Photoshop CS4 One-on-One: Mastery

Cloning and scaling in perspective


Photoshop CS4 One-on-One: Mastery

with Deke McClelland

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Video: Cloning and scaling in perspective

I have gone ahead and save my progress as Healed wall.psd and I'll provide you with some insights. This wall by no means perfect. There are some imperfections here and there but it's in pretty darn good shape actually. And one of the areas that I worked hard on was this left edge, which if you just heal it out right will end up producing some sort of charred areas. You'll get some dark spots over here and notice by the way I have deposited my modifications on this separate layer called Perspective edits that I had created in advance in the previous exercise, you saw me do it. So I have clicked OK. I'm out here in the larger world of Photoshop.
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  1. 21m 20s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 24m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 34s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 35s
    8. Importing an image into a 3D scene
      5m 46s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 8s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 55s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 55s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 33s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 42s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 52s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 39s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 43s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 51s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 52s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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Watch the Online Video Course Photoshop CS4 One-on-One: Mastery
13h 7m Advanced May 29, 2009

Viewers: in countries Watching now:

Photoshop mastery can be elusive, but in Photoshop CS4 One-on-One: Mastery, best-selling author and video trainer Deke McClelland teaches the most powerful, unconventional, and flexible features of the program. In this third and final installment of the popular and comprehensive series, Deke delves into the strongest features that Photoshop has to offer, including scalable vector graphics, Smart Objects, and Photomerge. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS4 One-on-One: Fundamentals and Photoshop CS4 One-on-One: Advanced, both part of the Online Training Library®.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Defining the essentials of masking
  • Resizing images with content-aware scaling
  • Adjusting perspective with Vanishing Point
  • Applying Smart Filters to create complex effects
  • Using the Auto-Align tool to build composite images
Design Photography
Deke McClelland

Cloning and scaling in perspective

I have gone ahead and save my progress as Healed wall.psd and I'll provide you with some insights. This wall by no means perfect. There are some imperfections here and there but it's in pretty darn good shape actually. And one of the areas that I worked hard on was this left edge, which if you just heal it out right will end up producing some sort of charred areas. You'll get some dark spots over here and notice by the way I have deposited my modifications on this separate layer called Perspective edits that I had created in advance in the previous exercise, you saw me do it. So I have clicked OK. I'm out here in the larger world of Photoshop.

Let's go back into Vanishing Point so I can show you how I dealt with that edge. It's not that hard. Need just a lot of back and forth-ing. It's basically a function of using the Stamp tool and switching back and forth between off for Heal and on. So back and forth between those two options right there. Luminance is of no use where this wall is concerned. So I would just basically turn it off long enough to heal away one of those singed edges there and then turn it back on in order to get the colors right and the transitions right and so on.

So little bit of back and forth-ing. Now I'm here to tell you that was hard as I think I have established here, this next thing that we're about to do now is easy, friends so easy. What we're going to do is we're going to take this wall that we've created so impeccably wonderfully well and we're going to clone it on to the other two walls back here, this one and this one and here's how that works. We're going to use the Marquee tool. Now the Marquee tool is your one and only selection tool here inside Vanishing Point. But the great thing about it is it draws its marquees in perspective. Check it out. I'll go ahead and grab my Marquee tool, then I'll move down to this wall right there and now you can press the X key in order to magnify, I was telling you about that and I'll go ahead and surround this area. I still have the X key down.

With the Marquee, remember that Spacebar trick that comes in so handy when you're using the Shape tools and the Marquee tools and all that stuff inside Photoshop, doesn't work here inside Vanishing Point. Completely does not work, too bad. So what that means is you need to be careful when you're drawing your Marquees in the first place. I have gone ahead and drawn this Marquee. It's not animated not animated marching ants just static ants, just ants that are just sitting there. All right I'm going to release the X key now in order to zoom back out. Now then having surrounded this area that I want to modify, what you want to do is make sure that Move mode is set to Destination. This is just crazy what we're going to do here just without pressing in really inside of Photoshop.

I should take that back. It's kind of like the Patch tool little bit. So Move mode is set to Destination, Heal should be set to On, so that we go ahead and heal our modification here and then I want you to press the Ctrl and the Shift keys and what's happening here is Ctrl+ Drag a selection to fill the area with the source image. So we're going to define a source as we drag, Ctrl+Drag to a new location. Shift allows us to constrain the direction of the drag to exactly horizontal in this case, of course, horizontal in perspective. So now having set that. Ctrl+Shift+Drag or Command+Shift+Drag on the Mac until you see what you're seeing over there inside of this area. Watch this area, see how it kind of pans around that I just love that. I think that's so cool.

It's like whoa, it's like a big LCD screen that showing this wall moving by and drag over to about here. So you can see this edge, right? This tiled edge with the alternating light and dark tiles should appear against this edge over here. But I need to move my cursor over here to make it happen. You see what I'm talking about, right there is where you want to release. You're going to have some empty area over on the left side of that selection. That's okay and then you'll have a nice heal. Check that out. Now when I say nice heal I mean pretty nice.

I'm going to zoom in here a little bit. It is a little jaggedy and when I say a little jaggedy, it's quite jagged actually. Vanishing Points interpolation leave something to be desired. It's not the best interpolation engine on the planet. It's not as good as Photoshop proper. In its defense it's trying to do it in perspective but my thinking is it could be heck of a lot better than this. When you're making big reductions that's when it tends to look pretty ratty. So you want to reduce a little bit at a time if you can.

Now we're going to make things look a little better by transforming this wall a little bit by stretching it. We're going to do that by switching to this tool, the Transform tool, you get it by pressing the T key that makes sense. All right, so get the Transform tool then drag this edge, watch this, until we're close to those alternating tiles over on the left hand side. So at this point you want to release and then it's going to re-interpolate so this is one interpolation on top of another. But because we're upsampling and here is the thing. I have railed against upsampling in Photoshop so far.

I have been telling you, don't do it. It's not going to do you any good. It's kind of a little inverted here inside Vanishing Point. We have terrible downsampling inside vanishing point and reasonably good upsampling. So sometimes after downsampling, upsampling can unmess up some of your transitions. So make them a little smoother as they are now where this wall is concerned. Again, it's not perfect but it's better. Now I want to take this wall and I want to go ahead and copy it over to this location over there. And I'll do that by this time pressing Shift and Alt and that would be Shift and Option on the Mac and dragging this guy over to the right like so in order to clone it. Just do a straight clone and we'll line up those alternating tiles over there on the right hand side and then I'll drop things into place and we get a reasonably good match.

You're going to stop perfect, some ratty interpolation of course, since we're downsampling. So tremendously also things are in sharper focus then they are over in this wall. Things are pretty fuzzy over in this wall by this point. So we can then follow it up inside Photoshop right? So that's what we'll do. All right, so anyway that's how you do a clone. When you're transforming you have the option of doing a Flip and a Flop. These have to be some of my favorite options in Photoshop. Just a notion that somehow we are going to be able to distinguish Flip from Flop and notice if you hover and you get the tip, it says Flip the copy. Okay, thank you. That helped. And then Flop the copy. Thank you Photoshop for explaining that to me. Now it becomes perfectly clear. What? So Flip is a horizontal flip by the way. See how it flipped horizontally and Flop is a vertical flip.

Now we chose to name them flip and flop because sometimes what happens if you rotate this wall and now what was formerly, for example what was formerly a Flip becomes a Flop. Now formerly a horizontal flip becomes a vertical flip. So they didn't want to call them horizontal or vertical. We'll call them flip and flop. That makes sense. Anyway I undid that rotation. I don't want that. I want what we got just wanted to mention what flip and flop to you just in case you are curious and then click OK in order to accept this modification and deposit the results on to this Perspective edits layer, not bad, looks okay from a distance. Once we zoom in it looks pretty bad.

But why don't we just go ahead and select this area because it's on a separate layer. I can modify it independently of the background image. So let's go ahead and turn this layer off for just a moment so I can get a sense. That's pretty blurry back there. So let's turn it back on. So we're probably going to want to perform a fair amount of blur. Go up to the Filter menu and choose the Blur command and then choose Gaussian Blur, you could choose Lens Blur if you want to get it really right but Gaussian Blur I think it's going to be good enough for us. Not that much let's see something like I'm experimenting here. Something like 0.5, maybe even that's pretty strong. Let's take it down to 0.3 pixels right there and click OK and that's probably going to do us better. It's a fake right, it's a phony but it's looking okay.

All right so there we have it. We have the new walls in place. What about this wall back here? This guy is a real offender, it's a wall with issues and we need to cover up that graffiti. I mean if we're going to do the scrub code number we've got to cover up this guy too. This is not a marquee shape, right, it kind of goes in and out. We have this 4 sign that we've got to cover up. What do we do about that? How do we accommodate your regular selections they aren't exclusively rectangular. I'll answer that question. I'll show you how, in the next exercise.

Find answers to the most frequently asked questions about Photoshop CS4 One-on-One: Mastery .

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Q: My Polygon tool is locked into a very small size. I can use the Transform tool to increase it's size once drawn, but I must have something set that will not allow me to freely draw it like I can the other shapes. What could be causing this problem?
A: This could be caused by a value associated with the Radius option of the tool. Click the down-pointing arrowhead to the right (a few tool icons over) from the Polygon tool in the options bar at the top of the screen. This brings up pop-up panel. If the Radius option has a number value, select that value and press Delete or Backspace to clear it out. That should fix the problem.
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