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Moving many layers without upsetting comps


From:

Photoshop CC One-on-One: Mastery

with Deke McClelland

Video: Moving many layers without upsetting comps

In this movie, I'll show you how thanks to the fact that we've kept our layer comps nice and flexible and they're not paying attention to the position of the various layers. We can move the monster around without adversely affecting those layer comps. So, you may wonder why, where this composition is concerned, the monster appears so far over to the left hand side of the image. And that's because I wanted to make room for a caption down right. And that caption appears at the very top of the layer stack. To see the caption go ahead and turn on this top text layer.
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  1. 1m 25s
    1. Welcome to One-on-One
      1m 25s
  2. 1h 21m
    1. The many and varied filters in the Filter Gallery
      1m 10s
    2. Introducing the Filter Gallery
      7m 25s
    3. Modifying Filter Gallery settings
      4m 27s
    4. Combining multiple Filter Gallery effects
      7m 28s
    5. The strange power of the Sketch filters
      7m 19s
    6. Converting an image to etched outlines
      5m 58s
    7. Turning those outlines into "digital ink"
      4m 21s
    8. Duplicating a complex Smart Filter sequence
      5m 31s
    9. Customizing a filter effect for a new image
      6m 47s
    10. Tracking Filter Gallery effects by name
      4m 2s
    11. Pencil sketching one image onto another
      6m 26s
    12. Brightening eyes and teeth in a filtered portrait
      8m 46s
    13. Using the new Oil Paint filter (CC Only)
      8m 8s
    14. Customizing an effect with a filter mask (CC Only)
      3m 56s
  3. 41m 16s
    1. Shining light onto a photograph
      1m 1s
    2. Introducing the Lighting Effects filter
      10m 3s
    3. Creating a custom, colorful vignette
      4m 34s
    4. Creating an angled watermark pattern
      5m 24s
    5. Lighting a watermark texture map
      6m 22s
    6. Turning text into a soft texture map
      3m 45s
    7. Creating raised credit-card-style letters
      5m 4s
    8. Wrapping an image using a displacement map
      5m 3s
  4. 30m 38s
    1. Magic is a shaky proposition
      1m 32s
    2. Introducing the Shake Reduction filter
      7m 41s
    3. Drawing custom Blur Trace boundaries
      8m 3s
    4. Modifying and comparing Blur Trace boundaries
      3m 1s
    5. The Blur Direction tool and Source Noise
      2m 58s
    6. Adding grain and smoothing color artifacts
      7m 23s
  5. 33m 37s
    1. Correcting barrel distortion and panoramas
      1m 4s
    2. Introducing the Adaptive Wide Angle filter
      4m 17s
    3. Drawing polygonal constraints
      4m 10s
    4. Manually straightening a GoPro photo
      4m 45s
    5. Stitching together a seamless panorama
      4m 35s
    6. Correcting a pano with Adaptive Wide Angle
      6m 57s
    7. Aligning constraints and overcorrecting
      7m 49s
  6. 52m 52s
    1. Distorting an extracted image
      1m 24s
    2. Extracting a foreground from a background
      3m 30s
    3. Introducing the Puppet Warp command
      5m 2s
    4. Changing the mode and adding rotation
      4m 58s
    5. Adjusting the Expansion value
      4m 0s
    6. Using Pin Depth and Density
      4m 36s
    7. Applying Puppet Warp to editable text
      6m 41s
    8. Creating an intermediate text frame
      3m 16s
    9. Converting layers into animated frames
      7m 13s
    10. Tweening and animating text
      5m 10s
    11. Exporting a QuickTime movie and GIF animation
      7m 2s
  7. 1h 10m
    1. Why edit video in Photoshop?
      1m 5s
    2. Loading video clips into Photoshop
      5m 57s
    3. Creating gradually fading transitions
      6m 11s
    4. Activating a few painless keyboard shortcuts
      3m 41s
    5. Adding text to your video
      5m 21s
    6. Combining your text into video groups
      4m 57s
    7. Adding motion to text (or any layer)
      5m 33s
    8. Adding soundtracks and voiceovers
      6m 50s
    9. Exporting and examining your video
      6m 14s
    10. Editing an existing video comp
      8m 55s
    11. Adding a video clip to the start of a track
      5m 38s
    12. Superimposing video clips with blend modes
      4m 49s
    13. Applying a Smart Filter to an entire video clip
      5m 30s
  8. 1h 24m
    1. Merging multiple exposures in Photoshop
      1m 52s
    2. Automatically aligning bracketed photographs
      4m 13s
    3. Preparing bracketed photos in Camera Raw
      4m 47s
    4. Introducing the HDR Pro command
      4m 12s
    5. How the HDR Pro settings work
      4m 56s
    6. Dramatically increasing the detail in a photo
      7m 45s
    7. Adding a curve in HDR Pro to heighten reality
      9m 9s
    8. Creating a faux-HDR effect in Camera Raw
      6m 17s
    9. Simulating HDR exposures in Camera Raw
      6m 57s
    10. Merging simulated exposures in HDR Pro
      7m 17s
    11. Creating an authentic HDR portrait shot
      6m 12s
    12. Softening an HDR portrait shot
      4m 28s
    13. Developing HDR in Camera Raw
      8m 53s
    14. Working with a 32-bit channel image
      7m 6s
  9. 1h 11m
    1. Managing the multilayer experience
      1m 52s
    2. Renaming a sequence of layers
      5m 35s
    3. Refining the Layers list using filter icons
      3m 31s
    4. Searching by name, effect, and blend mode
      5m 20s
    5. Color property, hide, show, and lock
      5m 28s
    6. Deleting empty layers; replacing fonts (CC 2014)
      5m 56s
    7. Deleting empty layers; replacing fonts (CC)
      4m 34s
    8. Grouping layers by name
      7m 53s
    9. Masking groups and effects in one operation
      5m 28s
    10. Expanding and collapsing all groups and effects
      3m 43s
    11. Introducing layer comps
      4m 4s
    12. Creating a dynamic layer comp
      5m 34s
    13. Applying a mode or effect to an entire group
      8m 55s
    14. Moving many layers without upsetting comps
      3m 28s
  10. 1h 15m
    1. Three incentives to recording actions
      2m 2s
    2. Introducing the Actions panel
      6m 31s
    3. Recording a simple but practical action
      7m 4s
    4. Modifying settings and playing an action
      7m 37s
    5. Creating a dynamically adjustable action
      5m 5s
    6. Adding steps to an existing action
      7m 56s
    7. Actioning a consistent image resolution
      8m 13s
    8. Modifying an adjustment and adding Save As
      6m 21s
    9. Actioning the creation of a flat CMYK image
      5m 18s
    10. Batch processing an entire folder of images
      6m 41s
    11. Saving and loading your actions
      4m 10s
    12. Creating a conditional action
      8m 47s
  11. 1m 20s
    1. See ya
      1m 20s

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Watch the Online Video Course Photoshop CC One-on-One: Mastery
9h 4m Advanced Oct 15, 2013 Updated Oct 01, 2014

Viewers: in countries Watching now:

Join Photoshop master Deke McClelland in the fourth and final installment of his popular Photoshop CC One-on-One series. In this course, Deke shares step-by-step tutorials and expert-level insights on the most powerful features, helping you make your own way to true Photoshop mastery.

Topics include:
  • Creating professional-quality effects with expertly combined art filters
  • Creating a dimensional watermark with lighting effects
  • Correcting for camera shake with the Shake Reduction filter
  • Removing distortion from a GoPro photo
  • Correcting a panorama with the Adaptive Wide Angle filter
  • Animating text with Puppet Warp
  • Adding transitions, text, and sound to videos
  • Creating an authentic HDR portrait shot
  • Managing and leveraging advanced layer options
  • Recording automatic actions and batch processing
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Moving many layers without upsetting comps

In this movie, I'll show you how thanks to the fact that we've kept our layer comps nice and flexible and they're not paying attention to the position of the various layers. We can move the monster around without adversely affecting those layer comps. So, you may wonder why, where this composition is concerned, the monster appears so far over to the left hand side of the image. And that's because I wanted to make room for a caption down right. And that caption appears at the very top of the layer stack. To see the caption go ahead and turn on this top text layer.

And you'll see it appear right there. Now the thing is now that I see the caption, it occurs to me that the monster's still too far over to the left. I want to scoot him over to the right, so I'll click on this highlights layer to make it active. And then I'll go ahead and turn on this template group down here near the bottom so I can keep track of the template as I work. And I'll Shift+click on that template group to select that entire range of layers and groups that make up the monster. And then, I'll go ahead and scoot the monster over by pressing the Ctrl+Shift keys, that's Cmd+Shift on the Mac along with the right arrow key and as soon as I do I'll see this alert message that's telling me that some of the layers are locked.

So I'll click OK in order to acknowledge the message and then I'll click on the lock icon near the top of the layers panel in order to turn it off. Now I'll press the control and shift keys again, that's command and shift on the Mac and I'll pres the right arrow key a total of eight times. So one, two, three, four, five, six, seven, eight in order to nudge the monster over a total of 80 pixels. And now I'll turn off the Template layer in order to see the result. And now if I bring up the Layer Comps panel I can cycle between the layer comps just by clicking in this right arrow icon or, if you loaded DKeys, you can press Ctrl+Shift+Alt+F12.

That's Cmd+Shift+Option+F12 on the Mac. And notice, first time I do, I'll switch to the joint sketch comp and you can see that the original pencil sketch is scooted over to the right. And so have all the other versions of these comps, including template, base shapes, facial features, white monster, additional shading and of course, final artwork. So everything's moved into place exactly where it needs to be. And I stress the reason for that is, if I double click on any one of these comps, you can see that the visibility and appearance check boxes are turned on.

But the position check box is turned off. Had it been turned on, then I would have saved the original location of the monster along with each one of the comps and I would have had to of updated every one of these comps independently. Which would have been a pain in the neck. So, turning this check box off actually provides you with a lot of flexibility, unless you have a reason for turning it on. All right. I'll just go ahead and cancel out of this dialog box. Now, of course, for the final version of my composition, I want the caption turned on.

So I'll go ahead and turn on the text layer. At the top of the stack, and with the final artwork layer comp selected, I'll drop down to the bottom of the panel and click on the update icon in order to save off my work. And now that I've done so, I'll go ahead and press the F key a couple of times in order to switch to the full screen mode and zoom in as well. And that's the final version of the artwork. Thanks to some very advanced layer functions, here inside PhotoShop.

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


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Q: This course was updated on 10/1/2014. What changed?

A: Deke updated the course to reflect changes in the 2014 version of Illustrator CC, including changes to the art filters, the Puppet Warp tool, HDR, layers, and actions.

 
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