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254 Merging frames for the best possible UAV photo

From: Deke's Techniques

Video: 254 Merging frames for the best possible UAV photo

Hey gang, this is Deke McCullen. Welcome to Deke's Techniques. This week I am so excited to introduce you to the world of aerial photography. Now, as opposed to actually showing you how it works inside the booth, which of course would result in my death, which might be hilarious. But still I'm going to show you some of the hardware you need, because it comes to about a thousand bucks in all. And a little bit of how to assemble it and work with it. And then I'll show you how to merge frames together to create great effects inside Photoshop. So for starters, my solution, anyway, include a GoPro Hero 3, which is a great, lightweight sports camera, really gives you good results.

254 Merging frames for the best possible UAV photo

Hey gang, this is Deke McCullen. Welcome to Deke's Techniques. This week I am so excited to introduce you to the world of aerial photography. Now, as opposed to actually showing you how it works inside the booth, which of course would result in my death, which might be hilarious. But still I'm going to show you some of the hardware you need, because it comes to about a thousand bucks in all. And a little bit of how to assemble it and work with it. And then I'll show you how to merge frames together to create great effects inside Photoshop. So for starters, my solution, anyway, include a GoPro Hero 3, which is a great, lightweight sports camera, really gives you good results.

And, can live through just about anything. But it's little confusing to work with at first. For starters, it has no view finder. But it does have a rechargeable battery that burns through like crazy. It lasts like 15 minutes that's about all. Which is why you want to go ahead and get yourself an additional battery pack as well. And I'm telling you this because the documentation doesn't. And that just kind of hinges one here like that, and then snaps into place. You also need it for the camera to fit inside the harness that comes along with the UAV, which stands for Unmanned Aerial Vehicle.

Also known as drones, by the way, not because they're mindless. But because the original drone, interestingly, back in the 1940s was named a Queen bee and once that followed were its minions. So, we have got this harness right there. This fits into it like so. So you can see it needs the battery pack to fit. And then this closes around it and then you go ahead and screw this into place. Into what, you might wonder. Well, in my case I used a quad copter, this guy right here. A DJI what's it called, Phantom quad copter.

And you can see why it's called a quad copter, it has four blades. And it is amazing, it is so maneuverable. It's got a gyroscope and a compass and you can just keep it in place. If you've ever worked with like a kids, you know, little plane or something like that, that lasts for about 15 minutes until you break it. This is nothing of the kind. This will just sit there and hover in space, kind of like this, it will make a lot of noise too. And it has a GPS so that under the best conditions if it loses the connection with the controller then it will actually fly itself home and land itself automatically.

I'm serious. So, what you typically do, it's just, it's amazing. What you typically do, is, because you're working blind, you start recording a movie. And, this thing can record 4,000 pixels wide using ProTune, at about 2,000 pixels tall. So 8 megapixel frames at 12 frames per second. Now that's no good for videography Because that you know, looks hitchy. However, it's great for still photography. Because that means you can take a bunch of frames. And you can pack them into a smart object. And you can color correct them. And then you can merge the frames together.

So initially your frames may not look all that great. This is about 200 feet above the Flatirons here in Boulder, Colorado. But. With the help of Photoshop CC, you need Photoshop CC for this because we're going to be taking advantage of the Camera Raw filter. And we need the Median stack mode in order to merge a bunch of frames, ten frames in all into this amazing Aerial panorama. Now, it's not going to have the stitch down the middle of it, because that's from the printing process. But it is going to look great. Here.

Let me show you exactly how it works. Alright here's the final version of the panorama, just so that you can see it on screen. We're going to start things off by opening a movie into frames. And you do that by going up to the File menu, choosing Import and then you choose Video Frames to Layers. And you'll find this movie that I've created in advance for you, called A few frames.mov. Go ahead and click the Open button in order to display this dialog box. And if you like, you can go ahead and play this little movie.

That's all there is to it. So it really is just a few frames, 23 in all. Go ahead and select the top options here from beginning to end. Leave these check boxes off and click OK, In order to import every single one of the frames as a layer. So I'll go ahead and bring up my Layers panel over here on the right hand side of the screen. Now we don't need 23 layers to pull off this effect. So just go ahead and click on layer 11. To select it and then scroll to the top and Shift click on layer 23.

And then press the Backspace key or the Delete key on the Mac in order to get rid of all of those other frames so we just are left with layers 1 through 10. Now, go ahead and Alt or Option+click in the eye in from of layer 1. And click on it as well in order to make it active. And now if you press Alt+right-bracket, that's Option+Right-bracket on the Mac. You can cycle through each one of these layers like so. So, you're selecting a different layer and making it visible. And what this is showing us is that there is a little bit of movement between our frames.

We need to lock them all down so that they're aligned. So go ahead and Alt+click or Option+click on the one remaining eyeball to make all the layers once again visible. And then you can go up to the Select menu and choose All layers and here's the most painful step here because it just takes a while. You have to go up to the Edit menu and choose Auto Align Layers. And then, just leave Projection set to Auto. These two check boxes aren't going to do you any good because, at least in this particular version of Photoshop, it can't read the GoPro metadata. That apparently will be solved in the future but for now, go ahead and click OK.

And then you're just going to have to wait it out as Photoshop aligns every single one of the layers based on its content. And once it finishes, I want you to once again click on layer 1 to make it active, and then Alt+click or Option+click its eye, so that it's the only layer visible. And now if you press Alt+Right bracket, or Option+Right bracket on the mac, to cycle up the stack of layers. You'll see that while they aren't exactly in the same positions, there is a little bit of movement going on. The frames are ultimately in alignment with each other.

So, Alt+click on eye ball, Option+click on a Mac in order to bring everybody back again. And then press Ctrl+Alt+A or Cmd+Option+A on a Mac to select all the layers. And we're going to put all the layers inside of a smart object. So with your Rectangular Marquee tool, right click inside the image window and choose Convert to Smart Object. And now, I'll go ahead and place all these guys inside of a single container. Now, you can rename that container. And I'm going to call it 10 Layers. Just so that. Remember I've got 10 layers in all inside of there. Now we're going to apply some modifications inside the Camera Raw filter.

This filter exist only in Photoshop CC just so you know. So go up to the Filter menu if you got it and choose Camera Raw filter in order to bring up the big Camera Raw dialog box. Now, I'm going to make a few quick adjustments here. Obviously, we've got blown highlights all over the place and that's a function of me not using the proper settings on the GoPro. I have to admit, the better thing to do if you're going to be doing this kind of stuff yourself. You want to make sure that before you start the movie, You want to go ahead and set it to its highest resolution which means that you can capture about, I believe it's 12 or 14 frames per second.

And then you want to turn on proTune. It's very, very important. What's that going to give you is pretty much the raw data from the camera. So it's not auto correcting the luminance as it has in my case which meant I ended up blowing out the sky. But that said we can get some of the sky back by reducing the highlights value and I am going to set it to negative 40. And then I am going to take my shadows value up to positive 40. And I am also going to take my white stands to negative 50. And I'll take my blacks down to negative 60.

And that's going to make a huge difference in terms of the shadow detail inside this image. Now tab down to clarity and raise it to 30. And then I took the vibrance value up to 33. All right I'd like that grass to look a little greener, so I'm going to switch over to this panel right there, HSL gray scale And you want to first start with the hues. Go ahead and change the yellows value to plus 20. And what that's going to do is rotate those yellows so they appear more green.

And then I'll switch over to Saturation and I'll take the yellow's value up to 15 to increase the saturation of those colors that we just made greener. Now you want to switch over to the Lens Corrections panel. Inside the Color panel here turn on Remove Chromatic Aberration just to get rid of as many aberrations as Camera Raw can. And then you want to switch over to the Manual tab. And you want to take the distortion value up to 50 like so to apply some pin cushioning. Because there's all kinds of barrel distortion associated with the very wide angle lens included with the GoPro Hero 3.

Alright, now we're going to do a little bit of brush work here. So, switch over to the Adjustment brush up here in the toolbar. And we're going to start with the mountains, I think, so scroll down the list and turn on the Auto Mask check box. And I'm also going to turn on the Show Mask check box, which is set to red by the way as you can see here. So, I can better see what I'm doing. And now I'll go ahead and brush along the mountains and it should automatically mask inside the mountain details so that it doesn't leap up into the sky.

We'll handle the sky independently in just a moment. So just go ahead and paint in something resembling this for starters. And then, I'm going to turn off Auto Mask, so that I can work free form now. And you want to paint a little more carefully this time, because now Camera Raw isn't helping you out. And you just want to go ahead and paint in all this stuff, like so. And then, I want to erase some of that away. So, go up here to this little flyout menu and make sure Separate Eraser Size is turned off.

You don't want a check mark there. And then, you can press the Alt key, or the Option key on the Mac, and paint away some of this stuff. And the reason I painted it in in the first place is, I wanted to make sure that I had a soft drop-off into the landscape. We want to apply some changes, so turn off the Show Mask checkbox. And you'll see that we have entirely the wrong modifications applied here. So here's what you really want to do. Change the temperature value to plus 60 and also drop down to this little color swatch right there.

And just make sure it's got an x through it. For me it doesn't, it's showing blue. So I'll click on it and I'll just change it to white, here, which is the same as none. And then click OK and now get rid of that blueness that I was just introducing a moment ago. An exposure value of negative 0.5 is just fine. I'm going to take the contrast value, however up to 65 and I'll change the highlights value to zero and I'll tap my way down to the Clarity value. Take it up to 50 and then I'll take the saturation value down to zero.

And we'll end up with this effect right here. So just give you a sense turn off the preview checkbox, it used to look like that. turn it back on and now we get the real coloring of those mountains so they don't look purple just because they're so far away. Now let's do some new brushwork, so click on the new Radio button right there. We just want to do some hand-brushing this time, I think. And so with the Auto mask check box off, which it is. Although I would like to see the mask so I can get a sense of what I'm doing here, so I'm going to scroll down.

And turn on the show mass check box. And now I'll paint up into the sky and what you want to do is avoid painting the mountains. Just stay away from them if you can. And the tree tops as well because otherwise we're going to end up making them look bluer and weird and we don't, of course, want any of that. Then you can reduce the size of cursor a little bit like so. And now you can Alt drag along the top of the ridge there and along the top of the trees as well to erase the way some of that brush work that you just applied. I am just doing a little more over on this side.

After you do that then you want to modify the settings and right know we are seeing the settings that we just applied to the mountains that's no good. So I will the temperature value to 0 And then I'll leave the exposure value set to negative 0.5. I'm going to take the contrast value down to 0, because we have more than enough contrast. And I'll take the highlights value down to negative 20. I'll leave the clarity value set to 0. And I'll take the saturation value down to negative 50. And that may surprise you, if you turn off the show mass checkbox, it's not like things are looking all that good up there.

Which is why I added some artificial blue. So, you click in this little color swatch there, select blue in the little square, and you'll notice that the saturation value's cranked up to 100%. That's fine. Then click OK. And you'll be greeted by this more temperate sky. Go ahead and click OK in order to apply that change. Alright, now let's go ahead and crop the scene. And I'm going to do that in an unusual way, just so we get the exact same results here. I'm going to do it using the canvas size command. So go ahead and choose that command from the Image menu.

Turn off the relative checkbox if it's turned on. Make sure you're working in pixels. And then I want you to change these values to 2527 and 1095 like so. And then just go ahead and leave the anchor set to the center and click OK. You'll be warned that some clipping will occur. I wish they'd get rid of this error message because it's absolutely wrong. Go ahead and click on Proceed to move forward. Any time you're working with a layered image, canvas size does not clip anything.

And then what we want to do is press Ctrl+Shift, or Cmd+Shift on a Mac. And just nudge this guy down a bunch of times by pressing the Down arrow key. So, we want it to look pretty much like that, you shouldn't see any transparency showing up. Either on the sides or at the very top of the image, but we want as much sky as possible. Alright, I'm also going to sharpen the scene, and I'm going to do that using the Smart Sharpen filter. So, I'll go up to the Filter menu and choose Sharpen and then choose the Smart Sharpen command.

These are the settings we want, an amount value of 200%, a radius of three pixels, reduce noise set to zero And remove Set To Lens Blur, and then click OK. And we get this sharper version of the scene. But it could still use some more oomph to it, I think. It also has a lot of noise, and a lot of weird edges, you know. Too much sharpening going on. There's a fair amount of noise up here in the sky. There's some weird edge details up in the sky too. I gather because of the JPEG compression. And we can get rid of that by merging these 10 layers together.

So, with that 10 layer stack selected. You go up to the Layer menu, choose Smart Objects. Choose Stack Mode. And then you choose the Median command. And that is going to average all 10 of the images together. And just keep an eye on the screen, so you can see the difference. Because it takes a few moments. For it to do its thing, there's a progress bar, look at that, doesn't it look so much better. We've got much darker details, we have way less noise up there in the sky, although we do still have a few weird edges.

And we have much more smoothness going on inside the trees. So just to give you a sense of the before and the after here I'll back up here inside the History panel which is the way you have to do it. So I'll click on the word Smart Sharpen, that's the before version. We've got noise all over. We've got like these purple things up here in the mountains. And then as soon as you click on the final state you can see that all that garbage disappears. Once again that's a function of combining ten shots of the same scene into a single Smart object.

And then setting the stack mode to Medium. If I go ahead and press the F key a couple of times. And also press Ctrl+0 or Cmd+0 on a Mac in order to center the zoom. And that, friends, is how you combine a bunch of different frames from a movie that you capture on land or up in the air, here inside Photoshop. If you're a member of the lynda.com online training library. Then I have a follow-up movie, in which I show you how to retouch away details inside your aerial panorama.

If you're waiting for next week's free movie, I'll show you how to assemble video clips to create an aerial movie inside Photoshop. Deeks Techniques, each and every week. Keep watching.

Show transcript

This video is part of

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Deke's Techniques

362 video lessons · 135890 viewers

Deke McClelland
Author

 
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  1. 47m 31s
    1. 360 Transforming yourself into a Dark Elf NEW
      16m 27s
    2. 361 Hand-masking the elf against a vivid background NEW
      15m 35s
    3. 362 Making the Dark Elf that much darker NEW
      15m 29s
  2. 15h 16m
    1. 282 Ringing in the New Year with dynamic effects in Illustrator
      12m 59s
    2. 283 Dynamically transforming fills and strokes
      13m 41s
    3. 284 Tracing an avatar from a photograph in Photoshop
      12m 24s
    4. 285 Drawing a vector-based avatar in Illustrator
      19m 44s
    5. 286 Coloring and shading your avatar
      16m 0s
    6. 287 Exporting an illustration as a universally supported PNG file
      10m 54s
    7. 288 Upsampling a layered composition with great results
      13m 43s
    8. 289 Rebuilding a pattern at a higher resolution
      7m 29s
    9. 290 Painting happy little trees
      13m 46s
    10. 291 Shading and lighting the happy forest
      15m 15s
    11. 292 Enlarging a low-res photograph in Photoshop
      12m 20s
    12. 293 Enlarging a photo by tracing it in Illustrator
      13m 10s
    13. 294 Mastering Exposure in Camera Raw
      11m 40s
    14. 295 Super smooth and unflinchingly sharp
      10m 46s
    15. 296 Deleting an inadvertent photo bomber
      8m 13s
    16. 297 Correcting a distorted panorama
      17m 23s
    17. 298 Rebuilding bad stitching in a panorama
      14m 53s
    18. 299 Nondestructive dodge and burn
      8m 54s
    19. 300 Blending a shadow into any background
      8m 37s
    20. 301 Saving a PNG image with a translucent shadow
      8m 45s
    21. 302 Cleaning up a smart phone photo
      11m 17s
    22. 303 Using Photoshop 1.0
      5m 45s
    23. 304 Creating your own Chinese seal (or chop)
      26m 4s
    24. 305 Simulating hand lettering with art brushes
      20m 8s
    25. 306 Adding texture to your hand stamp
      3m 34s
    26. 307 Creating a black chop on red paper
      5m 55s
    27. 308 Auto-hiding iconic panels in Photoshop
      3m 44s
    28. 309 Creating a custom toolbox in Illustrator CC
      4m 21s
    29. 310 Creating the perfect passport photo
      20m 18s
    30. 311 Retouching your passport photo
      13m 38s
    31. 312 Turning a photo into a giant mural
      13m 11s
    32. 313 Enhancing the reality of your mural
      11m 8s
    33. 314 Creating a 3D bump map
      12m 7s
    34. 315 UV overlay and 3D bump paint
      14m 4s
    35. 316 Using Lens Flare for good (not evil)
      10m 48s
    36. 317 Using the Perspective Crop tool
      9m 29s
    37. 318 Reducing real-world camera shake
      10m 4s
    38. 319 Reducing glare in a photograph
      15m 25s
    39. 320 Restoring repeating details
      13m 43s
    40. 321 Integrating a detail captured with a phone
      9m 6s
    41. 322 Blending two exposures of a single scene
      12m 25s
    42. 323 Masking mountains away from sky
      14m 22s
    43. 324 Creating a photographic caricature in Photoshop
      10m 7s
    44. 325 Exaggerating facial features with Liquify
      12m 48s
    45. 326 Masking a caricature against a new background
      11m 20s
    46. 327 Shading and sharpening a caricature
      10m 6s
    47. 328 Drawing a Möbius strip in Illustrator
      12m 21s
    48. 329 Shading the Möbius strip with gradients
      9m 0s
    49. 330 Adding twisting edges to the Möbius strip
      8m 9s
    50. 331 Creating an impossible Penrose triangle
      10m 37s
    51. 332 Shading the cubes in your Penrose triangle
      8m 15s
    52. 333 Selectively converting a photo to black & white
      7m 53s
    53. 334 Straightening and “uncropping” a photo
      16m 17s
    54. 335 Restoring a missing photograph detail
      11m 26s
    55. 336 Drawing a hand (clenched in a fist)
      11m 44s
    56. 337 Cleaning up a sketch captured with a phone
      6m 17s
    57. 338 Four hands united in brotherhood, solidarity, and teamwork
      12m 24s
    58. 339 Swapping out colors in existing gradients in Illustrator
      4m 37s
    59. 340 Select > Focus Area and the pseudo engraving effect
      12m 26s
    60. 341 Integrating 3D art into a 2D scene in Photoshop
      13m 41s
    61. 342 Creating a 3D shark in Photoshop
      11m 16s
    62. 343 Creating a 3D doughnut in Illustrator
      15m 23s
    63. 344 Creating a golden 3D ring in Illustrator
      10m 21s
    64. 345 Mapping Elven runes (or text) onto a 3D ring
      15m 57s
    65. 346 Hand-drawing custom-made letters in Illustrator
      19m 33s
    66. 347 Drawing letters with curves and holes
      15m 56s
    67. 348 Enhancing your hand-drawn text in Photoshop
      7m 20s
    68. 349 Mixing a low-color photo with Camera Raw
      11m 2s
    69. 350 Mixing a low-color photo with adjustment layers
      10m 7s
    70. 351 Saving your effect as a color lookup table
      5m 31s
    71. 352 Extracting a classic painting from its frame
      11m 35s
    72. 353 Extracting that same painting nondestructively
      7m 59s
    73. 354 Archiving and enhancing a child’s art
      10m 47s
    74. 355 Combining a child’s art with a real classic
      11m 5s
    75. 356 Developing the perfect sunset in Camera Raw
      9m 55s
    76. 357 Lush landscapes: The real green is yellow
      9m 7s
    77. 358 Painting away Camera Raw “Clarity halos”
      17m 7s
    78. 359 Selectively sharpening a stressed photograph
      16m 12s
  3. 17h 21m
    1. 185 Creating a custom 2013 calendar in Illustrator
      11m 44s
    2. 186 Adding dates to a calendar using tables
      9m 50s
    3. 187 Branding your calendar with a field of logos
      10m 54s
    4. 188 Crafting an Infinity symbol to match a specific font
      12m 6s
    5. 189 Op art experiment 1a: Inflated checkers
      10m 49s
    6. 190 Op art experiment 1b: Rounded windows
      6m 39s
    7. 191 Building a universal ISOTYPE man with strokes
      15m 6s
    8. 192 Building a universal ISOTYPE woman with strokes
      11m 7s
    9. 193 Drawing an ISOTYPE couple in love
      12m 55s
    10. 194 Creating a Warhol-style silkscreen effect
      14m 43s
    11. 195 Creating a series of Warhol-style variations
      10m 43s
    12. 196 Adding Warhol-style background variations
      8m 20s
    13. 197 Creating opaque colored shadows
      5m 20s
    14. 198 Assembling multiple variations into a single comp
      5m 9s
    15. 199 Creating a pattern of unique inset circles
      9m 55s
    16. 200 Changing a static blended color scheme
      7m 16s
    17. 201 Op art experiment 2a: Undulating pattern
      20m 26s
    18. 202 Op art experiment 2b: Concentric rings
      9m 43s
    19. 203 Developing a dramatic castle in Camera Raw
      13m 21s
    20. 204 Artificially coloring a photo in Camera Raw
      9m 38s
    21. 205 Creating an antique photo effect in Camera Raw
      7m 53s
    22. 206 Adding a weathered old-photo frame effect
      12m 0s
    23. 207 Drawing an Angry Birds-like character
      16m 59s
    24. 208 Stroking an entire layer in Illustrator
      9m 21s
    25. 209 Drawing a classic snarling cartoon face
      11m 10s
    26. 210 Drawing a radiant, cheerful cartoon background
      18m 29s
    27. 211 Stroking any kind of type in Illustrator
      5m 0s
    28. 212 Creating synthetic water droplets
      9m 29s
    29. 213 Simulating liquid reflections with effect
      5m 19s
    30. 214 Simulating liquid refractions with a dmap
      5m 30s
    31. 215 Creating an eye-catching splatter effect
      9m 8s
    32. 216 Defringing purples and greens in Camera Raw 7
      10m 4s
    33. 217 Making a danger sign more dangerous
      15m 9s
    34. 218 Using texture and depth to add realism
      10m 22s
    35. 219 Precisely aligning artwork to the bleed
      7m 16s
    36. 220 Creating and importing a tracing template
      6m 50s
    37. 221 Drawing a distinctive 2D video game character
      18m 52s
    38. 222 Adding features to the face of a 2D character
      14m 3s
    39. 223 Creating a vivid aura around an entire character
      7m 25s
    40. 224 Adding variable-width strokes in Illustrator
      11m 23s
    41. 225 Animating bird wings with Puppet Warp
      12m 15s
    42. 226 Animating text by onion skinning in Photoshop
      8m 0s
    43. 227 Creating an animated movie in Photoshop
      9m 15s
    44. 228 Exporting an animation to QuickTime and GIF
      5m 44s
    45. 229 Correcting an underwater photograph
      10m 30s
    46. 230 Making a photo razor-sharp and porcelain-smooth
      7m 17s
    47. 231 Reducing noise in a high-ISO shot with Camera Raw
      8m 33s
    48. 232 Creating highly reflective sunglasses
      10m 43s
    49. 233 Adding drama to an outdoor portrait shot
      6m 35s
    50. 234 Creating volumetric forms with shape layers
      15m 52s
    51. 235 Creating a bloodshot eye effect
      7m 11s
    52. 236 Shading an image with shapes and layer masks
      13m 2s
    53. 237 Creating fabric textures with pattern layers
      7m 27s
    54. 238 Colorize any layer with Color Overlay
      3m 23s
    55. 239 Turning a portrait into a dot drawing
      7m 40s
    56. 240 Creating a full-color dot drawing
      3m 29s
    57. 241 Drawing an orthogonal cube with the line tool
      7m 9s
    58. 242 Creating a cube of differently colored cubes
      9m 27s
    59. 243 Recreating the Creative Cloud Logo in Illustrator
      16m 18s
    60. 244 Creating a psychedelic fabric texture
      9m 7s
    61. 245 Turning psychedelic fabric into rock letters
      5m 23s
    62. 246 Creating a more finely rendered dot drawing
      8m 29s
    63. 247 Converting from RGB to CMYK via Multichannel
      12m 31s
    64. 248 Creating printer-safe CMYK shadows
      6m 48s
    65. 249 Creating bright, golden motion trails
      12m 32s
    66. 250 Creating schematic art with grid
      12m 41s
    67. 251 Drawing precisely aligned arrowhead
      12m 8s
    68. 252 Adding arrowheads around a closed path
      6m 1s
    69. 253 Drawing the Pen tool without touching the Pen tool
      17m 13s
    70. 254 Merging frames for the best possible UAV photo
      16m 40s
    71. 255 Retouching details in an aerial landscape
      12m 13s
    72. 256 Editing a video and adding transitions in Photoshop
      10m 57s
    73. 257 Importing the quadcopter crash sequences
      9m 4s
    74. 258 Color correcting a video and adding a soundtrack
      8m 56s
    75. 259 Adding precisely timed titles to your video
      11m 43s
    76. 260 Hand-painting an image with a Wacom Cintiq
      13m 11s
    77. 261 Blending the final false-color artwork
      8m 41s
    78. 262 Creating a honeycomb pattern in Illustrator
      12m 50s
    79. 263 Building up strokes to create 3D honeycomb
      9m 8s
    80. 264 Turning yourself into a zombie
      14m 0s
    81. 265 Enhancing an ambience environment for the undead
      9m 26s
    82. 266 Creating dripping, gooey ghost letters
      16m 43s
    83. 267 Turning type into gooey green slime
      11m 19s
    84. 268 Creating heavy metal type (updated for Photoshop CS6 and CC)
      12m 27s
    85. 269 Cleaning up a crummy product shot
      11m 3s
    86. 270 Scaling and rotating photographic objects
      10m 10s
    87. 271 Tracing a line drawing with uniform strokes
      11m 18s
    88. 272 Coloring line art using Live Paint Bucket
      18m 22s
    89. 273 Creating a pigture using shapes and letters
      18m 7s
    90. 274 Integrating a cartoon into a photograph
      7m 27s
    91. 275 Converting a photo into a Lichtenstein drawing
      16m 8s
    92. 276 Adding bring Ben-Day dots and a talk balloon
      15m 31s
    93. 277 Painting an eye using a custom brush
      11m 31s
    94. 278 Painting and smoothing straight-sided brushstrokes
      12m 0s
    95. 279 Simulating pressure with path outlines
      6m 3s
    96. 280 Developing a 32-bit HDR image in Camera Raw
      14m 42s
    97. 281 Converting from 32-bit to the more flexible 8-bit mode
      11m 15s
  4. 14h 31m
    1. 091 Removing people from a photo
      10m 44s
    2. 092 Masking people back into a photo
      10m 58s
    3. 093 Hand-painting a mask
      10m 5s
    4. 094 Masking a real-life shadow
      10m 40s
    5. 095 Turning a photo into line art
      7m 44s
    6. 096 Adding a crosshatch shading pattern
      6m 46s
    7. 097 Creating type that inverts anything behind it
      5m 32s
    8. 098 Creating auto-inverting line art
      5m 7s
    9. 099 Creating movie poster credits
      8m 10s
    10. 100 Creating a dual-focus hybrid image
      6m 24s
    11. 101 Adding text to a hybrid composition
      7m 24s
    12. 102 Drawing with the reshape tool
      10m 39s
    13. 103 Hand-drawing a really great letter
      10m 6s
    14. 104 Creating a vanity frame
      5m 28s
    15. 105 Adding a frame to a photograph
      5m 3s
    16. 106 Drawing a highly graphic explosion with Illustrator
      10m 3s
    17. 107 Drawing a Ninja Turtle nose
      10m 22s
    18. 108 Mapping a dog face onto a duck
      8m 20s
    19. 109 Putting a tongue on a duck
      7m 6s
    20. 110 Making synthetic lightning in Photoshop
      11m 3s
    21. 111 Creating a driving rain effect in Photoshop
      4m 57s
    22. 112 Designing a railroad track
      12m 18s
    23. 113 Bending the railroad track around curves
      7m 46s
    24. 114 Creating a Star Wars hologram effect
      9m 23s
    25. 115 Creating leafy letters
      6m 12s
    26. 116 Creating topiary type
      6m 22s
    27. 117 Creating type in grass
      9m 0s
    28. 118 Rendering type in smoke
      7m 30s
    29. 119 Rendering type in brushed metal
      9m 57s
    30. 120 Adding brushed copper effect
      4m 14s
    31. 121 Reflecting type in water
      10m 57s
    32. 122 Reflecting water back into type
      11m 14s
    33. 123 Joining type to a circle
      7m 14s
    34. 124 Making flared type on a circle
      7m 17s
    35. 125 Making a person emerge from water
      5m 32s
    36. 126 Creating progressive water ripples
      10m 17s
    37. 127 Creating an upside-down face effect
      10m 17s
    38. 128 Achieving silky smooth skin with retouching
      6m 33s
    39. 129 Pearly white teeth
      7m 28s
    40. 130 Head-shrinking
      8m 26s
    41. 131 Getting a big head
      5m 11s
    42. 132 Adding a photographic texture to vector type
      4m 28s
    43. 133 Adding strokes in back of photo type
      5m 9s
    44. 134 Adding a border to an image in Illustrator
      4m 17s
    45. 135 Two ways to crop in Illustrator
      7m 29s
    46. 136 Inventing a 3D temple with a depth map
      10m 0s
    47. 137 Drawing a 3D object with Curves
      11m 41s
    48. 138 Creating a superhero shield in Illustrator
      16m 28s
    49. 139 Turning Illustrator paths into Photoshop shapes
      11m 42s
    50. 140 Creating a photorealistic superhero shield
      12m 39s
    51. 141 Pimping your ride in Photoshop
      9m 59s
    52. 142 Masking and blackening a car
      10m 20s
    53. 143 Drawing a multi-part vector mask
      12m 46s
    54. 144 Masking and painting a shadow
      8m 26s
    55. 145 Integrating blades of grass into tires
      5m 34s
    56. 146 Making a (ridiculously) dramatic sky
      6m 2s
    57. 147 Adding flame stripes to a car
      8m 23s
    58. 148 Creating interlocking octagons in Illustrator
      7m 44s
    59. 149 Hand-coloring line art
      13m 9s
    60. 150 Creating a custom wave pattern
      9m 56s
    61. 151 Simulating a screen print
      8m 30s
    62. 152 Drawing a perfect linear spiral in Illustrator
      9m 42s
    63. 153 Drawing a spiraling nautilus shell
      11m 4s
    64. 154 Designing a hex pattern in Illustrator CS6
      11m 10s
    65. 155 Making a hex pattern in Illustrator CS5 and earlier
      7m 4s
    66. 156 Creating a Facebook cover in Photoshop
      9m 25s
    67. 157 Matching a profile picture to your cover
      6m 37s
    68. 158 Cloning yourself in Photoshop
      11m 16s
    69. 159 Lighting the clone party
      8m 29s
    70. 160 Hand-carving letters into wood
      8m 0s
    71. 161 Creating a Spirograph-like pattern
      7m 34s
    72. 162 Tracing scalloped gear teeth around a circle
      4m 55s
    73. 163 Applying custom carve and shadow styles to type
      8m 50s
    74. 164 Turning a pencil sketch into digital ink
      12m 55s
    75. 165 Adding a graph-paper background
      13m 42s
    76. 166 Creating a continuous single-line Spirograph
      13m 2s
    77. 167 Scaling circles into complex patterns
      7m 15s
    78. 168 Creating a money-like design
      8m 43s
    79. 169 Attack of the killer pumpkin
      14m 49s
    80. 170 Simulating a glowing Jack-o-lantern
      12m 24s
    81. 171 The headless stranger in the mist
      12m 25s
    82. 172 Creating 3D punched letters
      13m 29s
    83. 173 Designing a double-wave line pattern
      11m 2s
    84. 174 Assembling a seamless pattern brush
      9m 53s
    85. 175 Creating a hand turkey in Photoshop
      18m 42s
    86. 176 Creating a depth-of-field cast shadow
      7m 29s
    87. 177 Creating a lustrous round jewel
      13m 56s
    88. 178 Cutting and brushing light on a gem
      8m 30s
    89. 179 Creating a shiny button with inset text
      11m 5s
    90. 180 Creating a jaunty six-sided star
      15m 1s
    91. 181 Interweaving star shapes and adding gradients
      8m 28s
    92. 182 Casting shadows between interwoven shapes
      9m 12s
    93. 183 Creating a Hobbit-like text effect
      15m 6s
    94. 184 Enhancing a landscape photo in Camera Raw 7
      9m 16s
  5. 13h 11m
    1. 001 Creating ice type
      8m 39s
    2. 002 Branding type on a texture
      7m 6s
    3. 003 Creating an image-branding machine
      7m 13s
    4. 004 Capturing effects with layer comps
      7m 35s
    5. 005 Rendering type in gold
      8m 9s
    6. 006 Creating a hammered metal background
      5m 48s
    7. 007 Creating heavy metal type
      8m 13s
    8. 008 Creating a molten letter effect
      6m 43s
    9. 009 Setting type on fire
      11m 20s
    10. 010 Using an anti-edge mask
      7m 20s
    11. 011 Blending textures onto a face
      9m 28s
    12. 012 Rendering a face as a cave painting
      7m 34s
    13. 013 Creating a reflection in shattered glass
      8m 32s
    14. 014 Creating a face in a tree
      11m 20s
    15. 015 Building a synthetic star field
      8m 21s
    16. 016 Making 3D type with Repoussé
      10m 14s
    17. 017 Casting 3D shadows and reflections
      9m 35s
    18. 018 Adjusting 3D light sources
      10m 51s
    19. 019 Masking highlights and shadows
      6m 27s
    20. 020 Masking glass
      10m 39s
    21. 021 High key high contrast
      8m 33s
    22. 022 Simulating sub-pixel rendering
      10m 58s
    23. 023 Fixing chromatic aberrations in Photoshop
      9m 41s
    24. 024 Fixing chromatic aberrations in Camera Raw
      8m 51s
    25. 025 Correcting red-eye like a pro
      11m 56s
    26. 026 Turning a photo into an ink drawing
      10m 42s
    27. 027 Turning a photo into a pencil sketch
      8m 43s
    28. 028 Creating a seamlessly repeating pattern
      10m 56s
    29. 029 Repairing seams in a repeating pattern
      10m 47s
    30. 030 Creating a 3D pie chart
      11m 9s
    31. 031 Splitting and modifying 3D meshes
      11m 52s
    32. 032 Using the Ground Plane Shadow Catcher
      6m 58s
    33. 033 Creating a talk show-style curtain
      7m 57s
    34. 034 Assembling a flawless panorama
      10m 5s
    35. 035 Removing people with image stacks
      11m 44s
    36. 036 Creative stacking with Maximum and Range
      11m 44s
    37. 037 Creating synthetic wood grain
      9m 23s
    38. 038 Making slats of uniquely textured wood
      10m 52s
    39. 039 Kerning within a single character
      10m 31s
    40. 040 Creating a raised bevel effect
      11m 49s
    41. 041 Putting wings on a horse
      10m 41s
    42. 042 Creating a classic heart in Illustrator
      7m 15s
    43. 043 Glossing up a heart in Photoshop
      8m 42s
    44. 044 Shooting and assembling a stereoscopic photo
      8m 15s
    45. 045 Extending 3D beyond the screen plane
      6m 13s
    46. 046 Adding stereo 3D text and shapes
      9m 9s
    47. 047 Tilting text and shapes toward the viewer
      8m 13s
    48. 048 Creating a shooting star in Illustrator
      6m 33s
    49. 049 Using blends to draw path outlines
      8m 8s
    50. 050 Inventing custom starbursts
      7m 33s
    51. 051 Making a fictional creature
      12m 5s
    52. 052 Transforming a creature into a monster
      6m 14s
    53. 053 Capturing a monster in motion
      11m 45s
    54. 054 Changing the color of a car
      7m 12s
    55. 055 Painting a colorful car black
      8m 16s
    56. 056 Coloring the stripes on a zebra
      10m 47s
    57. 057 Drawing trendy swirls in Illustrator
      10m 59s
    58. 058 Creating variable-width and brushed swirls
      10m 46s
    59. 059 Drawing trendy ornaments in Illustrator
      8m 49s
    60. 060 Designing a magically updating pattern
      8m 40s
    61. 061 Automatically collapsing a selection
      7m 43s
    62. 062 Adding a magnifying glass into a design
      7m 5s
    63. 063 Healing one eye onto another
      7m 15s
    64. 064 Creating a giant command key
      9m 15s
    65. 065 Drawing common symbols part 1
      6m 29s
    66. 066 Drawing common symbols part 2
      9m 26s
    67. 067 Filtering images with Camera Raw
      7m 52s
    68. 068 Creating a vivid HDR effect
      5m 29s
    69. 069 Creating an ambigram in Illustrator
      10m 45s
    70. 070 Making a two-word ambigram
      7m 47s
    71. 071 Drawing a Halloween scareflake
      10m 45s
    72. 072 Creating true clones in Illustrator
      11m 7s
    73. 073 Taking your scareflakes into Photoshop
      7m 20s
    74. 074 Making a faux HDR image in Lab
      8m 38s
    75. 075 Turning a guy into a zombie
      7m 3s
    76. 076 Miniaturizing the world in Photoshop
      6m 45s
    77. 077 Creating a synthetic rainbow
      8m 53s
    78. 078 Casting an artificial shadow from a layer
      7m 2s
    79. 079 Rendering a portrait in type
      8m 58s
    80. 080 Rendering a portrait in tile patterns
      7m 43s
    81. 081 Rotating a pattern layer in Photoshop
      4m 16s
    82. 082 Tracing an image with path outlines
      7m 50s
    83. 083 Turning path outlines into a vector mask
      6m 0s
    84. 084 Drawing rays of light in Photoshop
      5m 40s
    85. 085 Drawing concentric glow rings
      7m 24s
    86. 086 Designing an Indiana Jones-style logo
      8m 50s
    87. 087 Achieving mitered corners in Photoshop
      5m 43s
    88. 088 Masking with Blunt Instruments in Photoshop
      11m 8s
    89. 089 Creating a stained-glass ornament
      8m 26s
    90. 090 Designing a stained-glass window
      10m 23s

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