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Photoshop CS6 One-on-One: Advanced

Adding noise grain and vignetting effects


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Adding noise grain and vignetting effects

In this movie I'll show you how to use Camera Raw to apply noise and vignetting for effect. So here we are looking at this image of these dinosaurs, and you can see here in the Basic panel that I've applied a bunch of different modifications. I've also used the Adjustment Brush in order to brush in a couple of adjustments exclusively inside the dinosaurs. And we have some graduated filters as well and so forth. And what that means is that we've stressed the image to the nines. Because if I go over here to the flyout menu and choose Camera Raw Defaults, this is what the image looked like originally, so I've really done a number on it. And even though that's really great, if I press Ctrl+Z or Cmd+Z on the Mac, that I was able to pull off these sorts of modifications, it comes at a price.
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Subjects:
Design Raw Processing
Software:
Photoshop Camera Raw
Author:
Deke McClelland

Adding noise grain and vignetting effects

In this movie I'll show you how to use Camera Raw to apply noise and vignetting for effect. So here we are looking at this image of these dinosaurs, and you can see here in the Basic panel that I've applied a bunch of different modifications. I've also used the Adjustment Brush in order to brush in a couple of adjustments exclusively inside the dinosaurs. And we have some graduated filters as well and so forth. And what that means is that we've stressed the image to the nines. Because if I go over here to the flyout menu and choose Camera Raw Defaults, this is what the image looked like originally, so I've really done a number on it. And even though that's really great, if I press Ctrl+Z or Cmd+Z on the Mac, that I was able to pull off these sorts of modifications, it comes at a price.

If I zoom in on the tyrannosaur's teeth, for example, you can see, because we modified the blue of the sky and the orange inside of the monster independently of each other, we've got some very brittle edges indeed, which is why I decided to turn this into an effect image. If you press the C key to switch to the Crop tool, you'll see that I've applied radical cropping. And I haven't done so with the intention of straightening the image, in fact, I'vemade it more crooked than ever. So I'll go ahead and press the Z key in order to switch back to the Zoom tool, so we can see the results of the crop.

I don't want people to look at this image and think, wow, where did you see those cool metallic dinosaur sculptures? I want them to look at this image and think, how did you survive being attacked by these terrifying monsters? And so I am going to switch over here to the Effects panel by clicking on the fx icon. And we've got these Grain options that allow you to add big chunky noise. And then we have these Post Crop Vignetting options that allow you to add a vignette within your crop boundaries. So I am going to start things off by taking the Amount value up to 75%, so that we have a fair amount of noise going on. And I want to increase the size of that noise, because if you take a look here, the noise is pretty small, it's not single pixel noise the way you get with the Add Noise command inside of Photoshop, but it isn't large enough to necessarily translate to print.

I want to chunk it up. So I am going to take that Size value up to 80, which really makes me wish we had this kind of control when working with Add Noise in Photoshop. Now I am going to take the Roughness value up to a 100 and that will give us this kind of effect right there. All right, I'll press Ctrl+0 or Cm d+0 on the Mac to zoom out, and then I'll go ahead and adjust my Vignetting Amount. Now, I'm not a big fan of vignetting effects, per se. They get way overused; there is sort of the drop shadow of wedding photography. But in a case like this, where we're trying to convey an element of danger and we want it to look like I barely got this snapshot alive, I think it's appropriate.

So if you increase the Amount value, you're going to create a bright vignette, like so; and if you reduce the Amount value, you'll end up producing a very dark vignette. I am going to take mine down to -75. And then I'm also going to reduce the Midpoint. And what that does is it forces the vignette inward, so it's encroaching on the image; and ultimately I took that Midpoint down to 15. Now that may look very wrong, because now can't really see the dinosaurs very well. That's partially the point, but we can better reveal them by adjusting a few more values.

For example, if I reduce the Roundness value, then we're going to create some corners where the vignette is concerned. And I want to take that Roundness value down to -60. And next, I'm going to increase the Feather value slightly so that we have more softness associated with the effect; take it up to 70 in fact. And then finally, you have the option of bringing back the Highlights inside of the vignette like so, and then helps to reveal portions of the sky, while giving the top of the tyrannosaur's head a kind of burnt look. And we can see inside the braying mouth of the triceratops, which makes him look a little more like an evil henchman.

Now, we have three Styles to choose from as well. We have Highlight Priority, which is going to allow us to force the Highlights through the vignetting effect. You can also go with Color Priority, which is going to force through areas of colors. And notice the back of the tyrannosaur's head is now more visible, as is his back, and we can better see the top of his head as well, so it doesn't look as burnt as it did before. And then finally, we have Paint Overlay. I am not sure you'll ever want to use this one, because it creates a very tepid effect indeed, especially when compared to the other options.

I think we get the most bang for our buck where this image is concerned with Highlight Priority. All right. Now, at this point if I go ahead and zoom in on the mouth here, you can see that those weird edges around the teeth aren't nearly so obvious as they were before. So if I press the P key to turn all this stuff off, those are the original teeth; turn the P key to turn all of this junk back on and here are the murkier teeth details. That said, you may want to bring back some detail inside this image. So I am just going to zoom out a couple of clicks here, so I can take in the tyrannosaurus' head. And I am going to switch back over to the Detail values and I am going to experiment with these Sharpening values.

Notice now if I press the Alt key or the Option key on the Mac and drag the slider triangle, all of those effects are going to disappear and I just see the grayscale version of the dinosaur by itself. So this helps me gauge the pre-effect sharpening, and then if I go ahead and release, I can see the post effect sharpening. Now, you're not going to make a terrific amount of difference because we have so much Grain. However, these values will help the detail show through. All right, now I am going to Alt+Drag or Opt+ Drag the Radius value so we can see those halos independently of the effects. And I'll Alt+Drag or Opt+Drag the Detail slider down to 0, so we can see the effects of this option independently as well.

And by the way, you can do the same with the Noise Reduction settings, at least where the three Luminance sliders are concerned. So if I press the Alt key or the Option key on the Mac and drag this Luminance slider triangle, I will see the details smoothing on the fly, again, independently of the effects. And then I'll Alt+Drag or Opt+Drag the Luminance Detail slider triangle all the way to the left in order to apply as much smoothing as humanly possible. Now, because you need to see a color version of the image to gauge the results of the Color setting, Alt or Option dragging doesn't produce any effect. So I'll just set the value to its maximum, which is a 100, and then reduce Color Detail to its minimum, which is 0, and that gives me my final image.

I'll go ahead and click on the Open Image button in order to open that file inside Photoshop, and a moment later we'll see the image on screen. All right, I am going to zoom in obviously, and press Shift+F in order to fill the screen with the image, and that is the final version of my absolutely terrifying ordeal with the dinosaurs. Thanks to our ability to add noise and vignetting, with an amazing degree of control inside Camera Raw.

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