Shooting a Mercedes-Benz SLS AMGThe photo shoot: process and approach| 00:12 | What we have today is a fantastic situation.
| | 00:17 | We've controlled the light, we've created
the perfect day, we've got a nice clean car
| | 00:22 | right where we want it, and
we can move all around it.
| | 00:26 | My background is actually photography.
| | 00:29 | I've been at Adobe for 13 years now,
all that time on the Photoshop team.
| | 00:34 | But prior to coming to Adobe, I shot cars.
| | 00:39 | Mercedes SLS, pretty exotic car, pretty dramatic, and
we've got really dramatic lighting here for it as well.
| | 00:45 | So what we are going to do is we are just
going to walk around the whole car and try
| | 00:48 | to learn as much as we can.
| | 00:50 | You know with a car, you've got a
lot of angles and curves.
| | 00:55 | If we were to shoot this outside, we would
have whatever happens to be outside reflected
| | 01:00 | all over the place.
| | 01:02 | We have a pretty busy background here, but the
light from above is very consistent and very even.
| | 01:09 | The ideal situation outside would be a
cloudy day where we have a big soft box.
| | 01:14 | I'm shooting digital, and there's a
certain tendency to think, I can always take care
| | 01:18 | of that in post, or if I don't
get it right, I can do it in post.
| | 01:21 | Couple of things to caution you on. One,
slow down just in general, whether I'm shooting
| | 01:26 | a car, or I'm shooting a landscape or
anything else, we all tend to sort of spray and pray.
| | 01:32 | The first thing I'd counsel is to
just really slow down and take it easy.
| | 01:38 | But the next part, of course, I think in Photoshop,
and as I'm walking around the car, I'm thinking
| | 01:43 | of things I can do in Photoshop.
| | 01:45 | I want to take it as far as
I can possibly take it here.
| | 01:47 | I want to do the most
interesting things I can do in camera.
| | 01:51 | I want the software part to be joyous.
I want to be enjoying myself.
| | 01:54 | So I don't want to try to do
things I forgot to do while I was here.
| | 02:03 | The approach here is going to be to start
with a wide-angle lens, and come around it.
| | 02:08 | Shoot above it, and then switch lenses, go
with something a little tighter, get in closer.
| | 02:12 | And then end with a macro and do all
these really interesting shots a bit up close.
| | 02:18 | One of the challenges of shooting up here,
and I normally wouldn't shoot up on a car,
| | 02:22 | but I've got to go indoors is I am going to get
the light above me, and that could be distracting.
| | 02:26 | It could look pretty artificial.
But you can get kind of creative.
| | 02:29 | So in that case, what I did is I focused on
the AMG, and I went with a shallow depth of
| | 02:34 | field, so that the doors are just a blur.
I know what the car is.
| | 02:39 | I can tell just by the
taillight that it's a Mercedes SLS.
| | 02:42 | All I need is a hint of the doors.
| | 02:53 | Now, I should say that I don't think
enough people shoot stabilized as they should.
| | 02:56 | It's very important.
| | 02:57 | It's especially important
if you're shooting video.
| | 02:59 | Something like a car?
| | 03:00 | Yes, absolutely, if this was the cover of
the magazine, and there was one particular
| | 03:03 | shot we wanted, we want to
make sure that we were stabilized.
| | 03:06 | But I'm moving around and getting to know
the car, and we are trying to get a lot of
| | 03:09 | different shots to learn what we like.
| | 03:11 | So, for right now, we just
want to be really light and fluid.
| | 03:14 | And even though I'm not shooting on a tripod,
I am doing my best to stay really stable.
| | 03:18 | Sort of the rule of thumb with the shutter
speed is you put a one in front of the number,
| | 03:23 | and you get that as close to your lens.
| | 03:25 | I am shooting with a 24 millimeter lens, and
I don't want to shoot in slower than 1/25th
| | 03:30 | of a second or 1/30th of
a second on this camera.
| | 03:34 | Now, having said that, being a
little further above that is great.
| | 03:37 | In my head I am thinking the lowest
I can go is about 25th of a second.
| | 03:41 | I want to be at a 60th or so, something like that.
| | 03:45 | Trying to remove lens blur or any sort of
camera shake later is very, very difficult.
| | 03:51 | I don't know how strong you are, but you
want to make sure you go with a higher shutter
| | 03:54 | speed for this because you're going to shake a
little when you get into these weird positions.
| | 03:58 | I think the other really
interesting thing about this car is the hood.
| | 04:02 | It's got this really long snout that
just extends for ever and ever and ever.
| | 04:06 | So I am already thinking with the wide
lens that I am going to exaggerate that.
| | 04:10 | I'm going to get dirty.
| | 04:11 | I am going to be laying on the
ground and shoot right up at it.
| | 04:20 | So with the ladder here, I've got a lot of
choice when it comes to how high up I am,
| | 04:24 | but my perspective is changing at each step.
| | 04:27 | So I need to make sure I've got the height
and the perspective that I want, which probably
| | 04:30 | means I am going to move the ladder
five or six times, which I already have.
| | 04:34 | Get an odd perspective, get an insect's
perspective, get a bird's perspective, but try not to stay
| | 04:39 | stuck at 6 feet high.
| | 04:47 | One thing I am being really careful of
here is to give some air between the bottom of
| | 04:52 | the door, and the trunk in the back.
I don't want them to blend together.
| | 04:56 | I want some concrete ideally some
yellow line to come through there.
| | 05:00 | So I really get all of the
individual pieces of the car.
| | 05:11 | I am setting up to do an HDR shot of this car.
HDR, High Dynamic Range, also called 32-bit.
| | 05:17 | Essentially, the idea here is that if I were
to look down there at the grill, my eye can
| | 05:23 | pick up all the detail in that, and then if
my eye were to shoot up to the light source
| | 05:27 | there, it could pick up all the detail
there, and it can average out both of those.
| | 05:31 | My eye has tremendous dynamic range.
| | 05:33 | I can see all sorts of information and my brain
can process it, so that I can tell what's where.
| | 05:38 | The camera doesn't see like that.
| | 05:39 | It can see the highlights or the shadows or
more often than not somewhere in between,
| | 05:44 | and you've got one image that you need to massage
to pull out the shadows and pull down the highlights.
| | 05:49 | So one way around this is to do an HDR image,
using three or more exposures, we are going
| | 05:55 | to combine them together so we can
get something like what our eye sees.
| | 05:58 | But there are a few things you want to
make sure you do when you're shooting HDR.
| | 06:01 | Photoshop has the ability to
deghost and align your images.
| | 06:05 | So technically, you can shoot without a tripod,
but you're always going to get better results
| | 06:10 | always with a tripod.
| | 06:11 | One of the tips I'll give you here is my
center focus ring and all of my outside focus points
| | 06:17 | for my auto-focus, they're
on a big blank hood there.
| | 06:20 | They don't have any focus to grab.
I want the focus on the front of the car.
| | 06:25 | I wanted emblem on the front, and then
to gently fall off into the background.
| | 06:30 | So that's why I need to go to manual focus.
There are two ways to do it.
| | 06:33 | I've flipped up the mirror so I can look at
it, and I can see what the camera is seeing,
| | 06:37 | and I am zoomed in tight, or you could
take a picture, a test shot and zoom in.
| | 06:41 | So the other thing to know here is when we
are shooting HDR, you want to make sure that
| | 06:45 | you shoot at least one stop under and one
stop over, and you do that with the wheel
| | 06:50 | on the back and your exposure compensation.
| | 06:52 | But I'll also go kind of crazy, and I'll go more
than two stops under and more than two stops over.
| | 06:58 | I recommend doing it in Manual mode and the
reason for this is you have more latitude.
| | 07:04 | You can go further, over and under. And the
other reason is you don't want to switch your
| | 07:08 | aperture, you don't want to switch your f-stop,
because what's going to happen is when you
| | 07:11 | merge your photos later, they're going to
be focused on different areas, and that's
| | 07:16 | where you're going to get that ghosting.
That's where it's going to look all funky.
| | 07:19 | So either do it in TV shutter
priority or do it in Manual.
| | 07:24 | Manual gives you a little more control.
| | 07:28 | Three stops under, two stops under, one stop under.
Just as the meter sees it, one over, two over, three over.
| | 07:42 | Okay, so let's take a look here.
We've got a shot that's completely overcooked.
| | 07:47 | Tons of light, it looks, like someone is
shining the sun on the front of the car, and
| | 07:50 | we've got every single detail and the shadows.
| | 07:52 | And as we pull back down here, we see that's
about what the meter saw, and as we go darker,
| | 08:00 | we see all the detail and
the highlights popping out.
| | 08:04 | We've got tons of detail, and we are going to
combine all those together and come up with a nice HDR.
| | 08:12 | I want to get something similar to what
my eye sees normally, and that's a 50.
| | 08:16 | So I put on a Zeiss 50 here.
Usually, I'd use lens like this for video.
| | 08:20 | It's really great for that, but it also gives
me a really nice bokeh, so I can do some nice
| | 08:24 | shallow depth of field and get
some really interesting shots.
| | 08:27 | With this one, I might overcook it a little,
because I am sitting down low, and I want
| | 08:30 | to see some of the more detail and the grill.
| | 08:33 | I can always pull the highlights down later,
but I want to make sure I get the shadows now.
| | 08:36 | So I am going to overexpose by about a stop.
| | 08:39 | I think a successful image here at the end is
going to be something that not only surprises
| | 08:43 | someone who looks at the photograph,
but hopefully the photographer too.
| | 08:51 | As you switch lenses, you start being a
little more challenged, but you also start coming
| | 08:55 | out with more unique perspective.
| | 08:56 | So, as I am getting in closer to the car
just putting on the 50 here, it's pulling
| | 09:00 | me in closer, and it's showing me details
that I saw in a much wider perspective before,
| | 09:05 | and now I am looking at them more closely.
| | 09:07 | Sometimes, when you hit sort of a creative
roadblock, get further away, get closer, get
| | 09:11 | above it, change your perspective.
Changing lenses is a really good way to do that.
| | 09:17 | This particular lens, it's pretty high contrast.
| | 09:20 | One of the things that it loves is all the
detail and the sharpness with events and whatnot,
| | 09:27 | but also that color.
That red is really going to pop.
| | 09:33 | Okay. So, we switched to the macro here,
the 100 macro, it's great lens.
| | 09:37 | You can get in just ridiculously close, really
fun for abstracts, great for car photography.
| | 09:43 | I think the toughest thing about it is you
pick up every single little piece of dust too.
| | 09:47 | So, wandering around with a rag, wiping
things off before you shoot them as you shoot them
| | 09:51 | is going to save you a
lot of time and post later.
| | 09:55 | The key to any photography that's even somewhat
abstract, which if you're not taking a picture
| | 09:59 | of the whole car, it is kind of abstract is to
latch on to texture or lines or contrast or shape.
| | 10:06 | The car has got a ton of that.
| | 10:08 | It's got a ton of lines and
curves, and we want to accentuate it.
| | 10:12 | The hood emblem kind of gets lost when we're
shooting it with the 24, but when you shoot
| | 10:16 | it up close with the macro, you get that it
has three dimensions that it comes right out
| | 10:21 | of it, there is shadow, and
there is form, and it triangulates.
| | 10:24 | You can really see all the details in it.
It's really a beautiful part of the car.
| | 10:35 | The key with any of this is
you're trying to tell a story.
| | 10:37 | You're either trying to make
something dramatic or interesting.
| | 10:40 | In the case of car photography,
you're trying to say what the car is about.
| | 10:44 | So I don't have a ton of options for my own.
I am not sitting behind the driver's seat.
| | 10:48 | I don't want to sit in someone else's car,
but just focusing on a 240 mile per hour
| | 10:52 | speedometer tells me a whole
lot about the car right there.
| | 10:55 | With a RAW file, you have
a lot of latitude in post.
| | 10:58 | I can pull out information
I can't pull out right now.
| | 11:00 | So what I'm doing in this case is I am under-exposing
it, a full two stops to get the shutter speed I want.
| | 11:06 | I want it to be sharp.
| | 11:07 | I can't buy back the
sharpness if I get lens blur yet.
| | 11:12 | So, what I'm doing is I am robbing it of light, and
I'm going to introduce the light in Lightroom later.
| | 11:18 | I've got about three stops in either
direction in the software, and I can bring it back,
| | 11:22 | and you'd never know differently.
| | 11:23 | So remember, that's one of the
things you can lean on in post is light.
| | 11:31 | I mentioned before that there is a
tendency to shoot too much, and shoot quickly, but
| | 11:35 | the other side of that is when you have a
lot of data, you have a lot of options, and
| | 11:38 | you can do a lot of interesting things in post.
| | Collapse this transcript |
|
|
Processing Photos from the ShootLightroom workflow| 00:01 | I want to show you guys all this stuff in
Photoshop, and I want to give you the full
| | 00:04 | breakdown of all these features that are
relevant to photographers, and I'm going to do that.
| | 00:08 | But it's tricky to take a beautiful, clean,
perfect car, perfectly lit, and turn it into
| | 00:16 | your, here's what to do when
you've got bad a photo file, right?
| | 00:20 | But you do, looks great! So what I'm going
to do is I'd show you guys how we got here.
| | 00:24 | Would that be interesting to sort of
deconstruct this file and build it back up again?
| | 00:29 | And I'll walk you guys all through what I
did here, and then I'll show you a couple
| | 00:34 | of things in context, but I'll take you
through some of the new features in Photoshop.
| | 00:38 | So, for doing this, what I'm going to do
is I'm going to do it all in Lightroom.
| | 00:42 | Lightroom has feature parity
with Camera Raw and Photoshop.
| | 00:46 | They both have the exact same features, they have
the same engine, they're designed to work the same.
| | 00:51 | The interface is different, but
all of the controls are the same.
| | 00:54 | So everything I'm going to show you here in
Lightroom 4 it's exactly the same in CS6, in Camera Raw.
| | 01:01 | I am shooting RAW. I can't see you guys super
well because you're in the dark, and I'm not.
| | 01:05 | But just show in hands, how many
people shot RAW today?
| | 01:08 | Okay, I'd say three-quarters.
| | 01:11 | That's great! So main advantages, and I
know I talked to some wedding photographers.
| | 01:15 | JPEGs, yeah, you get more space on your card,
and the shot looks more like what you saw,
| | 01:23 | and it can at times be more consistent even.
| | 01:25 | The advantages to RAW are that you can
adjust the exposure and the color temperature with
| | 01:31 | much more control because it
hasn't been flattened all together.
| | 01:34 | The color channels are still separate.
So you have access to a lot more data.
| | 01:37 | Furthermore, it's not compressed, so it
is the best possible version of your image.
| | 01:43 | I saw a lot of really expensive toys out there,
shooting L-series glass, or shooting fancy
| | 01:48 | Nikon glass or Leica stuff,
and then shooting JPEGs.
| | 01:53 | You're losing a lot of that quality
that you have in your lens and your camera.
| | 01:56 | So yeah, I'm going to--in situations like
this, I'm absolutely going to shoot RAW.
| | 01:59 | There are times when you shoot JPEG.
| | 02:01 | All the guys I know who still shoot motorsports and
shoot on the track, they don't have time to shoot RAW.
| | 02:06 | They need the camera to recycle immediately,
they need to be able to do big bursts, they
| | 02:11 | need to be able to fill those cards, and later
that day, they need to be able to shoot high-res
| | 02:15 | files up really quickly to somebody else.
| | 02:18 | So it's a JPEG workflow.
A lot of people in the press shoot JPEGs.
| | 02:22 | So, quick show of hands, how
many people are using Lightroom?
| | 02:26 | Okay, about half of you.
| | 02:28 | So again, for those of you using Photoshop, this will
still apply to you, and I'm going to step you through it.
| | 02:34 | So I'm going to open this image here,
I'm going to go into the Develop module.
| | 02:38 | This would be the same as just
opening a RAW file into Photoshop.
| | 02:41 | And remember, if you wanted to open a JPEG
file for the sort of, I think there are ten
| | 02:46 | of you that weren't shooting RAW, you can
just go into Photoshop--and it's okay, it's all right!
| | 02:50 | It's okay if you're shooting JPEGs.
You can go into Camera Raw > Preferences.
| | 02:56 | In Photoshop, you just go like this, you come
down here to Photoshop > Preferences > File Handling,
| | 03:04 | and right in here, you
have Camera Raw Preferences.
| | 03:09 | And with those, it says,
Automatically open all supported JPEGs or TIFFs.
| | 03:13 | That's how you get Camera
Raw to open non-RAW files.
| | 03:16 | But we've got a DNG here,
we're going to work with that.
| | 03:19 | Now, I've got a bunch of presets on
the left, and I've got my history too.
| | 03:24 | Every single thing you do in Camera Raw or
in a RAW file coming through into Photoshop,
| | 03:30 | it's all nondestructive.
| | 03:32 | Everything that we're doing in here is
always on the original, and it's just a way of us
| | 03:36 | remembering your settings.
| | 03:38 | It's just, really it's a little text file
that says this is how the sliders move.
| | 03:42 | There's no notion of Save
As or anything like that.
| | 03:45 | So the first thing I'm going to do--which is
always a little scary when you get an image
| | 03:48 | looking the way you want--
is I'm going to reset it.
| | 03:50 | I'm going to take it back.
This is how it came off the camera.
| | 03:52 | This is what it looked like.
| | 03:54 | So for those of you guys kicking yourself saying my
images didn't look anything like that, what's wrong?
| | 03:59 | It's okay, neither did mine.
It didn't look anything like that.
| | 04:01 | I shot a lot yesterday.
| | 04:02 | It turns out something like this which
looks kind of hot to me, ended up--and by hot, I
| | 04:07 | mean overexposed--ended up
being a good file to use.
| | 04:12 | So one of the things I like about Lightroom
is to just dismiss the UI that I don't need.
| | 04:16 | You hit that little triangle on the side.
| | 04:18 | You want to see as much
of your image as possible.
| | 04:21 | You really want to look at it closely.
| | 04:22 | If you click on the image, you can come in there and
confirm that your focus is where you want it to be.
| | 04:26 | These 5D II files take a second to load.
| | 04:30 | And what we're going to do is we're
just going to walk top to bottom down here.
| | 04:34 | You can use the Eyedropper tool.
| | 04:37 | The thing that I'll tell you about setting
the white balance with the Eyedropper tool
| | 04:40 | is you don't just have to select white, you
can select--people think white, white balance--
| | 04:46 | you actually don't want to select white.
| | 04:47 | You want to find something neutral.
This shot is full of neutral things.
| | 04:51 | So you can do black, you can
do gray, concrete works well.
| | 04:55 | In some cases, the car might work well.
| | 04:58 | But in this particular case, silver actually
looks pretty close to what it is but I want
| | 05:01 | to warm it up a little tiny bit, and then
what I'm going to do is I'm going to back
| | 05:06 | the Exposure down a little bit.
| | 05:08 | I mentioned earlier that there's
a lot of latitude in a RAW file.
| | 05:13 | You've got three, three and a-half
stops in either direction.
| | 05:16 | For those of you who come from the film days,
if you were shooting chrome or transparency,
| | 05:20 | you had like a third of a stop, you had
to nail it, you had to get it just right.
| | 05:25 | With digital, you have a
lot more room to play around.
| | 05:27 | I'm going to introduce some contrast.
| | 05:29 | This is going to make a lot more sense in
a second when I start brightening this up.
| | 05:32 | Now, what we're going to do--and this is a
huge change in Lightroom 4 and Camera Raw 6--
| | 05:37 | is we have access to highlights
and shadows that we didn't have before.
| | 05:41 | So the first thing I want to do is brighten
a bunch of that shadow area there, and then
| | 05:46 | I'm going to pull down some of the highlights.
| | 05:48 | Now, I'm purposely going for a very
dramatic sort of crunchy look to this image. Okay.
| | 05:54 | I'll pull those highlights down.
| | 05:56 | Usually, about this time, I'll
finesse the Exposure a little bit.
| | 06:01 | So now, I might pull that back up a little bit.
| | 06:06 | It's okay if it looks a
little too bright in the center.
| | 06:09 | You'll see where I'm
going with this in a second.
| | 06:11 | Now, I'm going to come down, and I'm going
to introduce a lot of clarity, and clarity
| | 06:15 | is midtone contrast.
| | 06:17 | We used to call this punch.
That's what makes it start to really pop.
| | 06:21 | You can just see immediately it's
taking on a different personality.
| | 06:25 | I like to use a lot of vibrance because that's
going to boost colors without pushing them out of gamut.
| | 06:31 | That's intended for skin
tones and things like that.
| | 06:35 | Just to give you an idea, I'm going
to zero that, I can double-click it.
| | 06:38 | If I hit Saturation, it's going to
take on this completely artificial look.
| | 06:44 | So, what I'll do is I'll use Vibrance
which doesn't push things too far out, and then
| | 06:48 | I'll back Saturation down a little bit, and
you get just the colors you want popping and
| | 06:55 | starting to sort of get the orange in
the front and the yellow lines there.
| | 06:59 | We're starting to get somewhere here.
| | 07:00 | Now, if we wanted to play around with
the individual tone curve here, we could.
| | 07:04 | This part can be pretty intimidating.
| | 07:05 | So, I'm just going to
speak really briefly to it.
| | 07:08 | There's a few different
ways to do curves in here.
| | 07:11 | You can grab it by points, and
you can wrangle it around like that.
| | 07:14 | Now, you guys are probably pretty seasoned
users, but the notion of setting an exposure
| | 07:19 | by wrangling a straight
line is not very intuitive.
| | 07:21 | I'll be the first person to admit it.
That's not an intuitive interface.
| | 07:25 | So, we've wired it to four sliders.
It's called parametric curves.
| | 07:31 | We make it easier, and we
give it a really scary name.
| | 07:34 | But the idea here is you don't have
to understand curves to use this stuff.
| | 07:38 | So, if I want to pull those highlights
down a little, I can just do that there.
| | 07:42 | I think the most powerful way to do
curves is with this On-image tool here.
| | 07:46 | If you guys don't know about
this, this is a really good one.
| | 07:48 | You just click on this little guy right here,
and I don't need to think in terms of highlights,
| | 07:52 | or lights or shadows, you'll notice wherever I'm
putting the cursor, it's auto-selecting the right area.
| | 07:58 | So, if I want that really bright area to come down,
I just click on that, and I pull down a little.
| | 08:04 | That's going to do that.
| | 08:05 | Now, everything we do in Lightroom is global.
Everything we're doing is to the entire image.
| | 08:10 | When we go into Photoshop, that's
when we can do more specific edits.
| | 08:12 | But I'm going to show you guys how to
get that look just in Lightroom here.
| | 08:15 | So, I just did a little bit in tone curve. I
didn't want to focus too much on tone curve.
| | 08:19 | I do think the ability to adjust individual
colors, especially in there, is really cool.
| | 08:25 | It's a fun car to shoot because there's
not really a lot of color, but the color that
| | 08:30 | there is really comes through, the red in the
interior--I'll show you a shot in a minute--just pops.
| | 08:36 | So you can desaturate the whole thing and
just have the red interior shining through.
| | 08:40 | So I can come here, and I can say, yeah, I
want that red to be a little bit brighter.
| | 08:46 | I want that sort of distracting orange in
the foreground to be a little bit darker.
| | 08:50 | I want the yellow lines in there to be a bit
brighter, and I can do the same thing with saturation.
| | 08:55 | I want that red saturated, I want the
orange a little bit, and the yellow a little bit.
| | 09:00 | And if I want to take out, you wouldn't think
that there would be aqua and blue and purple
| | 09:04 | in here, but there is in the headlights.
There's a lot of that stuff.
| | 09:07 | There's a lot of weird colors you
pick up with the plastic there. Okay.
| | 09:13 | So, we're going to ignore split toning,
and black and white, but if we wanted to make
| | 09:18 | black and white, it's as simple as just
hitting that there and playing around with it.
| | 09:23 | More often than not, what makes a good color image
is going to make a nice black and white image as well.
| | 09:28 | I'm not going to talk about sharpening here.
I don't do a lot of sharpening in Lightroom.
| | 09:31 | Photoshop is a much more
powerful place to do sharpening.
| | 09:36 | Don't sharpen in your camera.
That's all I'll tell you about that.
| | 09:39 | Sharpening, color management, and a few
other things are like politics and religion.
| | 09:45 | You've got to be really careful.
This is not lunchtime conversation.
| | 09:50 | People get really steeped in their ways, and
then really upset when you start talking about
| | 09:55 | these things because it conflicts
with how they want to do it.
| | 09:59 | I think it's pretty safe to say you have more
control doing sharpening in software than in your camera.
| | 10:06 | But for now, I'll just leave that.
I'll leave a tiny bit turned on there.
| | 10:11 | I am going to do lens correction, and so
let me just talk about what's happening here.
| | 10:17 | So, I'm shooting with a great lens.
I'm shooting with a 24 1.4 L-series lens.
| | 10:24 | Not my lens, I borrowed it, one of the
many perks of working on the Photoshop team.
| | 10:29 | And we profile all this stuff.
| | 10:31 | We've got all the lenses because we profile
them all, and in profiling them, we're able
| | 10:35 | to take out distortion which even in a prime
lens like that, you can see, watch the windshield.
| | 10:42 | There's a little bit of stuff going on there.
We're mainly seeing the vignetting coming out.
| | 10:47 | There's a lot of fallout in the
corners that we're cleaning up.
| | 10:51 | But we're doing a few things, we're taking
out a little bit of distortion, there's a
| | 10:54 | lot of distortion in the iPhone, a lot of
people shooting with the iPhone, it's actually
| | 10:57 | a great camera, I shot with it a ton yesterday,
but there's a lot of distortion on that little lens.
| | 11:02 | It's trying to do a lot of things.
| | 11:04 | We're taking out distortion, we're taking
out vignetting which is the fallout in the
| | 11:08 | corners--which is kind of funny
because I'm about to put it back in.
| | 11:12 | We're taking out chromatic aberration, which
is a really nerdy word for color fringing.
| | 11:17 | You've seen chromatic aberration when you
point you camera towards the sky, and you
| | 11:21 | see like power lines, and
there's a colored fringe on it.
| | 11:25 | You guys have probably seen that before.
| | 11:27 | That's because the information is
hitting the sensor, and it's not quite aligned.
| | 11:31 | They're just a little bit out of alignment,
and so we're able to remove that automatically.
| | 11:34 | If I were you guys, I would just check this
check box every time you pass files through
| | 11:40 | Camera Raw or Lightroom,
automatically take out the lens distortion.
| | 11:43 | We're cleaning up a lot of stuff there.
| | 11:45 | Then what I'm doing, and this is really
where the attitude of this file comes in is
| | 11:49 | I'm going to throw a pretty heavy vignette.
| | 11:52 | I'm going to pull it in, I'm going to
feather it quite a bit, and then I'm going to back
| | 11:59 | down the midpoint of that.
| | 12:02 | So yeah, I'm in a warehouse, I
wanted to feel like I'm in a warehouse.
| | 12:05 | I want it to be kind of dark in there, to
be somewhat hot light right in there, and
| | 12:10 | feel like there's this gorgeous car in
the middle of this gritty, dirty warehouse.
| | 12:14 | You can go back in, and you can tweak it from
there, and every single time I do this, I'll
| | 12:18 | get an image that's a little bit
different than the one that I started with.
| | 12:21 | But that's way different
than what we started with.
| | 12:24 | Now, what I'll normally do is once I've gotten
to this point, I'll save an image as a preset.
| | 12:30 | So I saved a preset yesterday.
| | 12:32 | We'll see how much different it
is than this one. It's hotter.
| | 12:37 | The only difference between that image and the
one we just did is we played with the tone curve.
| | 12:42 | I didn't play with the tone curve yesterday.
So, pretty consistent.
| | 12:45 | I went through that last night, and I was
pretty consistent with what I did today.
| | 12:48 | I encourage you once especially in
controlled lighting, once you've taken all the time to
| | 12:53 | get that wherever you want it to be--and
you guys might want a different aesthetic--
| | 12:57 | it's a little darker on
that screen than it is on mine.
| | 13:00 | But once you've gotten it to where you want
it to be, save that preset, use that later.
| | 13:04 | It's controlled lighting.
| | 13:05 | Don't go through the same work
again and again and again and again.
| | 13:09 | So when you're over here just come in and
name that whatever you want, SLS2, and now
| | 13:17 | you've got that look, and you can
apply that look to other things.
| | 13:21 | And you might find sometimes that applying
that look to a totally different image might
| | 13:25 | give you a surprisingly cool result.
| | Collapse this transcript |
| Following up in Photoshop| 00:00 | So I mentioned before that it kind of
calls out to be shot in black and white.
| | 00:06 | It's such a beautiful car. It's so dramatic.
And it's kind of monochromatic as it is.
| | 00:12 | So it's really fun to shoot black and white.
| | 00:15 | The other one that I thought of right away
that I wanted to do is I wanted to shoot a
| | 00:17 | black and white with just
that red coming through.
| | 00:20 | So I want through, and I desaturated everything
except for the red, and I bumped the red just,
| | 00:24 | because it's a neat color in there.
| | 00:27 | One of the great things about shooting in
that warehouse there wasn't a lot of color.
| | 00:31 | There is just the yellow stripes on the ground there,
and there is a little bit of red on in the interior.
| | 00:37 | Pretty similar to the other one.
| | 00:40 | This is that thing I was talking about when
I was in there is you can't shoot from down
| | 00:43 | low and try to forget that you're
looking at a soft box above you right.
| | 00:48 | That was a big challenge
when you get low on the car.
| | 00:50 | I saw that everyone was getting low, which
is great, but one of the challenges is it's
| | 00:54 | like, okay, this a great perspective, but
I've got this very artificial ceiling about me.
| | 00:58 | But if you shoot it shallow, your eye is
still going to figure out that you're looking at
| | 01:02 | gull wing and the ceiling
becomes kind of irrelevant.
| | 01:05 | It doesn't really look like a soft box.
| | 01:07 | It just looks a big white curtain or something.
It's not the focus of the image.
| | 01:12 | I had the opportunity to
get on ladder yesterday.
| | 01:15 | I wish I could have gotten all of you guys
on a ladder today, because that's when you
| | 01:18 | really can tell the perspective of the doors
and whatnot, and you can get up there and see it.
| | 01:23 | It's pretty cool.
| | 01:24 | The other thing that's neat about up there
is the yellow on the floor really jumps out,
| | 01:28 | and you really get a sense of that.
| | 01:31 | These shots from dead-on remind me of the
original, they remind me of the old one,
| | 01:35 | and you see a lot of those images in there.
| | 01:38 | Eventually, I played around
with the macro lens and came in.
| | 01:41 | I put this one in here so that we can retouch when we
go over to Photoshop and try to pullout this guy here.
| | 01:47 | One of the challenges of shooting
cars is what to retouch and whatnot to.
| | 01:52 | I think that stickers are fair game.
| | 01:53 | Anything you can pull off with your
fingers are fair game in software.
| | 01:57 | So I'm not to feel bad about
pulling that out of the image.
| | 02:00 | I think a car magazine would do the same thing.
| | 02:03 | That's probably some government mandated
sticker that I'm not allowed to remove like the tag
| | 02:06 | on a mattress or something, but
we'll talk about it anyway in a second.
| | 02:11 | This is just one
perspective you guys didn't see.
| | 02:13 | Today this was us setting up and going upstairs
yesterday and playing around with it
| | 02:18 | and what I did with those is I
desaturated everything except for the yellow.
| | 02:20 | And that's easily done in Lightroom.
| | 02:22 | So to talk about some other things
we do in Photoshop with some of these.
| | 02:26 | Some of the first things that come to mind.
| | 02:28 | So this image right here. This is a fantastic
candidate for going over there and pulling
| | 02:33 | that line out that comes
right in front of the screen here.
| | 02:37 | I can leave this one here, but this one's
really distracting, and I'll show you guys
| | 02:40 | a trick for pulling that out in
Photoshop with the Spot Healing Brush and a path.
| | 02:45 | Really, really handy way to do that.
| | 02:48 | Cleaning up artifacts in a car--let's just a
pull one of these over into Photoshop like this.
| | 02:55 | So let me make sure this
is as it was, and it is.
| | 03:00 | I'm going to double-click on my Zoom
tool to come in here. We are in CS6 now.
| | 03:05 | I've got a bunch of stuff to show you guys
here, but I think that the handiest stuff
| | 03:10 | in here with the car is
things like the Spot Healing Brush.
| | 03:14 | A cool trick if I hit Ctrl+Option or Ctrl+Alt
on Windows, I can resize my brush on screen.
| | 03:21 | I'll pull it left to right, and
I'm doing the size of the brush.
| | 03:24 | I'll pull it up and down.
I'm doing the density of it, right?
| | 03:28 | So just giving myself a normal sized brush,
and I can come in here and just start cleaning
| | 03:35 | up the car, or I can start come in
here and taken out all the little marks.
| | 03:41 | But you can come in, and
you can pick this stuff up.
| | 03:44 | With something like that sticker I haven't
really played around with this yet, but the
| | 03:47 | way I would do it is I'd select it.
I'd use the Quick Select tool.
| | 03:52 | I believe that if you name something quick
or smart or auto people will assume that they
| | 03:57 | are quicker, smarter, more manual,
and they won't use it. It's true.
| | 04:03 | I found this out the hard way.
| | 04:05 | But the Quick Select tool is a very
powerful way to make a selection in Photoshop.
| | 04:09 | Once I've done that, I could expand that just
a few pixels, and let's see what happens there
| | 04:16 | if we ask content or fill to remove that.
Yeah, it does a pretty good job.
| | 04:22 | It just looks around at all the neighboring
pixels, and it says fill this area with everything
| | 04:27 | that's outside and blend it in with that.
| | 04:30 | Now in a minute I'll talk about some of other
changes to that in CS6, but we've actually improved
| | 04:35 | that algorithm in CS6. Content-Aware Fill
is great for removing lens flare.
| | 04:39 | I know yesterday I was trying to shoot with
a hood on as much I could, but at one point
| | 04:44 | I had the macro, and I didn't have the hood
on, and later I came in and there were some
| | 04:47 | lens flare, Content-Aware Fill is
great for taking lens flare out.
| | 04:50 | It's almost impossible to
get out of a shot otherwise.
| | Collapse this transcript |
|
|
Bonus Chapter: Photoshop CS6 Enhancements and Hidden GemsMeet the new interface and background save| 00:01 | So how many of you guys pulled down the
Photoshop CS6 Beta? Free public beta?
| | 00:06 | Okay, 10%-15% you guys.
We're all inundated with information constantly.
| | 00:13 | You guys probably like what are you
talking about there is public beta Photoshop CS6?
| | 00:19 | There was a free download of Photoshop CS6
Public Beta, and we did that for a little
| | 00:25 | while, it's going to be available soon.
I think we might even be giving away some CS6.
| | 00:30 | Everything I am going to
show you guys now is new in CS6.
| | 00:34 | I'm in a sort of break context with a lot
of this, again, because I don't necessarily
| | 00:37 | have ideal studio shots that port well to
showing you these features, but I'll walk through them.
| | 00:42 | The first thing you'll notice is that Photoshop
has a dark interface and to just to talk about
| | 00:46 | why that is so that you have a more immersive
experience so that your focus is on the image
| | 00:53 | and not on the interface around it.
That's why video applications do that as well.
| | 00:58 | We can change the interface. If you need
the utmost color accuracy, you can go back to
| | 01:03 | the way things were.
| | 01:06 | And the first thing does is it
really makes it look very difference.
| | 01:09 | So you can go darker.
This'll be our default here.
| | 01:12 | But the thing I want to let you guys know--I
don't know if any of you have a design background.
| | 01:16 | This definitely resonated when I came down
here to lynda, and I told people about this.
| | 01:22 | This isn't just a fresh coat of paint.
We went through the interface.
| | 01:25 | Photoshop has been around for 22 years.
| | 01:27 | We went through the interface with a fine-tooth
comb, and we said, you know what, this
| | 01:30 | is our opportunity now to really do
the best we can to polish the interface.
| | 01:34 | It's changed a lot over the
course of a couple decades.
| | 01:38 | And people had noticed.
| | 01:39 | They said, Photoshop, you're used to
design all these beautiful things and yet you're
| | 01:42 | so inconsistent with your controls.
| | 01:44 | You have ten different sliders, you have
ten different types of radio buttons.
| | 01:49 | We changed 1900 different icons.
| | 01:52 | We went through, and we aligned things, and
we policed for grammar, and we adjusted things.
| | 01:58 | We had two designers and four engineers go
through the whole interface and just perfect
| | 02:04 | it and really polish it.
So it's not just a new dark interface.
| | 02:08 | It's really a lot more than that.
So I am going to pop over to Bridge here.
| | 02:15 | Bridge is now 64-bit if any
of you guys are using Bridge.
| | 02:18 | It being 64-bit, like Photoshop like
Lightroom, means it could take advantage of much more
| | 02:24 | than just 4 Gigs of RAM.
| | 02:26 | A 32-bit application can address just under
four gigs of RAM, a 64-bit application can
| | 02:31 | address as much as you can throw at it.
The limit is theoretical.
| | 02:35 | Machines can't hold as much as
they can address at this point.
| | 02:38 | One thing I'll talk about--I
now I'm moving very quickly here.
| | 02:41 | I want to show you guys a lot stuff.
| | 02:44 | One thing I'll talk about is
auto-save and background save.
| | 02:49 | So I'm going to put up a little note from
my boss of ten years who left Adobe to start
| | 02:55 | his own company and he is in our
prerelease and he said to me, Well, I was just using
| | 03:00 | the latest build of Superstition today, and I did
something which triggered a crash of the application.
| | 03:04 | I took that as a good sign that I should
restart my machine and go get some lunch.
| | 03:08 | Hours later when I relaunched Superstition
I was stunned to find the unsaved document
| | 03:11 | I was working on still there on screen.
| | 03:13 | I had known that you're working on autosave
functionality, but I've forgotten about it.
| | 03:16 | It was a pleasant surprise."
| | 03:18 | So if you guys have used Microsoft applications,
Word, Office, and something crashes, something
| | 03:24 | goes wrong, you'll notice how nice it is to
have a safety net, and that's just recovered,
| | 03:28 | and it just comes back.
| | 03:30 | Now I don't know if that's ever happened to you in
Photoshop, but it happened to me to the other day.
| | 03:35 | No, it's never happened.
Photoshop has never crashed.
| | 03:38 | Nonsense! It doesn't do that! I
don't even know why we put it in there.
| | 03:43 | Anything could crash.
| | 03:47 | So I was on plane other day going out to New
York, and I was ignoring my battery warnings,
| | 03:53 | as I tend to, and I was getting ready for
my demo kind of I was just now and just kept
| | 03:57 | ignoring, ignoring, and I was
working on a video clip, and it died.
| | 04:02 | I thought out, oh, that's it. I really did.
I am out of luck.
| | 04:05 | I got back to hotel later, plugged my machine
in, it was so dead, it took five minutes for
| | 04:09 | it even come to life, and when it did the
next time I launched Photoshop there everything
| | 04:15 | I was working on was.
It had automatically recovered.
| | 04:18 | So there are two things going on there.
We are doing what's called background save.
| | 04:22 | So in Photoshop normally when you save you
have to wait for the dialog bar and the progress
| | 04:27 | bar to finish going across the screen,
bless you, and then you can move on.
| | 04:32 | So we kind of hold you
hostage until we've done saving.
| | 04:34 | We can do that in the background.
| | 04:36 | Now you can go about your business like you
do in Lightroom, and we will save it for you.
| | 04:40 | Because of that we can also version out a
recovery file in the background, and you
| | 04:44 | can set time limits for it.
| | 04:46 | You guys aren't going to appreciate this until
it saves you, but somebody it's going to save
| | 04:49 | you, and you will be like where has this been?
| | 04:52 | This so great! Yes, Photoshop could crash,
the operating system could crash, the power
| | 04:58 | could go out, things happen.
| | 05:00 | It's really helpful.
Take my word for it.
| | Collapse this transcript |
| Speed enhancements and a new crop tool| 00:00 | So the next I'll talk about is performance.
So we'll use this file 16 meg file, 5D Mark II.
| | 00:08 | Any of you guys shooting
medium format, much larger file.
| | 00:12 | I'm going to open CS5, and I'm going to
open a RAW file in there of the 5D II.
| | 00:18 | We're pushing more and
more stuff through the GPU.
| | 00:21 | GPU is a Graphics Processing Unit.
| | 00:23 | Essentially, it's just a computer on your
computer, and the gaming companies have known
| | 00:28 | for years that there's a lot of power in that.
| | 00:30 | So Photoshop is increasingly been
taking advantage of that over the years.
| | 00:34 | So just to show you the way it used to be,
let's open another 5D, this is of a grown
| | 00:40 | horse, another 5D II file. Open that.
| | 00:46 | It's off the same camera, it's the same size, and
I want to show you a couple different things here.
| | 00:50 | One of the things I'm
going to show you is Liquefy.
| | 00:53 | So I'm going to
thoroughly disrespect this image.
| | 00:56 | But I should tell you, Liquefy is not
just about completely contorting the image.
| | 01:01 | That works well for onscreen.
| | 01:03 | Fashion photographers, I just at a New York
meeting with fashion photographers, and they
| | 01:07 | use it extensively for moving hair, and moving
water, and moving fabric, and just a subtle shifts.
| | 01:16 | Things that are very interesting just not when
you're sitting in a big dark room watching a screen.
| | 01:21 | So what I'm going to do
is way over the top here.
| | 01:23 | So same size file, I'm going to feed this
into Liquefy and the first thing I'm going
| | 01:28 | to notice in CS5 is it tiles.
It comes in pieces, it takes a while to open up.
| | 01:33 | If that were a file off the S2, we could all have
another lunch while we waiting for it to come in here.
| | 01:37 | It takes a long time.
| | 01:40 | The other thing is the Brush
Size is limited to 1500 pixels.
| | 01:45 | Now 1500 pixels in Photoshop 6, which
is when we introduced this, 12 years ago?
| | 01:52 | That was probably a huge brush, but that's
not that big of a brush anymore, really isn't.
| | 01:56 | So if I take this, and I start--I
told you I'd do terrible things to this.
| | 02:01 | But if I start liquefying the image, I'm
just doing it to the horse at this point.
| | 02:05 | I don't want to do anything to her.
| | 02:07 | I can take my fingers off the
keyboard, and it's still working.
| | 02:11 | It's really easy to get
ahead of it. There's this leg.
| | 02:15 | So that's what's happening in CS5.
| | 02:17 | Let's quit out of that and look at the
difference with the file that's the same size in CS6.
| | 02:25 | So first thing you'll notice is when we come in here,
it just loads automatically. There's no tiling.
| | 02:32 | It's just immediately present.
| | 02:33 | It's because it's going through the GPU, and what
this allows us to do is use a much larger brush.
| | 02:41 | So instead of being capped at 1500 pixels,
it's now capped at 15,000 pixels.
| | 02:47 | We think that's going to
hold you for a while. I hope.
| | 02:50 | It's a lot there.
| | 02:52 | So even with a 3300-pixel brush,
watch how fast this thing works.
| | 03:01 | It's just real-time.
| | 03:03 | We're trying to attach a number to this
and say how fast it was, it's real time.
| | 03:07 | You won't get ahead of it.
It does a great job. So really, really fast.
| | 03:13 | The other thing that we're
doing with the GPU is transforms.
| | 03:18 | So all of our transforms are now
piped directly through the GPU.
| | 03:23 | So they are lightning fast, and you see that I've got a
little widget that tells me the dimensions of my image.
| | 03:29 | So I can spin this around, I can do
anything I want, and it's going in real-time.
| | 03:35 | So any sort of image transformation, there's
not a lag as I'm waiting for to do its thing.
| | 03:39 | I can move really, really quickly.
So any of that stuff.
| | 03:44 | The other thing I'll show you here with crop.
| | 03:47 | So it used to be that if I cropped in Photoshop
that the first thing I do is I select the whole image.
| | 03:57 | We did more research leading up to
CS6 that we have in any prior version.
| | 04:01 | And every time you watch someone crop, they do
the exact same thing, they select the entire image.
| | 04:07 | But when I come into the Crop tool
now it does it automatically for me.
| | 04:13 | It's says chances are you want to
select the whole image. So it does that.
| | 04:17 | I'll get a nice grid kind of like I do in
Lightroom that'll show me my image if I want
| | 04:21 | to see different
information on there, I can see that.
| | 04:25 | It turns out we've got what's called Headlights, which is
an opt-in program for observing how people use Photoshop.
| | 04:32 | And we were able to tell that the Crop
tool is the most used tool in Photoshop.
| | 04:36 | For all intents, we really
hadn't changed it in two decades.
| | 04:39 | This is an opportunity for
us to fix a lot of stuff.
| | 04:42 | The most important thing about it--let's do
something a little more extreme with this.
| | 04:48 | Let's actually make this closer to, I don't
think we can get a vertical out of it, but
| | 04:53 | we can really squish that in there quite a bit.
So clearly changing our image.
| | 05:01 | Now normally the way it would work is if we
crop image, that's that, we come back later,
| | 05:05 | and we're out of luck.
| | 05:06 | Well, one of the great things here with
the Crop tool is its all nondestructive now.
| | 05:12 | So we're holding on to all of your data for you
so that you can go back to where you've started.
| | 05:17 | This happens all the time.
| | 05:18 | People get really fired on their workflow and they are
like, I don't want that orientation, I need more room.
| | 05:22 | I may have to start all over again.
So now it's all nondestructive crop.
| | 05:28 | So we like to say the most used
tool is now the most useful tool.
| | Collapse this transcript |
| Better automatic image adjustments| 00:01 | Okay. So next thing I want to talk
about here is Auto, and we can try it.
| | 00:08 | It's probably a terrible example on
this image, but we'll try it anyway.
| | 00:12 | You don't normally want to take a
retouched image and run it through Auto.
| | 00:16 | I don't know why I'm doing this, but I am
going do it anyway just to stay in context.
| | 00:22 | So if you ask people--I'm not even going to ask you guys,
I've been down this road before, and I know what you're
| | 00:27 | not going to say: "Who uses Auto?
No one uses Auto."
| | 00:32 | We did more waves of research, as I mentioned,
and in all of our research talking to all
| | 00:37 | different users, only one thing did all of them
have in common, and that's that no one uses Auto.
| | 00:43 | No one uses Auto Levels
and no one uses Auto Curves.
| | 00:46 | Then we look at the Headlights results, and
there are hundreds of thousands of people using Auto.
| | 00:53 | So they don't want to share that. That's fine.
| | 00:57 | They're all power users, every
single last one of them. I've used it.
| | 01:00 | I don't use it a lot, but I've used it.
| | 01:02 | The way that it used to work is it
used to adjust things per channel.
| | 01:09 | So it would introduce a color cast, and
it would also discard a bunch of data.
| | 01:13 | Let's do this. In the interest of
this actually being a compelling image.
| | 01:17 | Let's start with an image that needs
help instead of one that's been retouched.
| | 01:24 | So here's this image I took years ago,
and I am going to come in here to Levels.
| | 01:31 | Now the way that this used to work is if I
wanted this to be Auto, I'd get a bunch of
| | 01:39 | I'm doing a couple of things here. I'm choosing
a default black, gray, and white point.
| | 01:46 | That's all it's really looking for just finding
a black point, a gray point, and a white point.
| | 01:50 | And it's doing it per channel, and that's
fine but because you have different color
| | 01:53 | channels you're going to
introduce a color cast to the image.
| | 01:56 | The other thing that happens is all those
gaps in the histogram, that's all missing
| | 02:00 | information, that's data that's
falling out of there that is lost.
| | 02:04 | So the new way of doing it is
called Enhance Brightness and Contrast.
| | 02:08 | This is what does it automatically.
| | 02:09 | Analyze image to do content
aware monochromatic adjustments.
| | 02:13 | What on earth does that mean?
| | 02:16 | So by default, we are comparing your image to hundreds
of thousands of histograms of perfect photographs.
| | 02:25 | So we got photographs from all sorts of
great photographers, and we match your histogram
| | 02:31 | to the histogram that's most like of those.
| | 02:34 | So Auto is adaptive, it's content aware, it
actually analyzes your image, and it applies
| | 02:39 | an auto algorithm based upon comparing it
to another histogram. So it's adaptive. It's different.
| | 02:45 | Every single image is going
to have a different result.
| | 02:48 | So for instance, if we were to pass this
through Brightness/Contrast, which normally those are
| | 02:54 | words of people in Photoshop don't use.
| | 02:58 | It's the only terms in all of the Photoshop
that my mom understands, but most people who
| | 03:02 | know Photoshop well don't use Brightness/
Contrast, but there is nothing wrong with it.
| | 03:07 | There's an Auto button here now.
| | 03:08 | So if I push Auto in here, I'm going to see that I'm
going to get positive 66 Brightness, -26 Contrast.
| | 03:16 | I could open twenty images, and
I get twenty different results.
| | 03:19 | So it's an adaptive result.
It does a great job.
| | 03:22 | It's a really wonderful place to start, and
if you guys--if you pull down CS6, we'll have
| | 03:27 | trials of it. Even though the beta is over
we're going to have free trials so you can
| | 03:30 | play around, definitely try it out.
| | 03:32 | It works really, really well.
The other place that it exists is in Curves.
| | 03:39 | So if you do Auto here, you'll
notice that we've actually plotted points.
| | 03:43 | There's one here, there's one
here, and there's another here.
| | 03:46 | So we've plotted points on the curve.
| | 03:48 | It used to be we just did an Auto adjustment and
said, okay, you're on your way with your color cast.
| | 03:54 | Have fun with that.
| | 03:55 | But now, no color cast, no dropped data,
and we give you points to use yourself.
| | 04:02 | So that's a really nice way to start with that.
| | Collapse this transcript |
| Simulating lens blur with the Iris Blur and Tilt-Shift filters| 00:01 | Few more things I want to show you guys,
and then I'll open it up to some questions.
| | 00:03 | So, with this next one, and I could probably
do this with a car shot, but I'm used to showing
| | 00:09 | it with this one, so this I'll show it.
| | 00:11 | Okay, so I want to do a
shallow depth of field of this.
| | 00:15 | I shot this image in Kenya in 2007, and I
was using a fast lens, I was using a 70-200
| | 00:22 | 2.8, but I was using it with a Tele-Extender, so it
was no longer a 2.8 lens, it was more like a 5.6 lens.
| | 00:30 | So I couldn't get a shallow
depth of field as I wanted.
| | 00:33 | Now the same scenario could very easily
happen in there taking pictures of the car.
| | 00:38 | With the example of shooting low and
shooting up and wanting the background to be blurry,
| | 00:43 | you might want a more shallow
Depth of Field than you can get.
| | 00:46 | Someone came up to me with a G-Series Canon
and with the most we're able to open it up
| | 00:52 | to was like f4 at that
particular zoom. It wasn't enough.
| | 00:55 | You were still going to see the soft box
above and the rigging and all of that, and it just
| | 01:00 | wasn't going to work out.
| | 01:01 | We needed like, we needed a 2.8 lens, we
needed a nice soft Boca, so that you couldn't tell
| | 01:05 | what the background was.
| | 01:08 | So what we can do now, I don't know if you guys have
ever try to introduce lens blur in software, it's not easy.
| | 01:13 | It requires a lot of selections,
a lot of masking, a lot of time.
| | 01:18 | And so we wanted to make it
really easy and really powerful.
| | 01:20 | So the way it works in CS6 is we come in here to
what's call Iris Blur and the image is the preview.
| | 01:28 | And we drop this little pin, right this
little thing right here drops on the image.
| | 01:32 | I'm going to dismiss the interface.
| | 01:33 | This is so easy to use,
you don't need an interface.
| | 01:36 | The way it works no selections, no masks, I just
pulled that little dial-up, and I get my blur, okay.
| | 01:43 | Now the outer pins are the effect at full
strength and the inner pins are where it starts,
| | 01:50 | and so I pull in the inner pins,
and that's where the effect starts.
| | 01:54 | Now if I Option-click I can
move them independently, okay.
| | 01:59 | No selections, no masking,
with tricks up my sleeve, okay.
| | 02:04 | I pull this down here, and now
this is where I'll back my blur down.
| | 02:09 | I did that just to get an idea what I'm
looking at, but that's more what I was after.
| | 02:14 | Now I can also do things that
are photographically impossible.
| | 02:17 | I can bring that bird
that can focus in the left.
| | 02:19 | I'm just going to drop an additional
pin on that, and now he's going to pop.
| | 02:24 | He--I don't know why I
always assume the bird's a guy.
| | 02:27 | She is going to be in focus.
| | 02:31 | So there I have something I
couldn't even do before photographically.
| | 02:35 | You could have 10 people on a wedding, and
you could take the people right down the line
| | 02:38 | and have certain people in
focus and other people out of focus.
| | 02:41 | We don't want that, right?
| | 02:45 | Not naming names or anything,
you could exert your own bias.
| | 02:51 | For you power users, if you hit the M key, you'll
see that we're actually building a mask as we go.
| | 02:56 | So, if you want to take that information
about the blur and push it out, you can just save
| | 03:00 | mask to channel and use that mask when you
come out of there and play around with that,
| | 03:05 | so there is a lot of power there.
| | 03:07 | With the next one, there's three new blurs,
there is Iris Blur, there's Tilt-Shift, and
| | 03:14 | there is Field Blur, which
is like a Graduated blur.
| | 03:15 | So I'm going to show you the other one Tilt-Shift,
and I joke that this is for the three people
| | 03:23 | who haven't bought Lens Babies yet in the
world, but there are--there are lot of people
| | 03:28 | that want this aesthetic, and the Lensbaby
is cool, but there is not so much control
| | 03:31 | that you have in the lens not to mention the
lens itself, you know it's an all right lens,
| | 03:38 | but you can come in here, and you can play around with
that same effect on an image really quickly and easily.
| | 03:44 | All right, so here's our
angle, put that where I want.
| | 03:49 | I can grab different portions of this, and
it uses that same control that I had before.
| | 03:56 | I want to blur that, I just did this.
| | 03:58 | Now I don't talk about the future of what
we're working on very much, but you can tell
| | 04:04 | that we've on screen interactions, we're
looking at a world where people are used to doing
| | 04:10 | this sort of thing on screen, right?
| | 04:12 | It's just making it easier and even if
you're putting a cursor there it feels little more
| | 04:16 | tactile than coming over here and
adjusting something that's here.
| | 04:20 | So, those are the controls for that.
| | 04:22 | I'll actually show you that this is where I
like to use the adjustments over here for the Boca.
| | 04:27 | So if I want to intensify the color or the
light I can come over here, and I can have
| | 04:32 | a lot of control over the blurred
area and how that's showing through.
| | 04:37 | When I show this to fashion
photographers they loved using this for backdrops.
| | 04:42 | Blurring the whole thing and just coming up
with a really cool colorful soft backdrop.
| | 04:47 | As before you've a mask for that, that you
can send out of there, and as before you can
| | 04:51 | drop multiple pins in there as well.
| | Collapse this transcript |
| Fixing distortion with the Adaptive Wide Angle filter| 00:01 | This next one is fun and very photocentric,
and this is this is a great image to show it.
| | 00:08 | I could probably pull one of those 24
images of the car and show it to you, but this is
| | 00:12 | going to work really well.
I think this is a 14 -millimeter or 15 -millimeter lens.
| | 00:15 | This is Adobe's Headquarters in San Jose,
and it's taken with a very wide angle lens.
| | 00:20 | Now I had mentioned before that we can automatically
remove distortion, and chromatic aberration and vignetting.
| | 00:29 | This image has a ton of distortion.
| | 00:31 | The problem is we can do those things when you're
on the same plane as what you're shooting, right?
| | 00:37 | If I'm squared up with one I'm shooting,
no problem, if I tilt the lens up, software,
| | 00:43 | the camera does not capture the orientation
of the lens yet. If it did, we can do
| | 00:48 | some really remarkable things.
It doesn't capture that information.
| | 00:52 | And so what happens is if I were to pass
through a lens correction, the effect on the bottom
| | 00:56 | is going to be totally
different than the effect on the top.
| | 00:59 | It's a global adjustment intended to be
applied to something where it's squared up with it.
| | 01:03 | So all of those odd angles we're taking
with the car, lens correction works for those,
| | 01:08 | but on the most extreme ones, say a really
wide angle lens tilted up, it's not going to work.
| | 01:14 | So let me show you guys what's going to happen.
| | 01:16 | If I feed this through Lens Correction,
and mind you this is an extreme example.
| | 01:22 | I feed this through Lens
Correction, watch what happens.
| | 01:27 | I'm losing the building on the left, the building
on the right, and that plane is getting much fatter.
| | 01:33 | Yeah, the tree is straight but
this is not an accurate image at all.
| | 01:37 | I mean there are all sorts
of strange stuff happening.
| | 01:39 | We just have the straight lines, but aside
from that there's nothing correct about it.
| | 01:43 | So what we need, because of the orientation,
we need a tool that will allow the photographer
| | 01:50 | to interact with the image and tell it this area is
supposed to be straight, in an interactive experience.
| | 01:55 | But we also need it to be easy to use.
| | 01:57 | So we came up with a new way of doing this
called Adaptive Wide Angle, and as before
| | 02:03 | we can read the EXIF data, nerdy term for
we know what kind of camera you're using,
| | 02:09 | Nikon D3S, 10.5 -millimeter lens, really wide lens.
| | 02:13 | By default, we are correcting it as much
as we can without knowing anything about it,
| | 02:19 | and holding on to the stuff on the sides.
| | 02:21 | Now where it gets interesting, we
know the physical shape of the lens.
| | 02:25 | We've profiled all these lenses, we
know the physical characteristics of them.
| | 02:29 | So if I want that tree to be straight, I just
click at the bottom, and as I pull this line
| | 02:33 | around, the shape of the line is going to change
depending upon where I am over the lens, right.
| | 02:40 | That's how the lens is shaped.
| | 02:42 | So If I come here, and I say, you were supposed to
be straight, click on that it straightens it out.
| | 02:48 | If I come down here, and I say, this crazy angle is
supposed to be straight, that's just what it does.
| | 02:54 | If I come over here, do the same thing,
that's going to be straight, right here.
| | 03:02 | Right about now you guys are thinking,
how many of these you have to do?
| | 03:06 | Only a few of them, if you like six or seven of
them at the most extreme points, and you'll be fine.
| | 03:11 | But what I'm trying to show you guys here is
that without a perspective correcting lens,
| | 03:16 | you can get incredible results.
So who is this helpful for?
| | 03:21 | Anyone shooting architecture, I
mean let's look at before and after.
| | 03:25 | Before and after, you would have to spend thousands
of dollars to get a lens that can handle that before.
| | 03:32 | Anyone shooting events, I talk to a couple that
are--you guys sort of shooting events and weddings.
| | 03:37 | If you shoot a wedding with a 20 -millimeter lens,
the bride and all of her friends will hunt you
| | 03:43 | down later, and want to talk to you because all of
the people off to the side have really fat arms, right.
| | 03:50 | You guys ever seen this?
| | 03:51 | Oh, there arms, the guys will be like, hey!
Those were great pictures, they look really good.
| | 03:55 | My guns look great on those pictures.
| | 04:00 | But people's arms get inflated
at the edge of a wide angle image.
| | 04:04 | So if you just choose an element off to the
side and straighten it out, it will correct
| | 04:10 | that side of it, and things will look
as they should, really, really handy.
| | 04:14 | I would say anything wider than a
35 -millimeter lens is going to benefit from this.
| | 04:20 | It requires a little bit of interaction,
but really the workflow here is you spend most
| | 04:25 | of your time in Lightroom or in Camera RAW
and Bridge, you get your files as far as you
| | 04:28 | can, and Photoshop is like your custom lab,
it's where you take that hero shot that you're
| | 04:34 | going to print out, or you're going to do
something with, you're going to put it in
| | 04:37 | your book, or you're going
to sell it to your client.
| | 04:39 | You take it the extra step,
and you really refine it.
| | 04:41 | That's what it's intended for.
| | 04:43 | It comes from a time when we
do things one image at a time.
| | 04:46 | Lightroom and Camera Raw, you can apply
changes to a hundred mages really, really quickly.
| | 04:51 | The idea here is to take it even
further, and really go to the next level.
| | 04:57 | Just to show you guys what's possible
with this--I think this is pretty neat.
| | 05:00 | I don't know how many of you shoot panos.
| | 05:02 | I didn't shoot a pano out of the car in there,
but it would have been great to just stitch
| | 05:07 | together a bunch of shots,
that would be an awesome shot.
| | 05:10 | So if you've shot panos, you've
probably seen something like this before.
| | 05:13 | You have a lot of distortion.
| | 05:15 | You can take your old panos and pass it through
this, Adaptive Wide Angle, and it's really easy.
| | 05:19 | I'm going to do it super fast,
that shouldn't be curved.
| | 05:24 | This shouldn't be curved, this should not be
curved, neither should this over here, right.
| | 05:35 | That there shouldn't be curved, and then
what you can do is you can come in here, and
| | 05:42 | you can tweak the angle, and pull
that back down however you want, right.
| | 05:47 | I mean, you can do really
amazing things to panos.
| | 05:52 | You can play around with each one these
ones that we've already played around with.
| | 05:55 | I can adjust the angle of those as well.
| | 05:59 | So you can really take these images that tend
to do this, and pull them back down to where
| | 06:04 | they're supposed to be, and it's not distorting
it, it's not stretching it, it's doing a really,
| | 06:08 | really nice job with it.
| | 06:09 | So even if you've built panos in the past, you can
make them a lot better by passing it through that now.
| | Collapse this transcript |
| Moving elements within a scene using content-aware move| 00:01 | Okay, so Content-Aware Fill. I've mentioned
Content-Aware Fill before, really cool technology.
| | 00:07 | What it does is you make a selection, and
it guesses what to put in there based upon
| | 00:11 | what it knows about the area around it, lens flare,
or moving people, trash, whatever it might be.
| | 00:18 | If you try to apply it to something like this, if I come
over here and make a selection here, and I hit Delete.
| | 00:26 | What's going to happen more often than not is I'm
going to end up with something I didn't want in there.
| | 00:33 | Now you can't fault it.
| | 00:35 | It's looking all around the image and
trying to figure out what to put in there.
| | 00:39 | It's funny you know, you give people these
amazing tools and they--most people 99.9%
| | 00:45 | of people are really thankful, but occasionally people
come up and they get really upset about the stuff like this.
| | 00:51 | How dare your magical feature
throw a bumper next to my car?
| | 00:56 | The weirdest one I ever heard as we had showed,
I've showed removing someone standing in front
| | 01:01 | of a billboard and they wanted to know why we hadn't
completed the text behind where the person was standing.
| | 01:06 | I was like, I don't know what you think we're doing,
but we, we don't know what it says behind the person.
| | 01:11 | We don't have any idea.
So this feature is dedicated to that person.
| | 01:20 | So what we want here is the ability to
override this and tell it where to fill.
| | 01:25 | To use Content-Aware Fill but
to tell it where the source is.
| | 01:29 | And so that's what we've done here in CS6.
| | 01:31 | If I come down to my Patch tool, it now has
a Content-Aware option there, and so I can
| | 01:37 | take that same area and move it over here,
and just drop that in, and it's going to take
| | 01:43 | the dirt from the side and copy it over and blend it in
to the other side of the image, take that out of there.
| | 01:49 | Really, really handy, you can do
all sorts of cool stuff with that.
| | 01:52 | That might be handy for a lot of you guys
today with people in the background, right?
| | 01:57 | I want this wall to look like this
section of wall just move that over. Okay.
| | 02:03 | So show you another area.
| | 02:05 | Okay, this one is designed to make people
like me nervous while they demo because there
| | 02:11 | is a random nature to all of this stuff,
that's kind of how part of it works as it's, it's
| | 02:17 | synthesizing information, and
there is a random variable to it.
| | 02:19 | But I what I want to do it with this image
is I want to move it over, right, I want to
| | 02:23 | it's--my composition was off.
| | 02:27 | I want to take that and
move it over to the middle.
| | 02:31 | Normally, I wouldn't even bother with that.
| | 02:33 | I'd go back to the boardwalk at 6 in the morning,
and I just shoot it again, because it's a huge hassle.
| | 02:39 | But the idea here with this new tool called
Content-Aware Move is that I select my image,
| | 02:47 | and I'm just making a loose selection here,
and if anything goes wrong we're going to
| | 02:51 | blame me and my time-saving practices of not
making a good selection, and not the software,
| | 03:00 | but quick selection here.
| | 03:05 | And this tool is new, and it's designed to
recompose and move things. So take that.
| | 03:11 | Make sure it's on Move, and I pull this
over where I want it, and it's going to remove
| | 03:17 | the original, and it's going to drop in
the new one, it worked pretty well, right?
| | 03:22 | Check it out, okay.
| | 03:24 | How on earth what I do that in software
before then it's--I can't even, I can't do that
| | 03:30 | with Content-Aware Fill.
There is not enough stuff to look at.
| | 03:32 | So it's saying, here's what you are, I'm
removing the original, I'm going to put this over here.
| | 03:37 | Now I told you guys, I used to shoot motor
sports on the track in a prior life long time ago.
| | 03:43 | Not only would I have killed to have shot digital
back then because you burn through a lot
| | 03:46 | of film, but recomposing
stuff would have been huge.
| | 03:51 | I can't tell you how many times you get the
car almost in the middle of the frame, but
| | 03:56 | not quite good enough, or you get a great
frame, and then the magazine says well it
| | 04:02 | needs to be vertical, and it's like, what am I
going to do, there's nothing to work with here.
| | 04:07 | Just being able to pick something up
and nudge it overall a little is huge.
| | 04:10 | So this would be
fantastic for that sort of thing.
| | 04:13 | Now this being Photoshop, we can do somewhat
ridiculous things with it, and I'll show you that.
| | 04:19 | This is not my image.
| | 04:22 | Most of my images that I demo with are my
own because I want try to test this stuff
| | 04:25 | and break it as much as possible.
So I shoot a lot, and I use our software a ton.
| | 04:31 | I 'm going to use Content-Aware Fill to get rid
of the reflector, it works really well for that.
| | 04:36 | It's just going to pull that out of
there, it's looking at the grass around it.
| | 04:41 | And with the woman over here, what I want to do
is again use Quick Select and just select her.
| | 04:50 | I'm going to make believe you guys
with Quick Select by the end of the day.
| | 04:55 | I Option-click to pull it back in and make
sure I have a bit, this is a really loose
| | 05:00 | kind of ugly selection.
| | 05:01 | So again, if it's not perfect
let's blame me and not the software.
| | 05:05 | Let's expand it, I don't know, 7 pixels.
| | 05:09 | The idea behind expanding it is you
want to give it an area to look at.
| | 05:12 | So it knows when we were removing it, what
to remove, but when we're putting it somewhere
| | 05:16 | else what the area around it looks like.
And what I want to do with her is move her over.
| | 05:21 | So I'm just going to grab
her and take her over here.
| | 05:25 | All right, and so we're going to remove the
original, we're going to pull over, and we're
| | 05:30 | going to drop her in other side, right.
| | 05:35 | Now we can do some other stuff with this too.
There's another mode to this.
| | 05:40 | This is really showing off at this point,
it's not necessarily practical, right.
| | 05:48 | So I can do stuff like that, or we
can extend things with it as well.
| | 05:53 | We can distort reality.
| | 05:54 | So you can do all sorts of cool
stuff with Content-Aware Move.
| | 05:58 | I think like a lot of things with Photoshop,
I like to show Content-Aware Fill removing
| | 06:02 | a person or filling in the
missing area of a panorama.
| | 06:05 | But the practical used cases are nudging
something over a little bit, tweaking something a little,
| | 06:10 | removing something, just subtle shifts, tiny
shifts, those things aren't as fun to show on stage.
| | 06:16 | So if I show something over
the top, that's the idea there.
| | 06:19 | But people use these
things for smaller features.
| | Collapse this transcript |
| Hidden gems| 00:01 | So a couple of--I do a whole series of talks.
| | 00:05 | I did on CS5 called Hidden Gems and the
idea is things that people didn't know about.
| | 00:10 | Now you guys don't know about CS6.
So it's all hidden gems to you.
| | 00:14 | But in that you're photographers, I want to show
you a couple things that are--well, they were
| | 00:18 | surprises to me after
having used it for a few months.
| | 00:21 | There's a new adjustment
layer in here called Color Lookup.
| | 00:26 | Now this was designed to freak you out,
because it says Load 3D and all this crazy stuff.
| | 00:32 | There will be folks at lynda that
explore exactly what can be done with this.
| | 00:36 | But it can also be used to get some
really cool looks quickly and easily.
| | 00:39 | So there's a Film Stock one that I've
played around with that's really cool.
| | 00:44 | These are all just different--all different
looks that can quickly and easily be applied.
| | 00:50 | They're adjustment layers, so what you can
do is you could take Film Stock, and then
| | 00:54 | you could come over here, and you could change it
to Overlay, and you could back down the opacity.
| | 01:03 | So just to take an idea.
| | 01:05 | You can start getting some
really interesting looks.
| | 01:08 | Adjustment layers are insanely powerful,
and this Color Lookup one has got some really
| | 01:12 | cool presets in there. So check that out.
I think you will like that one.
| | 01:17 | The other one that's worth
looking at is in the Gradient Map.
| | 01:21 | There's a whole bunch of these.
| | 01:22 | If you load the photo
presets, these are remarkable.
| | 01:27 | They're really--I mean look at that! I
didn't do--that was a color image and just threw
| | 01:31 | this Gradient Map Platinum effect on it, and that
looks better than the black and white I did before.
| | 01:37 | You can just cruise through these and
look at all of these different ones.
| | 01:41 | These are really cool.
| | 01:42 | We licensed these from someone who spent a
lot of time building these out, and they're
| | 01:47 | just a bunch of presets that
are in here and they look great.
| | 01:50 | For those of you who like black and white, I did two
books on black and white using Lightroom and Photoshop.
| | 01:55 | I did CS3 Lightroom 2 book, and a CS3
and Lightroom book and CS4 and Lightroom 2
| | 02:06 | book on black and white, but there hasn't
been a lot change in black and white in either
| | 02:10 | of those, but if you're interested in black
and white, you will want to check these out,
| | 02:14 | because you can get some
really great monochromatic looks.
| | 02:17 | I think I like that. That Platinum one, just immediately
taking my color image and doing platinum on
| | 02:22 | there, which is really cool.
| | 02:24 | Again, the power of this stuff is when you
start applying different Blend modes and whatnot,
| | 02:31 | and then coming in there and
masking out the other areas of this.
| | 02:34 | There's a lot of power in that stuff.
So you should check those out.
| | 02:41 | So this also falls under sort of image analysis,
smarts, magic, and what we want to do is make
| | 02:49 | the whole image black and white,
but make her skins stay color.
| | 02:52 | The idea I'm going to show this is say
we're shooting really any pictures of people.
| | 03:02 | People always want to say, how do
I just make the people brighter.
| | 03:05 | How do I just make the
people have warmer skin tones?
| | 03:07 | How do I just brighten the people on an image?
| | 03:10 | That comes up all the time,
and it's pretty cumbersome.
| | 03:13 | So the idea what I'm showing you here
isn't to give you a mask that could be used for
| | 03:17 | compositing or lifting something out.
| | 03:19 | But one that's just good enough to take a picture of
all of you, and then brighten all of your faces later.
| | 03:25 | So the way I'll show this is kind of
quickly what I'm going to do is I'm going to make
| | 03:28 | it black and white, I'm going to hit
Auto, and make it look a little nicer.
| | 03:33 | I am going to come into my Masks and in Color
Range I now have a new option which is called
| | 03:39 | Skin Tones, and it knows
what the Skin Tones are.
| | 03:42 | It knows all different types of
people, and it also knows what faces are.
| | 03:47 | So by cross-referencing with faces, I'll
able to build a really good mask there.
| | 03:52 | Now all I have to do is come over here and
Invert that, and I have the look that I was after.
| | 03:57 | I didn't touch any selection tools.
| | 03:58 | I just came in, I said Skin
Tones, and I masked it off.
| | 04:02 | It's really, really easy to use.
| | 04:04 | Again, for those of you shooting events or
shooting people, this is a really, really great trick.
| | 04:08 | It works really well.
The mask doesn't have to be perfect.
| | 04:12 | It's just wants to get the Skin
Tones a little bit beyond them.
| | Collapse this transcript |
| Editing video| 00:01 | Okay. So the next one I'm going to show you guys--
and I show this to you guys because it usually
| | 00:07 | begs some questions, but I'm really excited
about it, and I'm really interested in it.
| | 00:13 | So who here has a 5D II?
Okay, few, bunch of you. Me too.
| | 00:21 | Bunch of us bought these. Great camera.
5D III is another great camera.
| | 00:25 | Pretty much since the 5D II
there is been this arms race.
| | 00:29 | I use the Mac, and I shoot Canon.
I also have Nikons and PCs.
| | 00:35 | It's all just gear.
Same with the car thing.
| | 00:39 | Amazing, how often the guy in the ratty car
comes out and passes everybody else out on the track.
| | 00:43 | It's not about your gear.
| | 00:46 | But having said that, I bought a 5D II because I
thought I was going to be a filmmaker like these guys.
| | 00:51 | They are filming Act of Valor
using 22 5D IIs and Adobe software.
| | 00:56 | Really, really crazy the
things you can do with this.
| | 00:58 | So anyway, this arms war started
where everyone is putting video on the DSLR.
| | 01:04 | Not only can you not buy a DSLR that does video, you
can't even buy a telephone anymore that doesn't video.
| | 01:10 | Video is everywhere, and it's being pushed everywhere,
YouTube, Vimeo, Facebook, generating it everywhere.
| | 01:16 | Our research shows, yes indeed, everybody
is recording video and out of all the people
| | 01:22 | that are recording video 5% to 7% of people are
sharing video, but you know, just about nobody is editing video.
| | 01:31 | They are really not.
Now you guys are probably pretty seasoned users.
| | 01:35 | You're probably not the norm, but most people aren't
editing video, because it's scary, it's challenging.
| | 01:41 | I took my 5D II, and I jumped into the Premiere Pro,
and I thought, hey, I've been in Adobe for 13 years.
| | 01:48 | I know our products really well.
This isn't going to be a problem at all.
| | 01:53 | Wrong! Scary, really scary. Great product.
I've seen people do amazing stuff with it.
| | 01:58 | It's crazy powerful.
| | 01:59 | I was reminded of how people
feel when they go into Photoshop.
| | 02:03 | You feel like you're in the cockpit of a 747.
| | 02:05 | Okay, I know this flies,
but I've no idea how, right?
| | 02:12 | Really scary, and then you mix in like
time and audio and a bunch of jargon.
| | 02:18 | Anyway, so the idea is how do we present a
tool for all those people that are creating
| | 02:24 | video that want to do something with it?
| | 02:27 | So we did a bunch of research around
this, and we were really open-minded.
| | 02:30 | Maybe this is a new product, maybe this is
a change to Premiere Elements, maybe this is
| | 02:34 | a change to Premiere Pro, who knows?
| | 02:37 | What we heard from
people is a lot of discomfort.
| | 02:40 | Professional photographers saying, I got to go out.
I am going to have to go out and buy.
| | 02:44 | We're on Windows now.
| | 02:45 | We are going to have to get on Mac, and
we're going to get Final Cut, we have to.
| | 02:48 | And I was like, why?
Well, we got to do video.
| | 02:50 | I was like, wow, you guys are really
making yourself uncomfortable to do video.
| | 02:54 | Now more recently if you asked them, because
Premiere is doing really well and Final Cut
| | 02:59 | has stumbled a little bit.
| | 03:00 | I need to go out, and I need to get Premiere
Pro, and I need to learn all the stuff, and
| | 03:04 | it's like, well, what do you want to do?
| | 03:06 | I just want to, I want to cut my video and throw
a title at the beginning and a title at the end.
| | 03:11 | Well, I don't think you
need Premiere Pro for that.
| | 03:15 | But the other thing that you would hear
people say is I don't want to learn the product,
| | 03:18 | and the other thing we would hear people say
is I know my way around in Photoshop, I know
| | 03:23 | my way around in Lightroom.
| | 03:26 | Just give me controls I understand,
give me something I'm already using.
| | 03:28 | My videos are coming off the same devices.
My stills, does it have to be different?
| | 03:35 | And video has been in
Photoshop since CS3 Extended.
| | 03:38 | Most people don't know that.
| | 03:40 | The video that we put in
there, not especially intuitive.
| | 03:43 | It uses adjustment layers.
| | 03:45 | Where it really falls down as if you try
to do transitions or cuts or dissolves.
| | 03:50 | Those things are each a chapter on a book.
| | 03:52 | There are probably some fantastic resources
at lynda devoted to how to do a transition
| | 03:57 | or a fade using Photoshop for video.
| | 04:00 | So we've figured, you know what
this is a great problem to solve.
| | 04:04 | You've got a lot of people that are
looking for solution, people are being very clear
| | 04:07 | about what they want, you've gotten an established
workflow, a lot of people know how to use Photoshop.
| | 04:13 | So we worked really hard on coming up with
a video solution that was designed to be as
| | 04:17 | easy to use as iMovie or Premiere
Elements, but as powerful as Photoshop.
| | 04:21 | You can do everything you
can do in Photoshop to video.
| | 04:24 | So let me show you what we came up with.
| | 04:25 | I think it's going to be--I think
it's really cool. It is really cool.
| | 04:29 | So I take my video.
| | 04:31 | This is my incredible video that shows you
guys why I'm not a filmmaker that came off
| | 04:36 | of my 5D Mark II, because I wanted to
use something that at least came from me.
| | 04:40 | I didn't want to use someone else's files.
| | 04:43 | Now as I'm waiting for a
second to show you guys this.
| | 04:49 | That's why I shot so much on the way down here.
| | 04:51 | So I drove down here from
Carmel Valley, fun car, fun road.
| | 04:56 | GoPro on the front, 5D inside,
an iPhone inside and video.
| | 05:02 | I got as much footage as I can.
| | 05:03 | That's going to take me a while to come up
with, but watch--watch our channel for that,
| | 05:08 | and I'm sure you guys will see an update.
| | 05:09 | I'm going to put together a
little video of the way up here.
| | 05:13 | So here's the experience.
| | 05:14 | I should mention--I said
this is for everybody.
| | 05:18 | This isn't just in Extended anymore.
It's in all versions.
| | 05:21 | It's in both versions of Photoshop.
| | 05:23 | So I come in here, press the spacebar,
I confirm, yes indeed.
| | 05:27 | There is video playing in Photoshop.
I've got a nice familiar timeline.
| | 05:31 | I can mute my local audio.
I can shrink that down.
| | 05:35 | If I want to add another video, I come in here, and
I do that, and I can add whatever I want to add from here.
| | 05:43 | Let's come in here, and I'm just going to
throw another video clip right next to that.
| | 05:52 | Let's do this one, and then I can say,
maybe I want to throw a still next to that.
| | 06:02 | So I'll grab this TIF right here, and now
let's say I want to take the still and put
| | 06:08 | it between those, and when I come over to
the still, it's probably an entirely different
| | 06:13 | resolution than the video.
| | 06:14 | So let's use my Move tool
and just come back to that.
| | 06:20 | And I can come back here, and
we would play through those.
| | 06:23 | The problem and where it breaks down
for most people is in the transitions.
| | 06:27 | This is where it gets really tricky.
| | 06:30 | So if I want to fade in,
I just drag and drop Fade.
| | 06:34 | If I want a Cross Fade, I
drag and drop Cross Fade.
| | 06:37 | If I want to Cross Fade again, I do that.
If I want to fade with black, I do that.
| | 06:43 | If I want to animate the still and do sort
of a Ken Burns kind of thing and have it pan
| | 06:50 | and zoom and zoom out on
an angle. I can do that.
| | 06:58 | If I want to make a particular part--let's put
it where you guys can see--say, black and white.
| | 07:04 | I don't need to know anything about video.
| | 07:06 | I come over here, and I
just make the Black & White.
| | 07:10 | I click Auto, I've got a black and white video.
| | 07:13 | So let's look at what we came
up with here really quickly.
| | 07:17 | My hack video skills.
Back up, and we play.
| | 07:21 | We fade in to our black and white video.
| | 07:25 | That comes over, and then it's going to cross
fade into a still that's going to pan and zoom.
| | 07:32 | Now I haven't rendered this at all, but
there is my still, panning and zooming back, and
| | 07:38 | then as it gets over to the grass it's going
to cross fade to that and the grass is going
| | 07:43 | to animate, and it's going to start moving.
| | 07:45 | Here we go! Again, I haven't rendered
any of this, but it's playing pretty well.
| | 07:51 | There's the grass, and as we
come over here, it fades out.
| | 07:56 | Now if we want there to be a part of
this that's persistent throughout all of it.
| | 08:01 | Let's say I want some type on here.
| | 08:05 | Let's say, I want to come in here and say
something about the video, whatever it might
| | 08:11 | be, and it turns out, we did a lot of
research in Hollywood, no matter who is doing video
| | 08:17 | they are almost certainly using Photoshop for the
text, because Photoshop is a really great text engine.
| | 08:23 | So let's just say lynda.com up here,
make that a little bigger so we can see it.
| | 08:30 | So there's our text layer, but what it's
done is it's just dropped that in the middle there.
| | 08:34 | That's not where we want it.
We want that text to be over everything.
| | 08:37 | So now we just come over here, and
we move that out of that video group.
| | 08:42 | We moved that right up here out of there.
| | 08:46 | The text sits on top, and now we can just
stretch the text and say okay, you come on
| | 08:51 | partway through, you go out at the end
and maybe when you come in, you fade.
| | 08:58 | If I wanted to change the duration of that
fade, I'm just context-clicking on it and saying,
| | 09:04 | you slowly fade on there.
So designed to be really easy to use.
| | 09:08 | If I come back here--again, I won't make you
watch my amazing film from beginning to end.
| | 09:15 | But that fades on slowly, and it shows us that.
| | 09:20 | Now when we were ready to send this out, we
use AME, Adobe Media Encoder to render the video.
| | 09:28 | The whole idea here is you want this to be easy.
| | 09:30 | We want all those people who
aren't editing video to edit video.
| | 09:34 | So what we thought is okay, let's try to
predict where they are going with this and not make
| | 09:37 | them remember a bunch of esoteric stuff.
| | 09:40 | So you just come in here, and you'd say this
is for YouTube, this is for hi-def, this is
| | 09:44 | for 1080p, this is for Android,
this is for Apple TV, iPhone.
| | 09:49 | And we take care of all the jargon for you.
So that's in both versions of Photoshop.
| | 09:56 | So far the people I've shown this to, here
lynda and NAPP and other places are really
| | 10:02 | excited about what we were doing, because
there are a lot of people that want this.
| | 10:06 | So in about an hour, I
showed you guys a ton of stuff.
| | 10:10 | I'm going to stop demoing now, and thank you guys,
but I'll stay up here and answer some questions for you.
| | Collapse this transcript |
|
|
