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Photoshop CS4 One-on-One: Mastery

Creating and saving the first plane


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Photoshop CS4 One-on-One: Mastery

with Deke McClelland

Video: Creating and saving the first plane

Now the great thing about the Vanishing Point filter is that it allows you to edit an image in 3D perspective, so that you're matching the perspective of the scene. just so you know, the Vanishing Point filter is located right here under the Filter menu. There it is. It's actually one of these independent utilities, so it just happens to run inside of Photoshop like Camera Raw and like Liquefy, just straight there above it. It gives you a series of tools. You've got an Image window to work inside of it and so on. Now, what we want to do in the case of this image right here, and it goes by the name of Dingy subway.tif, and it comes to us from photographer Josef Kubicek of iStockPhoto.com. We want to heal away this unauthorized graffiti down here in the subway scene. Then ultimately, replace it with this trademarked logo right here, so that we are letting the good people know of the wonderful service that we've provided for them.
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  1. 21m 17s
    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 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    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 23m
    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 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    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
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    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 54s
    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 54s
    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 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    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 41s
    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 51s
    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 38s
    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 42s
    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
      42s
    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 50s
    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 51s
    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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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 lynda.com 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
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Creating and saving the first plane

Now the great thing about the Vanishing Point filter is that it allows you to edit an image in 3D perspective, so that you're matching the perspective of the scene. just so you know, the Vanishing Point filter is located right here under the Filter menu. There it is. It's actually one of these independent utilities, so it just happens to run inside of Photoshop like Camera Raw and like Liquefy, just straight there above it. It gives you a series of tools. You've got an Image window to work inside of it and so on. Now, what we want to do in the case of this image right here, and it goes by the name of Dingy subway.tif, and it comes to us from photographer Josef Kubicek of iStockPhoto.com. We want to heal away this unauthorized graffiti down here in the subway scene. Then ultimately, replace it with this trademarked logo right here, so that we are letting the good people know of the wonderful service that we've provided for them.

The whole thing is going to be rendered in perspective. It will look great, I tell you. Anyway, I'm going to return to this image, Dingy subway.tif, and that other image is called, by the way, Scrubbco banner.psd. You may wonder, well, all right, why do we have to go into Vanishing Point? Why do we have to use a totally different filter, completely different environment in order to heal away this graffiti? Why can't we just use the Healing Brush right there? Well, I'll show you. Let's go ahead and get the Healing Brush tool. This is the one that allows you to specify a source point. So I'm going to press and hold the Alt key or the Option key on the Mac and I'll set the source right about there at this intersection of these bricks. That will, of course, establish as the source point. Then I'll move my cursor up so that it's aligned to the bricks properly at the beginning of this graffiti line here, this little bit of spray paint. Then I'll paint across it in order to clone it away in order to heal that away.

Paint a little more, and then go ahead and release and let Photoshop do its things. Now, ignoring for the moment, these weird, little dark and light spots that are a problem, of course. We have the larger problem that the grid that we've created, this matrix of bricks right here, does not match at all. It's not a match for the perspective of the scene. Even though, I'm healing very close to my source point. So I just move my cursor up about an inch inside of this photograph, and yet, that completely ruins our perspective effect. And that is because ultimately, Photoshop is generally speaking a two- dimensional image editor. It recognizes height and width and that's about it.

Whereas Vanishing Point can match the actual 3D perspective of the scene. So I'm going to undo that modification by pressing Ctrl+Z, Command+Z on the Mac. Here is what we're going to do. Switch back to the neutral Rectangular Marquee tool. Not necessary but something I like to do. Then go up to the Filter menu and choose the Vanishing Point filter. Now, once Vanishing Point comes up on screen, the first thing that I like to do is to establish my base plane and then go ahead and save that off so that I don't end up wracking it, because it takes a while to get your first plane exactly right.

Notice right here, I have the Create Plane tool selected. That's good, we want that. Now, I want a plane that covers the entire rear wall back here. I'm going to start that plane at the most obvious thing that I can marquee, and that would be this area right here between the 2 and the 3 signs. So I'm going to go ahead and zoom in on it, and I'm zooming by Ctrl+Spacebar-clicking or Command+Spacebar-clicking on the Mac. You also have this option, incidentally. If you press the X key as you're editing inside of Vanishing Point, for as long as X is down you will see a 2x version of whatever zoom level you are operating inside of. As soon as you release X, you'll go back to whatever zoom level you are operating inside of.

So, it switches back and forth between standard and 2x view. just so you know, if you want to zoom in for a moment, you press the X key, kind of a useful trick, actually. I'm going to go ahead and zoom in for real by pressing Ctrl+Plus or Command+Plus on the Mac to 200%, so I can see this area between the 2 and the 3 signs. Now, when you're creating a plane, you're creating a rectangle that's rotated in 3D space sort of like a billboard. You create it by clicking at four points, each of the four corners of the rectangle. So, for example, I would click here to set the first one. And then here to set the second one, then down here for the third corner and then here for the fourth corner. Now, you're going to see one of three things, when you get done creating your rectangular plane here. The plane will be rendered in one of three colors. Either it will be rendered in Red, like so, which means that Vanishing Point hates you, is essentially what it means. It's disgusted with you.

You have created a horrible plane. It's not something you can work with. And it's telling you, buddy, shape up. I'm not going to do anything with this plane. It's not going to work for you. So Red is bad. Now, you can see that just a tiny little movement of one of these corners can send it to Blue, which is good. Blue is all the way good. That's Vanishing Point reaching out and giving you a hardy handshake and saying, nicely done, sir. I can work with that. Yellow is the other color you might see. It's scene between color, and this is Vanishing Points where it's saying that's not a good plane, but it's not horrible. And if that's the best you can give me, I'll try to work with it. It's not the best you can do.

You can do Blue. You can always do Blue. So go for Blue, don't go for Yellow or Red. Obviously, Red, you don't want to anger the gods of Vanishing Point. So Blue is good. Now then, having created a nice blue plane, I'm going to zoom out, and then I'm going to take this plane and I'm going to render it across the entire rear wall right there by dragging the side handles, like this one and then this one there. So drag it all the way to the scene between the two walls, this right edge, that is to say. Then drag this left edge all the way over to the left beyond the end of the image, so it extends out into the pasteboard here.

Now I'm not comfortable with the angle of this side, because our wall isn't angling in like that. It's not falling over. So let's go ahead and move this line outward. Now as I do, notice what's happening to these vertical grid lines. As I try to straighten this wall, I get more and more vertical grid lines, and pretty soon I get this. You don't want this. You don't want the vertical grid lines pack this tightly. That will not work for you. You'll get terrible brush strokes out of the filter. I find it very irritating that it ever does this. You want something along these lines here, so that you have these fairly open mini rectangles right there. Because these little boxes here, they represent the proportions of your brush. So a circular brush will actually fit inside of this rectangular area right there. You'll see what I mean later, but you don't want a really super thin brush, you want something that has a little bit of volume associated with it. You'll get that out of this grid, the grid that you're seeing before you right now. So try to match it as closely as you can, if you're working along with me.

Then I'm going to go ahead and drag this edge down. Notice that cursor, that left/right cursor right there, the cursor should be up and down. The cursors don't always represent the directions of your drag as well as they should. For example, I mean, this needs to be an up/down cursor as well. So what I'm telling you is don't worry about it. If you see the wrong kind of cursor, just go ahead and drag the direction you want to drag. And it will do the right thing. There's our big plane across the rear wall. Love it, love it to tears! What's tempting to do is just now start editing the image. Make whatever modifications you want to make. Don't do that. Because, if you do, you'll be tempted to go up here and click the Cancel button, especially, because we're modifying a flat image, and that's no good, you want layers. We need to create a layer before we start modifying the image.

So you'd want to click Cancel in order to avoid ruining the image, of course. But if you click Cancel, then you're going to lose your plane. You want to keep your plane. So here is how you keep your plane. Don't make any modification, just click OK. That will go ahead and save your plane. Vanishing Point is now aware of it. If you want to save the plane along with the image, you go to the File menu and choose the Save command. And planes, just like paths, the paths that we saw in the previous chapter, you can save planes along with JPEG images or TIFF images or any old file format. They take a very little space. So go ahead and choose the Save command and then you will be right ready to create some more planes.

In the next exercise, for example, we're going to create some perpendicular planes, which is very exciting, as you'll see.

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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