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Actioning the creation of a flat CMYK image

From: Photoshop CC One-on-One: Mastery

Video: Actioning the creation of a flat CMYK image

In this movie, we're going to further modify our action by adding a step that converts the image to the CMYK color space, and then turns around and saves that version of the image to yet another folder. That way we protect the layered RGB version of the image that contains the Adjustment layer as well as the two Smart Filters. So, first thing you want to do is make sure Convert for Prepress is selected, and then click on the Record button to add more steps to the end of the action.

Actioning the creation of a flat CMYK image

In this movie, we're going to further modify our action by adding a step that converts the image to the CMYK color space, and then turns around and saves that version of the image to yet another folder. That way we protect the layered RGB version of the image that contains the Adjustment layer as well as the two Smart Filters. So, first thing you want to do is make sure Convert for Prepress is selected, and then click on the Record button to add more steps to the end of the action.

Now you can convert the image to CMYK by going up to the Image menu, choosing Mode and choosing CMYK Color. But that's going to give you a series of three irritating alert messages, and it's not really the best way to work. So what I'd like you to do instead is go up to the Edit menu and choose this command way down here, Convert to Profile. And now at this point, if you're working with a printer who has provided you with a CMYK Profile, you can select that from this Destination Space list.

If not, just go ahead and select Working CMYK, which is going to be up here way at the top of the list. Here in the States by default that's going to give you US Web Coated SWOP V2. And then later if you do get a profile from your printer, you can switch it out here inside the action. You want to make sure that the engine is set to Adobe ACE, and that's by default. Intent can be Relative Color Metric or Perceptual, it's totally your choice. Perceptual does a better job of maintaining smooth gradients.

Relative Color Metric is going to do a better job of hanging on to the actual colors, but it's unlikely that you're going to notice a difference. Then make sure Use Black Point Compensation is turned on. I like to turn Dither off, and that way, if I have any flat areas of color inside my image, I'm not introducing a dither pattern. And finally, you want to turn on this last check box, Flatten Image to Preserve Appearance. Because otherwise, you're going to still have an Adjustment layer that's not going to work properly.

Then go ahead and click OK, and you will create a single merge layer over here inside the Layers panel, which is not the same thing as a flat image by the way. We need this image to be absolutely flat if we're going to hand it off to either a designer to put inside of an InDesign document, for example, or if we're going to hand it off directly to a printer. And to make it flat, go up to the Layer menu and choose Flatten Image. Or, if you loaded Dkeys, you can press that keyboard shortcut of Mash Your Fist A, and then you'll end up with a flat background here inside the Layers panel.

All right, now of course we want to save this image to a new location, so go up to the File menu and choose the Save As command. And then, back up to the actions folder, in which you'll see this sub folder called CMYK flat for print. And again, that's just a placeholder folder for you, it doesn't have anything in it yet. And so go ahead and double-click on it. And instead of saving to the PSD format, go ahead and switch to TIFF. And the reason is pretty much as simple as that's how it's done.

When you're sending out CMYK images, both Prepress professionals and designers expect TIFF files. Then go ahead and click on the Save button. And here inside the TIFF options dialog box, make sure LZW is turned on to apply Loss List Compression. And then you leave the other options alone. This one you don't want to mess with. And Byte Order can actually be either IBM PC or Macintosh. Now I'll click OK in order to save off that file. All right, we're done recording the action, so you can click on the Stop button or press the Esc key.

And now let's try out the action on this other file that I've got open. And what I'm going to do here is just to make sure everything's the way it should be, because I'm seeing a little asterisk after the file name up here in the Title tab. So I'll go up to the File menu and choose the Revert command, just to make sure everything's exactly the way it wants to be. Now, you don't want to play the entire action on this file because it'll ruin it. Because the first portion of the action, all these steps right here, have all ready been performed. So instead you just want to click on this guy, convert to Pro File Current Document.

And if you troll that open, you'll see that's where we made the CMYK image. And then Shift-Click on the Save Steps. So just those last three steps. And then click on the Play button in order to play them off, and we'll end up with this version of the file right here. Now again, it's hard to tell if the action totally worked. We can see that we have CMYK files up here in the title tabs but we don't know if they got saved after the right folder. So just to confirm go up to the File menu and choose Browse in Bridge once again, and then switch from this RBG layer subfolder to this CMYK Flat for Print folder.

And sure enough, you should have, if you're working right along with me, a couple of TIFF files. One for and one for my changes so far. All right, so by now we've managed to create an action that prepares an image for not only a local printer but for Prepress as well. In the next movie, we'll use this action to batch process an entire folder full of images.

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This video is part of

Image for Photoshop CC One-on-One: Mastery
Photoshop CC One-on-One: Mastery

101 video lessons · 11799 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 1m 25s
    1. Welcome to One-on-One
      1m 25s
  2. 1h 21m
    1. The many and varied filters in the Filter Gallery
      1m 10s
    2. Introducing the Filter Gallery
      7m 25s
    3. Modifying Filter Gallery settings
      4m 27s
    4. Combining multiple Filter Gallery effects
      7m 28s
    5. The strange power of the Sketch filters
      7m 19s
    6. Converting an image to etched outlines
      5m 58s
    7. Turning those outlines into "digital ink"
      4m 21s
    8. Duplicating a complex Smart Filter sequence
      5m 31s
    9. Customizing a filter effect for a new image
      6m 47s
    10. Tracking Filter Gallery effects by name
      4m 2s
    11. Pencil sketching one image onto another
      6m 26s
    12. Brightening eyes and teeth in a filtered portrait
      8m 46s
    13. Using the new Oil Paint filter (CC Only)
      8m 8s
    14. Customizing an effect with a filter mask (CC Only)
      3m 56s
  3. 41m 16s
    1. Shining light onto a photograph
      1m 1s
    2. Introducing the Lighting Effects filter
      10m 3s
    3. Creating a custom, colorful vignette
      4m 34s
    4. Creating an angled watermark pattern
      5m 24s
    5. Lighting a watermark texture map
      6m 22s
    6. Turning text into a soft texture map
      3m 45s
    7. Creating raised credit-card-style letters
      5m 4s
    8. Wrapping an image using a displacement map
      5m 3s
  4. 30m 38s
    1. Magic is a shaky proposition
      1m 32s
    2. Introducing the Shake Reduction filter
      7m 41s
    3. Drawing custom Blur Trace boundaries
      8m 3s
    4. Modifying and comparing Blur Trace boundaries
      3m 1s
    5. The Blur Direction tool and Source Noise
      2m 58s
    6. Adding grain and smoothing color artifacts
      7m 23s
  5. 33m 37s
    1. Correcting barrel distortion and panoramas
      1m 4s
    2. Introducing the Adaptive Wide Angle filter
      4m 17s
    3. Drawing polygonal constraints
      4m 10s
    4. Manually straightening a GoPro photo
      4m 45s
    5. Stitching together a seamless panorama
      4m 35s
    6. Correcting a pano with Adaptive Wide Angle
      6m 57s
    7. Aligning constraints and overcorrecting
      7m 49s
  6. 52m 52s
    1. Distorting an extracted image
      1m 24s
    2. Extracting a foreground from a background
      3m 30s
    3. Introducing the Puppet Warp command
      5m 2s
    4. Changing the mode and adding rotation
      4m 58s
    5. Adjusting the Expansion value
      4m 0s
    6. Using Pin Depth and Density
      4m 36s
    7. Applying Puppet Warp to editable text
      6m 41s
    8. Creating an intermediate text frame
      3m 16s
    9. Converting layers into animated frames
      7m 13s
    10. Tweening and animating text
      5m 10s
    11. Exporting a QuickTime movie and GIF animation
      7m 2s
  7. 1h 10m
    1. Why edit video in Photoshop?
      1m 5s
    2. Loading video clips into Photoshop
      5m 57s
    3. Creating gradually fading transitions
      6m 11s
    4. Activating a few painless keyboard shortcuts
      3m 41s
    5. Adding text to your video
      5m 21s
    6. Combining your text into video groups
      4m 57s
    7. Adding motion to text (or any layer)
      5m 33s
    8. Adding soundtracks and voiceovers
      6m 50s
    9. Exporting and examining your video
      6m 14s
    10. Editing an existing video comp
      8m 55s
    11. Adding a video clip to the start of a track
      5m 38s
    12. Superimposing video clips with blend modes
      4m 49s
    13. Applying a Smart Filter to an entire video clip
      5m 30s
  8. 1h 24m
    1. Merging multiple exposures in Photoshop
      1m 52s
    2. Automatically aligning bracketed photographs
      4m 13s
    3. Preparing bracketed photos in Camera Raw
      4m 47s
    4. Introducing the HDR Pro command
      4m 12s
    5. How the HDR Pro settings work
      4m 56s
    6. Dramatically increasing the detail in a photo
      7m 45s
    7. Adding a curve in HDR Pro to heighten reality
      9m 9s
    8. Creating a faux-HDR effect in Camera Raw
      6m 17s
    9. Simulating HDR exposures in Camera Raw
      6m 57s
    10. Merging simulated exposures in HDR Pro
      7m 17s
    11. Creating an authentic HDR portrait shot
      6m 12s
    12. Softening an HDR portrait shot
      4m 28s
    13. Developing HDR in Camera Raw
      8m 53s
    14. Working with a 32-bit channel image
      7m 6s
  9. 1h 11m
    1. Managing the multilayer experience
      1m 52s
    2. Renaming a sequence of layers
      5m 35s
    3. Refining the Layers list using filter icons
      3m 31s
    4. Searching by name, effect, and blend mode
      5m 20s
    5. Color property, hide, show, and lock
      5m 28s
    6. Deleting empty layers; replacing fonts (CC 2014) NEW
      5m 56s
    7. Deleting empty layers; replacing fonts (CC)
      4m 34s
    8. Grouping layers by name
      7m 53s
    9. Masking groups and effects in one operation
      5m 28s
    10. Expanding and collapsing all groups and effects
      3m 43s
    11. Introducing layer comps
      4m 4s
    12. Creating a dynamic layer comp
      5m 34s
    13. Applying a mode or effect to an entire group
      8m 55s
    14. Moving many layers without upsetting comps
      3m 28s
  10. 1h 15m
    1. Three incentives to recording actions
      2m 2s
    2. Introducing the Actions panel
      6m 31s
    3. Recording a simple but practical action
      7m 4s
    4. Modifying settings and playing an action
      7m 37s
    5. Creating a dynamically adjustable action
      5m 5s
    6. Adding steps to an existing action
      7m 56s
    7. Actioning a consistent image resolution
      8m 13s
    8. Modifying an adjustment and adding Save As
      6m 21s
    9. Actioning the creation of a flat CMYK image
      5m 18s
    10. Batch processing an entire folder of images
      6m 41s
    11. Saving and loading your actions
      4m 10s
    12. Creating a conditional action
      8m 47s
  11. 1m 20s
    1. See ya
      1m 20s

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