| | 02:48 | Now when I wave the mouse over the
image, look at this. I get the tooltips.
| | 02:55 | We can also control the
information that's in this view.
| | 02:58 | Now this is very handy.
| | 03:00 | I don't leave it on all the time,
but I do turn it on when I just want a
| | 03:04 | quick snapshot of the metadata of the
image, because you can use it in all
| | 03:09 | the different modes.
| | 03:10 | For instance, if I go into
Thumbnail mode here, it also works there.
| | 03:14 | So if I just want to see this
different data that's associated with these,
| | 03:18 | then I can do that by hitting the T key.
| | 03:21 | When I'm tired of it, I hit the
T key again to make it go away.
| | 03:26 | So I want to add a piece of information for
my movies and we have one movie right here.
| | 03:31 | We hit the T key and you notice that
when I go over it, I don't have as much
| | 03:35 | information obviously because there
isn't as much information associated with
| | 03:39 | the movie as there is a RAW file.
| | 03:41 | However, the one thing I would like is
the duration to show up here in this view.
| | 03:47 | Let me hit the T key again to turn it off.
| | 03:50 | I think I can do that.
| | 03:52 | So I'm going to go up to the View menu,
I'm going to go to my Metadata Display.
| | 03:58 | Wander on down to Customize.
| | 04:01 | This time we're going to
go to Metadata Tooltips.
| | 04:05 | Now this is the stuff that's showing
right now, but we have these different
| | 04:10 | menus that we can expand.
| | 04:13 | I want to go to Audio/Video.
| | 04:15 | I want to show the Frames Per Second on my video.
| | 04:21 | So I'm just going to click that box right there.
| | 04:23 | I'll go ahead and leave it at the bottom.
| | 04:26 | I'm fine with that. Metadata ToolTips.
| | 04:29 | I'm going to click Ok.
| | 04:31 | Now I'm back in View here.
| | 04:34 | I'm going to hit T to turn
on the Metadata Tooltips.
| | 04:38 | I'm going to go over here and look at that.
| | 04:40 | Now I get my frame rate on that.
| | 04:43 | So now, it doesn't affect the other
shots right, because they don't really have
| | 04:47 | a frame rate but on the movies and
notice the badge here. Unless we know that
| | 04:51 | it's a movie, then my frame rate will show.
| | 04:53 | Now I'm going to hit the
T key again to turn that off.
| | 04:57 | So you have a lot of control over your
overlays, both when you're just working
| | 05:02 | in regular Grid mode.
| | 05:03 | When you're working in Viewer mode,
you have two options for each of those.
| | 05:08 | Then you have tooltips.
| | 05:09 | Then you have List mode too.
| | 05:11 | You control all of that by going up
to View, down to Metadata Display and
| | 05:17 | Customize, set it up the way that you
want so that the information that you need
| | 05:23 | is always right there when you need it.
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| Managing previews| 00:01 | Earlier, I talked about Previews and
kind of gave you little overview, but there
| | 00:06 | is more you can do with them.
| | 00:08 | Since they're so important in your
overall Aperture experience, I want to dig a
| | 00:12 | little deeper into managing these previews.
| | 00:15 | Now just to review, previews are the
JPEG images that Aperture generates to
| | 00:22 | share with other applications
for you to view, all the good stuff.
| | 00:27 | So even if you start with the RAW
file, a JPEG preview is generated.
| | 00:31 | previews by going up to Aperture > Preferences
| | 00:38 | and going to the Preview tabs.
| | 00:41 | Here is where we set some things earlier.
| | 00:44 | For instance, New projects
automatically generate previews.
| | 00:47 | That means when you're bringing stuff in
to the library, you're telling Aperture
| | 00:51 | it's okay to generate previews for
them and that we want to share those
| | 00:55 | previews with other
applications and throughout our computer.
| | 01:00 | But here is what I to focus on right now,
which is how big is that preview going to be.
| | 01:05 | If you want it really big, because
you're going to use it for slideshows and so forth,
| | 01:09 | then you would pick
one of the larger settings.
| | 01:11 | However, that takes up more file space.
| | 01:14 | Then of course, generally speaking, if
you want to use less file space or your
| | 01:19 | dimensions don't need to be as large,
then you can choose a smaller one.
| | 01:23 | Okay, so you have your choice.
| | 01:24 | So let's say that you set up your
preview a certain way, in this case the
| | 01:29 | previews that were generated for this
project we're looking at were 1920x1920.
| | 01:35 | What that means is that
the longest side is 1920.
| | 01:37 | Then the other side is whatever is
proportional at eight compression level.
| | 01:42 | All right, that's great.
| | 01:44 | But for a couple of images, I decide that I want
something smaller or larger. How do I do that?
| | 01:52 | Well, the way that you do it is that
you go ahead and make the setting change
| | 01:56 | here in Preferences.
| | 01:58 | So we want to generate a smaller preview.
| | 02:02 | Let's say we want to update the
previews, so that's the smaller size.
| | 02:05 | Let's say 1280 X 1280.
| | 02:07 | I go ahead and make that change here.
| | 02:11 | Now here, the preview has
already been generated for this file.
| | 02:16 | We can see what size it is.
We can double check in here.
| | 02:19 | What I'm going to actually do is
change the interface, so we can do some
| | 02:24 | dragging and dropping.
| | 02:25 | By the way, this is a great tip for
knowing if you even have a preview or not.
| | 02:30 | If you can take a thumbnail and drag it
out onto the desktop, then it has a preview.
| | 02:36 | That's the way that works.
| | 02:37 | Now this preview has already been generated.
| | 02:39 | So let's double-click on
it and we'll go to Get Info.
| | 02:44 | Show Inspector and we'll see that it
was set up under the previous preview
| | 02:50 | dimensions, 1920 on the longest side.
| | 02:53 | That's great, but now we have
changed our preview dimensions.
| | 02:57 | So I'm going to go ahead and move this to
the Trash, because we went to Preferences.
| | 03:01 | We said now we want to generate a
preview at 1280 instead of 1920. Okay.
| | 03:07 | Great! So I click on the image and then
I can go a couple of different routes.
| | 03:12 | So I can go up to Photos and
I can click Update Preview.
| | 03:17 | Aperture is going to tell me that the
preview selected is already up-to-date.
| | 03:21 | Well, yeah, it is up-to-date to the old
setting but not up-to-date for the new setting.
| | 03:26 | So what we want to do is force Aperture to
generate a new preview for the new setting.
| | 03:33 | In that case, we have to hold down the
Option key when we choose this menu item.
| | 03:38 | All right, sounds good. We are selected.
| | 03:41 | We'll go back up to Photos.
| | 03:43 | Now look what happens down here when
I hold down the Option key, so it goes
| | 03:49 | from Update Preview to Generate Preview.
| | 03:52 | So I'm going to hold down the Option
key. I'm going to make the selection.
| | 03:56 | Aperture is going to do a
little work behind the scenes.
| | 04:00 | Now let's check our work.
| | 04:01 | We'll go ahead and just to drag this off.
| | 04:04 | I'll double-click, we'll open it up,
| | 04:06 | we'll go to Tools and then Show Inspector.
| | 04:09 | Now it has generated a new
preview at the new size that we want.
| | 04:13 | You can do this for multiple images at once.
| | 04:17 | So this is the way that you can
actually change the preview on the fly.
| | 04:22 | I'm going to go ahead and close this.
| | 04:24 | We'll go ahead and delete this.
| | 04:26 | So we just go ahead and move it to the trash.
| | 04:29 | We will tidy up our interface to
the way that it was before. Then I go,
| | 04:35 | okay, now this preview is out of step
| | 04:37 | with the rest of the previews in this
particular project. I should change it back.
| | 04:42 | So all I'm going to do is go back to
Aperture, go back to Preferences, go back
| | 04:46 | to Previews, change it back to the
size of the other ones. Close this.
| | 04:53 | Go up to Photos, hold down the Option
key, regenerate that preview and now it's
| | 04:59 | the same size as all the other ones.
| | 05:02 | By the way, another time that previews are
generated is if you go to make a slideshow.
| | 05:07 | So if you've made changes to your
preview settings, and you don't want to
| | 05:12 | regenerate the previews, you can
just run the Slideshow function.
| | 05:15 | Select them and run Slideshow.
| | 05:17 | Because part of what Slideshow does
is that it regenerates new previews if
| | 05:21 | there has been changes.
| | 05:22 | So that's another way to do it.
| | 05:24 | This gives you more control over those
of JPEG images that you have and you can
| | 05:30 | change them on the fly if you need to.
| | 05:32 | This is the way that you do it.
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| Learning the heads-up displays| 00:00 | Heads-up displays are very handy,
especially when you are working in full-screen
| | 00:05 | mode because they give you the tools
that you need right where you need them.
| | 00:09 | So let's go to full-screen mode right
now and let me give you just a quick tour
| | 00:13 | of how to control these handy displays.
| | 00:15 | So first thing I'm going to do
is I am going to hit the F key.
| | 00:18 | And then we hit the V key,
and here we are in full-screen mode.
| | 00:23 | Now the most common heads-up display is the
Inspector and you hit the H key to bring that up.
| | 00:30 | Now the Inspector has three different
areas, Library, Metadata, and Adjustments.
| | 00:36 | Now you can just click on the tabs
to move among them, but you can also hit
| | 00:40 | the W key and that will toggle
between the three different tabs.
| | 00:46 | When you're done with that Inspector you
can just hit the H key again and it goes away.
| | 00:51 | Now you also have a Keywords heads-up
display and you just hold down the Shift key,
| | 00:56 | hit the H key and there is your
keywords heads up display, so you can work
| | 01:01 | on that in just about any area of the
application, and then hit Shift+H again.
| | 01:08 | Now the third heads-up display that I
want to show you is very handy and we're
| | 01:12 | going to drill down into its use in
some other movies, but it's the Lift &
| | 01:16 | Stamp heads-up display.
| | 01:19 | I'm going to do Shift+
Command+C to bring that up.
| | 01:24 | Now the cool thing about Lift & Stamp,
it allows us to apply all sorts of
| | 01:29 | different types of changes to a
batch of images that we have selected.
| | 01:33 | So for instance, if you get one image
in a series image-edited just the way
| | 01:38 | that you want, you can lift those
adjustments right here and then select a
| | 01:44 | whole bunch of other images and stamp
those changes to those images, so it's a
| | 01:48 | very handy display.
| | 01:50 | You can also do that with metadata, and
so having a heads-up display for this I
| | 01:56 | think is very useful.
| | 01:58 | Now when you're done using the Lift &
Stamp, you can't use the keyboard command
| | 02:02 | again to get rid of it. You have
to go up to the X to turn it off.
| | 02:07 | So three very useful heads up display.
| | 02:10 | The commands for them are quite simple.
| | 02:12 | Again H for the Inspector, Shift+H for
the Keywords, and Shift+Command+C for
| | 02:22 | Lift & Stamp, and then of course
you just click the X when you're done.
| | Collapse this transcript |
|
|
4. Comparing Selecting and Organizing ImagesCreating projects and albums| 00:00 | We're going to get a little bit into
organizing mode here and before we start
| | 00:05 | doing things like rating and labels
and all that good stuff, I just want to
| | 00:10 | review projects and albums for a second
because they are really very nice tools
| | 00:16 | for doing basic organization at a
higher level and then we can drill down a bit
| | 00:22 | using our labels and
stars and all those goodies.
| | 00:25 | As I've talked about before projects
are a centerpiece for organization.
| | 00:29 | This is where basically everything we
do lives and then we have albums, sort
| | 00:35 | of virtual collections of things and
you can create new projects if you want.
| | 00:41 | It's really quite easy.
| | 00:43 | You just go up to the New list
here and create a new project.
| | 00:49 | If you have items selected you can check
those box and those selected items will
| | 00:54 | go into the new project.
| | 00:56 | Or you can just give your project a name.
| | 00:58 | Click OK, and then we'll have a blank
project and you can move things in to the
| | 01:04 | blank project just by dragging and
dropping just like that and now it lives here
| | 01:11 | and if we go to Metadata
we see that this movie has moved.
| | 01:16 | Then we go, well wait. I don't really
want to do that I want it back where it was.
| | 01:21 | So then you can just drag that item
back, here it is here, and then you decide,
| | 01:27 | well, I don't really
need this project after all.
| | 01:29 | You can just right-click on
it and then Delete Project.
| | 01:34 | If you have stuff in there Aperture
will warn you, hey, you're going to
| | 01:37 | throw this stuff away.
| | 01:39 | Only delete projects if they're empty
or if you're absolutely sure that you
| | 01:43 | don't want the stuff that's in them.
| | 01:46 | One other thing about projects.
| | 01:47 | This is new in Aperture 3.
| | 01:50 | This is a big request.
| | 01:51 | We can now move our projects around in the pane.
| | 01:54 | They no longer just have
to be in alphabetical order.
| | 01:57 | So you can just click-and-drag a project
to its new location in the Library pane.
| | 02:05 | That is nice. A small thing.
| | 02:06 | Again a very handy thing.
| | 02:08 | Let's go to albums so you can create
albums just as simply. We have a couple
| | 02:15 | already Deer, Wild Mustard.
| | 02:17 | We can do another album on tents.
| | 02:20 | I'm just going to hold down the
Command key here and we'll just select these
| | 02:24 | guys and then we'll go up
here, we'll go to New Album.
| | 02:28 | We'll call it Tents, Add selected
items to the new album, and off we go.
| | 02:36 | Now we have an album of Tents.
| | 02:38 | If we were to delete one of these
items from this album, it does not delete
| | 02:42 | it from the project.
| | 02:43 | Only from this virtual collection.
| | 02:47 | As you rate the things, as you label
things, you may decide that you want to
| | 02:51 | put them in albums.
| | 02:53 | We're going to talk about Smart Albums
in an upcoming movie and that's handy,
| | 02:57 | because that adds a level
of automation to all of this.
| | 03:01 | But these two basic containers can
really help you organize your Aperture
| | 03:07 | library and if you get a whole bunch
of albums in a project, you can collapse
| | 03:11 | that and open it, and then you can
put all your projects in a folder.
| | 03:16 | So let's get on to actually
rating and labeling the images.
| | 03:19 | That's coming up next.
| | Collapse this transcript |
| Rating images by stars and color| 00:00 | Let's rate the actual images themselves.
| | 00:04 | Before I do that, I want to talk a
little bit about why you should spend time
| | 00:09 | rating your pictures.
| | 00:11 | Here's my feeling about that.
| | 00:13 | Aperture is very powerful.
| | 00:14 | You can do a lot of things in it and
image editing is as easy as it's ever been.
| | 00:18 | However, my feeling is that you should
really only image-edit the images that
| | 00:24 | are your good images and not go through
and spend a lot of time working on the
| | 00:29 | stuff that isn't your best work.
| | 00:31 | For example, if you have a bunch of
shots in a series on a location, then you
| | 00:37 | want to go through and do some
rating to pull out the ones that are good.
| | 00:42 | These shots here are the shots that I
liked from this series of shooting this buck.
| | 00:48 | There were a lot more shots that
I threw away or didn't include in this
| | 00:53 | library because there is no need for
you, the user, to download a bunch of
| | 00:57 | stuff that isn't good.
| | 00:59 | The way I decided that
was by rating my images.
| | 01:02 | I went through them once.
| | 01:04 | The stuff that I wanted to
keep got two or three stars.
| | 01:07 | Everything else didn't get rated and
then all I did was just gather up the star
| | 01:13 | rated images and put them in
this library to share with you.
| | 01:18 | And I would do the same thing for a client.
| | 01:20 | I would do the same thing if I'm
deciding printing, all that kind of stuff.
| | 01:24 | So rating allows you to
focus on your good stuff.
| | 01:28 | You know your good stuff just by
looking at the metadata overlay here and then
| | 01:33 | you only spend your time
dealing with the good stuff.
| | 01:36 | So let's talk about how we actually do that.
| | 01:39 | Because rating is so easy,
there's really no excuse not to do it.
| | 01:44 | You want to look at your pictures anyway.
| | 01:46 | So I'm going to hit the V key here
and we will go to this larger view.
| | 01:53 | The way that I do it, I like
to go through my images twice.
| | 01:57 | The first time through I'm just
deciding if it's a decent image or not.
| | 02:02 | If it's a decent image, I give it a
two star rating and I can do that just by
| | 02:07 | hitting the 2 key, give it a two star rating.
| | 02:11 | Then I hit the Right Arrow key and
I go to the next image. Two star rating.
| | 02:16 | Let's go back one.
This one here, that's of me camping.
| | 02:20 | I'm not going to give that a rating.
| | 02:22 | I don't really find that a flattering shot.
| | 02:24 | That doesn't mean I'm going to throw it away.
| | 02:26 | I'm just not going to consider it
one of the better shots in the album.
| | 02:30 | So I'll leave it alone, hit the Arrow
key, hit the Arrow key, two stars, two stars.
| | 02:38 | By just deciding is
something going to make a basic cut or not,
| | 02:42 | that also gives me a chance to look
at all the images in this collection,
| | 02:47 | because the problem is if you try to
set your final rating just one time
| | 02:51 | through, you're looking at images,
you're rating them, but you haven't seen
| | 02:55 | all the pictures yet.
| | 02:56 | So you can't really gauge the
good from the bad in this shoot.
| | 02:59 | You really need to see them twice.
| | 03:02 | So now we'll go through and give it a
two star rating, two star rating, these
| | 03:07 | are all decent, two star rating, two star rating.
| | 03:11 | I'm not really wild about this one, so
I'm not going to rate it. Two star rating.
| | 03:16 | That one has already been rated,
because we've been playing around.
| | 03:20 | Two star rating, here we go and here we go.
| | 03:24 | Then I go, oh no, maybe not that one.
| | 03:28 | So then I can do a couple of things.
| | 03:31 | I can hit the minus key to back
off or hit the plus key to add.
| | 03:36 | So you can do it that way.
| | 03:38 | If you decide that you don't want to
rate it after all, after I've looked at
| | 03:43 | everything, let's go back through a
second time and let's decide which shots
| | 03:48 | are the ones that are sort of the keepers,
the ones that sort of warrent future attention.
| | 03:54 | So we'll go here. I like this shot.
I'm going to give it three stars.
| | 03:57 | So I will just hit the 3 key.
| | 03:59 | This one's fine, but I'm
going to leave it at two.
| | 04:03 | Definitely leave it at two, two.
| | 04:06 | I like this one, this one is going to
go up to three, leave that at two, leave
| | 04:10 | that at two, same with these.
| | 04:13 | We will leave that one at three, two,
two, and then leave that one nothing.
| | 04:22 | Now, what I can do is I'm going to
hit the V key and we're back in our
| | 04:28 | thumbnail view here.
| | 04:29 | One thing that I like to do after I've
gone through and rated the images is then
| | 04:34 | I like to sort by that rating.
| | 04:36 | So I'll go up here to the top, go to
Rating, and all of my good stuff is at the top
| | 04:41 | and the stuff I like less is at the bottom.
| | 04:46 | Now if it doesn't go that way for you,
then you probably have this thing set at
| | 04:50 | Ascending where your bad stuff is at
the top, which is really great when you
| | 04:55 | pull up your Aperture library
and you have all your garbage.
| | 04:57 | First thing that other people see.
No, no, no, no, don't go, don't do that.
| | 05:01 | Don't do that, go back.
| | 05:03 | Switch it to Descending so
that your good stuff is on top.
| | 05:07 | When I open this particular project,
we'll go back here to Project view,
| | 05:12 | I have my rating set.
| | 05:14 | So the first thing I see are the images
that I think are worth spending my time on
| | 05:19 | and then everything else is still
here, but it's just farther on down where
| | 05:24 | I'm not distracted by it.
| | 05:25 | So this is one useful way to do your rating.
| | 05:29 | If you wanted to, you could select for
instance all of your three star images.
| | 05:35 | We have a lot of them here.
| | 05:36 | I would probably have fewer in real life.
| | 05:39 | I'm holding down the Shift key, and
then you could make a new album that you
| | 05:44 | called three stars and then have
them all in a collection by themselves.
| | 05:52 | You can also do a Smart Album and
have this happen automatically where it's
| | 05:56 | updated automatically.
| | 05:58 | That's another way to go about it.
| | 05:59 | I'm going to go ahead and get rid of
this three stars just for a moment, because
| | 06:04 | we don't really need it.
| | 06:04 | So I'm just going to delete the
album and we'll come back here.
| | 06:09 | Remember album is just a virtual
collection of things so we can go ahead and do
| | 06:13 | stuff like that and not worry.
| | 06:16 | You can't do the same thing with your
project, because then your images go bye-bye.
| | 06:21 | Now we have another tool
here and that's our Labels.
| | 06:25 | So let's talk about Labels for just a
second and this allows us to assign a
| | 06:31 | color label to an image
independent of its star ratings.
| | 06:35 | So now we can have two
types of labels for each image.
| | 06:40 | So let's say that I wanted to have all
of my tent images that are three stars or
| | 06:46 | above labeled blue and I wanted to
have my deer images labeled yellow.
| | 06:53 | So I can do that.
| | 06:56 | I just click on an image, label it to
blue right here, and it shows up and by the
| | 07:02 | way we do have keyboard commands for that.
| | 07:04 | If you go over them, you can see them.
| | 07:06 | There is our Command+Numbers.
| | 07:08 | To tell you the truth I have a hard
time remembering that Command+5 is blue.
| | 07:13 | So I don't do that.
| | 07:14 | What I do instead is this is
where Lift & Stamp is very nice.
| | 07:18 | Let's go ahead and label this one blue.
| | 07:20 | I'll show you on the next
one. So these are blue.
| | 07:24 | I'll show you on the deer shots.
| | 07:26 | Let's decide that the
deer is going to be yellow.
| | 07:29 | Now instead of going through and doing that
on each of these, because this doesn't work.
| | 07:34 | You would think this would work
where you select a bunch of them and then
| | 07:38 | apply the label yellow.
| | 07:39 | Well, it only does it to the one with a
thicker outline, so that's not going to work.
| | 07:45 | So instead though what you can do, this
is where Lift & Stamp is really handy.
| | 07:50 | So we just click on the image with the
yellow label, go down here to our Lift & Stamp.
| | 07:56 | We don't want to do Adjustments.
| | 07:59 | All we want to do is Lift & Stamp our label.
| | 08:02 | So we have that checked, there is yellow.
| | 08:04 | Now all I have to do is select all the
images that I want to have the yellow
| | 08:09 | label and I'm going to hold down the Shift key.
| | 08:12 | All of these now are selected and all
I have to do is Stamp them and they all
| | 08:18 | have the yellow label.
| | 08:21 | So we can label and star rate
independently and then we can use those labels for
| | 08:27 | specific things and we can even
give our labels names. Yes, we can!
| | 08:34 | Go here to Labels and we can
say that this is Deer, if we want.
| | 08:40 | Now the yellow label is the Deer label.
| | 08:45 | So we'll go here, ta-da there it is.
| | 08:48 | I want to show you one more thing.
| | 08:50 | This is sort of fun.
This is very Apple.
| | 08:53 | The thing about the color labels
that's fun is that if we export this image,
| | 08:58 | that label travels with the
image and it will work on our Mac.
| | 09:03 | So let me show you that and we'll go to
this one right here. Let's export it.
| | 09:07 | I just right-clicked on it,
go to Export > Export Version.
| | 09:11 | We will just do a JPEG.
| | 09:13 | We'll send it to the Desktop. Here we go.
| | 09:17 | Now let me just hide our interface.
| | 09:20 | Here is our little deer
right here and look at this.
| | 09:24 | Let's do Get Info on it.
| | 09:24 | I'll do a Command+I and look,
our yellow label persisted.
| | 09:30 | It traveled with the image.
| | 09:32 | So I think labeling is a wonderful
addition, because we can use it with star
| | 09:37 | ratings, we can give the labels like
client names and the star ratings can judge
| | 09:42 | the merit of the
photograph and use them together.
| | 09:45 | They are easy to use.
| | 09:46 | I do think however that Lift & Stamp
comes in very handy for applying labels.
| | Collapse this transcript |
| Flagging images| 00:00 | Well, we have yet another
way to organize our images.
| | 00:04 | We've been working with stars, we
have color labels and we also have flags.
| | 00:10 | Flags are new and I love them because
they're a great way to say I want to
| | 00:14 | pick this image, this image and
this image, and just separate them from
| | 00:18 | everything else.
| | 00:19 | We have a few ways to flag an image.
| | 00:22 | You notice that when I wave over the
thumbnail here, a little outline of a flag
| | 00:27 | appears and I can just click right there.
| | 00:30 | That turns on that flag, and I can click
again to turn it off, or I could choose
| | 00:35 | the image and hit flag over here.
| | 00:38 | That's another way to do it or I could
use the slash and we're talking about the
| | 00:44 | Slash key that's below the
Question Mark and next to the Shift key.
| | 00:49 | That will flag an image also.
| | 00:52 | So easy ways to do it. Actually this
is one of those instances where just
| | 00:56 | hitting the little flag
icon I think works great.
| | 00:58 | So let's say I'm going to flag this
shot, I'm going to flag this shot, we'll
| | 01:03 | come down here, and I'll flag this shot.
| | 01:08 | So those are three shots in this
particular project that I happen to like a lot.
| | 01:13 | Now what's so fun about this is
that I can go up here and just choose
| | 01:19 | Flagged and boom!
| | 01:21 | There they are, just like that, and
I can work with those shots and do
| | 01:25 | anything that I want and then when I'm
done of course I can just come back to
| | 01:29 | Unrated or Better.
| | 01:31 | Flagging is a very nice way just to
call out a couple of shots for any
| | 01:36 | particular reason. Usually they'll be
shots that you like a lot or maybe they're
| | 01:40 | shots that you want to share with a client.
| | 01:42 | They show up in all of the Search tools
that you have in Aperture, and they're
| | 01:47 | easy to apply, easy to
take off. Why not use them?
| | 01:51 | I mean, I can't even think of a
reason why I wouldn't want to use flags.
| | 01:55 | Plus they look cute.
They're orange!
| | 01:57 | I mean how much better than that does it get?
| | Collapse this transcript |
| Organizing a series with stacks| 00:00 | Here's the challenge.
| | 00:02 | We have a bunch of shots that were shot
in sequence or of the same subject.
| | 00:08 | They could be portraits,
they could be a sporting event.
| | 00:10 | In this case, it happens to be a buck,
and we want to pick the best shot and we
| | 00:16 | want to know what that best shot is quickly.
| | 00:19 | Stacks can help us do that because what
Stacks are, they allow us to put all of
| | 00:23 | these shots here that we have in this
group into a group where we can pick the
| | 00:28 | best shot, put it on top, and
then collapse everything behind it.
| | 00:32 | And it's a really neat technique for
organizing and knowing where your best stuff is.
| | 00:38 | Let me show it to you.
| | 00:39 | So I'm going to create a stack just
by clicking on the first image and then
| | 00:44 | holding down the Shift key I'm going to
click on the last image, so now we have
| | 00:48 | all of those selected.
| | 00:49 | We'll go up to Stacks, and we'll choose
Stack right here. The keyboard shortcut
| | 00:54 | for it is Command+K. So now we have a
stack, we know that because we have this
| | 00:58 | darker border around these guys.
| | 01:02 | So the next thing I'd like to do then
is use Compare mode to where I have one
| | 01:08 | image, the pick image, there on the
left side and then we're going to compare
| | 01:12 | the other shots to it.
| | 01:13 | We're going to find the best shot, and
then we'll make that the pick image and it
| | 01:17 | will be on top of our stack.
| | 01:19 | I'm going to hit the V key, so we can go
to Viewer mode, and now I'm going to go
| | 01:25 | up to View and we'll go up to Main
Viewer and I'm going to choose Stack.
| | 01:31 | And there's a keyboard shortcut for
it also, right here Option+T. What this
| | 01:37 | is doing is that the top image on the
stack, that is the current pick, but
| | 01:43 | we're going to compare the other
shots to it and the way that we'll do that
| | 01:47 | is we'll hit the Right Arrow key and you see
how that all move us through the other shots.
| | 01:53 | If I see one that I like
better then I can make it the Pick.
| | 01:58 | That's going to be our challenge here.
| | 02:01 | So for example I can tell right
away that I like this shot a lot.
| | 02:06 | I like it better than this.
| | 02:08 | So let's make it the pick.
| | 02:10 | So I'll go up to Stacks, here's Pick,
here is the keyboard shortcut for it.
| | 02:15 | It's Command+Slash and now look what happens.
| | 02:19 | It's the pick and we will compare the
other shots to it. See, pretty slick.
| | 02:25 | Let's go back to beginning of our
thumbnails, just to make sure, and now we're
| | 02:31 | going to start motoring.
| | 02:32 | And you go, yes, I like it better than that.
| | 02:34 | Yes, I like it better than that.
| | 02:35 | Yup, definitely better than that.
| | 02:37 | Yes, better than that.
| | 02:39 | Now here's one and let me see here.
| | 02:42 | Well these two are pretty close.
| | 02:44 | You know probably the deciding
factor would be which one is the sharpest.
| | 02:48 | Well this is where the loupe will help us.
| | 02:51 | So I'm going to enable our loupe and
that is the grave accent key that's right
| | 02:58 | below the Escape key on our keyboard.
| | 03:01 | I'm going to click that.
| | 03:02 | I'm just going to open up this loupe a
little bit so we get our menu and we're
| | 03:07 | going to make sure that it focuses on
the mouse pointer which it does, and I
| | 03:14 | should be able to tell like at 50%, there we go.
| | 03:18 | I'm going to make the loupe a
little bit smaller, very nice.
| | 03:22 | Now, I can look at these guys just like
this and just like this, and I go well,
| | 03:29 | if I can't tell, I can always make that
magnification a little bit more. Let's try this.
| | 03:33 | Okay, probably 100% is better.
| | 03:38 | Well I'd say there's not enough difference.
| | 03:41 | Well, maybe I like this one better.
| | 03:42 | So now certainly I'm going to go with
this one, so I'll go back to my keyboard,
| | 03:47 | do Command+Slash, he is now my pick.
| | 03:51 | I'll go ahead and shrink my loupe here
and kind of get it out of the way, and
| | 03:56 | then let's go through the rest of our images.
| | 03:57 | And here we go and we're rolling along,
rolling along, pretty nice, ooh, I may
| | 04:04 | like this one better.
| | 04:06 | If he's sharp enough,
let's see which of these two.
| | 04:10 | I kind of like this one.
| | 04:11 | Let's just take a quick look.
| | 04:13 | Now you see how it's auto
focused and then it snaps in.
| | 04:16 | That will happen sometimes when
you're using the loupe because Aperture is
| | 04:19 | processing the image.
| | 04:21 | So if it's real blurry when you
first put your pointer on it, don't panic,
| | 04:26 | don't panic, Aperture is just doing its thing.
| | 04:28 | Well, I think that my pick is a little
bit sharper. I definitely don't like that one.
| | 04:34 | Let us compare it to this one.
| | 04:35 | This is our last chance to
overwrite our pick, right here let's see.
| | 04:41 | No, I think I'm going to
stick with what I've got.
| | 04:46 | So I'm going to go ahead and I can just
close my loupe right now, just hit Hide Loupe.
| | 04:52 | I know which image I
like the best. He's on top.
| | 04:55 | So I'm going to go back to View, go back
to Main Viewer, do Show One. He is on top.
| | 05:02 | I'm going to go ahead and up his star
rating to 4 because I know he is my favorite.
| | 05:08 | Now I'm going to hit the V key so
that we go back to our Thumbnail mode.
| | 05:14 | And now I'm going to collapse
my stack, and there he is on top.
| | 05:18 | I know now in that whole series of
shots that that's the one I like the best.
| | 05:23 | That's the sharpest one.
| | 05:25 | If I were to make a print or do some
image editing, I would work on that shot.
| | 05:29 | I have my other shots here if I need
them, but if I don't need them I'm just
| | 05:34 | going to collapse the stack and
just have the best image on top.
| | 05:37 | And I think this is a very, very useful tool,
especially when you shoot a lot of series images.
| | 05:44 | Give it a try and see what you think.
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| Grouping images with Smart Albums| 00:00 | Well, I hope you're having that warm
sense of organization wash over you right
| | 00:06 | now because we still have another thing
to show you that I think has always been
| | 00:11 | one of the best things in the
Aperture and it's Smart Albums.
| | 00:14 | And you can use Smart Albums all sorts of ways.
| | 00:17 | They reside up here.
| | 00:18 | We will go up to New.
| | 00:20 | You see them right here.
| | 00:21 | There's our Smart Album icon.
| | 00:23 | You can use them for all
sorts of searching and sorting.
| | 00:26 | Right now the way that I want to use it
is for our best images within a project
| | 00:33 | and the cool thing about a Smart Album
as opposed to just building a regular
| | 00:36 | album is that it will continue
updating as new images meet the criteria for
| | 00:43 | that album.
| | 00:44 | So let me show you how that works.
| | 00:46 | So I'm going to click on our project here.
| | 00:47 | I want a Smart Album for this
project that builds my best shots.
| | 00:52 | I'll go up to New and choose Smart Album.
| | 00:56 | And right away this is
highlighted so I can give it a name.
| | 00:59 | We'll just call it Best Shots.
| | 01:03 | Then over here we have our criteria.
| | 01:05 | Now you'll notice that Rating is on
top and that's for a good reason because
| | 01:10 | it's one of the best uses of a Smart Album.
| | 01:13 | And I want everything that is four
stars or better so I'm just going to move
| | 01:18 | this little pointer along,
here we are, four stars.
| | 01:22 | You notice how the album drills down to
just these two shots, and then I click
| | 01:29 | the button and there we go.
| | 01:31 | Now, we have a Smart Album for our best shots.
| | 01:34 | So remember I mentioned
the dynamic aspect of this.
| | 01:37 | Let me go back to Great Outdoors.
| | 01:39 | So let's say that I up the rating on this
shot to 4 stars and on this shot to 4 stars.
| | 01:47 | I don't have to go and manually add
them to an album of my best picks or any of
| | 01:52 | that sort of stuff because
I got a Smart Album going.
| | 01:55 | I go back to the Smart Album and
look, they're automatically there.
| | 02:00 | If I want to change the
criteria for this album, I can.
| | 02:04 | I just click on the
little magnifier right there.
| | 02:07 | Now let's say that I want to have it be
not only 4 stars, but also flagged and
| | 02:14 | that is what this Smart
Albums going to be about.
| | 02:18 | So I'm going to change filtering to All.
| | 02:22 | I'm going to go it has to be flagged,
and now this is the only image that is
| | 02:27 | both 4 stars and flagged.
| | 02:31 | I can go ahead and close that.
| | 02:33 | And now this is not only my best shot,
this is like my really best shots.
| | 02:38 | And I could add another criterion.
| | 02:40 | I could add also Color Label if I wanted
to, and if you don't want it to be both
| | 02:46 | of them you can change
that so it can be any of them.
| | 02:48 | So it can be either a 4-star rating
or a flag and then you see in that case
| | 02:54 | now we have a couple of flagged images come in
and this flagged image come in that are 3-stars.
| | 02:59 | So you have control over that with this
little popup menu here, the All or Any.
| | 03:05 | Once you get your Smart Albums set up
the way that you want, just sit back and
| | 03:10 | enjoy because it will build itself
as you continue to do your rating and
| | 03:15 | refining in the project.
| | 03:17 | Very handy, very useful.
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|
|
5. Managing LibrariesUnderstanding the Aperture 3 library| 00:00 | As you're working on your photos in Aperture,
adding metadata, making image adjustments,
| | 00:06 | you may wonder, where exactly are my photos?
| | 00:09 | I upload them into Aperture, I do stuff to
them, but I don't know where they actually live.
| | 00:15 | I'm going to show you that right now.
| | 00:18 | So, we're going to minimize Aperture, and we're
actually going to work in the file system for your computer.
| | 00:25 | Now what Aperture does when you
first launch it, it creates a library.
| | 00:30 | And that is this container right here.
| | 00:32 | Chances are it will put it in your Pictures
folder, but it can be anywhere, and Aperture
| | 00:37 | will keep track of it for you.
| | 00:39 | Now, inside this container is everything that
you need, your metadata, your photos, all of that.
| | 00:45 | The funny thing is, however, if you just double-click on
the Library container itself, you don't get to see inside.
| | 00:54 | It will just launch Aperture with that library.
| | 00:57 | And if you click on a different library
container that isn't open right now in Aperture--
| | 01:03 | let's do that right here--
Aperture will ask you to switch.
| | 01:07 | But you notice that it cleverly does not show you
what's inside, but we're going to do that right now.
| | 01:12 | Now, before I take you inside,
you have to make me a promise.
| | 01:16 | You have to promise me that you will look
and not touch, because if you do something
| | 01:21 | behind Aperture's back, you can really
mess things up, and then you will be sad, and
| | 01:26 | we don't want that to happen.
| | 01:28 | So, what I'm going to do is I'm going to right-click
on Library, and I'm going to do Show Package Contents.
| | 01:36 | Now, we're looking inside the Aperture library.
| | 01:39 | And you can see, there is all the stuff going on,
your previews are in a folder, your thumbnails
| | 01:44 | are in another, there is other stuff going on,
the Database is right here, and your Masters,
| | 01:50 | the images that you upload into
Aperture, they're in this folder.
| | 01:54 | And you think, okay, I'll just double-click
that folder and look at them.
| | 01:58 | So, you can see Aperture has
its own way of doing things.
| | 02:01 | It's got its own file system.
| | 02:03 | But if you hang in there long
enough, you will get to your images.
| | 02:06 | Here are those original RAW files
that we're looking at in Aperture.
| | 02:10 | Now again, look only, not touch.
| | 02:13 | I just want you to know where
everything is. It's safe and sound here.
| | 02:16 | We're going to back all the way out.
| | 02:18 | If you want to actually move something out
of Aperture, maybe share it with someone else,
| | 02:23 | you don't do it here.
| | 02:25 | What you do is you come back to Aperture,
click on the image, do File > Export.
| | 02:31 | That's the proper way to move an image from
your Aperture library to somewhere else, and
| | 02:37 | even then it only makes a copy.
| | 02:39 | Your original image is safe and
sound in the library container.
| | 02:42 | So now you know that's where they live.
| | 02:47 |
| | Collapse this transcript |
| Switching between Aperture 3 libraries| 00:01 | We're going to take a look at our Aperture
library from a different view for just a moment.
| | 00:06 | And the fact that you can actually switch
among Aperture libraries is very easy to do.
| | 00:12 | Now, before I show you to do that, though, I
just want to remind you that my recommendation
| | 00:16 | is that you try to work within one
Aperture library as much as possible, because when
| | 00:22 | you're searching for images, it's much
easier to search within one library container.
| | 00:27 | The Aperture tools search within
the library, not across libraries.
| | 00:32 | So, one library is the way to go.
| | 00:34 | Now, that being said, there could be
instances where you do have more than one library.
| | 00:40 | If you're traveling, for example, you may
create a new library on your laptop, and
| | 00:44 | when you get home, you want to
switch to it and look at those pictures.
| | 00:48 | I'm going to show you how to do that right now.
| | 00:51 | You just go up to File, you go to Switch to
Library, and you notice that I have a couple
| | 00:57 | other libraries right here.
I've opened those before.
| | 01:01 | And to switch, for example, to the Danielle
Portraits Library, I just click on it, and boom!
| | 01:07 | Just like that, Aperture switches to this library.
Now, this is a completely separate container.
| | 01:15 | And if I want to go back to my library that
I was in before, same thing, here we go.
| | 01:22 | And now I'm back to where we were before.
| | 01:25 | Now, if your library doesn't show up in
that original menu, you can hunt it down.
| | 01:32 | Go to File > Switch to Library, now go to
Other/New right here, and you get a dialog box.
| | 01:41 | What Aperture will do is it will find all
the libraries on your hard drive and on maybe
| | 01:47 | even connected hard drives.
| | 01:49 | You may have some of those,
it will find those also.
| | 01:52 | Pick the library that you want from here,
Choose and then it will switch just like that.
| | 02:00 | So again, generally speaking, you
want to work within one library.
| | 02:04 | It makes a lot of sense for searching things
like that; however, for those instances where
| | 02:10 | you do end up with a couple
libraries, very easy to switch among them.
| | 02:15 | Aperture will find them as long as they're on the
computer or on a drive connected to your computer.
| | 02:19 |
| | Collapse this transcript |
| Exporting single or multiple projects as libraries| 00:00 | So it's easier to switch among
libraries but you can actually take a part of
| | 00:05 | your existing library and send
it out as a separate library.
| | 00:11 | This becomes very handy if you want to
let's say take a part of your library on
| | 00:16 | the road with you or you create
something out on the road that you want to
| | 00:21 | bring home or you want to share or
you want to have someone else work on a
| | 00:24 | piece of your library.
| | 00:26 | There are a million and one uses for this.
| | 00:28 | Let me show you how it works.
| | 00:30 | So you can take a project and export it
out as library or you can take a folder.
| | 00:37 | You can even take a slideshow that
you've created and export it as a library.
| | 00:42 | I want to export my iPhone
Shots project as a library.
| | 00:47 | So I want to be a free standing library.
| | 00:50 | So all I have to do is just right-
click on it, and we go to Export.
| | 00:57 | Then we go down to Export
> Project as New Library.
| | 01:02 | Select that.
| | 01:04 | Now we're going to go where?
Well, we need to put it somewhere.
| | 01:08 | So we're going to put it in our Exercise Files.
| | 01:12 | We're going to call it iPhone Shots.
| | 01:15 | You have some options when you're doing this.
| | 01:18 | If your masters are spread out, let's say
you're using the referenced library approach.
| | 01:24 | You might want to consolidate them into the
library so that everything travels together.
| | 01:30 | Now in this case, everything is in our
library, so whether we check that box or
| | 01:35 | not doesn't really make a difference.
| | 01:38 | But if I was using a reference library,
I would want to check that box so that
| | 01:41 | Aperture would pull in the
masters and put it all in the library for me
| | 01:45 | It makes it a lot easier.
| | 01:47 | Do I want to include previews in my export?
| | 01:49 | Yes, I do actually.
| | 01:51 | Yeah, it will save either me or
someone else some work up the road.
| | 01:55 | Do I want an alert when finished?
| | 01:57 | Well, of course because I like knowing
when it's done doing what it's doing.
| | 02:02 | That's all you have to do.
| | 02:03 | Now we're just going to click Export Library.
| | 02:05 | It's working on it right down here.
| | 02:08 | Here we go and we can click OK
or we can reveal it in Finder.
| | 02:15 | Look at this, here is
our New Library right here.
| | 02:19 | So does that mean we can switch to it?
| | 02:22 | Well, of course we can.
| | 02:24 | It didn't erase this.
| | 02:26 | We still have our work here, but we've just
created a new library with just that work.
| | 02:32 | So I'm going to go up to
File, go to Switch to Library.
| | 02:35 | We'll go to Other, because we
haven't opened this one yet.
| | 02:38 | Then we're going to look for iPhone Shots.
| | 02:41 | Make sure it's the right one. It is.
| | 02:44 | I'm going to choose that and look at this.
| | 02:47 | Now we have a library just with our
iPhone Shots all to itself, which means I
| | 02:54 | could share this library with somebody else.
| | 02:56 | In fact, I'll be talking about that soon enough.
| | Collapse this transcript |
| Merging multiple libraries into one| 00:00 | So one thing that can happen when you
start enjoying the flexibility of multiple
| | 00:05 | libraries, there can be some
confusion between projects and libraries.
| | 00:11 | So, what happens is actually when you
bring libraries back in, let's say you
| | 00:16 | want to merge them into your master library,
then they do show up as projects again.
| | 00:22 | So, a project is a container within a
library that contains everything for
| | 00:29 | that particular set of images, but
the library, that is the big container
| | 00:33 | that's the master container.
| | 00:35 | So we exported this project
here as a standalone library.
| | 00:42 | So, it exists outside of this library
and actually now what I want to do is I
| | 00:47 | want to show you how to merge libraries.
| | 00:49 | So, I am going to get rid of this project.
| | 00:51 | We don't need it right now.
| | 00:52 | So, I am just going to right click
on it and I am going to go to Delete
| | 00:57 | Project and it's gone.
| | 01:00 | So, when you hit Delete Project, you
better have it backed up because that thing
| | 01:06 | exists no more. Or does it? Wait a minute!
| | 01:11 | Those images are still in the Trash.
| | 01:14 | What happens is when you delete anything
in Aperture, it goes into the Trash first.
| | 01:21 | So, you sort of have a second
chance to retrieve it if you need to.
| | 01:26 | If we open up this Trash, we'll
see that we have some things in here.
| | 01:31 | So, what I am going to do is I am
going to right-click on the Trash and I am
| | 01:35 | going to empty the Aperture Trash right now.
| | 01:38 | Now, I get a warning.
| | 01:40 | So, we are back here to just our regular life.
| | 01:44 | What I want to do now is that project
that we exported out as a standalone
| | 01:49 | library, the iPhone Shots, I want to
show you how to merge libraries together
| | 01:54 | because that's another
advantage to this whole thing.
| | 01:58 | So, we are going to go up to File,
we are going to go to Import, and we are going
| | 02:02 | to import Library/Project.
| | 02:03 | It takes us to the Exercise Files.
| | 02:10 | Here's the library that
we want to merge to Import.
| | 02:15 | I am going to click on Import.
| | 02:21 | Now, look, here's our iPhone Shots.
| | 02:25 | Everything is here and
guess what it shows up as?
| | 02:28 | You've got it, a project.
| | 02:30 | So, when libraries back into your
master library or whatever library you are
| | 02:37 | merging with, they show up as projects.
| | 02:40 | If you think about it, that is a
logical thing because that is a container that
| | 02:45 | holds all the work for those particular shots.
| | 02:48 | So, we have gone full
circle with our iPhone Shots.
| | 02:51 | We have sent them out as a standalone library.
| | 02:55 | We could open them as a stand-alone
library and now we have brought them back home.
| | 03:00 | So you could see the use for this.
| | 03:01 | Let's say that you go to Hawaii a lot.
| | 03:04 | So, you have a Hawaii project.
| | 03:08 | You know you are going to Hawaii so
you export out your Hawaii project as a
| | 03:13 | standalone library, put on your laptop.
| | 03:15 | Go to Hawaii, you have a great time, go
sparkling, take a lot of pictures, you
| | 03:19 | add to that library.
| | 03:21 | When you come home, you go, I want that
library to be back in my master library.
| | 03:26 | So, you import it or merge it as we say
and it comes back in as a project container.
| | 03:33 | The only thing that you have to keep in
mind is that you may want to delete that
| | 03:37 | other project container too,
so you don't have redundancy.
| | 03:41 | Aperture can even help you
with that. So, there you go.
| | 03:45 | I hope you have this all straight.
| | 03:46 | Maybe you took notes, maybe not.
| | 03:48 | You can always replay the movie and
that's the cool thing about lynda.com.
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| Splitting libraries| 00:00 | Another thing that you can do with your
library is that you can actually split it
| | 00:05 | into two different libraries.
| | 00:07 | This is handy if your library has
become too big or if you want to grab a
| | 00:13 | handful of projects, a slideshow or
folders, whatever you need to and put it into
| | 00:19 | a different library.
| | 00:20 | So, I am going to show you how to do
that really quick and it's very handy,
| | 00:24 | really helping you manage your disk space.
| | 00:27 | So, let's say that we
want to split this library.
| | 00:30 | So, what we want to do is we want to
take the iPhone Shots and the Product Shots.
| | 00:36 | I want to create a new library with those
to help reduce the size of this library.
| | 00:40 | So, I just select as many things as I
want to add to the new library for the split.
| | 00:46 | It can be a whole bunch of stuff.
| | 00:48 | We'll just do two right here.
| | 00:50 | Then I'll just go up to File, go
to Export > Items as New Library.
| | 00:57 | This is what we are going to do.
| | 00:58 | We are going to send it to Exercise Files
and we are going to call it Split Library.
| | 01:06 | Split Library is going to go right in
here, we are going to consolidate our
| | 01:09 | masters, we are going to include
previews, we want that alert when we are done.
| | 01:13 | So, we know that it's finished and done.
| | 01:16 | We are just going to hit Export.
| | 01:19 | Off to the races we go. It's down here.
| | 01:21 | It's working away, working away.
| | 01:24 | This computer, I have to tell you, may go
a little faster than your computer at home.
| | 01:29 | So, look, our stuff is still here so we'll
come back and deal with that in a minute.
| | 01:32 | Here is our Split Library.
| | 01:36 | So we can switch to that now, which I
recommend you do before you delete anything.
| | 01:42 | So, let's switch to our Split Library.
| | 01:45 | We'll go to Other here and there it is.
| | 01:48 | We follow the path here.
| | 01:50 | Make sure it's the right one. It is.
| | 01:52 | We are going to choose it and
look at that. Isn't that neat?
| | 01:56 | It maintained our project structure,
all of our stuff is here, really slick.
| | 02:02 | So, now we know everything is okay.
| | 02:05 | So, now what I can do is I can
switch back to my Aperture Library.
| | 02:10 | Since I don't really need that stuff
living in two different places, so we can
| | 02:15 | delete these projects here because we
know that we've already done the split and
| | 02:21 | really to gain the benefits of the split
then you need to do some deleting here.
| | 02:24 | So, I'll just basically right-click.
| | 02:27 | We are going to delete that project.
| | 02:29 | We go right here, we are
going to delete that project.
| | 02:32 | Here we go and then we are going to go to
Trash and we'll see all that stuff there.
| | 02:38 | So we are going to right click on
Trash. We are going to empty the Trash.
| | 02:44 | Everything goes away, nice and clean.
| | 02:47 | Now, we are just back to
our Great Outdoors here.
| | 02:50 | But if we want to visit our
other shots, it's not a problem.
| | 02:53 | We go to File > Switch to Library,
go to Split Library, there they are.
| | 02:58 | Everything is here. Very sleek.
| | 03:00 | So, this is a way to reduce
the size of a large library.
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| Sharing libraries| 00:00 | One of the questions that I get a lot is,
is there a way I can share my Aperture
| | 00:05 | library with somebody else?
| | 00:06 | Let's say that a couple of
people are working on a project.
| | 00:10 | Well you can't put Aperture library
on a network server and have different
| | 00:14 | people access it simultaneously.
| | 00:17 | That doesn't work but with this new
library system, there is a way that you
| | 00:21 | can share your work.
| | 00:22 | And let me show you how that works.
| | 00:25 | And then see if that
will fit into your workflow.
| | 00:27 | So let's say that I have a friend who
also takes pictures of parking spots with
| | 00:32 | his mobile phone, and he wants to
add to my collection of shots and I go,
| | 00:37 | "great, let me send you the library."
| | 00:40 | "You can add and then you can send it back to me."
| | 00:42 | So all I have to do of course is go to
my project here and I am just going to
| | 00:48 | Export > Project as New Library.
| | 00:51 | And we will just call it iPhone Shots.
| | 00:56 | So we are going to put it
here in our Exercise Files.
| | 01:00 | We are going to consolidate, we are
going to include previews, and yes we want
| | 01:04 | that alert when we are finished.
| | 01:06 | So we will go ahead and send it out.
| | 01:09 | Aperture does its thing.
| | 01:11 | Here is our message.
| | 01:12 | So we will reveal in Finder, there it is.
| | 01:15 | Now what I can do is I can send this
to my friend, I can iChat with him and
| | 01:22 | I can send the file to him even that way,
where you just drop it onto his name.
| | 01:27 | I can put it on a network server where
he can grab it and then what he will do
| | 01:31 | is that he will open up this library,
he can add to it in Aperture, and then
| | 01:37 | when he closes the Aperture, he can
send it back to me and I can either open it
| | 01:42 | up as a separate library or I can
merge it back into this library here.
| | 01:48 | All the work travels with it, the metadata,
the previews, the masters, all back and forth.
| | 01:53 | This is a nice way to share your work
with other people and it is not putting on
| | 02:00 | a network server and everyone accessing
it but it can be put on a network server
| | 02:03 | and have other people use it and then
have you either bring it back into your
| | 02:09 | library or open it up.
| | 02:11 | Think about the applications for you,
hopefully there will be something that
| | 02:15 | will work when you are
working with other people.
| | Collapse this transcript |
|
|
6. Making Basic Image AdjustmentsDefining the difference between master and version files| 00:01 | So now we are going to dive into really
the heart of Aperture in terms of image
| | 00:07 | adjustment. We are going to be
looking at the Adjustments pane.
| | 00:12 | We are going to be talking about all
the different great tools that we have.
| | 00:16 | But before I do that, I just want to
revisit this notion of master file versus
| | 00:22 | version, because this is important to
understand what's going on when we do make
| | 00:28 | these image adjustments.
| | 00:30 | The master file for a photo,
| | 00:32 | that's the image that you load into Aperture
that comes, let's say, directly from your camera.
| | 00:39 | So that is the file that goes into
Aperture, and then Aperture refers to
| | 00:44 | that file constantly.
| | 00:46 | And when you start working with that file,
then it creates a version of that file.
| | 00:51 | But that never really messes with the master.
| | 00:53 | It just refers to it.
| | 00:55 | So for example here, here's a picture
that I have done some editing on, and we
| | 01:00 | are actually looking at a version of that image.
| | 01:04 | If I were to hold down the
M key, just tap it there,
| | 01:09 | that's my Master file.
| | 01:10 | That is the original RAW file that I
captured, and we will go over here to
| | 01:16 | our Metadata, and we will see that I captured
with a 5D Mark II using the 7200 mm zoom lens.
| | 01:25 | It's a RAW file.
| | 01:27 | I used the Cloudy White Balance Preset.
| | 01:30 | That is the master file.
| | 01:31 | That is the original thing.
| | 01:32 | This never really gets messed with,
but it does get referred to so when I
| | 01:37 | start working with a file, I am just going to
hit M again to bring us back to the version,
| | 01:43 | then this is what we are looking at.
| | 01:46 | We are looking at the
version based on that master file.
| | 01:50 | Now interestingly enough, to really
play this out, for example, you can have
| | 01:56 | many versions from the same master.
| | 01:59 | I can right-click on this file right here.
| | 02:03 | And I can either Duplicate the Version,
in other words, bring over the work that
| | 02:08 | I have done on it so far into a new file,
or I can create a New Version from the
| | 02:13 | Master, essentially starting all over again.
| | 02:16 | Let's go ahead and Duplicate the Version.
Here we go right here so we have one
| | 02:21 | here and we have one here, and we can
even put them together in a stack, just
| | 02:27 | click on them both and then go to Stack.
| | 02:30 | So we can have them together, and we
will play with our thumbnail size here.
| | 02:34 | So they are next to each other, so
I have worked on this one already.
| | 02:38 | And now I have duplicated that version.
So, let's say for this other version that
| | 02:44 | I would like to make it black and white.
| | 02:47 | Very easy. So right now, we will just
go to Presets, and we will pick a Black &
| | 02:54 | White. We will just pick that one right
there, and now we have a Black & White.
| | 02:59 | So we can open these up side by side.
| | 03:03 | Here we'll go up to View, and then we will
go to Main Viewer, go to Stack. Here we
| | 03:11 | go, so we have them side-by-side.
| | 03:13 | Now we haven't added a whole other
master file to this ,and if we go to our
| | 03:19 | Metadata and we go to General, we will
see that this is a pretty large file,
| | 03:26 | right? Twenty four-and-a-half megabytes.
| | 03:29 | Now by creating a Black & White
version, I have not added another twenty
| | 03:34 | four-and-a-half megabytes to my hard
drive. This is simply metadata, and with
| | 03:40 | Aperture, you can create
version after version after version.
| | 03:44 | And it's basically just a set of text
instructions because how this file is
| | 03:50 | created is that Aperture referred back
to the original file that I showed you,
| | 03:57 | and then it read these changes that
we made, and then I applied some more
| | 04:01 | changes, and it read those.
| | 04:04 | So this is the beauty of working in Aperture,
| | 04:08 | in that you can have all sorts of
variations on one file, but you are not
| | 04:14 | spending a lot of disk space to do that.
| | 04:17 | So for the most part, when we are
working in this application, we are definitely
| | 04:23 | creating versions that are referring to
the master files. And the reason why I tell
| | 04:28 | you that, we are going to be doing a lot
of fun stuff, and you can always go back
| | 04:32 | to the master file if you want.
| | 04:34 | You will never harm it, and this
allows you to just play, and play, and play,
| | 04:39 | and experiment, not worrying about
filling up your hard drive with a bunch of
| | 04:44 | different variations of the same image.
| | Collapse this transcript |
| Working with the Adjustments pane| 00:00 | Before we dive in to all of these
wonderful adjustments we have available to us,
| | 00:06 | I am just going to give you a brief
tour of the Adjustment pane itself, just so
| | 00:11 | we know where we are.
| | 00:14 | And this applies both to the pane when
we are in the regular interface here or
| | 00:21 | if I hit the H key and bring up the
heads up display in the Adjustment pane in
| | 00:26 | the floating Inspector. They are both
designed the same. They are just two
| | 00:30 | different ways to work.
| | 00:32 | Usually we use this one when
we are in full-screen mode.
| | 00:36 | So, right now, we will just hang
out over here in the regular view.
| | 00:40 | So, up here, at top, of course, we have
the Adjustments pane and remember, we can
| | 00:45 | go from one pane to the other in the
Inspector by just hitting the W key.
| | 00:50 | That brings us to Adjustments.
| | 00:52 | Here is the histogram that represents
the image that we are looking at and by
| | 00:58 | default, it is in RGB mode. That means
we are seeing the red channel, the green
| | 01:03 | channel, and the blue channel.
| | 01:05 | You can change that because
over here, this little gear menu,
| | 01:10 | that's called the Adjustment Action pop-up menu.
| | 01:15 | That's a mouthful, isn't it?
| | 01:17 | And there we can change our histogram
option so, for instance, if you like
| | 01:22 | just looking at the Luminance and not
the separate channels, you can change
| | 01:28 | that, and here you get more of a look
like you are used to seeing in Photoshop
| | 01:32 | when you work in Levels.
| | 01:33 | So, the choice is yours.
| | 01:34 | I actually like the Luminance view myself.
| | 01:38 | I think it's simple.
| | 01:39 | And what do we mean by Luminance?
| | 01:41 | That just means we are looking at
light values from dark to bright. Our dark
| | 01:46 | values are over here; our
bright values are over here.
| | 01:49 | And in here are all the middle tones.
| | 01:52 | And all of these represent
what's going on in this photo here.
| | 01:56 | So, that's the histogram there.
| | 01:58 | Now we have a couple of pop-up menus,
and we have the Presets pop-up menu, which
| | 02:04 | is a nice addition to Aperture 3.
| | 02:06 | And here is where we are going to
have a lot of fun, in the Presets movie,
| | 02:10 | because not only do you have presets
loaded for you already. If you just go over
| | 02:17 | them, you get a nice little preview of them.
| | 02:21 | So, you don't even have to make a commitment.
| | 02:22 | You just kind of mouse over them.
| | 02:25 | And you can create your own
presets also and add them.
| | 02:29 | And you can even share them with
other people. So, a lot happening in this
| | 02:33 | little pop-up menu.
| | 02:34 | This is Presets right here. And then
here we have the Adjustments pop-up menu.
| | 02:40 | I am just going to click on that.
| | 02:42 | Now these are basically all of the
adjustments that are available to us.
| | 02:47 | We have Quick Brushes at the top, which
we are going to dedicate some movies to,
| | 02:52 | so you really get to understand how
they work. And these are new in Aperture 3.
| | 02:57 | And then we have a lot of other adjustments.
| | 03:00 | Now the adjustments that have a dot
next to them, those are already loaded
| | 03:05 | into our pane here.
| | 03:07 | The other adjustments that don't have a
dot are available to us, and all we have
| | 03:12 | to do, for instance, if we
wanted to add one is just click on it.
| | 03:17 | And then we can add that brick
and that's what we call these.
| | 03:21 | We call these bricks.
| | 03:23 | Now when you add a brick, it is
automatically selected, but you don't have to keep it.
| | 03:28 | So, you can just uncheck this box
right here, and then that turns off that
| | 03:34 | adjustment. And if you want it back on,
it's as simple as checking that box.
| | 03:39 | So, these adjustments, even after you've
played with them, are very easy to turn off and on.
| | 03:44 | Now let's say that you have an
adjustment on and you play with the sliders, you
| | 03:49 | make some changes, you know so you do
some stuff here, and you are looking at it,
| | 03:56 | and you go, "Well let's see.
| | 03:58 | I don't really like what I did."
| | 04:00 | I want to kind of go back
to the default setting."
| | 04:03 | And that's what this little guy is right here.
| | 04:05 | This is the reset button.
| | 04:07 | So, all you have to do is click on him, and that will
take you back to the default brick setting.
| | 04:14 | Now each adjustment brick has its own gear menu.
| | 04:18 | This gear menu up here, that we looked
at originally, is for the Adjustments pane
| | 04:22 | but each brick has its own gear menu. And
we can click on that, and here is where
| | 04:29 | we have access to the brushes.
| | 04:31 | And we have brushes for almost
every adjustment available to us.
| | 04:35 | We are going to spend some fun
time playing with the brushes.
| | 04:39 | These are new to Aperture 3.
| | 04:42 | We can also add multiple bricks
for each of these adjustments.
| | 04:46 | In other words, we could
have two Black & White bricks.
| | 04:50 | We can remove this adjustment from the
pane here, if we decide that we are not
| | 04:55 | going to use it. And if it's an
adjustment that we use a lot, that doesn't
| | 05:00 | automatically show up in our default
set here, we could add it to the default
| | 05:05 | set by choosing this selection
right here. Then every time we go to the
| | 05:10 | Adjustments pane, this brick
will be here and available to us.
| | 05:15 | So, we have a lot of options
within the brick themselves.
| | 05:18 | They are all under this gear menu.
| | 05:21 | Now as I mentioned in an earlier movie,
you can collapse a brick by clicking on
| | 05:26 | the triangle. But now in Aperture 3,
you can also collapse a brick just by
| | 05:31 | double-clicking on it.
| | 05:33 | And double-clicking on it again will open it up.
| | 05:35 | And this is true for all of the bricks,
Levels and Exposure. The reason why I
| | 05:41 | mentioned those two, interestingly
enough, when you collapse the Exposure brick
| | 05:46 | or the Levels brick,
| | 05:47 | we still have the Auto controls
available to us, even when they are collapsed.
| | 05:52 | So, if you want to do Auto Exposure or
you want to do Auto Levels, then those are
| | 05:57 | available even when those bricks are collapsed.
| | 06:01 | So, that's a nice little tour
of our Adjustments pane here.
| | 06:05 | And as I mentioned before, all of this
holds true also for the heads up display.
| | 06:09 | I just hit the H key to bring that up.
| | 06:12 | All of it's true for here. We have
same sort of things available to us.
| | 06:19 | It's just a different view
of the same set of controls.
| | 06:23 | So, now let's start thinking about
making some changes to our photos.
| | Collapse this transcript |
| Updating RAW processing from previous versions of Aperture| 00:00 | If you bring images into Aperture 3
that you worked on in Aperture 2 - and let's
| | 00:07 | say that you import a project.
| | 00:11 | So, you had an existing project in
Aperture 2, where you had done a lot of work,
| | 00:16 | and then you bring that into Aperture 3.
| | 00:19 | One of the things you are going to
have to think about is what we call
| | 00:22 | reprocessing, because in Aperture 2
a different type of processing was
| | 00:28 | used than in Aperture 3.
| | 00:30 | And the way that you can tell if you'll
need to do this, now, this is only true
| | 00:34 | for RAW files, right?
| | 00:35 | If you are bringing in JPEGs, this is
not an issue, and you can go to the next
| | 00:40 | movie and start playing with some adjustments.
| | 00:43 | But if you shoot RAW and if you
processed RAW in Aperture 2, this is something
| | 00:48 | that I want you to think about a little bit.
| | 00:50 | So, when you have an image that was
processed in Aperture 2 and you bring it
| | 00:55 | into Aperture 3, usually by importing a project,
| | 00:59 | because if you import a whole library
or if you update a whole library, part of
| | 01:04 | the reason why that takes so long is
that Aperture will reprocess those images
| | 01:08 | for you automatically.
| | 01:10 | But if you bring in a project, then
you have the option of doing it yourself.
| | 01:15 | And you'll see, up here at the top, if an
image has been processed in Aperture 2,
| | 01:21 | you'll have this Reprocess button right here.
| | 01:24 | Now why would you want to reprocess?
| | 01:26 | Well, for one thing, the new
algorithm is better. And at least in my case,
| | 01:33 | I've been shooting with Canon
cameras, and I like the way Aperture 3
| | 01:37 | processes my images.
| | 01:39 | So, it definitely is a better processing.
| | 01:42 | But there's another reason also, in
that if you want to access some of the new
| | 01:48 | adjustments in Aperture 3, such as the
Quick Brushes, you have to reprocess
| | 01:53 | before they are available to you.
| | 01:55 | So, you won't be able to use all of
the new adjustment tools in Aperture 3,
| | 01:59 | unless you reprocess that image.
| | 02:02 | And let me just hit the V key here.
| | 02:05 | Now you can reprocess images
one by one, and that's fine.
| | 02:10 | But I want to show you kind of an
interesting and clever tool that they built in here.
| | 02:15 | Let's go to our Library, and we have a
whole project full of images here.
| | 02:21 | And they allow you to batch reprocess, and
you have actually a lot of control over
| | 02:27 | what happens when you batch reprocess.
| | 02:29 | So, I am just selecting our project
right here, and I am going to go up to
| | 02:33 | Photos, and I am going to
go to Reprocess Masters.
| | 02:37 | Now you know whenever you see that dot,
dot, dot, that you are going to get a
| | 02:41 | dialog box, and so that's something
isn't going to happen automatically without
| | 02:46 | you going, wait, wait, wait.
| | 02:47 | So, that dot, dot, dot means that it's
okay to click on this because we are going
| | 02:51 | to get a dialog box, and
here is that dialog box.
| | 02:54 | So, first of all, it explains
what's going on up here at the top.
| | 02:58 | Reprocessing photos allows you to take
advantage of the new adjustments and the
| | 03:02 | imaging technology, great!
| | 03:03 | You can't undo this action.
| | 03:05 | Well, that's a good thing to know also.
| | 03:08 | Now your first choice is do you want to
reprocess all of the photos here in this
| | 03:13 | project, or only the photos with
adjustments or without adjustments?
| | 03:17 | Generally speaking, I think most folks
are going to pick all photos, but it's
| | 03:21 | nice to have these options if you
have some sort of special situation.
| | 03:26 | Now the second one is very interesting
to me. Do you want new versions created
| | 03:32 | for the reprocessed photos?
| | 03:34 | If you use this first choice here,
then what Aperture is going to do is just
| | 03:38 | reprocess these images, and that
Reprocess button will go away, and you'll still
| | 03:43 | have five images here in this project.
| | 03:47 | However, if you choose this button
here, you'll end up with 10 images and
| | 03:53 | actually two masters for each picture,
because what Aperture will do is it will
| | 03:58 | reprocess the image, you'll get a
reprocessed one, and then next to it you'll
| | 04:03 | have the original image
that's processed in Aperture 2.
| | 04:08 | Now why would you want that?
| | 04:09 | Well, the one reason I could think of
is that if you've got an image just the
| | 04:13 | way that you wanted in Aperture 2, and
you don't want to take a chance on it
| | 04:18 | getting messed up in Aperture 3, then
you might choose this option, at least
| | 04:24 | take a look at the images, and then
decide, "Well, I like Aperture 3's processing
| | 04:29 | better, so I can get rid of those other masters."
| | 04:33 | The downside to this is, of course, that
you're going to be adding duplicate files
| | 04:38 | that are big to your Library.
| | 04:40 | So, if you are doing this with the
whole bunch image, there are disk space
| | 04:44 | ramifications, as we'll say.
| | 04:47 | So, generally speaking, I think most
folks will probably just reprocess the
| | 04:51 | images, and then have them replaced.
| | 04:55 | So, that's what I am going to choose here.
I am going to go ahead and click the
| | 04:58 | Reprocess Photos button.
| | 05:01 | By the way, this library will be in the
exercise files folder, and it will be
| | 05:07 | unprocessed in there, so that you can
play with this too, and see what you think.
| | 05:11 | You can try out the other method if you want.
| | 05:14 | So, now we have our confirmation that
our images were reprocessed, and click OK.
| | 05:20 | So, now if I go to the
Adjustments pane, we will notice that that
| | 05:24 | Reprocess button is gone.
| | 05:26 | Not only that, all of our Quick
Brushes are available to us, and we can move
| | 05:32 | forward and use all of Apertures tools.
| | 05:36 | So, reprocessing, it's something to
think about if you shoot RAW and if you
| | 05:40 | processed them originally in Aperture 2,
and you are thinking about bringing
| | 05:46 | them in project-by-project
into Aperture 3. You can do it.
| | 05:49 | You cannot do it.
| | 05:50 | You can do it later. The choice is
up to you. But this is how you do it.
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| Reading a histogram| 00:01 | I just want to give you a quick tour of
the Histogram, which is up here at the
| | 00:05 | top of our Adjustments pane, because it is
helpful when you're working on image editing.
| | 00:12 | Now, you don't want to get tied to the
histogram. In other words, you have to
| | 00:15 | remember to look at the picture too,
because in the end, that's what other
| | 00:19 | people are going to see.
| | 00:20 | You don't have the histogram
traveling with the photo everywhere it goes.
| | 00:24 | However, there are a lot of clues on how
to image edit, by looking at the histogram.
| | 00:29 | So, here it is right here.
| | 00:30 | Now, when we look at this particular
histogram here, this represents all of the
| | 00:35 | tones that are in this image.
| | 00:38 | Over here we have the dark tones, and on the
right side here we have all the bright tones.
| | 00:44 | And as you may guess, we have the
middle tones right here in the middle.
| | 00:49 | Now this histogram represents this
image well because you see that we have a
| | 00:54 | lot of dark tones piled up here on
the left side, and those are these areas
| | 01:01 | right here and down here, and all
of these little dark areas here.
| | 01:07 | So, you can see that we have a lot of
dark tones in the shot, and that's why we
| | 01:11 | have a lot of dark tones piled up
here on the left side of the histogram.
| | 01:15 | Now on the right side, where the
really bright tones are, you see we don't
| | 01:20 | have very much information, and that's because
we don't have a lot of really super highlights.
| | 01:25 | We have got a few right in here, but
for the most part, this image is comprised
| | 01:30 | of darker tones and middle tones.
And we do have quite a few middle tones
| | 01:34 | represented right here, and they show
up right here and right here. These are
| | 01:39 | all middle tones on the scale.
| | 01:42 | So, we have a nice view of our
image here in our histogram.
| | 01:46 | And if you don't care for looking at
the RGB version, which we're looking at
| | 01:50 | right now, and you just really want to
focus on Luminance, in other words, the
| | 01:54 | bright and dark tones, then go to
your Gear menu, go down to Luminance.
| | 02:00 | It will change it, and now you have just
a very clear, as we will say, black and
| | 02:05 | white view of your image.
| | Collapse this transcript |
| Adjusting white balance| 00:00 | I am going to talk a little
about color in your photograph.
| | 00:03 | Now, for the most part, your camera does a
great job of capturing what we say accurate
| | 00:09 | color, color that looks very much in the picture
the way it look to our eyes when we took the shot.
| | 00:15 | There are instances, however, when it gets
fooled a little bit, and we're looking at one of
| | 00:19 | those instances right now,
shots taken in open shade.
| | 00:23 | Sometimes portraits under a shady tree, for
example, can be a little cool, a little bluish,
| | 00:30 | and it's nice to warm those up, because it looks
more the way the person looked when we took the photo.
| | 00:36 | Then there are other instances when we just
pushed the wrong button and the color is way off.
| | 00:41 | Regardless of which situation you're
dealing with, the White Balance brick here in our
| | 00:47 | Adjustments Pane can correct that for you.
| | 00:51 | And not only can it correct it
for you, you can do it easily.
| | 00:54 | Thankfully, in Aperture 3.3 we now have an
Auto button, and this button is fantastic.
| | 01:02 | I'm going to show you how it works right now.
| | 01:04 | All you have to do is just check the White
Balance box, and then you go to Auto, click
| | 01:10 | on Auto, and just like that, Aperture reads the photo
and applies a subtle but important color correction.
| | 01:20 | Now, I'm going to go up here to Edit.
We're going to undo.
| | 01:23 | Look at that, see how it's bullish, it's a
little--a little clammy feeling, and then
| | 01:30 | we let Aperture fix it, and now she
kind of comes to life, doesn't she?
| | 01:35 | Now, you also notice if you're paying attention
here that this pop-up menu, we went from Temperature &
| | 01:41 | Tint which is where we were before to skin
tone, that's Aperture doing that automatically.
| | 01:48 | It reads the situation.
| | 01:50 | There is one more in this
pop-up menu, Natural Gray.
| | 01:54 | That's more for landscapes and things like that.
| | 01:57 | For the most part, when you're doing
people pictures, skin tone works the best.
| | 02:02 | Now, after Aperture has done its thing,
if you want to fine tune it a bit, you can.
| | 02:08 | You can make it even warmer or
cool it off a bit just with the slider.
| | 02:15 | But my oh my, what a difference! If you're
just in a situation where the camera misreads
| | 02:21 | it a bit, you can fix it here, or if you push
the wrong button, you can also fix it in the
| | 02:28 | White Balance brick in your Adjustments panel.
| | 02:33 |
| | Collapse this transcript |
| Adjusting exposures| 00:01 | Let's tackle the Exposure brick.
| | 00:03 | This is a great brick, and as I said
earlier, one of the two cornerstones for our
| | 00:08 | image adjustments; the
other being White Balance.
| | 00:11 | So, in the Exposure brick, we have
four sliders: Exposure, Recovery, Black
| | 00:16 | Point, and Brightness.
| | 00:18 | Now as these relate to the
histogram that we discussed before,
| | 00:22 | the Exposure slider deals with the bright tones.
| | 00:25 | So, it's going to be working over here.
| | 00:28 | The Recovery slider allows us to recover
detail that has been lost in the highlights.
| | 00:34 | In other words, if we have really
bright areas where there is no bright
| | 00:38 | detail at all, it's just paper white,
sometimes the Recovery slider can help us
| | 00:43 | pull some detail out of
those very bright areas.
| | 00:46 | The Black Point deals with this
end of the histogram, the dark tones.
| | 00:51 | And then Brightness deals with the
middle of the histogram, those gamma
| | 00:55 | tones, those middle tones.
| | 00:57 | So, let's use these four sliders to
work on a picture, work on this shot right
| | 01:01 | here, and I am going to hit the V key
once. I am going to hit the V key twice.
| | 01:06 | Now this shot is a little underexposed in
this area, at least for my taste, mainly
| | 01:12 | because I think the meter was fooled a
bit by this brighter area behind her, and I
| | 01:19 | didn't compensate for it.
| | 01:21 | So, the first thing that we can do, when
we are working with RAW files, is we have
| | 01:25 | the Auto button available to us.
| | 01:27 | It isn't available for JPEG, but for RAW
files, we can start with the Auto button,
| | 01:32 | and that will give us an auto exposure setting.
| | 01:36 | So, let's see what Aperture does with that.
| | 01:38 | We'll click Auto, and it definitely brightens
things up. And we can see the change right here.
| | 01:43 | We go from 0 to 1.0.
| | 01:46 | Now actually, for my taste,
it's a little too bright.
| | 01:49 | So, just like any Auto adjustment in
Aperture, we can always do a little bit
| | 01:53 | of a manual override, and I am
going to back that off just a hair.
| | 01:58 | Now we do have some lost detail.
| | 02:01 | We are fairly okay here, but there might
be some detail in this highlights areas
| | 02:06 | that we can recover.
| | 02:07 | Let's just take a look.
| | 02:08 | This is a nondestructive edit, of course,
so we are allowed to do a little shopping.
| | 02:13 | So, I am just going to move that Recovery
slider and take a look here. It's very subtle.
| | 02:19 | If you watch this area right here,
you'll see that we are recovering some
| | 02:24 | information, but it's not
information that I really care about.
| | 02:27 | So, in this case, I am not going to
recover any highlights using the slider,
| | 02:32 | because they are highlights
I don't really care about.
| | 02:34 | Now if I didn't have any highlights
right here in this area, if they were blown
| | 02:39 | out, I would feel
differently about that adjustment.
| | 02:43 | Black Point, well, I think I can
increase the Black Point a little bit,
| | 02:47 | in other words, make the
blacks a little blacker.
| | 02:50 | You will notice here that we have a
little gap here on our histogram and
| | 02:54 | another little gap here.
| | 02:55 | So, we are not fully utilizing the black
tones in this image, and a lot of times
| | 03:01 | by increasing the black point, we sort
to give the image a little more punch.
| | 03:05 | Let's see how that works here. Oh yeah!
| | 03:07 | You see. Isn't that nice?
| | 03:09 | Now you can go too far, and then
suddenly you get to way too much black, and
| | 03:15 | actually when the information on the
histogram starts shooting up the side here,
| | 03:20 | that's when you know that you are
losing detail in those dark areas.
| | 03:24 | So, we don't want to do that.
| | 03:25 | We want to back it off, but I like the
little bit of punch that we are adding to
| | 03:30 | this image by moving the Black Point up a bit.
| | 03:33 | So, we are going to go right about there.
| | 03:36 | Now all we have left are the middle tones.
| | 03:38 | And you notice that in this brick, I
am working from top to bottom, these
| | 03:43 | sliders are in this order for that purpose.
| | 03:45 | That's the way that I recommend you
work most of time, work from top to bottom
| | 03:50 | with these four sliders.
| | 03:51 | So, the Brightness adjustment is the
last, and that's going to deal with our
| | 03:55 | middle tones, and middle tones are very much to taste.
| | 03:59 | There we go, right there.
| | 04:02 | That looks quite nice to me.
| | 04:04 | I want to do a before and after.
| | 04:07 | The easiest way to do a before, and
after is just uncheck the Exposure box.
| | 04:12 | We can see what we started with and
then I am going to check the Exposure
| | 04:16 | box again, and we get to see where
we ended. And as you can see, there's a
| | 04:21 | quite a difference here.
| | 04:23 | So, the Exposure brick is a very
Powerful brick, again, highlights, shadows, midtones.
| | 04:30 | And just by moving a few sliders, you
can dramatically improve your image.
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| Enhancing photos| 00:00 | I am going to pick up where
I left off with this image.
| | 00:03 | In the previous movie, we adjusted the
exposure in the Exposure brick, and now we
| | 00:09 | are going to do a little
enhancement in the Enhance brick.
| | 00:13 | Now these changes that we are going
to make in this brick using these four
| | 00:16 | sliders: Contrast, Definition, Saturation,
and Vibrancy - those will be global changes.
| | 00:22 | In other words, they will
affect the whole image at once.
| | 00:26 | Now Enhance, however, is the first
brick going from top to bottom in the
| | 00:30 | Adjustments pane here that has also
has brushing tools available, and in the
| | 00:35 | upcoming movies, I am going to show you
how to use those brushing tools, and that
| | 00:39 | will allow us to work locally also.
| | 00:41 | But for now we are going to stick
with global adjustments in this brick.
| | 00:45 | We'll start with Contrast.
| | 00:48 | The interesting thing about Contrast is
that it pushes our histogram out to the ends.
| | 00:54 | So, it increases both highlights, the
intensity of highlights and shadows at the same time.
| | 01:00 | Now generally speaking, I don't use
the Contrast slider because I prefer to
| | 01:05 | work on those areas individually in
the Exposure brick. But contrast is handy
| | 01:10 | sometimes if you have a very dull
image and you just want to bump it up
| | 01:13 | quickly, it comes in handy.
| | 01:15 | In this case, we are going to leave our
exposure where it is, and we are going to
| | 01:19 | move on to Definition.
| | 01:21 | Definition is interesting in the sense
that what it does is it bumps up contrast
| | 01:27 | and increases sharpness in the midtones.
| | 01:30 | It's almost like it adds clarity to the
shot, like you are wiping away a dirty
| | 01:35 | window or something like that.
| | 01:38 | The thing to keep in mind with
Definition, however, is that a little goes a long ways.
| | 01:42 | If you go too far over, the
image will start to fall apart.
| | 01:45 | So, keep your Definition pointer down
here at the lower end of the scale.
| | 01:50 | I am going to move on to Saturation.
| | 01:53 | Saturation is what I consider
more of an old-school adjustment.
| | 01:58 | It's very heavy-handed.
| | 02:00 | And what I mean by that, when I increase
Saturation, it increases the intensity
| | 02:04 | of colors across the board, and it
doesn't protect the skin tones at all.
| | 02:10 | So, yes, I have increased the saturation
here in the background and the sweater,
| | 02:14 | but look what happens to her skin tones.
| | 02:15 | It's just terrible. They fall apart.
| | 02:18 | So, I tend not use Saturation very much
at all, and I especially don't use it if I
| | 02:23 | have people in the shot.
| | 02:25 | Vibrancy, on the other hand,
is much more intelligent.
| | 02:28 | It will increase the saturation in
colors that aren't as saturated, such as her
| | 02:34 | sweater and the background, but
look; her skin tones stay protected.
| | 02:39 | They are not destructed by using the slider.
| | 02:42 | So, if you want to bump up the color
in the shot, especially in things like
| | 02:46 | clothing and background and you want
to protect those skin tones, then I
| | 02:50 | would use Vibrancy.
| | 02:51 | In fact, I find myself using Vibrancy
more often then not, and I rarely use
| | 02:56 | Saturation these days.
| | 02:58 | So, these four sliders, and
especially these three, are very handy for adding
| | 03:03 | further enhancement to your image after
you've made the basic White Balance and
| | 03:08 | Exposure adjustments.
| | 03:09 | You can check your work by unchecking
the box, and you can see how it looked when
| | 03:14 | we started working on this in the
Enhance brick, and we did just little bit of
| | 03:18 | enhancement. And sometimes a little
bit is exactly what a picture needs.
| | Collapse this transcript |
| Adjusting highlights and shadows| 00:00 | Sometimes when we take pictures in
contrasty situations--this is an example here where
| | 00:06 | we have a very hot highlight--
we lose image information.
| | 00:11 | We can lose information in the highlights
where we don't actually see the detail of
| | 00:16 | the hair here, and we can also lose them in
the shadows in the darker areas of the shot.
| | 00:23 | We have an adjustment, fortunately, called
Highlights & Shadows that allows us to recover some of
| | 00:28 | that lost information, and sometimes
the change can be quite dramatic.
| | 00:34 | But even when it's applied subtly, it
tends to improve the photo just a bit.
| | 00:39 | Let me show you how that works.
| | 00:40 | So, first thing I am going to do is click
on the box Highlights & Shadows, and the main
| | 00:45 | thing that I'm interested in with this photo is
just recovering just a little bit of information
| | 00:50 | here where the sun is very hot on her hair, and
then maybe a little bit in the background here.
| | 00:57 | So, those are highlights, so I'm going to
go over to my Highlights slider, and I just
| | 01:02 | slide it this way right here.
| | 01:05 | You notice that we recover some
of that highlight information.
| | 01:10 | You notice that in her hair mostly, see that?
And a little bit in the background too.
| | 01:16 | And it protects the other tones.
| | 01:19 | You notice the rest of these tones aren't
getting darker, it just tries to recover information
| | 01:25 | in the highlight area.
| | 01:27 | Now, in the shadow area, I think we're fine,
but let me show you how the slider works if
| | 01:32 | I were to move it this way.
See how it opens up to shadows.
| | 01:35 | It's almost like a big fill flash.
| | 01:38 | Now we don't really need any shadow recovery
here, so I'm going to keep it back over here.
| | 01:44 | And then the third slider is the contrast
in the middle tones, and this can make a
| | 01:49 | very big difference also, look at that.
| | 01:53 | So, when you slide it to the left, it takes
the contrast down, makes the image flatter,
| | 01:58 | and you slide it to the
right, it increases contrast.
| | 02:01 | And you want to just find an area that looks
good to the eye and where you're hanging on
| | 02:07 | to as much of the image information as possible.
| | 02:11 | So, there you have it. You have highlights
to recover blown out detail in the bright areas.
| | 02:16 | You have shadows, the Shadow slider helps
you recover information in the dark areas.
| | 02:23 | And then you have middle contrast, and that
helps you adjust, it's like the fine tuning.
| | 02:29 | It's like the final seasoning to get
those middle tones just the way you want.
| | 02:34 |
| | Collapse this transcript |
| Customizing auto adjustments for levels and curves| 00:01 | Aperture gives us some excellent
Auto adjustments that we are going to be
| | 00:04 | talking about, both in Curves and in
Levels, and we also have one in Exposure.
| | 00:10 | But I want to focus on these four right
now, because you can customize the auto
| | 00:16 | adjustments so that it
works for you, for your taste.
| | 00:20 | Let me show you what I mean by that.
| | 00:22 | I'm going to go up to Preferences, and we
are going to go to the Advanced tab. And
| | 00:28 | I think, by default, Aperture usually
has these set around ten or so, something
| | 00:34 | like that, the Black Clip and the White Clip.
| | 00:39 | So, what does that mean?
| | 00:40 | Well, that really affects what
happens when you click these Auto buttons,
| | 00:44 | because the more you move the slider
this way in your Preferences, the more
| | 00:48 | contrast-y your adjustments are going
to be, the harsher it's going to look and
| | 00:53 | I'll give an example.
| | 00:54 | So, let's just move these over so that
they are going to be very contrasting.
| | 00:57 | I'm going to close that.
| | 00:59 | We'll go to Auto Curves. I'll just click
on that and see how the blacks are very
| | 01:05 | black, and the whites are very bright?
| | 01:06 | Now I am going to go back to our Preferences.
| | 01:09 | I am going to move those all the way
back to zero, which is actually more
| | 01:13 | the area that I usually mine in.
| | 01:15 | Your mileage will vary.
| | 01:16 | Set them to what looks good to you.
| | 01:19 | Now we are going to this Auto
adjustment again, back in Curves.
| | 01:23 | And you see that it's much flatter.
| | 01:25 | So, you use these settings in the
Advanced tab, in Preferences, to configure,
| | 01:32 | essentially, your Auto adjustments,
your threshold is really what you are setting
| | 01:36 | for both the Curves and
the Levels Auto adjustments.
| | 01:39 | Get them exactly the way that you want so
that when you hit Auto, it really is auto.
| | 01:44 | In other words, one click and you has
something that's pretty darn close to
| | 01:48 | what you want.
| | Collapse this transcript |
| Adjusting tonality with the Levels tool| 00:00 | Like so many other things in
Aperture, there is more than one way to do
| | 00:05 | something. And that really true as we
are sitting here looking at the Levels
| | 00:10 | brick in our Adjustments pane,
| | 00:13 | because once again, we are going to be
dealing with tonality. And we have been
| | 00:19 | able to play with tone up here in the
Exposure brick, even some in the Enhance
| | 00:23 | brick with the Contrast slider,
Highlights and Shadows definitely talking about
| | 00:28 | tone, but Levels is a Tonal Adjustment
tool that's been around for a long time.
| | 00:34 | In fact, many people used it in Photoshop.
| | 00:37 | So, let's take a look at Aperture's
Version of Levels, and I'll tell you it's a
| | 00:41 | very interesting one.
| | 00:43 | The first thing that you'll notice up
here at top is that we have two Auto buttons.
| | 00:50 | Now this is Auto Combined, this one
here, and this is Auto Separate, and they are
| | 00:57 | both effective. And I think they are
both a great place to start when you are
| | 01:01 | making Levels adjustments.
| | 01:03 | So, let's take a look at this image here.
| | 01:05 | I am going to hit the V key
twice to bring up this image.
| | 01:09 | It's a good start, but it
definitely could benefit from some
| | 01:12 | Exposure adjustments.
| | 01:15 | Now if you want to use Auto Combined,
what you do is you set your channel to
| | 01:19 | Luminance/ And what's going happen here
is that Aperture is just going to look
| | 01:24 | at the overall tonality of the
shot and make a Levels adjustment.
| | 01:30 | So, you set the channel to Luminance, and then
you click the Auto button, and there it goes.
| | 01:37 | And you'll see that we have the
Luminance display here, and that it's moved in the
| | 01:41 | highlights a little bit.
| | 01:43 | So, it's increased the highlights.
| | 01:44 | It's made a Shadows adjustment, didn't
do a whole lot in the middle, so it
| | 01:49 | mainly worked on the end.
| | 01:51 | Now as you know, photographs are really
comprised of three channels: red, green
| | 01:57 | and Blue. And if we look at the
separate channels after this adjustment, you'll
| | 02:03 | see that nothing really
happened to the individual channels.
| | 02:07 | They are all kind of set where they
begin, and that's because this Auto
| | 02:12 | adjustment isn't that type of
adjustment where it works on the channel level.
| | 02:17 | It's looking at the overall
tonality of the shot and going from there.
| | 02:22 | Now once you start with this Auto
adjustment, you can fine-tune yourself by
| | 02:28 | moving the individual - this is the mid
tones and the shadows - to get it exactly
| | 02:36 | the way that you want.
| | 02:37 | So, that's a very easy way to work and
it's one that I like a lot, but I want to
| | 02:42 | show you also Auto Separate,
which is this other button.
| | 02:47 | So, we are going to reset, so I am
going to click the Reset button so we go
| | 02:50 | back to the beginning.
| | 02:52 | Now what Auto Separate does is that it
makes an adjustment at each channel level.
| | 02:58 | So, it will make a Levels adjustment at
the red level, at the green level and
| | 03:03 | in the Blue channel.
| | 03:05 | So, the way that you set this up is you
change your channel to RGB, and then you
| | 03:10 | hit the Auto button, and it makes an adjustment.
| | 03:14 | Now a lot times, I have to tell you,
I like this adjustment better.
| | 03:18 | I think it's a little bit smarter,
and it brings it up to the red channel.
| | 03:22 | So, you can see, unlike when we did the
Luminance adjustment - these were over here
| | 03:26 | on the red channel - in this case,
Aperture is looking at each channel and making
| | 03:31 | a Levels adjustment, and you can see
that as you flip through this channels.
| | 03:35 | Now a lot of times what I'll do is
I'll use a little bit of both worlds.
| | 03:40 | I will go ahead and use Auto Separate
and then to fine-tune the image, I'll go
| | 03:45 | back to Luminance where I am just
looking at the overall tonality and just do a
| | 03:50 | little bit of fine-tuning from there and
come away, actually, with a pretty nice
| | 03:55 | adjustment, pretty fast.
| | 03:58 | And you can see that by - here's what
we started with, and here's what basically
| | 04:04 | those Auto buttons did.
| | 04:05 | So, Auto Combined and Auto Separate.
| | 04:09 | Now I want to show you just one more tool
built in to this brick, so I am going to reset.
| | 04:15 | And I'll show you Quarter Tones, which
is this little button up here, and you
| | 04:20 | see that when we click on that
we get a couple more controls.
| | 04:25 | Now the way that Quarter Tones works,
this is more if you want to just adjust
| | 04:29 | manually without using the Auto buttons.
| | 04:32 | The top Quarter Tones thing here,
this adjusts the overall shadow area.
| | 04:38 | So, you just kind of do it to what looks good.
| | 04:42 | This adjusts the overall
highlights area, so we can do that there.
| | 04:48 | And then, of course, your mid tones right here.
| | 04:50 | So, use those three sliders to get the
image the way that you want, and then you
| | 04:54 | can fine-tune those adjustments down here,
and you can really just have a lot of
| | 05:00 | fun fine tuning those basic adjustments.
| | 05:03 | So, really what Quarter Tones does, it's
like on a hand radio where you have the
| | 05:07 | big knob for tuning the major channels
and then you have that little fine tuning
| | 05:11 | knob that really kind of zero in or on them.
| | 05:14 | That's what this does also.
| | 05:16 | So, that's the Quarter Tones.
| | 05:18 | I think it's more for people who really
enjoy playing with these sort of adjustments.
| | 05:22 | I am going to go ahead and
reset and get rid of that.
| | 05:25 | But I think for most folks the best
workflow is go to RGB, use Auto Separate, go
| | 05:32 | back to Luminance and just fine-tune
and you can see how quickly you can make
| | 05:37 | that adjustment and look
what the difference it makes.
| | 05:40 | So, that is the Levels brick in Aperture 3.
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| Adjusting colors| 00:01 | Once you have your tonal adjustments
and your overall white balance adjustments
| | 00:06 | under Control, then you can start
looking at specific colors in the shot itself
| | 00:11 | and see if you want to make any changes there.
| | 00:14 | We're going to play a little
bit with the color in this shot.
| | 00:17 | I'm going to play a little bit with the
color of this wood and maybe the greens here.
| | 00:22 | This is another brick here in the Color
Brick that also has brushing tools, and
| | 00:27 | the one that the brushing tool
has really lent itself toward.
| | 00:31 | So, we'll make sure that we revisit
this brick when we talk about brushing.
| | 00:35 | But for now, we're going to make
more or less global adjustments.
| | 00:39 | In other words, we'll work on
specific colors across the board.
| | 00:44 | So, how does this work?
| | 00:45 | Well in the Color Brick, you have Hue,
Saturation and Luminance, and then
| | 00:51 | you also have Range.
| | 00:53 | Well, the first three are related in
the sense that the Hue is the actual color
| | 00:58 | quality of a particular color.
| | 01:00 | For instance, you could say that this
red down here maybe has a little bit of
| | 01:04 | bluish hue also, and so that you can move that
one way or the other, which we're going to do.
| | 01:09 | Then Saturation, of course,
is the intensity of that Hue.
| | 01:13 | How much of that hue is in there?
| | 01:16 | Then the Luminance is the
brightness of that particular color.
| | 01:20 | That's dark and light.
| | 01:22 | Now the way that Range works is that let's
say we sample this color right here, this bark.
| | 01:29 | If you have the Range set to wide, then
all the colors that are sort of related
| | 01:34 | on both sides of that color will be affected.
| | 01:37 | If you have the Range set narrow, then
our changes will mainly be limited just
| | 01:43 | to that kind of specific
color itself that we sampled.
| | 01:46 | So, if you want some spillover, so to
speak, on your adjustments, then you would
| | 01:51 | have your Range slider set this way.
| | 01:53 | Then we have a Dropper tool that
allows us to sample particular colors.
| | 01:58 | Now in the beginning, when we first had
the Color Brick in Aperture, we basically
| | 02:02 | just had these basic colors, and we
would choose the one that came closest to
| | 02:07 | what we wanted to do.
| | 02:09 | So, for instance, if we wanted to work on
this bark, we would choose the red here
| | 02:15 | and start sliding away.
| | 02:17 | Hopefully, it would make
the changes that we wanted.
| | 02:21 | Now we can set the red, go to the
Dropper tool, and actually sample some of that
| | 02:26 | because obviously, there
are some red and some oranges.
| | 02:29 | There are all sorts of things in here.
| | 02:32 | Actually, the icon here
changed to something more orangish.
| | 02:36 | So, it wasn't really a red anyway.
| | 02:38 | It was more of an orange.
| | 02:41 | So, if I want to adjust the hue, now
that I sampled that, now that I've clicked
| | 02:45 | on it, I just move the Hue slider.
| | 02:47 | I can make it more yellowish-
greeny, or I can make it purply-magenta.
| | 02:51 | I'm going to go just a little bit this way.
| | 02:53 | I'm not going to mess with the Hue too much,
because that's not really what I'm after.
| | 02:57 | What I really want to do is
increase the Saturation of that.
| | 03:01 | By moving the slider, you'll see that
the Saturation changes on the wood here
| | 03:06 | and it changes on the related colors, but
not really affecting the rest of the photo.
| | 03:12 | If I feel like I'm getting a little too
much spillover, I might have a chance of
| | 03:18 | narrowing that by taking the Range and
moving it back, and that does have some
| | 03:23 | effect on this up here.
| | 03:25 | So, for this particular adjustment, I'm
going to narrow the Range a little bit,
| | 03:29 | because I want it
primarily to happen on the wood.
| | 03:32 | So, we'll increase saturation a little bit more.
| | 03:35 | Then if I want to make it darker or lighter,
of course, I can move the Luminance slider.
| | 03:42 | I think right in there is about what I want.
| | 03:46 | We can always check our work by
clicking and un-clicking the box.
| | 03:50 | So, we have made a change to the wood.
| | 03:52 | Let's go ahead and work on
the greens a little bit also.
| | 03:55 | I'll click on the green here.
| | 03:57 | I'm going to go ahead and sample some of this.
| | 04:01 | Again, our greens also
have a lot of yellow in them.
| | 04:04 | By the way, when you do want to adjust
foliage, a lot of times, yellow is the
| | 04:09 | thing that will have the biggest effect on it.
| | 04:12 | So, we can play with the Hue a little bit.
| | 04:14 | I want it a little greenier
and a little less yellow.
| | 04:17 | So, I'm actually going to
change the Hue a bit this way.
| | 04:21 | I'm going to increase
that Saturation just a bit.
| | 04:24 | I want to lighten it up just a hair,
maybe so it's something like that.
| | 04:27 | Now I could make it very dark too
if I wanted something more dramatic.
| | 04:31 | Actually, we'll go somewhere in there.
| | 04:35 | I think the Range is fine.
| | 04:36 | It's pretty much adjusting what I want.
| | 04:39 | So, these are somewhat subtle changes,
but it's nice to be able to work just on
| | 04:43 | particular areas of the photograph.
| | 04:46 | As you see when we uncheck the
Color Box, it does make a difference.
| | 04:51 | You could go for a more
exaggerated difference if you wanted.
| | 04:55 | But a lot of times the best adjustments
are the ones that are more fine-tuning
| | 05:00 | as opposed to really being
heavy-handed with the sliders.
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| Converting color pictures to black and white| 00:00 | So, we're going to talk a little
bit about Black & White right now.
| | 00:04 | A lot of times I like to do black and
whites of portraits and landscapes, in
| | 00:10 | part just to see how they look, but
sometimes I like the Black & White version
| | 00:13 | better than the Color.
| | 00:15 | I've played with this image a little bit.
| | 00:18 | I have a color version that I like, but I want
to see how it's going to work in Black & White.
| | 00:23 | So, what I'm going to do, my
workflow here is fairly simple.
| | 00:27 | I'm going to right-click on the image
and get our contextual menu, and I'm going
| | 00:32 | to duplicate the version, so
that we have two versions now.
| | 00:37 | To check what we've done, we'll go right here.
| | 00:41 | There is our original.
| | 00:43 | It's actually calling it Version 3.
| | 00:47 | It's doing that to torment me, really what I
want to do that was change that to Black & White.
| | 00:56 | Okay. So, we have 764 Black & White right
here, and then we just have our regular 764
| | 01:03 | right here, and then this is a
different shot. So, we're all set.
| | 01:06 | So, even though I've called it Black
& White, it's not Black & White yet.
| | 01:10 | That's the next thing we're going to do.
| | 01:11 | So, I'm going to go over to Adjustments,
then I'm also going to hit the V key
| | 01:17 | here and to bring that up,
I hit the V key twice.
| | 01:21 | Now, Black & White, by default, won't
be in our Adjustments pane, but the way
| | 01:28 | that we added is we just go to the
Adjustments pop-up menu, and Black & White
| | 01:33 | is in this menu here.
| | 01:35 | So, all you have to do is go down to
Black & White right here. Click on that.
| | 01:41 | Now we've added that brick to this pane.
| | 01:45 | That brick will be here every time we
come back to this image, but it won't be
| | 01:50 | part of the default set.
| | 01:52 | Now if you want to make it part of the
default set, if you do a lot of Black &
| | 01:55 | White work, you can just go to the
Gear menu, and you can say Add to default
| | 02:00 | set, and it will always be there, going forward.
| | 02:03 | But we're not going to do
that right now. So, here we go.
| | 02:06 | We have an automatic conversion to
Black & White, and we have three sliders:
| | 02:10 | red, green and blue.
| | 02:12 | You can play with these sliders a little
bit to adjust the effect of the Black & White.
| | 02:18 | So, for instance, I'm going to use the
red slider to sort of lighten up some
| | 02:23 | of those tones a bit.
| | 02:24 | The green, I usually don't do a whole
lot with the green, and this is going to
| | 02:28 | be the case once again.
| | 02:30 | And then the Blue slider does affect the sky.
| | 02:33 | So, I'm going to bring that down just
a little bit and add a little drama.
| | 02:38 | Now I'm also going to
show you a little tip here.
| | 02:41 | You can fine-tune your Black &
White Adjustments by going back and
| | 02:47 | enabling White Balance.
| | 02:48 | I'm using the Temperature
slider and watch what happens.
| | 02:53 | See how I get to do some fine-tuning
on my Black & White conversion with the
| | 02:58 | Temperature slider, because
this is still an RGB image.
| | 03:02 | It's still a red, green,
blue image. So, there we go.
| | 03:06 | Now I have something that I
like, at least on first brush.
| | 03:11 | I'm going to hit the V key again.
| | 03:14 | Now, I have my Black & White version and
my Color version right there side by side.
| | 03:20 | If I want, I can even highlight them
both and include them in the stack.
| | 03:26 | That way I can have the Black & White
version on top if I want, or if I want I
| | 03:31 | can go back to Stacks, and I can make
the Color version the Pick, knowing that
| | 03:37 | when I open up the Stack I have
the Black & White underneath it.
| | 03:41 | Now, Aperture 3 has added more Black &
White goodness, and we're going to talk
| | 03:46 | about that when we get to Presets.
| | 03:48 | But I'll just give you a little
bit of a preview right now that under
| | 03:52 | Presets you'll also see Black & White, and it
actually has the actual Black & White filters.
| | 03:58 | Those of you that did Black & White
photography in the film days will recognize this.
| | 04:03 | I will show you more about
that when we talk about Presets.
| | 04:06 | For now, you have the Black & White
brick right here in Aperture, and it is a
| | 04:12 | pretty good way to go.
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| Sharpening edges| 00:00 | We're going to talk a little bit
about edge sharpening right now, which is
| | 00:04 | another of the bricks in the
Adjustment pane available to you in Aperture.
| | 00:10 | Edge Sharpening is very interesting.
| | 00:12 | Basically, what it does is it restores
the illusion of sharpness that's sometimes
| | 00:18 | lost in the whole digital imaging process.
| | 00:22 | I want to show you how
this tool works in Aperture.
| | 00:25 | So, first thing we're going to do,
why don't we go to full-screen mode?
| | 00:29 | We've been working a lot in some
other previous adjustments in the
| | 00:32 | regular Aperture interface.
| | 00:34 | But now I want to work in full-screen
mode too, and we'll go back and forth, so
| | 00:38 | you can get a feel for both environments.
| | 00:40 | So, I'm going to work on this image right here.
| | 00:42 | I'm going to hit the F key, and that
brings this into our Full-Screen mode.
| | 00:48 | Then I'm going to hit the
V key, and that opens it up.
| | 00:51 | So, now we have this lovely shot in front of us.
| | 00:54 | The reason why I chose this is I
thought that this area here might illustrate
| | 00:59 | the differences in sharpening quite well.
| | 01:01 | So, let's see how that works.
| | 01:04 | Now I'm going to hit the H key, and that
brings up our heads up display, our Inspector.
| | 01:10 | This is very much like the Inspector
that we worked with in the other mode,
| | 01:15 | except it's a little bit prettier.
| | 01:18 | But the functionality is almost the same.
| | 01:21 | I want to do edge sharpening.
| | 01:22 | Well, that is not one of
the default bricks here.
| | 01:26 | So, I'll go up to Adjustments, and
we'll go down here to Edge Sharpen.
| | 01:31 | We will add that brick to our image.
| | 01:35 | I think to really get a
good look at what we're doing,
| | 01:38 | let's go ahead and just zoom in on an area.
| | 01:42 | We'll zoom in right here.
| | 01:44 | So, I'm going to hit the Z key,
and that will bring us up to 100%.
| | 01:49 | So, I mentioned earlier that Edge Sharpen
really creates the illusion of sharpness.
| | 01:54 | The way that it does that, it
actually increases the contrast between the
| | 01:59 | brights and the darks right at the edge.
| | 02:03 | The Edge Sharpen brick in Aperture
actually does that in three passes.
| | 02:08 | So, it's a very sophisticated tool.
| | 02:11 | Now, the idea about Edge Sharpen is -
and the reason why I like it as a tool -
| | 02:15 | it does a good job of working with the
contrast at the edges, but it doesn't
| | 02:20 | really mess with continuous tones that much.
| | 02:23 | So, unlike some other sharpening
filters, you can add sharpening to your
| | 02:27 | image and not increase image noise in the
solid areas, such as sky or in the shadow areas.
| | 02:34 | It's very sophisticated.
| | 02:36 | Now it has three sliders here.
| | 02:38 | So, the Intensity slider is really the
amount of sharpening that's being applied.
| | 02:45 | That's pretty straightforward.
| | 02:46 | So, the more that you slide that, the
more sharpening that's being applied.
| | 02:50 | You move that back and
you can see there is less.
| | 02:54 | If you watch this area here, you can
see the difference between basically no
| | 02:58 | Intensity and then moving that up here.
| | 03:01 | If you really pay attention, you
can see that really what it's doing is
| | 03:04 | increasing the contrast in this area.
| | 03:07 | This is more contrasty now than it was here.
| | 03:11 | That's where that
illusion of sharpness comes from.
| | 03:14 | So, we'll move that back up to here.
| | 03:16 | Now the edges are exactly that.
| | 03:18 | This is working with the
contrast at the edge of the image.
| | 03:23 | So, as I move it, you can see that
we're getting more and more contrast.
| | 03:27 | So, I move it back, and we have less contrast.
| | 03:31 | So, we move it up. We have sort
of a very contrasty appearance.
| | 03:35 | Now, Falloff is a very interesting slider.
| | 03:38 | I mentioned, at the top of this, that Edge
Sharpen actually sharpens in three passes.
| | 03:45 | The first pass does the bulk of the
sharpening, but then there are two more
| | 03:49 | passes, and that's what Falloff controls.
| | 03:53 | So, Falloff controls the effect of that
second and that third sharpening pass.
| | 03:59 | So, you can actually move the
Falloff slider to control that.
| | 04:04 | So, if you want more of those second and
third passes, you move the Falloff over
| | 04:09 | to the right, and if you want to go
primarily with the first pass, then you move
| | 04:15 | the Falloff to the left.
| | 04:17 | So, I think that it's a
refinement, if anything else.
| | 04:21 | So, for instance, we move Falloff all
the way back, and we're looking mainly at
| | 04:25 | the first sharpening pass here.
| | 04:27 | I like the first sharpening pass,
and I think it looks pretty good.
| | 04:31 | Then if I bring the Falloff up too much
from those other sharpening passes, then
| | 04:36 | suddenly I think we're starting to get
this over-digital kind of phony look.
| | 04:41 | So, a lot of times I'll have my Falloff
more down here and maybe have these set
| | 04:48 | a little bit higher.
| | 04:49 | Now, I'm exaggerating right now onscreen,
because I want you to be able to see this effect.
| | 04:55 | But normally my settings would be
something probably more like this.
| | 05:01 | Now let's turn Edge Sharpening off and on.
| | 05:04 | Hopefully, you'll be able to see a difference.
| | 05:06 | I can see difference right now as I work.
| | 05:09 | Then if we exaggerate everything, you'll
definitely be able to see a difference.
| | 05:13 | There is off, and there is on.
| | 05:16 | Notice how that contrast really increases,
and that's really the magic of Edge Sharpening.
| | 05:22 | Now we're looking at this
at a high magnification.
| | 05:25 | Normally, you would not be looking at your
image this way, or it'd be just like gianormous.
| | 05:30 | So, I'm going to go ahead and hit
the Z key now that we've made our
| | 05:34 | adjustments and move back.
| | 05:36 | And now we have a more natural
looking view of this edge sharpening.
| | 05:41 | So, basically what it does is it
increases contrast at the edges, and that
| | 05:46 | creates the illusion of sharpening, and
you have three sliders here to control
| | 05:51 | the intensity of that effect.
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| Using the Vignette effect| 00:00 | I want to talk a little bit about the
Vignette control that we have in Aperture
| | 00:05 | 3. And I would consider this a creative
adjustment, but it's one that comes in
| | 00:10 | very handy, especially for portraits.
| | 00:12 | So, let me show how this works.
| | 00:14 | We are going to work with
Bonnie on this one here.
| | 00:17 | So, we'll go to full-screen mode with
Bonnie, and I think I am going to - yeah,
| | 00:21 | we'll pick this shot here.
| | 00:22 | So, I'll just hit the V key, and that
brings me into a nice, Full-screen view of
| | 00:28 | this shot. And then I am going to hit the H
key. That will bring up our heads up display.
| | 00:34 | Now the Vignette brick is not part of
the default adjustment set, so we have to
| | 00:40 | go through the Adjustments pop-up
window, and we'll go all the way down here to
| | 00:43 | Vignette, and we will add it.
| | 00:45 | Well I think the easiest way to
explain Vignette is to actually show you, and
| | 00:51 | then we will fine-tune it a little bit.
| | 00:53 | So, what Vignette does is it actually
darkens the corners of the image and
| | 00:59 | you can control both the Radius of that and the
Intensity of the darkness with these two sliders.
| | 01:09 | What it does is, of course, it focuses
the eye on whatever the subject is that's
| | 01:14 | more in the center of the frame, and it
sort of eliminates the distraction that
| | 01:19 | can be here on the corners.
| | 01:21 | So, if we turn vignette off and on, you
can see what a difference this makes.
| | 01:26 | It's really quite noticeable.
| | 01:29 | So, fine-tuning this Vignette, we actually have
two types. We have the Gamma and the Exposure.
| | 01:36 | The Exposure version is more subtle,
and a lot of times I just have to say it's
| | 01:42 | a little too subtle for me.
| | 01:44 | When I want to do some vignetting I
want something a little stronger than this.
| | 01:48 | So, I usually find myself going to the
Gamma version, which has a little bit more
| | 01:53 | punch, a little bit more contrast.
| | 01:55 | And then generally speaking, what I'll do
is I'll sort of adjust the Radius first.
| | 02:00 | Now there's really a
couple ways to look at this.
| | 02:03 | A lot of times on the Radius, the
thinking can be "I'll just bring it up to where
| | 02:06 | it isn't really noticeable," and that
would be noticeable to the person looking at
| | 02:11 | the photo, not thinking, "Wow!
| | 02:13 | I wonder if he put a Vignette on there?"
| | 02:15 | So, that would be one type, and the
other type is then where you really want to
| | 02:18 | add some drama and, of course,
people would figure out, wow!
| | 02:20 | Those corners are really dark.
| | 02:22 | So, a lot of times what I do is I
just bring it into where it just becomes
| | 02:27 | noticeable on the Radius. And then on
the Intensity, if I am going to use
| | 02:32 | Vignette, then I don't want
to pretend it isn't there.
| | 02:35 | So, I'll bring in the Intensity enough so
that it really creates a nice, strong effect.
| | 02:40 | This is a feathered effect so it's darker in
the corner, and then it feathers as it comes out.
| | 02:45 | But look at the difference
that it makes on this shot.
| | 02:48 | It really will bring your eye right
to the center of that shot, and you are
| | 02:52 | looking right at Bonnie now, and you are
not being distracted by what's happening
| | 02:56 | on the edges of the photo. I like it a lot.
| | 02:59 | I think it gives a little saturation to
the background, and I think overall, on
| | 03:03 | a lot of shots, it's one of those magic
things that you can do to improve your
| | 03:07 | photograph.
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|
|
7. Making Additional Image AdjustmentsCropping images| 00:02 | The Cropping tool is one of the things
that I used to do in the early days of
| | 00:06 | Aperture to demonstrate that
Aperture was a nondestructive Image Editor,
| | 00:11 | because when you do Crop, in other
words, when you select an area out of your
| | 00:16 | image and hang onto it, it doesn't
throw away the rest of the image.
| | 00:20 | So, it's always sort of a
dramatic kind of demonstration.
| | 00:24 | And to show you what I mean by that,
this image has been cropped here,
| | 00:27 | this image of Bonnie.
| | 00:28 | And our Cropping tool is right
here, and it's also just the C key.
| | 00:33 | Look what happens when I click on that.
| | 00:35 | Now I cropped this image long time ago.
There is the area that I Cropped, and
| | 00:41 | then, of course, here's
the rest of the information.
| | 00:43 | But it hasn't been thrown
away. It's still there.
| | 00:46 | So, if I wanted to change my mind
later on, I can always do that.
| | 00:49 | I can always recrop.
| | 00:51 | So, now that you have seen that, let's go
to full-screen mode, and let's play with
| | 00:54 | this tool a little bit.
| | 00:56 | So, I am just going to go full-
screen mode. I hit the F key to do that.
| | 01:01 | And then I'm going to bring up the heads-up
display, because we already have Crop Enabled.
| | 01:07 | By the way, when you're in full-screen
mode, if you just bring your mouse up
| | 01:11 | here, the Cropping tool is up here,
but I have to tell you, this is one of
| | 01:14 | those tools, if you just remember C. So, I
just hit the C key to bring up the Cropping tool.
| | 01:20 | And when you do that, you get this
other little heads up display, here.
| | 01:25 | And you have some choices.
| | 01:27 | You have Do Not Constrain.
| | 01:29 | You have the Master Aspect Ratio, the Display
Aspect Ratio, and then some Preset sizes here.
| | 01:37 | Now why do they do that?
| | 01:38 | Well, I'll tell you the
main reason why they do that.
| | 01:41 | Because one of the complaints that
people have when they send their photos
| | 01:46 | out to be printed, they'll maybe Crop
their image, and they'll do something like that.
| | 01:51 | Go ahead, and just hit
Return here, and so you have that.
| | 01:54 | And then you send this picture off to
Costco or somewhere to be printed, on 4x6 paper.
| | 02:00 | And it comes back, and it
doesn't fit right on the paper.
| | 02:03 | So, Costco has done something with it,
like that, and they go, "Well, those guys
| | 02:08 | do a terrible job of printing."
| | 02:10 | Well, I have to tell you, it's
not really Costco's fault here.
| | 02:14 | And that's why we have this Constrain.
| | 02:16 | I am going to hit the C key
again to bring us back to Crop.
| | 02:20 | So, for instance, if I knew I was going
to send my image out to get 4x6 prints,
| | 02:25 | then when I Crop the image, I
would choose the 4x6 Constraint.
| | 02:30 | Now what that does is that when I move
this, it stays proportional to 4x6 paper.
| | 02:36 | That way I can make the decision
that I want to make this Cropping.
| | 02:40 | So, we will just set it up something like that.
| | 02:43 | And I'll hit the Return key, and we're
cropped, and then I know that when I get
| | 02:48 | this print back from Costco, it
will fit perfectly on the paper.
| | 02:52 | And it will look exactly the
way it looks here on my screen.
| | 02:55 | And that's why Apple has
included that Constrain function.
| | 03:00 | I hit the 'C' key again
to bring us back to Crop.
| | 03:03 | Now your Master Aspect Ratio,
that's which your camera captured it at.
| | 03:08 | So, for instance, if you are shooting with
a micro 4.3rds camera, that will be 4x3.
| | 03:14 | If you're shooting with a digital SLR,
like a Canon or Nikon, so it will
| | 03:19 | probably be more like 2x3, whatever
that Aspect Ratio is of your camera.
| | 03:23 | If you want to maintain that, then you
can choose this, and a lot of times this
| | 03:27 | will come up as the
default when you are Cropping.
| | 03:30 | And then, of course, you display, your
monitor that you're looking at, that also
| | 03:34 | has an Aspect Ratio.
| | 03:35 | So, if you're cropping for a full-screen
slideshow or something, you may want to choose that.
| | 03:40 | Then you have all of these other Presets, for
instance, 5x7, if you are going to do 5x7 print.
| | 03:46 | And you can even do Custom, where
you set the dimensions yourself, the
| | 03:50 | proportions yourself.
| | 03:52 | And if you want a flip them, you just do
this little arrow here, sort of a little flippy arrow.
| | 03:57 | And, of course, you also get the
resulting size after you do the Crops.
| | 04:01 | For instance, if I allow more image
area, then my Megapixel Size goes up.
| | 04:06 | It's a bigger file.
| | 04:07 | The one thing to remember that's most
important is that no matter what you do
| | 04:12 | in Aperture, after you hit the
Return key and after you have Cropped your
| | 04:17 | image, at any time you can go back and
change your mind, just by choosing Crop
| | 04:22 | again, up here at the top,
| | 04:24 | or by hitting the 'C' key. And
then you're right back to where we
| | 04:28 | started working on this.
| | 04:30 | And you can have all sorts of fun
and be as capricious as you want when
| | 04:35 | choosing the dimensions for your photograph.
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| Retouching blemishes| 00:00 | The Retouch Brick is one of those fun
bricks that really make you feel like
| | 00:04 | you're a photographer getting away with
something, because you get to actually
| | 00:08 | eliminate parts of the image that you don't
like, and how fun is that? Let's do that.
| | 00:14 | Let's actually do a little retouching right
now where we don't have to go to Photoshop.
| | 00:18 | We can do it right here in Aperture.
| | 00:20 | We can just stay home and fix a few flaws.
| | 00:24 | So, I'm going to go to full-screen mode.
| | 00:26 | I mean hit the F key, so
we are in full-screen mode.
| | 00:29 | And there are a couple little
things here that I'd like the fix.
| | 00:32 | So, we've got this little wild hair
situation here. I don't really want to retain that.
| | 00:37 | These don't bother me as much,
but I want to get rid of that.
| | 00:40 | And then we have a blemish over
here that I would like to take care of.
| | 00:45 | So, this is perfect for our
little retouching exercise.
| | 00:49 | So, I am going to hit the H key, and we
are going to bring up our inspector here.
| | 00:53 | Of course, Retouch isn't a part of the
default set, so we are going to have to add it.
| | 00:59 | And it's right here on top, and of
course, we get this additional little
| | 01:03 | heads up display here.
| | 01:05 | Now we have two types of retouching available
| | 01:08 | to us. We have Repair, and that's
essentially where Aperture looks at the
| | 01:12 | information around the flaw, and it
pulls from it and basically creates a fix
| | 01:18 | for us automatically.
| | 01:20 | And then we have Cloning, where
we actually choose the source.
| | 01:24 | What do we want to use as
a source for the Repair.
| | 01:27 | So, we're going to do both here.
| | 01:29 | I think the best thing to do--
and this is what I often do so.
| | 01:32 | Usually we will zoom in a little
bit when I am going to make a Repair.
| | 01:35 | So, I am just going to put the cursor
where I want to work, and I am going to hit
| | 01:39 | the Z key, to zoom in.
| | 01:40 | And if I want to Reposition things a
bit, I just will hold down the Spacebar
| | 01:45 | here, and click and drag. There we go.
Now we are in Position to do some work.
| | 01:51 | So, let's get rid of this.
| | 01:53 | And so we used Repair tool, and for our
first step, we are going to let Aperture
| | 01:58 | automatically choose the source.
| | 02:00 | Now a lot of times Aperture
will do a good job with this.
| | 02:03 | Especially for picking something where
everything around it is a likely source.
| | 02:09 | Let's see how it does when we
go up against the sweater here.
| | 02:13 | And I do have the Detect edges box checked.
| | 02:17 | And that's nice because that tells
Aperture, "Hey, when you get to the edge,
| | 02:21 | probably stop doing the Repair."
| | 02:23 | It's kind of a handy little thing.
| | 02:25 | So, now I will maybe decrease
my Radius just a little bit.
| | 02:30 | And you do that with this little
slider, right up here at the top.
| | 02:34 | And the Softness - that has to do -
and you can see how things changed.
| | 02:39 | That little dash line is the actual Repair,
and then we have another circle out there.
| | 02:43 | So, the more Softness you have, the
more feathering that takes place.
| | 02:47 | So, a little bit of Softness is
usually a pretty good thing on these.
| | 02:51 | So, we'll have a -- we'll
go with like, 58 on that.
| | 02:55 | Okay, now all we have to do is just draw,
and we'll go right along our flaw there, and
| | 03:00 | then we'll just take it right up to
the edge, and let's see what happens.
| | 03:04 | Well, that could be better, couldn't it?
| | 03:07 | See, on automatically detecting the
source, I believe we actually have some
| | 03:12 | sweater fabric here, and
that's not such a good thing.
| | 03:17 | We don't really want that.
| | 03:18 | What we really want is this
out here to be the source.
| | 03:22 | So, this is going to be one of those
instances where we're going to have to
| | 03:25 | choose a source, because
Aperture just can't quite do it.
| | 03:29 | So, I am going to come over to the
Retouch Brick here, and we can just reset that.
| | 03:34 | So, we come back, now this time,
I'm going to uncheck this box.
| | 03:39 | And so then it tells me, if I Option+Click
in area, then I can choose the Repair source.
| | 03:44 | So, let's just Option+Click, right out here.
| | 03:49 | And now let's do our Repair. We
will go right along there, like that.
| | 03:54 | And that's a much better Repair.
| | 03:56 | A lot of times Aperture will do a
good job on choosing the source,
| | 04:02 | but not alwaysb as we saw here. If it
doesn't, then uncheck this box and choose
| | 04:07 | the source yourself.
| | 04:09 | Let's play with another area here.
| | 04:11 | So, we'll move this around. I am
going to hold down the Spacebar again.
| | 04:15 | And let's get to a few blemishes here.
| | 04:18 | We will start with something simple.
| | 04:19 | Let's say we just wanted
to remove that right here.
| | 04:22 | Well that's a case where I think we can
definitely let Aperture choose the Repair source.
| | 04:28 | Just click there, magically goes away,
same thing here, just click there,
| | 04:33 | magically goes away.
| | 04:34 | I am going to hold down the Spacebar again.
| | 04:37 | We can take a look at
some of these other things.
| | 04:39 | Let's work on this one right here.
| | 04:41 | That's a pretty big blemish.
| | 04:43 | I think we should probably get rid of that.
| | 04:45 | I think we are pretty good right there,
so I am just going to click on that.
| | 04:50 | And Aperture takes care of that for us.
| | 04:53 | So, in that case, I think
Aperture does a very nice job.
| | 04:58 | Let's zoom out again.
| | 05:00 | Well, we still have this little
guy over here. Let's use that.
| | 05:04 | I am going to just put my cursor right
there and hit the Z key, hold down the
| | 05:08 | Spacebar, so we can move.
| | 05:10 | Let's use this for our Cloning example.
| | 05:13 | I'll just click the Clone.
| | 05:15 | Now on Clone you choose the source,
and so what I am going to do is I am going
| | 05:20 | to move my Radius down a little bit.
| | 05:22 | Softness is about fine.
| | 05:24 | So, I am just going to choose this source out
here. I am going to hold down the Option key.
| | 05:28 | We'd go to the cross hairs.
| | 05:29 | I am going to click.
| | 05:31 | I have now selected this area as my
source, and now I can just sort of paint
| | 05:36 | along and do a Cloning change.
| | 05:41 | Well, that didn't do a very good job.
| | 05:43 | I don't really like that.
| | 05:45 | And I think part of the problem is
my Opacity wasn't set all the way.
| | 05:48 | We can actually see some of that through there.
| | 05:51 | So, I want to fix that.
| | 05:53 | So, I could just go ahead and Reset this.
| | 05:56 | But if I Reset this, I am
going to lose my other stuff.
| | 05:59 | So, I am just going to do another
Repair. I'm just going to go ahead and move my
| | 06:03 | Opacity all the way up.
| | 06:05 | Going to move my Radius a little bit up,
going to set my source out here, hold
| | 06:10 | down the Option key, click,
and let's try that again.
| | 06:16 | And you go, "Well, my gosh! I don't know."
| | 06:18 | That's not - this is what
happens with cloning sometimes.
| | 06:22 | I chose a source that wasn't really the
same as the area that I was working on.
| | 06:26 | Maybe I should choose a source
that's more of the same tone.
| | 06:29 | So, we'll try that again. So, we'll just
go down here. This time, Option key. Now
| | 06:34 | let's see if I can do a better job.
| | 06:35 | All right. I think now we are
doing a little bit better, but not much
| | 06:42 | better, right?
| | 06:44 | So, that you go, "Wow, I wonder if I
could fix this with the Repair tool?
| | 06:47 | Can I actually use the Repair
tool to Repair my bad Cloning?"
| | 06:52 | I think it's quite possible,
especially if you choose the source.
| | 06:57 | So, we'll choose the source out here.
| | 07:00 | Now let's see if the
Repair tool can bail us out.
| | 07:05 | There we go. So the Repair tool not only
works for repairing blemishes and so forth.
| | 07:12 | It can Repair your bad work
that you do with the Cloning tool.
| | 07:16 | So, keep that in your back pocket.
I'm going to zoom back out now.
| | 07:20 | So, we've done our work here, and
just like any of the other tools in the
| | 07:24 | Adjustment pane, we can always check what
we did by checking and unchecking the box.
| | 07:30 | And I think for a nice, quick and
dirty job, we did all right here, and that
| | 07:36 | is the Retouch tool.
| | Collapse this transcript |
| Fixing spots| 00:00 | In the previous movie, I showed you the
Retouch tool, which is sort of the modern
| | 00:05 | version of Aperture's Cloning and Spotting.
| | 00:08 | Now, before that, we have
something called Spot & Patch.
| | 00:12 | And it's not as strong a tool, and in
fact, even in the Aperture's manual, they
| | 00:17 | admit that it's in Aperture 3 for
those that used it before, and they want to
| | 00:21 | bring it to forward, so they
don't lose those adjustments.
| | 00:25 | That being said, I'm going to show it to
you quickly here, just so we have a feel
| | 00:29 | for what Spot & Patch is.
| | 00:31 | Let's go to full-screen mode here, and I
am going to zoom in. And we're going to
| | 00:37 | find a spot here on Bonnie's sweater.
| | 00:42 | So, we have a sweater with this pattern here.
| | 00:45 | And this is the probably the one time
that I would say Spot & Patch is the
| | 00:49 | better choice than the Retouch tool.
| | 00:52 | Almost every other situation,
I like the Retouch tool better.
| | 00:55 | So, we're going to hit H for our heads
up display, and we're going to add Spot &
| | 01:01 | Patch to our Adjustments pane here by
going under the Adjustments pop-up menu
| | 01:07 | and choosing Spot & Patch.
And we get two things.
| | 01:10 | We get this little heads up display for
the Radius here, and then we have Spot &
| | 01:15 | Patch with some of the slider controls here.
| | 01:18 | The way that you use it's basically like this.
| | 01:21 | You set the Radius for what you want to fix.
| | 01:24 | In this case, we want to fix
this little spot right here.
| | 01:28 | So, we make the Radius just a little bit bigger.
| | 01:31 | So, we'll make it just slightly bigger,
something like that, and then you click on it.
| | 01:38 | Now, once you click on it, then you
have to choose a source, something that you
| | 01:43 | want to use to fix that.
| | 01:45 | And the way that you choose the source
is you want to kind of line up best you
| | 01:49 | can along the lines of the
texture of what you're correcting.
| | 01:53 | Once you do that, and you hold-down
the Option key, and you click, and now we
| | 01:58 | have a source. This is
going to be used to fix this.
| | 02:03 | Now, one of the cool things that you
have in Spot & Patch that you don't have in
| | 02:08 | the other tools is you have the Angle here.
| | 02:11 | So, we can actually rotate the Angle,
and we can we can help line that up.
| | 02:16 | So, if your angle's a little bit off,
and especially if you have a pattern,
| | 02:19 | you can fine-tune that.
| | 02:21 | And then you can move your source
around also, and you can see the changes that
| | 02:27 | your source will make
depending on where you put.
| | 02:29 | So, we put it right there.
| | 02:31 | That's pretty good.
| | 02:32 | So, now all I have to do is hit the
Return key, and that has done a pretty good
| | 02:38 | job of fixing that flaw, even with
all this texture and these lines.
| | 02:42 | If I need to go back and work on it some
more, I just go back here, click on the Patch.
| | 02:49 | It brings it back, and I can
pick up right where I left off.
| | 02:53 | So, I have just shown you the one way
I would use the Spot & Patch tool. For
| | 02:58 | everything else, I recommend
that you use the Retouch tool.
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| Using Straighten Crop and Flip| 00:00 | We'll combine two tools in this discussion,
mainly because they are both so easy to use.
| | 00:05 | Straighten, and we're actually
going to talk about Flip too.
| | 00:09 | So, we'll have a two-for-one here in this movie.
| | 00:12 | So, let me show you how the
Straightening tool and the Flip tool both work.
| | 00:17 | So, we're going to work
on this image right here.
| | 00:19 | I am just going to hit the V key
for this waterfall in Yosemite.
| | 00:24 | Now you'll notice that I did get the
horizon just a little bit off here, shame on me.
| | 00:32 | And so at the bottom here we have some
of our handy tools. We've already talked
| | 00:38 | about Crop and Quick Brushes.
| | 00:40 | We'll get to Red Eye, but right now
we're going to use the Straighten tool.
| | 00:44 | This is pretty fun.
| | 00:45 | So, let's just go to Straighten tool
and you get this little icon here, and
| | 00:49 | all you have to do is click, and then
just start moving. And you can move
| | 00:54 | your image so that it lines up, and
most of the time you're going to be
| | 01:00 | lining the horizon, or some sort of
horizon line up with the grid. And then
| | 01:06 | you get it the way you want.
| | 01:07 | What's nice about this tool is that
it's really - it straightens, and it crops at
| | 01:11 | the same time, so that when you let go,
you don't have any weird open spaces here,
| | 01:16 | because you've angled the image around.
| | 01:18 | And if you want to make
another change, you can do that.
| | 01:20 | You just go ahead and click on it
again while you're in the Straighten tool,
| | 01:24 | and continue to play.
| | 01:26 | Very straightforward, very easy-to-use, but
very nice when you have a crooked horizon.
| | 01:31 | A simple tool sometimes is the right tool.
| | 01:34 | When you're done with that, just go
ahead and click back to your Pointer.
| | 01:37 | Now, I want to show you Flip too, so
what if you wanted to make the falls coming
| | 01:41 | from the wrong direction?
| | 01:43 | Well, you can do that.
| | 01:45 | You go up to your Adjustment pop-
up window here, and you go to Flip.
| | 01:50 | And you have a couple of different Types.
| | 01:51 | You have the Horizontal Flip, which we just did.
| | 01:55 | Then you have the Vertical Flip, which
would turn it upside down, and then you
| | 01:59 | have Horizontal and Vertical.
| | 02:01 | So, if you want to make the falls coming
from the wrong direction, you can do that.
| | 02:06 | If you want to have them coming from
the right direction, you just choose
| | 02:10 | to unflip your image.
| | 02:13 | And again, it doesn't really
require much more explanation than that,
| | 02:17 | wouldn't you say so?
| | Collapse this transcript |
| Fixing a chromatic aberration| 00:00 | Sometimes, especially under point-and-
shoot cameras, there will be imperfections
| | 00:05 | in the lens that lead to what we call
purple fringing or chromatic aberration.
| | 00:11 | And there is a tool in Aperture now that
allows us to address that if it becomes
| | 00:17 | a problem, if we notice it.
| | 00:19 | So, I want to show you the tool, and
also show you what this flaw looks like.
| | 00:24 | So, I took this shot with a compact camera.
| | 00:26 | And I am just going to go ahead and hit
the V key to open it up, and there is
| | 00:31 | actually some of that fringing right here.
| | 00:34 | Now you might not be able to see it
right now, but if I hit the Z key to zoom on
| | 00:39 | in - see this color is not supposed to be there.
| | 00:42 | See this purple fringing right here?
| | 00:45 | That is a flaw in the lens.
| | 00:47 | When you have a very really bright
area against a very dark area, the light rays
| | 00:50 | always don't quite line up
just right as they hit the sensor.
| | 00:54 | Now fortunately in Aperture, we
have a tool to help us correct that.
| | 00:58 | So, we'll go to Adjustments, and we'll go down
here to Chromatic Aberration, and there we go.
| | 01:04 | There is a couple of varieties.
| | 01:05 | There is the Blue/yellow
variety, and the Red/Cyan variety.
| | 01:09 | We have the garden Red/Cyan
variety right here, very easy.
| | 01:14 | All you have to do now is just move
the slider just a little bit, and you
| | 01:18 | can decrease that so that it goes away,
and then you can check your work by clicking.
| | 01:26 | Look at that.
| | 01:28 | Fixes it nicely, and we are at 100%.
| | 01:30 | You don't have to move the slider to the
point to where you start to compromise things.
| | 01:35 | See, look at this.
| | 01:36 | Now we are getting other
things out of alignment,
| | 01:38 | right. If we do that, see what's
happening over here? Not good.
| | 01:42 | So, you don't want to go to that point.
| | 01:43 | You just want to bring
it down just a little bit.
| | 01:47 | There you go, just something
like that so it isn't noticeable.
| | 01:51 | That's not a bad correction at all.
| | 01:53 | It just downplays it a little bit.
| | 01:55 | Then we can hit the Z key. We come
back out, and we have a nice, clean image.
| | 02:01 | We can shoot with our compacts, and if
the lenses aren't perfect, maybe we can
| | 02:06 | fix them in Aperture using this tool.
| | Collapse this transcript |
| Reducing visual noise| 00:00 | Sometimes when we push the ISO high on
an image, one of the byproducts of doing
| | 00:05 | that is that we get a little bit of image noise.
| | 00:08 | And we have a tool in Aperture
to help us reduce that Noise.
| | 00:12 | It won't get rid of it, but we can
downplay it a little bit, and I want to
| | 00:15 | show you how it works.
| | 00:17 | So, we'll work with this shot right here.
And in the Metadata, as you'll see, it
| | 00:22 | was shot at ISO 1600.
| | 00:25 | So, you can guess that there will
probably be some Noise, especially in the
| | 00:29 | shadow areas of this image.
| | 00:30 | So, let's take a look at it.
| | 00:32 | I'm going to hit the V key here, hit
the V key again, and already we can see
| | 00:38 | some Noise in here, but I'm going to
hit the Z key, so we can zoom on in. And
| | 00:43 | we have especially Chromatic Noise here,
where we have some color artifacts in there.
| | 00:49 | So, what we can do is go to our
Adjustments pop-up window, and go to Noise
| | 00:55 | Reduction, and we basically have two
settings. We have a Radius setting, like in
| | 01:00 | our other corrections, determines the
area from the pixel that's going to be
| | 01:05 | affected, and then Edge Detail.
| | 01:07 | And we're always sort of walking the compromise.
| | 01:10 | If we want to maintain a lot of Edge
Detail, then there is going to be some
| | 01:14 | tradeoff on the amount of reduction that
takes place, so let me show you how that works.
| | 01:18 | So, we'll just watch this area here, and
I'll go ahead and up the Radius all the
| | 01:24 | way, and then we'll pull the Edge
Detail down. And you can see that the image
| | 01:31 | definitely gets softer.
| | 01:32 | Let's turn it off and on.
| | 01:34 | So, the Noise itself is reduced, but
at the same time, we've lost just some
| | 01:41 | overall edge sharpness too.
| | 01:43 | I am going to hold down the Spacebar
and move. So, let's take a look how this is
| | 01:48 | affecting our image.
| | 01:49 | See? If we look at the difference - I mean
when we go to extremes like this, we're
| | 01:54 | losing a lot of detail in our image, and
this might be a case where the Noise is
| | 01:59 | actually better than the loss of detail.
| | 02:01 | But that doesn't mean we
can't find a happy medium here.
| | 02:05 | Let's bring our Edge Detail up, and
bring our Radius down a little bit.
| | 02:11 | Now we might not be getting quite as
much reduction in the Noise, but overall,
| | 02:17 | our picture has been harmed less.
| | 02:20 | Let's turn that off and on.
| | 02:22 | So, here the Noise comes back pretty
strong with it off, but we are getting some
| | 02:28 | reduction in Noise but not at
the sake of the whole picture.
| | 02:32 | And I think that's what you want to
strive for when you work with Noise
| | 02:36 | Reduction. Understand that you are not going
to completely eliminate Noise with this tool.
| | 02:42 | There are other third-party tools out
there that are just dedicated to working
| | 02:48 | on this, so that you can
probably get stronger reduction with.
| | 02:51 | But it does help you downplay a little
bit. Just keep in mind that you don't
| | 02:55 | want to sacrifice the rest of your
image in order to reduce the Noise.
| | 03:00 | So, find that happy medium by working
these two sliders, and see what you can do.
| | Collapse this transcript |
| Making adjustments with the Curves tool| 00:00 | For the longest time, when people
talked about Aperture, especially compared to
| | 00:05 | Photoshop, they go "Yeah, it's
nice, but it doesn't have Curves."
| | 00:10 | There are some people that really
feel that Curves is the best way to make
| | 00:13 | exposure adjustments.
| | 00:15 | And after you look at the Curves
adjustment brick here in Aperture, which is new
| | 00:20 | to Aperture 3, you may agree with them.
| | 00:23 | So, let's take a look.
| | 00:24 | Now the first thing I'm going to tell
you is that you need to have the current
| | 00:29 | processing of your RAW files in
order to use this new Curves adjustment.
| | 00:34 | Here is the image that we worked on with Levels.
| | 00:38 | I have a companion shot that
we're going to work on in Curves.
| | 00:42 | Actually, if you look at the Metadata
when you do the Exercise Files, those of
| | 00:47 | you that get the Exercise Files, I
will put in the caption what each was
| | 00:52 | adjusted with so you'll know.
| | 00:55 | So, let's get to Curves, because there
is a little bit here for us to look at.
| | 00:59 | So, we pull up our image.
| | 01:01 | I'm going to go ahead and hit the V
key one more time, so we've got a nice
| | 01:04 | big image to work with.
| | 01:06 | I am going to go to Adjustments,
and we're going to find Curves.
| | 01:11 | There is our Curves brick.
| | 01:13 | This looks very familiar, I'm sure, to
those of you that use Curves in Photoshop.
| | 01:18 | There are a lot of similarities here.
| | 01:21 | If you have been using Curves, you can
go ahead and pretty much use this Curves
| | 01:27 | adjustment brick the
same way that you have been.
| | 01:30 | It functions virtually the same way.
| | 01:32 | However, as you might imagine,
Apple has added a few goodies for us.
| | 01:37 | I'm going to show you the goodies
because, for me anyway, they really enhanced
| | 01:41 | my Curves experience.
| | 01:44 | First thing you'll notice up here at the
top is that we have a couple of Auto buttons.
| | 01:48 | Now these are virtually the same kind
of Auto buttons that we had in Levels.
| | 01:53 | This first one here is
Auto Curves combined button.
| | 01:58 | What that means is that it will make a
Curves adjustment based on the luminance,
| | 02:03 | the overall luminance of the photograph.
| | 02:05 | So, it's just looking at the
tonal values and nothing else.
| | 02:10 | Next to it, we have the
Auto Curves Separate button.
| | 02:15 | To me, this is the more interesting one
because what Aperture will do here is it
| | 02:20 | will actually make a separate Curves
adjustment for each of the three channels:
| | 02:25 | red, green and blue.
| | 02:27 | So, not only do you get an Exposure
adjustment where you're working with the
| | 02:32 | Highlights and the Shadows and the
Midtones, you also get some color correction
| | 02:36 | when you use Auto Separate.
| | 02:38 | So, Auto Separate is definitely a big deal here.
| | 02:42 | We're going to use it
here in just a few seconds.
| | 02:45 | Here, you have your channels.
| | 02:47 | You have RGB, and then you can work on the
separate channels if you want, very handy.
| | 02:52 | Most of the time, most of the work
that we're going to be doing here we'll be
| | 02:56 | working in the RGB channel.
| | 02:58 | Then you have Eyedroppers for
black point, gray point and highlights.
| | 03:04 | That allows you to set each
of those areas separately.
| | 03:07 | I'll show you those quickly.
| | 03:09 | Then if you just want to set a point
anywhere on the curve, you use this tool down here.
| | 03:14 | One other little goodie I want to show you.
| | 03:16 | In Range, most of time we're going to
be working in the Normal range, the range
| | 03:20 | that most of us are accustomed to in Curves.
| | 03:23 | They do, however, have Extended Range.
| | 03:27 | Basically, what the story is on
Extended is that some cameras are actually
| | 03:32 | capable of capturing information, especially
on the highlight and beyond the Normal Range.
| | 03:38 | If your camera is able to do that, if
you can capture outside the Normal range
| | 03:43 | of highlight information, then
Aperture can read that, and you can actually
| | 03:47 | work in that range.
| | 03:49 | The way that it looks - I'll just show
it to you real quick, and then we'll move
| | 03:52 | on - is that here is our Normal Range,
and then out here, this is the great
| | 03:57 | Extended Range out here.
| | 04:00 | If you have a camera that can do that, I'm
sure you'll have fun playing around with that.
| | 04:04 | For the rest of us, we're going to
stick with Normal for the moment because
| | 04:07 | believe me, there is
plenty here for us Normal folk.
| | 04:12 | So, let's start with the Auto Combined,
and let's make our first adjustment.
| | 04:17 | So, all I have to do is make sure that
my channel is set to RGB and click the
| | 04:23 | Auto Combined button.
| | 04:25 | We get an overall Curves adjustment
that, right out of the shoot, is pretty good.
| | 04:30 | That's what we had before,
and there is our Auto Combined.
| | 04:36 | Now, as we look at the different
channels, you'll see that, just like when we
| | 04:40 | looked in Levels, that nothing is
really going on in the separate channels.
| | 04:44 | That's because that isn't Auto Combined's thing.
| | 04:48 | What Auto Combined's thing is just to
work with the luminance alone, and it does a
| | 04:52 | pretty good job of that.
| | 04:54 | But let's try Auto Separate, because I think
Auto Curves Separate is really where it's at.
| | 04:59 | So, I'm going to go ahead and reset
by going to the Reset button here.
| | 05:04 | Now, again, we just make sure that we're in RGB.
| | 05:07 | Now we're going to do Auto
Curves Separate. Click on that.
| | 05:12 | You'll notice that not only do we get a Curves
adjustment, but we get some color correction.
| | 05:18 | There is our initial shot, and
look what Auto Curves Separate does.
| | 05:22 | It really, I mean right out of the shoot,
we have a very nice adjustment here.
| | 05:27 | We can see what it did by
looking at the separate channels.
| | 05:30 | There is the adjustment that I made in
the red channel, and green, and blue.
| | 05:36 | You can see that what it did in the
blue channel was different than what it did
| | 05:40 | in the green channel.
| | 05:41 | So, this is a very intelligent adjustment.
| | 05:44 | I think we did a great job with this.
| | 05:47 | Now, if you want to fine-tune this a
little bit further, that's not a problem at all.
| | 05:52 | For instance, I like this adjustment.
| | 05:54 | The only thing I'd like to change a
little bit is maybe open up some of these
| | 05:58 | shadow areas a little bit.
| | 05:59 | So, all I need to do is set a point there.
| | 06:02 | So, I'm just going to
click on this to set a point.
| | 06:05 | What you do is you get the loop, and
then you just click on the area that you
| | 06:09 | want to work on,
something right about like there.
| | 06:13 | And Aperture will set that
point for you on the Curves.
| | 06:16 | I'm just going to click on
that point to activate it.
| | 06:19 | Now you can drag that point around, but
I think an easier way to work is to use
| | 06:24 | the Up and Down arrows.
| | 06:25 | It's more precise for me.
| | 06:27 | So, I'm just going to use the Up Arrow
just to open up that area a little bit.
| | 06:32 | If I wanted to go the opposite direction,
I'd use the Down Arrow just to kind of
| | 06:37 | make that darker, which is
not the direction I want to go.
| | 06:39 | I want to go with the Up Arrow a little bit.
| | 06:43 | That's all I wanted to do,
just open that up slightly.
| | 06:47 | You can move this along this
line by clicking and dragging.
| | 06:50 | It behaves just like Curves, if
you've used Curves in the past.
| | 06:54 | So, let's look at where we started
and here is where we are. Very nice.
| | 06:59 | So, now, I just want to show you one
other thing here where you actually get to
| | 07:02 | set the Black Point, and the Middle Tone,
and the Highlights separately and let
| | 07:08 | Aperture do a Curves
adjustment for you that way.
| | 07:11 | It's not quite as strong for me.
| | 07:14 | Maybe I just haven't really
perfected my technique here.
| | 07:17 | I prefer the Auto Separate, but I want to
show you this one last way to use Curves.
| | 07:23 | So, I'm going to Reset.
| | 07:25 | So, we'll start with the Shadows.
| | 07:26 | So, I'll just find a nice dark here to do
our shadow right in here. This looks dark.
| | 07:32 | Then I'll go to Highlights,
and find a really bright spot.
| | 07:37 | Try to find the brightest
highlight that you can find.
| | 07:41 | Then we'll do Midtones, find something
right down here, which is very midtone-y.
| | 07:47 | Now that's not bad.
| | 07:49 | It's not as good, in my
opinion, as when I did Auto Separate.
| | 07:53 | But remember, you have the
ability to add another Point.
| | 07:57 | So, I'm going to click right here, and
really what I want to fix is this here.
| | 08:02 | I want to bring those tones down a little bit.
| | 08:04 | So, we'll just add a point. And now I'm
going to click on that point, and I'm
| | 08:09 | going to use my Down Arrow.
| | 08:10 | We'll just bring that in Range, and
suddenly that method is looking pretty good, right?
| | 08:16 | Because here is what we started with,
and here is after we made some correction.
| | 08:22 | So, you have three really nice ways
to work in Curves in addition to the
| | 08:28 | standard Photoshop way.
| | 08:30 | My favorite, I'm going to go ahead
and hit the Reset button, is using Auto
| | 08:34 | Separate, because I think Auto Separate
really, just with one click, gets us the
| | 08:40 | closest, and then you can fine-tune from there.
| | 08:43 | But play around with this. Have fun with
it. This is really a great tool, a nice
| | 08:48 | addition to Aperture 3.
| | 08:49 | And I hope you find the perfect method for you.
| | Collapse this transcript |
| Rotating images| 00:00 | Every now and then, a picture, most
likely one that you took vertically in
| | 00:06 | Portrait mode, will come
in sideways, wrong angle.
| | 00:09 | Fortunately, there is a nice tool
in Aperture to help us correct that.
| | 00:13 | It's the Rotate tool.
| | 00:14 | It's right down here.
| | 00:16 | I'm going to mouse over this
because I want you to see there are two
| | 00:20 | keyboard commands also,
| | 00:21 | the Bracket keys. You
can use those for rotating.
| | 00:25 | A lot of times when your shots come in,
you'll have a bunch of them that are come in wrong.
| | 00:29 | What's really nice is that you can
just select a whole bunch of shots.
| | 00:33 | I click on the first one. I hold down
the Shift key. I go to the End key, and
| | 00:39 | then I can just use the bracket.
| | 00:41 | If I use the Right Bracket,
they will rotate to the right.
| | 00:45 | If I use the Left Bracket,
they'll rotate to the left.
| | 00:49 | You can do them all at once.
| | 00:51 | Now you can use the button here also,
and just kind of click all the way
| | 00:57 | around to what you want.
| | 01:00 | I hope I'm not making you motion
sickness here by doing this, but I really
| | 01:05 | prefer just to use the Bracket keys.
| | 01:06 | I think it's a better way to go.
| | 01:08 | So, know that all you have to do is
just click on the images that you want,
| | 01:13 | holding down the Shift key, Right Bracket
goes to the right, Left Bracket goes to the left.
| | 01:19 | You are in rotation business.
| | Collapse this transcript |
| Removing the Vignette effect| 00:00 | Earlier, I talked about the Vignette
tool in Aperture, which is a creative tool
| | 00:05 | that allows us to really focus our
attention on the center of the frame.
| | 00:09 | But there is also a Devignette tool in Aperture.
| | 00:13 | That's a correction tool, because
sometimes when we take pictures, if we have a
| | 00:18 | Filter that's a little too thick, or if
we have a lense hood that maybe isn't
| | 00:24 | properly fitted to the lens, what we
can get is a little darkening in the
| | 00:29 | corners of our shots.
| | 00:31 | I think we've all seen that,
and that is called vignetting.
| | 00:34 | In that case, especially on a
landscape or something, we may not want that.
| | 00:39 | So, there is a correction tool in
Aperture that allows us to fix that.
| | 00:42 | So, we're going to go over to Adjustments,
and now we're going to go Devignette.
| | 00:48 | So, this is th tool that allows us to fix it.
| | 00:50 | It works very much like the
Vignette tool, only sort of in reverse.
| | 00:55 | So, you have the Radius.
| | 00:56 | So, now we're moving out,
whereas the Vignette tool we moved in.
| | 01:01 | We brought the darkness
in with the Vignette tool.
| | 01:04 | Now we're removing the darkness out.
| | 01:06 | We control that with the Radius,
less of an effect, more of an effect.
| | 01:11 | Basically, all you do is slide the Radius
slider until you remove that corner darkening.
| | 01:17 | Here is the intensity.
| | 01:19 | If you have very dark corners, then you move
the Intensity to the right to lighten them.
| | 01:25 | Again, all you want to do is really
add balance to your shot so that it
| | 01:29 | just looks natural.
| | 01:31 | So, that is the Devignette tool.
| | 01:33 | It is a correction tool.
| | 01:35 | If you do have that problem, mainly
with your wide-angle shots, your 17
| | 01:40 | millimeter lens, your 24
millimeter lens, where you get some of that
| | 01:44 | darkening in the corners,
| | 01:46 | all you do is just pull up
this Devignette tool in Aperture.
| | 01:50 | Move the Radius and Intensity sliders
until you eliminate that darkening, until
| | 01:54 | the photo looks natural, the
way that you intended it to be.
| | Collapse this transcript |
| Using the Color Monochrome and Sepia tools| 00:00 | I want to talk about a couple of
creative tools that we have available to us in
| | 00:05 | the Adjustments pop-up menu.
| | 00:07 | One of them is the Color Monochrome tool,
and the other one is the Sepia tool.
| | 00:14 | They're both pretty nice for creating a
little different look, doing something a
| | 00:18 | little different than everyone else is doing.
| | 00:19 | So, they're right next to each other.
| | 00:21 | We're going to play with them for a second.
| | 00:24 | We have the shot to Bonnie.
| | 00:25 | We did this black and white conversion earlier.
| | 00:28 | Wouldn't it be fun, in the Stack, to
have a Color or Black & White, a Color
| | 00:33 | Monochrome and a Sepia, all these
different variations of this one shot?
| | 00:37 | That's what we're going to do here.
| | 00:38 | So, I'm going to create a new version.
| | 00:41 | So, I'm just right clicking on that shot.
| | 00:43 | Then I'm going to go to Duplicate Version,
because I don't want to give away the
| | 00:48 | Adjustments that I've already made on that.
| | 00:51 | So, we have a new version right here.
| | 00:53 | If we go over to Metadata,
we'll see that's called Version 4.
| | 00:57 | I'm just going to call that Color monochrome.
| | 01:00 | All right, so let's go back to our Adjustments.
| | 01:04 | Now that we have that set up, I'm
going to hit the V key, so we get a
| | 01:08 | little bigger look at it.
| | 01:09 | Let's enable Color Monochrome here.
| | 01:14 | So, we're just going to go to right down
our Adjustments pop-up menu, and we're
| | 01:18 | going to enable this brick right here.
| | 01:20 | Well, that's a little strong.
| | 01:22 | Don't worry if it comes up a little
too intense, because you can move that
| | 01:27 | slider around, that Intensity slider.
| | 01:29 | Also, keep in mind that you're not
stuck with the Color, the default Color.
| | 01:35 | I like this default Color for the shot.
| | 01:36 | I'll probably stick with it, but you
have all of these other choices too.
| | 01:40 | You can just move your dropper
around and pick whatever you want.
| | 01:44 | You actually even get to see effect,
but we're going to go with that
| | 01:49 | default Color right now.
| | 01:50 | So, I'm just going to click this again.
| | 01:52 | I'm just going to move this slider
and just kind of - it's just a little
| | 01:55 | different effect, like let me unclick this box.
| | 01:58 | There is full color.
| | 02:00 | There is Color Monochrome.
| | 02:01 | It looks little old fashioned. Doesn't it?
| | 02:03 | A little like its aged a
little bit. I like the look.
| | 02:07 | So, there is our Color Monochrome version.
| | 02:10 | I'm going to hit the V key again.
| | 02:12 | So, now we have that in the Stacks.
| | 02:14 | We got Black & White, Color
Monochrome. Why not add Sepia?
| | 02:18 | So, I'm going to go back to my
"key image," my master image here,
| | 02:23 | the one that I've done some work
on, and I sort of like the way it is.
| | 02:26 | I'm going to right-click on it again, and
I'm going to go back down to Duplicate Version.
| | 02:32 | Now we have another version.
| | 02:34 | I can go through and give it to
the Sepia name in the Metadata.
| | 02:38 | I'm not going to right now
because you already know how that works.
| | 02:41 | But I am going to go to my Adjustments pop-up
menu, and we'll go to Sepia Tone. There we go.
| | 02:50 | Look at that. I didn't even have to go
to a larger view, although I think we should, because I
| | 02:56 | think we want adjust this.
| | 02:57 | I'm hitting the V key, by the way,
to cycle up to that larger view.
| | 03:02 | Now Sepia is sort of like Color
Monochrome in that when it first comes up, it
| | 03:05 | might be a little stronger than you want.
| | 03:08 | So, you can play with that.
| | 03:09 | If we bring it all the way
down, we're back to Color.
| | 03:13 | We move it up, and we kind of get it
where we want it here, just like that.
| | 03:18 | Now we have a nice, Sepia-Toned photograph also.
| | 03:22 | So, let's hit the V key to go back to our
thumbnail, so we have a nice little Stack here.
| | 03:27 | Let's just play with our Stack.
| | 03:29 | So, let's start out.
| | 03:30 | Here is our Color shot. Here is our Sepia.
Here is our Color Monochrome, and here
| | 03:37 | is our Black & White.
| | 03:39 | By the way, this is all nondestructive.
| | 03:42 | We haven't created four masters.
| | 03:44 | These are nothing more than versions
of our original shot just little bits of
| | 03:49 | metadata, but yet we get
to have all these versions.
| | 03:52 | So, let's say, in this Stack, that I
decide that I want the Color Monochrome to be
| | 03:57 | the one that's on top.
| | 03:59 | All I have to do is pick it.
| | 04:02 | Go to Stacks. Make it the Pick shot.
| | 04:05 | I'm going to hit the V key,
so we go back the thumbnails.
| | 04:09 | Collapse the Stack.
| | 04:10 | Now that's a shot that's on top.
| | 04:12 | That's the only shot that we see in
the album, but we know we have all these
| | 04:16 | other goodies in here.
| | 04:18 | We can change that any time we
want - very flexible, very nice.
| | 04:23 | What I'm telling you is this is an
application to get creative with.
| | Collapse this transcript |
| Considering the Sharpen tool| 00:00 | In our earlier movie, I talked about
Edge Sharpening and how sophisticated it is
| | 00:04 | and that it uses three passes to
sharpen your image and that you can even
| | 00:08 | control those passes to some degree.
| | 00:11 | Well, that is the modern version of
sharpening. And it actually came into
| | 00:17 | being on Aperture 2.
| | 00:19 | Prior to that, what Aperture had was
the Sharpen tool, and it's still here;
| | 00:24 | it's a Legacy tool.
| | 00:26 | You'll see it in the Adjustments pop-
up menu, and if you go to the Aperture
| | 00:32 | Manual that came with Aperture 3, you
won't see any discussion on Sharpen.
| | 00:37 | And the reason for that is because
the Legacy Sharpen tool is not nearly as
| | 00:43 | good as Edge Sharpen, and to the point where
you really shouldn't use it, in all honesty.
| | 00:49 | The reason why it's still here is
because if you used it in the past, and you've
| | 00:55 | upgraded your libraries, then Aperture
will respect those adjustments that you
| | 01:00 | made with the Sharpen tool in
the current Aperture 3 library.
| | 01:04 | But for any new sharpening that you do, we
do not recommend it. Use Edge Sharpen instead.
| | 01:11 | And just keep in mind that our old
friend here, Sharpen, has outlived its day.
| | 01:17 | It's here for legacy only.
| | 01:19 | In fact, I would go so far as to say
even if you have legacy images with it, you
| | 01:24 | may want to turn off Sharpen, and then
go ahead and use Edge Sharpen and see if
| | 01:31 | your image looks better.
| | 01:33 | My money is on yes, it will
look better with Edge Sharpen.
| | Collapse this transcript |
|
|
8. Using Advanced Editing ToolsIntroducing brushes | 00:00 | One of the new features in Aperture 3
that I want to introduce you to is the
| | 00:04 | concept of brushing.
| | 00:06 | Brushes are very exciting because
prior to having brushes in Aperture 3, most
| | 00:12 | of our edits were what we call Global.
| | 00:15 | In other words, if I made an Exposure
change on a shot, it would change the whole shot.
| | 00:21 | And even areas where we had some
control over specific areas, for instance, in
| | 00:28 | the Color Brick, I could
work on the yellow of this tent.
| | 00:33 | For example, let's say I
want to change the Hue of that.
| | 00:35 | So, I could click on the Dropper, and
go ahead and choose that area and adjust
| | 00:42 | the Hue. But because there are other
yellows in the shot, then all of those
| | 00:48 | yellows get changed.
| | 00:50 | And that's the problem with Global
Editing is that you don't have control
| | 00:54 | where it's applied.
| | 00:56 | Brushes change all of that.
| | 00:58 | The thing that we have now in Aperture
3, and we have them all over the place -
| | 01:03 | including in the bricks, is that we
have brushes that allow us to work on
| | 01:09 | specific areas of the shot.
| | 01:11 | So, for example, if I wanted to change
that Hue of this tent, I could just brush
| | 01:17 | that in, in a specific area here, and
it would leave all of the mustard alone.
| | 01:24 | That is a Local Edit, and that
is the excitement around brushes.
| | 01:28 | One of the things that really
makes this powerful is that this is a
| | 01:33 | non-destructive edit.
| | 01:35 | It's just like all the other edits in
Aperture, and that at any time if I don't
| | 01:40 | like something, I can just get rid of it.
| | 01:42 | I can just reset it.
| | 01:44 | I can always go back to the master image.
| | 01:46 | So, brushing in and brushing out
doesn't permanently change my image at all.
| | 01:53 | You do have to have, if you're shooting
RAW, the reprocessed RAW files in order
| | 01:58 | to use the brushes in Aperture 3.
| | 02:00 | So, if you are bringing in RAW
files from Aperture 2, then we need to
| | 02:04 | reprocess them, and we've talked about that
in our earlier movie, if you haven't seen that.
| | 02:09 | The good news is that
brushes do work with JPEGs.
| | 02:13 | So, if you want to use your JPEGs and
try this brushing technique, it will work.
| | 02:18 | It's a little ironic that it won't work
with older RAW files, but it will work
| | 02:23 | with JPEGs, but that's the way it is.
| | 02:25 | So, the bottom line is that we have
these brushing tools in the bricks.
| | 02:31 | We have some Quick Brushes up here
under the Adjustments pop-up menu, that has
| | 02:36 | specific task, and we also have
Quick Brushes down here at the bottom.
| | 02:41 | We can get to them in two different ways.
| | 02:43 | I'm going to be showing you how to use
these brushes in upcoming movies, but I
| | 02:46 | just wanted you to see this new feature
that we have that, quite frankly, I am
| | 02:51 | pretty jazzed about.
| | Collapse this transcript |
| Using quick brushes| 00:00 | One of the new tools in Aperture 3
that I'm very excited about are the
| | 00:04 | Quick Brushes, right here.
| | 00:06 | And you can also access them, if
you go to any View mode down here.
| | 00:13 | Now, what do these things do?
| | 00:15 | These allow us to do localized adjustments.
| | 00:18 | Well, before when we got to the stage of
a photograph, we would often have to go
| | 00:22 | to Photoshop to do this work.
| | 00:23 | This allows us to stay in Aperture
longer and sometimes forever without ever
| | 00:29 | having to leave this application.
| | 00:31 | There are a lot of Quick
Brushes, as you can see, right here.
| | 00:35 | I'm going to show you a few of them.
| | 00:37 | We're going to work on this image here.
| | 00:39 | And I'll try to show you the various
controls that come with the brushes that we
| | 00:43 | are working on, and those
controls also apply to the other brushes.
| | 00:47 | So really, then it just becomes a matter
of which adjustment do you want to make?
| | 00:53 | I want to work on this shot a little bit.
| | 00:55 | There are a couple of things
about it I'd like to change.
| | 00:58 | So, I am going to go to Full Screen
mode to give us a better view of it.
| | 01:02 | I hit the F key, by the way,
to go to Full Screen mode.
| | 01:05 | And then we hit the H key.
| | 01:07 | We're going to bring up our heads-up
display, and I'm going to lock it by
| | 01:11 | hitting the little Lock button here.
| | 01:13 | And let's just do a few things.
| | 01:15 | I want to bring up the Definition in
this bark a little bit to make it a
| | 01:18 | little bit texture-y.
| | 01:20 | I want to burn this area a little bit,
and maybe just even out the blue here.
| | 01:24 | I used the Polarizer, and I'm getting a
little bit of that change that happens.
| | 01:29 | And I think Quick Brushes
are pretty much the way to go.
| | 01:32 | I've already done some Global Edits,
as you can tell, so we're to the stage
| | 01:37 | now where we're refining the photo, and
that's what the brushing tools are so good at.
| | 01:42 | So, I'll go over here to
our Adjustments pop-up menu.
| | 01:46 | And the first thing I'm going to
do is do a little burning in that
| | 01:49 | lower left-hand corner.
| | 01:51 | So, I'm going to pick Burn.
| | 01:53 | And you'll notice that we get a pop
-up menu, and we also get a brick.
| | 01:58 | We'll work with these tools up here,
while we're actually doing our brushing.
| | 02:03 | But after we've done our adjustment,
we have a slider here where we can make
| | 02:07 | that adjustment more pronounced, or
less pronounced, sort of like the Fade
| | 02:11 | slider in Photoshop, and it's a very handy.
| | 02:14 | Let's go ahead and just do some burning.
| | 02:17 | You can adjust the Brush Size right here.
| | 02:20 | But if you have a mouse that has a
Scroll Wheel, you can use a Scroll Wheel,
| | 02:24 | which I really prefer. It's really great.
| | 02:26 | Also, if you are using a Wacom
Tablet, Aperture respects the pressure
| | 02:30 | sensitivity of that
Tablet and you can that also.
| | 02:33 | So, you have a lot of different options.
| | 02:35 | I'm going to set the Strength fairly strong,
just so we can see what's going on here.
| | 02:40 | And I can just start brushing, and
you can see, right away, the change, down
| | 02:46 | there in the corner.
| | 02:48 | If I wanted to constrain the area that I
was burning, I go to the Gear menu, and
| | 02:54 | right now I have it constrained to Midtones.
| | 02:57 | I could have it not constrained at
all where it just burns everything, or I
| | 03:01 | could just work on Shadows or Highlights.
| | 03:03 | So, set that the way that you want.
| | 03:05 | We'll go ahead and work at Midtones.
| | 03:10 | If you want to check your work, go
back to the Gear menu and try Color
| | 03:14 | Overlay right here.
| | 03:16 | So, now we can see what we've been doing.
| | 03:19 | Now, if I kind of go up into an area
that I don't want to burn - it's not
| | 03:23 | that critical on this particular shot - but
if I want to clean things up, I can do that.
| | 03:28 | I go to the Eraser tool.
| | 03:31 | I might want to make my Brush Size a
little smaller for clean up, so I am using
| | 03:35 | the Scroll Wheel to do that.
| | 03:37 | And then I can just go and take that out.
| | 03:46 | Let's take off the
constraint. Go to All. There we go.
| | 03:52 | So, if it's not doing what you want, you
probably have it constrained. And it does
| | 03:57 | respect those constraints, so pay
close attention to what's going on.
| | 04:02 | So, we have cleaned that up a bit, so I
am going to go back to my Brushing tool,
| | 04:06 | and now I am going to turn off my Overlay,
and let's take a look at what we did.
| | 04:13 | So, there we have it.
| | 04:14 | And I go, "Oh, you know what?
| | 04:17 | I want it just a little bit stronger," so
then I can do that after I've done the brushing.
| | 04:24 | Again, this is a subtle adjustment,
but that's the point that we're at in
| | 04:28 | working on this photograph.
| | 04:29 | We've already done our Global
adjustments. Now we're just fine-tuning.
| | 04:33 | So, I'll go ahead and close that.
| | 04:34 | I want to go ahead and add a little
definition to this bark right here again, so
| | 04:38 | I'll go back to Adjustments >
Quick Brushes, go to Definition.
| | 04:43 | I want a little bigger tool.
| | 04:44 | I want the Strength pretty strong on
this, and I'll - you can pump up the
| | 04:49 | Intensity right here right now, and
we'll just add a little Intensity, make
| | 04:54 | that bark more bark-y.
| | 04:57 | Again, another localized adjustment right here.
| | 05:03 | We've made that bark more bark-y.
| | 05:06 | And then finally, I just want to
clean up the sky, and I'm going to use the
| | 05:10 | Polarizer Quick Brush for that.
| | 05:12 | Go back to Adjustments. Go to Quick Brushes.
Look for Polarizer. There it is there.
| | 05:19 | Move my pop-up out of the way.
| | 05:20 | I want to bring these tones
more in alignment with these tones.
| | 05:24 | I don't want to make it too strong.
| | 05:26 | I want to have lots of softness.
| | 05:27 | I want a nice big brush because we're
working on a big area, and we'll just do a
| | 05:33 | little painting right here.
| | 05:34 | Let's bring these tones in line.
| | 05:37 | We've got a little bit of
a line there, you notice.
| | 05:41 | So, we can bring Strength down, and
continue to paint a little bit, kind of
| | 05:47 | bring that line down.
| | 05:48 | And now I'll show you the Feather tool,
which is very handy, which allows us to
| | 05:52 | go back and now just kind of feather
our adjustments. And you can just keep
| | 05:56 | playing with that until you bring
that into alignment, and I'll bring my
| | 06:02 | Strength down a little bit.
| | 06:04 | And I'll just continue to paint
until I get the way that I want.
| | 06:09 | If I feel like the Intensity is too
strong, if I can't make the correction, then
| | 06:14 | I can always bring that Intensity down
later on, and keep playing with it until
| | 06:20 | I get the image the way that I want.
| | 06:22 | And if you decide that you don't like
what you did, and you go, "I just made it
| | 06:27 | worse," we can always just turn off
that brick, and go back to where you were.
| | 06:31 | And you can remove the adjustment
altogether by going to the Gear menu, and say
| | 06:37 | Remove this adjustment.
| | 06:38 | I go, "You know what?
The Polarizer just didn't work."
| | 06:40 | I'm just going to take it out, and we're done.
| | 06:44 | So, Quick Brushes, they allow you to
work on specific areas of your photograph.
| | 06:49 | You usually do it a little bit later in the workflow.
| | 06:51 | They are different than the brushes that
we get in the bricks, these brushes here.
| | 06:57 | And we're going to talk
about those in an upcoming movie.
| | 07:01 | Quick Brushes are more when you
just want to make an adjustment with a
| | 07:04 | specific thing right then.
| | Collapse this transcript |
| Using adjustment brushes| 00:00 | Well, I've had some fun, in earlier
movies, playing with different ways to do this
| | 00:06 | particular shot of Bonnie,
and I have yet another one.
| | 00:09 | We're going to use our Brushing tools to
create a black-and-white background but
| | 00:13 | leave her in full color.
| | 00:15 | So, I'm going to go ahead and right-click on
this, and I'm going to duplicate my version.
| | 00:20 | So, now we'll have another
variation in this fun stack of images.
| | 00:25 | I'm going to hit the V key, go ahead and
bring this up and I hit the V key again.
| | 00:31 | Now I'm going to go to my Adjustments pane.
| | 00:33 | What I'm going to do is I'm actually
going to use the Brushing tools within the
| | 00:39 | Black & White brick to brush in black-and
-white in this background here, but I'm
| | 00:43 | going to leave her in Color.
| | 00:45 | So, the first thing I'm going to do is
go to my Adjustments pop-up menu, and I'm
| | 00:49 | going to enable the Black & White brick
because it wasn't in my Adjustments pane
| | 00:54 | before, and it's not there, by default.
| | 00:57 | The first thing that you notice that
when you do that is that it changes the
| | 01:01 | image to black-and-white as you would expect.
| | 01:04 | But here's a cool thing with brushes.
| | 01:06 | Once I go to the Gear menu and I decide
that I want to Brush Black & White In,
| | 01:11 | so I'm actually working with a brush
within black-and-white, my shot will return
| | 01:16 | to Color, and now my brush will
control where the black-and-white appears.
| | 01:21 | So, I'm going to make a rather large brush size,
because I want to cover a big area at once.
| | 01:29 | I'm going to turn on Detect Edges just
to see if it helps us with this along her
| | 01:35 | body there, and I'm
going to just start painting.
| | 01:38 | So, we'll go just right
here, and start painting.
| | 01:42 | And the Detect Edges really kind of
helps when you're working along the body
| | 01:47 | there, and we'll do the same thing over here.
| | 01:49 | I'm just going to kind of brush along.
| | 01:51 | We can clean up any mistakes
that we make a little bit later.
| | 01:55 | Just go along the top here.
| | 01:59 | Right now, I'm going to turn off Detect Edges.
| | 02:01 | And I'm going to work with a larger brush.
| | 02:04 | And now I'm going to get these big areas.
| | 02:09 | See? You can just work very
quickly with this, same thing over here.
| | 02:13 | Now, I'm going to use my Scroll Wheel just
to bring that Brush size down a little bit.
| | 02:17 | That's really nice, and you have a
mouse with a Scroll Wheel because Aperture
| | 02:25 | respects that Scroll Wheel just like it
will your pressure sensitive tablet if
| | 02:30 | you're working with that. And now I'm
going to make it lot smaller and just go
| | 02:33 | ahead and get a couple of
little areas right here.
| | 02:37 | Now we can check our work by going to the
Gear menu and turning on the Color Overlay.
| | 02:43 | You see we did pretty good and Detect
Edges is pretty nice stuff there, but I
| | 02:48 | want to use my Eraser tool just to
clean up just a few little spots.
| | 02:51 | I'm going to use my
Scroll Wheel just to make this.
| | 02:53 | I just don't want her
thumb to be black-and-white.
| | 02:56 | I want her thumb to be in color.
| | 02:59 | And we've got a little bit along the edge here.
| | 03:01 | I'm not going to get too crazy with this.
| | 03:03 | So, we will just leave that.
| | 03:05 | There are a few little gaps here that
I missed, so I'm going back to my Brush
| | 03:09 | tool, and we'll just kind of get these
little areas. Clean this up. That's fine.
| | 03:13 | I'm going to turn off my Color
Overlay now, go to None. And look at that.
| | 03:20 | We have created, that fast, a
black-and-white background.
| | 03:25 | Bonnie is still in full living color.
| | 03:27 | When I'm done, I just can
go ahead and close this.
| | 03:30 | If I decide that later on I want to go
back and do a little more work on this,
| | 03:34 | maybe touch up some of this area right
here, all I have to do is go back to the
| | 03:39 | Black & White brick, click on the
Brush, and I'm back in business.
| | 03:43 | Then I can just kind of just say, "Hey!
| | 03:45 | I just want to kind of
clean this up a little bit."
| | 03:47 | I just sort of noticed." There you go.
| | 03:51 | And I go ahead and close that, and we can
check our work by clicking the box right there.
| | 03:57 | This works in almost all of the bricks.
| | 04:00 | There is only a few that doesn't
provide for adjustment brushes.
| | 04:04 | You do, if you're shooting in RAW, have
to have the latest RAW processing in
| | 04:08 | Aperture 3 and other than that, it's very
intuitive, and I have to tell you it's serious fun.
| | 04:14 | So, let's go back.
| | 04:16 | So, we have yet another variation in
our stack of Bonnie portraits here, and we
| | 04:22 | could just keep going and going and going.
| | Collapse this transcript |
| Retouching portraits with adjustment brushes| 00:00 | One of the times that I often had to
leave the comfy confines of Aperture and
| | 00:06 | go to Photoshop was when I had to do
a little bit of portrait retouching,
| | 00:10 | especially on the skin. Well, no more.
| | 00:13 | We have the tools now in Aperture 3 to
actually do portrait retouching right
| | 00:18 | here in the application, and I
want to show you how easy that is.
| | 00:22 | We'll go ahead and work
with this image right here.
| | 00:24 | I'm going to go ahead and hit the F key
to go to Full Screen mode, and then I'm
| | 00:30 | going to hit the V key, and
we're zoomed in right now.
| | 00:34 | So, that's terrific,
because I want to be zoomed in.
| | 00:36 | However, I do want to
reposition her a little bit.
| | 00:40 | So, I'm holding down the Spacebar,
and that allows me to reposition.
| | 00:43 | Now I want to bring up the Heads-Up display
because we're going to do a little editing.
| | 00:48 | So, I'm going to hit the H key to do that.
| | 00:51 | It's locked by using the Lock Switcher,
which I want because I just want it right here.
| | 00:56 | We'll reposition Bonnie just a
little bit more, and now I'm going to do
| | 01:00 | a two-step retouch.
| | 01:03 | The first thing that I'm going to
do is actually work on some of these
| | 01:06 | blemishes just real quick. They're small.
| | 01:08 | But I usually recommend that
before we do the skin smoothing.
| | 01:12 | So, I'll go to Adjustments, and I'll
bring up my Retouch tool right here.
| | 01:17 | We're going to automatically choose source.
| | 01:19 | We're just going to let Aperture do that
because we're working in this nice skin area.
| | 01:23 | I want a small Radius because I'm just
working on little blemishes like this
| | 01:28 | by clicking on them.
| | 01:29 | I could make my Brush bigger by using.
in this case. the Scroll Wheel, or I could
| | 01:35 | move the Radius, like this.
| | 01:37 | If I want more Softness, and that's
around the actual area that's being
| | 01:43 | corrected, I can increase
Softness, but we're fine right now.
| | 01:46 | And we'll go at full Opacity.
| | 01:48 | We don't really need Detect Edges on
for this, so I'm going to turn that off,
| | 01:53 | and we'll just make this little smaller.
| | 01:54 | And I'm just going to go through and
just work on a couple of these little
| | 01:57 | blemishes, so you go through, clean
up the blemishes firs. That's step one.
| | 02:03 | And once you get them the way that you
want, then we can go to skin smoothing.
| | 02:08 | So, I'm not going to clean
up all the blemishes now.
| | 02:10 | I think you have the idea.
| | 02:12 | So, I'll go ahead and close this tool.
| | 02:14 | Now I'm going to use one of the new quick
brushes for actually smoothing up the skin.
| | 02:19 | So, I'll go back to Adjustments.
| | 02:21 | I'll go to Quick Brush.
| | 02:22 | We'll bring up Skin Smoothing.
| | 02:25 | We can control the Brush Size
right here, Softness and Strength.
| | 02:29 | We're going to go full Strength on this
because I want you to be able to see the changes.
| | 02:34 | We also get a Brick when we do this.
| | 02:36 | That allows us to adjust the Intensity
and the Detail and of course, the Radius
| | 02:41 | is how much the adjustment
affects outside of the pixel.
| | 02:45 | How far does it radiate?
| | 02:47 | So, let's just do a little smoothing right now.
| | 02:50 | I'm going to make my Brush
Size a little bit bigger.
| | 02:52 | We'll just start on the cheeks.
| | 02:53 | I'll just go ahead and smooth a little
bit of the skin right here on the cheeks.
| | 03:00 | Now, you want to stay away from the eyes
and you want to stay away from the lips.
| | 03:04 | We want those to be nice and
sharp, same thing with the hair.
| | 03:07 | We'll do a little bit right here on the nose
and right here, just bring that in a little bit.
| | 03:13 | Now, I'm going to make my
Brush Size a little bit smaller.
| | 03:16 | I'm using the Scroll Wheel, and we
will just work underneath the eyes.
| | 03:21 | Now we don't want to get rid of everything.
| | 03:23 | I mean this is still Bonnie.
| | 03:26 | We want it to be Bonnie.
| | 03:28 | We just want it to be
Bonnie on a really good day.
| | 03:30 | That's what we are after here, just
Bonnie when everything is just right,
| | 03:36 | lighting wise, and so forth.
| | 03:38 | So, now we've cleaned that all up.
| | 03:39 | We can do a little bit more right here
too. Stay away from the lips. The chin is
| | 03:44 | fine, and we can do just real quickie,
little right there if we want and maybe
| | 03:49 | just a little bit more right here.
| | 03:50 | I think we are in pretty good shape.
| | 03:53 | Now if I want to I can play with the
Intensity of my adjustment by going down to
| | 03:57 | this Brick and just moving the slider.
| | 03:59 | As you see, you can go way
too far very fast with this.
| | 04:04 | We definitely don't want to do that,
and if we move the Intensity all the way
| | 04:08 | back, it's like we didn't
do the adjustment at all.
| | 04:10 | We can see the pores, so it's
usually somewhere in the middle.
| | 04:14 | And all we want to do is just
a little bit of enhancement.
| | 04:17 | We don't want to get rid of everything.
| | 04:19 | I think that's a pretty
nice adjustment right there.
| | 04:22 | I'll go ahead and close this, and we can
turn it off and on by clicking right here.
| | 04:28 | So, there is our before
adjustment, and there is afterwards.
| | 04:34 | We can always go back and do more
brushing if we want by clicking on the Brush
| | 04:38 | tool, and that will bring that
back up, and we can continue working.
| | 04:41 | Now I'm going to go ahead and zoom out.
| | 04:44 | I'm going to hit the Z key
again to pull this back out.
| | 04:48 | And there is our adjustment.
| | 04:49 | So, we did a nice, subtle portrait adjustment.
| | 04:52 | But if we made a print or if you
looked at this in a large view, you would be
| | 04:57 | able to tell the difference and when
the client sees it, it looks natural.
| | 05:02 | So, she is not going to go "Wow!
| | 05:03 | What did you do to me?" other than, "You got
a very nice photo that day, didn't you?"
| | 05:07 | And I'll say, "Yes, we did."
| | Collapse this transcript |
| Creating multiple bricks for a single adjustment| 00:00 | Well, I want to keep working with this photo
that we've done a little retouching on and
| | 00:04 | so forth, and there are few
things that I'd like to change.
| | 00:09 | I used Vignette adjustment on this
image, which I thought was very effective.
| | 00:15 | But the one thing that it did was that
it darkened this corner where the light
| | 00:19 | is coming in a little bit more than I want.
| | 00:21 | So, I don't want to remove that
Vignette in these other areas, but I would like
| | 00:25 | to make a little change there.
| | 00:27 | And then as I look at her hair, I'd
like this hair here to have just a little
| | 00:31 | bit more contrast be a little bit darker.
| | 00:34 | We're really talking about maybe two
levels adjustments, and you can have,
| | 00:38 | in Aperture 3, multiple adjustments for the
same adjustment, if you know what I mean.
| | 00:44 | Maybe you don't.
| | 00:45 | Well, let me show you exactly what I mean.
| | 00:47 | I'm going to go ahead and hit the F key
here, and then I'm going to hit the H key.
| | 00:53 | So, the first thing I want to do is
just do a Levels adjustment up here, and I
| | 00:58 | want to lighten this area up a bit.
| | 01:00 | So, I'm going to open my Levels Brick.
| | 01:02 | Now I'm not going to do the adjustment
just yet because what I want to do is
| | 01:07 | enable our brush because I just
want to work in a specific area.
| | 01:10 | So, I'm going to choose Brush Levels
In, and then I'm going to - I want to
| | 01:16 | brighten things up a little bit.
| | 01:17 | So, I'm going to make my Levels
adjustment, and now I'm going to increase my
| | 01:21 | Brush Size, and I'm going
to turn off Detect Edges.
| | 01:25 | We don't need that.
| | 01:26 | All I just want to do is just brighten up
this corner just a bit. There we go.
| | 01:31 | That's nice - just a little bit.
| | 01:35 | That's all I wanted to do.
| | 01:37 | There's that one adjustment, but now I
want to do a different Levels adjustment
| | 01:41 | on her hair. I want to darken that.
| | 01:43 | So, I'm going to go back to Levels,
I'm going to go to my Gear menu, and I'm
| | 01:47 | going to say Add New Levels adjustment.
| | 01:51 | And I get a second brick. Look at that!
| | 01:53 | Isn't that fun?
| | 01:55 | So, now I'm going to choose a Brush.
| | 01:58 | I am going to Brush Levels in, and on this
one, I want to darken things a little bit.
| | 02:03 | So, I'm going to move that
so that we can darken a bit.
| | 02:06 | I'm going to make my Brush Size smaller.
| | 02:08 | I'll just do that right here.
| | 02:11 | We don't need very much Softness on this.
| | 02:13 | I'm going to make it a little bit
smaller, and now I just want to add just a
| | 02:18 | little bit of contrast there.
| | 02:21 | Her hair just kind of got a little light and
just kind of come down there just like that.
| | 02:27 | Now I would clean that up if I was
doing this final adjustment here.
| | 02:31 | I just want you to have an idea.
| | 02:32 | So, there we've added a Levels
adjustment to her hair. That's this one right
| | 02:38 | down here. And we can turn that off and
on just by clicking that brick there.
| | 02:44 | And I did a separate Levels adjustment up here,
and I can turn that off and on right here.
| | 02:52 | So, you can have multiple
bricks for the same adjustment.
| | 02:56 | It's very handy when you're trying to
fine-tune specific areas of a photo.
| | 03:01 | You get to that by going to the Gear menu
and just saying Add a New Levels adjustment.
| | 03:07 | If you decide that you don't like
that particular adjustment, then you can
| | 03:11 | remove it by choosing Remove this adjustment.
| | 03:15 | This works for Levels, for Curves,
for just about everything that's here in
| | 03:19 | the Adjustments pane.
| | 03:20 | Again, more control over
the editing of your image.
| | Collapse this transcript |
| Applying presets| 00:00 | I'd like to spend a few minutes with
another pop-up menu here in our Adjustments
| | 00:05 | pane, the Presets pop-up menu.
| | 00:07 | This is wonderful because Aperture
gives you some very nice presets, and then
| | 00:12 | you can create your own and save them
and even share them with other people.
| | 00:17 | So, for instance, looking at the shot
right here, if I wanted to apply some
| | 00:22 | Black & White presets, I could just go to
Presets > Black & White, and I have the Red Filter.
| | 00:29 | Now, these are back from the days when
we shot film and we put these different
| | 00:33 | filters over our images.
| | 00:35 | But now we can just mouse over these
labels here, and we can actually see the
| | 00:41 | effect of the preset applied.
| | 00:43 | If I decided that I wanted to use one
of these, I would just click on it, and
| | 00:49 | then that preset would be applied.
| | 00:51 | So, I just applied the Infrared Preset,
which looks okay, but I sort of have a
| | 00:57 | different view of infrared.
| | 01:00 | So, maybe I want to create my own
infrared look and then save that as a preset.
| | 01:05 | So, I am going to go ahead and undo
that Infrared Preset that Aperture applied
| | 01:11 | and just, in the Adjustments menu, create my own.
| | 01:16 | So, the first thing that I am going to do is
I am going to enable the Black & White brick.
| | 01:21 | So, we will just go right down here, and
this is one of my formulas for presets.
| | 01:28 | I am going to show it to your right now.
| | 01:29 | If you like the way this
looks, you can actually use it.
| | 01:32 | So, Blue will go to -20, so we'll
just take it right about there.
| | 01:39 | Green will go to +80.
| | 01:41 | So, we'll up the green, right in that ballpark.
| | 01:45 | Now, we'll go to the Color brick.
| | 01:47 | For green, we are going to move our
Saturation and Luminance all the way
| | 01:52 | over, just like this.
| | 01:56 | We are going to do the same thing for
blue, and we are going to do the same
| | 02:05 | thing for Yellow, and look at that.
| | 02:11 | So, now the reason why I like this a
little bit better is because, in infrared, a
| | 02:17 | lot of times the foliage will turn
light, and I think I get a little better
| | 02:21 | rendering of this here. And I am
actually going to play with the Range on the yellow
| | 02:25 | and kind of open that up a little bit more.
| | 02:29 | Then I think the last thing that I'll
do is I am going to go to White Balance.
| | 02:33 | Sometimes, I just play with this
slider here just to see the effect.
| | 02:37 | I think I like it right about there.
And maybe we'll up the Contrast just a
| | 02:43 | bit and the Enhance.
| | 02:48 | I like my infrared look here a little
bit better than the preset that came with
| | 02:54 | Aperture - not a problem at all.
| | 02:56 | I just go to Presets, now I go Save As Preset.
| | 03:00 | It brings up the Preset heads-up
display, or the dialog box here.
| | 03:05 | I am going to call it
Infrared - Derrick, hit Return.
| | 03:15 | Now, I saved that Preset.
| | 03:17 | I am just going to click OK.
| | 03:20 | Now, that Preset shows up right
here in my Preset pop-up menu.
| | 03:27 | So, I can go to another image.
| | 03:29 | I am going to hit the V key and back out here.
| | 03:32 | Let's see how this one looks in Black & White.
| | 03:34 | I am going to go ahead, and I
am going to make a new version.
| | 03:40 | We'll make it from Master.
| | 03:42 | Here we go right there.
| | 03:45 | There is our new version.
| | 03:47 | I am going to hit the V key.
| | 03:48 | Now, I am going to go up to Presets,
and I am going to apply My Preset.
| | 03:54 | Now, I have my version of infrared.
| | 03:57 | If I think something is a little too
strong, for instance, I think that blue
| | 04:01 | probably is a little heavy-handed, I
can just go ahead and modify that preset
| | 04:06 | for that particular photo.
| | 04:08 | Let's bring that back a little bit.
| | 04:11 | I think we are in good shape and maybe
on this one, see what happens if we play
| | 04:17 | with the White Balance just
hair, something like that.
| | 04:21 | I used the preset as a starting point,
and then I went ahead and played with it
| | 04:25 | a little bit more from there.
| | 04:26 | I'll hit the V key,
and we'll back right back out.
| | 04:29 | I'll go back up to my preset right
here, and I am going to hit the V key
| | 04:35 | to bring that back up.
| | 04:38 | You can also share your
presets with other people.
| | 04:43 | So, when you have something that you
like, we can go back to Edit Presets.
| | 04:48 | Click on this, the one that
I want to share right there.
| | 04:52 | Go down to the Gear menu, and I can Export it.
| | 04:56 | I just say where I want it
to go. I give it a name.
| | 05:01 | I hit Export, and it
becomes a little stand-alone file.
| | 05:05 | I can send that file to another Aperture user.
| | 05:07 | I can just attach it to an e-mail.
| | 05:10 | All they have to do then
is have Aperture running.
| | 05:14 | When they get the file, they just
double-click on it, and that file will
| | 05:18 | automatically install in their Aperture Library.
| | 05:20 | And then they can use my Derrick's
Infrared Preset and apply it to their images.
| | 05:27 | So, Presets are nice way to go ahead
and save a group of settings that you have
| | 05:34 | and Aperture will
remember everything that you did.
| | 05:36 | Then even after you apply the preset,
you can go ahead and fine-tune your image
| | 05:41 | using the regular Adjustment
bricks in the Adjustment panel.
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| Modifying presets| 00:00 | Now that I've created a preset and
applied it, I want to show you there is still
| | 00:05 | a few more things that we can do with presets.
| | 00:07 | These are very handy tools.
| | 00:08 | So, let's actually dig into the Presets
dialog box and see the other organizing
| | 00:15 | tools that we have available to us.
| | 00:17 | So, I am going to go back to Presets pop-up.
| | 00:20 | I am going to go to Edit
Presets. That's where we get to this.
| | 00:25 | We have a few tricks in here to show you.
| | 00:26 | First of all, if I decide that my
Infrared - Derrick belongs in the Black & White
| | 00:34 | that seems like a logical place, I can
actually just click it and drag it in
| | 00:38 | there, and it will become part
of this set, which is pretty cool.
| | 00:42 | Or if I decide, instead, I want to
create my own set of presets, I can go down
| | 00:48 | here to the Gear menu and say that I
want to create a New Preset Group and call
| | 00:54 | it Derrick's Presets. There we go.
| | 01:02 | Now I can add that right there, which
I think that's what I am going to do.
| | 01:06 | So, I have created a new group.
| | 01:08 | Even within the Preset itself, I can
make changes to it here in my dialog box.
| | 01:14 | For example, my secret formula for fake
infrared is pretty good, but I did, in the
| | 01:22 | Enhanced brick, play with contrast.
| | 01:24 | Well, maybe I don't want that part of the
Preset because every image is so different.
| | 01:29 | So, maybe I want to take that out.
| | 01:32 | All I have to do is click on the Preset,
and then I can just go to the Minus sign here.
| | 01:39 | I can take out that specific
adjustment out of the Preset.
| | 01:43 | So, now the Preset is just White
Balance, Color, and Black & White.
| | 01:47 | The last thing that I want to show you
here is that if I want to make a change
| | 01:52 | to the label of the Preset, it's easy.
| | 01:54 | I just click on it once.
| | 01:55 | Let's say, I wanted to get rid of
the space right here. I can do that.
| | 02:00 | Just click in there, make
my changes. Click on it.
| | 02:04 | We are all done.
| | 02:06 | So, you can put Presets
in existing groups up here.
| | 02:10 | You can create your own
group and put them in there.
| | 02:13 | You can change the aspects of
the Preset by clicking over here.
| | 02:18 | As I mentioned in the earlier movie, if
you want to share your Presets, you just
| | 02:22 | go to Export, save it out to the
desktop or wherever you want to save it, and
| | 02:27 | then you can send it to someone
else or do whatever you want with it.
| | 02:31 | That all happens right here in the
Adjustment Presets menu that's available
| | 02:37 | through the Presets pop-up.
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| Highlighting hot and cold areas| 00:00 | An excellent tool that's been
inside of Aperture for a while to help us
| | 00:04 | identify areas where we may be losing
shadow detail or highlight detail is the
| | 00:10 | Show Hot and Cold Areas.
| | 00:12 | You get to that up under the View
menu and right here, Highlight Hot & Cold
| | 00:17 | Areas, and we are just going to turn that on.
| | 00:20 | What you get, essentially, is the red.
| | 00:23 | That is the areas where you are losing
highlight detail and then the blue,
| | 00:28 | these are areas where you
are losing shadow detail.
| | 00:32 | So, that means if I were to make a
print right now, these areas will show paper
| | 00:36 | white, and then these areas
will have no detail whatsoever.
| | 00:41 | You can fix that easily using Aperture's tools.
| | 00:42 | For instance, let's tackle
the highlight areas first.
| | 00:47 | We could just go here to the Recovery
slider in the Exposure brick and just move
| | 00:54 | that, and you can just move
that until that goes away.
| | 00:57 | I never feel the need to get rid of
absolutely every little bit of specular
| | 01:01 | highlight because sometimes
things are just pure white.
| | 01:05 | But I do want to cut down the
big areas, such as we did here.
| | 01:09 | In terms of fixing these areas right
here, where we were blocked up in the
| | 01:13 | shadows, I will just go
down to Highlight and Shadows.
| | 01:18 | Move my Shadow slider until
I'm happy with the results.
| | 01:24 | I don't want to compromise the rest of
the image just to get rid of those few
| | 01:27 | little areas of plugged up shadows,
but just maybe just open them up a bit.
| | 01:32 | Then when I am all done, all I have
to do is go back to View, turn off
| | 01:36 | Highlight Hot & Cold Areas.
| | 01:38 | I could use a keyboard command if I
wanted to just quickly turn it off and on.
| | 01:42 | Either way, it's up to you, but it's a
very handy tool when you are making those
| | 01:47 | finishing Exposure adjustments.
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| Roundtripping to Photoshop| 00:00 | Most of the time Aperture can handle our image
editing needs. It has a very powerful set of editing tools.
| | 00:08 | However, every now and then you may need
to go outside of Aperture to another image
| | 00:13 | editor such as Photoshop
to do something specific.
| | 00:17 | Fortunately, that's a pretty easy process,
using round tripping, as we like to call it,
| | 00:23 | where you actually send the photo from
Aperture out to Photoshop and then back into Aperture,
| | 00:28 | and I want to show you how that works.
| | 00:31 | Now we start out in Preferences, just to
make sure that were set up correctly, and I'm in
| | 00:36 | the Export tab, and you notice that I've
selected Photoshop for my external image editor.
| | 00:42 | You can choose other applications, and we're
setting it up as a Photoshop 8-bit file. I recommend
| | 00:50 | that if you know you need something different
you have three other choices here, but I think
| | 00:55 | PSD 8-bit is a way to go, and for our color
space you can choose either sRGB or a Adobe RGB.
| | 01:02 | If you don't know which one of those you
should use, go ahead and pick sRGB, and we're ready to go.
| | 01:10 | So now we come back to our photo.
| | 01:12 | There's two ways I can initiate the round trip.
First, I can go up to Photos > Edit
| | 01:18 | with Adobe Photoshop CS6, you notice how it
filled in the name for us once we set the
| | 01:24 | preference, or you can just right-click on the image
and send it out this way, and here we go, off she goes.
| | 01:32 | So what happened was Aperture prepared a file,
a PSD file is that's what we establish in
| | 01:39 | our preferences and sent it to Photoshop.
| | 01:42 | So now in Photoshop I can do something that's
very obvious like make it a black and white
| | 01:48 | photo, that way I'll be able to tell clearly that
it's a different photo when it goes back to
| | 01:55 | Aperture when I click OK.
| | 01:58 | Now all I have to do, after I've done my
image editing in Photoshop, is go back to File, go
| | 02:05 | to Save, and what Photoshop is going to do
is send the edited file back to Aperture,
| | 02:14 | and when we return to Aperture,
it'll be there waiting for us.
| | 02:17 | Here we are back in Aperture, and boom, just like that
we have our black and white photo here in Aperture.
| | 02:24 | Now I'm going to hit the V key so that we
can look at the thumbnails, and you notice
| | 02:28 | what we actually have are two versions of
the same photo. Here's our original shots that
| | 02:34 | we started working with, and
then here is the round-trip shot.
| | 02:39 | Now when an image has been edited with an
outside application, this is the badge right
| | 02:45 | here, so this is another way that you can
tell this has been edited on the outside so
| | 02:51 | that is pretty seamless.
| | 02:53 | So you may be thinking at this point, well,
why don't I just do that all the time?
| | 02:57 | Well, there is a price to be paid. You'll
notice that on our original shot here the
| | 03:03 | file size is 23 megabytes, that
the RAW file is a fairly large file.
| | 03:09 | Now let's click on our file that went to
Photoshop, and you notice that is over twice as big and
| | 03:16 | all we did was convert it to black and white.
| | 03:19 | Imagine if we did layers and things
like that, this file could get much bigger.
| | 03:24 | So, the reason why you don't round-trip all
of the time and why it's better to use the
| | 03:30 | tools that are in Aperture already for your
image editing is that you will save file space.
| | 03:37 | However, for those times that you do need
those external tools, round-trip is an easy
| | 03:43 | way to do it if you're using Photoshop
or some other external image editor.
| | 03:48 |
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| Using the edit plug-ins| 00:00 | No doubt at all, Aperture has some
great tools, especially in version 3, for
| | 00:05 | editing your images.
| | 00:07 | I want to make you aware of, however,
there are plug-ins for Aperture, and those
| | 00:13 | plug-ins were around in version 2.
| | 00:16 | That's when Aperture opened that door, so to
speak, and we still have them. And they
| | 00:20 | are called the Edit with Plug-ins.
| | 00:22 | In this particular case, we
are doing your image edits.
| | 00:26 | And you can get to any plug-ins
that you may have installed by simply
| | 00:30 | right-clicking on your image.
| | 00:32 | And below the round tripping to your
external editor, you'll have an Edit with Plug-in.
| | 00:38 | And if you've installed any of these plug-ins,
they will show up in this menu right here.
| | 00:43 | In this case, I have Noise Ninja
installed because the noise reduction in
| | 00:49 | this third-party plug-in is stronger
than the noise reduction that comes
| | 00:53 | inside of the Aperture.
| | 00:55 | And that is one of the two areas,
primarily, that you'll see - these third-party
| | 00:59 | plug-ins - either when there's a stronger tool
than what's already in Aperture, or it fills a gap.
| | 01:05 | It provides a tool that isn't in Aperture.
| | 01:08 | And that's when you see
these third-party plug-ins.
| | 01:10 | Now, the thing that you should know
about them is that they work very much
| | 01:14 | like round-tripping.
| | 01:16 | So, if I were to use a third-party plug-
in with this image here, then what that
| | 01:20 | plug-in would do is actually create
another full size version of that image, and
| | 01:26 | then I would use the plug-in on that
image, and then usually what I do is I
| | 01:31 | stack the two images together.
| | 01:34 | And in fact, when you use the third-
party plug-in or the Edit with Plug-in, you
| | 01:38 | even get the little target badge, the same
badge that you get when you round-trip to
| | 01:43 | Photoshop or an external editor.
| | 01:45 | So, they're very handy.
| | 01:47 | They're good tools to be made available.
| | 01:50 | You're not going to need them that often.
| | 01:52 | You have to pay money for them.
| | 01:54 | If you have a specific need, such as
noise reduction, then you might want to
| | 01:58 | look at these Edit with Plug-ins,
because it might be a better solution for
| | 02:02 | you then let's say round tripping to
Photoshop or using the tools that are
| | 02:07 | already in Aperture.
| | 02:08 | Edit with Plug-ins.
| | 02:10 | Again, you can get to it by right
clicking > Edit with, and any plug-in that you
| | 02:15 | have installed will show up in that menu.
| | 02:18 | If you're interested in finding out more
about these Edit with Plug-ins, they're
| | 02:22 | on the Resources page on
the Apple site for Aperture.
| | 02:26 | So, you can just go to http://www.apple.
com/aperture, click on the Resources
| | 02:30 | tab, and you'll find a link that will
show you all the Edit with Plug-ins that
| | 02:35 | are available right now.
| | 02:36 | You can browse them.
| | 02:37 | Some of them give you trial periods so
that you can try them for free, and then
| | 02:41 | if you like them, you can buy them.
| | 02:43 | So, once you buy them, just download
them, double-click, they install in
| | 02:47 | Aperture, and then they'll show up
right here in your contextual menu.
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| Customizing the Adjustments pane| 00:00 | When you first open Aperture 3 and if
you have an image selected that hasn't
| | 00:05 | been worked on or hasn't been imported
from previous versions of Aperture, you
| | 00:08 | will have, basically, a default set of
Bricks here in your Adjustments Pane.
| | 00:15 | But over time, you may find that there
is a tool that you really like and you
| | 00:18 | would like it to also
show up in your default set.
| | 00:21 | And what I mean by default set is
every time you click on an image at least
| | 00:25 | those tools are there.
| | 00:27 | So, it's sort of your starting set.
| | 00:30 | So, for example, in my case, I like Edge
Sharpen, and I want it part of my default set.
| | 00:36 | To do that, all I have to do is first
bring it in to any set, and we'll just
| | 00:41 | deselect it for the moment.
| | 00:43 | Then I just go to the Gear menu
and I Add it to the default set.
| | 00:48 | This will always be a part, no matter
which image I click on, rather than Edge
| | 00:52 | Sharpen has been used or not.
| | 00:54 | It will always be in the set here.
| | 00:57 | And if I decide that there is a brick
in here that I'm not using that I want to
| | 01:02 | get rid of, in the sense that I want to
not have it in my default set obviously,
| | 01:06 | we still want it in the pop-up menu
here so we can get to it when we need it.
| | 01:10 | I just go back to the Gear, and I
just go Remove from default set, and then
| | 01:16 | it will be gone from the default
set but always available through the
| | 01:20 | Adjustments pop-up menu.
| | 01:22 | So, this is a nice way to control your
default view when you're working so that
| | 01:26 | you have the tools you need right there.
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| Batch processing with Lift and Stamp| 00:00 | Aperture has a good batch-processing tool,
and it's actually called Lift & Stamp.
| | 00:06 | And these are the two Lift & Stamp
icons right down here, and I'm going to
| | 00:11 | show you how they work.
| | 00:12 | Here's what I want to do.
| | 00:13 | So, let's say that I make an
adjustment to this photo right here of the
| | 00:18 | waterfall. And I get it
just the way that I want,
| | 00:22 | but then I still have all these other
waterfall shots, and I would like to apply
| | 00:26 | that adjustment to those shots also.
| | 00:29 | I don't want to have to open
each shot up and work on it;
| | 00:31 | I mean that does not seem efficient at all.
| | 00:34 | So, what I'm going to do is I'm going
to adjust this one the way that I want,
| | 00:37 | and then I'm going to use the Lift &
Stamp and apply those adjustments to the
| | 00:41 | rest of the shots very quickly.
| | 00:43 | This is a great way to work.
| | 00:45 | First thing I'm going to do is create a new
adjustment, so I'm going to go to Adjustments.
| | 00:50 | And let's do Black & White.
| | 00:53 | You can tell that an
adjustment was made with Black & White.
| | 00:55 | So, let's say we play with it a little
bit, and I get that image looking pretty
| | 01:02 | much the way that I want.
| | 01:03 | And we will go up here to Enhance, and
let's increase the Contrast a bit. There we go!
| | 01:10 | So, let's say that I'm perfect with this,
I've been working on it for hours, and
| | 01:14 | now I want to apply it to my other shots.
| | 01:17 | All I have to do is go to Lift, and I
get the Lift & Stamp heads-up display.
| | 01:24 | Now you can Lift & Stamp Adjustments,
and you can also Lift & Stamp metadata too.
| | 01:30 | But we don't want to do metadata right now.
| | 01:32 | We don't want to add
keywords or anything like that.
| | 01:36 | We just want to work on our Adjustments.
| | 01:38 | So, we will leave the Adjustments box checked.
| | 01:42 | And in fact, if you have an adjustment
in the Adjustments for this image that
| | 01:47 | you don't want to stamp on to the other images -
| | 01:50 | for instance, let's say that you had a
Crop here that you didn't want to apply
| | 01:53 | to the other things,
| | 01:54 | you could just select that Adjustment
and hit the Delete key, and it will go
| | 01:58 | away and not be stamped to the other images.
| | 02:01 | So, that's pretty easy
and pretty powerful stuff.
| | 02:05 | But we're going to go with
the set that we have here.
| | 02:07 | So, now all I'm going to do is I could
just go on a per-image basis and just
| | 02:13 | stamp it and go to the next
image, if I want, and stamp it.
| | 02:19 | Or, I could even select multiple images at once.
| | 02:23 | As you can tell, Lift & Stamp uses a
little processing power. Let's go here.
| | 02:26 | I'm just going to hit the V key,
and we'll just select these four.
| | 02:34 | I just held down the Shift key to do that,
and now I will Stamp selected images.
| | 02:40 | And it will apply those changes to all
four images once it's done processing them.
| | 02:47 | Of course, there's a little processor
icon right there, and you can see them
| | 02:51 | being stamped before your very eyes.
| | 02:54 | Now, I can go back to these images
and if I want to make any fine-tuning
| | 02:59 | adjustments to them, I can do that
individually, but Lift & Stamp allows me to do
| | 03:04 | batch processing with my image edits,
and then I can take it from there.
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|
|
9. Faces and PlacesSetting up face recognition| 00:00 | Well, Aperture 3 enabled Faces.
| | 00:03 | It brought us Faces. Those of you
that have been using the latest version
| | 00:07 | of iPhoto know a little about Faces,
and it works pretty much the same right here.
| | 00:11 | So, if you've already been
using Faces, you're up to speed.
| | 00:15 | But I'll show you a quick run through
here anyway, just in case you haven't
| | 00:19 | played with Faces before, just
so you get a sense of its power.
| | 00:23 | And now in Aperture, as an iPhoto, it's
both face detection and then recognition.
| | 00:29 | So, it finds the faces and then you
identify a face, and it finds the other
| | 00:34 | faces that it thinks are related.
| | 00:36 | So, it's a pretty slick little program here.
| | 00:40 | You Enable Faces if you haven't already.
| | 00:42 | I think it comes - by default, it's enabled.
| | 00:46 | But under the General tab here,
you turn Faces Off and On.
| | 00:50 | And in fact, if you were to uncheck this
box, it actually leaves your Library pane.
| | 00:54 | So, you can turn it off and on.
| | 00:56 | In an earlier movie, I talked about
possibly turning it off in the beginning if
| | 01:00 | you didn't want that
background processing going on.
| | 01:03 | That choice is up to you.
| | 01:05 | An option that you have here in Aperture
that I don't believe you have in iPhoto
| | 01:10 | is that if you're not crazy about that
corkboard background, you can turn it off
| | 01:15 | right here, in Appearance.
| | 01:17 | We'll live it on right now, so you'll be
crystal clear on what we're doing and where we are.
| | 01:23 | So, once Aperture has found the Faces,
when you come to Faces here in the
| | 01:29 | Library pane, let's say you're in the
Projects, and you're doing your thing and
| | 01:33 | you go, "I want to play with faces."
| | 01:35 | You click on Faces.
| | 01:37 | If you haven't named any faces yet, that's
the first thing you have to do is name a face.
| | 01:41 | And that's pretty easy to do.
| | 01:43 | You just type a name, and then you hit Return.
| | 01:49 | Now what happens is Bonnie
moves up here to our corkboard.
| | 01:54 | And we'll hide our unnamed faces for the moment.
| | 01:58 | So, every face that you identify
will get a spot here on the corkboard.
| | 02:03 | And Aperture, though, suspects that
there are probably other people in your
| | 02:07 | library that are also Bonnie.
In this case, we know, for a fact, there are.
| | 02:12 | And if you want to go through and help
Aperture fine-tune that process, then you
| | 02:17 | just go to the face and you double-click on it.
| | 02:20 | And you get this view. You get the face
that you've identified and then you also
| | 02:25 | get other people who Aperture
suspects are Bonnie, in this case.
| | 02:31 | So, all we have to do now is just go
ahead and click on Confirm Faces, and it
| | 02:37 | brings us to this view here.
| | 02:39 | And you can just click on a face to
confirm it, or if you have a whole bunch of
| | 02:44 | them and if they are right, then
you can just highlight them that way.
| | 02:48 | I'm just dragging right across them.
| | 02:51 | And if you don't think it's Bonnie, if
Aperture does a false reading there, then
| | 02:56 | you click and then you click
again, and then you get Not Bonnie.
| | 03:01 | That was a click and then
click again for Not Bonnie.
| | 03:06 | But this is Bonnie, so then we're
going to go ahead and click again so that
| | 03:10 | we have Bonnie Bonnie.
| | 03:12 | And then I'm going to hit the Done key, and
now all the Bonnies are up here at the top.
| | 03:20 | Excellent! And there are our faces,
and then we can go back to the corkboard.
| | 03:26 | You can change which face
shows up as your key photo.
| | 03:29 | We'll just cycle through them.
| | 03:31 | All you have to do is just scrub
through them and when you see the one that you
| | 03:34 | want to be the thumbnail photo on the
corkboard, all you have do is just the
| | 03:39 | Spacebar, and it will stay.
| | 03:41 | And you'll notice that we also
have a little Info button right here.
| | 03:46 | You can click on that,
and you can change the name.
| | 03:50 | It gives you some info about how many
photos and so forth, and then you can even
| | 03:55 | type a full name and e-mail address.
| | 03:58 | If Bonnie is in your address book, then
chances are the e-mail address and the
| | 04:03 | full name will be filled in for you.
| | 04:05 | And you can click through the
different faces on your corkboard using these
| | 04:10 | arrows, or you can view the
photos within the Bonnie collection.
| | 04:16 | Clicking on that, and it
brings you to this view right here.
| | 04:20 | So, we're going to go
back to All Faces right here.
| | 04:23 | This is pretty
straightforward, pretty easy to use.
| | 04:27 | In the next movie, I do want to
show you a way to search via faces,
| | 04:31 | that I think is pretty neat, using Smart albums.
| | 04:33 | And then we get to tap some of this power.
| | Collapse this transcript |
| Searching for faces| 00:00 | I'm going to continue on with the Faces
theme for just one more movie because I
| | 00:05 | want to show you how to put this technology,
| | 00:08 | and I'm talking about this
Faces technology, to actual use.
| | 00:13 | The filters in Aperture are quite good.
| | 00:16 | So, if you're somewhere in the middle
of your face detection project, I want to
| | 00:20 | show you how you can put these filters to use.
| | 00:23 | For example, if you had a ginormous
library that had all sorts of photos in it,
| | 00:28 | you could click on Photos here, and
then you will have everything in here.
| | 00:33 | You have your landscape, and
your pets, and your people.
| | 00:36 | So, this list would just
go on and on and on and on.
| | 00:40 | You have a Filter up here.
| | 00:42 | You can just click on this.
| | 00:45 | One of the rules is the Faces rule.
| | 00:47 | So, I'm just going to go to Face right here.
| | 00:51 | We have one set up already.
| | 00:53 | So, we can get rid of this one here.
| | 00:56 | So, in this Rule right here, you can
have all these different conditions.
| | 01:01 | So, for instance, the
first one, Face is detected.
| | 01:04 | Well, we detected Bonnie's face so
she shows up, but then you could also do
| | 01:10 | Face is not detected, and you could
find all the faces in your Library that
| | 01:16 | have yet to be detected.
| | 01:17 | And then if you wanted to, you could
click on this button here to create a New
| | 01:23 | Album with all of your undetected faces,
so that you know that you could come
| | 01:27 | back and work on those when you wanted.
| | 01:29 | That album would just show up here
at the top level in your Library pane.
| | 01:34 | So, that's kind of fun.
| | 01:36 | Then you can search for specific people.
| | 01:38 | So, for instance, if the Face is
Bonnie, then you could search for that.
| | 01:45 | If the Face is Fred, then you could say, "Oh!
| | 01:50 | I guess Fred isn't in my library."
| | 01:53 | So, then you would know that, but then
you would have absolute confirmation that
| | 01:57 | there are no Freds in your Library.
| | 02:00 | So, we'll go back to Bonnie,
because we know she is in here.
| | 02:04 | So, that works pretty nicely.
| | 02:05 | So, this is a way for you to actually
put that face detection technology to work.
| | 02:11 | Now, I'm going to go ahead
and close this right here.
| | 02:14 | Then we're just going to
kind of erase that Filter.
| | 02:18 | Now, there is another way that you can
do this too, which is with Smart Albums.
| | 02:22 | So, you can go up here to
New, and go to Smart Album.
| | 02:26 | We'll just call that Faces Smart Album.
| | 02:31 | So, now I'll Add the Rule here.
| | 02:33 | This dialog box is probably looking
somewhat familiar to you and do Face, and we
| | 02:38 | could do the same thing.
| | 02:39 | So, Face, includes, and it could be
a special person, and there you go.
| | 02:45 | But then you could also do
something like a face is not detected.
| | 02:51 | Then you could have a Smart Album of
all the faces that are not detected.
| | 02:55 | The nice thing about a Smart Album, as
opposed to the other filtered search that
| | 02:59 | we did, is that if you add new people to
your Library and somehow they don't get
| | 03:05 | detected, then that Smart
Album is a living thing.
| | 03:08 | It will continue to show them.
| | 03:10 | The Smart Album can also have all
these other conditions also named, is not,
| | 03:16 | all that sort of stuff.
| | 03:18 | So, you can build a Smart Album any way
you want. The difference being between
| | 03:22 | this and this Filter up here, that
this will continue to update on its own,
| | 03:27 | whereas this is more of a one-shot deal.
| | 03:30 | So, regardless of which way you go, it's
a nice way to put this Faces technology
| | 03:35 | to work for you so that you can
actually use it to find people, label them, and
| | 03:40 | use those pictures.
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| Working with images that have existing tags in places| 00:00 | The other iPhoto feature that came into
the third version of Aperture is Places.
| | 00:06 | And Places is geo-location, and what
that means is that images can be geo-tagged
| | 00:13 | in the field where their actual
latitude and longitude coordinates are recorded
| | 00:19 | in the metadata for the photo.
| | 00:22 | And then Aperture can read that metadata
and actually place those photos on a map.
| | 00:28 | Now, the other thing that Aperture can
do is if your photos don't have geo-tags
| | 00:33 | then you can assign geo-tags to them,
and they will be placed on a map too.
| | 00:38 | The idea being that you can then find
images by place, as well as by face,
| | 00:46 | as well as by time.
| | 00:47 | So, it gives you a new way to look
at your images and comb through them.
| | 00:51 | So, let's see how that works.
| | 00:53 | Let's actually start with working with
images that may have already been geo-tagged.
| | 00:59 | Now you are probably thinking to yourself, "Well,
| | 01:01 | I don't have a geo-tagger for my camera."
| | 01:04 | But if you're taking pictures with the
iPhone, the latest versions of the iPhone
| | 01:08 | will sometimes add geo-
tags to your images for you.
| | 01:12 | So, let's get started,
and let's go over to Places.
| | 01:15 | We can just click on Places here, or we
can click on Places over in the Library pane.
| | 01:21 | It really makes no difference.
| | 01:24 | And if you have an image or images that
have geo-tags already, and you have, set
| | 01:32 | up in your Preferences, under the
Advanced tab: Look up Places Automatically,
| | 01:38 | which I recommend you do, because it
doesn't really take any processor power,
| | 01:42 | and it's done kind of harmlessly in the
background, then images that have been
| | 01:49 | geo-material, such as this one here,
and we can see that by going to our
| | 01:54 | Metadata tab and choosing GPS on the pop-
up menu and we see that it has Latitude
| | 01:59 | and Longitude and Altitude, will show
up on your Places map here with a pin.
| | 02:07 | In the case of this particular shot
here, this is a shot of a sign. And it is
| | 02:14 | this tag that's out in the lake here.
| | 02:17 | And we know darn well that that
sign isn't in the middle of the lake.
| | 02:22 | So, you can actually move pins.
| | 02:24 | So, to fine-tune their adjustment, you
just go down here, click on Move Pin, and
| | 02:30 | the pin goes from red to purple.
| | 02:32 | And then once it is purple, all you
have to do is just drag it to where it's
| | 02:36 | supposed to be and then
click Done, and then it's fixed.
| | 02:40 | So, the geo-information is fixed;
| | 02:43 | it's fixed on the map, and
it's a very easy way to go.
| | 02:46 | So, probably the first time that you
go through Aperture and take a look at
| | 02:52 | Places, you want to find the stuff
that's already geo-tagged and just check it
| | 02:57 | and make sure that it's in the right place.
| | 03:00 | If it is in the right
place, you're in great shape;
| | 03:02 | if not, you can use the Move Pins to correct it.
| | 03:06 | In the next movie, I'm going to show
you how to actually add geo-tags to
| | 03:11 | photos that haven't been geo-tagged,
which applies to the great bulk of folks
| | 03:16 | watching this training.
| | Collapse this transcript |
| Adding geo tags using places in Aperture| 00:00 | So, if you already have Geo Tags in
your images, and they come into Aperture
| | 00:04 | as pretty straightforward;
Aperture will place them on a map for you.
| | 00:08 | But I think what's more exciting is
the images that you don't have tagged.
| | 00:13 | You can add tags to them in Aperture,
and this is pretty powerful stuff.
| | 00:18 | So, I'm going to show you two ways to do that.
| | 00:21 | One way is to just select a few images,
and then we actually drag them to the
| | 00:26 | right spot on the map.
| | 00:28 | And then the second way I'm going to
show you is that we're going to use
| | 00:31 | Google, and we're actually going to
look up a location, and then assign that
| | 00:35 | location to images.
| | 00:36 | So, let's do the first one where we
actually drag the images on to the map,
| | 00:40 | so I'll select images that you want to go there,
and actually, we have a fourth one here, I think.
| | 00:47 | No, actually, we have all of these here.
| | 00:50 | These all were taken in the same shot,
| | 00:51 | so a mustard field outside of Santa
Rosa. And then we click on Places and so
| | 00:58 | you see our images are selected here,
and we get a map, and this photo is taken
| | 01:04 | off f Guerneville Road in Santa Rosa.
| | 01:06 | So, I am going to use my scroll
wheel, and that allows me to magnify.
| | 01:11 | I could also use this slider right
here to zoom in and find the spot where
| | 01:17 | those pictures were taken, and actually,
they were taken right about here, right
| | 01:22 | off of Willowside Road.
| | 01:24 | So, now all I have to do is take those
images that I've highlighted, just drag
| | 01:31 | them to the spot where the
photo was taken, and let go.
| | 01:36 | Now the pin will start out as purple.
| | 01:40 | That's because when it's purple,
I can still move it around.
| | 01:43 | I can still make
adjustments, just in case I missed.
| | 01:47 | Once I know that they have been added
to the right spot, then all I have to do
| | 01:53 | is click Done, and now
those images have a location.
| | 01:57 | And actually, if I go over to Metadata,
and look in the GPS View here, I can see
| | 02:04 | that Latitude and Longitude
information has been added to those shots, so
| | 02:09 | that's pretty wild.
| | 02:11 | Click on the shot that hasn't been
placed, and of course, we have nothing in
| | 02:14 | those fields, but now
these shots have information.
| | 02:19 | So, I think that is pretty cool, because
that's just drag-and-drop to your right location.
| | 02:24 | Now let me show you the other way.
| | 02:26 | I'm going to get out of this view
right here by just clicking in the Library
| | 02:29 | pane, and we'll come back to Great Outdoors.
| | 02:34 | So, I don't know exactly on a map
where these shots were taken, but I do know
| | 02:39 | the name of the place.
| | 02:41 | So, I'm going to highlight them, click
on the first one, go to the last one and
| | 02:45 | click on it so that they are all selected.
| | 02:48 | And now I go up to Metadata,
and I go to Assign Location.
| | 02:54 | And now I get this different view
that gives me a Google search field.
| | 02:58 | Now these shots were taken in Point
Reyes National Park in Northern California
| | 03:03 | at a place called Wildcat
Beach that we hiked too.
| | 03:07 | So, let's start by going with
Wildcat beach, and let's see if that's in
| | 03:11 | the Google database.
| | 03:13 | So, I'll just start typing Wildcat.
| | 03:17 | I didn't even get the beach, and there it is.
| | 03:19 | It's the top thing here. There we go.
| | 03:22 | So, Wildcat Beach at Point Reyes
National Seashore. That's our boy right there.
| | 03:27 | And that looks pretty good.
| | 03:29 | It was a little bit inland there.
| | 03:31 | I'm going just scroll out a little bit,
just so I get a feel for that, it's in
| | 03:36 | the right location, and it does
look like it's in the right location.
| | 03:40 | So, I say I do agree with
Google's placement of my pin.
| | 03:45 | So, now all I have to do is click the
Assign button, and these images have been
| | 03:51 | assigned a location.
| | 03:52 | Want to check that?
| | 03:53 | Well, let's go to our
Metadata > GPS. And look at that.
| | 03:57 | We now have Latitude and
Longitude information for them.
| | 04:02 | So, that's fabulous.
| | 04:03 | So, we have two ways to
assign Geo Tags to our images.
| | 04:09 | We can drag them onto a map, or we
can just select them and go up to
| | 04:14 | Metadata and use our friend Google to
assign the location. Either way, both
| | 04:21 | work. Both are pretty accurate, as
long as you have had some idea where you
| | 04:25 | were when you took the shots.
| | Collapse this transcript |
| Searching by place| 00:00 | Once you have added Geo Tags to some
of your images, there is a couple of
| | 00:05 | different ways that you can look at them.
| | 00:08 | I'm going to show you that right now.
| | 00:10 | So, let's just start by
going to the Places View itself.
| | 00:14 | So, I am just going to click on this
right here, and you see that you have a
| | 00:18 | navigation up here, and that you have
some pins. And when you're on the Home
| | 00:24 | button here, basically the map that
you'll see will be the map that shows you
| | 00:29 | the pins that you have identified so far.
| | 00:32 | So, if you had pins placed all over the
world, then this map would be, obviously,
| | 00:37 | scaled back quite a bit.
| | 00:39 | If you only had pins placed in a small
area, then this map would be more zoomed in.
| | 00:44 | Now as you work across the navigation
here, then of course, you have Country,
| | 00:49 | and you only have 1 Country here.
| | 00:52 | So, that's pretty straightforward,
and then State, and again, we only have
| | 00:57 | 1 State - California.
| | 00:58 | Now it gets a little bit more interesting
| | 01:00 | when we get to Cities. We have 3
Cities, and I'm clicking on that.
| | 01:04 | So, now we could just do South Lake Tahoe -
and it'll take us there, Point Reyes Station -
| | 01:11 | it'll take us there, and
Santa Rosa - it'll take us there.
| | 01:16 | At any time that you're doing this, you
can always move backwards, move back to
| | 01:22 | State, Country, move back to Home.
| | 01:25 | So, you can navigate that
way. Even finer than Cities,
| | 01:29 | we actually have Places, and so
we'll go to Point Reyes for example.
| | 01:35 | So, this is one real easy way to navigate.
| | 01:38 | Now you'll notice that as we navigate,
as we choose, for example, Point Reyes
| | 01:43 | National Seashore, then what shows up
down here are all the photos that are
| | 01:48 | associated with this pin that we found.
| | 01:50 | This says 8 Photos here, and we have
eight photos down here. Then the same thing
| | 01:55 | would happen if we went to Lake
Tahoe, 1 Photo, 1 Photo right here.
| | 02:01 | So, a very visual way to find your stuff.
| | 02:05 | So, we'll go back to the Home here.
| | 02:08 | Now you actually also have a filter, so
if you don't want to work visually, if
| | 02:13 | you want to work more with the text,
then you can add a Rule. And you can go
| | 02:17 | here and add a Place Rule to this filter here.
| | 02:21 | And you can just say, in this case,
you want to look for Santa Rosa, hit
| | 02:27 | Enter, and there you go.
| | 02:30 | It'll take you right to where you
want to go, and it'll show you the shots
| | 02:34 | associated with that.
| | 02:36 | And of course, you get your navigation
here at the top, which you can use to go back.
| | 02:41 | I guess we have to remove that filter.
| | 02:44 | Once we remove our filter, then we can go back.
| | 02:48 | Now, I want to show you a Smart Album
here because I think the Smart Album is
| | 02:52 | really helpful when you're working with Places.
| | 02:55 | So, I'm going to click on the Library
pane here to get out of that view, and
| | 02:58 | we'll just go to Great Outdoors. And one
of my favorite ways to use Smart Albums
| | 03:03 | is to find stuff that hasn't been tagged yet,
or to find the stuff that has been tagged.
| | 03:09 | In this case, let's find everything
that has been tagged, and this would be a
| | 03:15 | growing album as we continue to
tag stuff. This album would grow.
| | 03:19 | So, we'll put it within our
project here, Great Outdoors.
| | 03:23 | I will just go up here find New, go to
Smart Album, and we'll just call it Places.
| | 03:29 | This is our Places Smart Album.
| | 03:31 | We're going to add a Rule. And we're
going to add the Place Rule right here. And
| | 03:36 | we check that box. And then I'm
going to choose Place > is not empty.
| | 03:42 | In other words, there is some Geo
information there. Close that Smart Album.
| | 03:47 | Everything that has been tagged in my
Library here, or in this case, in this
| | 03:53 | project will show up in the Smart Album,
and of course, I can always check that
| | 03:58 | by just clicking on these
images and seeing that.
| | 04:02 | Now we can adjust that Smart Album.
| | 04:04 | We'll go back here and just click
on that icon there, and let's say that
| | 04:08 | the Place is empty.
| | 04:09 | Well, that would be completely different.
| | 04:13 | Now here is everything that has yet
to be Geo tagged, which means I have my
| | 04:18 | work cut out for me.
| | 04:20 | So, this information can be
used in a variety of ways.
| | 04:24 | If you're going to take the time to tag
your images, you might as well reap the
| | 04:27 | benefits and actually do some
organization with them, and I've shown you a few,
| | 04:32 | nice ways to do that.
| | Collapse this transcript |
|
|
10. Modifying MetadataApplying keywords| 00:00 | We're going to talk a
little bit about adding Keywords.
| | 00:04 | My preferred method, if you watched
my Import movies, is that to add basic
| | 00:10 | keywords when you're doing importing,
because if you do that, then at least if
| | 00:15 | all those fails, you
have some Keywords in there.
| | 00:18 | So, if you haven't seen that movie yet,
I suggest you go look at the importing
| | 00:22 | movies, because I show you the
technique for doing that, and it's helpful.
| | 00:26 | That's where these
Keywords came from right here.
| | 00:30 | But now let's say that I wanted to
refine my keywording a little bit and add
| | 00:35 | some more specific Keywords.
| | 00:37 | Well, we can certainly do that.
| | 00:39 | And probably one of the easier ways is
just to go up to the Window and go to
| | 00:46 | Show Keywords HUD.
| | 00:49 | And here, we get this
lovely little heads-up display.
| | 00:52 | The first thing I usually do is just
do a quick search to make sure that the
| | 00:57 | Keywords I'm looking for isn't in there already.
| | 01:00 | I want to add tent, and tent isn't in there.
| | 01:03 | So, I go, "Okay, that's just fine."
| | 01:06 | So, I'm going to go ahead and add that keyword.
| | 01:08 | Just add a top-level keyword and
just write tent and hit Return.
| | 01:15 | Now when I do my search on tent,
of course, I will have tent.
| | 01:20 | All I have to do now, once I've
created that keyword, is just select the
| | 01:24 | images that I want. And I'm just
holding down the Command key, so I can
| | 01:30 | select those images.
| | 01:32 | Then I just drag tent right on them.
| | 01:35 | That's all there really is to it.
| | 01:37 | Now each of those images has tent added to it.
| | 01:44 | So, that's an easy way
to refine your keywording.
| | 01:47 | If you want to add another level of
detail, obviously, we couldn't do that on
| | 01:52 | Import because I imported
all of these shots at once.
| | 01:56 | So, tent would only apply to a few of them.
| | 01:59 | So, this is like the second round of keywording.
| | 02:01 | Now I want to show you another way that I
like to keyword using the Lift & Stamp tool.
| | 02:07 | We've used the Lift & Stamp tool for
image adjustments, but it also works quite
| | 02:12 | nice for keywording.
| | 02:14 | Now we're in the Caption &
Keywording view right here.
| | 02:20 | What I want to do is like, for instance, on
these shots here, none of them say mustard.
| | 02:28 | It'd be nice to have mustard
as one of the Keywords here.
| | 02:33 | It says iPhoto Original, by the way,
because we brought these shots in from
| | 02:37 | iPhoto, and Aperture will automatically
add that Keyword phrase when you do that.
| | 02:43 | But I'm just going to do a comma.
| | 02:45 | I'm just going to add mustard
here and hit Tab to enter it.
| | 02:49 | Now I'm going to use the Lift & Stamp tool.
| | 02:52 | With this image selected,
just go here to Lift & Stamp.
| | 02:58 | You'll notice that I have a
couple of Keywords right here:
| | 03:05 | iPhoto and Original and mustard. And I
just want to add mustard to these other shots.
| | 03:11 | I don't want to add anything else.
| | 03:13 | If I've done image edits or anything
we'll have all sorts of stuff here. Just
| | 03:17 | click the box that you want.
| | 03:19 | I'm going to actually take out iPhoto Original,
because that is already in these other shots.
| | 03:25 | So, I can just highlight that in the
Lift & Stamp dialog and hit the Delete
| | 03:29 | key, and it goes away.
| | 03:31 | So, now all I have to do is just
select the other images that I want, and
| | 03:38 | actually we should select that one too,
and then just Stamp them and then just
| | 03:44 | like that - mustard will be added to
all of these shots in the Keyword.
| | 03:50 | So, two ways to add Keywords -
obviously, Keywords are helpful for when you
| | 03:56 | want to do searching.
| | 03:57 | I mean that's where they really come in.
| | 04:00 | We don't spend all this time doing
extra work if there isn't a benefit.
| | 04:05 | And so when go into our search thing
here, keywording is absolutely one of the
| | 04:10 | easy ways to search.
| | 04:11 | All of our existing Keywords will be
in there, so all I'd have to do is check
| | 04:16 | mustard, and all of my
mustard images will show up.
| | 04:20 | So, that is the benefit
of doing this extra work.
| | 04:23 | Again, that was just right here in the
Filter, and then if you decide that you
| | 04:28 | don't want to search
just do that and off you go.
| | 04:32 | So, Keywording, it doesn't have to be hard.
| | 04:35 | I recommended that you do it in two spots.
| | 04:37 | Do the general keywording on import,
and then if you want to go through and
| | 04:42 | refine a little bit, either use a
Keywording HUD right here
| | 04:48 | or use Lift & Stamp down here.
| | Collapse this transcript |
| Creating unique captions quickly| 00:00 | Adding Captions in Aperture 3 can be very easy.
| | 00:04 | I think it's another important
piece of metadata to help you find your
| | 00:08 | pictures. And a lot of times when we first load
our photos into Aperture, it's fresh in our mind:
| | 00:15 | the Caption information like where we
were and what we are doing and later on,
| | 00:19 | our memories can fade.
| | 00:21 | So, it's good to do early on.
| | 00:23 | Fortunately, this is an easy process.
| | 00:26 | What I'm going to do right now is show
you my favorite way to add Captions to
| | 00:30 | a bunch of pictures.
| | 00:31 | A new field that we have in Aperture 3
is Large Caption, and it's right here,
| | 00:36 | and I'm going to go to that.
| | 00:37 | What I like about that is
that it literally is large.
| | 00:40 | So, I'm going to enter a little text
right here, and I'm just going to call it
| | 00:45 | Camping at Wildcat Beach.
| | 00:52 | What's so nice about this? Watch.
| | 00:54 | I'm just going to go ahead and highlight it.
| | 00:56 | I'm going to hit Command+C to copy it.
| | 00:59 | Now instead of clicking on pictures and
going to the next Caption field and all
| | 01:03 | that, I'm going to hold down the
Command key, and I'm going to hit the Right
| | 01:08 | Arrow key. And it takes me to the next shot,
and it puts me right in the Caption field.
| | 01:13 | I'm just going to keep holding that
Command key, and I'm going to add Command+V.
| | 01:19 | So, I'm going to paste it in there.
| | 01:21 | Now, I'm going to keep holding that
Command key. I'm going to hit the Right
| | 01:26 | Arrow key and do Command+V. And at this
point, if I want, I can make a change,
| | 01:33 | with barbecue. Command+Arrow, paste.
| | 01:42 | I could add different
information here. Look at that.
| | 01:46 | It just autofills for me right there.
| | 01:49 | Command+Right Arrow and now I do paste again.
| | 01:54 | Command+Right Arrow, Command+V, paste,
Command+Right Arrow, and Command+V, paste.
| | 02:03 | If I want to go back, hold down
the Command key, and I can go backwards.
| | 02:09 | For instance, I could put for these
right here, and go, "You know what?
| | 02:14 | I want to add a little bit more information."
| | 02:16 | So, we'll just call it REI tent without
rain cover, just go okay. That's cool.
| | 02:27 | I'm just going to go ahead
and highlight that whole thing.
| | 02:29 | Command+C. Hold the Command key.
| | 02:32 | Hit the Right Arrow.
| | 02:33 | It goes to the next one.
| | 02:34 | Look, that is highlighted for me.
| | 02:36 | So, I just have to paste it Command+V,
Command+Right Arrow and paste again.
| | 02:42 | Captioning, very easy, if you know how to do it.
| | 02:46 | Just go to the Large Caption field.
| | 02:48 | This will work with any of the
Metadata views that show Caption.
| | 02:51 | Like for instance, we could do
Caption Only right here, if you wanted.
| | 02:55 | But Large Caption is so much more eye friendly.
| | 02:59 | And then just remember to hold down
the Command key and then to hit the Right
| | 03:03 | or Left Arrow key to move from photo to
photo, and copy and paste or type in your text.
| | 03:08 | And believe or not, you'll be done
captioning in a fraction of the time that you
| | 03:13 | used to spend on this task.
| | Collapse this transcript |
| Batch changing| 00:00 | I am going to talk a little bit about
Batch Change, which is a selection up here
| | 00:05 | under Metadata. And the
Batch Change is right here.
| | 00:09 | You can tell from the three little
dots that if I click on this I am going to
| | 00:14 | get another dialog box where
I can do three major things.
| | 00:19 | One is if you have incorrectly set
your time stamp, and this usually happens
| | 00:26 | when you travel from one time zone to
another and forget to update your camera,
| | 00:30 | you can fix that here.
| | 00:32 | You can also change the Version
Name of a group of shots here.
| | 00:37 | You can also do a Metadata change
using any of the Metadata fields that are
| | 00:42 | available in Aperture.
| | 00:43 | I want to show you how to set this
one up first, because this is the most
| | 00:47 | complicated of the three things, and then we'll
come back to these two things. So, here we go.
| | 00:53 | Let's say that I want to have a
batch change for Copyright Notice only.
| | 00:59 | The first thing that I have to do,
which I've already done, is in my list
| | 01:03 | of Metadata views here - that's where we
are - I actually create a new Metadata view.
| | 01:09 | And I did that already by going to
Edit and then say New View, right here,
| | 01:16 | and then picking what I wanted, in this case
Copyright, give the view a name and click OK.
| | 01:24 | That is how I ended up with this
new view to my list right here.
| | 01:29 | This is important because you can
create new Metadata views for just about
| | 01:35 | anything that's going on.
| | 01:38 | There are all sorts of options here in
Aperture 4, looking at Metadata different ways.
| | 01:43 | So, you can create a Metadata view for
just about anything that you would need.
| | 01:48 | In this case, I just want to have a
nice, clean one for Copyright Only.
| | 01:52 | Then what I do is then I
want to create a Preset.
| | 01:56 | I can use this Preset for batch changing.
| | 02:00 | So, I just go to a picture
that has the right information.
| | 02:04 | In this case, I want to create a
Preset for (c) 2010 Derrick story.
| | 02:11 | So, once I do that, then I go to my
little Gear menu here and create a new
| | 02:17 | Preset from this version.
| | 02:20 | What this will do, this gives me a
Preset that I can use for Batch Change.
| | 02:24 | So, I am going to click on that, and it
brings me up to my Metadata Preset dialog.
| | 02:31 | I am going to give it a name, Copyright 2010.
| | 02:38 | You'll notice, as I scroll down here,
there only be one field used, the field
| | 02:42 | that I have already selected.
| | 02:44 | However, if I wanted to, I could add
more information here, but I don't want to.
| | 02:49 | I just want this one thing.
| | 02:50 | We are in good shape here, so
I am just going to click OK.
| | 02:53 | So, I have now created a new Metadata Preset.
| | 02:59 | So, if I wanted to change,
let's take a look here.
| | 03:03 | I wanted do a batch change, and I
selected a bunch of photos here.
| | 03:08 | These are all 2009.
| | 03:10 | Let's say that I wanted to change
the Copyright to 2010, for whatever
| | 03:15 | reason that would be.
| | 03:17 | I would select all the images.
| | 03:19 | I am holding down the Shift key, right now.
| | 03:22 | Then I'm going to go up to my Metadata menu,
and I am going to go down to Batch Change.
| | 03:29 | And I am going to choose, from my
list of views here, the new one that I
| | 03:34 | created, Copyright 2010.
| | 03:37 | I can either Append these
fields here, or I can Replace them.
| | 03:41 | If I Append them, the information
from this Preset will be added to
| | 03:46 | what's already there.
| | 03:47 | In this case, I want to
just Replace it outright.
| | 03:50 | I want to change these from
Copyright 2009 to Copyright 2010.
| | 03:56 | I'll click OK and just like that,
the batch change has happened.
| | 04:02 | Now, all of these images have been
changed to Copyright 2010, just like that.
| | 04:08 | So, that is a way where you can really
control Batch Change, because you have all
| | 04:13 | of the fields that are available to
you and all of these Metadata Presets and
| | 04:18 | views available for batch changing.
| | 04:21 | So, that was the hard one.
| | 04:23 | Now, I'll just show you the easy one.
| | 04:25 | We'll go back here to a different view.
| | 04:27 | We'll go to our General view.
| | 04:29 | Let's say that I just happen to get
the time stamp wrong on these shots.
| | 04:34 | We'll pick a bunch of shots. Oh!
| | 04:36 | Let's pick these guys here.
| | 04:40 | So, let's say on these guys I just
happen to get the time stamp wrong.
| | 04:45 | I changed my location and
didn't update my menu on my camera.
| | 04:49 | I've selected my images.
| | 04:51 | We'll go up to Metadata.
| | 04:52 | We'll go to Batch Change.
| | 04:55 | Now, we are going to Adjust the Time Zone.
| | 04:57 | So, let's say that the camera's time
zone was accidentally set to East Coast.
| | 05:06 | I was actually doing these
shoots in the West Coast.
| | 05:09 | That's all I have to do is just pick
what the actual time zone was and then what
| | 05:14 | the mis-entered time zone was.
| | 05:17 | Then I just have to click OK, and the
time zone will automatically be updated
| | 05:23 | for all of these images, just like that.
| | 05:25 | So, that is very easy.
| | 05:27 | Now, the last thing that I want to
show you is what if we wanted to actually
| | 05:31 | change the Version Name?
| | 05:34 | So, let's say for these guys here,
| | 05:38 | instead of the Yosemite Valley shots,
let's say I wanted to change it to buck.
| | 05:45 | Select all those shots, go back to
Metadata, go down here to Batch Change.
| | 05:53 | Now, we are going to change the version.
| | 05:55 | Here is the Current Version Name.
| | 05:58 | I want to change it to a custom
name with Master file. Oh, wait.
| | 06:04 | That isn't in my list.
| | 06:06 | Well, we can fix that right
on the fly. I go to Edit.
| | 06:10 | Look at this.
| | 06:11 | We get to do anything that we want.
| | 06:13 | I want a new one called Custom Name with Master.
| | 06:22 | I like having that master file
number in there, always have.
| | 06:25 | So, here is Custom Name.
| | 06:26 | We don't want a Index on that.
| | 06:29 | We are going to get rid of that.
| | 06:30 | I just hit the Delete key.
| | 06:32 | What I want is just the Master File Name.
| | 06:34 | So, now we are going to have a custom
field that we can fill in, with the Master
| | 06:39 | File Name, and I just click OK.
| | 06:42 | And now, we have that
available here in our list.
| | 06:45 | So, you saw how he did that.
| | 06:47 | I just went down to Edit and created that.
| | 06:50 | Now, I am going to give this Buck.
| | 06:54 | Now, I have Buck and then the master,
the Master Number here, which I like.
| | 06:59 | It's going to be applied to all of
these, so the previous was Yosemite Valley. Now
| | 07:05 | it's going to be Buck.
| | 07:07 | Click on that and look at that.
| | 07:09 | All of our images have been renamed.
| | 07:12 | So, Batch Change allows us to do a
lot of really nice stuff, very quickly.
| | 07:17 | It's actually more powerful than a lot
of people think because we have control
| | 07:22 | over all of these Presets too.
| | 07:24 | So, Time Zone, Version name, and
then just about anything else in the
| | 07:29 | Aperture Metadata Library.
| | Collapse this transcript |
|
|
11. Searching for ImagesUsing the Search box| 00:00 | I have talked about search in a lot
of movies in reference to a specific
| | 00:05 | thing that we are doing, but I thought
it will be nice just to talk about the
| | 00:08 | Search box in general.
| | 00:10 | And that's what I am going to do right here.
| | 00:12 | I'm going to my All Photos View, right here.
| | 00:16 | And so, if you have a large Library, there
is going to be a whole bunch of stuff in here.
| | 00:20 | But I want to show you how powerful
and how flexible search is in Aperture.
| | 00:25 | So, we are going to go up to our
Search box and we do that by clicking on
| | 00:29 | this button right here.
| | 00:30 | And this brings up our Search Filter.
| | 00:33 | Now you have some standard kind of things.
| | 00:36 | Like you can search by various
keywords. And it's instant - camping, hiking and
| | 00:44 | all that kind of stuff.
| | 00:45 | So, that's the sort of stuff that
you would expect in a Search box.
| | 00:50 | But Aperture has some real surprises,
and that's what I want to show you right now.
| | 00:55 | So, you go up here to Add Rule, and
let's say that you want to search by a
| | 01:01 | specific piece of EXIF data.
| | 01:03 | We will go there first.
| | 01:06 | So, click on EXIF, and let's say that I
want to know everything that I shot in
| | 01:11 | my entire Library that was
shot at ISO 400. I can do that.
| | 01:16 | Look at all these different conditions.
| | 01:19 | I have to Filter by.
| | 01:20 | So, we'll go to ISO, and we will
say ISO is, and we will say 400.
| | 01:28 | And now we will hit the return key.
All of these shots were captured at ISO 400.
| | 01:34 | And I go, "Oh. Well, oh, how about ISO 1600?"
| | 01:38 | Hit return. All of these shots were
captured at ISO 1600. You can just see,
| | 01:44 | it's almost instantaneous. It's so fast.
| | 01:47 | That was fun, so we Undo that.
| | 01:49 | I want to show you a new rule.
| | 01:51 | I want to show you the Adjustments Rule.
| | 01:55 | So, this is great because we can
search by work that we've done in Aperture.
| | 02:01 | So, for instance, if I want to see
everything that has been adjusted to Black &
| | 02:06 | White, I can just choose that, right here.
| | 02:09 | Choose Black & White.
| | 02:10 | And then if I want to see,
I can add my EXIF to this.
| | 02:15 | I'm going to just do 200.
| | 02:21 | So, now anything that has either
ISO 200 or Black & White will show up.
| | 02:28 | If I wanted to see just shots that
have ISO 200 and Black & White conversion,
| | 02:34 | then I go up here and I go from Any
to All. And we don't have anything that
| | 02:40 | matches that specific thing,
| | 02:41 | so let's try, ah, but we
do at 100. There we go.
| | 02:48 | So, these shots have had a Black &
White Adjustment applied, and they were
| | 02:52 | captured at ISO 100.
| | 02:56 | So, the real message here is to
explore these Add Rules because they are a
| | 03:02 | ton of them here, and there are all sorts
of important things that you can search by.
| | 03:07 | We've done Face. We've done Place.
| | 03:09 | We can search by Rating.
| | 03:10 | You can just do a flat-out text search.
| | 03:14 | If you watch the captioning movie, then
you'll know that that work that you do in
| | 03:18 | captioning can be used right here,
and you can search by any of those text
| | 03:22 | strings in the captions.
| | 03:24 | You can search by Color
Label, Date - you name it.
| | 03:27 | It's basically everything you
could ever think of is in here.
| | 03:31 | If you get a collection
| | 03:32 | that's important to you,
that you want to hang onto,
| | 03:35 | then all you have to do is just
click the New Album with Current Images -
| | 03:39 | we will do that right now. And then
I would give the Album Name based on
| | 03:45 | what the search was.
| | 03:46 | So, we will say ISO 100 w/ BW Conv.
| | 03:55 | Just click OK, and there you go.
| | 03:59 | Now the reason why this shows up here is
because these two are connected in a Stack.
| | 04:05 | And so since this guy is in the Stack,
we get the whole Stack with that search.
| | 04:10 | And if you wanted to have that all
cleaned up, all you have to do is select this
| | 04:15 | image here, go up to Stacks, make that
your Pic, collapse your Stack, and then
| | 04:21 | the world looks the way it should.
| | Collapse this transcript |
| Creating Smart Albums for searching| 00:00 | We're going to talk a
little bit more about searching.
| | 00:02 | This time, we're going to talk about
using Smart Albums for our searches.
| | 00:06 | The nice thing about Smart Albums
is they are dynamic. They are alive.
| | 00:09 | So, as new images come in that meet
the conditions of our Smart Album, that
| | 00:14 | album is automatically updated.
| | 00:16 | That is pretty wild stuff.
| | 00:18 | So, I want to create a top-level Smart Album.
| | 00:21 | So, I'm just going to click on
Photos here, so we have all the photos
| | 00:25 | available in our library.
| | 00:27 | I'm going to go up here to New
and create a new Smart Album and
| | 00:31 | you notice this is at top-level here.
| | 00:34 | Now, the kind of Smart Album I want to
create, I want to find a certain file type.
| | 00:39 | So, I'll name that in a second,
but let me show you how this works.
| | 00:43 | We have all of these rules over here that
allow us to filter our pictures in different ways.
| | 00:49 | So, I'm going to click on this,
and I want to use File Type.
| | 00:53 | We've explored a lot of these already
in other movies, but this is one that I
| | 00:57 | don't think we've touched on yet.
| | 00:59 | So, I'll click on File Type
and look what we have available.
| | 01:03 | We have RAW, JPEG TIFF, Video, Audio or Other.
| | 01:08 | So, let's say that we wanted to find
all the videos I got mixed in to our
| | 01:14 | Aperture Library, which could happen
very easily, because they may be coming in
| | 01:17 | the same time as our regular files.
| | 01:19 | So, I'll just do Video, like that.
| | 01:23 | Look, instantly, the one video that was in
our Aperture Library shows up right here.
| | 01:29 | Now, if I added more videos, then this
album would be automatically updated.
| | 01:35 | Let's say you wanted to find all of the JPEGs
in your Aperture Library. That's easy to do.
| | 01:42 | You just go to JPEG and then you go, "Here
are all the JPEGs that I have." I don't know.
| | 01:47 | I must have been feeling non-RAW that
day for some reason, or I used the camera
| | 01:52 | that didn't capture in RAW.
| | 01:53 | So, if you want to feel better about
yourself as a top-drawer shooter, then you
| | 01:59 | could go here and choose Raw and see
all the images that you captured in RAW.
| | 02:05 | So, this is a very useful tool.
| | 02:07 | Remember, this is just one of the
conditions that you can use. We'll go ahead.
| | 02:12 | Let's go to Video, because
video, I think is a great example.
| | 02:15 | File Type is Video.
| | 02:17 | We'll just call this Video
Files, like that. We are set.
| | 02:26 | We'll close that up.
| | 02:27 | Now, everytime I add a video to my
library, it will show up in my Smart Album
| | 02:33 | labeled Video Files.
| | Collapse this transcript |
|
|
12. Exporting ImagesExporting masters and versions| 00:00 | There are a lot of different ways
that you can export, as you would imagine.
| | 00:05 | There are so many different ways to
do all sorts of stuff here in Aperture.
| | 00:09 | We can export copies of our Masters.
| | 00:12 | In other words, if this is a RAW file,
which I do believe it is, I can export a
| | 00:17 | RAW file out, that is a duplicate of the
RAW file that is in my Aperture Library.
| | 00:23 | It would be the original RAW file
without the adjustment. It's just the RAW.
| | 00:28 | So, if want to get a whole bunch of
RAW files out, and you don't want them to
| | 00:32 | have any sort of adjustments to them,
any image adjustments, you would just
| | 00:36 | select them, and you would go up to File,
and you would go to Export right here,
| | 00:42 | and you would choose Export > Masters.
| | 00:45 | You decide where you want them to go.
| | 00:48 | If you want a Subfolder, you could do that.
| | 00:52 | You could change the Master file name.
| | 00:54 | So, in other words, you can rename on
export, and you do have some options
| | 00:59 | concerning Metadata, even with Master files.
| | 01:02 | You can just have them go back
out the same way they came in.
| | 01:06 | So, you don't include any IPTC Metadata.
| | 01:09 | That's things like you're author
name and copyright, or you could have it
| | 01:13 | included in a Sidecar File.
| | 01:16 | The Sidecar File - I've
done some testing with that.
| | 01:19 | Don't get your hopes up too much -
that if you open up that file in Adobe
| | 01:24 | Bridge, for example, that you're
going to see all of your Metadata from
| | 01:28 | that original Master.
| | 01:30 | It doesn't always work.
| | 01:32 | So, I would put an asterisks here on
that one, but you do have these three
| | 01:37 | options, and I would test
for your specific situation.
| | 01:41 | So, that just brings a Master file
right out, so that's one way to go.
| | 01:46 | Now, another way to go is if you want
your edits to go out with the file.
| | 01:52 | In that case then, you would export a version.
| | 01:57 | Version is very interesting;
| | 01:58 | I love the way Aperture handles this.
| | 02:01 | So, if I want to export a version of
this file, I would go back to File, and I
| | 02:06 | would go to Export, and this
time I would choose Version.
| | 02:10 | Here's the location, again, so
you decide where you want it to go.
| | 02:14 | Then you have Version Presets, and you have
a bunch here that are already made for you.
| | 02:21 | One of the fun things when Aperture
first came out, people were going, "Oh! Apple.
| | 02:25 | They've done it again."
| | 02:26 | They've only limited me to being able
to use these presets right here, and I"
| | 02:30 | want something different."
| | 02:31 | Well, that's just not the case at all.
| | 02:34 | If the preset you want isn't
here, you simply go down to Edit.
| | 02:40 | You get this dialog box where you can create,
basically, any type of preset that you want.
| | 02:47 | So, let's say that I want to create a new JPEG.
| | 02:49 | We'll call it JPEG - Derrick.
| | 02:55 | So, you choose the format.
| | 02:57 | In this case, it will be JPEG, but these
are the formats you have to choose from.
| | 03:02 | I can or cannot choose to have the
Metadata go out with it, things like my
| | 03:07 | copyright and author name,
almost always will I have it go out.
| | 03:11 | I get to choose the Image Quality and all
the way up to 12, all the way down to 0.
| | 03:18 | I doubt you'll be picking 0 too often.
| | 03:19 | But let's say I want a very high-quality
JPEG, so I will pick 10, and then I can
| | 03:25 | constrain the size of the JPEG.
| | 03:28 | I can make it the original size.
| | 03:30 | I can have it fit within a certain size
pixels or inches, centimeters or even a
| | 03:35 | percent of the original, such as 50%.
| | 03:38 | So, let's say for the Derrick
JPEG, I want it to fit within 1200.
| | 03:45 | So, that doesn't means it's
going to stretch it out to 1200x1200.
| | 03:48 | That just means the longest side
will be limited to 1200 pixels.
| | 03:53 | I can have any DPI that I want.
| | 03:56 | Since this will be used for web, I'll leave it at 72,
but I could change it to 300, or whatever.
| | 04:02 | I also have some nice options here.
| | 04:04 | I can make a Gamma Adjustment on export.
| | 04:08 | If you have a specific use for this file,
or you know you need to maybe brighten
| | 04:13 | it up a little bit, you could use the
Gamma Adjust for that, and you can also
| | 04:17 | embed a color profile.
| | 04:20 | This would be really nice if you're
sending it out to the lab, and they have
| | 04:23 | their own ICC profile.
| | 04:25 | You can pick that, or if you know that
you wanted to go to someone that's going
| | 04:29 | to print it, you might want
to open up that color space.
| | 04:32 | I'm going to leave it at sRGB,
because it's going to be on the web.
| | 04:38 | I can choose a Black Point
Compensation, in other words, to maintain the
| | 04:42 | integrity of my blacks if I want.
| | 04:44 | I think I will do that.
| | 04:46 | You can even add a Watermark at this
point and basically, what you would do is
| | 04:51 | you would create the Watermark
first, let's say in Photoshop.
| | 04:55 | Then you would choose that image,
and then you could choose its position.
| | 05:00 | You have these positions to choose from.
| | 05:02 | You could also choose its Opacity.
| | 05:04 | So, you could make it rather faint or
make it very strong, and you can scale it.
| | 05:09 | So, we're not going to do a Watermark
on this particular one, but I want you to
| | 05:13 | know that that is available to you.
| | 05:15 | So, I have set up JPEG - Derrick,
and then I just click OK, and now it's
| | 05:21 | available to me in my Export Preset
menu, and it will always be there.
| | 05:26 | If I decide I want to get rid of it in
the future, I can do that. Just go to Edit.
| | 05:31 | Just go to JPEG - Derrick and
hit the Minus sign, that simple!
| | 05:35 | So, we'll go ahead and use it, and I'm
not going to do a subfolder, but I could.
| | 05:41 | I could change the Version Name and,
in fact, I think I will on this one.
| | 05:45 | I'm just going to call it Tent
and we'll do the underscore there.
| | 05:50 | So, it'll be sent out like that.
| | 05:54 | Then if I want, I can show
an alert when it's finished.
| | 05:57 | Now the way that Aperture works is it
reads the original RAW file, and then it
| | 06:02 | applies any image adjustments
that I've done along the way.
| | 06:07 | Then it applies this Preset information,
and then it bakes a new file in the places
| | 06:12 | that where I asked it to.
| | 06:14 | It does it all pretty darn
fast, in this case, very fast.
| | 06:19 | Let's take a look at it.
| | 06:22 | There it is right there.
| | 06:24 | We can go ahead, and I'm
going to do Command+I on that.
| | 06:29 | You can see that we have a JPEG and
here's our preview, and it's a nice
| | 06:33 | small size, much smaller than the RAW file,
because we have it 1200 on the longest side.
| | 06:41 | We still have our Metadata,
because I included that.
| | 06:45 | So, we have a very nice working file
for the specific use that I want to do.
| | 06:50 | Is that or is that not a beautiful thing?
| | 06:53 | So, that is exporting Version, now
you can also export edited audio.
| | 06:59 | So, if you've actually done an audio
file, if you've brought some movies in and
| | 07:04 | you've trimmed them, then
you can export them out.
| | 07:09 | The edits that you apply to the audio
or to the video will also go out with
| | 07:13 | it, so, very handy.
| | 07:15 | You can e-mail out a picture and you
just click on the Email app. What app gets
| | 07:22 | launched is determined by
what happens in Preferences.
| | 07:26 | Remember, we'll go to Export.
| | 07:28 | I believe that's where it is.
| | 07:32 | So, the Email apps that are available on
that computer will show up in this list.
| | 07:36 | You choose the one that you want.
| | 07:38 | You can even set an Export preset.
| | 07:41 | That's the default for that e-mail,
and probably, it won't be Original Size.
| | 07:46 | You probably want to do something like 640x640.
| | 07:49 | So, then Aperture will scale that image down.
| | 07:53 | It will open your e-mail application,
and it will attach that image for you.
| | 07:58 | Then last but not least, you can drag out.
| | 08:02 | We'll drag out a different shot here.
| | 08:05 | When you drag out, what happens is
whatever you have set as your Preview Size -
| | 08:10 | we'll go back to Preferences.
| | 08:12 | We'll go back to Previews.
| | 08:15 | Whatever you have set here, when you
drag out, that will be the file that ends
| | 08:20 | up where you drag it, in this
case, a 1920 file at 8 Quality.
| | 08:26 | So, all you do is just grab that image.
| | 08:28 | Just drag it out to your Desktop. There you go!
| | 08:31 | Let's hit Command+I. Let's take a look here.
| | 08:35 | Sure enough, Aperture behaved once again.
| | 08:39 | So, that's the easiest of all ways to
drag out, and it's another reason to have
| | 08:43 | your previews set the way you want.
| | 08:46 | So, I'm going to go ahead and just
bring Aperture back to the size that it's
| | 08:50 | supposed to be here.
| | 08:52 | So, it's just as easy to get your images
out of Aperture as it is to get them in.
| | 08:57 | You have a lot of flexibility.
| | 08:59 | You can export copies of your Masters.
| | 09:01 | You can export Versions, edited audio, via
e-mail, or when in doubt, just drag it out.
| | 09:08 | The choice is up to you.
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| Using the export plug-ins| 00:00 | There are a variety of third-party
Export plug-ins that are available for
| | 00:05 | Aperture that allow you to do fun
stuff like send your photos directly to
| | 00:10 | Facebook. Or if you do a lot of FTP
transfer, you can use a plug-in to send your
| | 00:17 | photos directly to your FTP site.
| | 00:21 | You can find these plug-
ins on the Aperture page.
| | 00:25 | You go to Apple.com/Aperture, click on
the Resources button there, and you will
| | 00:31 | see another link for all of the plug-ins.
| | 00:34 | So, let me show you a little bit how this works.
| | 00:37 | Let's say that I wanted to send this
photo directly to my Facebook account.
| | 00:42 | Well, there is an export plug-in for that.
| | 00:46 | So, I just click on the photo, and
then I go up to File. I go to Export.
| | 00:53 | I will see any plug-ins that I
have loaded from the Resources page on
| | 00:57 | Aperture, right here.
| | 00:59 | Now you'll notice that it says 32-bit.
| | 01:03 | So, we're in a bit of a transition
phase right now, and it depends on when
| | 01:07 | you're listening to this movie.
| | 01:09 | If you're listening to this movie
five years after I recorded it, the
| | 01:12 | transition is probably over.
| | 01:14 | If you're listening to this movie
soon after I recorded, we're still in the
| | 01:18 | middle of this transition.
| | 01:20 | But Aperture 3 is written in
64-bit. It's a 64-bit app.
| | 01:25 | That means it can take advantage of more memory.
| | 01:28 | You have performance enhancements,
especially when you're running it with
| | 01:31 | Snow Leopard or later.
| | 01:32 | A lot of the plug-ins that
are out there are in 32-bit.
| | 01:38 | So, what you actually have to do is
move from 64-bit to 32-bit mode if you want
| | 01:45 | to use an older plug-in.
| | 01:47 | It's not that painful, but
I'll let you decide for yourself.
| | 01:51 | So, I'll go ahead and just click on
this right here, and I'll get this
| | 01:56 | message right here.
| | 01:57 | If I click the Reopen button, what
Aperture is going to do is reopen in 32-bit mode.
| | 02:03 | So, I can use that plug-in. So, we'll do that.
| | 02:05 | It's going to relaunch right now.
| | 02:10 | Now we haven't set up this particular
plug-in, so I'm going to go ahead and just
| | 02:14 | close this, and we'll just say Fine!
| | 02:18 | So, then we could go ahead and
start using our plug-in in 32-bit mode.
| | 02:23 | I'm going to cancel this.
| | 02:25 | But now we're in 32-bit mode, which
means when we go back to work, we're not
| | 02:29 | taking advantage of maybe all the
memory that we have or some of the
| | 02:33 | performance enhancements.
| | 02:34 | So, how do we get back to 64-bit mode?
| | 02:38 | Well, it's really not that hard.
| | 02:40 | All you have to do is
just basically quit Aperture.
| | 02:45 | I'm going to show you one thing before
we relaunch. The short answer is then you
| | 02:48 | just relaunch Aperture, but
while we're here, let's get info.
| | 02:51 | I'm going to do Command+I. If you
wanted to just switch to 32-bit mode on your
| | 02:56 | own, this is the way you do it.
| | 02:58 | You just do Command+I, and then
you check this box right here.
| | 03:01 | But we don't want to do that.
| | 03:02 | We want to go back to 64-bit mode.
| | 03:05 | So, now, all we have to do is just launch
Aperture again, and now we're back in 64-bit mode.
| | 03:13 | So, this was as much a movie about 32
-bit versus 64-bit as it was for the
| | 03:19 | Export plug-ins, but I'll tell you,
this is the spot where you're really going
| | 03:24 | to run into this issue is with the Export
plug-ins and also some of the edit with plug-ins.
| | 03:29 | So, I wanted you to be up to speed, so
you knew what was going on if you had this
| | 03:35 | show up on your screen.
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|
|
13. Archiving PhotosDeveloping a backup strategy| 00:00 | Well, you don't want to do all of this
great work in Aperture and then just
| | 00:04 | have it at risk, leave it out there for some
hard drive failure to take it all away from you.
| | 00:11 | So, you want to have an archiving strategy.
| | 00:14 | I'm going to talk a little bit about that,
and then I'm going to show you one of
| | 00:18 | the built-in tools that
Aperture has for archiving your work.
| | 00:21 | So, Aperture has this thing called the
Vault, and it's right down here, clicking
| | 00:27 | on this little icon here.
| | 00:29 | We don't have Vaults set up yet, but
we are going to remedy that very soon.
| | 00:34 | Basically, what the Vault
is is incremental backup.
| | 00:38 | In other words, you set it up the first
time, and it captures all the metadata,
| | 00:42 | your keywords, your captions.
| | 00:44 | It captures your image edits.
| | 00:47 | If you're running a managed library,
close library, like we are here, then they
| | 00:52 | will back up your Masters too.
| | 00:55 | You back them up to a connected hard drive.
| | 00:58 | So, you plug the hard drive into your
computer, you run the Vault, and it backs
| | 01:02 | up all of your work. That's terrific!
| | 01:05 | But what if you're using
the referenced file approach?
| | 01:09 | Well, then you're
responsible for your own Masters.
| | 01:13 | In other words, if these images were
just pointers to the Master files that
| | 01:18 | live on another hard drive, when you
ran the Vault Aperture would back up all
| | 01:22 | of your work and your metadata, but
you would be responsible for your own
| | 01:27 | backing up of your Masters.
| | 01:29 | You could use Time Machine or
some other strategy for that.
| | 01:32 | So, the main thing to keep in mind is
if you're running a managed library where
| | 01:37 | everything is in the Aperture
container, when we set up the Vault the Vault
| | 01:42 | will back everything up.
| | 01:43 | If you're doing reference files,
Aperture will back everything up except for
| | 01:47 | your Masters. Those you
have to take care of yourself.
| | 01:50 | The last thing I will say about this is
that I like to have the drives in two locations,
| | 01:57 | just in case something physically
happened. So, I would have a drive, let's say
| | 02:02 | at home and a drive at work, and then
either shuttle the drives, or if I'm using
| | 02:07 | a laptop, shuttle the laptop, so that
every now and then I'm backing up the
| | 02:11 | Vaults in two different locations.
| | 02:13 | That's just me, but it's
something to think about.
| | 02:15 | Either way, make sure you develop a
backup strategy so that all this great work
| | 02:20 | you do in Aperture is protected.
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| Backing up with vaults| 00:00 | I'm actually going to create a backup Vault
right now, so that we can see how this works.
| | 00:05 | Then I'm going to restore from
that Vault in the next movie.
| | 00:08 | So, lots of excitement here; I hope you
don't have to go anywhere to get a cold drink.
| | 00:13 | As I mentioned in the last movie, you
get to Vaults though this icon right here.
| | 00:17 | So, we actually have the Vault window
open, but there are no Vaults in there.
| | 00:22 | We can fix that by going to the Gear
menu and saying, "I want to add a Vault."
| | 00:27 | It's telling us what's going to go on here.
| | 00:30 | So, I'm going to click Continue,
and I'm going to create my Vault on an
| | 00:35 | external hard drive, and I'm going to call it
the Bonnie Vault, just because I like the name.
| | 00:43 | I'm going to click Add. There we go!
| | 00:48 | Now we have a Vault right there.
| | 00:50 | So, we've created the Vault, but
we haven't backed anything up yet.
| | 00:54 | These little arrows here, you'll get
three colors of them. The Red means that
| | 00:58 | both data and Masters have not been backed up.
| | 01:02 | Yellow will mean that your Masters are
okay, but you have some data changes,
| | 01:06 | maybe you did some caption or something
that need to be backed up, and Black means
| | 01:10 | that everything is great.
| | 01:12 | So, to enable the Vault, all
I have to do is click on it.
| | 01:15 | It will update our Vault here.
| | 01:17 | Now, of course, this is going relatively
fast, because this is a very small library.
| | 01:22 | A larger library will take longer.
| | 01:25 | So, now you notice our arrow has changed to
Black, and that means everything is just fine.
| | 01:30 | But if I open up one of these shots
here, and I just make any sort of change,
| | 01:34 | let's just say I take away a period,
actually, I have to go to the Library,
| | 01:39 | go back to our Vault.
| | 01:41 | Now you'll see that we have a Yellow arrow,
and that's because I made a Metadata change.
| | 01:47 | If I wanted to, I could back up right
now, and Aperture would only back up that
| | 01:54 | one little change that I made,
and that happens very quickly.
| | 01:58 | So, it's an incremental backup, and
because we have a managed library here, both
| | 02:02 | our Masters and our work are being backed up.
| | 02:05 | If this was a reference library, our work
would be backed up, but our masters would not.
| | 02:10 | We would have to do that on our own.
| | 02:12 | In the next movie, I'm going to
show you how to restore from a Vault.
| | 02:16 | Stay tuned!
| | Collapse this transcript |
| Restoring from a vault| 00:00 | The worst of all things that
could possibly happen has happened.
| | 00:05 | There was a hard drive crash, the
hard drive of my Aperture Library on it.
| | 00:10 | Now when I open Aperture, I just
have a blank library. I have no images.
| | 00:14 | All the work I've done, years
of memories have faded away.
| | 00:19 | There is hope. Because I used the Vault system,
| | 00:22 | I can restore everything that I've done
up to the last backup, which hopefully
| | 00:27 | was basically every time I did any work.
| | 00:30 | So, how do I do that?
| | 00:31 | Well, here I am in a fresh Aperture
Library, and we have no information at all.
| | 00:36 | I go down to the Gear in the Vault menu
here and I go Restore Library. I choose that.
| | 00:43 | So, we're going to select.
| | 00:45 | We have to select a Vault.
| | 00:46 | So, we're going to go to here.
| | 00:49 | Here's the Vault that we created
in our last movie, the Bonnie Vault.
| | 00:53 | I'm going to select that.
| | 00:54 | I can say that should be my Source.
| | 00:56 | I'm going to click Restore.
| | 00:58 | I get the warning, I don't know why
it's warning me, because this is saving
| | 01:03 | me, but you can read this alert if you want,
speed readers, hurry up, come on, all right.
| | 01:08 | Let's go. Now, we're going to restore from the Vault.
| | 01:12 | Obviously, if you have a large
library, this will take longer.
| | 01:17 | There is our project file there.
| | 01:19 | Here is our project container.
| | 01:21 | Here's the Smart Album that we created.
| | 01:23 | Look at this. Here's all of our versions.
| | 01:27 | Do we have Metadata? Oh yes!
| | 01:31 | We have Metadata too.
| | 01:32 | We have everything that we left off
with, all restored, safe and sound.
| | 01:38 | It's a system that works great.
| | 01:40 | And as I've mentioned a few times now,
if you use the managed library approach,
| | 01:44 | your Masters are here, all of your work is here.
| | 01:47 | If you use the reference library
approach, all of your work will be here.
| | 01:51 | Your Masters will be where you've been
storing them, and hopefully, they are backed up too.
| | 01:56 | The day is saved. All your memories
are intact, and what a great way to end
| | 02:02 | this movie!
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|
|
14. Slideshows and MoviesViewing your images via a quick slideshow| 00:00 | There are two basic Slideshows in Aperture 3.
| | 00:03 | There is the Quick Slideshow, and
then there is a more Detailed Slideshow.
| | 00:08 | Quick Slideshows, which I'm going to
show you right now, are great for just
| | 00:12 | showing off a few photos quickly,
because what you can do is just grab a few
| | 00:17 | shots and then play the Slideshow and look
at them Fullscreen moving from shot to shot.
| | 00:23 | You have a few templates to choose from.
| | 00:25 | So, let's do that right now.
| | 00:28 | Now the easiest thing to do, in my
opinion, you can get to the quick
| | 00:32 | Slideshow right up here.
| | 00:34 | You have a keyboard command for it, but
what I like to do is actually go to my
| | 00:38 | View and go to Customize toolbar.
| | 00:42 | This is one of the buttons
I do like having up here.
| | 00:45 | So, I just like to add the Slideshow.
| | 00:48 | That's essentially the Quick Slideshow button.
| | 00:50 | Then that way you just, boom,
just hit it, and off you go.
| | 00:54 | Now the next thing that I do
is I just select a few shots.
| | 00:57 | I'm going to hold down the Command
key while I select a few shots here.
| | 01:03 | Your Previews come into play on this,
because if you're going to show a
| | 01:07 | Slideshow Fullscreen, Aperture uses
your Previews to do that Slideshow.
| | 01:13 | So, if you have really small Previews,
your Slideshow might not look that good,
| | 01:18 | something to keep in mind.
| | 01:20 | If you do Ken Burn zooms on the
Slideshow that I'm going to show you, the
| | 01:25 | more advanced one, just doing this right now.
| | 01:27 | I'm thinking about it.
| | 01:28 | You'll need even more
resolution. So, here we go.
| | 01:33 | So, I've just selected some slides.
| | 01:36 | I'm just going to go up to the button.
| | 01:39 | The first thing that you'll get is you'll
get this Play Slideshow Preset view here.
| | 01:45 | You can choose from all of these presets.
| | 01:48 | Go ahead, and play with
them. Take a look at them.
| | 01:50 | I'm not going to show them all to you right now.
| | 01:52 | I generally use Classic as my Preset.
| | 01:55 | I do that also when we do the more Advanced
Slideshows, because this is the most customizable.
| | 02:01 | But one of the thing that I always do,
right off the start, the first time is I
| | 02:05 | go to Edit, I go to Classic and I turn off
the music, because otherwise what you're
| | 02:12 | going to get is that boom, boom, boom,
boom, boom, endless Summer soundtrack
| | 02:17 | that we've heard a billion times.
| | 02:19 | If you like that, it's okay.
| | 02:21 | But if you don't, like me, I just - on the
Quick Slideshow, I just want to show the slides.
| | 02:26 | So, I turn that off.
| | 02:28 | Now I have added that as part of
the Preset for the Classic Slideshow.
| | 02:33 | You could add any music that
you want while you're here, you know.
| | 02:36 | Keep in mind though, if you show this as
any sort of performance, you have to keep
| | 02:40 | copyright as part of your
thinking about all of the stuff.
| | 02:44 | Make sure you stay within the law.
| | 02:46 | So, I'm going to click OK.
| | 02:47 | I turned off the music.
| | 02:49 | Now I'm just going to hit Start.
| | 02:53 | Whatever the Project is or if you're
from an Album, that will be the title
| | 02:58 | slide that it gives you. You have control.
| | 03:01 | I'm going to hit the
Spacebar, and you can pause.
| | 03:04 | Then hit the Spacebar again to play,
and just rolls through your images.
| | 03:10 | This is a very nice way to
show off your shots quickly.
| | 03:15 | If you're tired of it, or if your client
or whoever you're showing to says, they ask
| | 03:20 | a question, you need to go back to the library.
| | 03:21 | All you have to do is hit the Escape
key, and that just brings you back to
| | 03:25 | your Library there.
| | 03:27 | So, Quick Slideshows, they're
terrific. They're very easy.
| | 03:30 | You can select any
number of shots if you go if
| | 03:33 | if I want add something, let's say,
even if you want to add a vertical shot,
| | 03:36 | just go ahead, hit the
Command key, add that shot.
| | 03:41 | You can get rid of the other stuff.
| | 03:42 | You go, "Oh, I don't like that one."
| | 03:44 | Hold down the Command key. Get rid of it.
| | 03:47 | Then play your Slideshow again. It's easy.
| | 03:50 | It's really a great way to show off your images.
| | Collapse this transcript |
| Setting up complex slideshows| 00:00 | Now we're going to tap into the real
power of Aperture 3 for presentations.
| | 00:05 | I'm going to show you how to set up
the more complexed or advanced Slideshow.
| | 00:10 | Now, one of the things that I like to
do - let's say that I want to set up a
| | 00:13 | Slideshow in this project
here, the Great Outdoors.
| | 00:17 | All the work that you've done up until
this point, on your Rating and so forth,
| | 00:21 | this is one of the times that it pays off.
| | 00:23 | So, for instance, you want to have a
nice little show that just shows your best
| | 00:27 | shots, and you have rated your shots.
| | 00:31 | You may have even created a
Smart Album with your Best Shots.
| | 00:34 | Then they're all ready to go.
| | 00:36 | They're all right here waiting for you.
| | 00:38 | All you have to do is just select them all.
| | 00:41 | I'm just going to hit
Command+A to select them all.
| | 00:45 | Now I'm going to go up to New.
| | 00:47 | This time, instead of going to Slideshow,
I'm going to go to Slideshow under New.
| | 00:52 | This is where you get the
Advanced Slideshow right there.
| | 00:57 | You get to Choose a Theme.
| | 00:59 | Now, I will tell you right now
that these two themes are the best for
| | 01:04 | customizing your Slideshow.
| | 01:06 | So, if you like to tweak it and work on
it, and have it be just the way that you
| | 01:10 | want it, choose either Classic or Ken Burns.
| | 01:14 | These other themes are nice, and
they're fun, but they're more what we would
| | 01:17 | call, canned themes.
| | 01:19 | Now they're great for
working quickly. So, explore them.
| | 01:22 | But if you want to play with your
Slideshow, most of the time, I'm going Classic.
| | 01:27 | That's what we're going to do right here too.
| | 01:29 | So, I'll just call Great Outdoors.
| | 01:34 | Then of course, make sure
that this box is selected.
| | 01:37 | So, the shots that we previously
selected are part of our Slideshow.
| | 01:41 | Now if you miss something, not a
problem, because you can bring stuff in.
| | 01:47 | Now my Stacks are opened up here, but
I'm going to collapse them, so that we're
| | 01:53 | just seeing what we want.
| | 01:55 | The way that Stacks work for
Slideshows is that the Slideshow will pick the
| | 02:00 | pick image for the Stack,
so the one that's on top.
| | 02:04 | So, as long as your best shot is on
top for your Stack, you're in good shape.
| | 02:08 | If not, you can make that adjustment.
| | 02:11 | Like I said, if you forgot a shot, and
you go, "Oh, I really want that shot in
| | 02:15 | there," really, not a problem.
| | 02:17 | All you have to do is go back
to wherever your images are.
| | 02:21 | Let's say that I wanted to add this
little guy too, this little guy right here.
| | 02:27 | I just have to drag him over to my Slideshow.
| | 02:31 | Here is my little project. There he is.
| | 02:35 | He is ready to go.
| | 02:36 | So, I can make him like the first slide there.
| | 02:39 | Then even if I'm looking at him here,
and I go, "I need to make some adjustments
| | 02:43 | to them," we can do all that sort of stuff.
| | 02:46 | In the next movie, I'm going to show you
how to work with the individual slides,
| | 02:50 | but right now, we're just
setting up our basic movie.
| | 02:53 | So, we're going to go to
Default Settings right here.
| | 02:56 | If you don't see this when you first
open up your Slideshow, don't worry.
| | 03:01 | You get to it right here.
| | 03:02 | This is a little icon to show that panel.
| | 03:05 | So, if it's not there, just click on this.
| | 03:07 | And you will get that.
| | 03:09 | Then the other panel is your Audio Browser.
| | 03:13 | So, if you want to set up music or add
a soundtrack, you would do that here.
| | 03:17 | But right now, we're just going
to work with our images themselves.
| | 03:21 | Over here, we have some play buttons.
| | 03:23 | This is Fullscreen, and this is
to Play within the Viewer here.
| | 03:28 | We have our lovely little Gear menu that
allows you to do some additional things
| | 03:32 | that we're going to play
with on individual slides.
| | 03:35 | Then we have this little Timer guy here.
| | 03:39 | This shows us the length or the
duration for the slide that happens to be
| | 03:42 | selected at the moment.
| | 03:44 | We also have a couple of different
views here, for down here in our Filmstrip.
| | 03:51 | You can even work in List a View if you want.
| | 03:54 | I'm kind of a visual sort of person.
| | 03:55 | So, I don't want to do that. Then we can Sort.
| | 04:00 | You can sort here, but I always end up using
Manual, because I like to drag stuff around.
| | 04:05 | I like to set the order myself.
| | 04:08 | So, I want this shot to follow that shot.
| | 04:11 | So, we just move this around, and
maybe we'll go with a distance shot of the
| | 04:16 | buck, and then kind of
have a close shot right there.
| | 04:21 | Then do this and then end with that shot.
| | 04:24 | So, I'm almost always in the Manual Sort here.
| | 04:30 | Now in our Default Settings, we have
some basic effects for the whole show.
| | 04:35 | Now these apply to
everything over in Default Settings.
| | 04:39 | I'm just clicking on that right now.
| | 04:41 | It moved back over to Selected Slides,
because I was clicking on slides.
| | 04:46 | So, keep an eye on this. Make sure
that your working on the Default for
| | 04:49 | everything for the Slideshow.
| | 04:52 | You can choose your Aspect
Ratio, our Main Display, 16x9.
| | 04:57 | So, that in HDTV is the same, but
if the Aspect Ratio of my display was
| | 05:02 | different, that would show different there.
| | 05:05 | Almost all the time, unless I'm
authoring for something specific like the
| | 05:08 | iPhone, I'm going to be doing 16x9 for HDTV.
| | 05:13 | You can set it up so that Slideshow Repeats.
| | 05:16 | You can Loop the main audio track over
and over again as the slides play if the
| | 05:20 | audio track is shorter.
| | 05:22 | This one here, Show the title at the beginning -
| | 05:26 | what it does is it takes the name of your
Slideshow, and puts it on the first slide.
| | 05:31 | If you like that, that's great,
just leave the box checked.
| | 05:35 | It will be checked, by default.
| | 05:37 | If you don't like that,
you can turn that off here.
| | 05:40 | I'll show you how to do an
individual title slide in the next movie.
| | 05:43 | You set the Default Settings
for all of your slides right here.
| | 05:48 | You can override that with the
individual slide adjustments, but if you say just
| | 05:53 | overall, I want the
slides to play for 3 seconds.
| | 05:56 | You set that up here.
| | 05:58 | You can set up your Background also, and you
can choose from the whole palette of colors.
| | 06:04 | I like black.
| | 06:05 | I am just sort of a
Black Background kind of guy.
| | 06:09 | If you want to set up a Border that
sets off your image from the Background,
| | 06:14 | you can do that here.
| | 06:16 | Now Crop is interesting. So you can
Crop where your images Fit in the Frame, or
| | 06:21 | they Fill the Frame.
| | 06:24 | Aperture will actually enlarge them as needed.
| | 06:27 | Again, this is where your
preview size comes into play.
| | 06:30 | Make sure you have a big enough
preview to do this sort of thing.
| | 06:34 | Even though we chose Classic
Theme, we could set up Ken Burns.
| | 06:40 | Right now, they hide the
Ken Burns in the Crop Frame.
| | 06:44 | There it is right there.
| | 06:45 | Now our whole show will have the Ken
Burnsian Effect as you go through it.
| | 06:51 | So, it's up to you.
| | 06:53 | If you want to do just Fill the Frame,
and then go with the standard Transition,
| | 06:58 | such as Dissolve, and you have all of
these wonderful transitions to choose
| | 07:02 | from. Dissolve is the most common.
| | 07:05 | You can set the angle of the Dissolve
or whatever Transition you set right
| | 07:11 | there, and the Speed of
the Transition right here.
| | 07:15 | Then once all of that is put together,
if you want to have music, then you can
| | 07:20 | set the music right here.
| | 07:24 | What you would do is you would take
whatever soundtrack you wanted, and actually
| | 07:29 | drag it to the Filmstrip, and just
drag it where you want it to begin.
| | 07:33 | So, if you don't want to begin right at
the beginning of the show, you can just
| | 07:37 | do it right there - kind of neat, isn't it?
| | 07:40 | When you're ready to play your
Slideshow to take a look at it, all you have to
| | 07:45 | do is hit the Play button right here.
| | 07:50 | (Music Playing)
| | 08:02 | I hit the Escape button to Exit out of that.
| | 08:05 | Then you can make any changes that you
want to the audio, to the individual slides.
| | 08:12 | I'm going to show you how to do some
of those changes in the next movie, but
| | 08:16 | right now, you're set up and ready to go.
| | Collapse this transcript |
| Customizing individual slides| 00:00 | Let's keep working on the slideshow.
| | 00:02 | We've set up the overall settings.
Now let's work on some of the individual
| | 00:07 | aspects of the show.
| | 00:09 | The first thing I want to show you
actually before I get to the slides
| | 00:12 | themselves, because we have a few
things to do there, is I want to show you the
| | 00:16 | audio that we've added.
| | 00:17 | If you go down here, and if you
click on the little audio button here, we
| | 00:22 | actually get a pop-up menu where we get
to adjust the Volume and the Fade In and
| | 00:26 | the Fade Out and reduce the Volume of
the main track to a certain percentage
| | 00:31 | when this track comes up.
| | 00:33 | Let's say that we have a video with audio
that's playing, and we're adding the soundtrack.
| | 00:39 | When the soundtrack comes in, then
maybe we want to fade back that audio that
| | 00:43 | comes with the video.
| | 00:44 | That's pretty good stuff.
| | 00:46 | That's right here in this tool.
| | 00:47 | So, that's all under Audio
Adjustments right there, and you get to it by
| | 00:51 | clicking on the little speaker icon.
| | 00:53 | Now let's get to the
individual slides themselves.
| | 00:57 | Here is a nice thing that Aperture has
always been able to do. As we look at
| | 01:01 | this slide, and we look at
this slide, they are different.
| | 01:03 | This one has been image-adjusted.
| | 01:06 | We added this one at the last
minute, and it hasn't, really.
| | 01:09 | That's not a problem.
| | 01:10 | Right here in the slideshow, all we
have to do is double-click on the slide, go
| | 01:14 | over to Adjustments, go over here to
Levels, make a quick Levels adjustment.
| | 01:19 | Double-click again.
| | 01:20 | It brings us back into the
slideshow, and look at that.
| | 01:24 | We're all ready to go, just like that.
| | 01:26 | So, you can make tweaks to slides to
bring them more in line with the slides
| | 01:30 | that's next to them, and
that happens with a slideshow.
| | 01:33 | You know they look fine maybe
individually, and then you put them next to two
| | 01:37 | other slides, and you go, "Oh I want
it to be little warmer or a little cooler," or
| | 01:40 | something like that.
| | 01:41 | Just double-click on the thumbnail,
and you can make that adjustment.
| | 01:44 | Now, let's go up here to Selected Slides,
and we can make adjustments here also.
| | 01:51 | We have the Photo effects.
| | 01:52 | I must admit, I don't use
these, but they are here:
| | 01:55 | Black & White, Sepia, and Antique.
| | 01:57 | If was going to do a Photo
effect, in all honesty, I would use my
| | 02:02 | Adjustments pane here, but they are here.
| | 02:05 | Now, we can override the
default that we set up earlier
| | 02:09 | for an individual slides. So, if you want to
play it longer, or shorter, you set that
| | 02:13 | up right here, and you can
obviously set the duration.
| | 02:19 | You can also change the Background for
the individual slide, and you can add a
| | 02:23 | Border for a specific slide, or Inset it.
| | 02:26 | And again, if we want to add a Ken Burns
to a specific slide, it is hidden under
| | 02:31 | Crop here. Plus we have our usual
Fill Frame, and Fit in Frame controls.
| | 02:38 | Right now, we're in Fill Frame.
| | 02:40 | So, let's say that I want
to do a Crop on an image.
| | 02:43 | Let's pick this guy right
here. We'll work on him.
| | 02:48 | So, I'll do Crop. I'm going to go to
Ken Burns Effect and then hit Edit.
| | 02:54 | And you get two things here.
| | 02:56 | You get the Start, which is in the green,
which is where we're going to start.
| | 02:59 | And then you get the
where we're going to end up.
| | 03:02 | So, let's say that we're going to start
something like this, but on our End up,
| | 03:09 | on this guy here, we want to do like
kind of a zoom in, just on their faces,
| | 03:15 | something like this.
| | 03:19 | Now again, resolution comes in the play here.
| | 03:21 | If this is a low res slide, as you zoom
in on this Ken Burns Effect, it's going
| | 03:27 | to look not so good.
| | 03:30 | So, you can always update your preview, as
we talked about when we were doing previews.
| | 03:34 | There we go.
| | 03:35 | So, there. Now I am going to go ahead
and hit Done, and then you can take a look
| | 03:40 | on how that's going to work.
| | 03:41 | (Music Playing)
| | 03:46 | So, wow!
| | 03:47 | That music was a little loud right there.
| | 03:49 | I'm going to go back over here to my
Audio thing, and I'm just going to bring
| | 03:53 | that Volume way down, at least for right
now, because I value my hearing. All right!
| | 03:58 | Now, let's come back to here.
| | 04:00 | So, let's check our Edit to make sure
everything is the way that we wanted. Yes, we are good.
| | 04:05 | Now, I'm just going to click on this
button to play that individual slide to see
| | 04:09 | how my Ken Burns Effect looks. Nice, very nice.
| | 04:15 | So, you can add that effect to
individual slides, and you can change the
| | 04:20 | Transition for individual slides also.
| | 04:23 | So, this slide could have the
Dissolve, which is our default.
| | 04:28 | But the next slide, if you wanted to,
could have a different transition. You just
| | 04:32 | click on that, and then maybe you go to
- we'll do a Push, something like that.
| | 04:42 | So, you can have individual transitions
for the slides, and you can also have text.
| | 04:49 | So, we're just going to click on that slide.
| | 04:52 | We click on the Text box itself.
| | 04:55 | We're going to say Custom Text.
| | 04:57 | You have all of these little Metadata
things, but I usually end up wanting to
| | 05:01 | say something, Custom.
| | 05:03 | Right here, the color is set. A lot
of times white will be the best Text.
| | 05:10 | You can also move the Text around.
| | 05:13 | So, I'm going to change the size
here, and I'm just going to write The
| | 05:18 | End, just like that.
| | 05:23 | Click outside of it, and you go, "Oh,
you know. I want it a little bit bigger."
| | 05:28 | Not a problem. Just click on this, and now
we'll make the size bigger. Oh, it's so easy.
| | 05:35 | It's so Apple, isn't it?
| | 05:37 | Oh then I want to move it just right
here, and you just can keep playing to
| | 05:43 | your heart's content.
| | 05:45 | I think we're all set now, so let's
just go ahead and play our slideshow.
| | 05:49 | We have had fun making some
individual adjustments here.
| | 05:53 | So, now I want to see it
fullscreen. Let's let it roll.
| | 05:56 | (Music playing)
| | 06:17 | Pretty good. Pretty good.
| | 06:18 | I think we're really only missing one thing.
| | 06:21 | I'd like to have a title slide at the beginning.
| | 06:24 | Now, you recall I turned off the have the
title over the face here, but wait. There is more.
| | 06:31 | Let's go to the Gear menu, and let's
Insert a Blank Slide With Text.
| | 06:35 | Okay. I'm just going to drag that all the
way to the beginning here, and as you can
| | 06:42 | guess, we can type Great Outdoors.
| | 06:46 | There we go, very nice.
| | 06:50 | We have all our adjustments that I
showed you before, so we can make it bigger,
| | 06:54 | make it smaller, change the color, do
all that sort of stuff, and we can also
| | 06:58 | change the position of this, right?
| | 07:00 | We can move it around.
| | 07:01 | As you move away from the center, you
get the little center line as you come
| | 07:06 | back, so you can keep
things all nice and lined up.
| | 07:09 | And then you can also set for how long
on this slide. So you maybe don't want it
| | 07:16 | for three seconds. Maybe you just
want it for two seconds. All right!
| | 07:21 | I think we have improved our show.
| | 07:22 | That was the thing that was sort of missing.
| | 07:24 | Let's just make sure
everything works great. Hit the Play button.
| | 07:29 | Now, we have a nice slide
upfront, music fades in.
| | 07:33 | We have our little guys here, cute
little fairy creatures, great outdoors,
| | 07:43 | handsome buck, does, wild
mustard field, and the end of the show.
| | 07:51 | And as you see, you can just keep going,
and going, and going with this, but I
| | 07:57 | think already you have enough to
keep you busy for a few minutes.
| | 08:01 | Just keep an eye on the time,
because you could look up, and it can be
| | 08:04 | easily two in the morning.
| | Collapse this transcript |
| Adding video to your slideshows| 00:00 | So, my slideshow is coming along pretty nicely,
| | 00:03 | but it seems like I had a video clip
back in my Great Outdoors project that
| | 00:09 | might work well in here, because that's
one of things that we can do in Aperture
| | 00:13 | 3 is we can add video.
| | 00:15 | Now we can integrate it with
the rest of our presentation.
| | 00:18 | So, let's go back and try to find that
video clip and see if we can bring it in here.
| | 00:22 | So, I am going to go to my project here.
| | 00:24 | Now this is where the filtering comes
in so handy, because we have all of this
| | 00:29 | information here, and I don't
remember where the video clip is, per se.
| | 00:35 | Let's find it real quick.
| | 00:36 | So, I am just going to go up here, and
we are just going to filter by File Type,
| | 00:42 | and we are going to choose Video, and
then that way it will come right out.
| | 00:46 | Isn't that a nice use of that?
| | 00:48 | So, now we have our video here.
| | 00:50 | I can play the video by double-clicking
on it, and we get our little player here
| | 00:55 | and the first thing that I notice
is I have 38 seconds of a flower.
| | 01:01 | I would say that adding 38 seconds of a
flower to my presentation would not be
| | 01:06 | the greatest use of my movie-making talent.
| | 01:09 | So, I want to trim the video, and we can
trim the video right here in the Aperture.
| | 01:14 | I am going to just play it for a second
just so we can make sure that we have 38
| | 01:20 | seconds of a flower.
| | 01:21 | Yeah, that's all there is there, kids. All right.
| | 01:24 | So, I am going to stop that, go over
to my gear menu, and I'm going to choose
| | 01:28 | Trim, and we get the little trim handles here.
| | 01:32 | If you've done trimming on a new iPhone,
then you recognize these little yellow handles.
| | 01:38 | So, let's just bring it down here to just
something like - we don't want it very long.
| | 01:45 | 4 seconds? 4 seconds.
How about that?
| | 01:47 | 4 seconds of video is a lot better
than 30 -- oh, we'll just go 5 seconds.
| | 01:52 | It's a lot better than 38 seconds.
| | 01:54 | So, right there, it tells us 5 seconds.
| | 01:56 | I am just going to hit the Trim button.
| | 01:59 | Okay, now we just have a
nice, little 5-second video.
| | 02:03 | I am going to double-click again on this,
and now I just have to drag it into my
| | 02:09 | slideshow presentation here. Great!
| | 02:12 | Now we are going to go over there.
| | 02:14 | Here is our video, right here, and it
actually is a 4.7 seconds, and I want it to
| | 02:21 | go right after the mustard field.
| | 02:23 | So, I will put it right there.
| | 02:26 | I think we are set. Under Selected Slides,
| | 02:28 | I can set in a Fade In and Fade Out, for this.
| | 02:33 | I am going to move that Volume way down on this.
| | 02:35 | I really don't want that Volume,
because it's not a whole lot there.
| | 02:41 | I can reduce the Volume of the main track.
| | 02:44 | We will leave it at 40%.
| | 02:45 | Let's try a Transition into that, and
let's play it now. Let's see what happens.
| | 02:53 | Let's see how this whole thing works.
| | 02:54 | We will go and off to the races.
| | 03:00 | (Music playing.)
| | 03:26 | We have successfully added
video to our slideshow presentation.
| | 03:32 | So, just keep in mind that as you're
out there, and you are shooting of your
| | 03:35 | DSLR or compact, and you want to grab
little video clips, go ahead and do it.
| | 03:40 | Aperture can organize them for you.
| | 03:42 | You can trim them in Aperture, and then you
can add them to your presentations. Very handy.
| | 03:48 | In fact, you can even use Aperture 3
as a light video editor and just have
| | 03:54 | videos only, just bring them in, trim
them to the length that you want, put them
| | 03:58 | together in the order that you want
and then export them out as a new movie.
| | 04:04 | So, you can't do a lot of complicated
stuff, but sometimes you just need to edit
| | 04:08 | and put together and export,
and Aperture can do that for you.
| | Collapse this transcript |
| Pulling a still frame from a movie| 00:00 | Here's a fun, quick tip for you.
| | 00:02 | If you don't want to play the whole
movie, as we did in the previous tutorial,
| | 00:07 | and you just want to grab a frame from a
movie, I am going to show you how to do that.
| | 00:11 | Let's go back to our project right here
and here is where our movie is, and we
| | 00:16 | can just double-click on it to bring it up.
| | 00:20 | You can scrub here until you
find the frame that you want.
| | 00:24 | Then we go to the gear menu
and we go to New JPEG from frame.
| | 00:29 | Now depending on what the resolution
is for your movie, that will drive the
| | 00:34 | resolution for the still frame.
| | 00:37 | Click on that. Just like that, Aperture did that.
| | 00:42 | Now I am going to double-click
again to bring us back to movie size.
| | 00:45 | Now we want to find our JPEG that it created.
| | 00:48 | Well, hey, why not use the Filter?
| | 00:51 | Let's just change our File Type
now to JPEG, because we know that's
| | 00:56 | what Aperture created.
| | 00:58 | It shows all of our JPEGs.
| | 00:59 | Here is our frame grab form our movie.
| | 01:02 | Let's go to Metadata.
| | 01:04 | Let's take a look at it.
| | 01:06 | Sure enough, it's a JPEG.
| | 01:07 | It's from a standard definition movie.
| | 01:10 | That means 640x480.
| | 01:12 | So, that is the size of the JPEG.
| | 01:14 | However, if you're shooting in HD with
one of these newer cameras, your frame
| | 01:20 | grab could be a glorious 1920 pixels,
which means that's over two megapixel
| | 01:26 | image, which means that as you're
shooting video, you're actually shooting two
| | 01:30 | megapixels, boom, boom, boom every frame,
and you can grab any of those frames
| | 01:34 | by using this technique.
| | Collapse this transcript |
| Exporting slideshows| 00:00 | So, yes you can play your movies in
Aperture and show them off to your heart's
| | 00:05 | content on your nice big
screen, if you have that.
| | 00:08 | But there are times when you may
want to share this work in other ways.
| | 00:12 | Maybe you want to play it on you iPhone
or maybe you want to send it to somebody
| | 00:15 | or put it on YouTube.
| | 00:16 | Whatever you want to do, you can pretty
much do it by using the Export function
| | 00:21 | that we have right up here.
| | 00:23 | You just go up to the Export button
once you have authored your presentation,
| | 00:29 | and you get this little dialog box.
| | 00:31 | We're going to actually put our
image here in the Exercise Files.
| | 00:36 | So, that actually be in there, and we are
going to call it the Great Outdoors Movie.
| | 00:44 | Then we have some presets here,
and these presets work great.
| | 00:47 | I know this because I have
tested them, and I just love them.
| | 00:51 | So, if you want to send it out to the
iPhone or the iPod Touch, just choose the preset.
| | 00:56 | If you are going up the YouTube or
MobileMe, you have a preset for that.
| | 01:01 | Apple TV, HD 720p and then full on HD,
but you want to make sure that the
| | 01:07 | content in your movie, if you
are going to send it out to this
| | 01:09 | high of resolution, is at that resolution,
or you will get some sampling up, and
| | 01:14 | it could be slightly ugly.
| | 01:17 | So, if you go are going to go big HD,
make sure you have big HD content in there.
| | 01:22 | Right now, we are going
to send it to the iPhone.
| | 01:24 | Oh, by the way, you do have a Custom.
| | 01:27 | It's not a full head-on Custom with the
QuickTime, Export box, but you do get a
| | 01:32 | few choices here in Custom Frame Rate,
and you get a choice of two codecs and
| | 01:37 | the pixel dimensions.
| | 01:39 | But for the most part, I think you'll be
happy with the presets, and the presets
| | 01:43 | generally accommodate most of our needs.
| | 01:46 | Now I do not want to send
the slideshow to iTunes.
| | 01:48 | So, I am going to uncheck that box
right there, and we are ready to go.
| | 01:52 | So, you just hit the Export button, and
Aperture will gather up all the assets,
| | 01:56 | and it will do its work.
| | 01:59 | Now obviously, if you have a big
movie, it will not go this fast.
| | 02:04 | Obviously, if you have an older
computer, it may go a little bit slower.
| | 02:09 | In fact, this may be a time to grab
that ice cold soft drink that you've been
| | 02:15 | craving while you have
been working on your movie.
| | 02:17 | Or if you ever really slow computer
and a really big movie, you might want
| | 02:22 | to grab a bite to eat.
| | 02:24 | Fortunately for us, small movie, fast
computer, and we are almost ready to go here.
| | 02:30 | So, I'm going to go ahead and
minimize our Aperture environment here.
| | 02:35 | Let's go to Exercise Files, and
let's take a look at our movie.
| | 02:40 | There is our movie right
there, 3.4 MB, not bad at all.
| | 02:45 | So, I want to play the movie.
| | 02:47 | Now sometimes if you double-click on
it on a M4V, you might launch iTunes.
| | 02:52 | So, I am going to right-click instead
and say I want to open it with QuickTime.
| | 02:56 | I want to watch it in QuickTime.
| | 02:59 | Just to be on the safe side, we will
pull that volume down a bit, because I
| | 03:02 | do value your hearing. Then we will play.
| | 03:05 | (Music playing.)
| | 03:10 | There's our movie.
| | 03:10 | It will play perfectly on
an iPhone or iPod Touch.
| | 03:15 | And you can also just send this to someone.
| | 03:18 | Now all of your options are open.
| | 03:23 | Everything is right here, and it's not
too big that's kind of - I mean 3.4
| | 03:28 | MB is really not bad at all.
| | 03:32 | So, that's how you get your movies out
of Aperture so that you can share them
| | 03:36 | with other people, and you do it just
via this little Export button right there.
| | Collapse this transcript |
|
|
15. Using Aperture's Bookmaking and Design ToolsPreparing your book project| 00:00 | Well, another great publishing option
in Aperture 3 is actually publishing your
| | 00:05 | own book, and there are
some great tools in here.
| | 00:09 | I've always said that there is a Layout
Editor hidden within Aperture that a lot
| | 00:13 | of people don't tap.
| | 00:14 | So, I'm going to introduce you to the
preparation for bookmaking in this movie,
| | 00:19 | then we'll talk a little bit about
adjusting the book and outputting it in the
| | 00:23 | upcoming movies, but let's just start
with getting ready to create a book.
| | 00:27 | The first thing that you want to do,
of course, is figure out the images that
| | 00:31 | you're going to put in your book.
| | 00:32 | Now one of the reasons why I'm so
high on rating on your images is because
| | 00:37 | then I can see what my best shots are
right at the top, and one other things
| | 00:43 | that I like to do is sort by rating, so that
they are right here at the top of my project.
| | 00:49 | Now to help me be even more organized
| | 00:51 | though, a lot of times, I'll create a
separate album for those images
| | 00:56 | that allow me just to move things around
and think about it a little bit before
| | 01:00 | actually get to the business of making a book.
| | 01:03 | So, I would select all the images that
I am thinking about for the book, and
| | 01:07 | just create a Book Planning Album.
| | 01:11 | I will just call it Book Planning,
and we'll make sure that the selected
| | 01:17 | images are in there. All right!
| | 01:19 | So, now I have removed the clutter, and
I can think about the flow of the book.
| | 01:24 | I can just play around here, just drag
things around and just think about my book.
| | 01:32 | So, that's a nice thing to do.
| | 01:34 | Once you do that, once you have your
head around what this book is going to be
| | 01:39 | about, you want to start thinking
about what your cover image is going to be.
| | 01:42 | And a lot of times, I'll just move that
to the front of the album and say, "Okay.
| | 01:48 | This will be my cover image," and then I'll
open up maybe with this shot. And on we go.
| | 01:54 | So, I like to do that, that sort of thing.
| | 01:57 | Now, I'm ready to actually create a book
itself, and it's very much like when we
| | 02:03 | created our slideshow, is that
you actually create a Book Project.
| | 02:08 | So, you can just start out by
selecting all the images in your album.
| | 02:13 | I just held down the Shift
key and selected begin and end.
| | 02:17 | And then go to New, and
then go down here to Book.
| | 02:22 | The first thing that you're going to
see when you create your Book Project is
| | 02:26 | making the decision on the theme and
some of the basic parameters of the book.
| | 02:32 | So, I'm going to give it a name, and
then you choose your Book type, and there
| | 02:42 | is Extra-Large, Large, Medium, and Small.
| | 02:45 | We're going to make a Medium Book right now.
| | 02:48 | If you're curious about cost and
what are the sizes and all that,
| | 02:52 | if you're connected to the Internet,
you can click on this Options &
| | 02:55 | Prices button right here.
| | 02:58 | And you'll actually be taken to Apple's
page that shows you the latest version
| | 03:04 | of everything that's going on.
| | 03:05 | And you can just scroll down here.
| | 03:07 | It gives you some good basic information.
| | 03:12 | And if you keep scrolling, you'll
actually get to the different sizes, and what
| | 03:18 | their dimensions are and
the price for all of that.
| | 03:22 | So, it's very helpful stuff, and you
might want to refer to this when you're
| | 03:26 | making your Book decision.
| | 03:28 | So, I'm going to go ahead and
minimize that so we'd go back to Aperture.
| | 03:32 | So, we're going to go Medium book here, and
we're going to add our new pictures to it.
| | 03:36 | So, we've made our selection.
| | 03:38 | I'm going to go with Art Collection, but
there are lots of themes here to choose
| | 03:43 | from, and you can really explore all of
them to decide what is the perfect theme
| | 03:48 | for what you're going to do.
| | 03:49 | We'll go with Art Collection.
| | 03:51 | Then we start it out with a template, and
we're in the Outdoor Book working area here.
| | 03:59 | We have our browser here, and you can
look at things in the browser and look at
| | 04:04 | pages two up by clicking here, the Full
Spreads, or I like to work where I am
| | 04:09 | just looking at the single page.
| | 04:11 | We have our thumbnails over here, and then we
have our filmstrip down here with our images.
| | 04:17 | And to add images to your book,
there is a couple of ways you can do it.
| | 04:22 | You can go the Autoflow method, but I
actually like to - here we go, Autoflow
| | 04:29 | Unplaced Images right here, and
Selected Images, but I actually like -
| | 04:33 | personally, I'd like to add them manually.
| | 04:36 | The way that I do that is I just drag
the image right up to there, and then I'll
| | 04:42 | go to the next spread and
drag them, and I am methodical.
| | 04:47 | I like to think about what I'm doing
as I'm building the book, and that's
| | 04:50 | probably what I prefer this method.
But you can Autoflow your images if you
| | 04:55 | want, and take a look at it, and
then move them around from there.
| | 04:58 | It's pretty much up to you.
| | 05:01 | So, then at this stage here when you're
placing your images, you'll go through,
| | 05:06 | get a feel for it, click back and forth
through the pages, so that you have kind
| | 05:11 | of a feel for the flow of your book.
| | 05:13 | And then at that point you can start
adding text to your book, and this is where
| | 05:19 | I want to show you like a critical area
of this editor is that when you want to
| | 05:25 | actually change the text on a page,
because you start out with what we call
| | 05:30 | greeking here, and you add your own text.
| | 05:33 | You go to Edit Content, and you click on
the area, and now you can actually edit
| | 05:38 | the words themselves.
| | 05:41 | If you want to actually work on the
Layout, for instance, you want to work on
| | 05:44 | the area that the text occupies, then
you go to Edit Layout, and now when you
| | 05:49 | click on the text, you
get a whole different thing.
| | 05:52 | So, this is a very important area here.
| | 05:55 | If you want to change the
content itself, make sure you're there.
| | 05:58 | If you want to change how the content
is presented, then you go there. Okay.
| | 06:03 | So, you want to go through, and then fine-
tune your book a little bit, add the text.
| | 06:09 | And then the next stage here as you're
preparing your book and planning your
| | 06:14 | book is that make sure that you proof it.
| | 06:17 | Make sure that you have someone go
through and look at your book, look at your
| | 06:21 | layout, read the text, and really get
a feel for what you're doing, because
| | 06:26 | you become so close to the project
after a while that you become blind to
| | 06:30 | certain aspects of it.
| | 06:32 | So, you need another set of eyes on it.
| | 06:34 | Then the final stage, of course, is
outputting the book itself and at that
| | 06:39 | point, you can send it to Apple,
and they will produce it for you.
| | 06:43 | But we have other options too that
we're going to cover in an upcoming movie,
| | 06:47 | where you might want to output
it to PDF or some other method.
| | 06:51 | So, that is the basic flow for
thinking about the book, and then actually
| | 06:56 | getting the Book Project started.
| | 06:58 | In the next movie now, I'm going to
show you some tips for adjusting the
| | 07:02 | pages and adjusting the images to
make it easier for you to fine-tune this
| | 07:06 | book that you're working on.
| | Collapse this transcript |
| Adjusting your book| 00:00 | Now that we have our book project
underway, I want to show you a few tricks for
| | 00:05 | managing your book and customizing it.
| | 00:08 | We're going to start out by
doing a little text editing.
| | 00:11 | So, I'm going to go to one of the text
pages here, and remember, we have Edit
| | 00:16 | Layout and Edit Content.
| | 00:18 | When we click on Edit Content and I click
in a text box, I can actually edit that text.
| | 00:23 | So, I can add text or
change the greeking that's there.
| | 00:27 | If I go to Edit Layout, then when I
click in that area, I actually have a layout
| | 00:33 | box that I can move around.
| | 00:35 | So, I can change the area that the text appears.
| | 00:38 | So, that's Edit Content and Edit Layout.
| | 00:41 | If I want to add another text box to
the area, we narrow this here, and then I
| | 00:48 | want to add another text box.
| | 00:49 | So, I go up to the little Plus up here,
and I can Add Text Box, and then I'll
| | 00:56 | just reshape this right here.
| | 00:58 | We can move it around.
| | 01:00 | We can take it to where we want to do it,
and then we can work on that text also.
| | 01:05 | So, right up here the Plus is
where we can add a text box.
| | 01:09 | We can also, while we're in Layout
mode, we can add another Photo Box.
| | 01:12 | So, go right here, and I can
change its shape like this.
| | 01:19 | We're still in Edit Layout.
| | 01:21 | Then if I want to place a picture
there, all I have to do is just drag my
| | 01:25 | picture right there.
| | 01:26 | If I double-click on that picture, I get
the little scaling things so I can make
| | 01:31 | an adjustment to it.
| | 01:33 | Then I can move it around also.
| | 01:36 | All of that is up here under the Plus menu.
| | 01:40 | Speaking of pictures, let's
talk a little bit more about them.
| | 01:44 | We'll move down our thumbnails here.
| | 01:48 | Let's say that I add a
picture to this page right here.
| | 01:53 | You'll notice that this shot has a 1 on it.
| | 01:56 | That means it's already been used once.
| | 01:58 | We added it to that Photo Box.
| | 02:01 | If I want to see all the images that
haven't been added to the book yet, I click
| | 02:06 | over here, and this just
shows me the unused ones.
| | 02:11 | Now this may not seem like a big
deal right now as you're watching this
| | 02:14 | particular demo, but if you have a
large book, then this could be a big deal.
| | 02:19 | So, this will help you decide what
has been used and what hasn't been used.
| | 02:23 | Now I can use it more than once.
| | 02:25 | I can drag it up here, and now Aperture
tells me that I've used this photo twice.
| | 02:31 | Speaking of photos, let's
go to this page right here.
| | 02:34 | This is part of the layout template.
| | 02:36 | If I decide that I want a
different look right here, I don't want two
| | 02:40 | photos side-by-side.
| | 02:42 | I just have to go to this little arrow
right here, and I can pick the shot that I want.
| | 02:47 | So, let's say I just want a nice
large landscape shot. Beautiful!
| | 02:51 | Then now I have something that's
appropriate for this guy right here.
| | 02:57 | When we work on images in our book
here, we have a couple of options.
| | 03:01 | For instance, if I double-click on this, I
can bring the Image Scale up a little bit.
| | 03:07 | That's sort of nice.
| | 03:10 | If I want to actually do some image
editing on the shot itself, it's very much
| | 03:14 | like the slideshows where
I just double-click on it.
| | 03:17 | It brings me to this view.
| | 03:19 | I go to Adjustments.
| | 03:21 | Maybe I want to enhance
the Vibrancy a little bit.
| | 03:24 | So, I just make that enhancement
right here, bump the Definition a bit.
| | 03:29 | Oh yes, that's what I was looking for.
| | 03:32 | Then I just double-click again,
and I'm back in my book interface.
| | 03:37 | We're not done yet.
| | 03:38 | I have a few more tricks.
| | 03:40 | If I wanted to add a page in the
middle of the book, I just click on a page.
| | 03:46 | I go to this Plus symbol down here.
| | 03:48 | So, we got Plus symbols all over the
place, but this is for adding a page.
| | 03:53 | So, I just Add a New Page.
| | 03:55 | Then of course, I can make the page be any
of the templates that are available to me:
| | 04:00 | Text, Blank, 2-up Portrait, whatever
works, Full bleed, and then I can go to my
| | 04:07 | images, and then I can add an
image, very easy - very nice to do.
| | 04:13 | Now if you have multiple items on a page, I
want to make you aware of these two buttons here.
| | 04:19 | These are the move
forward and move back buttons.
| | 04:23 | So, you would click on the item, let's
say the photo box or the text box that
| | 04:28 | you wanted to bring forward or send
back, and then click on this button, and
| | 04:32 | then that controls what
you can actually manipulate.
| | 04:36 | So, those are a few goodies to really
help you move along in your book design.
| | 04:41 | Obviously, we could spend
a lot of time playing here;
| | 04:44 | I have, hours and hours and hours.
| | 04:46 | So, take these basic tools and do some
experimentation and see what you can
| | 04:51 | design with your images.
| | Collapse this transcript |
| Creating a custom template| 00:00 | In one of the earlier movies, I
mentioned that the book-making tool is really a
| | 00:05 | layout program hidden inside of Aperture,
and that is so true, and I'm going to
| | 00:10 | prove that to you right now through
the ability to make custom templates.
| | 00:15 | You can make custom templates for
just about anything you want, any layout
| | 00:19 | project, posters, and fliers.
| | 00:21 | In this case, I'm going to show you a
custom layout template for a fine art note card.
| | 00:28 | The end product is a 5 x 7 note card
that goes in a very nice envelope, printed
| | 00:34 | yourself on very nice paper,
and people love these things.
| | 00:37 | They're absolutely gorgeous.
| | 00:39 | You can set up a template right here in
your Aperture Library and go back to it
| | 00:43 | anytime you want and just drop photos on there.
| | 00:46 | So, let me show you how to do that.
| | 00:49 | First, I'll give you tour of what we have here.
| | 00:51 | Here we have the photo itself.
| | 00:53 | This would be the front of the card.
| | 00:55 | It would fold right here.
| | 00:58 | Then we have type up here.
| | 01:00 | You notice the type is upside
down so that when we fold the card,
| | 01:03 | everything looks perfect.
| | 01:05 | This is a sheet of paper that
is 7 x 10 inches, 7 X 10 here.
| | 01:11 | You can buy this paper that goes to
your Inkjet printer. It's even scored.
| | 01:16 | You can get envelopes for it.
| | 01:18 | I get my paper from a
company called Red River Paper.
| | 01:22 | They have, I think right now, four
different styles of this type of paper, and
| | 01:26 | it's absolutely gorgeous.
| | 01:29 | Now when you want to make a new note
card, just go back to any of our albums,
| | 01:35 | and let's say I want to make a
note card with this guy here.
| | 01:39 | All I have to do is drag him
down to my Notecard project.
| | 01:44 | Go back to Notecard, looks like I
dragged more than I bargained for there.
| | 01:52 | I had more than just one guy selected,
and it makes no difference, because it
| | 01:56 | doesn't hurt anything.
| | 01:59 | I go to blank template right there.
| | 02:02 | I just simply drag him right there.
| | 02:04 | I can double-click, and I can
do some image scaling if I want.
| | 02:09 | Once I scale, I can move around
within there and then click outside.
| | 02:14 | On the text, all I have to do is type the text.
| | 02:17 | Now you notice that I had rotated the text.
| | 02:19 | I'm working off a master right now.
| | 02:21 | So, when I un-type off of it,
it goes back upside down.
| | 02:24 | Let's zoom in to 100%.
| | 02:28 | We'll just go 100% right here.
| | 02:31 | Now watch what happens.
| | 02:32 | I have this set up so
that the angle is upside down.
| | 02:35 | Actually, we'll go to Edit Layout.
| | 02:38 | Right here is where I set the Angle, so
you can change the angle by clicking on that.
| | 02:43 | I just created a new text box, as we
did before. But what's so clever about
| | 02:48 | Aperture is that when I go to Edit
Content now, it turns around so I can do my
| | 02:54 | typing and not have to cock my head upside down.
| | 02:57 | Then when I click out of it,
it goes back to upside down.
| | 03:02 | I mean this is really fun stuff.
| | 03:04 | So, quickly, let me show you how I set this up.
| | 03:06 | We'll go back to our project, we'll pick
this shot right here, and we're going to
| | 03:12 | pretend like we're creating a book.
But this is going to be note cards.
| | 03:17 | So, we're going to call this Notecard 2.
| | 03:19 | When we go to Book Type, instead of
choosing one of the templates, we're just
| | 03:26 | kind of go to Custom.
| | 03:27 | Now you notice that I have a
Notecard Template set up here already.
| | 03:31 | That's what I was showing you.
| | 03:33 | Here are the specs.
| | 03:35 | If you wanted to create your own,
you would just go to New Theme, call
| | 03:39 | it Notecard Temp 2. Set the Page Size,
| | 03:46 | in our case, 7 inches wide by 10
inches tall, because that is the size of
| | 03:52 | the paper that we use.
| | 03:54 | You set your Spacing right here.
| | 03:57 | All this can be changed on
the fly. Then you click OK.
| | 04:02 | Now we have a new Notecard Template.
| | 04:05 | So, now we choose that theme and here we go.
| | 04:10 | So, now we have the pages the right size.
| | 04:13 | You'll get all sorts of extra pages.
| | 04:15 | A lot of times what I do, at least early
on, is as I just go ahead and get rid of
| | 04:20 | it when I click on the first one.
| | 04:21 | Click on the last one here.
| | 04:23 | Now we're going to get a warning when I do this.
| | 04:25 | But we're not sending this to the Apple.
| | 04:27 | This is something that
we're going to print ourselves.
| | 04:30 | The softcover here, you
can't usually get rid of.
| | 04:33 | That will be grayed out.
| | 04:34 | So, you just sort of have
to live with that there.
| | 04:36 | Then you go ahead and
design your custom template.
| | 04:40 | We have it the right size and everything.
| | 04:43 | We're going to Edit Layout.
| | 04:45 | The first thing that we'll
do is we'll add a Photo Box.
| | 04:49 | Then we just position the box.
| | 04:51 | I won't get too crazy on this here,
because we have the other one to go to.
| | 04:58 | Then I'm going to add a Text Box.
| | 05:01 | We'll just move that up here.
| | 05:07 | Once you move it around,
you can resize it a bit.
| | 05:10 | Then the way that you get it upside
down is you make sure that it's selected.
| | 05:14 | You just change the Angle
here to 180, and I hit Tab.
| | 05:18 | Now the type will be upside down,
and you're pretty much ready to go.
| | 05:22 | I did a few other little goodies,
like I added a small border to my image.
| | 05:30 | Then all you have to do is just drag
your image right here and you go, "I want
| | 05:34 | the order be a different color."
| | 05:36 | That's not a problem.
| | 05:38 | We could make it a nice blue. There we go.
| | 05:42 | Type you type in there.
| | 05:43 | Make sure you do Edit Content.
| | 05:46 | I'm just typing my name. There we go.
| | 05:51 | We'll go up to 100%. See what we did.
| | 05:58 | It straightens out here, right there, just
make it a little bit bigger. There we go.
| | 06:05 | Now we can see what we're doing. Then you go,
| | 06:15 | "Oh, I want to reposition a little bit."
| | 06:16 | So, you go to Edit Layout.
| | 06:20 | Then you can just move it back.
| | 06:22 | Then we'll zoom back out. Voila.
| | 06:26 | There you go.
| | 06:27 | If you like your template, once you
get it all set up, then you can save this
| | 06:31 | as a master template.
| | 06:33 | Just go to Save Page > As New
Document Master. Then that way,
| | 06:38 | when you go here, there is your master
right there, and then you can just keep
| | 06:45 | adding pictures and keep adding pictures.
| | 06:47 | So, I know that this was a specialized
project where we create a note card, but
| | 06:52 | believe me, you can use this for just
about any layout project you want, and you
| | 06:56 | have your whole Aperture
photo library available to you.
| | 07:00 | This is powerful.
| | Collapse this transcript |
| Outputting your book| 00:00 | So, we've created some great stuff here,
for instance, my Fine Art Custom Notecard.
| | 00:06 | But you're probably thinking, "Oh! My gosh.
| | 00:08 | I can't send this to Apple."
| | 00:10 | This is not a size for a book or anything."
| | 00:13 | What can I do with it?"
| | 00:14 | And I mentioned that you can print it on
specific size paper, in this case 7x10.
| | 00:19 | It's easy to do. Here's how you do it.
| | 00:21 | You just select what you
want to print. In this case,
| | 00:25 | even though the number 1 here is this is the
actually the second page in the book, right?
| | 00:29 | Because Aperture will consider the
soft cover page one, so it's actually Page 2.
| | 00:33 | So, keep that in your back pocket.
| | 00:35 | We are going to go up to Print and
you go to your Print Driver, and we are
| | 00:40 | going to move to Page 2.
| | 00:41 | We are just going to say we want to
print From, as you guessed, 2, Tab, 2.
| | 00:49 | Then you have a few little choices here.
| | 00:51 | Your Color Profile, you can set
whatever color profile you want.
| | 00:55 | For instance, if you use the Red River Paper,
it has some profiles that come with it.
| | 00:59 | You'll probably want to use that.
| | 01:01 | You can do the Black Point Compensation,
which helps shore up those blacks
| | 01:06 | that's lost during the outputting process.
| | 01:09 | And then you can actually make some adjustments
in terms of Brightness, here in the dialog box.
| | 01:15 | That usually happens if, for instance,
your image looks great on the screen, but
| | 01:20 | it's coming out a little
dark out of the printer.
| | 01:22 | That's sort of the common thing.
| | 01:23 | Because when you look at a screen
it's back lit, paper is reflective.
| | 01:28 | So, instead of having them go back
and change your image, you can just make
| | 01:32 | that adjustment right here in the Print
dialog box, and it's only for making the print.
| | 01:37 | You also notice that we have
our Type and everything here.
| | 01:40 | You get a nicer view of this card,
knowing that it's going to fold right here.
| | 01:44 | So, you can go ahead and send
it to the printer right now.
| | 01:48 | Another option that you have with your
Custom Projects and also with your books,
| | 01:54 | or anything else that you create with
this tool, is that you can save it as a PDF
| | 01:59 | just like you would anything else.
| | 02:01 | And it will ask you for the location.
I always send it to the Desktop.
| | 02:06 | Now, you would have a PDF of this item
that you can have someone else output, or
| | 02:11 | you can send it to a friend.
| | 02:13 | You can do all sorts of stuff with it.
| | 02:15 | So, you can see that this Book Layout
tool is very powerful when you combine the
| | 02:21 | custom templates plus the ability to
output to PDF or to your own printer.
| | 02:26 | You don't have to send it to Apple and
pay all that money for a book. You can.
| | 02:31 | It's beautiful. But you don't have to.
| | Collapse this transcript |
|
|
16. Web and Electronic PublishingEmailing a photo from Aperture| 00:00 | One of the most common questions I
still get when I teach has to do with
| | 00:04 | sending photos to other people.
| | 00:07 | The argument goes something like this.
| | 00:09 | Well, you told me I should shoot at high
-resolution, but then when I send the
| | 00:13 | photos to Aunt Jane, she complains because
they're too big or they take too long to download.
| | 00:18 | I'll tell you what. Between Aperture
and then your e-mail application, and in this
| | 00:23 | case we are going to use Apple Mail,
| | 00:26 | we can solve that problem
for you and make it very easy.
| | 00:29 | Let's say that I would like to
send this photo to Aunt Jane.
| | 00:33 | The first thing to keep in mind is
how do you have your preferences set up,
| | 00:38 | because this is your first
line of defense for Aunt Jane.
| | 00:41 | So, you go to Aperture.
| | 00:43 | You go to Preferences.
| | 00:44 | Under Export, you have some settings for mail.
| | 00:47 | You get to choose the application that
you are going to use for Email, and you
| | 00:51 | have a choice of these four.
| | 00:54 | Now, remember, you can use other e-
mail applications, but that is a separate
| | 00:59 | plug-in, these are built right into Aperture.
| | 01:02 | Then you decide what is your
default mail attachment going to be.
| | 01:06 | Since most of my friends have
modern computers, I have a larger size.
| | 01:12 | But you can pick any size that
you want from your Export Settings.
| | 01:17 | So, if you want to send
something smaller, you could.
| | 01:19 | We are going to go 1024 x 1024 because I am
going to show you another trick. All right.
| | 01:24 | So, we are all set up here.
| | 01:26 | So, now when I click on this, it
should launch my Email application.
| | 01:30 | Create a 1024 attachment.
| | 01:33 | Then all I have to do is send
it off to Aunt Jane or whomever.
| | 01:36 | So, I'll click on Email right now.
| | 01:39 | We see the Exporting going on.
| | 01:41 | It's actually sampling down my image for me.
| | 01:45 | Then it's going to launch my Email Application.
| | 01:50 | Then it's going to present me with an
e-mail with this photo attached to it.
| | 01:55 | That is what it's thinking about
right now as it works away. Here we go.
| | 02:01 | Here is my e-mail.
| | 02:02 | I would want it to give a different
name, like From My Trip. There we go.
| | 02:10 | I will send it to Aunt Jane.
| | 02:13 | Now, as we look here, we have
another opportunity to make a change.
| | 02:19 | The photo, the default size is
the size that I set, the 1024.
| | 02:25 | But as I think about it, I am going oh!
| | 02:27 | That might be a little large for Aunt Jane.
| | 02:30 | Here is the nice thing about using Apple tools.
| | 02:33 | I can go down here to Image Size, and I
can pick smaller size and look how the
| | 02:40 | Message Size changes.
| | 02:43 | That image actually get smaller.
| | 02:45 | So, I could send Aunt Jane a very small
size like a 320 or a 640, somewhere in
| | 02:53 | that neighborhood, or if I wanted to, I
could just send the absolute Large size.
| | 02:58 | So, you have two opportunities to
sample down, both when you set your
| | 03:03 | Preferences here in Aperture, up here,
| | 03:08 | and then if you're using Apple Mail
you have a second opportunity at the
| | 03:12 | Mail attachment itself.
| | 03:14 | So, this allows you to shoot at the
largest resolution that you want, knowing
| | 03:19 | that when you share your work with
others via e-mail, you have complete control
| | 03:23 | over the attachment size that they receive.
| | Collapse this transcript |
| Seeing your Aperture library from other applications| 00:00 | The cool thing about when you have all
of your images in an Aperture Library -
| | 00:05 | it truly becomes a database, a
photo database for your entire Mac.
| | 00:10 | This is very true from Mac versions of
Leopard and Snow Leopard moving forward.
| | 00:15 | I am going to show you how that works right now.
| | 00:17 | I think it's fairly impressive.
| | 00:19 | We saw before how you can send a photo
out of Aperture, and then it launches the
| | 00:23 | e-mail program, but what if you're in
your e-mail program and someone sends you a
| | 00:28 | nice note, such as this,
Thank you very much, Tom.
| | 00:31 | I want to reply to him.
| | 00:34 | So, I am just going to hit
Reply and say, "Thanks Tom!"
| | 00:39 | I go, wouldn't it be nice to send
Tom a photo too? Maybe a photo from the
| | 00:45 | Aperture Library, where I did the training.
| | 00:48 | Well, this is where Aperture
becomes your database for your entire Mac.
| | 00:53 | Up here in the corner, you'll
see something called Photo Browser.
| | 00:56 | I am just going to click on that right
now, and it brings up my Aperture Library.
| | 01:02 | It also will show you your iPhoto library too.
| | 01:05 | What you have in here are all of your previews.
| | 01:08 | Again, this is why
previews are so darn important.
| | 01:11 | I am going to double-click there.
| | 01:12 | Now, I am going to find a nice
shot that I want to send to Tom.
| | 01:16 | Let's send him our tree shot.
| | 01:19 | All I have to do is take it and drag
it out of the browser into my e-mail.
| | 01:24 | I can go ahead and close my browser now.
| | 01:26 | I can sample the image to any size that I
want as long as it's Small, Medium or Large.
| | 01:33 | Let's send him a larger
version, and we are all set.
| | 01:38 | So, not only can we work from within
Aperture, we can work within basically any
| | 01:43 | application, any Apple
application, especially on our Mac.
| | 01:47 | And we have access to our Aperture
Library, even if Aperture isn't open.
| | 01:52 | So, now all I have to do is click the
Send button and I send Tom a very nice
| | 01:56 | thank you for his congratulations.
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| Building a web page| 00:00 | We're going to build a web page now.
| | 00:03 | This is yet another output
opportunity that we have in Aperture 3.
| | 00:07 | We've done slideshows.
| | 00:08 | We've created books.
| | 00:10 | But you can also publish online, and
you have some nice tools to do that, also.
| | 00:15 | So, I'm going to start out, just in
that album here, and I'm going to do
| | 00:19 | Command+A to select my images
that I want to use in my web page.
| | 00:23 | I'm going to go up to New.
| | 00:25 | And this time, I'm going to
choose Web Page, right here.
| | 00:29 | This probably looks familiar to you if
you've been watching the other movies.
| | 00:33 | We pick a collection.
| | 00:35 | It can be any number of things as
long as it's one of these six here.
| | 00:40 | My favorite is actually Stock Black.
| | 00:43 | So, we're going to go with that.
| | 00:44 | The reason why I like Black is
because, as a photographer, I always feel that
| | 00:48 | black backgrounds make my
images look more vibrant.
| | 00:52 | So, I'm going to give this a name.
| | 00:54 | Let's call it Outdoor Web Page.
| | 01:01 | Make sure that the Add selected
items to new web page box is checked.
| | 01:06 | And we are ready to go.
| | 01:07 | So, I'm going to click on Choose Theme,
and we get another specialized album
| | 01:14 | here, in addition to our other
goodies that we have, our books and our
| | 01:18 | slideshows, we now web page.
| | 01:21 | The interface also should feel familiar to you.
| | 01:25 | You have your browser area here.
| | 01:27 | You have two types of thumbnails.
You have the thumbnails for the actual
| | 01:32 | thumbnails, and then you have a
thumbnail for the Detail page.
| | 01:37 | Then you have your images down here,
and you can rearrange things as you wish.
| | 01:42 | I'm going to go ahead and
collapse our stacks right here.
| | 01:45 | So, we can move things around.
| | 01:47 | Let me take a look at our web page.
| | 01:49 | Now you want to give it a title.
| | 01:51 | So, we'll just call it
Outdoor Life. There we go.
| | 01:59 | By default, Aperture will usually pick a
Caption field to go underneath the thumbnails,
| | 02:05 | but you actually have a choice and
you select that by going up here, to the
| | 02:09 | little Metadata tag. As you can see,
right now that Caption is selected.
| | 02:15 | But if you decide that you don't
want anything, you can click None.
| | 02:19 | Some people like to use the File
Info, for the super-detailed caption.
| | 02:25 | Of course, you can always create your
own caption, but for now, we will just
| | 02:31 | go with None on our thumbnails, and
then we'll add some more detail on the
| | 02:37 | Detail page itself.
| | 02:38 | Now, as I did earlier, you can move things
around on this page by working down here.
| | 02:44 | So, if I wanted this photo to be over
here, all I have to do is just drag it,
| | 02:49 | and it changes on that page.
| | 02:51 | I have some control over the
size of my thumbnails, right here.
| | 02:55 | This is where I get to set their size.
| | 02:56 | So, if I want them
smaller, I can do that.
| | 02:59 | There we go! We have small.
| | 03:03 | We can fit them within
rectangle, square or a specific width.
| | 03:07 | We can choose our columns and our rows.
| | 03:11 | If you only want two columns, you can do that.
| | 03:15 | Four columns, it's up to you.
| | 03:17 | So, all those changes are fairly
easy, fairly intuitive to make.
| | 03:22 | At the bottom of the page - let's go
down here - they usually add your copyright
| | 03:27 | for you, and that is from your Preferences.
| | 03:30 | But you can change that if you want.
| | 03:32 | You can just highlight it
right there and change that.
| | 03:38 | Very easy to modify!
| | 03:39 | And you're in pretty good shape, and if
you have multiple pages, they will show up
| | 03:44 | here, and you can click
back and forth between them.
| | 03:47 | I'm just going to put my web site
right here, so I like that. Excellent!
| | 03:57 | Now let's go to the Detail page, and
this is an area where I like to have
| | 04:01 | a little bit of fun.
| | 04:03 | Right here, we have Metadata, and again,
we go back up to the Metadata thing.
| | 04:07 | It's choosing Basic, but what if I wanted
something like all the EXIF data for this shot?
| | 04:14 | Let's say I was going to use this web
page to help teach people about photography.
| | 04:18 | I could click on that, and look. All the
Metadata that's available with my shot
| | 04:23 | shows up right there.
| | 04:24 | If I go, "Well, that's probably
a little bit more than I want.
| | 04:28 | What if I just wanted my Copyright Only?"
| | 04:30 | Then you can pick that, Name Only,
or you can have the Caption Only.
| | 04:36 | It's really up to you.
| | 04:37 | But up here is where you set that up.
| | 04:39 | Then you can click through your
various pages with these arrows right here.
| | 04:44 | You can take a look at the
Detail page for all of your web pages.
| | 04:47 | Once everything is designed the way that
you want, then you can export your web pages.
| | 04:53 | And we're going to talk
about that in our upcoming movie.
| | Collapse this transcript |
| Publishing a web gallery| 00:00 | We have two options once we've
created our web gallery for output.
| | 00:05 | We can either just export the web pages
and upload them to our own site, via FTP
| | 00:11 | or whatever method we use, sort of the
manual approach, or we can publish to a
| | 00:17 | MobileMe gallery, if we
have the MobileMe service.
| | 00:21 | I'm going to show you Export Web Pages
right now, and then in the next movie,
| | 00:24 | we'll show you Publish to MobileMe.
| | 00:26 | So, we're going to do it
the old-fashioned way here.
| | 00:29 | So, once you have your web gallery set
up the way that you want, you basically
| | 00:33 | just click Export Web Pages, and
you get this little dialog box.
| | 00:38 | First, you have to
determine where they're going to go.
| | 00:41 | And we'll go ahead and put this
gallery in the Exercise Files folder.
| | 00:45 | It will be called Outdoor Web Page.
| | 00:50 | Then you have just a few basic decisions to
make in terms of the quality of the images.
| | 00:56 | Pretty self-explanatory!
| | 00:58 | You can go JPEG - High, Best, Medium Quality.
| | 01:01 | I usually go High Quality on these.
| | 01:03 | There's not that much size difference.
| | 01:05 | Then on the Detail pages, same sort
of decision, and we're going to go High
| | 01:10 | Quality on those too, up
to you. You can do that.
| | 01:14 | You can even create your own specific
settings, by going to the Edit menu.
| | 01:20 | I always like to have the alert when
I'm done, just because I might have
| | 01:23 | wandered off mentally,
and this will bring me back.
| | 01:26 | So, now I'm going to click Export,
and we're going to go off to the races.
| | 01:31 | Aperture usually does this pretty quickly.
| | 01:35 | Basically, it builds the HTML for you.
| | 01:38 | It resizes the images, and it puts it
altogether nice and neat in a folder.
| | 01:43 | Then what you can do is you can take
that folder, and you can put it on your own
| | 01:47 | web site. Something that
I used to do a lot more -
| | 01:51 | I don't do quite as much now, but I used
to take that whole structure, put it on
| | 01:57 | Optical Disc like a CD.
| | 01:59 | And then you sort of have built-in
navigation for that CD, so you can just tell people.
| | 02:04 | All you have to do is double-click on
the Index page, it launches your web
| | 02:07 | browser, and then you can navigate in
this very nice interface, instead of just
| | 02:12 | rummaging through folders of images.
| | 02:15 | It can be used in all sorts of different ways.
| | 02:17 | I think the main thing to keep in mind
is that you have a web page structure
| | 02:22 | here that will go wherever you need it to.
| | 02:26 | So, it has finished exporting, and
I'm going to go ahead and reveal this in
| | 02:30 | Finder, so we can take a look at the structures.
| | 02:33 | I'm just going to click on this.
| | 02:34 | We're inside our Exercise Files
here, where we're supposed to be.
| | 02:39 | Here is our web page, and I
can just double-click on this.
| | 02:42 | You can see that Aperture has
organized everything very nicely.
| | 02:47 | Here is our Index page.
| | 02:49 | If I double-clicked on that, here is
our web page, just as promised, and those
| | 02:54 | pictures look great on that black background.
| | 02:57 | We want to see the detail, just like
any normal web page. You click on it.
| | 03:01 | You have Index Navigation that brings you back.
| | 03:04 | So, I'm going to go ahead and minimize
this right now and bring us back to here.
| | 03:08 | So, if you want to put this on a server
or burn it on to a CD or something, then
| | 03:13 | all we have to do is just take the
entire folder and all the assets are in there
| | 03:19 | and ready for you to use.
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| Publishing images to Flickr| 00:00 | Another very nice publishing option, if
you don't want to go the MobileMe route
| | 00:05 | and if you don't have your own web
server to just export web pages individually,
| | 00:10 | is that you can use one of the
social networking sites, such as Flickr.
| | 00:14 | And I am going to publish to Flickr
right now and show you how easy that is.
| | 00:18 | Now, first of all, you have to have a
Flickr account for this to work, but it's
| | 00:23 | easy enough to set up.
| | 00:24 | And the lowest level of account is free
and won't cost you anything, and it has
| | 00:28 | a lot of capability.
| | 00:30 | So, not a bad way to get your feet wet.
| | 00:32 | Next thing I am going to do
is just select a few photos.
| | 00:35 | So, we are going to add, let's say, four
photos to our Flickr account. Add this one.
| | 00:41 | We will add this one, and we
will add this one right here.
| | 00:44 | So, we are going to upload four photos.
| | 00:46 | Again, we have two stacks here, and
the way that stacks work is they will
| | 00:50 | only pick the top photo.
| | 00:52 | We don't have to worry about the
other photos behind there in the stack.
| | 00:55 | Once we have our photos selected,
then I am going to go up to Flickr, right
| | 01:00 | here, and we are already set up.
| | 01:02 | Now, if you haven't done this before or
if it's your first time, there will be a
| | 01:05 | step in between this step, and that
step will be having you authorize Aperture
| | 01:12 | to talk to your Flickr account.
| | 01:14 | So, basically, you will be sent to
a web page, and you will be asked to
| | 01:18 | give authorization.
| | 01:19 | You click I Authorize, and then
it will bring you back to here.
| | 01:23 | So, the first time you will have an
authorization process. After that, it will go just like this.
| | 01:29 | Now, Flickr is organized, or one of the
ways that Flickr is organized, by Sets,
| | 01:35 | and so we're going to create a
set for these images to go in there.
| | 01:39 | And I am just going to call it Outdoor Life.
| | 01:45 | And I want the Photos Viewable by anyone.
| | 01:48 | That's part of the joy of publishing on the web.
| | 01:51 | However, if, let's say you wanted maybe
only clients to review or something like
| | 01:55 | that, you do have these other ways that
you can limit who can see the pictures.
| | 02:01 | In our case, we want the world to see them.
| | 02:03 | And then you have to determine Size.
| | 02:06 | I usually go with the Web Images, which
are a pretty good size, especially when
| | 02:10 | you click on the All Sizes button in Flickr.
| | 02:13 | But you have these other options:
| | 02:15 | Optimized are even larger, and then Actual
Size are exactly that, actual size images.
| | 02:20 | We are going to go with Web Images right now.
| | 02:22 | And then you just click the Publish button.
| | 02:25 | Aperture will go to work.
| | 02:26 | It will do its publishing thing, as we can
see down here at the bottom of the screen.
| | 02:32 | And then we just sit tight for a
moment and let the magic happen.
| | 02:36 | You will notice that we have a new area
here in our library, and it actually set
| | 02:43 | up a Flickr area, and we have
our Set right here, Outdoor Life.
| | 02:49 | And once it finishes publishing, we get
this little icon. And that lets us know
| | 02:53 | that our album is live.
| | 02:55 | And then we also have a little
Flickr pop-up menu here, and we can visit
| | 03:00 | our Flickr Gallery.
| | 03:01 | Let's do that because
that sounds like great fun.
| | 03:04 | And here we go, Outdoor
Life, and we have our shots.
| | 03:08 | Now, I can go to my Flickr page, and
you will see that these images have been
| | 03:14 | added to my Flickr Gallery
and that I have a new Set here.
| | 03:19 | And Flickr is a lot of fun.
| | 03:22 | I am not going to do a whole
tutorial on Flickr, but I will show you just
| | 03:24 | a couple of things.
| | 03:25 | If you want to change the thumbnail,
just go to Edit here, and you can change
| | 03:30 | the thumbnail just by dragging it over and
dropping it on there, and then Saving that.
| | 03:37 | That's one nice little thing.
| | 03:38 | And then you go back to Your photostream,
and now that image has been changed.
| | 03:43 | And if you want to adjust the titles here,
you can do that also just by clicking
| | 03:49 | on that and then Saving.
| | 03:50 | Just go Flower, Save.
| | 03:56 | So, we are just tidying up a little bit
here, and we can come back to that later.
| | 04:03 | Now, here's what's interesting.
| | 04:04 | I am going to go ahead and
minimize this, and we will come back.
| | 04:08 | If I decide that I want to add
another image to my Flickr Gallery, I can
| | 04:13 | control that from Aperture.
| | 04:15 | So, we will come back here, and let's say
that I would like to add this image also.
| | 04:21 | I should be able to just drag it into my
Flickr Gallery and have Flickr update it.
| | 04:27 | Let's see if that works.
| | 04:28 | We will come right down here, drop it in there.
| | 04:32 | What Aperture does then, it
synchronizes the Gallery that we have here in the
| | 04:37 | Library Pane with the Gallery that
is on Flickr, and it should update our
| | 04:42 | Flickr Album online.
| | 04:44 | Let's go take a look and see what happens.
| | 04:46 | We will visit our Flickr Gallery.
| | 04:48 | There is our Flickr Gallery,
and our new image has been added.
| | 04:54 | There it is right there in
our Set. Oh! It's beautiful.
| | 04:58 | And I could go back to my page,
and oh, we have two of them.
| | 05:04 | That is from my testing, because I actually
tested this first to make sure that would work.
| | 05:10 | But I can even take care of that right here.
| | 05:13 | Because all I have to do is go to
Delete, and I can delete that out of there,
| | 05:20 | and now I will just Refresh this page and
everything is the way that it should be.
| | 05:26 | So, it's a nice communication between
Aperture and Flickr, and you can actually
| | 05:32 | maintain things both here, within your
Aperture Library or on the Flickr page.
| | 05:39 | You have control at both ends of the equation.
| | 05:42 | And by the way, I should mention real
quickly that you can delete photos out of
| | 05:46 | here and then resynchronize by
clicking on this button here, and it should
| | 05:51 | remove them off Flickr too.
| | 05:53 | It's a nice way to web publish if
you don't have MobileMe, and you don't
| | 05:56 | have your own web site.
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| Publishing images to Facebook| 00:00 | Another online social networking site
that you can publish to, directly from
| | 00:05 | Aperture, is Facebook.
| | 00:07 | So, if you are not a Flickr fan and you
don't have MobileMe and you don't have
| | 00:11 | your own web site, but you do have a
Facebook page, this might be the option for you.
| | 00:16 | So, I am going to publish a shot, publish
this one right here, to my Facebook page.
| | 00:22 | So, I just have to click on the shot
itself, and then I go up to Facebook.
| | 00:27 | Now, as with Flickr, if you watched the
Flickr movie, you have to go through an
| | 00:32 | approval process before you
actually get to the screen.
| | 00:35 | And basically, what you do is you
approve Aperture so that Aperture can talk
| | 00:40 | directly to your Facebook page.
| | 00:42 | It only takes a minute.
| | 00:44 | Essentially, you have to log in again.
| | 00:45 | Once you do that, then you only have to
do it once, and then you get this screen
| | 00:50 | right here where we are right now.
| | 00:52 | I am going to create a new Album on
Facebook called Outdoor Fun, because as you
| | 00:58 | can tell, I like having fun outdoors.
| | 01:02 | As a photographer, you know, let God do all
the work, and then I just take the pictures.
| | 01:08 | Photos Viewable by Friends, Only
friends, Friends of Friends, Everyone.
| | 01:12 | I am pretty much an Everyone kind of
guy here, and so that's all I have to do,
| | 01:18 | and then I click the Publish button.
| | 01:21 | And now, you'll notice down here, we have
our new Facebook Album, and it also can be
| | 01:26 | controlled from Aperture.
| | 01:28 | This lets me know that it's published,
and we have our little pop-up menu, and
| | 01:34 | we should be able to visit our Facebook Gallery.
| | 01:38 | Facebook is asking me to Login.
| | 01:41 | So, here we are in my Facebook page, and
we have a new Album called Outdoor Fun.
| | 01:48 | And we have a photo.
| | 01:50 | There's my shot, directly
from my Aperture Library.
| | 01:54 | And then if I go to my Profile on
Facebook, it actually becomes the top image on
| | 02:01 | my Wall, and if I want to have this
part be different on Facebook, I can
| | 02:08 | actually control that by
changing the Version Name in Aperture.
| | 02:13 | And then, I can Comment on my own
photo and all of the good Facebook stuff
| | 02:17 | that we like to do.
| | 02:18 | So, Facebook is also an
output option from Aperture.
| | 02:23 | So, we have Flickr. We have Facebook.
| | 02:25 | We have our MobileMe Gallery, and then, of
course, your own web site. It's up to you.
| | 02:30 | And I could continue to add to this
gallery here in Aperture by dragging in
| | 02:35 | images and then synchronizing.
| | Collapse this transcript |
|
|
17. Printing ImagesPrinting a single image| 00:00 | I am going to talk a little bit about
printing right now and printing a single
| | 00:04 | image directly out of Aperture.
| | 00:07 | Aperture 3 has a new Print dialog box.
| | 00:10 | There's a few changes, and I want
to go over those with you right now.
| | 00:14 | Just find the image that you want to
work on - in this case, we want to make one
| | 00:18 | print here of Bonnie.
| | 00:21 | And I will go up to File and go down
to Print Image. Command+P also works.
| | 00:26 | And you can also add the Print icon up here
if you want to have it on your toolbar too.
| | 00:33 | So, you can see that, those of you
that used Aperture 1 or 2, that the dialog
| | 00:37 | box is a little different.
| | 00:39 | It's a little bit more iPhoto-like, really.
| | 00:42 | The core of the single print
is the Standard Preset here.
| | 00:47 | We do have a few other Presets
available to us, but the Standard Preset is the
| | 00:53 | basic starting point for most of your jobs.
| | 00:55 | In the simple version of the Standard
Preset, we have just a few things to
| | 01:01 | choose from, and if we want More Options,
we can click on this button right here.
| | 01:05 | We will start out with simple.
| | 01:08 | So, the first thing you do, of
course, is choose your Printer.
| | 01:11 | Then the next thing you do
is choose your Color Profile.
| | 01:15 | Generally speaking, I actually
recommend that you use one of the profiles that
| | 01:19 | comes with your printer.
| | 01:21 | That's a great way to go.
| | 01:23 | If you are not into that depth of
color management and you don't want to be
| | 01:27 | working with ICC Profiles, then you can
always let the printer manage the job.
| | 01:32 | So, my first option is to choose the
correct ICC profile for the paper and
| | 01:38 | the printer that I am using, and those come
loaded when you load your printer software.
| | 01:43 | So, they will be in this pop-up list.
| | 01:46 | And if you don't want to do that,
let the printer manage the job.
| | 01:50 | You set the Paper Size, and the Paper
Size options will be determined by your
| | 01:55 | print driver also, because the printer
knows what paper it can handle and what
| | 01:59 | paper it cannot, and those
will show up here on this list.
| | 02:03 | We will go with US Letter for right now.
| | 02:06 | And then, of course, your Orientation,
and we are going to go with Portrait for
| | 02:10 | this particular portrait.
| | 02:12 | And then the whole thing about
cropping to exactly the right size - if you
| | 02:17 | haven't cropped your image so that it
fits perfectly on the paper that you are
| | 02:21 | outputting, you can set Maximum to Fit
on the Image Size, or you can choose one
| | 02:28 | of these other options here.
| | 02:29 | We are just going to go
ahead and have it Maximum to Fit.
| | 02:33 | And when you check the box, Crop Image
to Fill, see, now the proportions for
| | 02:38 | this shot are actually different than
the paper. But by Cropping Image to Fill,
| | 02:43 | you actually get that full frame look
| | 02:47 | so that when you check the box, Crop
Image to Fill, then the image will fill
| | 02:52 | the sheet of paper that you are using.
| | 02:55 | Let's take a look at more options,
because we have a few goodies in here.
| | 02:59 | The dialog box gets bigger.
| | 03:01 | The first part of it seems pretty much
the same as before, but now we can do
| | 03:07 | some Columns and Rows, if we
are doing multiple pictures.
| | 03:11 | We can control the Margins here.
| | 03:14 | This wasn't available in the simple dialog box.
| | 03:16 | So, you can make the Margins larger or smaller.
| | 03:20 | Color Profile is the same.
| | 03:22 | We do now have Print Resolution.
| | 03:24 | You can just use Auto if you want, or if
you know a specific resolution that you
| | 03:28 | want to use, go ahead and click
Custom, and you can fill that in.
| | 03:32 | You are about to fill that in right there.
| | 03:34 | Right now, we will just go
with Auto. These are nice.
| | 03:38 | These are what we call Output Adjustments.
| | 03:41 | So, you have Output Sharpening, and then
Output Brightness, Contrast, and Saturation.
| | 03:46 | And the reason for having these Image
Adjustments here is because, as I have
| | 03:51 | talked about before, the image may look
one way on the screen, but when it comes
| | 03:56 | out of your printer, it may be a little darker.
| | 03:59 | It may lack Saturation.
| | 04:01 | It may be a little soft, not
quite as sharp as you want.
| | 04:04 | So, you can make those adjustments here
in the Print dialog box, and they won't
| | 04:09 | affect our master image.
| | 04:11 | So, they are only adjustments for printing.
| | 04:14 | And I think that's very handy, because
that prevents you from having to go back
| | 04:18 | and rework the image for a specific
output, then, when you may turn around and
| | 04:22 | do a web page of that image, and
then everything would be all wrong.
| | 04:26 | So, Image Adjustments are a
terrific addition to this dialog box.
| | 04:30 | You have a few more options, in terms of
- you can add a Border or a Watermark.
| | 04:36 | And then you actually
have some Metadata Options.
| | 04:39 | For instance, if I wanted to add my Copyright
from one of my Metadata Views, I could do that.
| | 04:46 | I could go to Copyright Only.
| | 04:48 | I get to have the location of where that
appears, and I can even choose the size of the type.
| | 04:55 | So, there we go.
| | 04:56 | I will make it a little
bigger so you can see it.
| | 04:58 | There's my Copyright Notice right there.
| | 05:02 | And if you have a Logo, you can add your
Logo to the Print Output job right here.
| | 05:07 | And then there are a few basic
Comment Lines, but they are based on
| | 05:10 | predetermined fields, such as Title.
| | 05:13 | I don't use them that often,
but they are here nonetheless.
| | 05:18 | All of those options are
in the extended options.
| | 05:21 | If you don't want to mess with those,
you can just go back to the simple options.
| | 05:26 | The last thing that I want to show you,
before we go to the next movie where I
| | 05:30 | show you printing multiple images, is
that if you want to save a Preset - let's
| | 05:35 | say that you get this all set up the
way that you want for this specific job.
| | 05:39 | Then you just go down here to the Gear
menu, you go Duplicate Preset, and then
| | 05:44 | you give it a name, Epson 3800 Letter Color.
| | 05:53 | Then I will just hit the Tab key.
| | 05:59 | And now I have a new Preset
with these settings memorized.
| | 06:04 | So, instead of having to always start
from scratch with a Standard Preset, then
| | 06:09 | I can develop a bunch of presets for
the specific jobs that I want to do.
| | 06:13 | And the way that you do that is that
you just duplicate the preset that you are
| | 06:18 | working on, give it a new name,
and then off to the races you go.
| | 06:22 | Once you are all ready and
everything is set up the way that you want,
| | 06:26 | simply hit the Print button and then
enjoy your work as it emerges from your
| | 06:31 | Inkjet Printer.
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| Printing multiple images| 00:00 | Sometimes it's fun to do a Contact
Sheet or print multiple images on a sheet of
| | 00:05 | paper, especially if you
are outputting it for review.
| | 00:09 | So, let's take a look and see how that works.
| | 00:12 | I am going to select a number of images here.
| | 00:14 | I just hold down the Shift key,
and that gives us our selection.
| | 00:18 | We will go up to File, and you will
notice that it's now Print Images instead
| | 00:22 | of just Print Image.
| | 00:23 | Now we are in our Print dialog box, and
we have Contact Sheets as our default.
| | 00:30 | Aperture is also smart that way.
| | 00:32 | So, we will just stay here for a moment.
| | 00:34 | And the first thing that you want to
do is play around with the Rows and the
| | 00:40 | Columns thing, because that allows you
to sort of customize this page so that
| | 00:45 | it looks the way that you want.
| | 00:46 | Obviously, if you have a whole bunch of images,
you want to increase the Rows and Columns.
| | 00:50 | If you have fewer images, you want
to decrease them, so that they appear
| | 00:55 | nicely on the page.
| | 00:56 | And if we go to More Options here, then we
have control over Spacing, which is a lot of fun.
| | 01:06 | Margins.
| | 01:07 | Printer Managed, as we have talked about before,
| | 01:10 | I prefer to pick the profile that
you are going to use for your printer.
| | 01:15 | You can make your Output Adjustments.
| | 01:18 | We have our Image Options here, and you know
if you want to add a Border Color or whatever.
| | 01:23 | But I wanted to get down here to
Metadata, because I think Metadata is
| | 01:28 | helpful for Contact Sheets.
| | 01:30 | We will go to our Metadata Views, and
we actually have a default view called
| | 01:36 | Contact Sheet, and it gives us
some nice information right here.
| | 01:40 | Actually, let me bump that up a bit.
| | 01:42 | So, not only do we have the photo
itself, but we actually have a lot of the
| | 01:48 | Metadata that goes with it.
| | 01:50 | You can add your Logo, if you wish, to
this Contact Sheet, especially if you are
| | 01:54 | running a photography studio, and of course,
the Comment Lines as before. So, very handy.
| | 02:01 | Printing multiple images is a great
way to go, and if you want, you can go
| | 02:07 | ahead and hit Print, and instead of
sending it to a Printer, we will have one
| | 02:11 | more option right here.
| | 02:13 | To generate a PDF, all you have to do
is click on the PDF button here, and you
| | 02:18 | just choose Save as PDF.
| | 02:21 | It will ask you for your location.
| | 02:23 | You put it there, and then you have an
electronic version of this output that
| | 02:29 | you can share with people via e-mail
or on a disk or on a flash drive or
| | 02:34 | however that works.
| | 02:35 | So, both electronic and paper can
happen using the same tool here.
| | 02:40 | So, I am going to go ahead and cancel
out of the job here, and we will cancel
| | 02:45 | right here and bring us back.
| | 02:49 | So, in Aperture, you have a lot more
control now in Version 3, over printing
| | 02:54 | single images or multiple images.
| | 02:57 | Just make sure that you explore that
More Options dialog to get the control
| | 03:02 | that you want.
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| Ordering prints from within Aperture| 00:00 | In the world of printing, I have
one more option I want to show you.
| | 00:04 | When we send something out from
Aperture, you can actually order your
| | 00:09 | prints from Aperture.
| | 00:10 | So, if you don't have an inkjet
printer and you want someone else to do the
| | 00:14 | printing for you, that's not a problem.
| | 00:16 | All you have to do is go up to File,
go over here to Order Prints, and we are
| | 00:22 | going to get a nice explanatory view here.
| | 00:26 | You have to be connected to the Internet.
| | 00:29 | And remember, when you are ordering
prints, you are sending fairly large files
| | 00:32 | out, because they are printing files.
| | 00:33 | So, the better the Internet connection,
the more pleasant your experience will be.
| | 00:38 | And right away, they give you the
pricing on this stuff, and you can see
| | 00:42 | it's not bad at all.
| | 00:43 | The pricing is pretty good.
| | 00:45 | In terms of an account, you have to
have some sort of Apple account, and it can
| | 00:49 | be an iTunes Store
account or a MobileMe account.
| | 00:53 | You would enter your information right here.
| | 00:56 | If you don't have any account at all,
which would surprise me for an Aperture
| | 01:00 | user, but I am sure it happens,
probably more than I realize, you can Create an
| | 01:05 | Account right here on the fly.
| | 01:07 | Once you do that, it will actually
walk you through this whole process.
| | 01:12 | These are all the steps of the order.
| | 01:14 | It's very simple, and then a few
days later the prints show up in your
| | 01:19 | mailbox, and you are happy.
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|
|
18. What's new in Aperture 3.3Taking advantage of Retina display Macs| 00:00 | I'm going to talk a little about the Retina
display on the new MacBook Pro 15-inch, and
| | 00:07 | this is a term that Apple uses
for a high-definition monitor.
| | 00:12 | There are more pixels in a Retina display
than there are on the normal Apple laptop,
| | 00:18 | and even though I'm showing you a very
rough photograph here with the Retina display on
| | 00:23 | the left and a MacBook Air on the right--a 2010
MacBook Air--there are still a few differences
| | 00:30 | even with this photograph gone through
compression and being displayed on whatever you're looking
| | 00:36 | at, there are still some things that I can
point out that are in store for you if you
| | 00:41 | work with Aperture 3.3 on this type of computer.
| | 00:46 | So here on the Retina display, the first
thing that will jump out at you is that there is
| | 00:51 | more detail in the hair up here on the upper
left side, and you look at the MacBook Air,
| | 00:56 | and you don't see as much detail.
| | 00:58 | In other words, in the shadow areas
there is more blocking up of pixels.
| | 01:04 | That jumps out at me right away.
| | 01:06 | Second thing in the cheek area here, notice
how fine the gradation is in the cheek and
| | 01:12 | how, again, it gets a little blotchy on the
MacBook Air and then around the eye.
| | 01:19 | Now we have the loop shown here around the eye,
we can see actually different tones of black
| | 01:25 | around the eye on the MacBook Air, you see
mainly black on the eyeliner, not nearly as many tones.
| | 01:34 | So when you're doing your image editing,
when you're showing pictures to friends, family,
| | 01:39 | and clients, there will just be more of the
image there. More of what you captured will
| | 01:44 | show on this display. Aperture 3.3 is tuned
to this display, and it is a very pleasurable
| | 01:51 | editing and viewing
environment for your pictures.
| | 01:56 |
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| Understanding the unified library for iPhoto and Aperture| 00:00 | A really outstanding benefit in Aperture 3.3
and iPhoto 9.3 is the unified library,
| | 00:07 | and what that means is that you have one
library that can be opened and worked on in either
| | 00:13 | application, and I'm going to
show how that works right now.
| | 00:16 | I'll start out just by double-clicking on
this Aperture library here in the exercise files.
| | 00:23 | And we have two basic projects in it. We have a
Portrait project, and we have a Flower project.
| | 00:29 | Just open them both so you can take a peek
inside, and there are our flowers and bees,
| | 00:37 | flowers and bees both in the same project.
We're in Aperture 3.3.
| | 00:44 | So now I'm going to quit Aperture.
| | 00:46 | I'm going to go back to our unified library,
I'm going to right-click on it, and now I'm
| | 00:55 | going to open it in iPhoto 9.3.
It looks rather familiar, doesn't it?
| | 01:03 | Let's double-click on the portraits,
there they are, and on the flowers.
| | 01:12 | Outstanding! Now I can also make changes in
one application or the other, and they'll be
| | 01:19 | reflected in the other also.
| | 01:21 | So for example, if I open this up, and I decide I want
to do some image editing--let's apply some effects.
| | 01:31 | So I'll apply Antique, and let's
do a little Edge Blur. There we go.
| | 01:41 | Now we'll quit iPhoto, and
we'll go back to Aperture.
| | 01:51 | We'll open up our Flowers, we'll open up the
shot we worked on in iPhoto, and you'll see
| | 01:59 | that both the effect the Antique effect
and the Edge Blur was applied, and you can go
| | 02:04 | back and forth this way.
Now a couple of interesting notes.
| | 02:09 | Your original is still here.
| | 02:11 | If I hold down the M key, which allows us to look
at the original image, you can see that's still there.
| | 02:19 | And if I'm in the Adjustments tab, I can even
revert to original if I don't like what happened
| | 02:25 | to it in iPhoto just like that.
| | 02:31 | Now in terms of image organization, your faces, your
places, and your albums should all work the same in both.
| | 02:41 | Smart albums also work.
| | 02:44 | However, a smart album can only be edited
in the application that it was created in.
| | 02:51 | So the unified library really allows you
to use both applications, iPhoto and Aperture,
| | 02:56 | in just about any way that you want, and I
think that is definitely an improvement.
| | 03:01 |
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| Getting the most out of the advanced white balance adjustment| 00:00 | One of the image-editing improvements in
Aperture 3.3 is the redesigned White Balance brick
| | 00:07 | right here in the Adjustments tab,
and I want to show you how this works.
| | 00:12 | Now prior to Aperture 3.3,
we had Temperature & Tint.
| | 00:16 | Now we also have two other
interpretations, Skin Tone and Natural Gray.
| | 00:22 | Obviously, Skin Tone are for the portraits
and people shots, and Natural Gray is for
| | 00:28 | landscape, architecture, images like that,
where we want to retain the original feel
| | 00:35 | for the shot, but we just want to
improve the White Balance a little bit.
| | 00:38 | And I'm going to show you
how that works right now.
| | 00:41 | Now the workflow that I recommend is that
you start out with the Auto button just by
| | 00:46 | clicking on it right here, and you notice
right away we get an improvement in this photo,
| | 00:52 | and you'll notice that Aperture
chose the Skin Tone interpretation.
| | 00:57 | Now I have Faces enabled, it identified this as a portrait,
and then it applied the Skin Tone White Balance correction.
| | 01:07 | Now the other corrections are
there, and I can take a look at them.
| | 01:11 | Here's Natural Gray, and here's Temperature & Tint,
and I think Skin Tone is the right way to go.
| | 01:19 | I can further fine tune this adjustment
with the slider here, so I can make the things
| | 01:25 | warmer or cooler, and I
also have an eye dropper.
| | 01:30 | Now when you're in the Skin Tone interpretation,
Aperture wants you to click on a Skin Tone,
| | 01:36 | or if you want you can click and drag on the
skin tones and get different interpretations.
| | 01:48 | That's pretty interesting.
| | 01:49 | Then if you feel like, oh man, I just goofed
everything up, you can always go right back
| | 01:55 | to Auto, and there we go.
| | 01:58 | You can see the difference by
clicking the check box on and off.
| | 02:03 | Now another very nice thing is the
Skin Tone interpretation is brushable.
| | 02:09 | So you can brush the correction
in, and you can brush it away.
| | 02:14 | So, for example, if you wanted to, you
could brush it away from different areas of the
| | 02:20 | model and leave the
correction with just the facial area.
| | 02:25 | There are all sorts of different ways to use
this, but just know that you also have localized
| | 02:30 | edits for the Skin Tone
interpretation in White Balance.
| | 02:35 | Now I want to show you another.
So let's go back, and let's go outside.
| | 02:41 | Let's see how this works.
Let's do this lavender and bee shot.
| | 02:46 | So I'm going to start out with Auto, Aperture is going
to do its thing, and this time it recommends Natural Gray.
| | 02:54 | We also have the Skin Tone interpretation if we
want to use it, and we have Temperature and Tint.
| | 03:01 | Aperture recommends Natural Gray.
| | 03:04 | Again, I can fine tune it with my
slider, and I also have my eyedropper.
| | 03:10 | This time Aperture would like
me to use a neutral gray area.
| | 03:15 | So here's an area right here,
and I can just eyedrop on that.
| | 03:19 | Or if I want, I can also click
and drag with the eyedropper.
| | 03:24 | And if I feel I goofed it
all up, I can go back to Auto.
| | 03:30 | Now Natural Gray is also brushable, so you can
brush in the correction, and you can brush it out.
| | 03:42 | You can also look at the
different interpretations.
| | 03:45 | So there you have the
redesigned White Balance brick.
| | 03:49 | It has a lot more power.
| | 03:51 | The Auto button is a great way to start and
then you can fine tune either using the sliders
| | 03:57 | or the eyedropper, and with two of the interpretations.
both the Skin Tone and Natural Gray, you have brushable tools also.
| | 04:02 |
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| Understanding the changes in the revised Shadows and Highlights tool| 00:00 | One of the tools that Apple rewrote for
Aperture 3.3 is Highlights & Shadows, and we see that
| | 00:07 | brick right here in the Adjustments tab.
| | 00:10 | Now Highlights & Shadows once upon a time, prior to
Aperture 3.3, had more sliders than just these three.
| | 00:17 | What Apple has done is rewritten the whole
tool, added more intelligence so that you
| | 00:23 | don't need those fine-tuning sliders from
before, and that these three basic sliders
| | 00:29 | will take care of all of your
highlights and shadows needs.
| | 00:33 | So let's take a look at that.
| | 00:34 | I'm going to show you how the new sliders
work, and then I'm going to show you how to
| | 00:37 | use this tool instead of Dodge and Burn for a much better result.
| | 00:42 | If you've ever tried to use Dodge and Burn,
you know how frustrating that tool can be.
| | 00:47 | This is a better way to go about to accomplish
essentially the same thing, only have it look much nicer.
| | 00:54 | So we're looking at a photograph here that
has definitely some shadow area, and if we
| | 00:59 | want to open up that shadow area I just move
the Shadow slider, and you see how that dark
| | 01:06 | area becomes lighter, sort
of like a magic fill light.
| | 01:11 | And according to Apple, this re-written
shadow slider introduces fewer artifacts so that
| | 01:17 | you get a more natural effect.
I like the image the way it is.
| | 01:21 | So I'm just going to leave it.
| | 01:23 | Now the Highlights will recover highlight
information, and you see that we get a little
| | 01:29 | bit more detail in the petals here
that when we move the highlights.
| | 01:34 | I'm just going to move it back a little bit.
| | 01:36 | I kind of like it on the bright side
and then the mid-contrast is exactly that.
| | 01:42 | It adds strong contrast
when you move it to the right.
| | 01:47 | It really drops the contrast.
| | 01:49 | See how things get much
flatter when you move it to the left?
| | 01:53 | Be careful with this tool.
| | 01:54 | I like to use this tool as just the final
adjustment after I've looked at Highlights & Shadows.
| | 02:00 | So that's basically the way they work.
| | 02:03 | Now let me show you how to use
Highlights & Shadows instead of Dodge & Burn.
| | 02:08 | This is what I consider the really cool stuff.
We're going to go to a different image here.
| | 02:15 | We have a shot of Renee here, and I like this
shot a lot, but I would like to do two things to it.
| | 02:22 | I'd like to maybe lighten up her hair just a bit here,
and I'd to recover a little highlight detail right there.
| | 02:29 | We can easily do that with Highlights & Shadows,
and the brush is much better than with Dodge & Burn.
| | 02:36 | First thing I'm going to do, I know I
want to do two different adjustments here.
| | 02:39 | I'm going to open up a
second Highlights & Shadows brick.
| | 02:43 | I do that by going to the gear menu,
and I'm going to add a new adjustment.
| | 02:48 | Now I have two of them, so the first thing
I want to do is lighten up her hair a bit.
| | 02:53 | So I'm going to go to the Gear menu > Brush
Highlights & Shadows in, I get the floating
| | 02:58 | palette so I can set my Brush Size, Softness,
which is that area around the tip, and then Strength,
| | 03:06 | I'm going to have it all the way over,
and we'll go ahead and detect edges, in case I
| | 03:11 | paint outside the lines.
| | 03:13 | Now I want to open up the shadows in her hair, so
I'm just going to move this slider over like this.
| | 03:17 | So I'll move it over far so you have some idea
what I'm doing, and then I just start to paint.
| | 03:25 | I can open up that shadow area.
| | 03:27 | You're looking at this, and you go, well,
you know, that doesn't look very good, Derrick.
| | 03:32 | I'm sure you're high on this tool, but I'm
telling you, I'm not liking what I'm seeing.
| | 03:37 | Well, this is the nice thing about it.
| | 03:39 | Once you make your basic
painting, then you can back it off.
| | 03:43 | Now I can just back it off to something
that looks much more natural, right there, and I
| | 03:50 | can check and uncheck the box, and you can
see that, yes, we've added some highlights
| | 03:55 | to her hair very easily, very natural.
I have complete control over what I'm doing.
| | 04:01 | I'm in charge of my photograph.
| | 04:04 | Now let's go to the top here, and I'm
going to go to the second brick, and once again,
| | 04:10 | I'm going to brush highlights and shadows in.
| | 04:13 | This time I'm going to move the highlights
all the way over, because I want to recover
| | 04:18 | information in her top here highlight area.
| | 04:21 | I'm going to make my brush size bigger,
and we're just going to paint a little bit.
| | 04:28 | Here we go, and just do a
little painting right here.
| | 04:34 | Try to stay within the lines, but I do
have detect edges so that should help me.
| | 04:40 | Now I have recovered some detail, much more
natural looking, try doing this with the Burn
| | 04:46 | brush, believe me the
results will not look as good.
| | 04:50 | And if you've done that before, you
know exactly what I'm saying, okay.
| | 04:55 | Now I'm just going to show
you the before and after.
| | 04:59 | I'm just going to check the box.
There's the before, and there's the after.
| | 05:04 | So the Highlights & Shadows brick is very
powerful. The new intelligence that Apple
| | 05:10 | has written into it I think is quite
good, and I prefer it to Dodge and Burn.
| | 05:15 | Just use it with the brushes, create as many
bricks as you need, and make that photograph
| | 05:20 | look exactly the way you want it to.
| | 05:25 |
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| Using Professional Auto Enhance as a starting point for image editing| 00:00 | A brand-new adjustment that Apple has added
to Aperture 3.3 is Auto Enhance, and on their
| | 00:06 | website they actually
call it Pro Auto Enhance.
| | 00:10 | Here it is, right over here, it's this little
kind of magic wand icon in your Adjustments
| | 00:15 | panel, and the idea is to do no harm.
I mean, that's rule one with this.
| | 00:21 | So the adjustments tend to be more subtle
than you might see with other Magic Wand tools
| | 00:27 | in other applications, and the areas that
the Auto Enhance will work on are things like
| | 00:32 | Vibrancy, Curves, Shadows,
White Balance, stuff like that.
| | 00:37 | So instead of me describing to you, let me just
show you. Let's take the shot of the Bougainvillea
| | 00:42 | here, and let's just click on Auto Enhance,
and yes, I do notice the difference, and in fact,
| | 00:49 | I can hit the M key to show us the master. There
we were before Auto Enhance, and here we are afterwards.
| | 00:58 | Now the thinking being that sometimes this
will be all your photo needs, or it's just
| | 01:03 | an excellent starting point
to finish it off to your taste.
| | 01:08 | In the case of this photograph, it added a
little Vibrancy, it added some Curves, which
| | 01:13 | would be Exposure adjustment,
and it opened up the Shadows a bit.
| | 01:18 | So that's what it did
with the Bougainvillea shot.
| | 01:20 | Now I can go and finish it off, but the thing
that it did not do was take it to some place
| | 01:25 | where I have to back off adjustments.
Let's take a look at another shot here.
| | 01:31 | Let's go to a portrait.
| | 01:32 | Here is a portrait right out of the
camera, no adjustments whatsoever.
| | 01:38 | Let's see what Pro Auto Enhance does to it.
So we'll go over here to the button, I will
| | 01:44 | click on that, and yes, we have changed the photo
quite a bit. Let's hit our M key to see what we did.
| | 01:51 | Here we were before.
| | 01:53 | Now this time when Aperture analyzed the
photo, it also made a White Balance adjustment.
| | 02:00 | It did not make White Balance adjustment
for the Bougainvillea shot, but it did here.
| | 02:05 | So in other words, Aperture felt that the
Bougainvillea White Balance is fine, this
| | 02:09 | one needed a little tweaking.
| | 02:12 | It also increased the Vibrancy a bit. I don't see
anything that it changed there in Highlights
| | 02:17 | and Shadows because we are all zeroed out here,
but it definitely made a change in curves.
| | 02:22 | Let's just take a look at that, yep,
so we made an Exposure adjustment.
| | 02:27 | Now, I can go ahead and finish off the shot,
and I would probably do some of the things
| | 02:33 | that I did in a previous movie where I go in
here, and I would recover some of the detail here.
| | 02:39 | I would probably tone it down a bit also,
so I might go to the Brightness slider and
| | 02:45 | just bring that down a little bit, like that.
That's more in the range that I like, I am
| | 02:51 | more comfortable with, and I would probably
try to recover some of the highlights right
| | 02:57 | away in that top like that.
| | 03:01 | So you see that using the Auto Enhance gave
me a good starting point, and then I can finish
| | 03:06 | it off, but I didn't have to back off
any of the adjustments that it applied.
| | 03:12 | So Pro Auto Enhance, I like to use
it as a starting point for my images.
| | 03:17 | Most of the time it does a
great job of making it look better.
| | 03:20 | I can't think of an instance
where it made them look worse.
| | 03:25 |
| | Collapse this transcript |
| Creating your own Auto Enhance presets| 00:00 | The Auto Enhance button, which is right here,
is a great way to start your image editing
| | 00:05 | process because it applies--or it can apply--
up to five different types of edits just with
| | 00:11 | a click of a button.
| | 00:12 | Now, I am going to show you those five
different edits that it may apply, and if one of them
| | 00:17 | is not to your liking, then how you can
create your own custom presets, kind of fun.
| | 00:22 | I am going to start right here with Effects,
and I am going to go down to Edit Effects.
| | 00:28 | That brings up this dialog box.
| | 00:30 | Now, our Auto Enhance is under Quick
Fixes, and I am going to click on that.
| | 00:35 | And here are the five possible adjustments that
it will apply with just the click of one button.
| | 00:42 | And the reason why I say possible is if the
photo doesn't need, for example, highlights
| | 00:46 | and shadows adjustments, Aperture won't apply it.
Now, that is pretty smart stuff.
| | 00:52 | Now, the thing it does do, though, for every
one of these adjustments that it applies,
| | 00:57 | then it checks it over here, the brick,
and then you have that adjustment active.
| | 01:03 | So for example, if you are not really a
curves person, if you prefer levels, I am
| | 01:09 | going to show you how to take
curves out of the Auto Enhance menu.
| | 01:12 | And the way that you do that is you go down
here to the gear, you duplicate the preset,
| | 01:22 | and we are just going to do Auto
Enhance 3 right here, like that.
| | 01:29 | And now I go over to Curves, and I hit the little
Minus button just like that, and we are done.
| | 01:35 | I click the OK button.
| | 01:37 | Now, when I click this button here,
I still get regular Auto Enhance.
| | 01:42 | But if I want my own preset, my own
customized Auto Enhance, I just go to Quick Fixes, and
| | 01:48 | here we have the different
Auto Enhances right here.
| | 01:51 | So, I would just select Auto Enhance 3 if I
didn't want the Curves Adjustment applied.
| | 01:57 | It's really that simple.
I love Auto Enhance.
| | 01:59 | It's a great way to start your image editing process,
and now you can even tailor it to your own taste.
| | 02:07 |
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| Using iPhoto effects in Aperture| 00:00 | One of the new goodies that we got in Aperture 3.3
is something from iPhoto. We got a goodie from iPhoto.
| | 00:08 | And it's here in the Add Adjustment
pop-up and is called iPhoto Effects.
| | 00:14 | And once we open it, you will see that these are the
effects that we have in iPhoto, therefore, the name, right?
| | 00:22 | Now, in iPhoto Effects, right here in the
first pop-up menu, we have some basic things,
| | 00:27 | we have Black & White, Sepia.
| | 00:32 | And with Antique, we actually even get to
apply how much of an effect for Antique with
| | 00:38 | a slider that shows up beneath it.
| | 00:41 | Then we have some other goodies,
we have Matte and Vignette.
| | 00:48 | Now, this vignette is not going to replace the
Vignette tool that we already have in Aperture.
| | 00:55 | So, this is fun but probably not
going to be used very much by most folks.
| | 01:00 | But this next tool, Edge Blur, look at
this, that's kind of neat. I like that.
| | 01:06 | So, I am going to hang on to that,
and then you have a Fade tool.
| | 01:11 | So, you can really kind of play with it here.
| | 01:16 | So there we go. We've
applied some iPhoto Effects.
| | 01:19 | I am going to hit the M key just to
see where we were, and where we are now.
| | 01:25 | They are right there under
Add Adjustment > iPhoto Effect.
| | 01:30 | There is some fun stuff in there,
and you might want to take a look.
| | 01:35 |
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| Increasing performance with Fast Browsing combined with Quick Preview| 00:00 | A major improvement under the hood
in Aperture 3.3 is Fast Browsing.
| | 00:06 | Now, this takes effect while you're importing images from
your memory card and first looking at them in Aperture.
| | 00:13 | We are in the Import dialog box right now,
and I have a whole bunch of RAW files ready
| | 00:19 | to come into the application, 352 to be exact.
That's a lot of RAW files.
| | 00:25 | Now, in the old days, I wouldn't be able to
do much meaningful work until all those files
| | 00:31 | came in and the previews
were generated, all that stuff.
| | 00:34 | As you will see, things have changed.
| | 00:37 | What fast browsing does is that it reads
the embedded JPEG in each of these RAW files.
| | 00:43 | The camera actually puts a
JPEG in the RAW file container.
| | 00:47 | It will read all of those, it will present
those to us first in Aperture and then continue
| | 00:53 | to do the importing process in the background.
| | 00:56 | What that means is that we'll be able to start
rating and adding metadata to our images, even
| | 01:02 | before import is over.
Sounds really cool, doesn't it?
| | 01:06 | Well, let's take a look at it.
| | 01:08 | Keep in mind that I'm using photos from my
memory card for this import and that we
| | 01:13 | are not going to keep these
images in the Aperture library.
| | 01:16 | They are just for
demonstration here on fast browsing.
| | 01:20 | That means that you need
to use your own pictures.
| | 01:22 | So get out a memory card with lots of RAW
files on it and try the same technique.
| | 01:27 | Okay, here we go! I am going
to bring all these RAW files in.
| | 01:31 | We will create a new project, and we will
just call this Fast Browsing project, right?
| | 01:39 | Everything else looks good here.
So let's let her fly. Okay.
| | 01:45 | So over here, we can monitor the import process.
| | 01:49 | But you can see that already
I have 352 items displayed.
| | 01:54 | The JPEGs are here.
| | 01:55 | So I could double-click
on this, I can look at it.
| | 01:59 | I can go to the next image.
I can browse down some more.
| | 02:04 | We are still importing over here.
| | 02:06 | This is our indicator showing us that files are
still coming in off the memory card into Aperture.
| | 02:15 | We continue to be able to browse our
JPEGs here, look at larger versions of them.
| | 02:22 | If I wanted to, I could even go to Info, and I
could go to General, and I could start adding captions.
| | 02:34 | We are still importing,
and I am looking at my photos.
| | 02:39 | So all this time that we normally would
have had to wait, to go get a cup of coffee, in
| | 02:46 | some cases go get an entire meal, right?
I can be productive.
| | 02:50 | I can be doing my work in Aperture
while the import process is going on.
| | 02:56 | Now, what happens after this?
| | 02:58 | Well, the embedded JPEGs that come in from
the camera files, those remain the previews
| | 03:04 | until you start to work on images.
| | 03:07 | Then when you start to work on an image,
Aperture then will replace it with a generated preview
| | 03:13 | that it creates according to the
specifications that you have set up in Preferences.
| | 03:18 | So, this is very efficient. Even right now,
it's not building every preview for every
| | 03:24 | shot in here at this moment. It's saving
that CPU power for me to be able to do my work.
| | 03:30 | So Fast Browsing allows us to get to work faster
after we've brought our images in from our memory cards.
| | 03:37 | It's a huge improvement in Aperture 3.3.
| | 03:42 |
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| Controlling Photo Stream in Aperture| 00:00 | Aperture 3.3 and iCloud play great together.
| | 00:04 | And I am going to show you how to control
your Photo Stream and yet take advantage of
| | 00:09 | the ability to share images among all
of your devices, iPad, iPhone, and Macs.
| | 00:16 | Now we have to start at the System Preferences,
not for Aperture, but for your system itself.
| | 00:21 | So I am going to go up here to the Apple
and go to System Preferences, and we're going
| | 00:27 | to go to i |
|
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