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Photoshop CS4 One-on-One: Mastery
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Healing in perspective


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Photoshop CS4 One-on-One: Mastery

with Deke McClelland

Video: Healing in perspective

I have gone ahead and saved my progress so far as All planes present.tif and you may have caught then I called my previous catch-up document one pane down. They are planes not panes, but I don't want to say one plane down. That wouldn't have been any good. All planes are present and accounted for inside of this image and we are now ready to edit the image. We are going to clone these brick patterns in perspective as you'll see. I'm going to warn you upfront because we got a lot of bricks to match here. So this is not the most forgiving image on the face of the planet but the good news is you'll have plenty of chance to practice. Isn't that great? All right, but before we make any modifications whatsoever, we need to create a new layer. I'm going to Shift+Tab up my Layers palette right here. I want you to see that we have a single layer image. And here is the thing, vanishing point is always seeing the composite image, so a merged version of all layers inside of your document, but then it turns around and deposits its results on the active layer. So the ideal situation is that you have a blank layer ready and waiting for vanishing point so that you can modify the results of the Vanishing Point Filter anytime you like.
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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

Healing in perspective

I have gone ahead and saved my progress so far as All planes present.tif and you may have caught then I called my previous catch-up document one pane down. They are planes not panes, but I don't want to say one plane down. That wouldn't have been any good. All planes are present and accounted for inside of this image and we are now ready to edit the image. We are going to clone these brick patterns in perspective as you'll see. I'm going to warn you upfront because we got a lot of bricks to match here. So this is not the most forgiving image on the face of the planet but the good news is you'll have plenty of chance to practice. Isn't that great? All right, but before we make any modifications whatsoever, we need to create a new layer. I'm going to Shift+Tab up my Layers palette right here. I want you to see that we have a single layer image. And here is the thing, vanishing point is always seeing the composite image, so a merged version of all layers inside of your document, but then it turns around and deposits its results on the active layer. So the ideal situation is that you have a blank layer ready and waiting for vanishing point so that you can modify the results of the Vanishing Point Filter anytime you like.

So here is what I want you to do. Press Ctrl+Shift+N, Command+Shift+N on the Mac for New Layer, and we'll call this Perspective edits or something along those lines and then click OK, and now we have a blank layer ready for vanishing point, great. And vanishing point will see through that layer to the background, so it will actually use the background imagery to make its edits and then it will put the edits on Perspective edits. You get it? Okay, so here we go. We are going to go to the Filter menu, choose Vanishing Point, gone all over planes all over the place. Let's go ahead and zoom in here on this first wall, the one that has the largest brick patterns on it, and then I want you to go ahead and select this tool right here, the Stamp tool.

Now the Stamp tool does double duty inside of the Vanishing Point Filter. It serves as a standard cloning tool like the Stamp Clone tool inside of Photoshop. It also serves as a Healing Brush. So it can do either. So go ahead and click on it to make it active. You want to set the healing right there, the Heal mode from Off which is the default setting, not to Luminance, which will heal the luminance information, but leave the color alone. We want on, full on, because we have both color and luminance wavering across the course of this wall.

So go ahead and choose on and I suggest you work with Aligned on as well, so that we are aligning our brush strokes. Then what you what to do is you want to set a source. So go ahead and press the Alt or Option key and click in order to set the origin at the intersection of a few of the bricks right there. Then as soon as you release, you will see a preview of how your brush is going to paint, which is great, very handy of course. You can increase the diameter of the brush by pressing the Right Bracket key; decrease the diameter by pressing the Left Bracket key. The Hardness you can control just as you can in Photoshop with Shift+Right Bracket or Shift+Left Bracket. It works in finer increments, which is nice.] All right, so I'm going to set the Diameter to actually to 175, and Hardness to 80, and the Opacity wants to be 100%, so that's great, and then I'm going to make sure that my brush aligns.

Now notice the shape of that brush, it's all elliptical, right? You can see it as I move it around here that's an elliptical brush. It's not, it's circular. That is vanishing points idea of a circular brush, it just happens to be rendered in Perspective. That's why I was telling you the proportions of those little rectangles in the grid inside of the plane are so important because they determine the proportions of your brush as well. And if they get too skinny, you are going to have this little vertical line of a brush, which just produces horrible edits. You can give it a try if you like but I recommend you just stay clear of it.

I am going to go ahead after I get this more or less aligned. Now it's never going to be perfectly aligned, even though the Vanishing Point Filter is really wicked smart as I was saying. Notice look, you moved the brush up, look at the angle of those horizontal lines, they are moving up and to the left, and now I move it down they are moving down and to the left. So it's so smart, just sits here and matches the perspective of the scene. What a good little program. However, the problem is that these bricks aren't necessarily rendered impeccably well. And so we have got some wavering tiles. They are not even bricks. They are tiles. Why do I keep calling them bricks? They are not necessarily all uniform. So you can knock yourself out to make sure that every tile looks exactly right. I don't recommend you do that. It's a little too masochistic. I recommend that you just kind of just accept that people aren't going to really notice very much.

All right anyway, I'm going to go ahead and paint that area away. You don't want to paint too high, you are going to start cloning the graffiti some more. So I'll just go as high as I can go without running into former graffiti there and then I'll release in order to clone that graffiti away. Now I think this looks pretty good. I do have a little bit of repetition right there, this line that's also appearing down here, and you can see, by the way, the two crosses; the green cross shows the source and the blue cross or it's actually kind of a white cross here, shows the destination. So you can see that, of course, I'm going to clone this area because it's down there at the source.

So if you don't want that happen, if you want to clone that away then you'd have to Alt-click or Option-click to set a different source point. I'm going to set it over here, Alt-click or Option- click at this location and then let's see, if we can just do a single click in order to get rid of that without making a mess of things. Now it's great, pretty great. I mean we have got a little bit of weirdness right there. What the heck? Well let's get rid of the weirdness. Let's click on the weirdness to get rid of it and it looks good I think. All right and then let's go ahead and set another source point from my edits. It helps if you kind of move your cursor off to this side like this and then press Alt or Option and then go looking for your source point because otherwise, you are going to covered up with your brush preview right there.

So I'm going to Alt-click or Option- click at -- let's say this location right there, and then I'll clone it if I can, across that whatever that text says up there. It looks like it said the word milkman but I don't think that was really anything. It's in a different language, and then I'll paint that away. Let's see if we can go ahead and Spacebar+Drag things over. You know one of the things that's a little irritating about this filter on the Windows side of things is that the options-- it's got plenty of opportunities for your options to get stuck. So like when you change Heal from off to on for example, then it stuck on like that, so helpful. And then when you press the Spacebar, you can't get the Hand tool anymore. If you find that happening, you Windows people, you Macintosh people thankfully aren't going to run into that problem, but if you, Windows people do, you have to switch tools and then you can get back to your Spacebar dragging, so many workarounds with this Windows stuff.

All right, so press and hold the Alt key, the Option key on the Mac. I'm not going to completely fix this wall in front of you because it does take a little bit of effort and a little bit of time and it's kind of like watching your paint dry, but Alt-click or Option- click at that intersection right there, and then let's go ahead and paint this away. I'll tell you some familiar things work. Let me point one out for example. Notice that these bricks are wavering a little more than I would like them to. So I could go with a small brush. I could reduce the size of my brush and I could click here check this out, click here at that location, oops, that off. So let's go ahead and turn off Aligned.

I just press Ctrl+Z or Command+Z on the Mac to undo that modification. I'll turn off the Aligned checkbox for a moment, and let's see if we can find a better alignment. Oh, look at that, let's set a better source point there, Alt-click or Option-click at this location right there and let's go ahead and begin painting. Actually, let's lower that, Alt-click or Option-click right there and then we'll begin painting at this location. I'll click in order to establish the alignment, that's what I'll do, and then I'll turn on Aligned like so.

Then I'll try to remember where the heck I was. And I'll Shift-click like so in order to draw a straight line across there. So click and Shift-click for a straight line. Now this happens to be a horrible demonstration of that function because I just charred the wall at this location, I like heated it up. So forgive me for doing that, I did not mean to scorch the wall. Let's go ahead and press Alt or Option, and click once again. Those of you who are following exactly along with me will want to do this. Who are making even exactly the same mistakes I'm making. Let's go ahead and paint that away. That doesn't seem likely, but you never know, and I'll paint this and see what has get better. That's good.

All right, so I'm going to keep doing this. I'm going to keep working on this wall, you keep working on your wall, just remember that I'm in the background going, "Boy, girl, you are doing a great work" and then once you are done, beating your head against this wall here, rejoin me. In the next exercise, I have lots more fun stuff to share with you. Once we get this wall right, we can duplicate it onto the other walls. That's really easy 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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