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Add, Undo, and Rerecord

From: Photoshop CS5 One-on-One: Mastery

Video: Add, Undo, and Rerecord

I'm still in the midst of recording my Convert to CMYK action. The step that's missing, of course, is any form of conversion to the CMYK color space, and we're going to solve that oversight in this exercise. I'm still working inside this image, Pont Saint-Benezet.psd. Now I'm going to go up to the Image menu, choose Mode, and choose CMYK Color, which is the conventional method for converting an image from RGB to CMYK. Now, unless you've asked that Photoshop never show you this alert message again, the program's going to warn you that you're about to convert to the default color profile that you specified inside the Color Settings dialog box ages and ages ago, which here in the States is going to be U.S. Web Coated (SWOP) v2.

Add, Undo, and Rerecord

I'm still in the midst of recording my Convert to CMYK action. The step that's missing, of course, is any form of conversion to the CMYK color space, and we're going to solve that oversight in this exercise. I'm still working inside this image, Pont Saint-Benezet.psd. Now I'm going to go up to the Image menu, choose Mode, and choose CMYK Color, which is the conventional method for converting an image from RGB to CMYK. Now, unless you've asked that Photoshop never show you this alert message again, the program's going to warn you that you're about to convert to the default color profile that you specified inside the Color Settings dialog box ages and ages ago, which here in the States is going to be U.S. Web Coated (SWOP) v2.

But then it also suggests, hey, if you want to specify a different color profile, you should choose the Covert to Profile command from the Edit menu. You know what? That's not a half bad idea, because if we had any notion of what our actual press conditions were, we wouldn't be using U.S. Web Coated (SWOP) v2. We'd be using some press-specific profile. Possibly in the future we want to prepare for that eventuality, so we might as well create the most flexible action possible. So go ahead and click the Cancel button to cancel that operation.

Incidentally, if you're working along with me, you didn't see that alert message, so you just went up to the Image menu, chose Mode, chose CMYK Color, and effectively clicked OK in order to convert to CMYK, why then, go ahead and stop the action by clicking on the square Stop button and grab this Convert mode step. Notice if you twirl it open, it's telling you you're just converting to the CMYK color mode, nothing more. Go ahead and grab it and throw it in the trash, and now we'll record this step properly by, again, clicking on the Record button.

So incidentally, if you want to continue recording from the end of an action, you either click on the final operation, Image Size in our case, or you click on the action itself and then click on the Record button. If you want to insert some steps at a specific location inside of an action, then you click on that location. For example, if I clicked on Flatten Image and then clicked on the Record button, then I would add my CMYK step between Flatten Image and Image Size. Anyway, that's not what I want, so I'll click on Image Size to record from the end.

Click on the round Record button in order to continue recording my action. Then I'll go up to the Edit menu and choose the Convert to Profile command, or if you loaded dekeKeys, you can press Ctrl+F3, Command+F3 on the Mac. Actually the profile is U.S. Web Coated (SWOP), so this image is already CMYK. There's no sense in converting it to CMYK if it's already CMYK. What did I do wrong? Well, I got rid of the action, but I didn't get rid of the operation. So I've still got problems here. I've got to cancel out of this dialog box.

If I move over to the History panel, I can see, looking there, I have converted this image to CMYK. So the effects of the command are still intact. That's a bad thing. So I'll go ahead and click on Image Size to back up, here inside the History panel, that is, I just undid the conversion to CMYK. Now, I'll go back to the Actions panel, and darn it. That got recorded. I was telling you, you can't take a history state and place it inside of an action; however, if you back step through History, that gets recorded.

Anytime that happens, just go ahead and click on the square Stop button, then grab that bad operation, throw it in the trash, because we don't want that guy in there, and then Image Size is selected, so I'm at the end of my action, click on the round Record button. I see that it's red, and I know that I'm recording my actions once again. Now then, I'll go up to the Image menu and choose the Convert to Profile command, or press that keyboard shortcut. This time I'm seeing that the Source Space is Adobe RGB (1998). Phew, that's the way it's going to be for all of these images, so that's good.

Even if I had differently profiled images, some of them were profiled sRGB, for example, so this would still work out fine. Now, this dialog box turns out to be easier to use, for this purpose anyway, if I click on the Advance button to expand it. And that way I can specify a Destination Space in addition to the Profile. So I'll select CMYK as my Destination Space. Then I'll change my profile to whatever I prefer. Now, you should be seeing whatever profile you specify in the Color Settings dialog box.

The default here in the States is U.S. Web Coated (SWOP) v2. If you know your press conditions and you have a CMYK profile for them, then go ahead and click on this pop-up menu and choose your desired Profile. In my case, I'm going to stick with the Working Profile, however. That's just fine. Drop down to the Conversion Options. Engine should be Adobe (ACE). That is the Adobe Color Engine. Intent should be Perceptual. If you're converting digital photographs, or any form of continuous tone images, then Perceptual is the better way to go. If you're converting high contrast graphic art, then switch to Relative Colorimetric.

For our purposes though, Perceptual is best. You do want Use Black Point Compensation turned on. Flatten Image to Preserve Appearance should be dimmed, because we've already flattened this image. Use Dither is really up to you. I leave it turned off, because that way if I have big areas of flat color, it just makes the image a lot easier to edit later on, the CMYK image that is, as opposed to having a bunch of flecks of dithering in there in order to muck things up. However, if you don't have flat areas of color anywhere inside your image, then you may want to turn Use Dither on, because dithering edge pixels can make for smoother transitions, especially in big areas of sky or gradients or that kind of thing.

Anyway, I'm going to leave it turned off. Then I'll click OK in order to apply that operation. Sure enough, I have successfully converted the image to CMYK, because I can see that up here in the Title tab. I'll expand my Actions panel a little, so I can see the entire name of that recorded operation, which is called Convert to Profile current document. Photoshop sort of talks that way when it's recording actions. It tends to put the object of the sentence at the end of the action name, no matter what, and so Convert to Profile is pretty much the verb.

Current document is the object of the operation. Twirl it open, and you'll see that we went ahead and converted to the CMYK Color mode. The Intent was Perceptual, With Black Point Compensation and Without Dither, because that's what I specified inside that dialog box. So that's perfect! It's not saying anything else, so it's not going to mess up any other settings that might be inherent inside of that image. I'm now done. So I'll go ahead and click on the square Stop button in order to complete that action. In the next exercise, I'll show you how to play the action back to test the action and make sure it works.

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This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43688 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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