IntroductionWelcome| 00:00 |
(MUSIC)
| | 00:04 |
Hi, I'm Russell Viers and I take a lot of
photos.
| | 00:08 |
With six kids, there's always something
to capture on camera.
| | 00:11 |
Whether it's football, lacrosse, schools
plays, or something else.
| | 00:14 |
I also started my newspaper career in
1981 as a reporter-photographer.
| | 00:19 |
So, in my life I've taken my share of
shots.
| | 00:22 |
For the past 14 years, I've been teaching
Photoshop to publishing, and print
| | 00:25 |
professionals around the world.
As an Adobe Certified Instructor in
| | 00:29 |
Photoshop, I'm called on to speak at
conferences, as well as on sight
| | 00:32 |
training, to show techniques for better
photo reproduction.
| | 00:37 |
But what we're going to cover in this
video isn't better photo reproduction,
| | 00:41 |
it's faster photo processing.
In this digital camera age, it's not
| | 00:46 |
realistic for me to shoot a thousand
photograph at my sons football game.
| | 00:50 |
Shooting is easy, just hold down the
button and hope.
| | 00:53 |
What kills you is the processing time,
sorting through until you find only the
| | 00:57 |
good ones.
Separating them from the others,
| | 01:00 |
cropping, adjusting color or converting
to grayscale, uploading to your web
| | 01:04 |
gallery or placing in a document, it all
takes time.
| | 01:09 |
I'm going to show you how to breeze
through images using Bridge and full
| | 01:11 |
screen preview.
How to rank the photos so you quickly
| | 01:15 |
mark the ones you like, and then open
them all for synchronized image
| | 01:18 |
adjustment and more.
When you're done watching these 11
| | 01:22 |
techniques to help you process your
digital photos faster, you may very well
| | 01:26 |
save hours a week, or more.
And that's time you can spend doing the
| | 01:31 |
fun part, taking more photos.
| | 01:33 |
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1. Introducing Adobe BridgeWhat is this Bridge of which you speak?| 00:02 |
People ask me, what is Bridge?
Because I use it so much, I'm always
| | 00:06 |
referencing it in my seminars and all the
training I do.
| | 00:09 |
And people, what is Bridge what does it
do?
| | 00:11 |
And I always say, what doesn't it do?
That's the question.
| | 00:14 |
Maybe that's a bit dramatic, but Bridge
really is an incredible tool, and we've
| | 00:19 |
had it since CS2.
This isn't new to CS5, it came out in
| | 00:22 |
CS2, and even before that.
We had a version of it in Photoshop.
| | 00:27 |
I think Photoshop 6 was the first version
that allowed you to go File > Browse and
| | 00:31 |
actually see the pictures more visually
as thumbnails and do some really neat
| | 00:35 |
stuff with them, as opposed to just
opening them up and looking at them.
| | 00:40 |
So they've expanded that now into this
application called Adobe Bridge.
| | 00:45 |
Now what is Bridge, alright I'm, I'm
going to give you two answers, answer
| | 00:48 |
number one is the very simple boring
technical answer and then answer number
| | 00:52 |
two is I want to show you just in brief
what this incredible tool does as you
| | 00:56 |
really use it, and when I am done with
that you will say Now I understand why
| | 00:59 |
you made a video on this because it's so
powerful, you really want to learn this tool.
| | 01:08 |
Alright, let's start with the really
boring simple technical answer.
| | 01:12 |
Bridge.
Bridge is like finder on a Mac where you
| | 01:17 |
navigate your folder structure to get to
that folder right there into that folder
| | 01:23 |
right there Or Windows Explorer on a PC.
So, if you're used to navigating in
| | 01:30 |
either of those environments to get to
that folder of photos, well, guess what?
| | 01:34 |
That's what Bridge does.
So, why do we need it?
| | 01:37 |
Well, Bridge is an Adobe product.
So it's Adobe's version of Finder, which
| | 01:42 |
integrates the tools together.
So, you're going to see integration
| | 01:46 |
between PhotoShop and In Design, and the
way Bridge can allow you to work with
| | 01:49 |
these different applications.
Bridge ships with the creative suite.
| | 01:56 |
It also ships with every Point product.
So, if you just own Photoshop you have Bridge.
| | 02:01 |
Just InDesign, you have Bridge.
Creative Suite, Bridge.
| | 02:04 |
Master Collection, Bridge.
In Copy, Bridge.
| | 02:07 |
They just ship it with everything but,
it's not a stand alone product.
| | 02:10 |
You can't just go buy it.
It's, it's free which is really nice.
| | 02:13 |
(SOUND) Now if you look here in the top
left corner, you'll see we have our
| | 02:17 |
favorites which desktop, my user area,
pictures maybe.
| | 02:21 |
Nothing much there.
This is the default setting here and here
| | 02:24 |
I can navigate my folders and I'm
going to double click on the computer and
| | 02:26 |
you can see the hard drives.
You can also see I'm here.
| | 02:31 |
I can expand.
Go down here expand or double click see
| | 02:35 |
the contents this way it depends on how
you like to work I am going to double
| | 02:38 |
click on my folder, double click on this
folder, double click on this folder.
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See it, if you just like finder when you
finally get to a folder thats got some
| | 02:48 |
good stuff in it, now all of a sudden it
starts getting a little exciting.
| | 02:54 |
Alright, and we can preview these and
you're thinking well can I preview these
| | 02:58 |
in finder and windows explorer, yes but
Preview is only one small component of this.
| | 03:05 |
Notice that I can preview GIFs, AI files,
this is the Preview window over here.
| | 03:09 |
Now watch this preview as I click on the
flash version or the animated version of
| | 03:13 |
this illustrator file.
Are you ready?
| | 03:17 |
Ready, here we go.
We can actually see SWF files in action there.
| | 03:21 |
Here's a PDF, and I can look at the
multiple pages of that PDF.
| | 03:25 |
Here's a snippet.
If you don't know what that is, it's one
| | 03:28 |
of my favorite things about InDesign.
Here's an InDesign document, I can look
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at it right there.
Here's another InDesign document, here's
| | 03:34 |
a WAV file.
Here's a JPEG, JPEG.
| | 03:38 |
These are all shot at the same time.
This is with my Cannon 67D.
| | 03:41 |
Now watch this JPEG, JPEG and, boom, now
I'm in a movie.
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I can actually watch the movie and this
movie and this movie and then I'm back to
| | 03:50 |
the JPEGs, all within this same
interface.
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More JPEGs?
Here's an old EPS file.
| | 03:57 |
Here's a PNG, here's a TIFF file,
alright?
| | 04:00 |
So we can see all the stuff that's right
here in this window.
| | 04:03 |
So, it's Finder alright, that's the
boring answer.
| | 04:06 |
Let's, let's do something more exciting.
Let's go back.
| | 04:09 |
These are the bread crumbs that showed us
where we got.
| | 04:11 |
We were in the computer data.
This is all that folders we clicked through.
| | 04:15 |
Now I am going to go back to this folder
right here.
| | 04:18 |
And I'm going to double click on this
folder.
| | 04:19 |
And here's a bunch of photos from I was
out skiing one day and, well I wasn't
| | 04:22 |
skiing I was sitting in the car, and I
was cold and I looked over, and I saw
| | 04:25 |
this tree, and I thought, hey I'm
going to take some pictures of these
| | 04:28 |
trees with the frost on them.
So, I now want to decide which one of
| | 04:35 |
these 17 images to use in my InDesign
document.
| | 04:39 |
So I'm going to hit my space bar and go
to full screen mode, and I'm going to
| | 04:42 |
scroll through until I find the ones that
I like.
| | 04:46 |
Just looking at em very quickly, alright.
Well I've made it all the way through,
| | 04:50 |
going to go up here and use some ranking.
5, 4, 3, 2, 1 stars, to decide which ones
| | 04:54 |
I like.
So, full screen mode.
| | 04:58 |
Don't like that one.
That one's alright.
| | 04:59 |
So I'll give that, Cmd+4.
Really like that one, Cmd+5.
| | 05:04 |
I like that one better, Cmd+5.
Let's go back to that one, give it Cmd+0.
| | 05:07 |
I'm just ranking these images as I go
through.
| | 05:10 |
Kind of like the foggy version.
Really like that one.
| | 05:14 |
Alright?
Now, I hit my Space bar.
| | 05:16 |
And down here is the filter, showing me
all those with five and four stars, and
| | 05:20 |
there they are.
I'm going to select them.
| | 05:23 |
I'm going to start to drag.
Can you see my icon change there?
| | 05:27 |
I'm going to Cmd+Tab, on a Windows
machine you would Alt+Tab to InDesign and
| | 05:31 |
now when I let go.
Check this out.
| | 05:34 |
In InDesign my cursor is now loaded with
all four of those graphics.
| | 05:39 |
I'm going to start to drag.
Now this is CS5 so I can actually hit my
| | 05:42 |
up arrow and down arrow to use gridify.
Make my grid, fill frame proportionally,
| | 05:48 |
let's go ahead and center those.
And now, I'm already starting to build my
| | 05:53 |
document, just by choosing my images in
Bridge.
| | 05:57 |
That was the quick version.
We're going to spend more time on that in
| | 06:00 |
future videos.
What's the point?
| | 06:02 |
The point is that Bridge allows us to
work within design very quickly.
| | 06:08 |
I can also, if I want to edit this
picture, just double-click on it, and now
| | 06:11 |
it's open in Photoshop.
Okay?
| | 06:14 |
Well, that was quick, all right?
Very easy.
| | 06:16 |
There are other things we can do from
within Bridge.
| | 06:19 |
We can access other Photoshop tools.
We can do batch processing in all sorts
| | 06:24 |
of different ways and add metadata.
So, in this video, we're going to go
| | 06:28 |
through and show you all these great
things.
| | 06:31 |
How do you get to Bridge?
Well, it's a standalone product.
| | 06:34 |
You can put it in your Dock.
There it is right there.
| | 06:36 |
Put it in your Dock, or if you're in
InDesign, click this button right there,
| | 06:40 |
and now I'm in Bridge.
Click the boomerang, I'm back in InDesign.
| | 06:46 |
Let's go to Photoshop.
Click that.
| | 06:48 |
Yup, I'm in Bridge again.
So, there's lots of ways to get to
| | 06:51 |
Bridge, I want to show you one of my
favorites.
| | 06:53 |
Love this.
Alright, I'm going to go to finder you
| | 06:56 |
know, because sometimes old habits die
hard.
| | 06:58 |
We're going to go to the data, and I'm
going to open up this folder right here
| | 07:02 |
called Texas road trip by dragging that
folder right on top of the Bridge icon
| | 07:07 |
right there and now I can see all the
pictures inside that.
| | 07:13 |
Now I'm ready to work.
Ready to get in there, and do the stuff I
| | 07:16 |
need to do.
So what is Bridge?
| | 07:17 |
It's Finder, but it's given to us by the
Adobe gods, and it's so much more
| | 07:20 |
powerful, and if you're a designer, or
you're doing anything in the Adobe world,
| | 07:23 |
you're definitely going to want to use
Bridge.
| | 07:26 |
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| Where is everything?| 00:02 |
In this lesson, my goal isn't to teach
you every little aspect of Bridge in deep
| | 00:05 |
detail, but to give you a quick overview
on where everything is so you can find it
| | 00:09 |
quickly as you are learning the product.
The first thing to look at is the overall
| | 00:16 |
work space, which is very Adobe in some
regards.
| | 00:19 |
We've got drop down menus like Adobe, and
well, it says Adobe right there.
| | 00:23 |
And we've got these tabbed panels which
we're kind of used to that.
| | 00:27 |
But if you're an InDesign user or a
PhotoShop user or Illustrator only, this
| | 00:31 |
starts looking a little foreign because
we work with panes not panels.
| | 00:37 |
Alright, so we're not working with
floating panels over an art board or a
| | 00:41 |
page of some sort.
We are working with panes that are
| | 00:45 |
interlocked and as we move this you can
see that these get bigger and that's the
| | 00:49 |
way it works.
They're called panes, so I can make this
| | 00:53 |
bigger to make the preview pane bigger
and the metadata smaller.
| | 00:58 |
So I'm going to revert this back to our
essentials workspace somewhere reset that
| | 01:02 |
okay and so what we have here are drop
down menus.
| | 01:06 |
And they're organized much like you'd
expect in an Adobe product.
| | 01:10 |
Under window we can launch the panes not
the panels like we do in the other applications.
| | 01:16 |
We've got Tools underneath here, we got
ways of labeling and then again, in
| | 01:20 |
future classes, we're going to go in
depth here but basically you just want to
| | 01:23 |
learn to look under here for certain
things.
| | 01:27 |
But what makes this different from a lot
of Adobe products is, most of what you
| | 01:31 |
see up here in these drop down menus,
have icons So the question is, well which
| | 01:34 |
do you like to work with?
Icons, drop down menus, keyboard
| | 01:39 |
shortcuts, you have all those choices.
Let's click on a picture right here.
| | 01:44 |
This is a picture I took.
It's a happy picture called dead sunflowers.
| | 01:48 |
And as you can see over here, we've go a
preview pane, all right?
| | 01:53 |
And it's kind of small, really, so I'm
going to enlarge that by making the pane
| | 01:57 |
wider and I'm going to lower the metadata
pane and now you can see we have a nice
| | 02:00 |
large preview pane.
Ever since CS3 we've had this little
| | 02:06 |
magnifyng glass or a loop that allows me
to get in there and actually look at the
| | 02:10 |
individual parts of the image in great
detail.
| | 02:15 |
Much like you would a loop on the light
table.
| | 02:17 |
And you can decide whether you like this
its great for group shots to see if eyes
| | 02:20 |
are closed or to see if things are sharp
enough.
| | 02:23 |
And if you're happy with this.
The whole point of this environment is
| | 02:27 |
not to spend the time opening this in
Photoshop, but to determine here in this
| | 02:30 |
environment whether you like this picture
or not.
| | 02:35 |
And if not,you keep moving on to the next
one.
| | 02:37 |
So.
Here's a few pictures that are very similar.
| | 02:40 |
Let me eliminate that loop there.
So, as I use my right arrow, I can just
| | 02:44 |
scroll through, and if I see one that I
think I like, now I can click on it and
| | 02:47 |
now I can decide in the preview window,
whether this is something I want to work
| | 02:51 |
with or not.
So that's what the preview window does.
| | 02:55 |
Down here is metadata and keywords.
We will do a whole chapter just on
| | 03:00 |
metadata keywords, but just know that
that's where it is.
| | 03:03 |
Here are your thumbnails right here in
the middle and you can enlarge those by
| | 03:06 |
playing with this little slider right
here.
| | 03:10 |
So you want really small ones and rely on
the preview window or do you want bigger
| | 03:14 |
thumbnails and rely less on the preview
window.
| | 03:18 |
You can change the way those thumbnails
are displayed by converting them to where
| | 03:22 |
you still see the thumbnails but over
here there's a lot of meta data that
| | 03:25 |
helps you read more about the picture.
Like I can even see the focal length of
| | 03:30 |
the lens that I used.
There's the resolution, it's an RGB, I'm
| | 03:35 |
the author.
So all this metadata is here with the thumbnail.
| | 03:40 |
I have another view down here, that
allows me to see more meta-data value and
| | 03:43 |
very tiny thumbnails.
All right, so, really it depends on how
| | 03:47 |
you like to work.
I tend to like to work in this view,
| | 03:49 |
because I like to quickly see the
thumbnail, and see what the preview gives me.
| | 03:55 |
Over here in the top left, is how we
navigate.
| | 03:58 |
So I can go to my computer, if that's my,
one of my favorites, or on my desktop if
| | 04:01 |
that's my favorites, or my pictures
folder.
| | 04:05 |
I'm going to go to my folders because
right now I don't have anything in
| | 04:08 |
favorites that I want to use.
And I'm actually working off this
| | 04:12 |
computer In the data hard drive, in the
Products folder, look I have my own folder.
| | 04:19 |
I'm going to open that up, and this is
the Bridge class, and I'm going to go to
| | 04:22 |
the Assets folder and that's, that's the
folder we're going to be working out of
| | 04:25 |
for this whole lesson.
Well I want to add that to Favorites.
| | 04:29 |
I can go to File > Add to Favorites.
I can right click on it, Add to
| | 04:35 |
Favorites, okay?
because I get the contextual menu there, alright?
| | 04:40 |
Or if I'm in the Favorites panel like
this I can just drag that folder right
| | 04:43 |
over there and now I can just click on
that.
| | 04:47 |
So for the rest of this lesson, I'll just
be able to click there very quickly then
| | 04:51 |
double click on that folder and I'll go
to this folder and now I can see all of
| | 04:54 |
the files inside of that.
Okay, I'll enlarge the preview.
| | 05:00 |
Here we go.
Make the thumbnails a little bit smaller.
| | 05:04 |
Now I can work.
I can go through and decide pictures I
| | 05:07 |
want to work with.
Down here are filtering This is where I
| | 05:11 |
can actually say only show me the JPEGs
cause this folder has a lot of stuff,
| | 05:16 |
InDesign files, snippets, PDF.
I only want to see the JPEGs.
| | 05:21 |
Boom and now in one click I've narrowed
down my search to only JPEGs.
| | 05:26 |
I can even say well only show me the
landscape images.
| | 05:30 |
Okay, so there's all sorts of filtering
down here.
| | 05:32 |
I can export these to my hard drive, or
brand new in CS5, I have the ability to
| | 05:38 |
export to Facebook and Flickr.
We'll talk about that in a future chapter
| | 05:44 |
as well.
So where is everything?
| | 05:47 |
Well, it's in these buttons, and icons,
it's in the drop down menus, and it's in
| | 05:51 |
these panes.
One note about these panes is if there
| | 05:56 |
are some I'm never going to use I can
turn them off.
| | 06:00 |
I can go to window and turn off the
collections panel.
| | 06:03 |
I'm not going to work with that.
And I can go down here and turn off the
| | 06:07 |
metadata and the keywords.
So I can turn off the ones I'm not
| | 06:12 |
going to use, to unclutter my work space,
and now I have fewer panels to worry
| | 06:15 |
about, fewer pains to deal with, and I
just work in a cleaner environment.
| | 06:22 |
want to learn what these buttons do?
Just hover over it for a second, filter
| | 06:25 |
items by rating.
There's filtering.
| | 06:29 |
Well, there's filtering there and there's
also filtering here.
| | 06:33 |
So I can choose how to sort here but I
can also choose under view, how to sort.
| | 06:39 |
Okay, so what you see here in icons in
most cases is available up here.
| | 06:45 |
Here's the Adobe Photo Downloader right
here.
| | 06:47 |
File.
Get Photos From Camera, it's the same thing.
| | 06:51 |
One important note, is that right here,
this allows you to navigate much like you
| | 06:55 |
would a website.
I'm going back to previous folders I've visited.
| | 07:00 |
There we go, that's where we were at the
beginning of this lesson.
| | 07:02 |
And I can go forward, back where I was,
so it's like navigating a website.
| | 07:08 |
Here's our bread crumbs.
This actually shows us where we are.
| | 07:10 |
I'm on the computer, data hard drive, in
projects, in this folder, on and on and on.
| | 07:16 |
And if I want to go back to the assets
folder, I can either click here, or in my
| | 07:19 |
favorites down here.
| | 07:21 |
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| Using Mini Bridge| 00:02 |
So now I am in InDesign, and you are
wondering, isn't this a Bridge class?
| | 00:06 |
Russel, why are you in InDesign or
Photoshop?
| | 00:08 |
I'm going there next.
Well that's because CS5 gave us something new.
| | 00:12 |
Bridge is so popular that now they have
given us inside of InDesign and
| | 00:15 |
Photoshop, they have given us
Mini-Bridge.
| | 00:18 |
Remember how I told you, that you can
click on this to get to Bridge?
| | 00:21 |
Yeah, there you go, we can boomerang back
to InDesign, that's fun.
| | 00:24 |
But look at this, in InDesign, under
Window, I have Mini Bridge, I have a
| | 00:30 |
panel, inside of InDesign, that acts like
Bridge.
| | 00:35 |
Now it's called Mini Bridge, not just
because of it's size, but also because of
| | 00:39 |
its limited functionality.
But I'm going to Add that in here as a
| | 00:43 |
panel, there we go.
And now I can anytime, there's pages
| | 00:47 |
panel, layers panel links and mini
bridge.
| | 00:51 |
So that I can navigate notice that my
favorites it pulls it from bridge.
| | 00:56 |
At anytime I can click on Favorites, go
to Assets, Recent folders, which is
| | 01:00 |
really useful if you're using the same
folders over and over again when you
| | 01:03 |
build your documents.
If you're in a newspaper environment,
| | 01:08 |
probably most of the time you're pulling
out of three or four folders, recent
| | 01:11 |
files for company logos you lose over and
over again are right there.
| | 01:15 |
I can also navigate, okay, based on
previous folders here, go to my home So,
| | 01:20 |
as you can see there's lots of navigation
controls.
| | 01:25 |
I'm going to just click on computer so
you can see this and down here.
| | 01:28 |
There we go.
There's all the hard drives again which
| | 01:30 |
we saw in Bridge and I can just double
click my way through.
| | 01:34 |
I'm going to actually go back to
favorites, go down to assets, let's go
| | 01:38 |
down to chapter one.
Lets go down to the turns and I can fly
| | 01:43 |
through here and see which ones I want, I
can control the thumbnail size.
| | 01:48 |
Now my monitor really isn't very high res
and its not very big so I am feeling very
| | 01:52 |
cramp working in Mini Bridge here.
If you've got a bigger monitor or you're
| | 01:58 |
working at higher resolution, it's
going to be a lot friendlier.
| | 02:02 |
You're going to see more thumbnails in
there as you work.
| | 02:05 |
But I'm going to reduce that a little
bit, okay.
| | 02:07 |
As you're learning Mini Bridge, just
remember like any Adobe product, if you
| | 02:11 |
hover, a little patience, it'll show you.
So I can click on that and I can go to
| | 02:16 |
slideshow mode review mode.
Okay, and I can set those options in
| | 02:21 |
bridge and those will be recognized here.
So if I click slide show, I'm now seeing
| | 02:26 |
a slide show of the pictures that are in
that folder, 'kay.
| | 02:30 |
There it goes.
They're switching automatically, or I can
| | 02:33 |
hit my right arrow and go quickly.
I'm going to hit escape there and get out
| | 02:37 |
of slide show mode.
I also have some icons here that help me out.
| | 02:43 |
I can refresh the previews I can select,
deselect, show some hidden files.
| | 02:48 |
Here I have my filtering.
It's not as powerful as Bridge did but it
| | 02:53 |
does some of the basics like showing us
with stars showing rejected items so we
| | 02:57 |
have some filtering items here as well.
Sort.
| | 03:02 |
Yup, we can sort them here just as we can
in Bridge and we have some tools limited
| | 03:07 |
compared to Bridge but, we have some of
the more popular tools right here.
| | 03:13 |
Well, I'm going to click on that one.
I'm going to scroll down and I'm going to
| | 03:16 |
Command click on that and I'll scroll
down here and click on that or.
| | 03:19 |
>> If I'm using the filtering, I can
say only show those with four stars.
| | 03:24 |
I know, there's only two.
So show me those with four or more stars, kay.
| | 03:31 |
And it's nice because it gives us this
little green dot which tells you're not
| | 03:34 |
seeing all of them.
And also it tells us down here, you're
| | 03:38 |
only seeing four items.
So I'm going to click on here I'm
| | 03:41 |
going to scroll down shift click on this
and I'm going to drag them right on to my page.
| | 03:46 |
And you're going to see that its going to
load my cursor with four objects.
| | 03:50 |
I'm going to start to drag and I'm in CS5
so I get to enjoy gridified and very quickly.
| | 03:55 |
>> Build my grid, make that fit center,
and now I'm beginning to build my page
| | 03:59 |
from right here, which is a little bit
better than going file place all the time.
| | 04:06 |
Let's switch to Photoshop, cause I want
you to see that in Photoshop we have a
| | 04:09 |
mini bridge icon right there, and there's
the mini bridge.
| | 04:12 |
And that's built into the default
workspace, and that, that's there for you.
| | 04:16 |
You have to actually ask to get rid of it
if you don't want it.
| | 04:19 |
And this is what it's going to look like
the first time you use it.
| | 04:22 |
Welcome to Mini Bridge.
Do you want to browse for files, yes, I do.
| | 04:25 |
And now I can go to Favorites > Recent
Folders and we already saw this in the
| | 04:28 |
design, it's the exact same thing.
Mini Bridge.
| | 04:33 |
Illustrator doesn't have it, so if you're
a big Illustrator user, that's that's
| | 04:35 |
going to be a little disappointing for
you, but we still have the big Bridge,
| | 04:38 |
and you can go into Illustrator from
there.
| | 04:41 |
But I'm guessing we're going to see more
and more of this in future roll outs of
| | 04:44 |
the Creative Suite, as Bridge continuing
to take a more active part in the software.
| | 04:50 |
| | Collapse this transcript |
| Setting the preferences| 00:02 |
I wont go super deep into the preferences
of Bridge, because we're going to cover
| | 00:05 |
more of them as we go along.
But I want to cover a couple key ones.
| | 00:09 |
You know, some of them are just cosmetic,
and I think this is worth noting that a
| | 00:14 |
lot of people like this black interface,
with the white or light gray sub areas there.
| | 00:20 |
Or maybe they want it all black, okay.
And just for fun, you can have an accent
| | 00:25 |
color, colors you can't even pronounce,
if you want that, Amber's nice, alright.
| | 00:30 |
Let's do Obsidian.
Well, that's just as black as everything
| | 00:34 |
else, isn't it?
And I'll just set that on default, there
| | 00:38 |
we go.
And you can choose some of your favorites
| | 00:41 |
right here, these are the default, and
you can turn those off.
| | 00:45 |
And we can control our thumbnails, do not
process files larger than a certain size,
| | 00:48 |
because that will slow it down, if that's
a problem we even want to make that smaller.
| | 00:53 |
Really, that depends on the power of your
machine, the older models that you've
| | 00:57 |
got, you may have limitations of hard
drive space so you may want to play with that.
| | 01:02 |
Let's skip down here to Final Type
Associations, and this is kind of important.
| | 01:06 |
This is what Bridge thinks you want to
open these files in, if you double-click
| | 01:10 |
on them.
Okay, simple enough.
| | 01:14 |
So, let's say that I have a Cannon Camera
RAW file CR2, which I have a lot, I want
| | 01:18 |
that to open in Photoshop CS5.
I can change that, I don't want to, but I
| | 01:24 |
can if for some reason I want to go to an
older version of Photoshop or maybe I
| | 01:28 |
have other products on this machine that
I use that's not Photoshop then I can
| | 01:32 |
control that.
As we scroll down through here you'll
| | 01:38 |
see, that I could have a CorelDraw file
open in Illustrator.
| | 01:41 |
Well if I have CorelDraw on this machine
I may want it to open in CorelDraw.
| | 01:45 |
But we can scroll through here, okay, and
as you go through you can see what these
| | 01:49 |
are going to open up.
So if you're ever having a problem with
| | 01:52 |
an EPS file opening up in the wrong
program, here's a good example right here.
| | 01:57 |
Here's the EPS file I was just talking
about.
| | 01:59 |
Okay, EPS, EPS can open in Illustrator
cause it's vector, but you can also
| | 02:03 |
create Photoshop EPS's.
So let's say that your in a newspaper
| | 02:08 |
environment, and you use Photoshop EPS's,
it's kind of old technology, but let's
| | 02:12 |
just say you do that.
Well you can actually tell this, no, no,
| | 02:17 |
I want my EPS's to open in Photoshop.
Or vice versa.
| | 02:21 |
What if every time you double click on
one it's opening in Photoshop, but you're
| | 02:24 |
really only making Illustrator EPS's.
Or you work with a lot of clip art that
| | 02:28 |
comes in EPS form on those old discs.
Well, maybe you want to tell that, open
| | 02:33 |
in Illustrator, okay?
So, we're not going to go through these
| | 02:37 |
item by item as you could see there's
just to many of them to go through and
| | 02:40 |
not all of them applied as.
But just know that if, whatever you're
| | 02:45 |
double-clicking on in Bridge is an
opening in the right application for you,
| | 02:48 |
then right here you can change that.
Now the rest of these features on the
| | 02:54 |
Preferences Panel we'll be handling in
separate chapters, for example, we'll
| | 02:58 |
handle Cache in the chapter in Cache and
so on, Metadata in the Metadata chapter.
| | 03:03 |
So we're going to skip those for now, I
want to mainly show you just a couple
| | 03:06 |
high points as you start at the very
beginning working with Bridge.
| | 03:10 |
| | Collapse this transcript |
|
|
2. Viewing Your PhotosPreviewing| 00:02 |
Probably the most common use for Bridge
is just simply viewing your photographs.
| | 00:06 |
In this day and age, with our digital
cameras, we barely hold the button down
| | 00:09 |
and we've shot 50 pictures.
This, for example, is a guy I met in Texas.
| | 00:14 |
And I liked his face and thought the hat
was kind of neat.
| | 00:17 |
Looked like a nice enough guy, and I just
said can I take your picture and as he
| | 00:20 |
was telling me his story I just rattled
off a bunch.
| | 00:24 |
And then also took him in front of some
trees and shot a bunch more.
| | 00:28 |
So I shot here 98 photographs in a very
short period of time.
| | 00:32 |
Now which one do I want to use.
Well, I showed you the Preview pane
| | 00:36 |
earlier and if I enlarge that I could use
the Preview pane.
| | 00:40 |
And I could with my loop go in there and
see if it's sharp enough.
| | 00:44 |
Okay see if that's something I want to
use, could do that.
| | 00:47 |
That's the old way of doing that.
That's the way we did it in CS 3.
| | 00:51 |
In CS 4 they gave us a really really nice
enhancement which of course is in CS 5 as
| | 00:56 |
well and that is hit your Space Bar.
Now keep in mind the goal of this is to
| | 01:02 |
be able to very quickly go through our
photographs, find the one we like,
| | 01:05 |
instead of opening it in Photoshop.
How long would it take to open this
| | 01:10 |
picture in Photoshop?
Well, this picture is 6.9 megabytes and
| | 01:14 |
that's a JPEG, so you know when it's
opened in Photoshop.
| | 01:18 |
This is going to be even bigger.
So how long would it take?
| | 01:22 |
Well, let's just find out.
Let me double click, 'kay.
| | 01:24 |
It's opening it, and that wasn't too bad.
Let's double click on this one.
| | 01:29 |
Wait.
Okay, not horrible, all right, but it's
| | 01:32 |
still, depending on the speed of your
machine, it's still considerably slower
| | 01:36 |
than just hitting your space bar.
Yup, all you do is hit your space bar and
| | 01:42 |
you move into Full Screen mode.
If you want to zoom into check something
| | 01:46 |
for sharpness for example, like the hair
on his hat.
| | 01:49 |
If I click with my mouse I zoom in, and
I'm just dragging my mouse around, and I
| | 01:52 |
don't think his face or his shirt, it's
not as sharp as what I'd like.
| | 01:57 |
So I'm going to click with my mouse
again, and I'm going to hit my right
| | 02:00 |
arrow and go to the next picture.
That one looks pretty blurry, let's go to
| | 02:04 |
the next one.
Really blurry.
| | 02:06 |
Next one.
Next one.
| | 02:08 |
Okay, that's a good face for you, let's
zoom in and look and that's actually
| | 02:11 |
pretty sharp.
I can count the eyebrows on his head, I
| | 02:14 |
can see the wrinkles, alright.
I can even see the whiskers on his chin
| | 02:18 |
so this may very well be a shot that I
want to use.
| | 02:22 |
Alright so, that's one way of viewing
them is by hitting your Space bar, use
| | 02:26 |
Space bar again and it reduces back into
the pictures.
| | 02:31 |
So you can enlarge your thumbnails if you
want.
| | 02:35 |
kind of scroll through until you see one
that you think you might like.
| | 02:38 |
Like this one.
And then hit your Space bar.
| | 02:41 |
But it's really just as quick to keep
hitting your Space bar.
| | 02:44 |
Then we see something like this with his
eyes closed.
| | 02:47 |
Well, you know you're not going to want
that.
| | 02:49 |
So go ahead and get rid of it.
Hit delete if you want.
| | 02:52 |
Hit your Space bar and you're back to
this view.
| | 02:55 |
Now let's say that I've selected several
of them that I like.
| | 02:59 |
I like this one.
I'm going to go down here and hold my
| | 03:01 |
Shift key down and select that one, and
I've selected all of em, in that row.
| | 03:05 |
And you can see up here, that I've
selected 18 of them.
| | 03:08 |
Well I want to reduce my thumbnails just
a little bit more.
| | 03:12 |
And I'm not going to do 18.
I'm going to select that one.
| | 03:15 |
This time I'm going to hold the Cmd key
down, or the Ctrl key on a Windows
| | 03:18 |
machine, and I'll select that one.
Come down here and select that one.
| | 03:26 |
Maybe I like that one, and that one.
Let's just do one more.
| | 03:29 |
To do that one.
Okay.
| | 03:31 |
Now I've selected six images.
If I go to View, and I go to Review mode,
| | 03:36 |
which is Cmd+ B, now it launches all six
of them in this mode and I can just with
| | 03:40 |
my arrows I can scroll through.
I don't really like that one, so I'm
| | 03:47 |
going to hit my down arrow, and that
eliminates it, from the choices.
| | 03:50 |
Now I'm down to those five, well I really
only need four for this project, so I
| | 03:54 |
like that one, like that one, like that
one.
| | 03:58 |
Hm, which of these two do I want?
I'm just using my left and right arrow to
| | 04:02 |
toggle back and fourth.
And I think I like that one.
| | 04:05 |
So I'm going to hit my down arrow, and
get rid of that, and those are the four
| | 04:07 |
that I'm leaving in my selection.
When I hit escape one, two, three, four
| | 04:15 |
is all I have selected now.
So you can actually narrow your search
| | 04:23 |
some by choosing the ones you like and
then go to Review mode.
| | 04:28 |
Alright.
So, how we're going to work?
| | 04:31 |
Well, we can use the Preview if we want.
Space bar.
| | 04:34 |
Click to zoom in.
Click to zoom out.
| | 04:37 |
If you're zoomed in you can drag the
picture around if you want just with your mouse.
| | 04:43 |
Click again.
You zoom back out.
| | 04:46 |
Hit your Space bar and you're back here
or you can use Preview Mode if you want
| | 04:50 |
as well.
If you go to some of the other work
| | 04:54 |
spaces like Film strip, you can see
there's a bigger preview, okay?
| | 05:00 |
But it's still not as big as Full Screen
mode.
| | 05:03 |
Alright?
So, just keep your finger on that Space
| | 05:06 |
bar so you can very quickly see a Full
Screen Version of that photo.
| | 05:09 |
| | Collapse this transcript |
| Understanding caches| 00:02 |
Imagine how much rendering of these
photos is going on by Bridge when you,
| | 00:05 |
when you open a folder that's got 500
pictures or 1,000 pictures and it's
| | 00:08 |
popping those thumbnails in there,
there's a lot going on there.
| | 00:14 |
And one of the things that Bridge does so
that you get to see those faster is that
| | 00:17 |
is does this thing called caching.
So watch this folder here as I double
| | 00:22 |
click and open it for the first time.
See how long it's taking some of those
| | 00:27 |
files to give us thumbnail?
Taking it a while.
| | 00:30 |
There we go, there we go.
Now we've got it, OK?
| | 00:33 |
Now I'm going to get off of that folder
and now watch the second time I go see it.
| | 00:37 |
Ready?
Boom.
| | 00:39 |
It's already there because the preview of
those files has already been cached.
| | 00:44 |
Let's go look at another folder.
Let's go to, say, this folder that has a
| | 00:47 |
lot of pictures in it.
Okay, you can see that as I'm scrolling
| | 00:51 |
down, it's taking it awhile.
Okay, and if I scroll back up, notice how
| | 00:55 |
some of these have a dark line around
them and it's slowly going away?
| | 00:59 |
That's because it rendered a very low res
preview to us very quickly, so we can get
| | 01:03 |
an idea of what it is, and while we're
sitting at here looking at them it's
| | 01:07 |
rendering the higher quality preview.
Well that rendering is going into this cache.
| | 01:14 |
And that cache is great for speeding up
your work.
| | 01:18 |
But it also, well it takes up file space
on your hard drive, and depending on the
| | 01:22 |
power of your computer it may be causing
you problems.
| | 01:27 |
So I want to show you a couple things
about caching that's important.
| | 01:30 |
Let's say that you feel like these aren't
rendering properly, they're all low-res
| | 01:34 |
or whatever.
You can go to View > Refresh, and it will
| | 01:37 |
go through that folder and it will
refresh the Preview and you can see it
| | 01:40 |
doing it right now.
It's going through.
| | 01:44 |
You can also go to Tools, Cache and you
can purge the cache for that and you can
| | 01:49 |
just throw the cache away and now it's
re-rendering everything.
| | 01:54 |
That's only for this folder though.
If you've got folders within folders
| | 01:58 |
within folders, and you've been using
Bridge for a long time, there may very
| | 02:01 |
well be thousands and thousands of these
cache files.
| | 02:05 |
So let's go to Preferences in Bridge, and
let's go to the Cache tab there.
| | 02:10 |
And let's look at a couple choices that
we have here.
| | 02:13 |
Well, first of all we can keep 100%
previews in cache.
| | 02:16 |
I'm going to go ahead and do that.
Okay?
| | 02:18 |
And I can also choose a location for the
cache file.
| | 02:22 |
I actually have never had a reason to
move that.
| | 02:26 |
Someone in your IT department, or you may
have a reason to move that, but I just
| | 02:28 |
leave it on the default.
And I can choose a new location if I want to.
| | 02:33 |
Maybe if you've got multiple hard drives
and you want to have it written to a
| | 02:37 |
second one or there's a folder you want
to have quicker access to, it's all possible.
| | 02:42 |
I just leave it on the default.
Now, when I manage these I can control
| | 02:46 |
the cache size making it smaller or
larger.
| | 02:49 |
I tend to go larger because I tend to
have more room on my hard drive for this
| | 02:52 |
stuff, and I want those because I want to
have quick access to those pictures.
| | 02:58 |
Every once in a while, though, you may
want to compact your cache.
| | 03:01 |
What this is going to do, and you can
read it right here, it's going to improve
| | 03:04 |
your performance by optimizing it.
Previously cached items that are no
| | 03:08 |
longer available may be removed, and
that's kind of important.
| | 03:12 |
Let's say that you are a photographer, at
a newspaper or magazine, you bring your
| | 03:15 |
photos in, you're using bridge boom,
boom, boom, boom you're going through
| | 03:18 |
that, and it's creating cash, creating
cash.
| | 03:22 |
When you're done with the project, you
take all those photos burn it to a DVD,
| | 03:26 |
and you put it up on a shelf.
Well, those photos aren't even on this
| | 03:30 |
server anymore or, or on your computer.
So you might as well compact the cache.
| | 03:35 |
What that's going to do is get rid of the
ones that aren't there, while optimizing
| | 03:38 |
the cache for the images that are there.
There may come a time though when you
| | 03:43 |
want to purge everything.
And when I do that it's saying, you're
| | 03:47 |
getting rid of thumbnails for all
folders.
| | 03:51 |
Are you sure you want to do that?
And I hit Okay, and now it's gone through
| | 03:54 |
my computer and it threw away every
single cached file there was.
| | 03:58 |
And you can see that it's now redrawn the
one that we're in.
| | 04:02 |
So these cache files are kind of
important that they help us speed up our work.
| | 04:06 |
But we also need to remember how to
manage 'em.
| | 04:08 |
And if we find that we're having some
problems with bridge opening It's acting
| | 04:12 |
slow or it's even crashing on us, first
place I go, purging the cache.
| | 04:17 |
| | Collapse this transcript |
| Changing and creating workspaces| 00:02 |
When you first launch Bridge, you're on
the Essentials Workspace with the Default
| | 00:07 |
Pane Sizes.
There you go, simple enough.
| | 00:11 |
Now, under Window Workspace, we have
several workspaces.
| | 00:15 |
You will see the four that are listed
here, Filmstrip, which allows us to have
| | 00:19 |
a large preview and thumbnails
underneath.
| | 00:23 |
We have Metadata, which focuses on more
the Metadata, when it was modified, the
| | 00:27 |
dimensions of it, all sorts of
information that we want in that view.
| | 00:32 |
We're not worried about the look of it, I
already know what pictures there are.
| | 00:36 |
I'm looking at it based on its ranking,
or when I shot it, or the size, or the
| | 00:39 |
file format.
That's what's important to me.
| | 00:42 |
Or we've got the Output workspace which
yes, I've got a preview in the thumbnails
| | 00:46 |
but now I can go in here and export a PDF
or upload as a Web Gallery and I control
| | 00:51 |
that all right over here in these panes.
But underneath Window, we have even more.
| | 00:59 |
We have the Keywords, which, if you are
using any keywords at all, it allows you
| | 01:03 |
to sort that way.
Preview really just gives us a nice big
| | 01:08 |
preview, a Single Thumbnail View here and
then just filtering collections in Export
| | 01:13 |
as well as the Navigation pane.
But we've got a Light Table mode that's
| | 01:18 |
just letting me see the thumbnails and I
can make those larger if I want.
| | 01:23 |
And I make those larger as I look across,
okay, as I scroll down.
| | 01:26 |
That way I can see the picture that I'm
looking for right there, that's the one I
| | 01:29 |
wanted, alright?
Very quickly glancing through your photos.
| | 01:34 |
And I've got the ability to look at the
folder structure over here, alright?
| | 01:38 |
I don't think I've ever used that in my
entire life, but there might be some
| | 01:41 |
value in that for you.
Alright, and I can go back to Essentials.
| | 01:46 |
Simple enough.
Now, I can also create my own workspace.
| | 01:51 |
I always find it's easier for me to
create that from the Essentials because
| | 01:54 |
you have all the stuff here.
If I go up under Window, you can see
| | 01:58 |
which panels are visible.
Well, let's say that you're, never in
| | 02:02 |
your life, going to make a collection.
Well, let's turn that off.
| | 02:06 |
Let's say that you're not impressed with
Export.
| | 02:09 |
Turn that off.
You're never going to use Metadata.
| | 02:12 |
Turn that off.
I can turn off the Keywords panel, alright?
| | 02:16 |
So before too long, you'll see that I
have fewer panels and that I can
| | 02:19 |
customize this the way I want to work.
So, I want the Filter, I want Favorites,
| | 02:25 |
I want Folders.
I want to be able to see the Thumbnails
| | 02:28 |
very quickly but I want a nice Preview
window.
| | 02:31 |
I have all that nice laid out before me.
Window > Workspace > New Workspace, okay,
| | 02:36 |
and I'll just call this Russel's
Workspace.
| | 02:41 |
Here we go.
And I can save the window locations, okay?
| | 02:44 |
And the sort order, if that's important
to me.
| | 02:48 |
It's important to me that every time I go
to one of these, it's sorted in time of
| | 02:52 |
shot or in order of the name of the file.
Any number of criteria for sorting, you
| | 02:59 |
can put as part of the Workspace.
And when I save that, now if somebody
| | 03:03 |
comes and sits at my computer and they go
to Essentials, or worse, they come in
| | 03:07 |
here and mess it up totally, they've been
playing and that this is what I end up with.
| | 03:14 |
Window > Workspace, I'm just going to go
back to My Workspace.
| | 03:18 |
And now, nice and neat, it's back where I
want it.
| | 03:21 |
| | Collapse this transcript |
|
|
3. Sorting Your PhotosRanking and labeling| 00:02 |
All right.
Here's a simple question for you.
| | 00:04 |
If you've learned how to preview your
movies by hitting the spacebar and
| | 00:07 |
scrolling through with your right arrow,
the question is how do you know which
| | 00:11 |
ones you like or don't like after you've
scrolled through a thousand images.
| | 00:17 |
So, I've gone through, you know 500
images of of a football game or a soccer
| | 00:21 |
game of some sort.
I don't want to sit here and write down
| | 00:25 |
this number, IMG underscore, 892, oh
forget it, not going to do it.
| | 00:30 |
All right?
So, how do we know, very quickly and
| | 00:33 |
permanently whether I like that picture
or not?
| | 00:36 |
And maybe permanently was, was
overstating it just a bit, I just don't
| | 00:39 |
want it to be forgotten tomorrow or the
next day.
| | 00:43 |
So how do we mark these files in a way
that when I come back in a month or 6
| | 00:46 |
months or 10 years from now that I can
remember that I liked that picture?
| | 00:51 |
Well, very simple.
It's under the Label dropdown menu and we
| | 00:54 |
can give it stars.
One, two, three, four, five stars.
| | 00:59 |
Now, how you use these really is up to
you.
| | 01:02 |
You can say one star is the best, like
golf score, you know the lowest score is
| | 01:06 |
the best.
I think most people I work with use the
| | 01:10 |
hotel rating system and five star is the
best.
| | 01:13 |
And that seems to be pretty consistent
but here's the issue.
| | 01:16 |
No matter which way you want to use it,
just make sure everybody else you're
| | 01:20 |
working with knows as well, so you're all
on the same page.
| | 01:24 |
So let's just go here and look at this
picture and I like it.
| | 01:28 |
Good enough.
I like it.
| | 01:29 |
Label.
5 stars.
| | 01:31 |
Done.
Got 5 stars.
| | 01:33 |
You can see that.
Now, I don't want to be in Preview mode
| | 01:35 |
and then get out of Preview mode to go
there every time I want to give it 5 stars.
| | 01:39 |
So, remember this keyboard shortcut right
here.
| | 01:42 |
Cmd+5, Cmd+4, that's a Control key on the
windows machine.
| | 01:46 |
And just make sure that you remember
that.
| | 01:49 |
And what I do is I keep one finger on the
Cmd key and another on, up on a numbers
| | 01:53 |
there, so that as I'm in this mode here.
And keep in mind that Full Screen mode
| | 01:58 |
was new to CS4 and CS5, but if I'm in
this view and I like this, I can Cmd+4
| | 02:02 |
because a car like that one.
Eh, it's all right.
| | 02:07 |
Maybe.
kind of like that one, that one I like,
| | 02:09 |
let's zoom in and look at it.
Hm, weeds are nice and clear, rust is
| | 02:14 |
pretty good.
I could probably do some Smart Sharp.
| | 02:18 |
And I like the blurriness of the barbwire
against the sharp background there.
| | 02:22 |
Okay, so let's say that I like this one.
I don't have to get out of this.
| | 02:26 |
I'm just going to hit Cmd+3 because I
only kind of like this one.
| | 02:30 |
Ooh, this is interesting.
Let's zoom in there.
| | 02:32 |
All right.
Glass is nice and sharp.
| | 02:34 |
Blurred weeds.
I'm kind of like that, may I'll give that
| | 02:37 |
three stars.
I'm not in love with it but I kind of
| | 02:39 |
like it.
And actually you know what?
| | 02:42 |
Now, I like that one better.
I'm going to give that one 5 stars.
| | 02:45 |
I want to go back to this and give this
one 0 stars because I don't hate it,
| | 02:48 |
don't love it, don't really have a
feeling about it.
| | 02:52 |
So I'm just going to leave it at 0 for
right now.
| | 02:53 |
And I can keep going through.
Until I find what I like, and then I can
| | 02:58 |
mark it.
If you feel compelled you can mark
| | 03:00 |
everyone of them.
You know, if you say this one doesn't
| | 03:03 |
turn me on, I'm going to give it two
stars.
| | 03:05 |
You know, you might have a rule that says
every picture has to be ranked, so that I
| | 03:08 |
know how I feel about that.
Okay, and that's possible if you want to
| | 03:12 |
do that.
I'm going to hit my space bar and get out
| | 03:14 |
of that view, and you can see that it's
got those stars there.
| | 03:18 |
Okay?
There we go.
| | 03:19 |
And, and I want to say that these
rankings are actually written into the
| | 03:22 |
meta data of the file.
And we're not going to go deep into
| | 03:25 |
metadata here, but I want to point this
one really important thing out.
| | 03:30 |
And that is that if I emailed this
picture to any of you listening right now.
| | 03:34 |
All right?
And you looked at it in Bridge, you would
| | 03:37 |
see five stars because that stays in the
image.
| | 03:40 |
I can put it up on my website and if
somebody downloaded it they would see that.
| | 03:44 |
if I put put that on InDesign, exported
from InDesign is a PDF.
| | 03:49 |
Open the PDF in Acrobat.
I can extract the metadata from the
| | 03:52 |
picture and see that that picture was a
five star picture.
| | 03:55 |
So, there you go.
Now, how you use these stars is up to you.
| | 03:59 |
But again, generally people would give 5
stars to those really great pictures that
| | 04:03 |
they for sure want to use, 4, 3 on down
the road.
| | 04:06 |
Or they may want to give a special
meaning, like anything with 2 stars is
| | 04:11 |
unique because of whatever.
I personally give 1 star to every picture
| | 04:16 |
I never want to see again.
That way when I'm all done, I can filter
| | 04:20 |
just the 1 star files down and throw them
away.
| | 04:24 |
Those are the pictures you get of your
feet, or of your hair, of the sky
| | 04:26 |
because, you know, you tripped when you
were taking a picture or something.
| | 04:31 |
Notice that also in labels is label.
No label, select Second Approved Review
| | 04:36 |
To Do and they also have keyboard
shortcuts.
| | 04:40 |
Now you may be thinking you know that
labeling is pretty neat but I don't like
| | 04:44 |
the word select second approved review.
You know what I could really use is a
| | 04:49 |
label that says Used.
Let's say, that for example, you're doing
| | 04:53 |
a, a school yearbook and you want to
know, has that picture been used already
| | 04:56 |
in the yearbook, cause we don't want to
duplicate it on a big project like that,
| | 04:59 |
that might be good to know.
Well, I'm going to go to my Preferences,
| | 05:05 |
in Bridge, look right here, Labels.
So, I can say Red is Don't Use.
| | 05:11 |
Don't use that one.
I could say approved because we like it.
| | 05:16 |
You know, I can give different approvals.
Approved by photographer but it hasn't
| | 05:21 |
been approved by art director.
Could review, something needs to be
| | 05:27 |
reviewed or maybe I can say this has been
used.
| | 05:32 |
Okay, now I'm going to hit OK.
Now, watch this.
| | 05:34 |
I'm going to select this image right
here, and I'm going to go to Label >
| | 05:37 |
Don't Use That Picture.
Okay?
| | 05:41 |
Once again, that's in the metadata.
So let's say that I emailed that to you,
| | 05:46 |
you're going to see that's got that Don't
Use That Label applied to that.
| | 05:50 |
Alright, so that's actually up in that
picture and it rides right along with it
| | 05:52 |
which is really nice.
So we can go through here and very
| | 05:56 |
quickly label our images.
All right, with stars or with special labels.
| | 06:02 |
So, we basically can just stay in full
screen mode.
| | 06:04 |
Let me scroll down here to some other
pictures here.
| | 06:06 |
Let's go to these trucks.
Took a whole bunch of pictures of this
| | 06:09 |
rusty old beast.
All right, not sure, not sure, not sure,
| | 06:13 |
not sure.
Still looking.
| | 06:15 |
Okay, and I'm just scrolling through.
Let's go back now.
| | 06:19 |
Left arrow, scroll and back, all right?
I always do this.
| | 06:22 |
I kind of thumb through there and then I
go back.
| | 06:25 |
And then when I start gettin' to the ones
I like, alright, then maybe I start
| | 06:28 |
zooming in.
Make sure it's as crisp as I'd like.
| | 06:31 |
Depends on what I'm trying to focus on.
And I'll give that four stars, and on
| | 06:35 |
I'll go.
So, labeling and ranking, is going to
| | 06:38 |
save you from taking, lots of notes, and
you won't lose them, cause they're
| | 06:41 |
written right into that image.
| | 06:44 |
| | Collapse this transcript |
| Rejecting vs. deleting| 00:02 |
Now when you going through your pictures,
its going to happen, you're going to have
| | 00:06 |
pictures you just don't like.
And you look at this picture thinking,
| | 00:10 |
why in the world did I ever take this,
alright?
| | 00:13 |
So I am just going to hit my Delete key
and whether you are in Full Screen mode
| | 00:16 |
or whether you're, you're just in Regular
Thumbnail mode, it doesn't matter, it's
| | 00:20 |
going to ask you, do you want to Reject
this file or Delete it?
| | 00:26 |
And this is really an important question
and I, I personally would never ever
| | 00:30 |
choose that unless you are positive that
you're going to do the same thing or I
| | 00:33 |
might do that if I just had a policy
where I never delete anything.
| | 00:39 |
I always reject, but I'm going to Cancel
this because I want to, I just want to
| | 00:42 |
throw something at you here.
You know, sometimes when you're
| | 00:45 |
photographing, you know a sporting event,
there's no question you get some really
| | 00:49 |
lousy photos.
You get the grass, you get blur, you get
| | 00:52 |
the referee jumps in front of the camera.
You just never want to see that again.
| | 00:58 |
In that case, I probably would delete it,
just delete it, its gone, you just move
| | 01:01 |
that file to the trash.
It's in my trash can, I'm never going to
| | 01:05 |
see that again.
But, if it's just a picture of somebody
| | 01:08 |
or something that it's not great, instead
you can reject it.
| | 01:13 |
Alright, now I'm going to go back to
Thumbnail view and you can see it says
| | 01:17 |
Reject there so it doesn't really feel
like it deleted.
| | 01:21 |
But if I go up here to View and I turn
off Show Reject Files, now when I select
| | 01:25 |
something and delete it.
Quote delete it, really I'm going to
| | 01:30 |
reject it here.
Now it's gone, I don't see it.
| | 01:33 |
So it's out of my way, so it kind of
feels like I'm deleting it.
| | 01:37 |
So, so yeah that's nice, but then when
you ever need to, you can always go View
| | 01:41 |
> Show Reject Files and all those come
back up, and you can look through them.
| | 01:46 |
I've actually had it happen, where I've
photographed an event that had lots of
| | 01:50 |
kids and I rejected, not deleted a lot of
the pictures of kids that I just didn't
| | 01:53 |
feel were good enough to put up on the
website.
| | 01:57 |
And I've had parents call back saying
hey, you don't have any pictures of my
| | 02:01 |
kid on the website.
And I said well they weren't all very
| | 02:04 |
happy in the pictures that I have of them
and they said, well can I have them.
| | 02:09 |
Sure, all I have to do is go to View >
Show Reject Files, and there they are.
| | 02:14 |
And then I can take that picture and
email it.
| | 02:16 |
I might want to change the Rating so that
they don't think, that I think that their
| | 02:19 |
child is a reject.
(LAUGH)
| | 02:21 |
We wouldn't want to have to deal with
that law suit, but regardless, we can
| | 02:24 |
reject them so they're always there.
Or if it's a picture you just never want
| | 02:29 |
to see again, Delete it, it's gone.
It's in the trash, and when you empty the
| | 02:34 |
trash, you'll never have to see that
picture again.
| | 02:36 |
| | Collapse this transcript |
| Sorting| 00:02 |
Between ranking and labeling, rejecting
and deleting, we can really get through
| | 00:06 |
these pictures very quickly.
And kind of sort them the way we want to
| | 00:10 |
see them.
However, sometimes we might want to just
| | 00:14 |
do a quick global sort of all the photos
in a folder, or within our Search.
| | 00:20 |
So, I can go here under View > Sort and
look at all the choices I have.
| | 00:24 |
File Name, maybe the most common or the
Date Created.
| | 00:28 |
But I may want to Sort by Date Modified
because I know that I've opened a whole
| | 00:31 |
bunch of them in Photoshop and I've
modified them.
| | 00:35 |
And I want to see those, those are the
ones I want to see.
| | 00:37 |
And at the top, let's say, or at the
bottom, by Size.
| | 00:42 |
Maybe I'm worried about file size, and I
just want to get rid of some of the bad
| | 00:45 |
ones that maybe are too big, Dimensions,
Resolution, Color profile.
| | 00:50 |
And here's that Label, Rating and
Keywords or I can manually arrange them
| | 00:55 |
however I want to.
You know I've never done this, I've never
| | 00:59 |
done that, not a bad idea.
There might be times you need to, but
| | 01:03 |
when you've got a folder of 259 items, I
just think it's a lot of work, but you
| | 01:07 |
can do it.
Maybe you just want to grab a bunch and
| | 01:10 |
put them up here at the front row quick
to look at, I just find it that's extra work.
| | 01:15 |
i do a Sort based on certain criteria if
i need to very quickly.
| | 01:18 |
I want to Sort by say Date Modified and
then I can choose Ascending or Descending
| | 01:23 |
order and I can see the ones that have
been modified most recently.
| | 01:28 |
Now this is kind of important, changing
Metadata also changes the Modification
| | 01:32 |
date, alright?
So, just because you opened it in
| | 01:35 |
Photoshop last week and then today you
gave it five stars that's a modification.
| | 01:41 |
And it's going to be reflected in that
sorting, so just know that.
| | 01:45 |
And you can sort that here as well, you
can choose different ones.
| | 01:48 |
I want to Sort by, let's say Type >
Ascending or descending order, okay.
| | 01:53 |
So, I can play with that sorting in that
window globally and, and everything
| | 01:56 |
that's it's in that folder if I'm working
in a folder or everything in there within
| | 02:00 |
a find, I can do that with my sort as
well.
| | 02:04 |
| | Collapse this transcript |
| Using collections| 00:02 |
We've been spending a lot of time talking
about photos and at the very beginning I
| | 00:06 |
said that you can do more than photos in
bridge.
| | 00:09 |
But we've spending most of the time on
that but just in the back your mind no
| | 00:13 |
that inDesign, illustrator all these
other file formats work as well.
| | 00:18 |
A good example of where we would use
multiple file formats together is in Collections.
| | 00:23 |
Let's just take a look at what this does.
So I'm going to go to a folder here and
| | 00:27 |
I'm going to narrow my search in
filtering down to these four files.
| | 00:32 |
Okay yes, I can find those very quickly
by filtering if I remember what folder
| | 00:36 |
they are in.
We'll I'm going to start a collection
| | 00:43 |
Castle project, okay?
And there's nothing in there because
| | 00:50 |
well, I didn't have anything selected.
So let's go back now, to the assets.
| | 00:56 |
Go back to that folder.
Narrow my search and filtering, there we go.
| | 01:00 |
And now I'm going to select these 4
photos, and drag them right in, and now
| | 01:04 |
I've got the 4 photos in there.
And you're thing okay I can see where
| | 01:09 |
maybe I would use that if I've got photos
in multiple folders all over the place.
| | 01:15 |
Yeah, that might be a nice way to.
Very quickly find them, maybe but I do
| | 01:18 |
that with keywords so maybe you're not
getting why this matters.
| | 01:23 |
So let's go back to another folder and
let's grab an InDesign document and add
| | 01:29 |
it to the project.
Now I can have InDesign files and the
| | 01:36 |
images all in one folder.
I could even go so far as to put all
| | 01:42 |
sorts of Illustrator files, whatever.
Let's just go back to this folder that
| | 01:46 |
had all the file formats.
I'll put another InDesign file in there.
| | 01:51 |
I'm going to put an AI file in there, I
can put snippets in there, PDF of the
| | 01:55 |
final thing in there.
And now when I go to that project, I can
| | 02:00 |
see everything related to that specific
project in one place.
| | 02:04 |
Even those these files might very well be
in folders in all these different
| | 02:07 |
locations on the server, I've got em in
one nice little location, that all I have
| | 02:11 |
to do is Click, and on there.
So I could very well be in this folder,
| | 02:16 |
then I go, boom, and I brought that whole
collection together in one place.
| | 02:22 |
It's a great way to keep your files
organized.
| | 02:25 |
Now, with Smart Collections, you can go
one step further.
| | 02:29 |
I can make a Smart Collection that
actually knows What to look for as we're
| | 02:34 |
working on it.
Well, it's going to rely on certain things.
| | 02:38 |
Files names, for example.
Or certain meta data.
| | 02:42 |
So I can say, look for keywords that have
"castle." Or Switzerland or Sports.
| | 02:50 |
So look for a certain keyword that
contains that exact spelling, guys.
| | 02:56 |
It's very literal.
And also look for Date Created As X or
| | 03:00 |
only a certain document type; I only
want to see InDesign files, or JPGs.
| | 03:08 |
I only want to see that.
And if that criteria is met, any or all,
| | 03:12 |
OK, so all is going to say it has the key
word and it's a JPG.
| | 03:18 |
If any of it is, its key word is castle
or.
| | 03:22 |
Any jpeg so you gotta be careful about
how you use that.
| | 03:25 |
So for this to work you need to be using
Meta Data its that simple.
| | 03:29 |
You gotta be using Meta Data but as you
take any file key word contains castle
| | 03:33 |
alright let's go ahead and save that.
All right, now, it's just going to sit
| | 03:38 |
here and search, and we don't have time
for it to go through and look for this
| | 03:41 |
right now.
Once it's indexed it, okay, it's going to
| | 03:45 |
be a lot quicker in the future.
Alright, so the smart collections, they
| | 03:49 |
might slow you down on this aspect of it
but in the long run it'll speed it up.
| | 03:54 |
Because it's just going to automatically
as your're working, as you're key
| | 03:57 |
wording, as you're doing these things,
it's going to drop this stuff in that
| | 04:00 |
folder for you.
So before to long over here in
| | 04:03 |
collections, you might have a smart
collection for ten different projects,
| | 04:07 |
and that number there nine, you may come
in tomorrow and the next day and the next
| | 04:11 |
day and it may not even be you who
changed the information.
| | 04:17 |
It could very well be that your co worker
added the key word castle to one of the
| | 04:21 |
images and as he did that it
automatically added it to your collection
| | 04:24 |
right there.
So collection is a great way to keep
| | 04:29 |
track of Multiple parts of a project in
one.
| | 04:33 |
Smart collections are going to do it
automatically.
| | 04:36 |
Manually you can create your own
collections, and what goes in there is
| | 04:39 |
what you put in there.
Okay, so watch this new smart collection
| | 04:43 |
that we just created.
And watch what happens when I go into a
| | 04:47 |
photo, let's say here.
And lets just go through our filtering,
| | 04:53 |
lets choose the folder we like alright I
am going to select them alright down here
| | 04:58 |
in keywords I am going to type castle,
castle and I am going to apply that
| | 05:02 |
simple enough now.
Yest they are in that folder but let's
| | 05:07 |
just go back to the collections now.
Let's see what happened here it
| | 05:10 |
automatically added those.
Amazing.
| | 05:13 |
So it's automatic, looking for keywords
because that's what I told it that I wanted.
| | 05:17 |
But you can have a smart collection
looking for any number of things, as I
| | 05:20 |
showed you.
| | 05:21 |
| | Collapse this transcript |
|
|
4. The Power of MetadataWhat is metadata?| 00:02 |
Ranking and labeling is a form of
metadata, but it's not all we can do.
| | 00:07 |
We can really really add some very
powerful information into these files.
| | 00:12 |
In fact, not only can we add it some of
it's automatically there for us.
| | 00:16 |
If we look down here at this metadata
panel right here, this metadata pane.
| | 00:20 |
If you don't see it go to window and turn
on metadata right there, and that's this.
| | 00:26 |
I'm going to Collapse all of these, so
you can just get a quick overview of what
| | 00:29 |
our choices are file properties.
IPTC core, what in the world is that?
| | 00:35 |
Well that's actually where we're going to
spend most of our time camera data,
| | 00:38 |
audio, video.
So, as you can see, there's a lot of
| | 00:41 |
metadata here that may have nothing to do
with InDesign.
| | 00:45 |
Well metadata is not just about photos.
Metadata is about all types of file formats.
| | 00:52 |
So let's just quickly look at this
metadata of file properties.
| | 00:55 |
Tells me the name of it, the preserved
name, so this was changed.
| | 01:00 |
This is what the camera took.
The file type, when it was created.
| | 01:03 |
When it was modified.
Size, dimensions, resolution.
| | 01:07 |
It's RGB, there's the color profile.
So there's some file properties there.
| | 01:12 |
If I go down to Camera Data, this tells
me all sorts of things.
| | 01:16 |
The flash didn't fire, tells me what kind
of metering mode I was on, what kind of
| | 01:19 |
camera it was taken with.
The serial number of the camera.
| | 01:24 |
Now, you may be thinking, that's more
information than I'll ever need, why
| | 01:27 |
would I care about that?
Okay, that's fine.
| | 01:30 |
You don't have to use that, but this IPTC
core, this is really where we get to get
| | 01:34 |
in there And put a lot of really valuable
information that, we want to be able to
| | 01:38 |
use in other applications outside of
bridge, and in file sharing with other people.
| | 01:46 |
As we go through this lesson, not just
this lesson, but the whole video, you're
| | 01:49 |
going to see where metadata plays more
and more important roles.
| | 01:53 |
For now lets just look at what we have in
IPTC Core, that's me.
| | 01:59 |
My address, my phone number, all this
information can be put in there.
| | 02:03 |
I can even go in there and put a separate
description for this event.
| | 02:07 |
Now, this is not new.
If we go all the way back to, I think
| | 02:11 |
Photoshop One probably if I go to file
info gets what this is, it's metadata and
| | 02:16 |
look it even preserves the metadata that
I added in bridge.
| | 02:23 |
So, whether you do it in photoshop one
picture at a time in the hard way or if I
| | 02:27 |
do something like this select all the
pictures and then go in here and in
| | 02:30 |
headline I can enter one bit of data for
all the photos.
| | 02:36 |
Thanksgiving Day, football game, okay, so
I can now apply that by clicking that
| | 02:41 |
Check Mark to all of these photos.
And you can see it's doing it right now
| | 02:47 |
586 items, and it's writing the metadata
tool right now.
| | 02:52 |
It's just going right through there and
taking care of that, so that In the
| | 02:56 |
future, if I ever need to know what this
picture's about, I'll have that.
| | 03:02 |
And I want you to keep in mind that this
metadata will go all the way to the end.
| | 03:06 |
For example, if I take this picture and I
place this in InDesign, right down here
| | 03:10 |
underneath these trees, that'll look
good.
| | 03:14 |
If I export this PDF file I can open this
in Acrobat, and I can extract that metadata.
| | 03:20 |
And if I go back to Bridge all of this
information is going to be right there
| | 03:23 |
for me.
Let's just for fun let's double click on
| | 03:26 |
a photograph here.
Let's just double click on this in
| | 03:29 |
Photoshop, there we go.
Let me clean up my work space just a
| | 03:32 |
little bit by resetting the essentials.
There we go.
| | 03:36 |
Now, in Photoshop, you may not know this.
But there's a nifty little preference, in general.
| | 03:42 |
Right down here, history log and I can
tell it to say that to the metadata, and
| | 03:47 |
do detailed.
And what this'll do, is, everything you
| | 03:50 |
do to this photo will be listed there.
He used the rubber stamp, he cropped it,
| | 03:55 |
he rotated it, he converted to grey
scale.
| | 03:58 |
It'll give very detailed history of what
was done to that photograph, and that
| | 04:02 |
information is actually in the metadata.
All right, so as you go through here,
| | 04:07 |
you're going to see lots of information
here, more than you ever need.
| | 04:11 |
Now, if I go to Bridge, Preferences, and
I click on Metadata, I can turn off a lot
| | 04:15 |
of the stuff that I don't care about.
You know, I don't really care about
| | 04:20 |
Credit Line or Source.
Might care about Copyright Notice if it's
| | 04:24 |
my photograph, and I don't want people to
use it without contacting me, I can put
| | 04:27 |
that in there.
Job Identifier, Title, ISO Country.
| | 04:32 |
Maybe I don't care about this stuff.
Turn it off, let's just go ahead and do that.
| | 04:35 |
Let's just turn off the bunch of this
stuff, alright.
| | 04:38 |
Let's leave key words in there though.
Let's turn those off and let's just turn
| | 04:41 |
the, let's just turn that off altogether.
And let's turn, let's leave those on,
| | 04:47 |
(INAUDIBLE) let's leave that on and I
want to turn off GPS.
| | 04:52 |
Leave camera raw, turn off audio, turn
off video, turn that off just for fun.
| | 04:58 |
Alright, now let's look at our metadata.
Notice that when I collapse em I had
| | 05:02 |
fewer tabs here.
In the IPTC core notice that there aren't
| | 05:05 |
as many choices there just what I need
so, I'm not getting bogged down with
| | 05:09 |
lists after lists.
So, you could actually customize your
| | 05:14 |
environment to only show you the metadata
that you care about.
| | 05:18 |
Now, keep in mind that if you get a
photograph from someone else and you open
| | 05:21 |
that in bridge and look at it.
This would expand to accommodate whatever
| | 05:26 |
metadata is in that photo.
So this is just for you to work in.
| | 05:30 |
But, again, if somebody sends you a
photo, you might very well have a very
| | 05:33 |
blown up view of this, okay.
So just keep that in mind.
| | 05:37 |
Now this metadata that Photoshop uses is
different from other programs metadata.
| | 05:43 |
Let's take a program like Iphoto for
example.
| | 05:46 |
In Iphoto for example any metadata that
you add is written into what is called a
| | 05:49 |
sidecar file.
Its not written into the photo its over
| | 05:53 |
here in this database that's linked to
that photo and if you grab that photo and
| | 05:57 |
email it to somebody.
They're not going to have that
| | 06:01 |
information cause it's just sitting in
your, in your computer in this side car
| | 06:04 |
file with this XMP metadata that's built
into this.
| | 06:08 |
Whatever you write here actually goes
into this photo.
| | 06:11 |
So, I'm going to click on this photo
right here and I can add to this
| | 06:16 |
description, Turo takes a break between
downs.
| | 06:21 |
There we go and I'm going to add that.
Now, that's actually in that file.
| | 06:25 |
That's XMP writes it into that file.
Now the reason I bring that up, is
| | 06:29 |
because there are other programs, that
support XMP, that aren't Adobe.
| | 06:34 |
Plugins for Photoshop, but also
standalone products that photographers
| | 06:38 |
can use to download files.
Adobe Lightroom.
| | 06:42 |
Will use XMP meta data as well.
So it's possible that you can look at
| | 06:46 |
photos in bridge, that the meta data
wasn't added in bridge, it was added in
| | 06:50 |
other programs and that's okay.
The key thing to look for here is, is at
| | 06:55 |
that XMP meta data, and is it viewable in
bridge.
| | 06:59 |
And if so, then you know it's going to
work with the other Adobe products, as
| | 07:03 |
you move this photo into a video.
In Premiere, let's say, or you upload it
| | 07:08 |
to a website through Dreamweaver, or you
place it in InDesign and export it to
| | 07:12 |
PDF, EMP, that's what you're looking for.
So metadata, I'm begging you to start
| | 07:18 |
using it right now.
Start entering this metadata into these photos.
| | 07:23 |
You can even name the players in the
picture.
| | 07:25 |
You can do a quick general.
Overall description and then go picture
| | 07:30 |
by picture and add who is in the picture,
what they're doing the day.
| | 07:34 |
It's all in the information, someday you
will thank me for this.
| | 07:39 |
In addition to all of this metadata here,
I want to show you something that I can
| | 07:43 |
consider magic.
I'm going to go to the assets folder And
| | 07:47 |
I'm going to go to this folder here, this
folder here and I'm going to click on an
| | 07:53 |
InDesign file.
Here we go.
| | 07:57 |
Now, look at the metadata that comes
automatically with an InDesign file and
| | 08:00 |
again we've been working with photos but
remember.
| | 08:04 |
All sorts of file formats have metadata.
It even tells me what fonts I used.
| | 08:10 |
It's got a list of all the linked
graphics.
| | 08:13 |
It even tells me the colors, check that
out.
| | 08:16 |
This is a true story, there was one time
I was looking for a document, I couldn't
| | 08:20 |
find it, don't remember the name of it,
but I do remember that I used a certain
| | 08:23 |
font that I never use.
I actually was able to find that
| | 08:29 |
document, by searching for metadata,
fonts, and the name of that font, and I
| | 08:33 |
found the document.
It had some ridiculous name, cause I was
| | 08:37 |
being careless that day, and not really
naming properly.
| | 08:41 |
So, it was probably called untitled 23 or
something like that.
| | 08:45 |
But my point is there is metadata that is
written into files.
| | 08:49 |
That we didn't even do manually, it's
there automatically.
| | 08:51 |
So spend some time clicking on some
files, not just photo files like this,
| | 08:55 |
but also PDF files and see what's there.
All right, but in this case, the InDesign
| | 09:02 |
file has fonts.
Link graphics as well as swatches and if
| | 09:06 |
you name your swatches with specific
names, you'll see that and you could
| | 09:09 |
actually do searches for that.
In this case, pantone 5493 it even shows
| | 09:15 |
me that it's a spot color is used inside
that PDF so metadata is not just for photos.
| | 09:22 |
| | Collapse this transcript |
| Searching with keywords| 00:02 |
So, Metadata, we've already established,
it helps us enter data about a photograph
| | 00:06 |
and we can be really specific about it.
But what if I want to lump pictures into
| | 00:10 |
General categories, like sports or more
specifically, football.
| | 00:16 |
Or even more specifically, I want to have
a keyword only for him so that every
| | 00:20 |
picture you see with him in it, he's
gotta keyword there.
| | 00:25 |
Well, what does that do for us?
Well, again, it allows us to sort in a
| | 00:29 |
way that we just can't do based on file
naming and dates.
| | 00:33 |
A good example of where we see keywords
and Metadata really in action, is when
| | 00:37 |
you go to a website where you've
purchased something, and when you log in,
| | 00:40 |
they go, hey, last time you bought this,
we bet you would love this.
| | 00:45 |
And all it's doing is it's looking at
patterns in your purchases based on
| | 00:49 |
keywords and Metadata.
And as it's looking at that, it's saying,
| | 00:53 |
well, man, he's bought four books or four
movies out of this keyword category.
| | 00:58 |
I bet he'll like these other 10 movies
that are in that same category.
| | 01:03 |
So, it really allows us to lump things
into these categories.
| | 01:06 |
Music examples would be, you know, rock
and jazz, alright?
| | 01:10 |
Well, we are not talking about music, we
are talking about photos.
| | 01:14 |
You are going to have to personalize
these keywords to fit what you are doing.
| | 01:19 |
Let's say, your newspaper, for example,
and you've got multiple editions, one for
| | 01:23 |
this city and one for a neighboring city.
There's an example of where you may want
| | 01:29 |
a keyword photographs that are specific
to one or the other or you tag both of
| | 01:33 |
them if the photograph would fit for
either one.
| | 01:37 |
One example, or you could do it for
sports, one for school, one for the
| | 01:42 |
police blotter.
A yearbook, school yearbook, for example,
| | 01:46 |
may use keywords for each of the
different sections of the yearbook.
| | 01:50 |
Drama, Music, Academics, Varsity Sports,
Junior Varsity Sports, you can do that.
| | 01:56 |
Now, the Default Keywords may not be that
useful.
| | 02:00 |
Places, New York, Paris, San Francisco,
People, Events, okay, these are just
| | 02:05 |
examples for you.
I want to go to the top right corner
| | 02:09 |
here, and I want you to see that you can
add a new keyword or a new sub keyword.
| | 02:14 |
And that's what you're seeing here, is
Events is the keyword and these are the
| | 02:18 |
sub keywords.
Alright.
| | 02:20 |
So, let's take Events, for example.
I could click on here and say New Sub Keyword.
| | 02:25 |
Or I can right-click on it and say, New
Sub Keyword, and now what would be
| | 02:29 |
another sub keyword.
Birthday, graduation, wedding, anything
| | 02:35 |
else, alright?
Maybe you want to put holidays under
| | 02:39 |
there, okay?
So, we'll put July 4th, there we go.
| | 02:43 |
And by doing that, now we've added
another event right underneath that.
| | 02:49 |
People, okay, well, I don't know Matthew
or Ryan so I can right-click on that and
| | 02:54 |
rename that and I'll call that Oscar,
alright?
| | 02:59 |
We'll take this Ryan and we'll rename
that Turo.
| | 03:03 |
Well, I need some more.
I've got some more people playing
| | 03:05 |
football here.
So, I'm going to right-click and choose
| | 03:08 |
New Sub Keyword.
And I'll put Diego, I'll go one more time
| | 03:12 |
and I'll put Parker.
Now, how would I use those?
| | 03:16 |
Well, if I look at this picture, both
Diego and Parker are in it.
| | 03:20 |
So, I would click Parker and I would
click Diego.
| | 03:24 |
Now, I don't have to do them one at a
time like that one just has the two of
| | 03:27 |
them as well, as does this one.
It's possible for me to click, hold my
| | 03:31 |
Cmd key down, click that one, click that
one, and I can scroll through and see if
| | 03:34 |
there are any more that are just the two
of them.
| | 03:39 |
I could do it.
There's one there, there's one there.
| | 03:44 |
You get the idea.
So now, I can click on both of them and
| | 03:48 |
now all of those pictures that I had
selected will add that Metadata to all of them.
| | 03:54 |
So, here's Oscar, 1, 2, 3 of just him.
Here's another one of just him.
| | 03:58 |
I can go over here and click that, and
that keyword has been added to just those
| | 04:03 |
photos that are selected, alright?
So now, I can tag into that keyword for
| | 04:08 |
searching, for filtering.
I can go over here and I can say, only
| | 04:13 |
show me the pictures of Oscar.
And now, I've narrowed that down from 500
| | 04:18 |
items to four, just by tagging into that
keyword there.
| | 04:23 |
So, as you're working with photographs in
your environment, whether it's personal,
| | 04:26 |
in this case, pictures of my kids playing
football or work, where you're trying to
| | 04:30 |
think, now, how would I use this picture?
You know, a great way to use keywords for
| | 04:36 |
a corporate environment would be by
product line.
| | 04:40 |
I've got pictures that I've taken of
models using the product, or of the
| | 04:44 |
product itself, and I want to tag it.
You may have some products that go across
| | 04:50 |
multiple lines, where there are some that
are specifically just a certain line.
| | 04:55 |
And you can those so that the next time
you can go and make a brochure for that,
| | 04:59 |
you just click and click and do assert
for that keyword and up pop just those
| | 05:03 |
specific models that you wanted to look
at.
| | 05:08 |
Now, these keywords right now are only on
my computer.
| | 05:11 |
This.
If I take this picture and e-mail it to
| | 05:14 |
one of you and you looked at it in
Bridge, you would see it added in Italics.
| | 05:19 |
Which tells you that the keywords there
because something in your browser window
| | 05:24 |
here is tagged with that keyword, but
it's not your keyword.
| | 05:29 |
If you need to share your keywords with
someone else in the office, maybe you
| | 05:33 |
want to make sure that you're all
synchronized.
| | 05:37 |
I can go out here and I can say, Export,
and then go to the other computer in the office.
| | 05:42 |
I could import it, but then that's
going to add it to all of these.
| | 05:45 |
So, I'm better off doing Clear and
Import.
| | 05:47 |
It gets rid of all the default ones and
just puts my keywords in there and you
| | 05:51 |
can do this across all the computers in
the office and that way you all start at
| | 05:55 |
the same place, alright?
So, keywords.
| | 06:00 |
It's a great way to very quickly
categorize your pictures for finding
| | 06:04 |
later on and applying to any type of
project that you need those specific
| | 06:08 |
images for.
| | 06:10 |
| | Collapse this transcript |
| Using metadata templates| 00:02 |
So raise your hand if you're lazy like
me.
| | 00:04 |
I, I am, I want to take any shortcut I
possibly can, and as excited as I might
| | 00:08 |
sound about this metadata I don't want to
sit here and enter this over and over and
| | 00:13 |
over again.
I don't mind maybe the description field,
| | 00:17 |
but I don't want to sit here and do all
this other information.
| | 00:21 |
So let's go up here under Tools, and we
can now create a metadata template.
| | 00:26 |
Look at that.
And this is an opportunity for you to go
| | 00:29 |
ahead and create a template.
We'll name this Russell's Template.
| | 00:34 |
There we go.
And I'll put my name in there, Russell Veers.
| | 00:39 |
And I'll put my address there, there.
And I can turn these on, okay?
| | 00:44 |
(INAUDIBLE) email address.
Okay?
| | 00:47 |
And I don't need to put these in there.
I'm going to, I'm going to explain that
| | 00:49 |
in just a second, okay?
Don't need to put those in there.
| | 00:52 |
And anything else that you feel is
important to add.
| | 00:55 |
In this IPTC core of the metadata, Okay.
Just put it right in there, and then save that.
| | 01:03 |
There we go.
Now, the next time you're getting ready
| | 01:06 |
to add metadata to a job, like this one,
for example, I can go to Tools, Edit
| | 01:10 |
Metadata Template, and open up my
template.
| | 01:15 |
And I'll put a description in there.
Thanksgiving Day football game, Braggins
| | 01:20 |
Austria blah, blah, blah.
Okay.
| | 01:24 |
This would be for generic information,
the day, who won, location, anything that
| | 01:30 |
you want to really remember.
You want to put as much information in
| | 01:35 |
there that's consistent across all those
images as possible.
| | 01:38 |
And then I'll go ahead and save that.
Okay.
| | 01:40 |
Now, I can select all of these images.
And I can go up here to tools, append metadata.
| | 01:46 |
And when I click on that, it's going to
add that metadata to all those
| | 01:49 |
photographs for me.
In this case, I may want to actually
| | 01:53 |
choose replace metadata.
Because I already had metadata in the photos.
| | 01:59 |
'Kay?
So, let's just say that somebody sent you
| | 02:02 |
a whole bunch of photographs on a CD,
alright, or they uploaded them to the server.
| | 02:06 |
And wherever they came from doesn't
matter, and they have no metadata.
| | 02:11 |
Well, you could either select all and
enter it, and that's fine.
| | 02:15 |
But if you're going to do it over and
over again, maybe this is the first batch
| | 02:18 |
of photographs from that photographer.
Maybe it's a, a guest photographer or a
| | 02:22 |
stringer who's sending you things on a CD
on a regular basis.
| | 02:27 |
Go ahead and create a metadated template
for that person and then whenever those
| | 02:31 |
pictures come in without metadata, you
can go to tools, append metadata.
| | 02:37 |
In this case, replace that metadata and
now I'll have the new metadata in here
| | 02:41 |
when it gets done replacing it.
Best practice, and I can't stress this
| | 02:45 |
enough, the best practice is to get your
photographers, everybody, that's in
| | 02:49 |
charge of these photographs, actually
entering the metadata for you.
| | 02:55 |
Because nobody knows what's in those
photographs any better then the person
| | 02:58 |
who took the pictures.
So at the very least, this metadata
| | 03:02 |
template will help me.
Not have to reenter my personal
| | 03:06 |
information on a regular basis.
I only have to change the description
| | 03:10 |
field or maybe the headline field.
And I'm going to do that before I apply
| | 03:14 |
the metadata all these pictures so that
again, I do it once and then boom, it's
| | 03:18 |
going to update em all.
You know, I say boom, and yet I'm sitting
| | 03:23 |
here watching this spin.
As you can see, it can take a while if
| | 03:26 |
you've got lots of photographs.
I've got 586 items.
| | 03:32 |
I have some events that I'll take
literally thousands of photographs for.
| | 03:35 |
So, entering metadata as soon as you can
in the process, is going to save you time
| | 03:39 |
in the long run.
Because now I'm ready to get in here and
| | 03:43 |
adjust photographs, the last thing I want
to do is be sitting here waiting because
| | 03:47 |
it's adding the metadata to it.
Now, do I have to wait?
| | 03:51 |
Not necessarily.
I can get in here and I can still preview
| | 03:54 |
and I can still scroll through these
photographs even though it's writing the
| | 03:58 |
metadata to those.
So, I'm not really on hold but, sometimes
| | 04:03 |
it can really slow down your machine
depending on how powerful it is.
| | 04:07 |
So, get that metadata in there as quickly
as you can, and rely on templates to do a
| | 04:11 |
lot of that heavy lifting for you.
| | 04:14 |
| | Collapse this transcript |
|
|
5. FilteringNarrowing your choices| 00:02 |
So you've added metadata, you've added
keywords, you've ranked, you've labeled,
| | 00:06 |
you've done all these things I'm asking
you to do.
| | 00:10 |
What's the payoff?
Well, one of the big payoffs is right
| | 00:13 |
over here in the filter.
Right over here you can see all these
| | 00:16 |
categories here.
Now this isn't even all of 'em.
| | 00:20 |
You can go through here, and you can see
all of these, well, why don't they match?
| | 00:25 |
Well that's because there is nothing in
this image that uses any of this
| | 00:28 |
information, so its not going to be
there.
| | 00:32 |
It's only going to give you stuff that
applies, so that helps, that's nice.
| | 00:36 |
For example, notice orientation and
choose just the landscape images, just
| | 00:41 |
the portrait images.
In just the square images.
| | 00:45 |
I can do that now if all the images were
landscape or portrait or square, this
| | 00:49 |
wouldn't even be offered, because why
offer it when there's only one choice?
| | 00:54 |
So that's nice, we can get in there and
see, okay these are the variations.
| | 00:58 |
Right here, these are all variations, so
now how do I use the variations to sort
| | 01:03 |
down to what I want?
So let's just start with something we've
| | 01:06 |
already covered, ratings.
Show me all the five star photographs.
| | 01:11 |
Show me all the five star paragraphs that
are portraits, well there are only three.
| | 01:16 |
I really need more that a portrait
dimensions so let's add four stars, now I
| | 01:20 |
have five to choose from.
Okay, that's pretty good.
| | 01:24 |
Do any of these things matter to me,
camera raw, serial number?
| | 01:27 |
In this case, they don't.
It doesn't matter to me.
| | 01:31 |
I only need to know which ones are
portrait, which ones are four or five
| | 01:34 |
stars, good enough for me to use in
InDesign or in my video, or whatever I'm
| | 01:38 |
going to use these for.
So that was enough.
| | 01:43 |
But I may want to only show the ones of
Oscar.
| | 01:47 |
Well, I don't have any that fit those
three criteria.
| | 01:50 |
4 or 5 stars portrait of Oscar.
Lets add 3 stars and see.
| | 01:56 |
No.
Are there any that are square and
| | 01:59 |
portrait of Oscar?
No.
| | 02:02 |
What about landscape?
Turn these off.
| | 02:05 |
So looks like any of those that I tagged
for Oscar, and I only did a few for this
| | 02:09 |
demonstration, don't have any stars to
'em.
| | 02:12 |
So let's just turn off the stars, and
let's just see which ones are of Oscar.
| | 02:17 |
Well that one's pretty good, let me give
that one five stars.
| | 02:19 |
That one's five stars.
That one I'll give three stars to.
| | 02:22 |
And 4 stars.
Now if I were to do it, see, now you can
| | 02:26 |
see that these 3 have 4 or 5 stars,
they're of Oscar, and they're landscape.
| | 02:33 |
I want to see the ones that are also of
Diego, 4 and 5 stars, that are portrait
| | 02:36 |
or landscape.
I have one portrait with Diego in it.
| | 02:41 |
Three landscapes.
So you can actually get in there, and
| | 02:43 |
just find what you need.
You don't do it just for the fun of it.
| | 02:46 |
The goal is that you've got a specific
purpose.
| | 02:49 |
One of the things that's not happening
here, that would be more exciting, is if
| | 02:52 |
I spent the time going through all 577
pictures, and applying keywords.
| | 02:57 |
Then you'd, see exactly what I'm talking
about.
| | 02:59 |
So the more And I know what you're
thinking.
| | 03:01 |
You're thinking oh you didn't do that
cause you're lazy.
| | 03:03 |
No I did it to prove a point and that is
that the more keywords you have, the more
| | 03:08 |
effective the filtering is and I was
being lazy.
| | 03:12 |
Okay, you got me but the reality is this,
if I had keyworded all 577 pictures, and
| | 03:16 |
I had ranked one two three four five
stars.
| | 03:20 |
I could really get in there and do some
very serious searches because here's what happens.
| | 03:25 |
I don't know how many of you like taking
pictures.
| | 03:28 |
I like taking pictures.
I've got 586 pictures.
| | 03:31 |
Well here's what happens.
You go through the first few and you say,
| | 03:35 |
okay, I've got enough, I'm good.
And you might have a Pulitzer
| | 03:39 |
prizewinning one down here at the very
bottom and you never get there because.
| | 03:44 |
You're tired.
You're tired of looking, so if you could
| | 03:46 |
spend the time upfront doing the
key-wording, the stars the ranking that
| | 03:50 |
ww will talk about.
Then this filtering really allows not
| | 03:55 |
just you but the people after you.
Imagine this, you're the photographer,
| | 03:59 |
you take the time to go through here and
give it the number of stars that you
| | 04:02 |
want to, you want to give.
And you're the one who decides, I like
| | 04:06 |
that picture, I don't like that picture.
That's for you to decide.
| | 04:10 |
' The next person in line using Bridge
opens it up and says okay let's see what
| | 04:14 |
Russel thinks the best pictures are.
Oh, okay so he's got 12 pictures well
| | 04:19 |
let's narrow that down its going to be
the cover of the magazine so show me the
| | 04:23 |
portrait images and now I've got these
four images.
| | 04:28 |
To choose from for the cover of the
magazine.
| | 04:30 |
Or maybe it's a newspaper spread, that's
going across three columns.
| | 04:33 |
I want a landscape photograph, there we
go.
| | 04:36 |
We're doing a feature story on Oscar, so
only show me those of Oscar.
| | 04:40 |
And there we go, I'm going to take this
picture and this picture, I'm going to go
| | 04:43 |
to Review Mode And now I could decide
which one of these I like.
| | 04:48 |
I like this one.
That's the one I'm going to choose so,
| | 04:50 |
there we go.
Now we go back.
| | 04:51 |
That's the one we're going to bring into
InDesign.
| | 04:55 |
That's how simple it is.
I'm going to switch folders here cause I
| | 04:58 |
want to show you that if you have a
variety of file formats, that's another
| | 05:02 |
type here, is file type.
We didn't have that before because all of
| | 05:06 |
the file types were the same.
They were all JPEGs but, now I can go
| | 05:10 |
through here and say Only show me the
JPEG's, or show me the movie for flash,
| | 05:14 |
the SWF file, or show me the PDF
documents.
| | 05:19 |
See all of them are listed right here,
show me the end design documents, there's
| | 05:22 |
my InDesign documents.
So the filtering is going to change as
| | 05:26 |
you work.
There are no keywords to anything here.
| | 05:29 |
But I could shoot for, date created,
maybe that's important.
| | 05:33 |
Maybe there was an event, on that
specific day, and I remember that, so
| | 05:36 |
it's really important that I go to that
day.
| | 05:39 |
And only show me whatever files from that
day.
| | 05:43 |
And that could include video, JPEG,
camera raw, so I don't care about file
| | 05:46 |
type, I only care about the event of the
day.
| | 05:50 |
So if you don't see it listed here,
remember that if you don't see it here,
| | 05:53 |
it's not a factor, doesn't matter,
there's no variation.
| | 05:57 |
But if it's here, now you got something
you can grab on to, and the way to make
| | 06:01 |
filtering really work is to go back and
make sure you add metadata and keywords
| | 06:05 |
and other things that we can grab onto to
narrow our search down with the filter.
| | 06:11 |
| | Collapse this transcript |
|
|
6. Using Bridge with InDesignPlacing photos| 00:00 |
One of my favorite things to do with
Bridge is, after all the work I've done,
| | 00:03 |
I've done Metadata and Keywords, and
blah, blah, blah and all that stuff.
| | 00:09 |
I've looked them, and I've narrowed down
to what I like, I go over here to
| | 00:12 |
Filtering, I want to use these four
pictures in my InDesign document.
| | 00:17 |
Well, I love the way Bridge plays well
with the other applications.
| | 00:21 |
The one for me is InDesign, and I'm
going to select this picture, hold my
| | 00:24 |
Shift key down and select this one.
So I have all four selected.
| | 00:29 |
So I'm going to grab this and start to
move it.
| | 00:32 |
Notice the icon changes.
Can you see that?
| | 00:34 |
Alright, now I'm going to switch
applications.
| | 00:36 |
On a Mac, it's Cmd tab, on a Windows
machine, it's Alt tab.
| | 00:41 |
So, Cmd tab shows all the applications
that are running, I go to InDesign and
| | 00:45 |
let go.
I don't even have to have my mouse over.
| | 00:48 |
And I'm hitting my Tab key, until I'm on
InDesign.
| | 00:51 |
When I let go of my Cmd key, I'm still
holding my mouse down.
| | 00:55 |
You can see the cursor, still has those
images.
| | 00:58 |
When I let go of my mouse, now it's going
to process this, takes it a second.
| | 01:02 |
And now you can see that I have four
images in my cursor.
| | 01:06 |
Now I'm in CS5, which means I can start
to draw, hit my Up Arrow, hit my Right
| | 01:11 |
Arrow, very quickly use Gridify to lay
those out.
| | 01:17 |
I'm going to fill frame proportionally,
center those, maybe I'll do an AutoFit
| | 01:20 |
here, and then maybe I'll just manually
bring that down.
| | 01:24 |
So, you can see how quickly I was able to
go from Bridge to InDesign.
| | 01:29 |
Now I'm going to delete those, because I
want to show you something else instead.
| | 01:33 |
Maybe I built the frames first, let me
hit my Up Arrow, Right Arrow, here we go.
| | 01:38 |
And let's go to, let's say, Stroke, let's
put a one-point stroke on there, let's
| | 01:43 |
fill the box with paper, let's give it a
Black Stroke, I am not trying to turn
| | 01:47 |
this into an InDesign class by the way,
just want to show you this.
| | 01:54 |
I am going to go to Object > Fitting >
Frame Fitting options, and I am going to
| | 01:58 |
tell it to fill frame proportionally and
center, and I'll throw AutoFit in for
| | 02:02 |
good mix there and hit OK.
Now, I've laid this document out in advance.
| | 02:09 |
Now, when I go to Bridge and I choose the
ones I want, start to drag, switch applications.
| | 02:16 |
My mouse is once again going to be filled
with those four images, but now I can
| | 02:18 |
decide where I want it to go.
I want that one there, I want to lead off
| | 02:22 |
with that one, this one up there is good
and I'll put these stairs down here at
| | 02:26 |
the bottom.
So, whether you build the frame in
| | 02:29 |
advance or you let InDesign build them
with your cursor loaded, doesn't really matter.
| | 02:35 |
The point is here that we start out in
Bridge and we end up in InDesign.
| | 02:40 |
That's how quickly we can go from
choosing our photographs to building our layout.
| | 02:45 |
It's just a simple selection, narrowing
with a Filter, Drag, switch application
| | 02:51 |
and boom, we're building our InDesign
document, literally in seconds.
| | 02:57 |
| | Collapse this transcript |
| Reading and extracting file info| 00:02 |
Now all along, you've heard me say it
probably enough that you're sick of
| | 00:05 |
hearing it, that metadata rides along
with the photo.
| | 00:08 |
Well, here I am in InDesign, I know it's
a Bridge class, but just hang with me for
| | 00:12 |
just a second.
Let's take this photograph here, or this
| | 00:16 |
one, it doesn't matter, any of these
photographs, and let's go back to Bridge
| | 00:19 |
and look at them just quickly.
Let's go to this one, for example.
| | 00:22 |
Castello di Mesocco in Mesocco,
Switzerland.
| | 00:23 |
I took the picture, blah, blah, blah.
Okay.
| | 00:26 |
There's the information.
It's got five stars, we've got that.
| | 00:32 |
And the keywords, hm, no keywords.
Okay.
| | 00:36 |
So, that's the information about that
photo.
| | 00:39 |
I can see it here in Bridge.
I can also see it in Photoshop.
| | 00:43 |
If I open this up in Photoshop and I go
to File > File Info and, there.
| | 00:50 |
I can see it there as well.
Okay.
| | 00:52 |
That's alright.
But check this out.
| | 00:56 |
I can select this photo in InDesign and
go to Window > Info.
| | 01:00 |
In the Info panel, if I go to the Panel
menu there and go to File Info, guess
| | 01:05 |
what's going to pop up.
Yep.
| | 01:09 |
The Metadata.
How many stars, the description, who took
| | 01:13 |
the picture, all the IPTC data is right
there, camera data is there.
| | 01:19 |
Everything I need to know about this
photo, because it's in the photo, I can
| | 01:23 |
extract it in InDesign.
Now, how does that help me?
| | 01:27 |
Well, if this description is good enough,
I can actually copy this and paste it
| | 01:33 |
underneath the photograph.
Now, those of you who know InDesign and
| | 01:39 |
CS5 very well are maybe laughing because
I said that because there's better ways
| | 01:42 |
to do it.
I'm only making a point, alright?
| | 01:45 |
CS5 gave us some really neat Captioning
tools but right now, I just want to show
| | 01:50 |
we can extract that Metadata from the
File Info.
| | 01:54 |
If you go to CS4 and before, under
Window, back in CS4 it was called Automation.
| | 02:01 |
In CS5, it's here under Utility >
Scripts, but in CS4 and earlier, under
| | 02:05 |
your Window > Automation > Scripts, you
could open up that Scripts panel, and
| | 02:10 |
inside of Applications > Samples >
JavaScript, you had to bury it.
| | 02:17 |
Down here was a script called Label
Graphics.
| | 02:20 |
And Label Graphics if you double-click on
it would extract that Metadata for you on
| | 02:24 |
all the photographs automatically.
So, if you've got an old version of
| | 02:29 |
InDesign, look for that.
There are also a bunch of scripts that
| | 02:33 |
you can find online, just do a search for
them, an internet search for Metadata
| | 02:36 |
scripts in InDesign.
You'll probably find a lot of them.
| | 02:41 |
InDesign CS5 made it even easier for us
but I just want you to see that I can
| | 02:45 |
actually see this Metadata inside of
InDesign.
| | 02:51 |
Some of it I can even see in the Links
panel, some of this information that
| | 02:54 |
pertains to the image.
Let's just see if we can see anymore.
| | 02:58 |
Let's go to Panel Options > Description,
right there.
| | 03:06 |
I can say, show me the description and
headline, show me the photographer.
| | 03:11 |
So, yes, Metadata can be extracted and
put into this Links panel, and that's not
| | 03:15 |
new to CS5, we've had that since CS4.
So, the Links panel can actually show you
| | 03:21 |
the Metadata without even going to the
File Info.
| | 03:24 |
The reason I like File Info is because I
like to keep my Links panel a little bit
| | 03:28 |
cleaner than that.
And if I need that Metadata, I want to go
| | 03:32 |
to the Info Panel, I want to extract that
if I need it.
| | 03:35 |
Metadata as I've just demonstrated,
doesn't end in Bridge.
| | 03:40 |
It comes right here into InDesign and I
can pull it right out to use in my publication.
| | 03:45 |
| | Collapse this transcript |
| Using live and static captions| 00:02 |
What I'm getting ready to show you now is
brand new in CS5.
| | 00:06 |
So if you've got older versions.
Sorry guys, you can't do thisb but CS5
| | 00:09 |
users and newer are going to love this
feature.
| | 00:13 |
Alright, let's go back to bridge, and
let's take a look at this Description
| | 00:17 |
field right here.
Description, and there it is.
| | 00:20 |
And it's the same on all four images,
because I brought 'em in at the same
| | 00:24 |
time, and I just gave one general
metadata description to everything.
| | 00:29 |
Let's go back to InDesign now, and I'm
going to right-click on this image here.
| | 00:33 |
And let's go to Captions > Captions
Setup.
| | 00:37 |
Now, I have a lot of choices here, but
I'm going to choose Metadata field, Description.
| | 00:45 |
I could put Text Before, and Text After.
A good example of Text Before might be if
| | 00:50 |
you want to extract the metadata for the
photographer.
| | 00:54 |
You could put Photo By, and then it would
pull the name out for you.
| | 00:58 |
Okay?
So that would be the example of where
| | 00:59 |
you'd use that.
For this demonstration I only want the
| | 01:02 |
description field.
Example of text after might be.
| | 01:08 |
Some sort of a, for more information go
to.
| | 01:11 |
But I can also click on the plus and I
can also have it give me something like
| | 01:15 |
Shot Date.
Well, that might be too specific.
| | 01:19 |
So maybe what I want to do is some sort
of a Copyright Date in there.
| | 01:23 |
And that would extract that, so it would
say, you know, the Descriptio.
| | 01:27 |
Photo By, that would be another field I'd
want to add in there, right?
| | 01:30 |
Photo by, and then the Copyright Date.
For this demonstration, I'm just going to
| | 01:35 |
keep it down to the Description field.
I want it to position it below the image
| | 01:39 |
and I don't have any styles set up for
this InDesign document.
| | 01:43 |
If this were a real magazine, I would
choose the Caption style.
| | 01:47 |
So I could, at this point, go ahead and
create one really quick.
| | 01:52 |
And let's just use Minion Pro, let's say
Semi Bold, all right, let's do Semi Bold,
| | 01:56 |
italic, and let's do that at 10 point.
Okay, and that's going to be our new
| | 02:02 |
style called Captions.
In, in, I would say, most cases, that is
| | 02:06 |
already created.
And you wouldn't go through that step
| | 02:10 |
that I just did, okay?
And I'm not going to put it on a separate
| | 02:13 |
layer or group it.
Now, when I hit okay, nothing happened.
| | 02:17 |
And you're thinking, wow, that was a
waste of time.
| | 02:20 |
Well, all we did was set up the caption.
Now I'm going to right click on the image
| | 02:24 |
again, go to Captions again, and I'm
going to say Generate A Live Caption.
| | 02:29 |
See where it says Static Caption?
We'll get to that in just a second.
| | 02:32 |
But right now, Live Caption.
Let's zoom in and see what we got.
| | 02:36 |
It pulled the metadata right out of the
photo, there it is.
| | 02:42 |
Hm, that's pretty neat.
Now, let's zoom out a couple of clicks
| | 02:46 |
and I'm going to Option drag, which is
Duplicate.
| | 02:48 |
And I'm going to move this over here, but
I'm not going to have it touch the image,
| | 02:51 |
and see where the caption is saying, I, I
don't know what you want me to do here, guys.
| | 02:56 |
I, I'm not touching an image.
The minute it touches an image, I mean
| | 03:02 |
nudge it up, then it says, oh, this
image, okay well, this images Description
| | 03:07 |
field says this, so you can see its
pulling up this metadata automatically,
| | 03:12 |
let me just grab both of these now and I
am going to just option drag down,
| | 03:16 |
alright, I will put these underneath here
as well Alright.
| | 03:26 |
Now, you're thinking, well, that's not
very impressive Russell.
| | 03:28 |
That's the same metadata in every single
photograph.
| | 03:32 |
You are correct.
This is where the Live Caption gets exciting.
| | 03:36 |
Let's go back to Bridge.
Alright.
| | 03:38 |
You're ready for this?
Let's go to this stairs picture.
| | 03:41 |
Okay?
And I don't really know what these stairs
| | 03:45 |
were leading up to, but let's just say
stairs leading up to the old cathedral in
| | 03:51 |
the castle.
Alright.
| | 03:56 |
Now, I'm going to click the check mark
which is saying going ahead and put that
| | 03:59 |
into that image.
Let's click on this and let's say.
| | 04:03 |
An old turret looking out, click on this,
and we'll just say the Bell Tower of the Church.
| | 04:23 |
And last thing, we'll just say view
looking out.
| | 04:27 |
View, looking, out.
Okay.
| | 04:27 |
Simple enough.
Now, we've added different metadata now
| | 04:32 |
to each one of these four pictures.
Let's go back to InDesign.
| | 04:38 |
Nothing changed.
But if I go to my Links panel, notice
| | 04:41 |
that all four images are showing that
they've been modified.
| | 04:45 |
So let's select those, let's update and
check this out.
| | 04:49 |
Watch it change automatically.
It now pulls the new metadata out of the
| | 04:54 |
images for you.
And look at that, there's a typo.
| | 04:58 |
Where am I going to fix it?
Here?
| | 04:59 |
No.
I'm going to go back to Bridge or open
| | 05:02 |
the Photoshop file, locate where the
problem is.
| | 05:07 |
This file right here and I'm going to
change it in the Metadata.
| | 05:10 |
Let's get rid of the letter d there and
old (UNKNOWN) looking out.
| | 05:15 |
Update it there.
Now, we know this is correct in all
| | 05:18 |
instances, not just this design document,
but any time it was placed somewhere.
| | 05:24 |
Let's go to Links.
Let's update that link, and now, you can
| | 05:27 |
see that that's been corrected.
If I corrected it here locally, it's only
| | 05:32 |
fixed here and in the future, in the
future, in the future, when I use that
| | 05:35 |
I'm going to have to fix it over and over
again.
| | 05:38 |
Get back to that Metadata, fix it,
problem solve.
| | 05:42 |
I want to show you a flaw.
Maybe I shouldn't even say that.
| | 05:45 |
Let's say it's a limitation.
Regardless, you need to be aware of this.
| | 05:49 |
Let's go back and let's edit the metadata
in this stairs picture.
| | 05:53 |
In order to do that, let me click on one
of these and I'm going to actually copy
| | 05:57 |
that description there and go back to
this one.
| | 06:01 |
So, stairs leading up to the old
cathedral in.
| | 06:04 |
And now I'm going to paste.
So, it says stairs leading up to the old
| | 06:08 |
cathedral in the Castello di Mesocco in
Mesocco, Switzerland, okay, and a period
| | 06:13 |
at the end.
Okay.
| | 06:15 |
Now, that's a much longer caption than
what we have there now.
| | 06:20 |
Now, when I click on that check mark, we
go back to InDesign.
| | 06:24 |
Nothing yet.
Let's go to Links.
| | 06:26 |
Let's update that image.
oh, that didn't look right.
| | 06:34 |
You see, a Live Caption doesn't know how
to flow.
| | 06:39 |
It's just going to keep scrunching that
text, it's going to keep tracking it
| | 06:43 |
together, until, well, I mean, it's
unreadable at this point.
| | 06:47 |
Now the good news is this, it's linked to
the Metadata.
| | 06:50 |
The photo, as it gets updated, this
updates.
| | 06:53 |
The bad news is, well, you can't read it.
The other bad news is I can't get in
| | 06:58 |
there and edit it.
Notice where my cursor is.
| | 07:01 |
Let me zoom in real close, so you can see
this.
| | 07:04 |
Notice my cursor when I move my right
arrow one click, notice it goes all the
| | 07:07 |
way to the right here.
Let's move to the left and now it's over here.
| | 07:13 |
I can't come in here and change any of
these because it's a Live Caption.
| | 07:17 |
All right, is that the end of the world?
No.
| | 07:19 |
I can go to my black arrow, select this
Caption, right-click, go to captions and
| | 07:24 |
I can say convert this to a static
caption.
| | 07:29 |
And when I do that, notice it becomes
editable text.
| | 07:32 |
Also, it's no longer linked to the
Description field of the Metadata, which
| | 07:36 |
means if anyone goes in and changes it in
Bridge, it won't affect what I'm doing here.
| | 07:43 |
So, as long as you know the limitations,
you can work with it, and what I
| | 07:46 |
recommend you do is keep it live as long
as you can.
| | 07:49 |
Then convert everything to static
captions and do your last minute editing.
| | 07:53 |
Now, keep in mind you can't edit anything
in InDesign and have it update the
| | 07:57 |
Metadata in the photo.
It's kind of a one-way street.
| | 08:00 |
Alright?
Now, I'm going to just delete this
| | 08:03 |
photograph for just a second and I'm
going to bring it back in by going to
| | 08:07 |
File > Place > InDesign.
Alright, I'm going to go to File > Place,
| | 08:11 |
and I'm going to grab any photograph and
hit Open.
| | 08:15 |
But before I do that, this is what I
wanted to show you, look right over here,
| | 08:19 |
brand new in CS5, Create Static Captions.
Hm, so when I turn that On, when I hit
| | 08:25 |
Open, watch what happens.
My cursor is now loaded with two files.
| | 08:32 |
One, that's the picture, and the other
that is the static caption, that it pulls
| | 08:37 |
from that photo.
If the photo doesn't have any metadata,
| | 08:41 |
then you're not going to see that.
So let's delete that.
| | 08:45 |
Let's go again.
File > Place, let's scroll down to one of
| | 08:49 |
these, Create Static Caption > Open.
Place the picture and caption underneath.
| | 09:01 |
And now, you can see, there's the
caption.
| | 09:03 |
Let's make that picture fit.
Alright?
| | 09:07 |
And now, you got the static caption
underneath there, and the photograph.
| | 09:11 |
And it'll just keep that setting from now
on, as long as you, until you turn it off
| | 09:14 |
the next time.
So you can actually place the static
| | 09:17 |
caption when you first place the
photograph.
| | 09:20 |
You don't even have to come in from
Bridge to have this take place, like
| | 09:23 |
Captions, Static Captions.
Huge, but they're only a value, they're
| | 09:28 |
only a value if you start using Metadata
in your photos.
| | 09:33 |
| | Collapse this transcript |
|
|
7. Adjusting Lots of Photos QuicklyIntroducing the Camera Raw filter| 00:02 |
I really wish Adobe would rename this
next feature I'm going to show you, which
| | 00:05 |
is called the camera raw filter, because
it's misleading.
| | 00:09 |
Now, the photos you see in front of me
now, these are CR2s.
| | 00:12 |
These are Camera Raw files from a Canon
camera.
| | 00:15 |
And the Camera Raw filter constantly
doing updates to support more and more
| | 00:19 |
cameras that shoot Camera Raw.
If you buy a brand new camera for
| | 00:23 |
example, and you haven't updated your
software, depending on the model, I've
| | 00:26 |
seen it to where you go to use it with
Bridge, and then pull it into camera raw,
| | 00:29 |
and there's a conflict there, it doesn't
know what to do.
| | 00:34 |
So, you always want to keep doing the
updates, to make sure it recognizes your camera.
| | 00:38 |
But, the point I'm making here, is that
the camera raw filter's misnamed because
| | 00:42 |
it doesn't only work with camera raw.
That's the beauty of this thing I am
| | 00:46 |
going to show you now.
So, those of you watching here going well
| | 00:49 |
I don't shoot Camera Raw, I'm going to
skip this chapter, please don't because I
| | 00:52 |
can not only select these Camera Raw
files and go File Open in Camera Raw, now
| | 00:56 |
what you see this in Camera Raw this may
be totally a foreign environment to you
| | 00:59 |
and we are going to do a whole chapter on
this.
| | 01:05 |
But I can select all of these pictures,
and in one little slider here.
| | 01:10 |
In this little slider here, I can already
be adjusting all of the photographs at
| | 01:15 |
one time.
Look at that.
| | 01:18 |
All of them, boom, done.
That's pretty fast.
| | 01:21 |
And now, let's just hit Done, there.
'Kay?
| | 01:24 |
And now you'll see that it's updated all
these pictures, these Camera Raw files.
| | 01:28 |
Now, I can't place Camera Raw files in N
Design, I can't place them in other
| | 01:31 |
applications, like, even Cork Express or
Page Maker.
| | 01:35 |
These have to be another file format,
like PSDs, or even JPEGs, or TIFs, or
| | 01:38 |
whatever you want to use in there.
So, I can only do the adjustment with the
| | 01:43 |
Camera Raw filter and then save it out as
another file format.
| | 01:48 |
Let's look at it with a different set of
files.
| | 01:50 |
Let's go to this folder and look at
these.
| | 01:51 |
These are JPEGs.
I'm going to reduce the search.
| | 01:55 |
Let's go down to these pictures.
And watch what I'm going to do.
| | 01:57 |
I'm going to select all of these.
Now, these are two different lighting conditions.
| | 02:01 |
These are a little bit on the dark side,
and got a color tint to 'em.
| | 02:05 |
These are pretty well balanced.
Need a little bit of tweaking.
| | 02:09 |
I'm going to select all of these and go
to File > Open in camera raw.
| | 02:12 |
How is it that I can open JPEGs in camera
raw?
| | 02:15 |
It's crazy.
Well that's the point I'm making.
| | 02:18 |
Adobe, please change the name of this
thing, call it the really amazing fast
| | 02:21 |
image adjustment tool or something maybe
shorter than that, if you can come up
| | 02:24 |
with something.
It also opens TIFF files.
| | 02:29 |
So, here I am.
I'm going to open these JPEGS now in
| | 02:32 |
Camera Raw.
Why is that important?
| | 02:35 |
Well, once again, let me show you.
I'm going to scroll down here, and select
| | 02:39 |
these pictures right here.
Okay?
| | 02:42 |
Just that shot, just that lighting
condition.
| | 02:46 |
And now I can go in here, let's just do
auto-exposure, that's not bad, and now
| | 02:49 |
let's convert to grayscale.
Look, all of them are converting.
| | 02:53 |
I'm going to go back here, and let's bump
up the brightness a little bit, let's get
| | 02:57 |
a little bit more contrast, let's throw
in a little post crop vignetting like
| | 03:01 |
that, and look at that, right down the
line, all of those are being adjusted.
| | 03:07 |
Not these, because I haven't touched them
yet, all right.
| | 03:10 |
So let's select this one, go down here,
select those, and now let's just do just
| | 03:15 |
for fun let's go back and try the
auto-exposure.
| | 03:19 |
Eh, it's got kind of a tint to it, let's
warm it up a little bit, right, let's get
| | 03:23 |
a little bit of that out of there, here
we go.
| | 03:26 |
Let's go down here and give it a little
fill light Little more contrast and lets
| | 03:30 |
also convert to grey scale lets go ahead
and bump up the contrast just a little
| | 03:34 |
bit more.
Little bit more fill light there and once
| | 03:39 |
more with the post crop then getting now
both of these are going to look very
| | 03:42 |
similar now they are going to look like
they are short kind of the same setting
| | 03:45 |
let me make this fit a little bit better
by clicking the green button there.
| | 03:52 |
Right now if I hit Done, all I've done is
apply this code to it.
| | 03:56 |
But if I save these out as Other Images,
then I'll be able to place those,
| | 03:59 |
whatever file format I save them at, in
InDesign.
| | 04:02 |
But I'm going to go ahead and hit done
because I just want to show you that
| | 04:05 |
bridge recognizes that changes we made in
Camera Raw.
| | 04:10 |
And that little icon right there, that
tells us these have camera raw settings
| | 04:15 |
applied to it.
So it's kind of warning us, that what you
| | 04:18 |
see may not be what you get.
Let's switch to InDesign, now this is a
| | 04:22 |
JPEG, we know it's a JPEG right?
You saw me convert it to gray scale.
| | 04:26 |
I'm going to take this, drop it into
InDesign, watch what happens.
| | 04:31 |
InDesign doesn't know that I changed it
to grayscale.
| | 04:35 |
It doesn't recognize it because that
camera raw adjustment we made, it's only
| | 04:39 |
understandable, that's a good word for
it, in Bridge and Photoshop with a camera
| | 04:44 |
raw filter.
So we can't really use this file yet.
| | 04:49 |
We need to save it out as another format.
Alright, but let me just show you how
| | 04:52 |
quickly we can adjust.
Are you ready for this?
| | 04:54 |
Are you sitting down?
Let's change the filtering.
| | 04:57 |
Let's turn off that.
I'm going to select these pictures right here.
| | 05:02 |
Just for the fun of it I'm going to
select those.
| | 05:04 |
I'm going to right click and I'm going to
go down here under develops settings, and
| | 05:08 |
I'm going to say Do the Previous
Conversion.
| | 05:11 |
And let's just see what it does.
Wait a second.
| | 05:16 |
Are you telling me that I can adjust
these pictures to look just like the ones
| | 05:20 |
I just did without even opening them in
Camera/g, without even touching a single
| | 05:24 |
button except just say do it again.
That is what I am telling you.
| | 05:30 |
Isn't that amazing stuff?
Absolutely amazing!
| | 05:33 |
So we've now cut our photo production
time down to a fraction of what it was
| | 05:37 |
because we're going to use this Camera
Raw filter.
| | 05:41 |
Now, before we go any further, I'm
going to select all of these images
| | 05:44 |
because I want to show you, if you don't
know it.
| | 05:47 |
Alright.
That little code is just going to stay
| | 05:49 |
with this file.
That's a good thing and a bad thing.
| | 05:53 |
But, for right now I want to clear it out
of there, and I want to take these photos
| | 05:56 |
back to the original photo.
What's my point?
| | 05:59 |
My point is that when you work in camera
raw, you don't do anything permanent to
| | 06:03 |
these photos.
All you do is put a little piece of code
| | 06:07 |
there inside the photo that says.
This is what Russell wants the picture to
| | 06:11 |
look like, and we know it doesn't look
like that yet, but we, he wants it to
| | 06:15 |
look like that.
If you save it as a JPEG or a PSD, that's
| | 06:19 |
what you're going to have, but for right
now, it's only a suggestion.
| | 06:23 |
Isn't that awesome?
That means that at any moment, I could
| | 06:26 |
open this back up and turn off the
grayscale, turn off the vignetting,
| | 06:29 |
recrop it, readjust it.
Nothing permanent is done to this picture.
| | 06:34 |
In fact, watch this.
Right click, Develop settings, Clear the settings.
| | 06:39 |
Guess what I just did?
I just took every single one of these
| | 06:43 |
pictures back to exactly what came off
the camera.
| | 06:46 |
And I can do the same thing with JPEGs or
Camera Raw, even though it's called the
| | 06:49 |
Camera Raw filter.
I find that amazing technology.
| | 06:53 |
So hopefully in this chapter I got you
enticed to learn Camera Raw because as
| | 06:58 |
you can see it really is a time saver and
has a lot of great powerful image
| | 07:02 |
adjustment tools that we don't even have
available to us in Photoshop.
| | 07:10 |
| | Collapse this transcript |
| Adjusting images in Camera Raw| 00:02 |
Now, I don't want to turn this into a
comprehensive Camera RAW lesson.
| | 00:05 |
I want to show you a few high points, get
you excited, get you using it.
| | 00:09 |
And then if you want to learn more, there
are other resources out there beyond this chapter.
| | 00:15 |
But this one should give you some basic
knowledge to start using it today.
| | 00:19 |
Notice I'm in Bridge okay.
Got these images selected.
| | 00:23 |
I'm going to go to File > Open In Camera
Raw.
| | 00:28 |
Now, it's going to open all the images I
had selected in Camera Raw.
| | 00:31 |
And I can hit Select All to select all of
them if I think they all had the same
| | 00:35 |
color problems which obviously this one
does.
| | 00:39 |
Again, because this is a RAW file, not a
JPEG, I'm going to have more flexibility.
| | 00:44 |
And I don't want you to get frustrated
and, and you start to do what I'm
| | 00:46 |
going to do now with a JPEG and it
doesn't work.
| | 00:49 |
Well you can open JPEGs in camera Raw,
but because they're not as flexible.
| | 00:54 |
Alright, because they're not a flexible
with color, white point, white balance,
| | 00:57 |
black point.
You're not going to have as much control.
| | 01:01 |
But you can open em here and you can do a
lot of what I'm showing.
| | 01:04 |
This picture for example is really yellow
and I'm going to grab the temperature
| | 01:07 |
here and just bring that down so that its
not quite so yellow.
| | 01:11 |
And you will see that affects all the
images, okay we went through that in the
| | 01:14 |
last chapter simply enough.
What I want to talk about in this chapter
| | 01:18 |
is just some basic tonal adjustments.
There's a histogram up here.
| | 01:21 |
Okay.
And this tells us whether the white point
| | 01:23 |
and black point whether there's any
pixels down in those values.
| | 01:27 |
This image shows some of the pixels in
the white point here but, that's going to
| | 01:31 |
be behind her head here.
This area right here and.
| | 01:35 |
Maybe even these lights, and we'll call
those spectral highlights.
| | 01:38 |
And I'm not too interested in using those
as my white point, because they're so
| | 01:41 |
white, they're causing her to be too
dark.
| | 01:44 |
So I'm going to just visually play with
the exposure here.
| | 01:48 |
Now these sets of tools are going to be a
little different if you've only used Photoshop.
| | 01:53 |
You might be more comfortable, say, with
curves, I used to be.
| | 01:56 |
Yep, when I started using Camera Raw, I
was going to curves cause that's where my
| | 02:00 |
comfort zone was.
I don't use them anymore, I just don't.
| | 02:04 |
I tend to stick with these tools right
here.
| | 02:06 |
I have an Auto button, and I can push
that, that's easy enough.
| | 02:10 |
I have an auto button to set the
exposure, that helped a little bit, but
| | 02:13 |
again these white points are going to
float off a little bit.
| | 02:17 |
So I'm going to lighten the exposure,
here we go, and you can see that it just
| | 02:21 |
shifts all these pixels, all these
lightness values of these pixels off to
| | 02:25 |
the right.
All right, now, Fill Light, Fill Light
| | 02:29 |
takes the dark portions of the image and
allows you to pull them out.
| | 02:34 |
It's kind of like the Shadow Highlight in
Photoshop except I think it's a little
| | 02:37 |
more powerful.
And it actually throws a, a fill light
| | 02:40 |
almost, your're in a studio and you want
to put a fill light in the shadows.
| | 02:44 |
This is great for lightening your
shadows.
| | 02:46 |
Recovery is the opposite.
Recovery brings the whites back down.
| | 02:50 |
If you watch the histogram as I do this,
don't worry about the image right now
| | 02:53 |
look at the histogram.
As I move the recovery to the right,
| | 02:57 |
notice how the white points are shifting
to the left and moving back into the
| | 03:02 |
tonal range.
Move that back and notice that those
| | 03:06 |
whites are blowing off the scale, they're
being clipped.
| | 03:10 |
Let's do the same thing with the fill
light, as I bring that up, notice that
| | 03:13 |
the shadows of the image, this area right
here.
| | 03:17 |
There are no pixels that are this shade
and you can see by looking at the picture.
| | 03:21 |
We've just lightened everything so
extremely.
| | 03:24 |
There's no black point.
So, basically think of the Fill Light as
| | 03:27 |
lightening the darks and think of
recovery as darkening the lights.
| | 03:31 |
So, these two are kind of, you know,
arch-nemesis here.
| | 03:35 |
Blacks, I can bring the blacks back down
into range.
| | 03:38 |
So, in a way, Fill Light lightens them,
but Blacks allows me to bring them back.
| | 03:42 |
So in a way, these three, you know, you
kind of just want to play with them and
| | 03:45 |
adjust them.
And then you've got Brightness and Contrast.
| | 03:51 |
Okay.
I'm not trying ot make the picture look
| | 03:54 |
pretty right now.
I'm just showing you what it does.
| | 03:56 |
If I click auto, I can always take it
back, all right?
| | 03:59 |
See how dark it really is.
And once again, I can play with the
| | 04:03 |
exposure to bring that up.
Don't want to blow my whites out.
| | 04:07 |
Maybe a little bit of contrast.
Okay, and down here you got clarity,
| | 04:11 |
vibrance, and saturation.
If you've got a lot of reds in the image
| | 04:14 |
that are just too bright, you could try
brining those down.
| | 04:17 |
The problem is with these adjustments,
vibrance and saturation, it's doing the
| | 04:20 |
whole image in all colors.
So you may want to switch.
| | 04:24 |
You'll notice there's some icons up here,
this is where I went to Curves, and I can
| | 04:27 |
go down here to this fourth one.
And I can actually play with the
| | 04:32 |
saturation of reds, oranges, greens.
So it goes through the image, and lets me.
| | 04:38 |
So, these yellows over here, for example.
I can desaturate those yellows.
| | 04:43 |
And now they're not a distraction in the
image.
| | 04:45 |
Let's look at it before.
Okay now I'm not saying your eye is
| | 04:48 |
going to be drawn to this but it might.
You're looking at this image and you look
| | 04:52 |
over here it kind of pulls your eye away.
We can desaturate that so the light is
| | 04:56 |
still there.
But now you hardly even notice it because
| | 04:59 |
its blending in with the surroundings.
So we even though we have saturation here.
| | 05:05 |
You have Color Controlled or Hue
Controlled Saturation here on the fourth
| | 05:10 |
icon in the Saturation tab right there.
So, just a couple really quick Image
| | 05:17 |
adjustment tools right here on the, on
the General or the Basic channel right
| | 05:21 |
here and because I had Select All.
I did those same adjustments to all of
| | 05:27 |
those images.
Now, if I know there are going to be
| | 05:30 |
other pictures that I want to you know do
the same adjustments to.
| | 05:34 |
I can actually go right over here and I
can create Presets.
| | 05:37 |
And I can say alright I'm going to go
ahead and create a new preset of that.
| | 05:41 |
So, I'm going to save those settings.
Okay and I can choose which ones of these
| | 05:45 |
I want to save.
And I'll go ahead and hit save, I can
| | 05:50 |
name it, okay, and I'll call this yellow
room.
| | 05:55 |
Save that and there's that preset right
there.
| | 06:00 |
So in the future I can always use them.
Let's just do it for fun.
| | 06:03 |
I'm going to reset my camera defaults.
Now look how bad these photographs are.
| | 06:07 |
We're back to that.
But because I have a preset for it, I
| | 06:11 |
push that button and it remembers all
those settings for me.
| | 06:15 |
Presets are nice because not only do they
let you work in here with it.
| | 06:20 |
But if you look, I can actually apply
InBridge presets, there's that yellow
| | 06:24 |
room preset.
So I can actually in Bridge, select
| | 06:28 |
photos, apply those presets to it, and it
will apply to all these images.
| | 06:34 |
Now keep in mind I still got to have save
them out as another file format
| | 06:38 |
somewhere; JPEG, PSD.
So, even those these are adjusted in
| | 06:42 |
Bridge, as we have already learned about
Bridge and Camera Raw.
| | 06:45 |
We're only seeing the effects of the the
Camera Raw filter here.
| | 06:47 |
We can't really use the pictures yet
until I save them.
| | 06:50 |
So what's the Camera Raw workflow?
Well, it's really simple.
| | 06:54 |
Find the pictures that you want to
adjust.
| | 06:57 |
Okay.
Like all of these that are just too
| | 06:59 |
kind of, kind of cool, kind of reddish.
File > Open in Camera Raw > Select All.
| | 07:06 |
And now use these tonal adjustment tools
to maybe add a little yellow in there.
| | 07:14 |
They look a little flat to me.
Let's add a little bit of saturation maybe.
| | 07:18 |
Little bit of vibrance there.
How about some contrast?
| | 07:21 |
Beef up that contrast just a little bit.
Make those come alive just a little bit more.
| | 07:26 |
Put some little red.
Add a little bit of yellow to it there.
| | 07:30 |
Again, maybe a little bit more
saturation.
| | 07:33 |
Okay?
His lips have gone a little bit more red
| | 07:34 |
than what I would want.
So, I'm going to go here and on the
| | 07:37 |
Saturation tab, it's going to desaturate
the reds just a little bit, see if I can
| | 07:41 |
bring those down.
It looks like it's affecting his skin
| | 07:46 |
tone too much.
So I'm going to go ahead and leave those up.
| | 07:48 |
Maybe I'll open those in Photoshop and do
that adjustment, okay?
| | 07:52 |
So let's click Auto and see what we get,
you know.
| | 07:54 |
Not bad, not bad.
Let's take it back to where it started.
| | 07:59 |
And hit auto.
Yeah, okay.
| | 08:01 |
Yeah.
Not especially turned on by the auto when
| | 08:04 |
we go from that original shot.
White balance, let's set that on auto, ugh.
| | 08:09 |
Not on auto, with a little green for me.
So again, if you ever want to reset these.
| | 08:16 |
Just go back to Reset Camera Raw
Defaults, back to the original picture,
| | 08:19 |
and now you can warm it up using the
tools that we've already discussed.
| | 08:24 |
Getting a little bit of contrast here
adding a little more saturation to the
| | 08:28 |
image, all right there we go, now are
starting to bring it to life a little
| | 08:31 |
bit, all right.
So for you long time Photoshop users
| | 08:37 |
these are foreign tools you.
You don't have levels.
| | 08:41 |
You don't have variations.
You don't have curves, well you've got
| | 08:44 |
curves but it's not the same.
Yes we can set a point, we can adjust it.
| | 08:49 |
Okay, so it feels a lot like it.
We don't have our sliders like we have in
| | 08:53 |
the more recent versions of Photoshop.
This is not exactly like it but we do
| | 08:56 |
have curves so we'll and say we've got
that.
| | 09:00 |
But a lot of the other adjustment tools,
they're not there so this is foreign to you.
| | 09:03 |
But I'm asking you to try to learn them
because once you learn them.
| | 09:06 |
You'll see just how quickly and how
easily these can be applied to an image
| | 09:08 |
to get great results.
But I'm asking you to try to learn them
| | 09:11 |
because once you learn them.
| | 09:12 |
| | Collapse this transcript |
| Sharpening and reducing noise| 00:02 |
When you're shooting in low light without
a flash, a lot of times, especially in
| | 00:05 |
the shadow areas, you'll get lot of
noise.
| | 00:09 |
Oftentimes, because your camera may move
or just a whole list of reasons.
| | 00:13 |
You just can't get the shutter as fast as
you need.
| | 00:16 |
Even the picture is not as crisp as you
want.
| | 00:20 |
Camera Raw has built into it the ability
to sharpen an image and reduce noise, two
| | 00:24 |
of the key thing you want to do on an
image that's shot in certain lighting.
| | 00:29 |
So, I'm going to zoom in so we can take a
look at what I'm talking about.
| | 00:32 |
If we zoom in really close, that's really
close, you can see these random colored
| | 00:36 |
pixels, magentas, yellows.
That's noise, and that's, that's color noise.
| | 00:43 |
And we can reduce this by moving the
slider to the right and you'll notice
| | 00:47 |
that those odd colored pixels are
starting to disappear and now what's left
| | 00:50 |
is skin tone.
Let's zoom out a couple clicks and you'll
| | 00:55 |
see that now we don't have that noise.
Let's turn it off and look at it again.
| | 00:59 |
Can you see the speckles in these areas?
The noise that's there?
| | 01:04 |
That's color noise.
I move that to the right and it smooths
| | 01:06 |
that out.
Now, we might also still have some
| | 01:10 |
luminance noise and that's this kind of
black and white or noise that way, the speckles.
| | 01:16 |
Luminance noise as I move this one,
notice that it smooths those out.
| | 01:20 |
And if I go too far, now it's just nice
and smooth.
| | 01:24 |
(LAUGH) but it's also blurry.
So, you want to be careful not to go too far.
| | 01:28 |
There's a point of balance there where
you say, okay, I'm willing to live with
| | 01:32 |
that much noise in return for some
sharpness.
| | 01:37 |
because if you go too far, okay, yeah, we
lose the speckles but we also lose detail.
| | 01:45 |
Let's look at her hair.
Notice that as I move the color noise
| | 01:47 |
slider to the right, we get rid of the
color noise.
| | 01:50 |
We don't really affect the sharpness of
her hair that much but,watch the
| | 01:54 |
luminance noise.
As we move this, you can see the strands
| | 01:58 |
of hair getting softer.
You go too far and obviously, you've got
| | 02:02 |
some weird results.
We don't want to go too far.
| | 02:05 |
There's a balance there.
And we'll call this the art.
| | 02:09 |
If you say, well, what's the number,
Russell?
| | 02:10 |
Just email me the number.
I don't have that.
| | 02:14 |
Every picture's different and, you know,
you want to do as little as possible.
| | 02:19 |
So this is the art.
I'll trust you to look at that point
| | 02:21 |
where you say, Okay, I got rid of enough
noise.
| | 02:24 |
I can live with it.
But I kept enough sharpness.
| | 02:26 |
Now, up here is sharpening.
Now, if I increase the sharpness, notice
| | 02:29 |
what's coming back.
You know, a lot of that noise comes back.
| | 02:34 |
So, you want to be careful.
This is a, this is not a photography
| | 02:37 |
lesson but a lot of that noise is
introduced because you shoot at high ISO's.
| | 02:43 |
That's the reality of it.
So, drop your ISO's for future photography.
| | 02:47 |
Maybe get better camera for future
photography.
| | 02:49 |
We're talking about repairing damage
that's already done and you know there's
| | 02:53 |
only so much you can do.
But what you want to do is you want to
| | 02:56 |
improve sharpness so the picture looks
sharp but not introduce so much noise
| | 03:00 |
that it's a distraction.
One tip I'll give you though, is always
| | 03:06 |
think about how you're actually going to
present this picture.
| | 03:10 |
I'm not going to frame that picture.
I'm going to frame maybe, that picture.
| | 03:18 |
In that case, those speckles are going to
be so small once they're rendered, you
| | 03:22 |
won't really notice them.
So, there might be some practice that you
| | 03:25 |
want to do to kind of get a feel for how
much you want to put on the amount.
| | 03:30 |
Keep the radius small, one is good and
the detail.
| | 03:33 |
That's fine but the amount don't go to
high on that and, and cause a problem.
| | 03:39 |
All right.
| | 03:39 |
| | Collapse this transcript |
| Cropping images in Camera Raw| 00:02 |
Let's talk about cropping.
I love cropping in Camera Raw, because A
| | 00:05 |
it's non destrictive, and B we just have
a lot of flexibility, and I can do it to
| | 00:09 |
multiple images at a time if I have done
say a photo shoot.
| | 00:14 |
So, I'm going to hold down on the Crop
tool there, and you can see that I can do
| | 00:18 |
a one to one square crop if I want.
Notice that it only cropped that image
| | 00:23 |
that I had selected.
And as I move it around, you can see that
| | 00:26 |
it redraws that image.
Alright, now I'm going to go ahead and
| | 00:30 |
hit Enter here and I like that, okay?
So, I can actually select multiple images
| | 00:36 |
like this, and say synchronize.
Well, one of the things that I can
| | 00:42 |
synchronize is Crop.
And when I hit OK, notice that these
| | 00:46 |
three images which were shot at the same
time are all cropped the same way, okay?
| | 00:53 |
So, let's take this image for example.
Let's do the same thing, let me take my
| | 00:58 |
Crop tool, and this time instead of
square I'll go like a 5x7 or an 8x10, and
| | 01:02 |
I'll go across like this, move that
there.
| | 01:06 |
Crop, I'm going to hold my Shift key
down, and go all the way to the bottom,
| | 01:11 |
and select all of those, now watch these
as I choose synchronize.
| | 01:17 |
There's the crop, hit OK, and now as a
scroll through you can see that all of
| | 01:22 |
them, have been cropped tighter.
There we go, so, I cropped them all.
| | 01:28 |
If I change my mind on this, and I go to
the Crop tool, if I Click, notice it
| | 01:32 |
gives me the original image.
Remember, it's non-destructive, and I can
| | 01:37 |
now move this for that particular image.
And I'll grab this one, and I can move
| | 01:41 |
that one, or I can clear the crop all
together, If I clear that crop, then I'm
| | 01:44 |
back to the original image.
And so, cropping is really friendly,
| | 01:50 |
really easy.
And if you're using the Export from
| | 01:54 |
Bridge to go to what, Facebook or
Photoshop.com, or whatever, it will go
| | 01:58 |
ahead and crop it for you.
When I save out of Camera Raw, if I save
| | 02:04 |
it as a PSD, I can choose to preserve
these hidden pixels.
| | 02:09 |
So, what it will do is create a layered
PSD and those pixels will merely be hidden.
| | 02:15 |
And I can always bring those back in
Photoshop, if I want to, or I can open
| | 02:18 |
this back up if I kept it in the Camera
Off format and, and adjust it there.
| | 02:24 |
So cropping: It's easy; it's simple, lots
of choices, best of all, it's non-destructive.
| | 02:34 |
| | Collapse this transcript |
| Saving images from Camera Raw| 00:02 |
Because Camera Raw is non destructive
anything we do here is applying these changes.
| | 00:08 |
Let's go to Greyscale for example, and
alright let's go back here.
| | 00:12 |
Let's play with the contrast, and
brightness, and exposure a little bit here.
| | 00:17 |
There we go.
Alright.
| | 00:19 |
Let's go ahead and put a nice post crop
vignetting on this picture, alright?
| | 00:24 |
There we go.
Now, because all of this is
| | 00:26 |
non-destructive, we're only really doing
it with a piece of code applied to the
| | 00:30 |
original photograph.
So if I want to place this photo, even if
| | 00:35 |
this is a JPEG, it's not, it's a Camera
Raw, it doesn't matter.
| | 00:39 |
Even if this is JPG or TIF.
If I want to place this in In design or
| | 00:44 |
use it outside of Camera Raw I have to
either save the image or open the image
| | 00:49 |
in Photoshop.
Now what's nice about this is I can
| | 00:54 |
select all when I click Save images this
menu pops up and there's some great
| | 00:58 |
controls in here.
Number one I can save in the same
| | 01:02 |
location or in new location.
I'm going to save it in a new location
| | 01:06 |
here and I'll create a new folder on my
desktop and call this ACR Demo and I'll
| | 01:11 |
hit Create.
And when I hit Select I've told it that's
| | 01:16 |
where I want you so save these files.
I can name them at this time.
| | 01:22 |
Okay.
Up here it's going to give me a preview
| | 01:25 |
of what this is going to look like.
So I'm going to do an underscore and I
| | 01:29 |
will tell it a two digit serial number
there you go and while I'm at it.
| | 01:35 |
Hm, do I want an extension?
Probably.
| | 01:37 |
So I will go ahead and choose the JPEG
extension as I'm going to save them as JPEGs.
| | 01:43 |
I tend to save out as PSD's because there
is no loss when I do that of quality.
| | 01:49 |
And it's really important for me that
maybe I even preserve those cropped pixels.
| | 01:54 |
These images aren't cropped so it's not
giving me that.
| | 01:57 |
So, let's just to demonstrate that, let's
go up here and let's choose this image
| | 02:01 |
and let's give it a crop.
Here we go.
| | 02:04 |
Something like that.
Fine, we'll select a few more of these.
| | 02:09 |
We'll synchronize the crop.
There we go.
| | 02:13 |
And now let's select all, save Images.
Now, save to a new location, let's do
| | 02:19 |
this again.
Okay, let's give it, instead of document
| | 02:23 |
name, let's go ahead and rename it at
this point.
| | 02:28 |
Let's give it the serial number.
Starting with 01, and let's end with the
| | 02:34 |
PSD extension.
Now notice that because I'm saving it as
| | 02:38 |
PhotoShop this time, I can say preserve
those cropped pixels, and all that
| | 02:41 |
cropped out data will stay there.
That gives me flexibility later on if I
| | 02:45 |
decide I need a little bit more
foreground or a little bit more
| | 02:48 |
background for some type or to squared up
or whatever.
| | 02:52 |
Okay?
And when I hit Save, that's what it's
| | 02:54 |
going to do.
It's telling me right down here, there
| | 02:57 |
are 28 remaining to be saved.
And it's just going to go through those.
| | 03:01 |
Let's say that I want this in color, and
black and white.
| | 03:05 |
Okay, well, I can go here, to the gray
scale, turn that back off, and do some
| | 03:09 |
color adjustment here.
Maybe warm it up just a little bit.
| | 03:14 |
Oh, let's take some of that out.
Take some of the red out.
| | 03:18 |
There we go.
And if I hit Save Images again.
| | 03:23 |
Now I can say they've lots of color
underscore and now when I save, now I've
| | 03:28 |
got 54 remaining.
Okay.
| | 03:32 |
Now, just for this demo, let's just
select one photograph and I can click
| | 03:35 |
Open Image.
And when I do that, it's going to open
| | 03:39 |
that image in Photoshop.
So here I'm in Photoshop now.
| | 03:43 |
It's opening it up.
And now I have it open in Photoshop.
| | 03:49 |
Now this is not what I would do to simply
save.
| | 03:52 |
But let's say that now I wanted to do
knockouts or I wanted to do some collages.
| | 03:57 |
Or blending with other things sure, now I
want it in Photoshop.
| | 04:01 |
Okay?
But if I don't want it in Photoshop to do
| | 04:03 |
anything like that all I want to do is
save it out hit the Save button and save
| | 04:06 |
yourself a lot of work.
If I go back to bridge, Okay?
| | 04:10 |
If I were to check on this, this is still
going to be right in those files.
| | 04:14 |
So even though I opened that up, even
though I opened that up in Photoshop, if
| | 04:18 |
I go back to Camera Raw, it's still
going to be doing whatever work I told it
| | 04:21 |
to do.
So it's, it's multi-processing.
| | 04:24 |
See right there?
49 remaining.
| | 04:27 |
So it's still working on those files.
Even though I open it in Photoshop and
| | 04:30 |
did other things.
So, Save Image or Open Image.
| | 04:33 |
That's what you want to do to get it out
of this Camera Raw, the non-destructive
| | 04:38 |
environment, into a final baked form that
you can now place in InDesign.
| | 04:44 |
Or other applications that don't support
Camera Raw or even though other
| | 04:48 |
applications may support JPEGS.
Keep in mind that if I do any adjustment
| | 04:53 |
to them in Camera Raw, that's only
visible in Camera Raw and bridge.
| | 04:58 |
And I still need to say that out or open
it on Photoshop and then save.
| | 05:04 |
So remember, that little code, that crop
icon.
| | 05:07 |
That icon there tells us that this file
whether it's, you know, JPEG, TIFF,
| | 05:11 |
doesn't matter, it's been worked on in
Camera Raw.
| | 05:15 |
This has not been, look, none of these
have been adjusted in Camera Raw.
| | 05:19 |
They don't have that icon.
Alright?
| | 05:21 |
So, let's take one, let's right-click on
it, open in Camera Raw, alright?
| | 05:27 |
So let's warm it up a little bit, do a
little Auto White balance there.
| | 05:32 |
Let's convert to Grayscale, Venitteting,
let's brighten it up just a little bit.
| | 05:38 |
Slight bit of contrast, when I hit Done,
that image is still not Grayscale.
| | 05:44 |
What you see here, that code is telling
us that it's only showing the adjustments
| | 05:49 |
the non-destructive adjustments we made
in Camera Raw.
| | 05:54 |
I want to put that document in Indesign I
need to open up it in Camera Raw or open
| | 05:59 |
it up in Photoshop and save it up.
Okay?
| | 06:03 |
In this case it will open up in Camera
Raw you will see in Photoshop there open
| | 06:08 |
the Camera filter and I'm going to save
that image how or open it.
| | 06:14 |
When I open that in Photoshop it goes
ahead and bakes in those adjustments that
| | 06:18 |
I made in Camera Raw.
And this version that's going to pop up
| | 06:23 |
on our screen is going to be the final
one.
| | 06:26 |
That's it.
Now I can save it it out as whatever
| | 06:29 |
format I need for the next step in the
work flow.
| | 06:33 |
| | Collapse this transcript |
|
|
8. Bridge ToolsBatch renaming| 00:02 |
When's the last time you got to go out
and photograph buzzards, vultures just
| | 00:05 |
waiting their turn?
I was driving down the road, and I saw
| | 00:08 |
this, this radio tower just full of these
things.
| | 00:11 |
And I thought, I wonder if these guys are
like the taxi drivers at the airport.
| | 00:15 |
Where, they're all kind of in a queue,
and they're waiting until it's their turn
| | 00:18 |
to go.
And so, the last one in is the last, I
| | 00:21 |
don't know.
Anyway, if you notice these photos are
| | 00:24 |
named in a way it doesn't make much sense
to me.
| | 00:27 |
Underscore mg, underscore and a number,
okay?
| | 00:30 |
Well, you've probably got hard drives
full of photos named like that because
| | 00:34 |
just don't we name that.
Well, Bridge does a very simple, useful
| | 00:39 |
little thing, and that is under Tools >
Batch Rename.
| | 00:44 |
And I can do it on all the photos that
are selected.
| | 00:46 |
So, in this case, I have all of them
selected.
| | 00:49 |
But whether you're using filtering,
whether you just manually select the ones
| | 00:53 |
you want, it will just rename what you've
got selected.
| | 00:57 |
So, right now I've got all these
selected.
| | 00:58 |
Now, it's very important to know that it
would allow you to do multiple formats too.
| | 01:03 |
So, I could have all sorts of different
file formats selected and I can do it at
| | 01:06 |
this time.
It doesn't do folders.
| | 01:09 |
All right.
So, just know that but I'm going to go to
| | 01:12 |
batch rename here and I can create
presets in case I'm doing this a lot.
| | 01:17 |
Well, in this case, I'm going to just
rename them in the same folder.
| | 01:20 |
Okay.
And I'll rename it buzzards, I think
| | 01:22 |
their turkey buzzards is really what they
are.
| | 01:25 |
And down here, you can see it gives me a,
a preview of what its going to look like
| | 01:28 |
and I think I want an underscore there.
So, let me put that buzzards there we go.
| | 01:34 |
And the date it was created.
Okay?
| | 01:36 |
If you want that.
And I can put some text here.
| | 01:39 |
You know, I'm not going to.
Some sort of a definer.
| | 01:42 |
And I want to just actually reduce that,
get rid of that.
| | 01:44 |
And then the serial number.
So, it's going to be buzzards, the date
| | 01:48 |
it was shot, and let's put a underscore
before that.
| | 01:52 |
It's not going to let me do that.
So, let's go back and put that text back.
| | 01:57 |
And let's just put the underscore there.
See, you've gotta have to trick it.
| | 02:01 |
All right?
So, I don't really have any text, but I
| | 02:03 |
did want an underscore there separating
it.
| | 02:06 |
So, once again, buzzards, the date it was
shot, and a serial number, four digits.
| | 02:12 |
Okay?
Now I can preserve the current name in
| | 02:15 |
the XMP metadata if I ever want to
reference that that really was IMG, whatever.
| | 02:20 |
And when I hit rename it's going to go
through and rename all those files.
| | 02:24 |
There it is, it's, it's done.
That quickly.
| | 02:27 |
Now, this isn't the only place you can
read in.
| | 02:29 |
Saving out of Camera Raw, when you import
from the camera using Adobe Photo Downloader.
| | 02:34 |
There's other places to do it, this is
just one of them.
| | 02:37 |
And it's kind of useful.
So, select the ones you want and keep in
| | 02:41 |
mind that it doesn't have to be ones in a
particular folder.
| | 02:44 |
It could also be as a result of a find
that you did.
| | 02:48 |
You found a whole bunch of photos and you
want to rename them for a specific
| | 02:50 |
purpose or maybe you duplicated a bunch
of files and now you want to rename them.
| | 02:55 |
You can do that.
So, Tools > Batch Rename.
| | 02:59 |
Let's just quickly look at some of these
choices you have.
| | 03:02 |
Text, new extension, current file name,
preserve file name, date, metadata.
| | 03:07 |
Okay, I can pull from the metadata and I
want to include the photographer or the
| | 03:11 |
resolution, you know, depends on what
you're doing here.
| | 03:16 |
But I want to include the creator in the
filename, okay?
| | 03:19 |
So, then it would be Buzzards and then if
I put metadata in those photos, it would
| | 03:23 |
be there.
So, don't plan on doing any of that stuff
| | 03:26 |
unless you're first going down here to
the IPTC core and putting who the creator is.
| | 03:32 |
So, in this case, I can put, I'll just
put my last name.
| | 03:36 |
There we go.
And so, now when I go Tools > Batch
| | 03:38 |
Rename, okay.
Lets try again because maybe didn't up,
| | 03:41 |
wake it up a little bit here.
There it goes.
| | 03:44 |
So, now it's going to be buzzards, the
date it was taken, and the photographer.
| | 03:49 |
Well, I don't want them all named that.
It's going to be really important that I
| | 03:53 |
add another field now and then we'll do
sequence number and I'll just do, yeah
| | 03:56 |
three digits is probably fine.
And, well, I'm going to have to add one
| | 04:01 |
more text field if I'm going to want an
underscore between those.
| | 04:04 |
So buzzards, the date, my last name, and
a serial numbers.
| | 04:09 |
So, as you can see there are a lot of
variables here.
| | 04:11 |
A lot of opportunity for you to you know,
control what you want it to be named.
| | 04:16 |
I rarely rename my files these days
though.
| | 04:19 |
I will tell you that.
And the reason is because I rely on meta
| | 04:22 |
data for so much that the filename
doesn't mean as much to me.
| | 04:27 |
So, that batch rename, even though
useful, it's not imperative.
| | 04:30 |
Because you don't have to do searches by
filename now.
| | 04:32 |
You can search based on metadata in the
IPTC Core.
| | 04:36 |
| | Collapse this transcript |
| Using Photoshop tools| 00:02 |
For years, we've been relying on
Photoshop to do a lot of the work that we
| | 00:05 |
need to get done and there are some
things built into Photoshop that allow us
| | 00:08 |
to work quickly.
For example, Actions.
| | 00:12 |
Maybe I have a bunch of photographs that
I want to do a sepia toning on.
| | 00:16 |
Well, as you know, if you've used Actions
before, we can do it on one picture at a
| | 00:20 |
time in Photoshop.
All the pictures that are open or I can
| | 00:25 |
go File > Automate > Batch.
Now, if I go to File > Automate > Batch
| | 00:29 |
in Photoshop, I can only target a folder
or import from my camera the open files.
| | 00:35 |
But this, right down there, it's grayed
out right now.
| | 00:38 |
We're going to go there we can actually
do batch actions now from Bridge.
| | 00:44 |
So, let's say that I'm working on a
project and I want to pull a lot of
| | 00:47 |
photos from a lot of different folders.
So I'm going to go to Edit > Find, and I
| | 00:51 |
want to Find all photos that equal five
stars.
| | 00:55 |
And when I say Find, there it pulls up
these pictures.
| | 00:58 |
Okay, great, but I don't want all these.
So, let's go to the Keywords and see if
| | 01:02 |
we can narrow it that way.
Okay, so these are only pictures from Tibet.
| | 01:08 |
'Kay, and these can be in totally
different folders if we want them to be.
| | 01:11 |
It doesn't matter, because Bridge has
found them for us through Search Results.
| | 01:16 |
All right, so I don't want this one, this
one, this one, this one.
| | 01:19 |
But remember, with View mode, I can also
decide here I don't want that one, that
| | 01:24 |
one, that one, ooh, I don't want that
one, don't want that one.
| | 01:29 |
When I hit Esc, only these pictures are
selected.
| | 01:33 |
Now comes in Photoshop with all these
Photoshop tools and I'm only going to
| | 01:37 |
apply it to the ones I've got selected.
So let's batch from Bridge.
| | 01:42 |
I'm going to save them into a folder that
I choose.
| | 01:46 |
There we go.
And I'm going to rename them Tibet with a
| | 01:48 |
serial number and extension right there,
and you, there's a preview of what the
| | 01:51 |
name's going to look like.
Now, what's important here is I'm pulling
| | 01:55 |
from all these other folders that may be
linked to other InDesign files and what
| | 01:58 |
have you, so I don't want to overwrite
those.
| | 02:01 |
But I want to use them, so I'm going to
open them in Photoshop, apply the action
| | 02:04 |
very quickly, and then save them in
another folder that I'm going to use on a
| | 02:08 |
totally different project.
Hm, how cool is that?
| | 02:12 |
Now, I want to hit OK.
Now, it goes through and says, are you
| | 02:14 |
sure you want to save that?
Yes, I'm going to hit Save.
| | 02:18 |
'Kay?
And I just want you to see this happening.
| | 02:20 |
So, it's applying the action and it's
saving these pictures one at a time.
| | 02:24 |
Now, I could override it so that it
doesn't ask me this every time, but I
| | 02:27 |
just want you to see this and I'm
going to Cancel and Stop.
| | 02:30 |
We don't need to watch me go through all
those.
| | 02:33 |
The point is that I pulled one, two,
three, four, five, six photos and only
| | 02:37 |
applied the action to those.
I know you've done this.
| | 02:41 |
I know you've taken 500 photographs and
quickly applied a batch action to it.
| | 02:46 |
And you applied a batch action that 437
pictures you're never going to use.
| | 02:50 |
Maybe they were horrible, blurry what
have you.
| | 02:53 |
Alright.
Other tools that we have.
| | 02:55 |
I have Image Processor, Lens Correction.
I can Load the Files with Photoshop Layers.
| | 03:01 |
I can Merge these into HDR.
If you've never used HDR, it's great.
| | 03:05 |
I'm going to go back to Assets here.
And I'm not going to turn this into a
| | 03:08 |
Photoshop class, but let me just briefly
explain that where Bridge plays an
| | 03:12 |
important part in this is I've got one.
Let's just look through here at the
| | 03:18 |
Preview pane.
Look at all these different shots that I
| | 03:21 |
took of this church and some of them
really don't line up at all.
| | 03:24 |
They're different sizes and what have
you.
| | 03:26 |
And, for me, to use HDR or Photomere or
any of these others in Photoshop, I have
| | 03:30 |
to kind of rely on the thumbnails and I
have to kind of remember the file name to
| | 03:34 |
get the right one.
But with Bridge, I can very visually say
| | 03:39 |
I want that one.
Yeah, that's what I want.
| | 03:43 |
I want this one to this one.
So I've got a very dark one where the sky
| | 03:47 |
looks good.
And a very light one where the church
| | 03:50 |
looks good.
And now, I can go Tools > Photoshop >
| | 03:53 |
Merge to HDR Pro.
And when I do that, it flips us back to
| | 03:56 |
Photoshop, but I'm doing it with those
pictures selected.
| | 04:00 |
So it's a quicker way to get started.
Let's go back and look at Photomerge
| | 04:04 |
doing the same thing.
Here's a folder full of photos, one, two,
| | 04:08 |
three, four.
That one could be a Photomerge, this
| | 04:11 |
could be a Photomerge.
And again, I don't have to open them in
| | 04:14 |
Photoshop first looking at a little
thumbnail and then do Photomerge.
| | 04:20 |
I can actually do this based on the big,
nice big Preview modeSOUND and I can
| | 04:24 |
look through here and say, okay, that?
That's nice or I can go to this picture
| | 04:29 |
right here and do the lake.
Or if you want, just remember, you can do
| | 04:33 |
vertical, too.
Here's this really tall tower that we
| | 04:36 |
couldn't fit at all in to the picture, so
you can actually do Photomerge vertically
| | 04:41 |
as well.
All right?
| | 04:44 |
So, let's do this lake and I'm going to
Shift+click so I have all four of these selected.
| | 04:49 |
Tools > Photoshop > Photomerge, so you
don't need Bridge to do this, but it sure
| | 04:53 |
makes a lot easier for you.
All right?
| | 04:57 |
Now, I can choose Auto, and now, these
pictures are already selected if you've
| | 05:00 |
used Photomerge at all straight into
Photoshop, now, we are in familiar territory.
| | 05:05 |
Let's go ahead and hit OK.
There we go, not bad.
| | 05:13 |
Let me show you something new in CS5
while we're on this that has nothing to
| | 05:15 |
do to Bridge.
I'm going to Merge the Visible layers.
| | 05:19 |
There we go.
And then, I'm going to take my Magic Wand
| | 05:22 |
and select the background.
Now, in the past, if you wanted to make
| | 05:26 |
this nice and square, you had to just
crop it again.
| | 05:30 |
Sometimes, we get lucky.
I'm going to go to Select > Modify >
| | 05:33 |
Expand, and expand that by maybe 2.
And now, I'm going to go to Edit > Fill,
| | 05:38 |
and I'm going to choose Content Aware
Fill.
| | 05:42 |
Let's just see if it does a good job of
reading the sky, and the ground there,
| | 05:46 |
and making up pixels that work.
Let's take a look.
| | 05:50 |
And, that's pretty good.
We'd probably want to do a little rubber
| | 05:53 |
stamping here, here, and here and now, we
have a nice photograph.
| | 05:56 |
So, there's a little free tip for you
that has nothing to do with Bridge, but
| | 05:59 |
Content Aware Fill with panoramas is
really kind of an amazing tool.
| | 06:04 |
So now, if you look under Tools, just
remember, Photoshop has all these tools
| | 06:07 |
that we can work with.
Illustrator has Live Trace, right here,
| | 06:12 |
which would allow you to take, say these
four pictures at the same time, and go
| | 06:16 |
Tools > Illustrator > Live Trace.
It would open up at Illustrator and apply
| | 06:21 |
live tracing to those for you.
Alright?
| | 06:24 |
So there, there's a lot of really neat
tools that work with Photoshop and
| | 06:28 |
Illustrator, and you start right here
after you've done your searches.
| | 06:34 |
After you've narrowed with Keywords,
search Metadata, all those things you do
| | 06:38 |
to narrow your search then get to work in
Photoshop and Illustrator.
| | 06:43 |
| | Collapse this transcript |
|
|
9. Starting Off on the Right FootThe Adobe Photo Downloader| 00:00 |
Chronologically I would have done this
chapter first.
| | 00:03 |
The reason I saved it for this late in
the presentation is because you don't get
| | 00:07 |
the full value out of using this
wonderful little utility until you
| | 00:10 |
understand other aspects of Bridge.
And this is what I'm going to do.
| | 00:15 |
I've got my camera here.
I just walked out on the street, just
| | 00:18 |
did, walked outside, grabbed a few
photographs.
| | 00:21 |
I'm going to plug it in right now with my
USB cord to this computer.
| | 00:25 |
If it doesn't pop up automatically, go to
File > Get photos from camera.
| | 00:30 |
What camera do you want to pull from, and
this is the basic dialog box.
| | 00:34 |
You know what, I am going to bypass this
and just click on the Advanced.
| | 00:38 |
Alright, now you can see there are
previews of your photos and I just took
| | 00:41 |
some shots of the street cars going by,
alright?
| | 00:44 |
And that's a great shot, actually I might
use that as texture so I want to keep
| | 00:48 |
that and I will make a nice background
texture.
| | 00:51 |
But you get a little thumbnail here that
you can look at.
| | 00:54 |
If you don't like it, like hm, maybe I
can't use that one, I'm just going to
| | 00:57 |
deselect them and I don't have to worry
about ever seeing those again.
| | 01:02 |
I can Uncheck All Or Check All.
You can also uncheck or check multiples
| | 01:07 |
by doing something like this.
Selecting it, holding your Shift key
| | 01:11 |
down, and selecting.
And when you uncheck, they all uncheck.
| | 01:16 |
Or if you check, they all check as well.
So you can go through them in Advance,
| | 01:19 |
and decide which ones you want.
This is where it gets important is up
| | 01:23 |
here at the top, is with Save Options.
With the Save Options on the location
| | 01:29 |
here, I can tell it, I want to save these
somewhere.
| | 01:32 |
Maybe on my server, maybe on my desktop.
I'll create a new folder and call these
| | 01:38 |
Russel's picks, alright?
There we go.
| | 01:42 |
And I'm going to save it in there.
And I can have it create sub-folders automatically.
| | 01:47 |
And I use this all the time, because I
shoot with multiple cameras, so it's
| | 01:50 |
really important that I save by shot
date.
| | 01:53 |
That way, if I'm using multiple cameras,
then it'll put in the same folder from
| | 01:56 |
those multiple cameras based on that
date.
| | 01:59 |
But you can do custom name, different
types of date, different ways of
| | 02:03 |
displaying the dates there.
I can rename the files if I want with a
| | 02:07 |
custom name.
So we'll just call this (UNKNOWN) Street Cars.
| | 02:15 |
And then I'll have to put a serial number
after it.
| | 02:17 |
I am going to preserve the original file
name in the XMP though.
| | 02:20 |
Now this is kind of nice and that is when
you are done you can have it open in Bridge.
| | 02:25 |
Or, you can have it convert them into
digital negatives, I'm not going to do that.
| | 02:29 |
Delete the original files, but here's
what I wanted to show you, is I can have
| | 02:33 |
it actually save copies to another
folder, so that in a way, it imports it twice.
| | 02:38 |
One set of photos you're going to adjust
and another set of photos that maybe are
| | 02:42 |
the original untouched ones.
I'm going to just have it open in Bridge
| | 02:46 |
for now.
This is where it gets really exciting, is
| | 02:50 |
I can have it apply a Metadata Template.
So before I ever import in, through
| | 02:55 |
Bridge I always go to my Metadata
Template, under Tools and I edit it and I
| | 02:59 |
put in there the information that I want.
So I'm going to hit Cancel, I'm going to
| | 03:06 |
go to Tools, Edit Metadata Template and
right down here under Description,
| | 03:10 |
(UNKNOWN) Street Cars.
And I would put date and time, and maybe
| | 03:16 |
more information there.
But I'm going to save that.
| | 03:20 |
And now when I say, File > Get photos
from camera, we're going through this
| | 03:23 |
process again, on the Advanced dialog
that I'm not going to worry about
| | 03:26 |
deselecting this time, but I am going to
tell it to use my template.
| | 03:31 |
And that's going to pull that Metadata
automatically in.
| | 03:34 |
So, the more Metadata I have in my
template, the easier it's going to be to
| | 03:36 |
use this.
Let me make sure that it's still looking
| | 03:39 |
on the desktop in that folder of mine.
There we go.
| | 03:43 |
Alright, do not rename the files.
No, let's go ahead and have it do it
| | 03:49 |
based on custom name, (UNKNOWN) Street
Cars.
| | 03:53 |
They really should have this Metadata
Template at the top, so that you fix that first.
| | 03:59 |
because by the time you get down here and
realize you didn't put the description
| | 04:02 |
in, now you've got to go back and redo
some of this stuff.
| | 04:05 |
So I'm going to Get Photos, and now you
can see it's going to import these
| | 04:08 |
photos, through Bridge, adding the
Metadata onto My Computer for me.
| | 04:17 |
When it's done, now I'm in Bridge and I'm
ready to work.
| | 04:20 |
Now it's as simple as clicking on the
picture, hitting my Space bar, going
| | 04:23 |
through, deciding if I like it.
I want to zoom in to check sharpness.
| | 04:28 |
What am I going to do with this?
All the thing we've learned in this
| | 04:31 |
lesson, we can do immediately now because
they're here.
| | 04:34 |
And the descriptions already there, the
rest of the IPTC Core data, is already there.
| | 04:39 |
So I just saved myself a lot of time, by
using the Adobe Photo Downloader to bring
| | 04:43 |
them in, as supposed to downloading them,
and then coming in later and adding the Metadata.
| | 04:49 |
Now if I decide I don't want to make that
my default, when I plug in my camera, I
| | 04:53 |
just go to Preferences, and I can tell it
when camera is connected, launch that or
| | 04:57 |
I can turn that off now.
I like it on, that's all I use, I only
| | 05:02 |
use Bridge when I take pictures and I
bring it in.
| | 05:07 |
And immediately I get busy working on
these pictures, things like deleting the
| | 05:10 |
ones I don't want.
These obviously are not pictures.
| | 05:15 |
I'm going to want to keep right there.
Let's keep that one.
| | 05:18 |
So, I'll delete those.
And I'm actually going to move them to
| | 05:20 |
the Trash, not reject them, because I
never want to see them again, alright?
| | 05:24 |
So, if I want to start applying keywords,
all the other stuff we've done, is now
| | 05:27 |
available to us because we brought it in
through that Adobe Photo Downloader.
| | 05:32 |
| | Collapse this transcript |
|
|
10. Finding FilesFinding linked files| 00:02 |
If by now you're still not convinced that
Bridge is the place to go to help you
| | 00:06 |
find all your files as you're working,
watch this.
| | 00:10 |
Let's just say you use InDesign.
I'm going to assume that for this demonstration.
| | 00:14 |
And if you're a typical InDesign user,
what you've done is you've started your
| | 00:17 |
InDesign file and you need the logo.
So, you hit file, place, and you search
| | 00:21 |
through your server and you find it.
Boom.
| | 00:23 |
There, it's on your page.
And now you need the cover so you search
| | 00:26 |
and it's in a different folder because
you used it last year on a project.
| | 00:30 |
Boom, now it's on the page.
And you take photos from this folder and
| | 00:33 |
graphics from this folder and photos from
this other folder and before too long
| | 00:37 |
you've got a very full InDesign document
with graphics of all sort, AI files,
| | 00:41 |
TIFs, JPEGs, PSDs and they're all in
different folders somewhere on your server.
| | 00:48 |
Or maybe some on the server, some on your
hard drive, some on an external.
| | 00:53 |
It doesn't matter.
You're linked to files all over the place.
| | 00:56 |
Well, how do you find those?
I know some of you are thinking, well,
| | 01:00 |
can't you just open InDesign file and
make sure that everything's linked
| | 01:02 |
properly and then package and pull from
that folder?
| | 01:06 |
Yes.
Yes, you could.
| | 01:08 |
Can't you just click on the InDesign
document and go and read where the linked
| | 01:11 |
files are?
Yes, if there aren't a million of them.
| | 01:15 |
Okay, so watch this nifty little tool.
That icon right there beside that
| | 01:19 |
InDesign document tells me there are
linked files to it, of any sort.
| | 01:25 |
If I right-click on it and go to Show
Linked Files, it now puts all the linked
| | 01:29 |
graphics, movies, sound bytes, anything I
use InDesign file, are right here In the
| | 01:34 |
content preview area.
Why does that matter?
| | 01:39 |
Because I want to use this picture and
this picture or these two pictures on
| | 01:43 |
another document, and I don't remember
the names of them maybe.
| | 01:48 |
Or I don't know where they are.
So, I am just going to select those very
| | 01:53 |
quickly, switch to InDesign and now just
drop this on the page, make 'em fit.
| | 02:01 |
There we go, center, and now I've use
these on the page without having to go
| | 02:05 |
hunting for them because InDesign knows
where they are.
| | 02:10 |
Look at this InDesign document.
There's linked graphics, all right?
| | 02:13 |
Right-click, Show Linked Files.
There they are.
| | 02:16 |
I wanted to use this background in
another file.
| | 02:19 |
Or, I wanted to use this WAV file in
another file and I don't remember what
| | 02:22 |
that WAV file was called.
You don't have to remember.
| | 02:25 |
All you have to remember now is where the
InDesign document is, and it'll take care
| | 02:29 |
of it from there, with a little help from
Bridge.
| | 02:33 |
| | Collapse this transcript |
| Using metadata| 00:02 |
So let's just pretend it's a few months
down the road from now, and you've been
| | 00:05 |
using metadata religiously, You've been
putting in keywords, you've been adding
| | 00:09 |
metadata fields to all sorts of
documents.
| | 00:13 |
Again not just photos, I show a lot of
photos, but you can add that metadata
| | 00:18 |
Even to, this InDesign file right here,
there's some already there but under IPTC
| | 00:22 |
core, you can put a description.
This document is about old trucks, in Texas.
| | 00:34 |
Or you can be really descriptive.
This is a magazine full of certain
| | 00:37 |
association, and it was done whatever,
and I'll say that I'm the creator of that.
| | 00:42 |
I can put all this information in there
because in six months somebody in this
| | 00:46 |
corporation that I'm working in may want
to make some changes in this.
| | 00:51 |
And they want to talk to whoever created
that and they want to know very quickly
| | 00:53 |
who it is.
I'm sure you've done this before.
| | 00:56 |
If you're, let's say you're at a
newspaper and you've walked through the
| | 00:58 |
office going who built this ad?
Did you build this ad?
| | 01:01 |
And you're holding it up, who built this
ad?
| | 01:03 |
Or you put it on the bulletin board, who
build this ad?
| | 01:05 |
Because you can't find something.
Maybe it's a certain logo or you have a
| | 01:09 |
question on it.
Putting that information right here in
| | 01:12 |
the file eliminates all of that.
We just know who did it because they
| | 01:16 |
admitted to it, right here in the
metadata.
| | 01:19 |
All right, that's nice, but let's just
pretend it's 6 months down the road and
| | 01:22 |
you're trying to find a file, and you
don't remember what it was named, or
| | 01:26 |
where you put it.
You really know very little about it, but
| | 01:31 |
you do remember a few things.
Edit.
| | 01:34 |
Find.
Alright that seems simple enough.
| | 01:36 |
You've used find, change and find in
other applications.
| | 01:39 |
So, Cmd F, find, here we are.
Okay.
| | 01:42 |
Very simple we tell it where to look.
I can tell it to look in a certain folder
| | 01:49 |
like the assets folder only.
The entire hard drive.
| | 01:54 |
I can have it look on the server.
Let's just for now choose Assets.
| | 01:58 |
Now you know Assets has several folder
within folders.
| | 02:01 |
So right down here I can say include all
subfolders.
| | 02:05 |
Alright, there you go.
Now if I choose all non-index files it's
| | 02:08 |
going to slow it down but I'm going to
choose that because I'm going to show you
| | 02:12 |
next how to index your server to speed
things up, OK?
| | 02:16 |
Match, if all criteria match.
Or any criteria are met?
| | 02:20 |
Well I really want to narrow my search
for right now.
| | 02:22 |
So I'm going to keep this if all the
criteria are met, and I'm going to tell
| | 02:26 |
it to look in hm, look at all the
metadata fields I can choose.
| | 02:31 |
Including all metadata, I need to find in
all metadata, okay?
| | 02:37 |
Let's start with something really simple,
let's start with rating.
| | 02:40 |
OK, rating equals five stars, and I want
it to be a JPEG.
| | 02:48 |
And I want it to search an entire folder,
no matter which one of those folders is
| | 02:52 |
it in.
I want to find all the JPEGs, that are
| | 02:55 |
five stars, all right.
So, lets hit find, see whats it doing to
| | 02:59 |
do Well, if you've been watching this
video at all, you know that these are all
| | 03:02 |
pictures from totally different folders.
Right?
| | 03:07 |
But it pulled them together for me, in
one place.
| | 03:10 |
Now, let's enjoy this moment for a
second, because I really love showing this.
| | 03:14 |
If you've used any of the Photoshop
tools, for example Batch Actions, you
| | 03:18 |
know that you can only do this on
individual pictures or folders of pictures.
| | 03:24 |
Well, these are in one, two, three, four
different folders.
| | 03:31 |
Those are in four different folders.
Well, I could select all of them, and now
| | 03:35 |
I could say Tools.
Photoshop batch, and I can run a batch
| | 03:39 |
action on all of those, And in the
process of that batch action save it in
| | 03:44 |
the new location so that now the
greyscale version of these is in a
| | 03:47 |
different location to be used in a
totally different product.
| | 03:55 |
Let's do another find.
That was fun.
| | 03:56 |
Edit, find.
This time, let's say greater than.
| | 04:01 |
No, let's do greater than or equal to 4
stars.
| | 04:07 |
And is, well, we don't really care about
the file format, now that I'm looking.
| | 04:11 |
Let's not worry about that.
Let's get rid of that.
| | 04:14 |
There we go.
Rating is equal to.
| | 04:17 |
Or greater than 4 stars, lets find that.
Now you can see that there is even more
| | 04:22 |
pictures available for us to use here, if
I had other type graphics like
| | 04:25 |
illustrator, inDesign that, that had been
rated as well those would be showing up
| | 04:29 |
here because I didn't say just two
photographs I said any document Alright,
| | 04:33 |
so that's kind of useful to be able to
find based on metadata.
| | 04:40 |
Now, let's talk about this indexing.
Notice the breadcrumbs up here.
| | 04:43 |
Computer, data, projects, Russell veers
/g, on through and then there's a folder,
| | 04:47 |
a new one Look at it's contemporary
folder, it's in bold, search results.
| | 04:51 |
And I can close out of that at any point
and go back to just the assets.
| | 04:56 |
OK, now.
Let's pretend for a second that this data
| | 04:59 |
folder is the server.
That's the hard drive and that's my
| | 05:02 |
server Now if I click on that, there's a
lot of folders here and who knows what's
| | 05:06 |
inside these folders.
I mean they're, it could be very well,
| | 05:10 |
you know, photo after photo after photo,
and videos and all sorts of things, so if
| | 05:15 |
those aren't indexed, when I tell it to
Edit > Find, and I tell it to look in
| | 05:19 |
data for this Well, it's going to take a
long time.
| | 05:25 |
So what I recommend people do is
periodically, at the end of the day, when
| | 05:28 |
you're ready to go home, go to the server
or whatever point you want it to search.
| | 05:35 |
So just to make it faster, I'm going to
go to Assets here.
| | 05:39 |
I wanted to index everything in these
Assets folders for me.
| | 05:41 |
Watch what happens when I go to little
chevron on the end here, and I right
| | 05:46 |
click, and I say show items from sub
folders.
| | 05:50 |
When I do that, it's going to show every
single item, in every single folder.
| | 05:55 |
Within that Assets folder, just gotta go
right down through and it's going to show everything.
| | 06:02 |
Well that didn't take too long, it's
still working on the thumbnail
| | 06:05 |
extractions but there are 1280 items in
the Assets folder.
| | 06:11 |
Imagine if you went back to the hard
drive here and you right clicked on that
| | 06:15 |
and said show items from subfolders.
Well, that hard drive let's pretend is
| | 06:20 |
your server with years worth of
photographs and InDesign files and
| | 06:24 |
Illustrator graphics and clipart and Word
documents and on and on and on and on Did
| | 06:29 |
I say Word Documents?
You know, just because it's an Adobe
| | 06:35 |
product, it doesn't mean it's the only
thing out there that can handle metadata
| | 06:38 |
and can be found in searches.
There are other file formats that can
| | 06:43 |
accept metadata.
So this isn't just for Adobe necessarily.
| | 06:48 |
So I would recommend at the end of the
day Before you go home right click on
| | 06:52 |
that show items from subfolders and index
your server.
| | 06:58 |
Now let's just do some basic math.
Let's say there are 100,000 items on your
| | 07:02 |
server and its going through all night
long.
| | 07:05 |
And it will take it a while because
that's a lot of items its going to look
| | 07:07 |
through every single sub-folder and index
that.
| | 07:10 |
Now let's say that you work for a month
and you add 5,000 new graphics to the server.
| | 07:16 |
Well then the next month when you do that
show items from subfolders its going to
| | 07:20 |
fly through the first 100,000 and then.
Boom it will get caught up it will take
| | 07:27 |
it a moment little time to index another
5,000 but FT do this once really from
| | 07:32 |
that on doing these indexes really
doesn't take that long.
| | 07:38 |
So index your server edit find and use
the meta data fields.
| | 07:44 |
Including keywords, including
description, including all meta data.
| | 07:49 |
All right, just for fun we're going to do
this.
| | 07:53 |
Let's go to the Assets folder and let's
look at this file right here.
| | 07:59 |
Just so you know Black Oak Is a font used
in this document.
| | 08:05 |
Okay.
So, let's, let's pretend we don't
| | 08:07 |
remember the name of that document cause
actually I just did forget it.
| | 08:11 |
So, Edit, Font.
But I do remember.
| | 08:14 |
I do remember the name of the font used
because I did a poster with the same
| | 08:17 |
design and I have that poster.
I have it.
| | 08:21 |
I've got it right in front of me and I
know that I'm using black oak /g.
| | 08:23 |
So,I'm going to go down here to All
Metadata.
| | 08:25 |
Contains, Does Not Contain, Exists, Does
Not Exist.
| | 08:30 |
OK.
I'm going to choose Contains, Black Oak.
| | 08:33 |
I'm going to have it look in Assets, just
in the interest of time here, and go
| | 08:36 |
ahead and include all that.
Find, there it is.
| | 08:40 |
There's the end design document right
there.
| | 08:43 |
Found it for me.
Simple enough.
| | 08:46 |
So finding by going to Edit>Find is
powerful but only, only if you're adding
| | 08:51 |
metadata to your photos and your other
files.
| | 08:57 |
And remember, to speed things up, show
those items in the sub folders on a
| | 09:00 |
semi-regular basis to get a quick index
at everything.
| | 09:04 |
| | Collapse this transcript |
|
|
11. The Output WorkspaceOutputting to PDF| 00:01 |
So, I've done a Find and I've looked in
many folders and I've found all these
| | 00:04 |
photographs that are all five stars.
And I've decided that now, I want to do
| | 00:08 |
something with them.
Well, we've already seen how to use that
| | 00:12 |
in InDesign.
We know we can open it in Photoshop.
| | 00:15 |
We know you can do Photoshop Tools.
What else can we do with this?
| | 00:19 |
Well, there's an output workspace, right
here, and if I click on that or if I go
| | 00:23 |
to Window > Workspace > Output, doesn't
matter how you get there.
| | 00:29 |
Now, we have this again, now, we have
this workspace that allows me to preview
| | 00:34 |
the files.
'Kay, I can preview those.
| | 00:39 |
Decide which ones I want to use, using
the same techniques I've shown you, and
| | 00:45 |
then turn it into a PDF file.
So I'm going to select all these photos, again.
| | 00:53 |
So I'm going to select all these photos.
There we go, and I'm going to put them
| | 00:58 |
into a PDF, for one of many reasons.
One maybe that I want to contact sheet.
| | 01:05 |
So I'll do 5 across and 8 down or 4 by 5
contact sheet.
| | 01:10 |
These are templates that I can choose
from.
| | 01:12 |
So let's go to 4 by 5 contact sheet and
let's refresh the preview.
| | 01:17 |
Now, it's generating the PDF for me.
Based on all this other information that
| | 01:21 |
we haven't even touched yet.
And it's going to pop it up here for me
| | 01:24 |
to look at.
Okay, so now there's my contact sheet, as
| | 01:28 |
a PDF that I can send to somebody.
And I'm thinking, you know, they probably
| | 01:33 |
want mm, they probably want bigger
previews.
| | 01:37 |
So let's go to 2x2 and see what we get.
Let's refresh the preview, once again
| | 01:41 |
generating a new one, and now I'm
thinking, yeah.
| | 01:45 |
And those are too big.
All right, so, let's go down here to the
| | 01:48 |
layout, so instead of relying on a
template, let's go down here to the
| | 01:52 |
layout, and I'm going to tell it I want
three columns and four rows, that's what
| | 01:55 |
I want.
Yeah.
| | 01:59 |
That'll work.
I'm going to have it use auto spacing.
| | 02:02 |
And I'm not going to have it rotate right
now for best fit because people are
| | 02:05 |
going to just want to watch it like this.
They're not want to, they're not going to
| | 02:09 |
want to flip their, their page, so I'm
just going to do that.
| | 02:13 |
And, now, let's refresh the preview.
Now, here we go, 3 by 4.
| | 02:22 |
Yeah, I kind of like that.
That's going to work, okay?
| | 02:25 |
So, as you can see, I can create Contact
Sheets very simply.
| | 02:28 |
I can tell it what size paper I want them
to put it on, in case they're going to
| | 02:32 |
print this out.
If it's the US, I want to put it on US
| | 02:35 |
letter, probably.
If it's in Europe or anywhere else in the
| | 02:39 |
world, I want, probably, international
paper.
| | 02:42 |
A4 but hopefully you know what your
customer needs there.
| | 02:46 |
I"m going to put this on US paper letter,
8.5 by 11, quality 300 pixels per inch,
| | 02:49 |
that should do it, that should do fine.
And I can actually put passwords in there
| | 02:56 |
so that not.
Again, I can even put passwords in there,
| | 03:01 |
so that the wrong person doesn't open it.
Maybe this is really important
| | 03:06 |
photography for a, for a big release of a
new product or a new fashion line, I may
| | 03:09 |
not want the wrong person to see these
just yet.
| | 03:14 |
So I can actually put a password in
there, and now I'm putting security into
| | 03:17 |
my PDF.
I can say I don't want anybody to be able
| | 03:21 |
to print this out, it's only for viewing
on the PDF.
| | 03:25 |
I can put a password in there for that as
well.
| | 03:27 |
So a lot of this stuff we used to have to
do it in Acrobat but now it's right here
| | 03:30 |
in Bridge for us.
So back to one of the first points I made
| | 03:34 |
in this entire long video and that is
that Bridge is not just photos.
| | 03:38 |
We're seeing it active with more and more
with all the Adobe products, and here it
| | 03:42 |
is being PDF.
Alright?
| | 03:44 |
Let's not worry about passwords right now
and let's look on down to other choices, okay.
| | 03:49 |
Overlays, I can have the file name and
extension if I want.
| | 03:53 |
I can choose the Font, Size, Color.
Alright, I can do that.
| | 03:56 |
You can see that right below the pictures
there.
| | 03:58 |
If I don't want that then, okay, I'll
turn that off and refresh.
| | 04:03 |
That's probably a little confusing.
So let's go ahead, so let's go ahead, and
| | 04:07 |
turn the file in back on.
Alright, and let's scroll on down.
| | 04:12 |
I can add a header, put a header up there
that says shots for new magazine.
| | 04:21 |
Let's just see what that gives us.
And let's put that a little bit bigger,
| | 04:24 |
let's make that, like, 16 points.
And let's refresh.
| | 04:27 |
Ooo, I got a problem.
I didn't make the header big enough there.
| | 04:35 |
So, let's go down here.
And, let's make this a little bit bigger.
| | 04:42 |
Let's put that at 0.25 then, and see what
happens when I refresh the preview.
| | 04:48 |
Alright, so there's the shots for the new
magazine Alright?
| | 04:52 |
So, you can put headers, you can put
footers on there.
| | 04:55 |
Let's keep going down and see what else
we can do.
| | 04:58 |
Now, this doesn't affect us right now
because we're doing this Contact Sheet.
| | 05:02 |
Let's scroll all the way back up to the
top, and let's go down to 1, here and
| | 05:07 |
let's change this to 1x1, yeah, 1x1,
okay.
| | 05:12 |
Turn off Auto-spacing, okay, and let's
scroll back up here.
| | 05:20 |
And let's change the Page Preset to Web,
1024 by 768 hm, quality 72 ppi, yeah, see
| | 05:27 |
I can actually have and they don't give
us one up here.
| | 05:34 |
Okay.
I can actually have a slideshow type PDF.
| | 05:39 |
So, now let's go back down here and
you'll see that.
| | 05:42 |
I can have this automatically open in
full screen mode, advance every 5
| | 05:47 |
seconds, and loop after the last page and
I can have it do the dissolve page
| | 05:52 |
transition at medium speed.
Yeah, I can do all that right here and if
| | 05:59 |
I want I can save that now as a template
called slideshow.
| | 06:05 |
So now, I won't have to go through all
that again the next time I want it.
| | 06:09 |
Let's refresh the preview and now you can
see that it's I'm zooming in there.
| | 06:18 |
And let's Undo that.
Sorry guys, sorry guys.
| | 06:21 |
Why is it doing that?
I don't want that.
| | 06:26 |
Guys, I'm going to Refresh Preview again,
okay?
| | 06:29 |
Well, hold on.
Let me select all.
| | 06:34 |
Sorry guys, sorry.
Again, 'kay?
| | 06:40 |
So now you can see this right here, we
don't really see it as a slideshow right now.
| | 06:44 |
Let's go down here and say View PDF after
a, and let's save this.
| | 06:50 |
I'll just save this on my desktop to be
lazy and I'll call this slideshow.
| | 06:56 |
It saved, and now, instead of seeing it
in the Preview window which is fine for
| | 07:00 |
Contact Sheets.
But I really want to see what the people
| | 07:04 |
are going to see with this.
It says right here, the document's being,
| | 07:08 |
trying to be put, again.
It says right here to the first person
| | 07:11 |
look at this, that hey he's trying to put
this in, full screen mode, is that okay.
| | 07:16 |
And I'll say, yes.
And now, we've gone to full screen mode.
| | 07:20 |
It kept the slug line I put up there.
I still got the name of the photos.
| | 07:25 |
Maybe I want to take those off for a
slide show, but you can see it's
| | 07:27 |
happening automatically and it's just
going to go through these pictures.
| | 07:33 |
I'm going to hit Esc and now I'm back to
Bridge.
| | 07:36 |
'Kay.
So, there's a lot of stuff we can add
| | 07:40 |
into a PDF going straight from Bridge.
And why does that matter?
| | 07:45 |
Well, because we've already learned all
the ways to quickly find lots of photos
| | 07:48 |
and now it just does all the hard work
for us.
| | 07:52 |
| | Collapse this transcript |
| Creating a web gallery| 00:00 |
Now, there is another thing we can do
though in Output and that is we have a
| | 00:04 |
Web Gallery, alright?
So, so we've got lots of templates, Left
| | 00:10 |
Filmstrip, Slideshow, Lightroom Flash
Gallery.
| | 00:14 |
Let's just check on that again.
Let's just click on a couple of these and
| | 00:18 |
look what its going to so, again, let's
just click on a couple of these and see
| | 00:21 |
what it's going to look like.
Let's Preview that in browser.
| | 00:26 |
Now, it's processing the images.
It's going to launch a Web Browser and
| | 00:31 |
give me an idea what this website is
going to look like if you uploaded this
| | 00:34 |
to your site.
So, there it is and I can click there,
| | 00:39 |
click there, go this way to see them,
scroll through.
| | 00:43 |
Hm, I don't know.
Let's go back to Bridge and let's scroll
| | 00:48 |
down here and see if we have any controls
that might help me.
| | 00:52 |
Well, here's the Color Palette, maybe I
don't like those colors that was awfully
| | 00:55 |
gray but that's the template.
So, I am going to go through change the
| | 00:59 |
color, let's change the background to
something a little happier, maybe, maybe
| | 01:03 |
red, alright?
Let's choose that, see what that gives
| | 01:08 |
us, okay?
And let's scroll on then here.
| | 01:12 |
And now the Slideshow size, 675 pixels,
Image size is only 450.
| | 01:18 |
I'm going to bump that up because I know
that a lot of my customers will have
| | 01:22 |
large monitors and they can handle that.
And Layout Left is fine, and I'm going to
| | 01:30 |
give this a name of Russ, I'm going to
give this a name, again, I'm going to
| | 01:35 |
give this a name of Russel's Shots, okay?
And now let's Preview it again in a browser.
| | 01:51 |
Okay, so there's the new color
background.
| | 01:53 |
You can see the picture is bigger,
alright?
| | 01:56 |
So, we have control over this, alright?
Let's go back now.
| | 02:00 |
And I want you to just remember that if
you make any changes here, you can always
| | 02:04 |
go up here and save that as a Preset so
that it'll be added to this list.
| | 02:09 |
Let's choose Warm Day and see what that
gives us.
| | 02:12 |
It might be better for now to stick with
some of the defaults and just make little
| | 02:15 |
bit of tweaks there.
But it is possible to get additional
| | 02:19 |
galleries that are available.
Lightroom has galleries.
| | 02:23 |
You, you see it light, again, you see
these galleries that people build and you
| | 02:27 |
can actually apply those in Bridge as
well.
| | 02:32 |
Let's go down here, and I'll show you one
last thing on it.
| | 02:35 |
And that is, let's say that you've got
your gallery the way you like it.
| | 02:38 |
You can actually not only save the
gallery but right here, you can upload
| | 02:42 |
that to your FTP ser again, you can
upload that to your FTP server.
| | 02:49 |
And so that now when I hit Upload,
everything that I've done here goes right
| | 02:52 |
up to my website.
So, I can do that all from within Bridge.
| | 02:57 |
So, picture this workflow.
You come in with your camera, download
| | 03:00 |
your pictures, you quickly sort them, you
rank them, bring them into camera raw, do
| | 03:05 |
some adjustment, come to this output.
again come to this Output Workspace,
| | 03:12 |
select the ones you want, upload them to
your FTP server and you can do all of
| | 03:16 |
that in one sitting.
It's not multiple software applications,
| | 03:21 |
it's one place to do all that.
| | 03:23 |
| | Collapse this transcript |
| Exporting to Facebook and more| 00:02 |
A new feature that came about in CS5 that
I find really exciting may not be
| | 00:06 |
something you use for your work everyday.
But for personal, it's really awesome.
| | 00:12 |
And that is this new Export pane or panel
down here in Bridge.
| | 00:17 |
If you notice when you select that,
you've got Facebook, Flickr,
| | 00:19 |
Photoshop.com and Save To Hard Drive.
I, I don't really use these three that much.
| | 00:24 |
Save to hard drive sounds good, but
you're thinking why would I use that, I
| | 00:28 |
can already save to hard drive.
Well, if you double-click on save to hard
| | 00:32 |
drive, you can see that you can set some
preferences here, export to original
| | 00:36 |
location and export to a specific folder,
and rename that at this point.
| | 00:41 |
Okay.
That, that's all right.
| | 00:43 |
But notice that here you can do some
resizing of your images.
| | 00:47 |
So, why would I need this?
Well, let's say that I shot in Camera Raw.
| | 00:51 |
And I've got a bunch of 18 megapixel
photos that I want to quickly put on my
| | 00:56 |
hard drive and add to something that
requires JPEGs at a more manageable web
| | 01:00 |
or video size.
Maybe I want them in a video.
| | 01:05 |
Okay.
And I don't want to have to move these
| | 01:07 |
huge files around.
That would be a use for this.
| | 01:11 |
One I use is this Facebook right here.
I love Facebook.
| | 01:14 |
Find me on Facebook guys.
You can be my friend.
| | 01:16 |
Now, on Facebook when I double click this
it opens the preset menu here and I can
| | 01:20 |
choose a destination.
Well, I need to sign in to Facebook here so.
| | 01:28 |
'Kay.
Once I log into Facebook.
| | 01:32 |
I can give the Bridge Export panel
permission to access my data at any time.
| | 01:36 |
I'm going to go ahead and allow that
because I trust that.
| | 01:39 |
Okay.
Now, when I log in, you'll notice that it
| | 01:42 |
finds my account and it goes in and finds
all the existing albums that I've got up
| | 01:46 |
on my website.
So maybe the photos I'm getting ready to
| | 01:50 |
upload will be in addition to something
that I just do all the time.
| | 01:54 |
You know, me out with the kids or
whatever.
| | 01:56 |
In this case, I'm going to create a new
photo album and I'll name this Lacrosse.
| | 02:03 |
And we'll just say Kansas City somewhere,
doesn't matter.
| | 02:07 |
Kansas City, description (UNKNOWN) Oscar
playing lacrosse.
| | 02:14 |
And I can change my privacy settings
here.
| | 02:16 |
I'm going to leave it open for everyone
and hit Okay.
| | 02:19 |
Now when I do this, it's going to add
that photo album.
| | 02:22 |
Before I do that, I'm going to name this
preset.
| | 02:24 |
So, I have more than one preset.
I'll just call this lacrosse so it's the
| | 02:28 |
same name as the photo album.
And then I can go up here under image
| | 02:32 |
options and I'm going to say manual
resize, constrain to fit, that's fine.
| | 02:37 |
And I'm going to put these at a little
bit higher quality.
| | 02:39 |
Let's go ahead and put these on 12
maximum, and include the original metadata.
| | 02:43 |
I can choose only copyright, camera
settings, contact information, whatever I
| | 02:48 |
want to do there.
And additional keywords if you're doin'
| | 02:52 |
any type of keyword searches.
I want to hit Save, and then added that
| | 02:55 |
album right over there on the left.
Now these, just to keep this short, I'm
| | 02:59 |
just choosing two pictures here.
But just to give you an idea of the
| | 03:03 |
magnitude of this, let's say that I shot
500 photographs in Camera Raw.
| | 03:08 |
Well, without this I'm going to have to
process those in a way and then upload
| | 03:11 |
those to Facebook.
So, there's a few steps in there.
| | 03:14 |
But with this I could take an entire
folder of camera raw files and just drag
| | 03:18 |
them right on top of that preset right
there.
| | 03:22 |
And it knows it can't do camera raw up on
Facebook, so Bridge is going to work with
| | 03:26 |
Photoshop to re-purpose these.
And when I click like that.
| | 03:31 |
Now, it's publishing one of two pictures.
You're going to watch the progress right here.
| | 03:37 |
And when it's done, you'll know that
those are up on Facebook.
| | 03:41 |
So, if you're a Facebook person, all
right?
| | 03:43 |
Then this is a great way to get that
stuff from your camera up on Facebook quickly.
| | 03:48 |
And still use the, the same Concepts
we've learned elsewhere in this video.
| | 03:52 |
So, you download 1,000 photographs.
You filtered down to the 100 you like or
| | 03:56 |
200 you like.
You search by keywords, you upload into Facebook.
| | 04:00 |
What I think is really exciting about
this, right here, is that I think the
| | 04:04 |
potential's there for other companies,
besides Flickr and Facebook, to offer
| | 04:09 |
these plugins.
So, I'm really excited to see what's
| | 04:13 |
going to happen in the future as far as
third party development of this export panel.
| | 04:17 |
So, if you're using a service besides
those that are listed here, SmugMug for
| | 04:20 |
example, or any of the others, contact
them and say, hey, are you guys writing
| | 04:24 |
plugins for Bridge for the Export panel
that I can very quickly go from what I'm
| | 04:28 |
doing anyway for my InDesign document or
for working in video and very quickly go
| | 04:32 |
to my space on the website?
So, the Export panel, branded a CS5 and
| | 04:39 |
I'm anxious to see where it goes in
future versions.
| | 04:42 |
| | Collapse this transcript |
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