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Nesting one Smart Object inside another

From: Photoshop CS5 One-on-One: Mastery

Video: Nesting one Smart Object inside another

I've saved my progress as Volumetric man.psd. In the previous exercise, we went ahead and assigned Shadows/Highlights to this Smart Object as an editable Smart Filter and just to remind you of where we're going, I'll go back to Static Shad-High comp.psd. This is that version of the effect that we created back in Chapter 17 using static pixel-based layers. So each filter is assigned to a pixel-based layer, which grows the file incrementally, creates additional complexity, more work for Photoshop, less editability for you because you cannot edit the numerical settings applied to any one of these pixel-based layers.

Nesting one Smart Object inside another

I've saved my progress as Volumetric man.psd. In the previous exercise, we went ahead and assigned Shadows/Highlights to this Smart Object as an editable Smart Filter and just to remind you of where we're going, I'll go back to Static Shad-High comp.psd. This is that version of the effect that we created back in Chapter 17 using static pixel-based layers. So each filter is assigned to a pixel-based layer, which grows the file incrementally, creates additional complexity, more work for Photoshop, less editability for you because you cannot edit the numerical settings applied to any one of these pixel-based layers.

If you decided you wanted to assign different Shadows/Highlights functions for example, you would have to delete this layer and start again. But I'm going to go ahead and turn Off the Filter set group for a moment here, so that we can see this is where we are so far. So, if I switch back and forth between these two images, you can see that they appear identical, even though they're set up differently. And so, what's left here is to assign the Gaussian Blur and High Pass Filters subject to their own Filter Mask that does not affect Shadows/Highlights.

So, the Shadows/Highlight Filter has to be preserved inside of its own Nested Smart Object and that's what we're about to do now. So, if you're working along with me, switch back to Volumetric man.psd. With Dead calm selected here, I want you to go to the Layers panel flyout menu and choose Convert to Smart Object. Now, at this point you might think, what in the world are you doing? Why are you taking what is obviously a Smart Object that we just got done creating couple of exercises ago and converting it into another Smart Object? That doesn't even make any sense.

Well, remember that a Smart Object is a protective envelope. So, it's a kind of container. So, when we're taking one Smart Object and supposedly converting it into another one, we're actually placing one protective envelope into another protective envelope, so that we just have an additional layer of protection going on and that's all that's happening here. So, it should say, place inside Smart Object. If you loaded dekeKeys, you have a keyboard shortcut of Ctrl+comma, Command+comma on the Mac, and the only outward indication that we've done anything, because we still have a Dead calm Smart Object here in the Layers panel and the image still looks identical out here in the image window, the only difference is that we just lost our Smart Filter; it just disappeared.

Well that's because it's now inside of this Smart Object. So to check it out, go ahead and double-click on this Smart Object thumbnail and that's going to open a different image. In my case I've done this a couple of times here, so it's called Dead calm2.psb but it's a temporary file; for you, it'll just be called Dead calm. psb, and it's that same Smart Object we saw just a moment ago with the Shadows/Highlights effect applied to it. All right, now I'm going to go ahead and close this image by pressing Ctrl+W, Command+W on a Mac, so that we're back inside of the larger composition, we've converted it into yet another Smart Object that is we've placed it inside a different Smart Object.

Now let's go up to the Filter menu and replicate those passes of the Gaussian Blur Filter and the High Pass Filter by choosing Blur and then Gaussian Blur or if you loaded dekeKeys, you've got Shift+F7 as a keyboard shortcut. A Radius of 15 pixels is what I applied before, recall that I'm trying to get a brightness bounce so that we have a little bit of flare going on. So, I'll click OK in order to accept that affect. Now, it doesn't look great this way because he's just blurry. What we need is a blend mode. So go over to little Settings Icon over on the right-hand side of Layers panel and double-click on it to bring up the Blending Options dialog box and change the Blend mode from Normal to Overlay in order to achieve this effect here.

Now, it does quite the number on the saturation values in the image; it also creates these nice soft highlights and it does a pretty small job actually of covering over any weird facial details, so it's a fairly flattering effect. However, it ends up over-darkening the shadows. So we're really losing shadow detail on the shirt and the foreground and in the shadows in the waves and underneath his chin and under his brows and so on. That's why ultimately we're going to need that Filter Mask, but for now, just go ahead and click OK.

Next, I want to sharpen the image and because he is a low-frequency portrait shot, the best sharpening tool is High Pass. So I'll go up to the Filter menu, choose Other and then choose the High Pass command or if you loaded dekeKeys, you have Shift+F10, and I'm going to apply a Radius value of 5 pixels just as I have ready to go right here and then click OK and then, we're going to change its blend mode as well by double-clicking on the High Pass settings icon, brings up the Blending Options dialog box once again, I'm going to select the biggest of the Contrast modes and that is Linear Light.

That's going to give us the highest contrast effect that there is, so we get as much sharpening as possible. It's a kind of over-the-top effect but that's what I'm looking for. So I'll click OK in order to apply that modification. The next step is to go ahead and assign a Filter Mask and what we want is a luminance mask. I'm going to return back to Static Shad-High comp.psd for a moment and I want you to remember, what we did last time around. I went ahead and Alt+clicked or Option+clicked on the eyeball in front of the Background layer so that we restore the original washed out version of the image, so that we're starting with the unfiltered image from which to draw a luminance mask.

Then I switched over to the Channels panel and I walked you through how each one of the Channels work but we in the end, landed on the Red Channel because after all this is a portrait shot, the image is going to be brightest inside of the Red Channel, this is where we're going to have the most contrast between the skin tones and the non-skin tones, and so the shirt in the foreground here end up appearing dark and the skin tones end up appearing very light. You may recall when we're working with the Filter Mask, dark areas are hidden, that is black conceals the effects of the filter, white reveals the effects of the filter, and so we're going to get rid of some of the filtering effects down here which is exactly what we want in the shadow detail and we're going to keep the filtering effects inside of the face, inside of the sky background as well.

Problem is, when I switch back to Volumetric man.psd, if I switch over to the Layers panel and say all right, I don't want to see the effects of any of these Filters for a moment, so I'll click on the eyeball in front of Smart Filters to turn it Off. I still am however seeing the effects of this Shadows/Highlights Filter because that's nested and thereby unavailable to me inside of this composition. So, if I switch over to the Channels panel and I click on Red, that's a very different looking Red Channel and it's going to give me a very different result.

Now, it may be okay by the way and maybe an entirely acceptable result, but it will not be a result that's identical to what we achieved in Chapter 17. If it's important to you to get back to that original luminance information, then what you have to do is to return to your RGB image, switch back to Layers panel and open up that Nested Smart Object and gain access to its Red Channel and I'll show you how to do exactly that in the next exercise.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43605 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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