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Median and its badly named progeny

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Median and its badly named progeny

Alright, so great now I have got you thinking, I am going to slap you the next time I see you and I am not, I am not that kind of person at all. It reminds me though of Golden Eye, did you ever play that game, the game not the movie, the 007 game. And if you ran out of weapons, you could run around and slap each other and you could slap each other so much that what if you died it was that much slapping. They just fell down and died, which I thought was really cool. Now you couldn't make your opponents say Gaussian. If you could have done that I would have won that game every single time, good times. Alright so here we are inside the rectangles.psd image, we are looking at the top pair of layers.

Median and its badly named progeny

Alright, so great now I have got you thinking, I am going to slap you the next time I see you and I am not, I am not that kind of person at all. It reminds me though of Golden Eye, did you ever play that game, the game not the movie, the 007 game. And if you ran out of weapons, you could run around and slap each other and you could slap each other so much that what if you died it was that much slapping. They just fell down and died, which I thought was really cool. Now you couldn't make your opponents say Gaussian. If you could have done that I would have won that game every single time, good times. Alright so here we are inside the rectangles.psd image, we are looking at the top pair of layers.

The Gaussian Blur image on the left and the Box blur image on the right. I am going to press the end key to go down to the lower pair of rectangles. Those layers, I have so far are not modified, I am going to though in this exercise, so I will click on the Layers palette and click on 3BL in order to select this bottom left layer right here. And the idea this time is we are going to check out, we are going to move away from the Blur submenu onto the Filters menu for just a moment. We are going to move away from the Blur submenu onto the Filters menu for just a moment here and we are going to check out the Noise submenu instead and we are going to take a look at a couple of key averaging functions, features that average pixels instead of blurring them.

Go up to the Filter menu and choose Noise. The idea is all of these commands are supposed to either add noise or in the case of the other four commands remove noise from an image. A noise is random straight non-information bearing pixels basically, so just random pixel variations. Add Noise allows you to add random pixel variations if you want to and you can check that filter out on your own if you want to. Despeckle, just goes ahead and removes individual pixels of Noise, completely isolated individual pixels of Noise.

I will go ahead and show you what it looks like just for larfs. This is it, alright that's it. That little tinny thing that it did, that's what it does. It is these days I would go so far as to say completely outmoded, a very ancient command that they should drop from the software in my opinion. It is just taking up space. Anyway, I will go back up to the Filter menu, and I am going to choose Noise once again. We have got Dust and Scratches and Median, I will come back to those too.

Those are the two that we are going to look at inside of this exercise actually and then reduce Noise a big function, big useful function actually and we are going to use it later in this chapter. We will use it in order to remove Noise from a digital image, but we will take a look at it in a creative context as opposed to in an analytical context here. Let's start off with the Median command, which you can see is another key filter at least insofar as I am concerned because I have given it a keyboard shortcut in my D keys, which is Shift+F8 if you have loaded them.

Alright, go ahead and choose the Median command and I am going to go ahead and center this of course and then raise this radius value once again to 20 pixels, because 20 pixels is what we have been applying so far both inside Gaussian Blur and inside Box Blur. And notice this time instead of blurring the pixels, Photoshop goes through and averages them and it's scrubbing through the image actually in these big 20 pixel diameter brushstrokes.

So you can think of it as working that way anyway and that means that it completely gets rid of the low level noise, this low level texture at least at this high radius setting it does. And then when it comes to a big edge, it goes ahead and rounds off the corners, notice that, so it rounds off the corners here and it rounds off the corners here and those are some pretty jagged transitions. If I Ctrl+Click inside the image or Command-Click in Mac, you can see that we have a jagged transition with a little bit of extra softness on the outside and just a tiny bit on the inside as well.

Alright, I am going to Alt+Click or Option-Click in the Mac in order to zoom back out and I am going to apply that filter, that's all I am going to do, so we just have this one radius value inside Median and that's it, go ahead and click OK to apply it. Now let's go to this next door layer by going to the Layers palette clicking on 4BR, 4 Bottom Right. Press F7 again to hide that palette from view at least on my screen because I don't have that much room to work.

Then I am going up to the Filter menu. I am choosing Noise and I am choosing Dust and Scratches. Now the important thing to know about Dust and Scratches is it's based on the Median filter, the Median filter is really like its father. Dust and Scratches just goes ahead and adds one more option a Threshold function as we will see, that's the only difference between it and Median. It has an extremely misleading name. Dust and Scratches has nothing to do with this filter. It removes neither dust nor scratches. That's how far off this naming is. In fact, I would go so far as to say it leaves behind only dust and scratches because it averages the big stuff and leaves the little stuff like these little tiny textures behind. I will show you what I am talking about. Go ahead and choose Dust and Scratches and notice that we have got a radius value right here and a threshold value.

The radius value I will set it to 20, so you can see the radius value behaves just like the one inside the Median dialog box. When I have the Threshold set to 0, this command Dust and Scratches behaves identically to Median, so these two images right here are pixel for pixel identical to each other. Alright, I will bring this backup on screen. Now as we raise the Threshold value, remember the threshold value from the Unsharp Mask dialog box, it rules out very small pixel transitions. So if in this case if two neighboring pixels are less than 10 luminosity levels different from each other they don't get averaged. Only neighboring pixels that are at least 10 luminance levels different from each other are going to get blurred, alright so it's leaving the little stuff behind and it blurring the big stuff, sounds like Dust and Scratches alright, no it doesn't. Anyway I am going to go ahead and raise this to let's say about 15, so you can see that I have got some nice texturing left behind but I have rounded off the corners and I have not, as it turns out rounded off the big corners because they just aren't different enough to qualify. So I will click OK in order to accept that modification, so we have got Median here on the left, Dust and Scratches on the right, just in case you are curious.

This is how they compare the blurring, so this is blurring Gaussian Blur versus Box Blur and this is averaging Median versus Dust and Scratches here inside Photoshop.

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This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39076 viewers

Deke McClelland
Author

 
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  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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