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Adjusting ACR Smart Objects

From: Photoshop Smart Objects

Video: Adjusting ACR Smart Objects

All right, again, now that we've gone ahead and switched out these pixel based Smart Objects with ACR based Smart Objects, we can now modify them inside of Adobe Camera Raw Raw. So, we can change the color balance of this image, using Camera Raw Raw straight forward controls, which I absolutely love and that's what we're going to do in this very simple exercise, as you'll see. I have gone ahead and saved my progress as Base ACR composition.psd, found inside the 02_ACR_and_illustrator folder. These images, as you may recall, both the background and foreground come to us from image vendor Fotolia about, which you can learn more at http://www.fotolia.com/deke.

Adjusting ACR Smart Objects

All right, again, now that we've gone ahead and switched out these pixel based Smart Objects with ACR based Smart Objects, we can now modify them inside of Adobe Camera Raw Raw. So, we can change the color balance of this image, using Camera Raw Raw straight forward controls, which I absolutely love and that's what we're going to do in this very simple exercise, as you'll see. I have gone ahead and saved my progress as Base ACR composition.psd, found inside the 02_ACR_and_illustrator folder. These images, as you may recall, both the background and foreground come to us from image vendor Fotolia about, which you can learn more at http://www.fotolia.com/deke.

Here's what you want to do. Double-click an either of the thumbnails for the lady layers here, either for the layer called Smart Object or the one called multiply because they're both linked to the exact same Smart Object. I am going to go ahead and double- click on one for multiply because that will give you an even better sense. You'll see this one update and you will know that they're both linked to the same darn ACR file. When I say a file, by the way, I should say object because it's an embedded image. Its part of the larger composition. I want you to bear this in mind. This is not some separate Camera Raw image on disk.

We are not linked to that Camera Raw coif.dng file on disk, instead the file was just taken in the Camera Raw coif.dng file and placed inside of the larger composition. So it's an embedded file. You can move these files around anyplace you want without fear of losing the link. All right, so you go over here to the multiply layer. Double-click on its thumbnail. That will bring up the Camera Raw window. And incidentally if you want the window to fill the entire screen as ideal so that you're not seeing a bunch of background folderal, then you can click on this icon right there to toggle the full screen mode and you can press F, for full screen, and that will make the window nice and big, like so.

You'll still see all the information you saw before. It'll just be transferred to a different location. For example, the fact that it's a JPEG image, or that it started off as a JPEG image, will be listed down here, underneath the image instead of above in the title bar. Now the reason that's important is we're seeing relative settings here, inside of the basic panel as well as the other panels. Instead of absolute settings, which we would see if this image had started out as a raw digital camera image. The reason being that we're not converting this image from one bit depth, to another bit depth or from one image base to a different image base.

We're not going through all the weird stuff that Camera Raw has to go through, when developing a raw image file. Anyway, what that means is, by default, all our values are starting off at zeroes. What I am going to do is I am going to change this Temperature value to +20. Let's say like so, and that's going to warm up the image, quite a bit, actually, and I think it looks quite a bit better. As a result I'll go ahead and zoom in there. So this was the image as it appeared originally, when it was little bit cool, in my opinion, that is a little bit bluish.

I want to warm it up, give it more blood, if you will, by entering a value of 20 and that's going to infuse the image with yellow/orange which will make the image rosier, potentially more appealing. Now you don't want to go too far with it. If I was to crank this value up to 70 or something like that, she would look like she was on a surface of the sun or something horrible like that. Let's just take it up a little bit. So 20 is working up pretty nicely. Now that does also appear to brighten the image. So let's go ahead and sink the brightness by clicking on this Brightness value right there and changing it to -20.

So I'll go ahead and take that down by pressing Shift+down arrow a couple of times. And I mentioned this before, but that doesn't affect the highlights. So the whites remain white, and it doesn't affect the shadows so the blacks remain black and the dark shadows remain visible. What we are doing here is we are just sinking the mid-tones, that is we're darkening the middle luminance levels inside of the image. And you can see that reflected in the histogram if you were to look at that. And then finally, I want to restore some Saturation. So, I am going to click on the Vibrance value right there in order to make it active, and I am going to take that Vibrance value up to + 30 like so.

So just to give you a sense of how far we've come, where this image is concerned, I'll go and turn off the Preview checkbox. So this is what the image look like originally. So it's just a little bit cooler really, overall and this is what it looks like now. If I turn the Preview checkbox back on. And incidentally, you can invoke Preview from the keyboard by pressing the P key, P turns it off, P turns it back on. An interesting thing when working with Camera Raw preview is you're just previewing the settings in the current panels. So if you switch to a different panel like Tone Curve or Detail or one of those guys, then turning on and off Preview just affects the settings in that panel.

These settings that we're seeing right would remain in effect. So just I am going to bear in mind. All right we're done. That's it. That's all I want to do, very subtle modification here. Click OK, in order to update the layers inside of the larger composition and notice both the multiply layer which you wouldn't be able to see very well, because it's in the background and it's darkening up the Background layer, and then a Smart Object layer that's covering it up which is set to the Normal blend mode. They both updated in kind. So this is before ,the before version of the image, I'll press Ctrl+Z, Command+Z on the Mac, to undo the change and then Ctrl+Z or Command+Z again, will reapply the change and we get a warmer version of our model.

Thanks to the changes that we applied so simply and elegantly in Camera Raw.

Show transcript

This video is part of

Image for Photoshop Smart Objects
Photoshop Smart Objects

95 video lessons · 21794 viewers

Deke McClelland
Author

 
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  1. 17m 13s
    1. Welcome to Photoshop Smart Objects
      59s
    2. Installing the dekeKeys keyboard shortcuts
      4m 18s
    3. Installing the CS4 color settings
      4m 15s
    4. Loading the CS4 color settings in Photoshop and Bridge CS4
      7m 41s
  2. 1h 12m
    1. Nondestructive transformations
      1m 14s
    2. The purpose of Smart Objects
      5m 17s
    3. The trials of destructive transformations
      5m 1s
    4. Creating a Smart Object
      6m 36s
    5. The rewards of nondestructive transformations
      4m 29s
    6. Preparing a composition for masking
      4m 59s
    7. Establishing a base alpha channel
      6m 25s
    8. Masking a Smart Object
      7m 3s
    9. Refining the layer mask
      6m 50s
    10. Multiplying the edges
      4m 17s
    11. Manually adjusting the problem edges
      6m 3s
    12. Free Transform feedback
      5m 14s
    13. The ultimate nondestructive crop
      9m 8s
  3. 1h 19m
    1. Photoshop and its support applications
      1m 45s
    2. Creating a Camera Raw (ACR) Smart Object
      5m 8s
    3. Converting a JPEG image to DNG
      4m 47s
    4. Replacing pixels with Camera Raw data
      5m 27s
    5. Matching image and ACR resolution
      4m 25s
    6. Adjusting ACR Smart Objects
      5m 33s
    7. Importing Illustrator artwork
      6m 13s
    8. Opening placed art in Illustrator
      5m 51s
    9. Examining dynamic effects
      7m 9s
    10. Modifying Illustrator artwork
      5m 20s
    11. Updating an Illustrator Smart Object
      4m 20s
    12. Styling placed artwork in Photoshop
      3m 33s
    13. Combining layer effects and adjustment layers
      5m 14s
    14. Copying a layer from a clipping group
      5m 0s
    15. Scaling vector data beyond 100 percent
      3m 9s
    16. Blending vector data with pixels
      2m 10s
    17. Saving PDF-compatible Illustrator art
      4m 23s
  4. 1h 26m
    1. Many Smart Objects reference a single source
      1m 9s
    2. Smart Objects and file size
      5m 11s
    3. Placing images as Smart Objects
      4m 44s
    4. Creating a basic lens flare
      5m 43s
    5. Turning a flare into a black hole
      6m 2s
    6. Establishing a first true clone
      4m 9s
    7. Finding the exact center of an image
      2m 37s
    8. Reflecting additional clones
      4m 55s
    9. The art of upsampling
      7m 45s
    10. Editing the root image
      5m 37s
    11. Updating all true clones
      3m 29s
    12. Roughing in a polygonal mask
      7m 13s
    13. Parametric Feather and Glow
      7m 12s
    14. Smart sharpening Smart Filter
      5m 36s
    15. Adding highlights and vibrance
      7m 10s
    16. Luminance blending
      8m 18s
  5. 49m 7s
    1. Placing one Smart Object inside another
      1m 9s
    2. Creating a super-massive Smart Object
      7m 9s
    3. Styling a super-massive Smart Object
      4m 29s
    4. Recoloring background regions
      4m 42s
    5. Cloning a super-massive Smart Object
      5m 56s
    6. Finishing off the first draft
      5m 4s
    7. The plasma ball effect
      4m 45s
    8. Applying the Smart Clouds filters
      4m 57s
    9. Converting clouds to lightning
      5m 4s
    10. Updating nested Smart Objects
      5m 52s
  6. 1h 14m
    1. Editable, nondestructive filters
      1m 24s
    2. Applying and modifying creative effects
      6m 54s
    3. Blending filtered effects
      6m 24s
    4. Tweaking filters with adjustment layers
      4m 14s
    5. Restoring halftone highlights
      4m 25s
    6. The price of Smart Filters
      5m 56s
    7. The power of true clones
      7m 13s
    8. Sharing between Smart Objects and comps
      8m 45s
    9. Just click on it
      1m 50s
    10. Applying a corrective filter
      5m 24s
    11. Smart Filters and disk space
      3m 46s
    12. Picking the right blend mode
      6m 36s
    13. Combining multiple Smart Filters
      6m 13s
    14. Editing and previewing filter settings
      5m 27s
  7. 1h 44m
    1. Still more Smart Filters
      1m 3s
    2. Introducing the non-filters
      4m 15s
    3. Reducing luminance contrast
      5m 19s
    4. Faking an HDR portrait effect
      7m 20s
    5. Adding a filter mask
      3m 22s
    6. Editing filter masks and density
      4m 26s
    7. Applying Variations as a Smart Filter
      7m 24s
    8. Establishing independent filter masks
      4m 51s
    9. Painting away unwanted halos
      6m 28s
    10. Creating a wood grain effect
      6m 2s
    11. The luminance-style filter mask
      6m 23s
    12. The downside of independent filters
      5m 11s
    13. Merging the effects of two filters
      4m 38s
    14. Adjusting and merging masked effects
      6m 26s
    15. Introducing the Filter Gallery filters
      4m 39s
    16. Applying a Filter Gallery filter
      5m 57s
    17. Merging two Filter Gallery effects
      7m 16s
    18. Adjusting the colors of Sketch filters
      5m 2s
    19. Adding a third filter to a combo
      4m 58s
    20. The versatility of Smart Filters
      3m 2s
  8. 1m 31s
    1. Goodbye
      1m 31s

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