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This course is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.
In this movie, we're going to retouch that aerial landscape that we created in the previous movie. And we're just getting rid of some details, and cleaning things up. So, I want this tree outta here. It's just interrupting the scene. And I want the mountains to be still warmer, and a little darker as well. And then, I want to take care of whatever's going on Inside this little region. And whatever it is it's really there because it showed up in all ten of those frames, but it doesn't look right to my eye. And we are going to end up with this I think improved effect here.
With the trees gone, this tree looks to be in a better shape and we have got the warmer mountain range. So suttle stuff, but meaningful I think. Anyway I am just going to switch back to my image in progress. And bring back my Layers panel and the first thing I'm going to do is double click on camera raw filter. Now you'll need Photoshop CC in order to pull this off. If you're working in CS6 or earlier you won't even be able to open this file. So I'll go ahead and double click on camera raw filter and you may get an alert message telling you that the smart filters that are stacked on top, which include of course.
Smart sharpen, you will not be able to preview them while you're editing the image and that's just fine, so click okay in order to enter Camera Raw. And then, just go ahead and zoom in on this tree down here. Which as I say I don't want, you can go your own way, if you like the tree, you know, you can keep it. And now I'm going to go up to the spot removal tool, which offers two really important advantages Over the static healing brush inside Photoshop. One, is that it's a dynamic tool. So, I can comeback and modify the results later.
And the other, huge advantage is that it will update automatically, if you change other parameters here inside camera. For example, if I adjust the distortion, then it will update and I will show you what that looks like in just a moment. The downside is that you've got to do your painting here in one fell swoop. So you've got to get it right the first time, or you're going to have to undo and try again because you can't go back and paint again inside of this region. And that's just a function of this version of the program, Adobe may end up taking care of that later.
But for now I've made it all around this tree, and it has kind of the shape of a silhouette. This being the nose over here, and here is the mouth and the chin and so forth. And the reason I mention this, is because not only is it a happy little thing, but it will also help you in trying to move the source for the cloning. Because I'm putting it over here, so that this little rock is kind of in the nose. Now, that may end up creating a kind of weird blemish inside the face. In my case, if I turn off the show overlay checkbox, you can see I've got this kind of inexplicable line, because it doesn't appear anywhere in this region.
So it must be something that's getting picked up. During the healing process here. In any case, that looks good enough, I can retouch this area independently. Now I'm going to paint over this junk up here like so. I can't see what I'm doing because I turned off the show overlay check box, so I'll go ahead and turn it back on. So remember that red is your destination. So you want to keep it where you painted it. And then green is your source so I'm going to go ahead and move the source to a better location such as that. And if I turn off show overlay which also has a keyboard shortcut of v.
Then we up getting a much approved effect I think. Now I'm going to reduce the size of my brush cursor by pressing the left bracket key a couple times. And I'll paint over this guy right there And it's not much of a problem really, although the way it's getting fixed is a problem. I can already see some repetition there. So I'll turn back on the show overlay check box. The green things, the one that you want to move. So go ahead and drag it to some place else that doesn't have a rock so that we don't have any, at least obvious repetition of detail.
And now, I go and zoom out just a little bit here. And I will turn off Show overlay, just for a moment. And I'll also turn off the Preview checkbox. And we can see a before version, there's the tree and the junk. And then turn it on again, and there's the after version. And you may question the fact that I'm leaving this rock right here. I like that rock, so that's just a personal preference on my part. All right, now I'm going to click OK. And you'll notice that, in addition to this scene, those things going away, did you see that just happen? The scene darkened up as well.
And so basically Camera Raw has just reappraised the scene. And that's based on the fact that I had applied Median, and then gone back to Camera Raw. And I promised to show you something I wanted to show you here. I'm going to double-click on the filter again. Click OK in response to the alert message. And now I'll go ahead and switch over to lens correction. And I just want you to see that if I decide to change the distortion, because there's so much barrel distortion in the scene, if I decide to bring it back for example.
And magnify the barrel distortion and then I'll switch to my spot removal tool and you can see that if I click on one of these guys the shape of this outline right there is actually changed and everything's moved in order to accommodate the new scene. So Camera Raw is actually smart enough to do that kind of stuff. It's just an amazing program. Anyway, I'm going to switch back to the Zoom tool. I'm just going to give it way more pincushion distortion now just so you can see things update in kind.
I'll cancel out though, because I was happy with what I had before. Alright, now what I want to do is warm up these mountains. And I'm going to do that with the help of the good old quick selection tool. Not really my favorite tool, but for this image, it's going to work best. And what you need to do is make sure that auto enhance is turned on. You always want that checkbox on, by the way. And in our case, we want sample all layers turned on as well. I'm going to create a new layer by pressing Ctrl + Shift + N or Cmd + Shift + N on a Mac, and I'm going to call this layer yellowish, and then I'll click OK.
And now I'm going to paint inside of the flat irons up here and into the forest as well. Now I don't want this forest down here, but I'll take care of that in a moment. And I'm going to paint out like this and I get more than I'm looking for. So now you have to painfully alt, drag, and this was why I say its painful because it doesn't always go the way you want it to. But we cant afford to have too much selected. We're better off having too little. So now paint up here in order to select that region. And the alt.
Or Option+drag here to deselect. And, of course, I don't want anything selected down in this region either, but I'll take care of that in a moment. This is a good starting point, I think. So I'll switch to my rectangular marquee tool. And I'll Alt+drag or Option+drag around these little marching ants that are flying around down here that I don't want selected, of course. And then I'm going to fill the selection here on the yellowish layer with yellow. And the yellow I'm going to work with is here inside the color panel. You could see I've got the HSB values available to me.
And that's because I've selected HSB sliders. And so I'm change the H value to 45 degrees and take the saturation up to 80% and take the brightness value up to 100%. and then, after I press the Enter or Return key, I'll press alt backspace, or option delete on the Mac, to fill that selection with the yellow, and then I'll press control d or command d on the Mac in order to deselect the image. And now we need to get this area over here, so I'm going to try to see if I can get it using the quick selection tool again. Obviously It's a time-saver compared to trying to do this with the magic wand or the color range command, both of which don't work all that well because we don't have much in the way of luminance distinction between the different color channels. So, what the quick selection tool does, in case you've ever wondered about where it comes from is, it's looking for edges.
So as opposed to looking for differences in luminance between the different color channels, which is what both the Magic Wand and the Color Range command do. It goes ahead and tries to find what it considers to be edges inside the image. All right. So I'm going to press Alt, Backspace or Option, Delete to fill that area. With yellow, and then I'll see if we can get this little area right there selected, that's going down a little bit too far. Part of the problem is, I'm going to press Ctrl+D, or Cmd+D on a Mac, to deselect the image. Part of the problem is that the tools can now see all that yellow.
I'll select the yellowish layer after I turn it on. And I'm going to change it to the multiple blend mode, I'll press the Escape key so the blend mode is no longer active and I'll press the two key to take the opacity value down to 20% and I actually think I' m getting away with it. I will go ahead and turn it off for a moment and then turn it back on. I'm not really noticing any bad edges there and it does. Subtlety enhance the appearance of those flat irons. All right, now let's take care of this smudge right there. And here's how we're going to do that.
We're going to zoom in on this tree right here. And I'm going to paint out like that with the Quick Selection tool and then press the L key to switch to the Lasso tool. And then Alt drag or Option drag on the Mac around here. In order to de-select that region so we just have this little tree. Then, I want you to go up to the select menu, choose modify, and choose contract. And change the contract by value to two pixels, click okay. It'll make them a little tinier. Then let's give them some softness by returning to the select menu, choosing modify, and chosing feather.
And this time I want you to give it a feather radius value of one pixel and then click okay. Now, what we want to do is pop this guy onto a new layer. So, go to the tin layer's layer, right there, the smart object, and press control alt J or command option J on the MAC in order to bring up the new layer dialogue box. And then, you want to change the name of the layer to tree and click okay. Now, I'm going to switch to the rectangular marquee tool, and I'm going to press the Ctrl + Alt keys, Cmd + Option on the Mac, and I'm going to drag this guy over to here, so the trunk right there fits into the base of whatever that thing is, like so.
And, that's going to duplicate the tree to the new location. It's a pretty obvious duplication at this point. Maybe we should do a little work on it. And the first thing I'm going to do is press the alt key or the option key on the mac. Click the black white icon at the bottom of the layers panel and choose the levels command. And I'm going to go ahead and call this guy brighten. And I'm going to turn on Use Previous Layer to Create Clipping Mask and click Okay. Then here inside the Properties Panel, you just want to go ahead and take the white point value down to 190 like so.
So it looks more like it belongs there or something. We also want him to look kind of greenish, more green than he is right now so he matches the trees that he's with. So go ahead and click on that tree layer to make it active, the top one. And you can rename it if you want to to keep them straight from each other. So I call this guy new tree and then presumably this guy would be old tree. It could also be fake tree and real tree. That would work. I'm going to click a new tree. Drop down to the FX icon and choose color overlay. I'm going to click inside the color swatch and then you can click inside one of these trees to lift its color but the very specific color I came up with has a hue value of 70 degrees a saturation value of 20% you'll see why I'm taking it so low in a second.
And a brightness value of 50%. And then click Okay, and now what you want to do, and this will really make things pop, is you want to change the blend mode from normal to overlay. And watch that tree over there, watch how much it changes when I apply that. And he looks like he's a lot more at home now. Click Okay in order to apply that change, and then finally what you want to do is press the 7 key In order to reduce the opacity of this tree to 70% so sort of blending in with that wreck of a tree and back of it.
And that's going to just make it appear a little more normal still very similar normal looking tree. I mean you can flip it and do some other things but I think that's good enough for now. I'm going to press the f key a couple of times, and zoom in on my scene as well. And that is the final version of my retouched aerial landscape, captured using GoPro Hero 3, along with the DJI Phantom Quad Copter.
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